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

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

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

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

Audio sourced from Archive Collection Remaster FLAC!

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

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

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

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

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

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

 

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

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To hear your wonderous stories.

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

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

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

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

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

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

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

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

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

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

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

Hearing,
Hearing,
Hearing,
Hearing,
Hearing,

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

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

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

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

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

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

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

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

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

And you might know how to play with fire

Original Sin – INXS (1984) 192khz/24bit FLAC ~MetalGuruMessiah~

Original Sin” was released in April 1984 on INXS’ fourth studio album, The Swing. INXS was another favorite back in the early eighties….I loved this tune and “Johnson’s Aeroplane” (so much that it was one of the first videos that I made)…watch it here: https://youtu.be/CXqtmaz_0Aw This is another video where I’ve taken the single edit video which was about 3 minutes and 45 seconds, and edited it to the longer studio track which was a full 5 minutes and 20 seconds….so you get the full studio track and like 30% more video…..it’s much better this way, don’t you agree? 😉 Thanks for watching!

From Wiki:
The lead single “Original Sin” was recorded in New York City with Nile Rodgers and featured Daryl Hall on backing vocals. Overall, the album featured a slightly harder-edged sound than their previous releases.

By 1983 Australian rock band INXS attempted to expand their international profile with their fourth studio album, The Swing. The Sydney-based group had formed in 1977 by three brothers Andrew on guitar and keyboards; Jon on percussion and drums; and Tim Farriss on guitar; together with Garry Gary Beers on bass guitar; Michael Hutchence on lead vocals; and Kirk Pengilly on guitar, saxophone, and vocals.

In September 1983 the band travelled to New York City to work with Nile Rodgers (Madonna (entertainer), The Power Station (band), Debbie Harry, David Bowie, Kim Carnes) as producer at his Power Station studio. It was the first time the group had recorded outside Australia and provided the album’s lead single, “Original Sin” (December 1983). Rodgers asked Daryl Hall of Hall & Oates to guest on backing vocals for the chorus, Hall later recalled “I don’t know why because they’re good singers, they didn’t need me but I did it anyway”.

All four singles were co-written by Andrew with Hutchence, while other album tracks were generally written with one or more additional band members.

From December INXS were working with Nick Launay (Midnight Oil, Models) at The Manor Studio in Oxfordshire, to complete the rest of the album. A cassette extended play of remixes, Dekadance, was also released in Australia.

AllMusic’s Stephen Thomas Erlewine noted that The Swing “retains the new wave pop sense and rock attack of their earlier albums, while adding a stronger emphasis on dance rhythms”. He liked the improved songwriting “with more than half of the album featuring memorable hooks”.[8] Australian musicologist, Ian McFarlane, opined that “[it] boasted all the confident swagger and accomplished rock hooks of a band on the cusp of international acceptance”.

Fellow Australian journalists, John O’Donnell, Toby Creswell and Craig Mathieson, found that Rodgers’ effort with “Original Sin” had delivered a track with a “confident rhythm” and helped the band so that “they now had focus; the lyrical image … fitted their circumstances”. Meanwhile, Launay, after hearing that track, “accepted the challenge” of providing a “sense of reinvention” for the group so that “post-punk affectations and new romantic plumage were fading away, revealing a rock band with funk leanings and pop instincts”.

[Lyrics]
You might know of the original sin
And you might know how to play with fire
But did you know of the murder committed
In the name of love you thought what a pity

Dream on white boy
Dream on black girl
Then wake up to a brand new day
To find your dreams are washed away

There was a time when I did not care
And there was a time when the facts did stand
There is a dream and held by me
Well I’m sure you had to see it’s up in arms

Dream on white boy
Dream on black girl
Then wake up to a brand new day
To find your dreams have washed away

You might know of the original sin
And you might know how to play with fire
But did you know of the murder committed
In the name of love you thought what a pity

Dream on white boy
Dream on black girl
Then wake up to a brand new day
Dream on black boy
Dream on white girl
Then wake up to a brand new day
Dream on black boy
Dream on white girl
Then wake up to a brand new day
To find your dreams are washed away

