ruudtes 60s - stereo remixes & processed 'stereo'

edit for headphones. this is a studio "demo" with janis on guitar, it shows even in a demo she puts all of her heart in it. what a true musician. source file is from "the pearl sessions" (2012 remaster). this edit maybe sounds a bit echo-ish, well, imagine it to be an open air live concert.

BOBBY MCGEE
(Kris Kristofferson and Fred Foster)

busted flat in Baton Rouge
waitin' for a train
was feelin' near as faded as my jeans
Bobby thumbed a diesel down
just before it rained
it rode us all the way into New Orleans
I pulled my harpoon out of my dirty red bandanna
and a'was playing soft
while Bobby sang the blues, yeah
windshield wipers slappin' time
I'was holdin' Bobby's hand in mine
we sang every song that driver knew
freedom's just another word for nothin' left to lose
nothin' ain't worth nothin' but it's free

and feelin' good was easy, lord,
Bobby sang the blues
y'know feelin' good was good enough for me, mmm
good enough for me and Bobby McGee

from the Kentucky coal mines
to the California sun
Bobby shared the secrets of my soul
through all kinds of weather
and through everything that we done
so Bobby baby he kept me from the cold
one day up near Salinas, Lord
I let him slip away
but he was lookin' for that home and I hope he finds it
when I'd trade all of my tomorrows
for one single yesterday
to be holdin' Bobby's body next to mine

freedom's just another word for nothin' left to lose
nothin' that's all that Bobby left me

feelin good was easy, lord
Bobby sang the blues
I'said feeling good was good enough for me, mmm
's good enough for me and my Bobby McGee

ladada
ladadada Bobby McGee
lalada etc.

hey I call him my lover, I call him my man
I said I call him my lover, I do the best I can
I said 'a come on Bobby lord, come on Bobby McGee yeah
lolololololololololololololololoo BobbyMcGee yeah

®© UMG

All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music. This sound recording is administered by UMG. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education, not for monetary gain.

All the pictures shown in this video are property of their respective owners. I don't hold any copyright about these pictures. These pictures have been collected from different public sources including different websites, considering to be in public domain.
If any one has any objection of displaying any picture here, just send an email and I will remove it immediately, after verification of the claim.

Copyright disclaimer under section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

Not an edit (bootleg). This is from the bootleg cd "Could You Walk On Water".
Recorded December 3-8, 1965 in Los Angeles, RCA Studios, Hollywood, released first in the US as a B side single for "19th Nervous Breakdown" on February 11, 1966. Released October 1973 in the UK on "No Stone Unturned". In the US in 1989 on "Singles Collection, The London Years". Further on, as usual, on some fifteenhundred other compilation albums... It even was released as B side to "You can't always get what you want" in 1969.

Guitars: Brian Jones, Keith Richards. Vocals: Mick Jagger. Bass: Bill Wyman. Drums: Charlie Watts. Piano: Jack Nitzsche.

SAD DAY
(Jagger/Richards)

Someone woke me up this mornin' and I lit a cigarette
Found myself when I stopped yawnin', started getting myself dressed
Then I felt I had a dream, I remembered the things I'd seen
I could still hear the things you said with that bad dream in my head
It was a sad day, bad day, sad day, bad day

So I called you on the phone and your friend said "she's not home"
So I told her where I'd be at and that you should call me back
Then I looked at the morning mail, I was not even expecting a bill
Your letter a-started "Dear", and it left me with these tears.
It was a sad day, bad day, sad day, bad day

Think of the times that we had rows, but we patched them up somehow
Think of the times I tried to go, but you screamed and told me no
There is only one thing in this world that I can't understand, that's a girl
I keep a-readin' the things you said, like a bad dream in my head
It was a sad day, bad day, sad day, bad day

Oh, what a sad, sad, old day - a sad, old day
It was a sad, old day
A sad, old day. It was a bad, old day, sad old day a bad old day
If there is one awful thing in this world that I can't understand, that's a girl
It was a sad, sad old day, sad old day
It was a sad, old day

story about "Sad day" (nme dot com)

By the end of 1965 the Stones had recorded a set of brand new songs and wanted them to be released under the title of "Could You Walk On The Water". However, Decca refused to release the album because of its title. After some conflict and negociations it was agreed that the new album would be titled "Aftermath". However the band had recorded new songs in March 1966, and the original track list was changed to what became the regular tracklist of Aftermath.

