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

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3 Classics from The Cars

Drive – The Cars (1984) MFSL SACD FLAC ~MetalGuruMessiah~

“Drive” was released in March 1984 on The Cars’ fifth studio album, Heartbeat City. I’m still on a Cars roll! 😉 This is a great great track and I’ve always wanted to play around with something for it. I really needed to spend more time adjusting the spiraling stars, etc. video clip as it’s not blended quite right to be able to see the performance clip….I did get the traffic time-lapse effect video to work much better…actually the whole thing looked nice (and different) with just that effect and I almost went with that edit, but it got just a tad repetitive. Hope you enjoy the show! Thanks for checking it out!

Heartbeat City was produced by Robert John “Mutt” Lange. Picking up a positive commercial response, the Cars had many tracks getting airplay, and singles “Drive” and “You Might Think” in particular both became Top 10 hits. The album also received supportive reviews from several critics; for example, Robert Christgau stated that “the glossy approach the Cars invented has made this the best year for pure pop in damn near twenty, and it’s only fair that they should return so confidently to form.”

Heartbeat City contains a total of five American Top 40 singles. Of these, “Drive” and “You Might Think” were also Top 10 hits, reaching the No. 3 and No. 7 positions, respectively. A number of songs from the album gained significant radio and TV exposure; most notably “You Might Think” and “Magic”, which both received heavy airplay on MTV.

The lead vocal on “Drive” was performed by bassist Benjamin Orr. The song’s video was directed by actor Timothy Hutton. It features Ric Ocasek arguing with a troubled young woman played by model Paulina Porizkova (whom Ocasek would later marry). “Hello Again” had a video directed by the legendary Andy Warhol, who also appeared onscreen.

The single “It’s Not the Night” reached No. 31 on the rock charts. The song “Stranger Eyes” was used in the theatrical trailer of the 1986 film Top Gun, but it never made it into the soundtrack. “Looking for Love” was later covered by Austrian singer Falco as “Munich Girls” on his 1985 album Falco 3.

When the Cars performed at Live Aid, they played three songs from the album (“You Might Think”, “Drive”, plus the album’s title track) alongside the fan favorite “Just What I Needed”.

Robert John “Mutt” Lange’s commitment to produce the Cars album meant that he told Def Leppard he could not work on their album, Hysteria. However, due to delays in that album’s recording, Lange was eventually able to produce it.

The cover art (including an image of a 1971 Plymouth Duster 340) is from a 1972 piece by Peter Phillips called Art-O-Matic Loop di Loop.

[Lyrics]
Who’s gonna tell you when
It’s too late
Who’s gonna tell you things
Aren’t so great

You can’t go on
Thinking nothing’s wrong
Who’s gonna drive you home tonight

Who’s gonna pick you up
When you fall
Who’s gonna hang it up
When you call
Who’s gonna pay attention
To your dreams
Who’s gonna plug their ears
When you scream

You can’t go on
Thinking nothing’s wrong
Who’s gonna drive you home tonight

Who’s gonna hold you down
When you shake
Who’s gonna come around
When you break

You can’t go on
Thinking nothing’s wrong
Who’s gonna drive you home tonight

Oh you know you can’t go on
Thinking nothing’s wrong
Who’s gonna drive you home tonight

I’m In Touch With Your World – The Cars (1978) MFSL SACD FLAC ~MetalGuruMessiah~

“I’m In Touch With Your World” was released on The Cars’ self-titled debut album in June of 1978. This album sounded insanely brilliant in the summer of 1978, it was so unusual and powerful, one of the greatest debut’s in history.

I love every song on this record and wanted to shine a bit of light on one of the less known tracks, so I decided to to try something with this old performance video for “I’m In Touch With Your World”. I cleaned up the video and used some effects to light-up it up a bit and then edited it to the studio track (which was sourced from a Mobile Fidelity Sound Labs’ Super Audio CD FLAC).

The unusual percussion and keyboards (a big part of this songs appeal) are highlighted by Greg Hawkes’ performance, which I also turned up a notch or two with the video editing. Hope you enjoy! Thanks for watching!

The album, which featured the three charting singles “Just What I Needed,” “My Best Friend’s Girl,” and “Good Times Roll,” as well as several album-oriented rock radio hits, was a major success for the band, remaining on the charts for 139 weeks. It has been recognized as one of the band’s best albums.

