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. 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.

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


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! πŸ˜‰ 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.

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.

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.”

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

Every night that day is through…Ooh ooh oh oh

Every Night – Paul McCartney (1970) HD FLAC ~MetalGuruMessiah~

“Every Night” was released on Paul McCartney’s debut solo album, titled simply McCartney, in the spring of 1970. My last video (The J. Geils Band’s “Teresa” was blocked in the U.S. and other countries…hopefully we can all still enjoy Paul’s stuff….THANKS PAUL!

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.

*Note for the video:
My second video from the classic McCartney debut! Check out the thing I did for “Junk”/”Singalong Junk” if you are so inclined: THANKS!


Every night I just want to go out,
Get out of my head
Every day I don’t want to get up,
Get out of my bed
Every night I want to play out
And every day I want to do ooh ooh oh oh
But tonight I just want to stay in
And be with you,
And be with you.
Believe me mama
Every day I lean on a lamp post,
I’m wasting my time
Every day I lay on a pillow,
I’m resting my mind
Every morning brings a new day
Every night that day is through
Ooh ooh oh oh
But tonight I just want to stay in
And be with you,
And be with you.
Believe me mama ooh…

From The Kinks’ State of Confusion album (1983)…”Property”

Property – The Kinks (1983) HD FLAC ~MetalGuruMessiah~

“Property” was released on The Kinks’ 19th studio album, State of Confusion, in June 1983. This is my second fav tune on the album, and one of my very favorite late period tracks by the band. I’ve always loved the song. The video features a 192/24bit FLAC sourced from the SACD. This is by far the best this album has ever sounded. I may do a couple other tracks from the record if this video doesn’t sink like a stone?! πŸ˜‰ Thanks to all for sticking around with me!

The record featured the single “Come Dancing”, which hit #6 on the Billboard Hot 100 and was one of the band’s biggest hit singles in the United States, equaling the 1965 peak of “Tired of Waiting for You”. The album itself was a major success, peaking at #12 on the Billboard Album charts.

My bags are packed, I guess it’s time for me to go.
I can’t say where I’m headed, ’cause I just don’t know.
When I think of what I’ll be losing,
It’s hard to move along,
But it’s harder just to stay here,
Knowing that I don’t belong.
I’ll be in touch, don’t worry, I’ll be calling you.
I’ve got no plans, I’m not sure where I’m going to.
It’s hard to keep from crying,
After all that we’ve been through.
I’ve taken everything I need,
Now all that’s left belongs to you.
You take the photographs, the ones of you and me,
When we both posed and laughed to please the family.
Nobody noticed then we wanted to be free,
And now there’s no more love,
It’s just the property.
It’s hard to keep from crying,
After all that we’ve been through.
Now that it’s all over, now that you and I are free,
Now there’s nothing left except the bit of property.
Started off with nothing, started off just you and me,
Now that it’s all over you can keep the property.
And all the little gifts we thought we’d throw away,
The useless souvenirs bought on a holiday.
We put them on a shelf, now they’re collecting dust.
We never needed them, but they outlasted us.


Just Between You And Me – April Wine (1981)

Just Between You And Me – April Wine (1981) HD FLAC ~MetalGuruMessiah~

“Just Between You And Me” was released on April Wine’s ninth studio album, The Nature Of The Beast, in January 1981. This track became April Wine’s most successful single, reaching #21 on the Billboard Hot 100 singles chart, #11 on Billboard’s Top Tracks chart, and #22 on the Canadian RPM charts.

We played the hell out of this album at the record store I worked at way back when this was released. April Wine was just a really fine band and this just one of the many great tracks they produced. I took the video from a live show in 1981 tooned it up a bit…and replaced the crappy tinny sounding audio with a nice fat flac source of the studio version. I think it’s now the preferred way to hear/see “Just Between You And Me” on the internet?! πŸ˜‰ Thanks to all for watching and commenting when you can to help rank the videos a bit better.

