“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 “auditory image” that replicates a sonar message they may receive. The process is a bit confusing, but MSU describes it in this circumstance: “So 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 “tree” 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

 

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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! 😉 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? 😉

 

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! 😉

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