The original tracklist was supposed to go like this:
Side One:
19th Nervous Breakdown
Sad Day
Take It Or Leave It
Think
Mother's Little Helper
15:40min

Side Two:
Goin' Home (short version)
Sittin' On A Fence
Don't You Follow Me (Doncha Bother original title)
Ride On, Baby
Looking Tired
14min
Full length : 29:36min
All tracks in stereo. (Except for Sad Day which seems to be an "enhanced" mono version)
(Thanks to nme dot com.)

* The above is the exact track list of the bootleg album "Could You Walk On Water" this song was taken from.

®© ABKCO Music and Records, Inc.

Edit 2 for headphones, July 2022.
In the official release at 0.48,5 something strange happens: the cymbal sound at the left & centered suddenly changes to the left channel, remaining so till 2.02, while after 2.02 it randomly is left/centered and left. I don't think that was meant to be, I tried to fix it.

Source file of the edit is the real great vinyl rip of the 1969 album "The Pious Bird Of Good Omen" (label Blue Horizon/Speakers Corner, catalogue number 7-63215, a 180g LP.)
The vinyl rip was mastered by Maarten de Boer @ The Masters; the Netherlands.
Technical Information:
Music Hall MMF 5.1 Turntable;
Goldring 1042GX reference cartridge;
Belari VP-129 Tube Phono PreAmp with Sylvania 12AX7WA tube;
Tascam US-144 external USB 2.0 Audiointerface;
Interconnections by "Goldkabel";
Audacity 1.3.7 Recording Software;
Due to static charge, DeClick with light settings (Declick 15; Wavelet 3x) has been used;
No further editing or post-processing.

The single charted no. 31 in the UK Singles Chart in August 1968. In Holland it was for 21 weeks in the Top 40 and topped no. 7. That's probably why it was a Dutchman who ripped the vinyl, well, he did a great job, for it sounds way better than the official digital releases that I have.

NEED YOUR LOVE SO BAD
(Mertis John Jr.)

'need someone's hand
to lead me through the night
I need someone's arms
to hold and squeeze me tight
ah when the night begins
I'm at an end
because I need your love so bad

I need some lips
to feel next to mine
'need someone to stand up
and tell me when I'm lyin'
ah when the lights are low
and it's time to go
that's when I need your love so bad

so why don't you give it up
and bring it home to me
or write it on a piece of paper baby
so it can be read to me
tell me that you love me
and stop drivin' me mad
oh because I
I need your love so bad

need a soft voice
'a talk to me at night
I don't want you to worry baby
I know we can make everything alright
listen to my plea baby
bring it to me
because I need your love so bad

®© WMG, SME on behalf of Non-Wea/Other
®© therock&rollingsixties

(All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music.)

Edit 3 for headphones. Over a hundred and thirty photos of the one this song is about....
Mellotron, guitar, backing vocals: Brian Jones. Percussion: Brian Jones & Mick Jagger. Lead & backing vocals: Mick Jagger. Piano: Nicky Hopkins. Guitar & backing vocals: Keith Richards. Bass & backing vocals: Bill Wyman. Drums: Charlie Watts. Strings: arranged by John Paul Jones (who was doing session work two years before he joined Led Zeppelin). Nicky Hopkins played piano on this song. Hopkins, along with Ian Stewart and Billy Preston, played on Stones albums from "Between The Buttons" in 1967 until "Black And Blue" in 1976. Preston usually played on the more gospel-sounding songs where an organ was required; Stewart played boogie-woogie on the fast songs, and Hopkins played on the ballads.

Recorded May 18, 1967. "She's a Rainbow" was released as a single in December 1967. Charts: Holland no.2 (it was in the Dutch charts for 16 weeks), Switzerland no.3, Austria no.8, Australia no.9, Canada no.9, France no.10, Belgium no.13, Spain no.19, US no.25. It took fourty years before it charted no.25 in Denmark, in 2007, yeah, Denmark's first sign of backwardness...* Didn't chart in the UK.

This was one of the first songs The Rolling Stones produced without manager Andrew Loog Oldham. Apple used this in 1999 commercials for their colorful iMac computers. Sony used the song in an advert for Bravia color tv's.

When you love someone you write love songs to & about her, especially someone as spectacularly beautiful as Marianne. This song is about Marianne Faithfull. Alas, the song lasted longer than their love... I have more than two thousand photos of Marianne and selected these one, for some reason I just couldn't stand any photo with Jagger on it, I hate his attitude...

* Denmark is the first European country that intensifies the blocking of videos on YouTube, obediently following the latest European rules on "piracy". