Long as I remember, the rain been comin’ down.

Who’ll Stop The Rain – Creedence Clearwater Revival (1970) 96KHz/24bit FLAC ~MetalGuruMessiah~

“Who’ll Stop The Rain” was released on Creedence Clearwater Revival’s fifth studio album, Cosmo’s Factory, on Fantasy Records in July of 1970. I’ve been working on a couple other “rain” videos, but decided to use some quick effects for this beautiful CCR tune so I could upload it on Veterans Day 2017. Thanks to all the vets who have served our great country….and to Creedence for their songs which so wonderfully captured the spirit of the Vietnam conflict and American experience related to it.

I love CCR as much as the next guy (and who doesn’t really? there can be no possible reason for not liking this band!) and I’ve wanted to make a few vids for some of the many great songs (how to choose!?) that are my favorites….one down! πŸ˜‰ This was a VERY quick effort and I didn’t take the usual amount of time and effort to scrub and clean the low-res vid sources I used (mainly the Woodstock stuff)….plus I knew I should take the time to find some Vietnam footage of soldiers in the rain to tie in, but….it’s a shorter song, and I had enough to fill it out very quickly. Maybe for a future update, I’ll make those adjustments and raise the level of the video a notch? This video does feature 96KHz/24bit FLAC audio though!

Cosmo’s Factory was released the same month as the single release of “Lookin’ Out My Back Door” with “Long as I Can See the Light” on the B side. The name of the album comes from the warehouse in Berkeley where the band rehearsed early in their career. It was dubbed “The Factory” by drummer Doug “Cosmo” Clifford, because bandleader John Fogerty made them practice there almost every day.

With the release of Cosmo’s Factory in July 1970, Creedence Clearwater Revival hit their commercial zenith. It was their fifth album in two years and became an international smash, topping the album charts in six countries. The band also toured Europe in 1970, playing the Royal Albert Hall to enthusiastic audiences, and had emerged as the most popular band in America by largely ignoring the trippy acid rock indulgences that were typical of the era. However, despite the band’s infectious blend of rockabilly, folk, and R&B, some peers and rock critics dismissed them as a singles band with no substance. In a 2012 cover story, Uncut observed, “While San Francisco longhairs across the bridge scoffed at their commercialism, Creedence henceforth made a point of releasing double A-sides. And invariably both songs would have an uncanny knack of cutting through to all sections of the population.” Singer and guitarist Fogerty, who had seemingly arrived out of nowhere, but had actually struggled with his bandmates throughout most of the 1960s as the Blue Velvets and the Golliwogs, composed the group’s songs and generally steered the band artistically, although his grip on the band – including his dubious role as manager – irritated the others, especially his older brother Tom Fogerty, who left the band by the end of 1970.

In its original review, Rolling Stone opined, “It should be obvious by now that Creedence Clearwater Revival is one great rock and roll band. Cosmo’s Factory, the group’s fifth album, is another good reason why.” AllMusic states, “On ‘Long as I Can See the Light’, the record’s final song, he again finds solace in home, anchored by a soulful, laid-back groove. It hits a comforting, elegiac note, the perfect way to draw ‘Cosmo’s Factory’ – an album made during stress and chaos, filled with raging rockers, covers, and intense jams – to a close.” An editorial review from Amazon.com calls the album “the peak of a prolific streak.”

[Lyrics]
Long as I remember,
The rain been comin’ down.
Clouds of myst’ry pourin’
Confusion on the ground.
Good men through the ages
Tryin’ to find the sun.
And I wonder,
Still I wonder
Who’ll stop the rain.

I went down Virginia,
Seekin’ shelter from the storm.
Caught up in the fable,
I watched the tower grow.
Five-year plans and new deals
Wrapped in golden chains.
And I wonder,
Still I wonder
Who’ll stop the rain.

Heard the singers playin’,
How we cheered for more?
The crowd had rushed together
Tryin’ to keep warm.
Still the rain kept pourin’,
Fallin’ on my ears.
And I wonder,
Still I wonder
Who’ll stop the rain.

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“In a moment of love, they will die for their grace”

Don’t Kill The Whale – Yes (1978) 192KHz/24bit FLAC HD Video ~MetalGuruMessiah~

“Don’t Kill The Whale” was released on Yes’ ninth studio album, Tormato, in September of 1978. Another great Yes tune from Tormato….this one with a message it’s sad that hasn’t gotten through to everyone who should know better by this point. “Don’t Kill The Whale was initiated by Squire who played the chorus section on an acoustic guitar. Wakeman went on to adapt a sound he configured on his Polymoog which he said could produce “weird sounds” that resembled a whale.

I wanted this video to focus on the close bond of the mother and baby whale, and their beauty since I wouldn’t want to watch a video that spoiled the beauty of both the song and the graceful, gentle giants by showing them being killed…..only at the very end of the video is there that reference.

