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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