Dream on, to play with fire
White boy, black girl
Dream on, in the name of love
Black boy, white girl
White boy, black girl
Black boy, white girl

Dream on
The name of love, yeah
You thought what a pity

Original sin

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

“They’ve come back home to dream those dreams again” from 1988 Kansas’ Ghosts

Ghosts – Kansas (1988) HD FLAC ~MetalGuruMessiah~

“Ghosts” was released in October 1988 on Kansas’ 11th studio album, In The Spirit Of Things. This is such a wonderful tune but it remains in relative obscurity along with most of the band’s output from the mid-80’s onward. Maybe not quite as great as “Dust in the Wind” but it’s a really beautiful tune that I’ve always loved…then again, maybe it’s even better! 😉 Though I wanted to finish my BOC Mirrors string with my update for my ancient video for “The Vigil”, I didn’t get it finished yet, so we’ll detour into a couple/few other thing in the meantime. Thanks to everyone for watching and thanks for sticking around..I hope you enjoy the vid!

This album was Kansas’s last studio effort for a major label. It didn’t receive much promotion, as MCA dropped a slew of “older” artists shortly after its release and famously switched its attention to current younger acts such as Tiffany. Kansas got caught in that decision and the album was a commercial failure. The label did produce several promotional materials for the record, including a glossy video for “Stand Beside Me”. The song was played regularly on MTV and allowed the single to hit the album rock charts, the last Kansas single to chart in any format. Other songs were released in odd formats, such as a 12″ promotional single of “I Counted on Love,” an import edited CD single of “House on Fire,” and a small-sized CD single of “Stand Beside Me.” The album would also be the last Kansas release to appear in vinyl format until the release of The Prelude Implicit in 2016.

A tour in support of this album included a broadcast by the King Biscuit Flower Hour, which many years later released the show as a CD.

[Lyrics]
There’s tombstone in a snowy field
Close by an old ghost town
The epitaph’s been weather-blown away
There’s a belltower where petitions peeled
It’s been half torn down
But it must have softened every soul that came to pray

There’s a schoolhouse full of broken glass
And wounded walls
The rusty swings like derelicts sleeping in the weeds
There’s a picture-graduation class
Staring down deserted halls
“The hope of 44” is what it reads

It’s just as if some restless wind blew their dreams away far away
It’s just as if those dreams had never been but oh-
I feel their ghosts around me now- I hear them say
They’ve come back home to dream those dreams again

Two from Blue Öyster Cult’s 1979 album Mirrors.

In Thee – Blue Oyster Cult (1979) HD FLAC ~MetalGuruMessiah~

“In Thee” was released in June 1979 on the sixth studio album by Blue Öyster Cult, Mirrors. This is the first Blue Öyster Cult album not produced by long-time producer and manager Sandy Pearlman. The album was not highly regarded by many BOC fans upon release, but I’ve always loved it and back in the day it probably got more than it’s fair share of time on my turntable and in the car cassette player. I think it still sounds great today!

Allen Lanier was an excellent musician and his contributions (especially that signature keyboard sound) were a big part of what made BOC special. He wrote some very good songs as well, including this one.

I’ve been thinking about updating my ancient video for great track from Mirrors “The Vigil” https://youtu.be/l55NbooeUVY and it seemed a good excuse to upload a couple/few other favorites from the album. Hope you enjoy!

The album is notable for a collaboration with British fantasy/science-fiction author Michael Moorcock, who co-wrote a song based on his novel The Fireclown. “The Great Sun Jester” is the first of several Moorcock co-writing credits with the band.

After the success of 1976’s Platinum Agents of Fortune, 1977’s Gold Spectres and 1978’s Platinum live effort Some Enchanted Evening, the fact that Mirrors struggled to reach Gold status was disappointing to band and label alike. According to interviews with the band and the production staff, the intent for this album was to make a high charting record with glossy production; however the backlash felt from this attempt was a reason for their future pairing with Martin Birch, and their attempt to return to a darker sound.

“In Thee” was written by Allen Lanier. It went into the charts at No. 74. A live version is featured on their 1998 album Heaven Forbid, it features two acoustic guitars and was a popular “in concert” moment from this era. The line “Jim says some destinies should not be delivered” references the Jim Carroll Band song “Day and Night.”

[Lyrics]
Maybe I’ll see you again,
Maybe
And maybe I won’t
Maybe you bought your ticket going back to Detroit
Air-o-plains make strangers of us all
Give us distance
Much to easily
Jim says some destines should not be delivered
But you and I see now
Baby
That still they are
Winning it makes losers of us all
Gives us distance
Much to easily
Well I wrap myself in cities I’ve traveled
I wrap myself in dreams
I wrap myself in solitude
But I wish I could wrap myself in thee
Tonight it’s hot
Without you tomorrow be cold
Winter will come along
Driven by snow
Love it makes strangers of us all
When we fall
Oh so thoughtlessly
Well I wrap myself in cities I’ve traveled
I wrap myself in dreams
I wrap myself in solitude
But I wish I could wrap myself in thee
Once we breathe the breath
Of sweet surrender
Pure, pure air of air
Filled our atmosphere
But night it makes stars of us all
until we fall
For everyone to see
Well I wrap myself in cities I’ve traveled
I wrap myself in dreams
I wrap myself in strangers arms
But I wish I could wrap myself in thee
Well I wrap myself in cities I’ve traveled
I wrap myself in dreams
I wrap myself in solitude
But I wish I could wrap myself in thee

You’re Not the One (I Was Looking For) – Blue Oyster Cult (1979) HD FLAC

“You’re Not the One (I Was Looking For)” was released in June 1979 on the sixth studio album by Blue Öyster Cult, Mirrors. This is the first Blue Öyster Cult album not produced by long-time producer and manager Sandy Pearlman. The album was not highly regarded by many BOC fans upon release, but I’ve always loved it and back in the day it probably got more than it’s fair share of time on my turntable and in the car cassette player. I think it still sounds great today!

This song was written by Albert Bouchard (and Caryn Bouchard) one of BOC’s pimary songwriters (though all the band members wrote and contributed songs on the group’s albums).

I’ve been thinking about updating my ancient video for great track from Mirrors “The Vigil” https://youtu.be/l55NbooeUVY and it seemed a good excuse to upload a couple/few other favorites from the album. This is the second after “In Thee” https://youtu.be/IDM-X047emk Was experimenting with effects over some video clips and found some interesting ones I liked. Hope you enjoy!

The album is notable for a collaboration with British fantasy/science-fiction author Michael Moorcock, who co-wrote a song based on his novel The Fireclown. “The Great Sun Jester” is the first of several Moorcock co-writing credits with the band.

After the success of 1976’s Platinum Agents of Fortune, 1977’s Gold Spectres and 1978’s Platinum live effort Some Enchanted Evening, the fact that Mirrors struggled to reach Gold status was disappointing to band and label alike. According to interviews with the band and the production staff, the intent for this album was to make a high charting record with glossy production; however the backlash felt from this attempt was a reason for their future pairing with Martin Birch, and their attempt to return to a darker sound.

 

[Lyrics]
I used to lie in my bed
Sleep wouldn’t come
Thinkin’ ’bout things that they said
They led me on
All of the fancy ladies
Oh they could talk and talk
I shot for the highest star
But I aimed too high
You wanted a rich rock star
But he made you cry
Now that we have each other
We can laugh about it
You’re not the one I was lookin’ for but
You’re the one for me (you’re the one)
I’m not the one you were lookin’ for but
You can’t go wrong with me
You’re not the one I was lookin’ for but
You’re oh so good for me
Now I can’t make it without
I can’t go on
We can make beautiful music
And prove them wrong
We’ve been put down by the best
And now we laugh about it, ya
You’re not the one I was lookin’ for but
You’re the one for me (you’re the one)
I’m not the one you were lookin’ for but
You can’t go wrong with me
You’re not the one I was lookin’ for but
You’re oh so good for me
You’re oh so good for me (You’re so good)
You’re oh so good for me (You’re so good)
You’re oh so good for me (You’re so good)

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: https://youtu.be/X1jARPv-t-I THANKS!