I’ve always been completely fascinated by the Cetaceans (whales, dolphins, porpoises) so this song is extra special. We can’t really understand how intelligent these animals might be yet, but we know they are very special…definitely more intelligent and precious than the neanderthals who hunt them down to slaughter or capture.

Whales are known to have extremely complex communication abilities, and social interactions…they are mammals like us of course, not fish (since they look so much more like fish than other mammals, say a dog or a person, that it’s very easy to forget they are way more like us than a fish).

Communication is so great in cetaceans that there is a strong possibility they are able to project (yes … literally project) an β€œauditory image” that replicates a sonar message they may receive. The process is a bit confusing, but MSU describes it in this circumstance: β€œSo a dolphin wishing to convey the image of a fish to another dolphin can literally send the image of a fish to the other animal. The equivalent of this in humans would be the ability to create instantaneous holographic pictures to convey images to other people.”

If they are in fact able to do this, there would have to be a natural tendency to break down stylized and abstracted images into words. Meaning, cetaceans, like people, use a series of signifiers to discern the exact objects they want to communicate about. We might say β€œtree” and think of a picture of a tree in our minds, but cetaceans can skip this step by simply projecting the image to other cetaceans.

Frow Wiki:
It is their last album recorded with singer Jon Anderson and keyboardist Rick Wakeman prior to their departure from the group in 1980. After wrapping their tour in support of their previous album, Going for the One (1977), the band gathered in London in February 1978 to record a new album. The band encountered several issues that hindered its potential including their overall direction, the decision to produce it by themselves, and its uneven quality.

Tormato received a mixed critical reception upon release, but was a commercial success. It peaked at No. 8 in the UK and No. 10 in the US. “Don’t Kill the Whale” was released as a single in the UK which reached No. 36. Tormato continued to sell in the US and is certified platinum by the Recording Industry Association of America for selling over one million copies. Yes supported the album with the commercially successful 1978–79 tour with concerts performed in the round. Tormato was remastered for CD in 1994 and 2004; the latter contains several previously unreleased tracks from the album’s recording sessions.

As with Going for the One, the album’s cover was designed by Hipgnosis but retains the band’s logo designed by Roger Dean. Howe pitched the album’s original title of Yes Tor, referring to Yes Tor, the second highest hill on Dartmoor, an area of moorland in Devon, England. Wakeman claimed to have thrown a tomato at the pictures taken for the album as he recalled the band were disappointed with the initial artwork which had cost a lot of money. The album’s title and cover was changed accordingly. Wakeman said the album became a “tragedy” as it had poor artwork and production, but good music. Howe said it was someone at Hipgnosis who threw the tomato on purpose, something that he felt insulted about.

[Lyrics]
You’re first I’m last
You’re thirst I’m asked to justify
Killing our last heaven beast
Don’t hunt the whale

In beauty vision do we offer much
If we reason with destiny
Gonna lose our touch
Don’t kill the whale

Rejoice they sing
They worship their own space
In a moment of love, they will die for their grace
Don’t kill the whale

If time will allow
We will judge all who came
In the wake of our new age to stand for the frail
Don’t kill the whale

 

You should be sleeping.

Wide Awake – Elliot Easton (1985) FLAC Audio HDR 4K Video ~MetalGuruMessiah~

“Wide Awake” was released on Elliot Easton’s first (and only) solo record, Change No Change in 1985 on Elektra Records. It was re-released in 1996 by Elektra Traditions/Rhino Records (with 5 bonus tracks), and again released by Wounded Bird in 2006 .

I picked up this record in 1985 and was immediately disappointed that it didn’t sound more Cars-like. I really wanted to hear more of those amazingly, off-kilter guitar solos that made Elliot one of my very favorite guitarists. The solo that I found that came closest to his Cars sound was on “Wide Awake” which absolutely helped make that track my favorite off the album. I was in good company too as it turns out: In the liner notes to the re-release, both Easton and Shear cite “Wide Awake” as their favorite track from the album, with Shear saying “It has a little fairy dust quality about it with all the singing.”

Through the years I’ve come to enjoy this record much more and appreciate the different things that Elliot trying. There are other great songs on the album (including some of the bonus tracks) and I may do a couple more equalizer quickies just to do my bit to get them some additional exposure and recognition.

The video was a really quick excuse for me to listen to this song 20 times in a row! πŸ˜‰ and even though I opted for one of my equalizer style vids which don’t require as much thought or effort, I probably should have given it a full treatment using some of the effects I found…with more photos and consistency with the sleeping models. It’s the high quality FLAC audio that is what is important here and I hope you enjoy this great song.

The original album consists of ten songs written by Easton and Jules Shear, who also contributed background vocals. Easton plays all guitars, including 12-string guitar, sitar and bass. The album’s producers were Stephen Hague, who had played with Shear in Jules and the Polar Bears, and synth player Jon Mathias. Roy Thomas Baker, who had produced the first four Cars albums, is given thanks in the credits for his encouragement of Easton’s solo project, but did not act as a producer.