Critically, the album was well received. AllMusic’s Greg Prato described it in a retrospective review as “a genuine rock masterpiece”, and stated that “all nine tracks are new wave/rock classics”. Prato continued, saying “With flawless performances, songwriting, and production (courtesy of Queen alumnus Roy Thomas Baker), The Cars’ debut remains one of rock’s all-time classics.” Rolling Stone magazine critic Kit Rachlis said “The pop songs are wonderful,” continuing that “Easy and eccentric at the same time, all are potential hits.” Rachlis, however, said that “The album comes apart only when it becomes arty and falls prey to producer Roy Thomas Baker’s lacquered sound and the group’s own penchant for electronic effects.” Rolling Stone also ranked the album No. 284 in its “500 Greatest Albums of All Time” list. Robert Christgau said, “Ric Ocasek writes catchy, hardheaded-to-coldhearted songs eased by wryly rhapsodic touches, the playing is tight and tough, and it all sounds wonderful on the radio. But though on a cut-by-cut basis Roy Thomas Baker’s production adds as much as it distracts, here’s hoping the records get rawer.”

Elliot Easton said of the album, “We used to joke that the first album should be called The Cars Greatest Hits. We knew that a lot of great bands fall through the cracks. But we were getting enough feedback from people we respected to know that we were on the right track.”

The Cars featured a large amount of technology on many of its tracks, due to the band’s appreciation for new equipment. David Robinson said, “We’d always get the latest stuff from music stores even if it would be obsolete in two months. It reached the point where I’d have 10 or 12 foot switches to hit during a short set.”[1] The album also is notable for front-man Ric Ocasek’s use of irony and sarcasm. Keyboardist Greg Hawkes said, “There was definitely a little self-conscious irony in there. We started out wanting to be electric and straight-ahead rock, and it kind of turned into an artier kind of thing.”

David Robinson said in an interview that he “had designed a very different album cover [for The Cars] that cost $80.00 to design.” He continued, “I remember the price exactly. It was completely finished and everything, but it was a little more bizarre than the cover that they had in mind, so they changed some of it because of copyright problems and put it in as the inner sleeve. But I think that was way more how we envisioned who we were then.”[2]

Unlike many of The Cars’ album covers, the cover for The Cars was designed by the record company, rather than drummer David Robinson. The cover was not well liked by the members of the band, however. Robinson said, “I thought that when the Elektra came out it was way too slick. The pictures of us I didn’t like.”[2] Guitarist Elliot Easton expressed dislike for “that big grinning face,” saying, “Man, I got tired of that cover.”

The cover model is Natalya Medvedeva, a Russian-born model, singer, writer and journalist.

[Lyrics]
You can tuck it on the inside
You can throw it on the floor
You can wave it on the outside
Like you never did before
You get the diplomatic treatment
You get the force fed future
Get the funk after death
Get the Wisenheimer brainstorm

So don’t you try to hide it
(I’m in touch with your world)
And nobody’s gonna buy it
It’s such a lovely way to go
It’s such a lovely way to go

I been lying on your feathers
You keep talkin’ about the weather
I’m a psilocybin pony
You’re a flick fandango phoney
It’s a sticky contradiction
It’s a thing you call creation
Everything is science fiction
And I ought to know

So don’t you try to hide it
(I’m in touch with your world)
And nobody’s gonna buy it
It’s such a lovely way to go
It’s such a lovely way to go-uh-oh

Since I Held You – The Cars (1979) HD 192/24 FLAC ~MetalGuruMessiah~

“Since I Held You” was released on The Cars’ second album, Candy-O, June of 1978. This album was very close to as great as their first one which was really an achievement for the band.

I’ve had a concept vid for “Dangerous Type” sitting around for 2 or 3 years which I think I’ll finish up soon….in the meantime I worked up a couple more live performance vids. This one features a 192kHz/24bit FLAC from the recent HD releases of their studio albums….they sound stunning, trust me.

From Wiki:
Unlike the first album, Candy-O was created under a more democratic approach. Ric Ocasek said of this, “When one of my songs goes to the band in barest cassette form, we sit around and talk about it. If I’m outvoted, we don’t do it. “We almost didn’t include ‘Double Life’ on the new album, it had been dropped. I think everybody in the Cars is open-minded and creative enough that they would do anything – nobody’s holding anything back. Everybody appreciates the more radical, experimental kinds of music and likes it. But sometimes, when you’re put together with five pieces, things are not as minimal as they could or should be. Everybody’s developed a unique personal style, and we rely on their input. If they did it, it’s good enough.”