 

[Lyrics]
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.
Ooh…
Ooh…
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.
Ooh…
Ooh…
Believe me mama ooh…
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?! 😉 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.

[Lyrics]
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.

 

Daylight is good at arriving at the right time

All Things Must Pass – George Harrison (1970) HD FLAC ~MetalGuruMessiah~

“All Things Must Pass” was the title track on George Harrison’s massive musical monument, the 3-album All Things Must Pass album, which was released in late November of 1970.

I”ve long been chipping away at videos for both “All Things Must Pass” and “Isn’t It A Pity” (among others from the album). I’ve done a couple other vids for songs from this album, but I can never quite finish the other ones I’ve started because some of my favorite songs are so closely related thematically that I can never decide which video I’m working on. I wanted The Beatles imagery for “Isn’t It A Pity” and liked the clocks and foggy forests for “All Things Must Pass”. (The blackbird effect is from my long blocked video of “Blackbird”) Though his song wasn’t written specifically about The Beatles’ breakup (as was George’s sad reflective “Isn’t It A Pity), but many people hear it as such (the cover image of the four gnomes laying around solo George sitting in a chair!)….and it definitely fits! Anyway the imagery I’d found working on the different songs looked too cool together to pass up, so I mashed ’em together and here is “All Things Must Pass” via “Isn’t It A Pity” version! Stand by for “Isn’t It A Pity” (both versions!)….soon, maybe?! 😉

From Wiki:
The subject matter deals with the transient nature of human existence, and in Harrison’s All Things Must Pass reading, words and music combine to reflect impressions of optimism against fatalism. On release, together with Barry Feinstein’s album cover image, commentators viewed the song as a statement on the Beatles’ break-up. Widely regarded as one of Harrison’s finest compositions, its rejection by his former band has provoked comment from biographers and reviewers. Music critic Ian MacDonald described “All Things Must Pass” as “the wisest song never recorded by The Beatles”, while author Simon Leng considers it “perhaps the greatest solo Beatle composition”.

The Catskill Mountains in upstate New York – surroundings that inspired the music of the Band, and Harrison’s song “All Things Must Pass” For his lyrics, Harrison drew inspiration from “All Things Pass”, a poem published in Timothy Leary’s 1966 book Psychedelic Prayers after the Tao Te Ching. In his 1980 autobiography, I Me Mine, Harrison refers to the idea for the song originating from “all kinds of mystics and ex-mystics”, including Leary. Like later Harrison compositions such as “Here Comes the Sun”, “So Sad” and “Blow Away”, the lyrical and emotional content is based around metaphors involving the weather and the cycle of nature. Harrison states in the opening lines of verse one: “Sunrise doesn’t last all morning / A cloudburst doesn’t last all day”.

According to Harrison biographer Simon Leng, the lyrics reflect “life’s ephemeral character” and the “transitory” nature of love. Inglis suggests that the song is “[o]stensibly” about “the end of a love affair”. He and theologian Dale Allison note the optimism offered in Harrison’s words, since, as Leng puts it, “a new day always dawns.” Although “All Things Must Pass” avoids religiosity, Allison writes that its statement on the “all-inclusive” transience of things in the material world explains why so much of its 1970 parent album, All Things Must Pass, “finds hope and meaning only in God, who does not pass away”. The song’s main message is offered in its middle eight:

All things must pass
None of life’s strings can last
So I must be on my way
And face another day.

Ultimately, the cycle of nature offers “consolation”, Leng writes, as further evidenced in the verse-three lines “Now the darkness only stays at night time” and “Daylight is good at arriving at the right time”.

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]
Sunrise doesn’t last all morning
A cloudburst doesn’t last all day
Seems my love is up and has left you with no warning
It’s not always going to be this grey

All things must pass
All things must pass away

Sunset doesn’t last all evening
A mind can blow those clouds away
After all this, my love is up and must be leaving
It’s not always going to be this grey

All things must pass
All things must pass away
All things must pass
None of life’s strings can last
So, I must be on my way
And face another day

Now the darkness only stays the night-time
In the morning it will fade away
Daylight is good at arriving at the right time
It’s not always going to be this grey

All things must pass
All things must pass away
All things must pass
All things must pass away