The 1996 and 2006 releases feature five tracks from the unreleased debut album by Band of Angels (not to be confused with the mid-60s pop group A Band of Angels), a project Easton formed with singer Danny Malone. Easton does not sing lead on these tracks. “Walk on Walden” is an instrumental on 12-string guitar in drop D tuning.

[Lyrics]
Anyone? πŸ˜‰

 

You say tomato, I say Tormato

Madrigal – Yes (1978) 192KHz/24bit FLAC 4K Video ~MetalGuruMessiah~

“Madrigal” was released on Yes’ ninth studio album, Tormato, in September of 1978. This is a beautiful tune from the album that features Rick Wakeman playing a Thomas Goff harpsichord. Hoping to get a couple more videos I’ve started for other tracks from Tormato finished soon. This one features a few clips (I’ve enhanced HDR levels for more vibrancy) from Lech Majewski’s wonderfully gorgeous and unusual 2011 film, The Mill and The Cross which is a movie surrounding and set-inside the painting The Way to Calvary (1564) by Pieter Bruegel the Elder. I absolutely love the imagery this film creates, check it out if you’ve not seen it.

Frow Wiki:
It is their last album recorded with singer Jon Anderson and keyboardist Rick Wakeman prior to their departure from the group in 1980. After wrapping their tour in support of their previous album, Going for the One (1977), the band gathered in London in February 1978 to record a new album. The band encountered several issues that hindered its potential including their overall direction, the decision to produce it by themselves, and its uneven quality.

Tormato received a mixed critical reception upon release, but was a commercial success. It peaked at No. 8 in the UK and No. 10 in the US. “Don’t Kill the Whale” was released as a single in the UK which reached No. 36. Tormato continued to sell in the US and is certified platinum by the Recording Industry Association of America for selling over one million copies. Yes supported the album with the commercially successful 1978–79 tour with concerts performed in the round. Tormato was remastered for CD in 1994 and 2004; the latter contains several previously unreleased tracks from the album’s recording sessions.

As with Going for the One, the album’s cover was designed by Hipgnosis but retains the band’s logo designed by Roger Dean. Howe pitched the album’s original title of Yes Tor, referring to Yes Tor, the second highest hill on Dartmoor, an area of moorland in Devon, England. Wakeman claimed to have thrown a tomato at the pictures taken for the album as he recalled the band were disappointed with the initial artwork which had cost a lot of money. The album’s title and cover was changed accordingly. Wakeman said the album became a “tragedy” as it had poor artwork and production, but good music. Howe said it was someone at Hipgnosis who threw the tomato on purpose, something that he felt insulted about. According to White, the band “couldn’t decide on the cover. I think Po … put a picture of a guy with divining sticks on the front. He took it home one night and decided it wasn’t working. So he threw a tomato at it”.

The sleeve includes a photograph of the band that was taken in Regent’s Park, London, with each member wearing a bomber jacket and sunglasses and looking in a different direction. Each jacket was labelled with the member’s name on the front, but Squire had forgotten his and had to wear one labelled “Jim”, belonging to tour manager Jim Halley. The word “Chris” was then drawn onto the final cover.

[Lyrics]
I will be there said my friend of a distant life
Covered in greens of a golden age, set in stone
Follow me “he sounded of dreams supreme” follow me
Drifting within the glow and the after-glow of the eve

And if that firelight, I could match the inner flame

Sacred ships do sail the seventh age

Cast off your garments of fear, replace them with love
Most of all play with the game of the age
Highest of places remain all as one with you
Giving us light and the freedom of the day

And if that firelight, I could match the inner flame

Sacred ships do sail the seventh age
And have always been here

Celestial travelers have always been here with us
Set in the homes of the Universe we have yet to go
Countless expansions will arrive and flow inside of us
My friend, he of fantasy, dancing with the spirit of the age

“It’s been a lifetime…”

Before The Dawn – Judas Priest (1978) Audio Fidelity 24k FLAC 4K Video ~MetalGuruMessiah~

“Before The Dawn” was released on Judas Priest’s fifth studio album, Killing Machine, in November 1978. “Before The Dawn” has always been one of my absolute top favorite rock and roll ballads and this video is an update for one of the first videos I ever made: https://youtu.be/OVMiki-oApA

I attempted to follow my challenge for updates and always to try and keep some of the older elements in place while upgrading for higher resolution and better effect, so that at least some parts of the original remained intact…in this case not much came across but a couple of images and the old, simple cloud/fog effect that I tried to use back then (much more subdued here, but in higher resolution).

This version also sources a flac audio track from Audio Fidelity’s 24k release of the album which was remastered by Steve Hoffman….it’s a great sounding track, and I touched the volume level just enough to keep under any clipping.