The album was recorded at Le Manoir Studios, in the village of Shipton-on-Cherwell, in Oxfordshire, England following the band’s 1980 European tour. This album was April Wine’s commercial peak, certified Gold in the US and reaching #24 on the Billboard 200 album chart.

April Wine’s version of the Lorence Hud song “Sign of the Gypsy Queen” also became a moderate hit, reaching #57 on the Billboard Hot 100, #19 on the Top Tracks chart, and #40 in Canada. Hud’s original version of the song had also been a hit single in Canada in 1972 (#16 RPM charts).

The first track on the album, “All Over Town” also received airplay on album-oriented rock radio stations, charting at #29 on the Top Tracks chart.

I also did videos for April Wine’s “Shiela” and “You Won’t Dance With Me” ….check ’em if you feel like it!

Time and time again I see
A love that seemed strong was not meant to be
Broken hearts don’t always mend
Left too unsure to try love again

But, just between you and me
Baby, I know our love will be
Just between you and me
Always I know our love will be
Just between you and me

Lovers of-ten seem to say
Hearts can be blind to love gone astray
Always it’s the same old song
Someone’s been hurt by a love that’s gone wrong

Just between you and me
Baby, I know our love will be
Just between you and me
Always I know our love will be
Just between you
Just between you and me

Words are sometimes hard to find
The silence can be so unkind
You always help me find my way
The love that we share grows stronger each day

Just between you and me
Baby, I know our love will be
Just between you and me
Always I know our love will be
Seulement entre toi et moi
Means that our love will always be
Just between you and me
Baby, I know our love will be
Just between you
Just between you and me


Seasons – Grace Slick (1980)

Seasons – Grace Slick (1980) FLAC Audio 1080p HD Video ~MetalGuruMessiah~

“Seasons” was released in March of 1980 on Grace Slick’s second solo album, Dreams. This was one of the albums that I turned onto during my years working at a record store in the early ’80s….most of my paycheck back in those days went to albums of course! πŸ˜‰ For some reason lately I’ve been feeling very Russianish?! πŸ˜‰ and wanted to do a lil sumphin for the homela…I mean Mother Russia! πŸ˜‰ ЗдравствуйтС!!!! Π’Ρ€Π°ΠΌΠΏ сосСт!!!

There were two standout songs on this record that I played to death back then and that I’m still really fond of, and I already made a video quite awhile back for the other one (the title track “Dreams” I’d like to update that video with higher quality audio and some video adjustments….tone it back a bit, but it’s not one of my worst early offenders. This vid was started as an equalizer style…I realized about half-way through that I should have given it a full concept vid so I would have had room for more layers/effects….but it was going to be too much trouble to break it all out so I just crammed all that I could and hoped for the best….I found some more interesting things and I’ll regret not getting them in….oh well, hope you enjoy it anyway. THANKS FOR WATCHING!

(From Less controversially titled than 1973’s Manhole, Grace Slick’s second solo album is an inconsistent, erratic, yet often compelling collection. Written in the aftermath of an extended Alcoholics Anonymous stay, Slick’s self-penned tunes revisit themes of self-reflection and atonement. As a result, her lyrics are far less obtuse, more accessible than usual, even becoming downright obvious on “Do It the Hard Way.” It’s a letdown for someone accustomed to her more poetic and challenging musings on previous Jefferson Airplane/Starship records. Musically the album is far less focused, with the subpar up-tempo track “Angel of Night” foretelling the vapid arena rock that would comprise her next solo album, Welcome to the Wrecking Ball. There are, however, several strong moments, such as the flamenco-styled “El Diablo” and the strong guitar work of Scott Zito on the sweeping “Full Moon Man.” Most curious of the bunch, though, are the album-opening title track and the Slick-authored “Seasons”: both surge on mock-whimsical melodies straight out of a haunted Biergarten, a side of Slick rarely seen before or since. Also new to her repertoire is the addition of orchestration on some tracks, ably arranged on the remarkable closer “Garden of Man” by Ron Frangipane. While her voice is not up to par on this record (there’s a distinct husk and gasp on the album-opening title track in particular), Dreams is a useful acquisition for Grace Slick completists and listeners engrossed by the life and personality of its creator.

When the winter comes the sun is low upon the fields
The sky is cold and it throws down icy snow
The lakes are glass the rivers all a frozen mass
The trees are bare and the northwind blows the air

But the children dance and sing as if the time were spring
When the seasons change everything they find a joy in what it brings

Then the sun comes high and the spring rains come and go
The summer air so hot it melts the Russian snow
The fields are brown there’s no rain to make them grow
And the old ones sigh, the heat has made them tired and slow

But the children dance and sing as if the time were spring
When the seasons change everything they find a joy in what it brings
The children dance and sing as if the time were spring
When the seasons change everything they find a joy in what it brings

September leaves are falling through the autumn haze
And the school bells tell everyone there’ll be no more summer days
Warm nights are gone, all the leaves are turning brown
Then the windows close again when the winter comes around

But the children dance and sing as if the time were spring
When the seasons change everything they find a joy in what it brings
So I will laugh and dance and watch the children sing
Then I will have the chance of finding joy in everything

3 favorite songs from Eric Clapton’s Backless album from November 1978.

Promises – Eric Clapton (1978) 24/192 FLAC Remaster 1080p Video ~MetalGuruMessiah~

Watch Out For Lucy – Eric Clapton (1978) 24/192 FLAC Remaster 1080p Video ~MetalGuruMessiah~

Golden Ring – Eric Clapton (1978) 24/192 FLAC Remaster 1080p Video ~MetalGuruMessiah~

“Promises” was released on Eric Clapton’s sixth studio album Backless, in November 1978. Β This is possibly my favorite song Clapton has recorded.

Not too long back I did a few equalizer vids for tracks from Eric’s No Reason To Cry album, and I mentioned Backless as my favorite EC album….always has been always will be! πŸ˜‰ I’ve always wanted to do concept vids for a couple of tracks, and may yet….till then decided to work up a couple/three equalizer style vids for a few of my favorite tracks in 192/24 FLAC audio. I hope you enjoy these beautiful songs as much as I still do. Thanks for watching!

Produced by Glyn Johns, and released by Polydor Records, Backless reached No. 8 on the pop charts. While the single “Promises” only reached No. 37 in the UK, it was a much bigger success in the US, reaching No. 9 on the Billboard charts.

The follow-up single, “Watch Out for Lucy”, was the B-side of “Promises”, but reached #40 on the Billboard charts on its own merit.

A blue and white scarf worn by Clapton on the album sleeve is believed to be a scarf of West Bromwich Albion Football Club. Clapton is widely believed to be a supporter of the club, despite being born in Ripley, Surrey more than 100 miles away. In recent years he has reportedly been more interested in Chelsea F.C.

I don’t care if you never come home,
I don’t mind if you just keep on
Rowing away on a distant sea,
‘Cause I don’t love you and you don’t love me.

You cause a commotion when you come to town;
You give ’em a smile and they melt.
Having lovers and friends is all good and fine,
But I don’t like yours and you don’t like mine.

La la, la la la la la.
La la, la la la la la.

I don’t care what you do at night,
Oh, and I don’t care how you get your delights.
I’m gonna leave you alone, I’ll just let it be,
I don’t love you and you don’t love me.

I got a problem. Can you relate?
I got a woman calling love hate.
We made a vow we’d always be friends.
How could we know that promises end?


I tried to love you for years upon years,
You refuse to take me for real.
It’s time you saw what I want you to see,
And I’d still love you if you’d just love me.


[Bridge 2x]

“Watch Out For Lucy” was released on Eric Clapton’s sixth studio album Backless, in November 1978.


Now my friend Bill was just a working lad
And he liked to have his fun.
He’d like to find a girl and get comfortable
When his working day was done.

He would spend all his money on a Friday night,
Wake up in the morning broke,
But he had a run in with little Lucy then;
Believe me that ain’t no joke.

Watch out for Lucy,
Though she may look frail.
Say excuse me, Lucy,
Darling don’t you use me;
I don’t want to land in jail.