For the album, the band once again worked with Queen producer Roy Thomas Baker. Ocasek said of their relationship with the producer, “Well, some of the things on that first album that we thought were a little slick, we toned down on the second, like on the background vocals. But if we were going to rely on the producer we had hired, there was no reason to try and change him. On the second album, it was easier to say, ‘Roy, let’s not do the multi-tracked harmonies this time.'”

The band’s label, Elektra, initially wanted to hold back the release of the album, but the band stood their ground. Ocasek said of this, “At first Elektra wanted to hold it back some, but we told them there was no way, because if they were going to hold that back, they were going to hold us back, and we can’t just sit around and be held back.” Released as the follow-up to their 1978 hit album The Cars, Candy-O peaked at No. 3 on the Billboard 200. The album re-entered the charts at No. 179 in 1984. The record was also ranked number 82 on Billboard’s “Top Albums of the Year” chart for 1979.

Three singles were lifted from Candy-O: “Let’s Go” hit No. 14, making it the first Top 20 Cars single, “It’s All I Can Do” peaked at No. 41, barely missing the Top 40, and “Double Life” failed to chart.

The album cover was painted by artist Alberto Vargas, who was known for his paintings of pin-up girls that appeared in Esquire and Playboy magazines in the 1940s through the 1960s. The idea to hire Vargas came from drummer David Robinson, the band’s artistic director and a collector of pin-ups. The 83-year-old Vargas had retired several years earlier but was persuaded to take the assignment by his niece, who was a fan of the Cars. The painting, depicting a woman sprawled across the hood of a car, was based on a photo shoot directed by Robinson at a Ferrari dealership. The model, coincidentally named Candy Moore (famous for having played Lucille Ball’s onscreen daughter on The Lucy Show), briefly dated Robinson afterward.

Rolling Stone critic Tom Carson said, “It’s almost inevitable that Candy-O, the Cars’ second album, doesn’t seem nearly as exciting as their first. The element of surprise is gone, and the band hasn’t been able to come up with anything new to replace it. Candy-O is an elaborately constructed, lively, entertaining LP that’s packed with good things. And it’s got a wonderful title. But it’s a little too disciplined, a shade too predictable.”

[Lyrics]
I really love the way you talk
I don’t mind sayin’ so
And oh, I love it when you dance
So silky slow
Oh, baby please don’t go

I know you refuse to get involved
You won’t help me out none
You run around like a paperdoll
Pretending it’s fun
Oh, baby please don’t run

Somethin’ in the night, just don’t sit right
Looks like I’m gonna be up all night, yeah

It’s been such a long time
Since I held you
I said, it’s been such a long time
Since I held you
Oh oh, such a long time
Since I held you

I won’t forget the way you said
It doesn’t bother you much
Tutor impressions in your head
Just before the last touch
That meant so much

Somethin’ in the night, just don’t sit right
Looks like I’m gonna be up all night, yeah

It’s been such a long time
Since I held you
I said it’s been such a long time
Since I held you
Oh oh, such a long time
Since I held you

It’s been a long time
It’s been a long time
It’s been a long time
Such a long time

Well, it’s been a long, long time
I said, it’s been a long, long time
It’s been a long time
Since I held you
Oh oh, such a long time
Since I held you

There is unrest in the forest There is trouble with the trees

The Trees – Rush (1978) Audio Fidelity SACD FLAC Remaster HD 1080p Video ~MetalGuruMessiah~

“The Trees” was released a couple of days before Halloween 1978 on Rush’s sixth studio album, Hemispheres. Hemispheres didn’t quite live up to A Farewell To Kings for me at the time it was released, but I liked it better than Permanent Waves that followed it.