Killing Machine was re-titled Hell Bent for Leather for US release, as the US branch of Columbia/CBS did not like the “murderous implications” of the album title. “The Green Manalishi (With the Two-Pronged Crown)” an early Fleetwood Mac cover, was added to the running order in the US. The album saw Judas Priest head towards a more commercial style; however it did still contain the dark lyrical themes as heard in their previous albums. At about the same time, the band members adopted their now-famous “leather-and-studs” image.

This is the first Judas Priest album where Glenn Tipton incorporated the guitar technique of tapping into his soloing style. This is also the final album for drummer Les Binks who had joined the band in late 1977 for the recording of Stained Class, he is credited with helping develop the traditional Priest percussive sound.

With Killing Machine, Judas Priest began moving to a more accessible, commercial format that abandoned the complex, fantasy-themed songs of their previous three albums. While this album still had dark undertones, it was more grounded in realism. This was reflected in their change of stage costumes from flowing Gothic robes to leather, but also may have been inspired by the rising punk and New Wave movements. Glenn Tipton said in a contemporary interview that “I believe we are part of the New Wave. After all, we’re fast, aggressive and exciting, which is what it’s all about.” Tracks such as “Burnin’ Up” and “Evil Fantasies” are replete with S&M themes while “Running Wild” is about late-night partying and “Before the Dawn” a depressing ballad. “Hell Bent for Leather” reflected their newly adopted leather costumes as well as Rob Halford’s soon-to-be-trademark entrances on stage in a Harley-Davidson motorcycle. The single “Take on the World” was an attempt at producing a stadium shoutalong tune in the mould of Queen’s “We Will Rock You”, and was also covered by New Wave band The Human League on their 1980 tour.

If the lyrics were simplified a bit from the band’s previous albums and adapted more into mainstream arena rock, the instruments retained their characteristic aggressiveness with heavier guitar riffing and elements of blues influence returned on some songs. The album is certified gold by the RIAA. Finally, the production of Killing Machine was markedly improved from Judas Priest’s earlier albums, which were criticized for having excessively flat sound, and would be further refined for their next and breakthrough album, British Steel.

The album was remastered in 2001, with two bonus tracks added (three in the UK). The bonus track “Fight for Your Life” was the “original” version of Judas Priest’s “Rock Hard Ride Free” from their Defenders of the Faith album. “The Green Manalishi (With the Two-Pronged Crown)” is considered a bonus track on the UK remaster, but a regular track on the US version.

In 2010, audiophile label Audio Fidelity released a limited-edition 24-karat gold CD of the album. Mastering was done by Steve Hoffman. This does not contain the bonus tracks from the 2001 edition.

[Lyrics]
Before the dawn, I hear you whisper
In your sleep “Don’t let the morning take him”
Outside the birds begin to call
As if to summon up my leaving

It’s been a lifetime since I found someone
Since I found someone who would stay
I’ve waited too long, and now you’re leaving
Oh please don’t take it all away

It’s been a lifetime since I found someone
Since I found someone who would stay
I’ve waited too long, and now you’re leaving
Oh please don’t take it all away

Before the dawn, I hear you whisper
In your sleep “Don’t let the morning take him”

“On the step outside you stand…With your flowers in your hand, my Apple Scruffs..”

Apple Scruffs – George Harrison (1970) 96KHz/24bit FLAC 4K Video ~MetalGuruMessiah~

“Apple Scruffs” was released in November 1970 on George Harrison’s massive musical monument, the 3-album All Things Must Pass album. Continuing with more videos from one of my favorite albums. My idea was to use clips from Beatlemania to represent the “Apple Scruffs” but I liked the groovy dancers better! πŸ˜‰

From Wiki:

The name “Apple scruffs” was first coined by George Harrison during the late 1960s. Although well known for his aversion to fan worship, particularly to the Beatlemania phenomenon, Harrison had formed a bond with a number of the scruffs; he acknowledged in an April 1969 interview with Disc magazine: “their part in the play is equally as important as ours”. His song “Apple Scruffs” was written as a tribute to the fans who had kept vigil outside the various recording studios he had been working in since late May 1970, during the sessions for his All Things Must Pass triple album, as well as the Apple headquarters on Savile Row. Although Harrison makes no mention of the song in his 1980 autobiography, Derek Taylor, in his role as editor, describes the Apple scruffs as the “central core” of fans, long after Beatlemania had subsided, adding that “We were all very fond of them”.

Harrison invited the Apple scruffs into Abbey Road Studios to hear the results. A teenager at the time, Gill Pritchard later recalled that Harrison told them: “Well, you had your own magazine, your own office on the [studio] steps, so why not your own song?”

The recording has been noted for its Bob Dylan influence, featuring Harrison on acoustic guitar and harmonica, and is recognized as a departure from the big sound synonymous with All Things Must Pass. “Apple Scruffs” was also released as the B-side to “What Is Life”, gaining further popularity through airplay on US radio, and became the preferred side of the single in some countries.