She started out working in a cafe,
Picking money up on the side.
She was free and easy, everybody’s friend,
But she couldn’t be satisfied.

So now in walks Bill with his cash in his hand,
His heart upon his sleeve.
We tried to warn him about her ways,
We never did succeed.


Well, the trap was sprung for poor old Bill;
You should have heard little Lucy sing
“I want a Cadillac car, a beautiful home,
And a thousand dollar ring.”

They found our hero in the gutter
With a diamond ring and a gun.
He’d done it for the love of Lucy
And ended up on the run.

[Chorus 2x]

“Golden Ring” was released on Eric Clapton’s sixth studio album Backless, in November 1978.

Produced by Glyn Johns, and released by Polydor Records, Backless reached No. 8 on the pop charts. While the single “Promises” only reached No. 37 in the UK, it was a much bigger success in the US, reaching No. 9 on the Billboard charts.

The follow-up single, “Watch Out for Lucy”, was the B-side of “Promises”, but reached #40 on the Billboard charts on its own merit.

He gave to you a golden ring
It made you happy, it made you sing
And I played for you on my guitar
It did not last long, we did not go far

[Verse 1]
And though the times have changed
We are rearranged
Will the ties that bind remain the same?

You came around after a while
Everyone said that I made you smile
It all went well, and suddenly then
You heard that he would marry again


[Verse 2]
Well I know that I have been here before
I have trod on your wings, I have opened the door
If I gave to you a golden ring
Would I make you happy, would I make you sing?


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Something – Booker T. & the M.G.s (1970)

Something – Booker T. & the M.G.s (1970) 192KHz/24bit FLAC HD Video ~MetalGuruMessiah~

“Something” was the second track on McLemore Avenue, the 9th studio album by Booker T. & the M.G.s, which was released in April of 1970. The record consisted entirely of mostly instrumental covers of songs from the Beatles’ album Abbey Road (released only months earlier, in September 1969). The title and cover are an homage to the Beatles album, 926 East McLemore Avenue being the address of the Stax Studios in Memphis, as Abbey Road was for EMI Studios in London.

Booker T. Jones said, “I was in California when I heard Abbey Road, and I thought it was incredibly courageous of The Beatles to drop their format and move out musically like they did. To push the limit like that and reinvent themselves when they had no need to do that. They were the top band in the world but they still reinvented themselves. The music was just incredible so I felt I needed to pay tribute to it.”

This record has always been really special to me. There are so few good reasons to listen to cover work of The Beatles, some great stuff scattered about but mostly pointless. This record has always astonished me with this band’s groovyfanfukncydelic interpretations….the songs just breath and there is so much amazing musicianship in every second of the record. This is the band we all wish we could have had. I really can’t pick a favorite musician from this band they are all stellar, but drummer Al Jackson, Jr and Booker T. Jones and his magical Hammond M3 Organ were insane brilliant, and guitarist Steve Cropper and bassist Donald “Duck” Dunn were merely among the greatest who ever played. Damn, they were really something.

I’ve wanted to do somethings from McLemore Avenue for so long, but never could figure how to go about it. Finally found the fat, equalizer trick to work the video around. I’ll probably do the entire album, because it’s one of those records where, if I ever start to listen to, I cannot stop until the end!

If your a fan of rock n roll, The Beatles, Stax, soul, funk, soul or really music in general, McLemore Avenue is one that you really should give a listen to. It requires good headphones or a good home rig to get the full effect of the music, the bottom end, etc…plus it should be played LOUD if it’s gonna be played at all! πŸ˜‰

Thanks again to all my friends who stick around and encourage me to plug on! You guys RoCk! πŸ˜‰



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” and Al Stewart’s “The Palace of Versailles” )….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! ) 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” 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…! 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!?) πŸ™‚

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.