I’ve been working on so many updates for old videos, but I noticed I’d not finished any of those updates since two I uploaded this past summer; Robin Trower’s “I Can’t Wait Much Longer” https://youtu.be/5QXGayu6QMc and Al Stewart’s “The Palace of Versailles” https://youtu.be/4qym4I8TPWA )….so I decided to kick a couple/few out. The original video (#67 uploaded on October 29, 2011…the 33rd anniversary of the Hemisphere album release! YIKES! https://youtu.be/leTGg3W1YHU ) I made for this track wasn’t really as bad as many I made way back then, but I thought I’d like to find higher resolution art and make a few adjustments. So now it features higher resolution “pointy”, “top hat” and “brains” all set to FLAC audio track sourced from Audio Fidelity’s 2016 SACD (what I consider the best the album has ever sounded). I made a video for “Cygnus X-1 Book I: The Voyage” https://youtu.be/WDN4ZBTU7MQ a couple of weeks after my original “The Trees” video, and at the end of it, I teased a bit of the video I was working on for Cygnus X-1 Book II: Hemispheres. Although I never got around to finishing it, I was having a great time when I started it…..wow! that’s one that I’d have to really dig around for now, but I might go there since I love playing around with Hugh Syme”s art and maybe I could find some interesting things to do with that epic track?! Also just realizing “Cygnus X-1 Book I: The Voyage” needs a tune-up….man, thinking of the time I spent masking those space ship screens to play my previous Rush videos!…..somewhere along the line, this one kind of fell into a hole (not a comment in over a year!….I guess it REALLY needs an update!?) 🙂

Next up on the Rush updates: “Witch Hunt”!….till then, this one’s for my RUSH friends around the world!

Following themes going back to Rush’s third album, Caress of Steel, on Hemispheres lyricist Neil Peart continued to utilize fantasy and science fiction motifs. Similar to their 1976 release, 2112, the title track on Hemispheres takes up the entire first side of the album, and is a suite of songs telling a story – in this case, a continuation of the story begun in “Cygnus X-1 Book I: The Voyage” on the band’s previous album A Farewell to Kings.

The second side consists of two conventional tracks, “Circumstances” and “The Trees,” and the band’s first standalone instrumental, “La Villa Strangiato.” According to drummer Neil Peart, they spent more time recording “La Villa Strangiato” than they did recording the entire Fly by Night album.

The album contains examples of Rush’s adherence to progressive rock standards including the use of fantasy lyrics, multi-movement song structures, and complex rhythms and time signatures. In the 2010 documentary film Rush: Beyond the Lighted Stage, the band members comment that the stress of recording Hemispheres was a major factor in their decision to start moving away from suites and long-form pieces in their songwriting. That change in philosophy would manifest itself in the band’s next album, the considerably more accessible Permanent Waves. The band’s seventh album would mark their commercial success, paving the way for the multi-platinum Moving Pictures.

Although Hemispheres received good reviews and became Rush’s fourth consecutive gold album in the United States, it proved to be a weaker seller than many of the group’s other albums. It peaked at No. 47 on the Billboard 200, becoming the last Rush studio album to fail to make the Billboard Top 10 until 1987’s Hold Your Fire.
Hemispheres would not reach US platinum status until December 1993, over 15 years after its initial release.

[Lyrics]
There is unrest in the forest
There is trouble with the trees
For the maples want more sunlight
And the oaks ignore their pleas

The trouble with the maples
(And they’re quite convinced they’re right)
They say the oaks are just too lofty
And they grab up all the light
But the oaks can’t help their feelings
If they like the way they’re made
And they wonder why the maples
Can’t be happy in their shade

There is trouble in the forest
And the creatures all have fled
As the maples scream ‘Oppression!’
And the oaks just shake their heads

So the maples formed a union
And demanded equal rights
‘The oaks are just too greedy
We will make them give us light’
Now there’s no more oak oppression
For they passed a noble law
And the trees are all kept equal
By hatchet, axe and saw

I’m gonna follow you, ’cause this here’s my town

I’m Gonna Follow You – Pat Benatar (1980) 192k/24 FLAC HD 1080p Video ~MetalGuruMessiah~

“I’m Gonna Follow You” was released on Pat Benatar’s second studio album, Crimes of Passion, on August 5, 1980 by Chrysalis Records.

I tried to do something to brighten up the old promo video, but it was very dark and when you add in the low resolution that I was working with, it was difficult to light it up much. Anyway, this is mainly all about the ability to offer a 24bit / 192kHz FLAC audio source of the track to a video. I hope you enjoy it! Thanks to all my friends for their continued support!

The album is the first to feature Myron Grombacher on drums, beginning a long tenure in Benatar’s band that would last into the late-1990s.

The album debuted on the US Billboard 200 album chart the week ending August 23 and held at No. 2 for five weeks in the US in January 1981, behind John Lennon’s Double Fantasy. It contains the hits “Hit Me with Your Best Shot” (US No. 9), “You Better Run” (US No. 42), “Treat Me Right” (US No. 18), plus a cover of Kate Bush’s international hit, “Wuthering Heights”.