Harrison recorded “Apple Scruffs” late in the proceedings, during the overdubbing and mixing phase of All Things Must Pass. Uniquely among the tracks on All Things Must Pass, “Apple Scruffs” was performed solo by Harrison – except for a percussive, tapping sound provided by Beatles assistant Mal Evans. Harrison recorded the song live on acoustic guitar and harmonica, in the style of his friend Bob Dylan. Due to his heavy beard and mustache, Harrison struggled while attempting to play the harmonica; sessions tapes also reveal he needed to coach himself on the sucking and blowing technique required for the part.

Rolling Stone’s Ben Gerson considered “Apple Scruffs” to be “One of the most wonderful cuts on the album” and added: “it sounds as if it was recorded while co-producer Phil Spector was out for coffee.”

More recently, Beatles author Bruce Spizer has written of the song: “Sandwiched in the middle of an album full of elaborate wall-of-sound productions, Apple Scruffs breaks through like a breath of fresh air.” Simon Leng praises the track’s bottleneck parts, and particularly the backing vocals, which he describes as “the best on the album”. The same passage, towards the end of the song, has been referred to by Tom Moon in his book 1,000 Recordings to Hear Before You Die as “an explosive peak-experience refrain that comes direct from heaven’s songbook”.

In a 2001 review for the 30th anniversary reissue of All Things Must Pass, James Hunter of Rolling Stone highlighted “Apple Scruffs” among other tracks on an album that “helped define the decade it ushered in”, advising listeners to “proceed to music that exults in breezy rhythms”, which included “the colorful revolutions of ‘What Is Life’ … bluesy and intricate on Harrison and Dylan’s ‘I’d Have You Anytime,’ fizzy on ‘Apple Scruffs,’ grooving on ‘Let It Down,’ and spookily proto-disco on ‘Art of Dying'”.

This record has a tendency to sound thin and shrill. If you wish to hear All Things Must Pass the way it should sound (and who doesn’t!) head over to HDtracks http://www.hdtracks.com/all-things-must-pass-215198 and buy the Audiophile 96kHz/24bit version of the 2014 remaster….amazing! George’s son Dhani had a large hand in the way this album was remastered and sounds and he nailed it…. his dad would be proud! *This video features the higher resolution 96/24bit HD FLAC version.

[Lyrics]
Now I’ve watched you sitting there
Seen the passers-by all stare
Like you have no place to go
But there’s so much they don’t know about Apple Scruffs

You’ve been stood around for years
Seen my smiles and touched my tears
How it’s been a long, long time
And how you’ve been on my mind, my Apple Scruffs

Apple Scruffs, Apple Scruffs
How I love you, how I love you

In the fog and in the rain
Through the pleasures and the pain
On the step outside you stand
With your flowers in your hand, my Apple Scruffs

While the years they come and go
Now, your love must surely show me
That beyond all time and space
We’re together face to face, my Apple Scruffs

Apple Scruffs, Apple Scruffs
How I love you, how I love you

“Looks like a little brother to the sun… or mother to the stars at night”

Here Comes The Moon – George Harrison (1979) FLAC Audio 4k ~MetalGuruMessiah~

“Here Comes The Moon” was released in the winter of 1979 on George Harrison’s seventh solo album, George Harrison. The Beatles recorded George’s masterpiece “Here Comes The Sun” on their Abbey Road album, and 10 years later he recorded an equally beautiful track for “the little brother to the sun”.

Several years back, when I was making the video for “Your Love Is Forever”: https://youtu.be/pY9TX_Q7j-o I though it might be interesting to try a similar one for “Here Comes The Moon”…took me awhile but I finally got around to it. This video is stylistically the “night” video to that earlier video. I hope you enjoy the result.

A new George Harrison album was always an exciting and memorable event when I was growing up and each one (as with the other Beatle solo albums) brings distinctive memories of very specific times, places, people and emotions of my youth. I had been in awe of George’s previous album, 33&1/3 and was thrilled to finally hear that he had a new album. It was my last year of high school and I took a friend along with me hauling some cattle to a ranch near Corpus Christi for my dad on a Saturday. I was more than happy to make the trip because I knew it would allow me a chance to get into a city to a record shop and pick up George’s new album. Though the trip wouldn’t normally take me thorough San Antonio, I made a detour to the route and picked up both the album, cassette, AND! a great promo poster for the LP (In those days I was very skilled at convincing record store employees to give me promo material! LOL!, of course once I started working at one the next year such material became much more available and….yes, I still have that poster!). To this day every time I listen to this album (which is often, btw) I think of the hassles of driving that cattle trailer through the city and then happily listening to this album on cassette with my friend as I winded through the Texas countryside with the blue sky, white puffy clouds and sunshine above us!

This is the 23rd video I’ve made for a George Harrison song (and the 4th from the George Harrison album).