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 not in love So don’t forget it…10cc (1975)

I’m Not In Love – 10cc (1975) SHM-CD FLAC Remaster 1080p Video ~MetalGuruMessiah~

“I’m Not In Love” was released on the third studio album, The Original Soundtrack, by the English art rock band 10cc. This is one of my all time favorite songs…still…ageless in its plaintive beauty.

Several years ago, I’d taken a few clips from The Umbrellas of Cherbourg (1964)….(one of my favorite films from the 1960’s…you could watch it just for the colors!) and started building this video around them. Last night when I was going through some old stuff to finish (trying not to start anything new until I move a bunch of the ones I’ve already started), I came across this and decided to just use the limited clips I’d taken and finish it up. I’d always intended to flush it out with a bit more stuff from the film, but of course my style is endless variations and repetitions anyway ;-), so I just used what I had…plus the song is so great that it makes everything special! πŸ˜‰ Hope you enjoy the effort! Thanks for checking it out!

It was released in 1975 and peaked at number four on the UK Albums Chart. The Original Soundtrack includes the singles “Life Is a Minestrone” and “I’m Not in Love”, the latter of which is the band’s most popular song. The song is noted for its innovative production, especially its richly overdubbed choral backing.

The album was recorded and produced by the band at Strawberry Studios in 1974 with Eric Stewart engineering and mixing. The album received good reviews when originally released on LP and cassette by Mercury Records in March 1975. The album has since been reissued on several occasions with bonus tracks and has been remastered. The artwork was designed by Hipgnosis and illustrated by artist Humphrey Ocean.

The album was the first to be released by Mercury Records after signing the band for $1 million in February 1975. The catalyst for the deal was the fact the record executives had heard one song – “I’m Not in Love”. Eric Stewart recalled:
“At that point in time we were still on Jonathan King’s label, but struggling. We were absolutely skint, the lot of us, we were really struggling seriously, and Philips Phonogram wanted to do a deal with us. They wanted to buy Jonathan King’s contract. I rang them. I said come and have a listen to what we’ve done, come and have a listen to this track. And they came up and they freaked, and they said, “This is a masterpiece. How much money, what do you want? What sort of a contract do you want? We’ll do anything, we’ll sign it.” On the strength of that one song, we did a five-year deal with them for five albums and they paid us a serious amount of money.”

The Original Soundtrack was a critical and commercial success reaching No. 4 in the UK and No.15 in the U.S.
Ken Barnes gave the album a rave review in Rolling Stone, commenting, “Musically there’s more going on than in ten Yes albums, yet it’s generally as accessible as a straight pop band (though less so than the two preceding 10cc LPs).” He particularly praised the album for being ambitious without being excessive or pretentious, and for its lyrical content.

Robert Christgau panned the album, remarking of the song “I’m Not in Love”: “stretching your only decent melody (a nonsatirical love song) over six tedious minutes, is that a joke?”

The first single “Life Is a Minestrone” was another UK Top 10 for the band, peaking at No. 7. Their biggest success came with the song that sold the album, “I’m Not in Love”, which gave the band their second UK No. 1 in June 1975, staying there for two weeks. The song also provided them with their first major US chart success when the song reached No. 2. The album’s most famous song, “I’m Not in Love”, was built around a simple title by Stewart.

I’m not in love
So don’t forget it
It’s just a silly phase I’m going through
And just because
I call you up
Don’t get me wrong, don’t think you’ve got it made
I’m not in love, no no, it’s because..

I like to see you
But then again
That doesn’t mean you mean that much to me
So if I call you
Don’t make a fuss
Don’t tell your friends about the two of us
I’m not in love, no no, it’s because..

I keep your picture
Upon the wall
It hides a nasty stain that’s lying there
So don’t you ask me
To give it back
I know you know it doesn’t mean that much to me
I’m not in love, no no, it’s because..

Ooh you’ll wait a long time for me
Ooh you’ll wait a long time
Ooh you’ll wait a long time for me
Ooh you’ll wait a long time

I’m not in love
So don’t forget it
It’s just a silly phase I’m going through
And just because I call you up
Don’t get me wrong, don’t think you’ve got it made
I’m not in love
I’m not in love