Crimes of Passion is Benatar’s biggest selling career album, having been certified 4x Platinum (for sales of over four million copies) in the United States alone.

The song “Hell Is for Children”, which was not released as an A-side single, was also a hit on album-rock stations. A live version of this song from her album Live from Earth (1983) was released as the B-side of her “Love Is a Battlefield” single three years later. The song was featured in the 1981 animated film American Pop, as well as on the soundtrack.

In 1981, Benatar won her first Grammy Award for Best Female Rock Vocal Performance thanks to Crimes of Passion.

The music video for the song “You Better Run” was the second music video ever aired on MTV in 1981.

Crimes of Passion was reissued and remastered on Capitol Records in 2006.

[Lyrics]
I’m gonna follow you, ’til I wear you down
I’m gonna follow you, ’cause this here’s my town
You don’t know these streets the way that I do (I do, I do)
You can’t turn it on and off the way that I do (I do, I do)
Ooo, ooo…

I’m gonna follow you, ’til I know your timing
You’ll turn some corner soon, and find you can’t get by me
You don’t know these streets the way that I do (I do, I do)
You can’t turn it on and off the way that I do (I do, I do)

You see yourself as some kind of lily of the valley
You come around here in your ballet slippers padding on my alley
And you know that you can’t dance
‘Cause you know you never had the chance
I’m gonna dance for you!

Ooo, ooo…

I’m gonna follow you, ’til I wear you down
I’m gonna follow you, ’cause this here’s my town
You don’t know these streets the way that I do (I do, I do)
You can’t turn it on and off the way that I do (I do, I do)

You see yourself as some kind of lily of the valley
You come around here in your ballet slippers padding on my alley
And you know that you can’t dance
‘Cause you know you never had the chance
I’m gonna dance for you!

Ooo, ooo…

Shake it, baby, don’t break it

Nineteen Hundred and Eighty-Five – Paul McCartney & Wings (1973) HD Flac HD Video ~MetalGuruMessiah~

“Nineteen Hundred and Eighty-Five” was released on Paul McCartney and Wings’ third studio album, Band on the Run, in December of 1973. A brilliant track from one of the true masterpiece solo Beatle album. Play this one loud on good headphones or audio rig for full effect!

The video features the wild “Lullaby of Broadway” short film-within-a-film (from Busby Berkeley’s 1935 film “Gold Diggers of 1935”), which I edited for the track (the audio is sourced from a 96KHz/24bit HD FLAC of the 2010 Archive Edition Remaster Edition). I tried to clean up the low-res video I had, stretched it for widescreen and gave it the bluish tint for effect. Stay calm and party on like it’s Nineteen Hundred and Thirty-Fi…I mean EIGHTY-FIVE! 😉

Band on the Run marked the fifth album by Paul McCartney since his departure from the Beatles in April 1970. Although sales were modest initially, its commercial performance was aided by two hit singles – “Jet” and “Band on the Run” – such that it became the top-selling studio album of 1974 in the United Kingdom and Australia, in addition to revitalizing McCartney’s critical standing. It remains McCartney’s most successful album and the most celebrated of his post-Beatles works.

The majority of Band on the Run was recorded at EMI’s studio in Lagos, Nigeria, as McCartney wanted to make an album in an exotic locale. Shortly before departing for Lagos, however, drummer Denny Seiwell and guitarist Henry McCullough left the group; with no time to recruit replacements, McCartney went into the studio with just his wife Linda and Denny Laine, doubling on drums, percussion and most of the lead guitar parts himself as well as bass. On arriving, it was discovered that the studio was below standard, and conditions in Nigeria were tense and difficult; the McCartneys were robbed at knife-point, during which a bag containing unfinished song lyrics and demo tapes was taken. After the band’s return to England, final overdubs and further recording were carried out at AIR Studios in London.

In 2000, Q magazine placed it at number 75 in its list of the “100 Greatest British Albums Ever”. In 2012, Band on the Run was voted 418th on Rolling Stone’s revised list of “The 500 Greatest Albums of All Time”. A contemporary review by Jon Landau in Rolling Stone described the album as “with the possible exception of John Lennon’s Plastic Ono Band, the finest record yet released by any of the four musicians who were once called the Beatles”.
It was Paul McCartney’s last album issued on the Apple label.