From Wiki: With Harrison’s penchant for leisure and travel following Thirty Three & 1/3’s release, he had not started recording a follow-up until mid-1978, although he had been writing songs during his hiatus. Teaming up with a co-producer for the first time in years, Harrison decided to use Russ Titelman to help realise the music for George Harrison, which was recorded at his home studio, entitled Friar Park, with string overdubs being effected at London’s AIR Studios. Special guests included Steve Winwood, Gary Wright (who co-wrote “If You Believe”) and Eric Clapton.

The album was previewed by the single “Blow Away”, which reached No. 51 in the United Kingdom and No. 16 in the United States. George Harrison received positive reviews upon its February 1979 release. It reached No. 39 in the UK and it peaked at No. 14 in the US, going gold. “Blow Away” as a single was also successful in Canada, peaking at No. 7 on the singles chart. Harrison’s increasing efforts, however, were being directed towards the film industry, having formed Handmade Films in order to help his friends in Monty Python complete Life of Brian.

Anyway…..till next one…..hope you enjoy this one!

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

[Lyrics]
Everybody’s talking up a storm
Act like they don’t notice it
But here it is and here it comes
Here comes the moon, the moon, the moon, the moon, the moon.
Impulse always quickens when it’s full
As it turns my head around me
Yes it does and here it comes
Here comes the moon, the moon, the moon, the moon, the moon.
God’s gift I see that’s moving up there into the night
Though dark the mirror in the sky reflects us our light:
Looks like a little brother to the sun
Or mother to the stars at night
And here it is and here it comes
Here comes the moon, the moon, the moon, the moon, the moon.
Breath is always taken when it’s new
Enhance upon the clouds around it
Yes it is and here it comes
Here comes the moon, the moon, the moon.

“Maybe I’m amazed at the way you help me sing my song”…Paul McCartney

Maybe I’m Amazed – Paul McCartney (1970) 96KHz/24bit FLAC HD Video ~MetalGuruMessiah~

“Maybe I’m Amazed” was released on Paul McCartney’s debut solo album, titled simply McCartney, in the spring of 1970. I couldn’t get any of my in-the-works projects finished, so I jumped in and made this quickie. Most of the work was spent working on the old video clip of Paul and Linda and their family in Scotland in 1970, some effects and adjustment layers and I found a look I liked and that lost the jaggies for full screen.

The album featured a very loose, laid-back recording style of the nature that was always intended for The Beatles’s Let It Be album. The record is entirely Paul…he plays all instruments and the only other person featured in any way was his wife Linda, who sang back up vocals.

Audio sourced from Archive Collection Remaster FLAC!

It seems odd, to me at least, that this record doesn’t seem to fall prey to the “dated” sound that affects some of Paul’s other records….I guess that’s in large part due to the fact that it’s homespun, patchwork nature was so basic that it resists and remains. I love the record and give in totally to it’s charms each time I listen to it.

From Wiki:
McCartney shot to #1 in the US for three weeks, eventually going 2x platinum. This was despite the fact that it had neither an accompanying single released nor a tour to promote it, and that critical reaction was far from positive. In the UK, it was only denied the top spot by the best-selling album of 1970, Simon and Garfunkel’s Bridge Over Troubled Water, which stayed at #1 for 33 (non-consecutive) weeks. There, McCartney debuted straight at #2, where it remained for three weeks.

The album was widely criticised for its “homespun” approach and “half-written” songs, the UK’s rock bible Melody Maker declaring that “With this record, his debt to [Beatles producer] George Martin becomes increasingly clear”; the reviewer found “sheer banality” in all the tracks save for “Maybe I’m Amazed”. Shortly after the album’s release, George Harrison described the same song and “That Would Be Something” as “great”, but the rest, he said, “just don’t do anything for me”. Harrison added that, unlike himself, John Lennon and Starr, McCartney was probably too “isolated” from other musicians: “The only person he’s got to tell him if the song’s good or bad is Linda.” Lennon stated in his 1970 interview with Rolling Stone editor Jann Wenner that, given McCartney’s penchant for demanding perfectionism in the studio from his fellow Beatles, he was surprised at the lack of quality in the album; Lennon also made several remarks comparing McCartney negatively to his own solo album debut, John Lennon/Plastic Ono Band.

When the new remastered version was released in 2011 as part of the Paul McCartney Archive Collection, the album re-entered the charts in the UK, Netherlands, France and Japan.

It is included in the book 1001 Albums You Must Hear Before You Die.

This is my third video from the classic McCartney debut! Check out the other two if you are so inclined:
“Junk”/”Singalong Junk” https://youtu.be/X1jARPv-t-I
“Every Night” https://www.youtube.com/watch?v=lKbqv6QtWnM
THANKS!

 

[Lyrics]
Maybe I’m amazed at the way you love me all the time
Maybe I’m afraid of the way I love you
Maybe I’m amazed at the the way you pulled me out of time
And hung me on a line
Maybe I’m amazed at the way I really need you
Maybe I’m a man and maybe I’m a lonely man
Who’s in the middle of something
That he doesn’t really understand
Maybe I’m a man and maybe you’re the only woman
Who could ever help me
Baby won’t you help me understand
Maybe I’m a man and maybe I’m a lonely man
Who’s in the middle of something
That he doesn’t really understand
Maybe I’m a man and maybe you’re the only woman
Who could ever help me
Baby won’t you help me understand
Maybe I’m amazed at the way you’re with me all the time
Maybe I’m afraid of the way I leave you
Maybe I’m amazed at the way you help me sing my song
Right me when I’m wrong
Maybe I’m amazed at the way I really need you

To hear your wonderous stories.

Wonderous Stories – Yes (1977) 192Khz/24bit FLAC ~MetalGuruMessiah~

“Wonderous Stories” was released on Yes’ eight studio album, Going for the One, on 15 July 1977. This is my second video for a track from the Going For The One album (I did the title track way way back; check it if you dare; https://youtu.be/ZR1koTw5NqI ), and one of numerous Yes videos I’ve made. I haven’t uploaded any new Yes videos in a long time because all the ones I’ve made just seem to get buried and get very few views….I’ll try again, if there’s any interest I might update the ancient “Going For The One” and finish and upload more great tracks from Going For The One and other Yes albums? If you’re a Yes fan, please drop a like and a comment, maybe give it a share….it all helps. Thanks!

Since this is an album that I will ramble on about, I’ll just paste some of my notes on the album copied from the description of my old video for “Going For The One”:

“Going For The One” is the title track from Yes’s eighth studio album which was released in the summer of 1977. This is such a special record for me and I recall so clearly and strongly the circumstances of it’s release. I was a sophomore in high school and although I was well into my journey of seeking to listen to all the rock bands of the time, Yes was one of those bands that I knew really only by their singles. There was an extreme amount of anticipation, advertising, and awareness surrounding the pending new album from Yes.

A couple of weeks after buying the LP, I was flying out to Los Angeles with my family to spend six weeks with my dad who was working in the motion picture industry….I remember begging my mom to stop at a record store near the airport so I could pick up a few 8-tracks to play on my new (then KILLER! πŸ˜‰ portable player for the flight and afterwards….I purchased Going For The One, Animals, Low, I Robot, Trans-Europe Express and Little Queen (the first three I already had on LP, but I wasn’t about to spend the rest of the summer without them!). I still associate some of these records with that summer in LA, especially Going For The One.

From Wiki:
“Wonderous Stories” is the second track on the album solely written by Anderson. He wrote the song during “a beautiful day” while living in Switzerland, “one of those days you want to remember for years afterwards”. During the day, the lyrics to the track entered his mind that he later wrote down. He noted the song’s meaning as “the joys of life, as opposed to the uptightedness of some aspects of life” that was inspired by romantic stories and “a kind of dream sequence”. White contributed the idea of the drums and bass playing on odd beats.[

The album was recorded in Montreux, Switzerland after the band took a break in activity for each member to release a solo album and their 1976 North American tour. It marks the departure of keyboardist Patrick Moraz and the return of Rick Wakeman, who had left to pursue his solo career after musical differences surrounding Tales from Topographic Oceans (1973). In a departure from their previous three albums, Going for the One features shorter and more direct songs written without a unifying theme or concept, and saw Yes record with new producers, engineers and cover designers.

Going for the One received a mostly positive response from music critics who welcomed the band’s return to more accessible music like their earlier albums The Yes Album (1971) and Fragile (1971). It was a commercial success and reached number one on the UK Albums Chart, their second album to do so, for two weeks and peaked at number 8 on the US Billboard 200. “Wonderous Stories” and “Going for the One” were released as singles; the former went to number 7 in the UK which remains the band’s highest charting single. Going for the One was certified gold by the Recording Industry Association of America (RIAA) for 500,000 copies sold in the US. Yes supported the album with a six-month tour of North America and Europe.

[Lyrics]
I awoke this morning
Love laid me down by a river.
Drifting I turned on upstream
Bound for my forgiver.
In the giving of my eyes to see your face.
Sound did silence me
Leaving no trace.
I beg to leave, to hear your wonderous stories.
Beg to hear your wonderous stories.

He spoke of lands not far
Or lands they were in his mind.
Of fusion captured high
Where reason captured his time.
In no time at all he took me to the gate.
In haste I quickly checked the time.
If I was late I had to leave to hear your wonderous stories.
Had to hear your wonderous stories.

Hearing
Hearing
Hearing your wonderous stories.
Hearing your wonderous stories.
It is no lie I can see deeply into the future.
Imagine everything
You’re close
And were you there to stand
So cautiously at first and then so high.
As he spoke my spirit climbed into the sky.
I bid it to return
To hear your wonderous stories.
Return to hear your wonderous stories.