More about the video:
The “Lullaby of Broadway” sequence tells the story of Broadway Baby who plays all night and sleeps all day. It opens with a head shot of singer Wini Shaw against a black background, then the camera pulls back and up, and Shaw’s head becomes the Big Apple, New York City. As everyone rushes off to work, Shaw returns home from her night’s carousing and goes to sleep. When she awakens, that night, we follow her and her beau (Dick Powell) from club to club, with elaborate large cast tap numbers, until she is accidentally pushed off a balcony to her death. The sequence ends with a return to Shaw’s head, as she sings the end of the song. Of all the musical numbers Berkeley created in his career, he named this as his personal favorite.

[Lyrics]

On no one left alive in 1985, will ever do
She may be right
She may be fine
She may get love but she won’t get mine
‘Cause I got you
Oh, oh I, oh oh I
Well I just can’t enough of that sweet stuff
My little lady gets behind
(Shake it, baby, don’t break it)
Oh my mama said the time would come
When I would find myself in, love with you
I didn’t think
I never dreamed
That I would be around, to see it all come true
Whoa oh oh I, oh oh I
Well I just can’t get enough of that sweet stuff
My little lady gets behind
Ah no one left alive in 1985, will ever do
She may be right
She may be fine
She may get love but she won’t get mine
‘Cause I got you
Oh oh I, oh oh I
Well I just can’t get enough of that sweet stuff
My little lady left behind

“You don’t need no rosary beads or them books to read…” George Harrison “Awaiting On You All” (1970)

Awaiting On You All – George Harrison (1970) 24bit FLAC Remaster HD Video ~MetalGuruMessiah~

“Awaiting On You All” was released in late November of 1970 on George Harrison’s massive musical monument, the 3-album All Things Must Pass. This was George’s first album in the commercial sense and to say he knocked it out of the park would be an understatement.

This video is taken from the performance of the song at the Concert For Bangladesh with new effects and set to the studio version of the song. I kinda rushed this one out when my last one was blocked from viewing. (Typically I remove blocked vids, package them for later upload, and renumber the replacement video)….in this case Video #425 (a cleanup/widescreen of George’s “Crackerbox Palace” promo..with HD FLAC!) is sitting happily blocked from view, but I’m going to leave it and hope for the best…eventually. 😉

I was blown away by the sound of the 2014 remaster of All Things Must Pass! It’s wonderful to finally be able to hear this album very close to the way I remember my old vinyl…..it’s just such a difficult and complex sound to get right, based on the way Phil Spector produced it to sound. In the wrong hands it will always sound shrill and thin….I swear if anyone wants to hear All Things Must Pass the way it should sound (and who doesn’t)….BUY the CD so you can get the full uncompressed version. 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.

All Things Must Pass is epic in every sense of the word, and if you were young enough to miss it, and have somehow managed to still not have heard it (and if you’re a serious rock and roll music fan) this album (well two thirds of it anyway, the jams on the 3rd record I listened to exactly once)….you have committed a grave error and I suggest you make amends immediately, find this album and release yourself unto the majesty of what still stands as the greatest solo record ever released by any of The Beatles….John and Paul of course released their share of strong, brilliant albums, but really nothing that can compare to the sheer scale of this record. It has a timeless quality to it and it’s brilliance burns bright through the passing years.

As usual HUGE THANKS to everyone who’s art made this new art possible….THANK YOU!!!!! And of course, thank YOU! for watching!

[Lyrics]
You don’t need no love in
You don’t need no bed pan
You don’t need a horoscope or a microscope
The see the mess that you’re in
If you open up your heart
You will know what I mean
We’ve been polluted so long
Now here’s a way for you to get clean

By chanting the names of the lord and you’ll be free
The lord is awaiting on you all to awaken and see
Chanting the names of the lord and you’ll be free
The lord is awaiting on you all to awaken and see

You don’t need no passport
And you don’t need no visas
You don’t need to designate or to emigrate
Before you can see Jesus
If you open up your heart
You’ll see he’s right there
Always was and will be
He’ll relieve you of your cares

By chanting the names of the lord and you’ll be free
The lord is awaiting on you all to awaken and see
Chanting the names of the lord and you’ll be free
The lord is awaiting on you all to awaken and see

You don’t need no church house
And you don’t need no Temple
You don’t need no rosary beads or them books to read
To see that you have fallen
If you open up your heart
You will know what I mean
We’ve been kept down so long
Someone’s thinking that we’re all green

And while the Pope owns 51% of General Motors
And the stock exchange is the only thing he’s qualified to quote us
The lord is awaiting on you all to awaken and see
By chanting the names of the lord and you’ll be free