Hearing,
Hearing,
Hearing,
Hearing,
Hearing,

Blowing smoke rings from the corners of my my, my, my, my mouth

Marrakesh Express – Crosby Stills & Nash (1969) 192Khz/24bit FLAC ~MetalGuruMessiah~

“Marrakesh Express” was released in the spring of 1969 on Crosby, Stills & Nash’s eponymous first album. It spawned two Top 40 hit singles, “Marrakesh Express” and “Suite: Judy Blue Eyes,” which peaked respectively at #28 the week of August 23, 1969, and at #21 the week of December 6, 1969, on the Billboard Hot 100 singles chart. The album itself peaked at #6 on the Billboard Top Pop Albums chart. It was certified four times platinum by the RIAA for sales of over 4,200,000.

Crosby, Stills & Nash is such a great album, and I’m working on my Wes Anderson Criterion Blu-ray collection (lack only “The Darjeeling Limited” and “Fantastic Mr. Fox”..and my favorite of his films, “Budapest Hotel” (his latest) which hasn’t yet received the treatment)….so since I didn’t have anything else ready, I made this very quickie mashup. I hope you enjoy it. PS….buy the movie on Criterion Blu-ray if you haven’t yet and are as big as I am. https://www.criterion.com/films/27520-the-darjeeling-limited?q=autocomplete The video is my first encoded in 4K UDH (though the source material is not 4K…i’m just experimenting with the format).

The album was a very strong debut for the band, instantly lifting them to stardom. Along with the Byrds’ Sweetheart of the Rodeo and The Band’s Music from Big Pink of the previous year, it helped initiate a sea change in popular music away from the ruling late sixties aesthetic of bands playing blues-based rock music on loud guitars. Crosby, Stills & Nash presented a new wrinkle in building upon rock’s roots, utilizing folk, blues, and even jazz without specifically sounding like mere duplication. Not only blending voices, the three meshed their differing strengths, David Crosby for social commentary and atmospheric mood pieces, Stephen Stills for his diverse musical skills and for folding folk and country elements subtly into complex rock structures, and Graham Nash for his radio-friendly pop melodies, to create an amalgam of broad appeal. The album features some of their best known songs: “Helplessly Hoping”, “Long Time Gone” (a response to the assassination of Robert F. Kennedy), “Suite: Judy Blue Eyes” (composed for Judy Collins) and “Wooden Ships” (co-written with Paul Kantner of Jefferson Airplane).

This album proved very influential on many levels to the dominant popular music scene in America for much of the 1970s. The success of the album generated gravitas for the group within the industry, and galvanized interest in signing like acts, many of whom came under management and representation by the CSN team of Elliot Roberts and David Geffen. Strong sales, combined with the group’s emphasis on personal confession in its writing, paved the way for the success of the singer-songwriter movement of the early seventies.

In a contemporary review, Rolling Stone critic Barry Franklin called Crosby, Stills & Nash “an eminently playable record” and “especially satisfying work”, finding the songwriting and vocal harmonies particularly exceptional. Robert Christgau was less enthusiastic in The Village Voice: “I have written elsewhere that this album is perfect, but that is not necessarily a compliment. Only Crosby’s vocal on ‘Long Time Gone’ saves it from a special castrati award.” In a retrospective review, Jason Akeny of AllMusic believed some of the songs’ themes “haven’t dated well” but “the harmonies are absolutely timeless, and the best material remains rock-solid”. In 2003, Rolling Stone ranked Crosby, Stills & Nash number 259 on their list of the 500 greatest albums of all time.

Jefferson Airplane guitarist Paul Kantner was finally credited as co-composer of “Wooden Ships” on the expanded edition reissue, something long acknowledged on his group’s version of the song from their Volunteers album, released the same year.

[Lyrics]
Looking at the world
Through the sunset in your eyes
Trying to make the train
Through clear Moroccan skies
Ducks and pigs and chickens call
Animal carpet wall to wall
American ladies five foot tall in blue.
Sweeping cobwebs from the edges of my mind
Had to get away to see what we could find
Hope the days that lie ahead
Bring us back to where they’ve led
Listen not to what’s been said to you
Would you know we’re riding
On the Marrakesh Express
Would you know we’re riding
On the Marrakesh Express
All on board that train
I’ve been saving all my money just to take you there
I smell the garden in your hair
Take the train from Casablanca going south
Blowing smoke rings from the corners of my my, my, my, my mouth
Colored cottons hang in air
Charming cobras in the square
Striped Djellebas we can wear at home
Don’t you know we’re riding on the Marrakesh Express
Don’t you know we’re riding on the Marrakesh Express
They’re taking me to Marrakesh Express
Don’t you know we’re riding on the Marrakesh Express
Don’t you know we’re riding on the Marrakesh Express
They’re taking me to Marrakesh
All on board that train
All on board that train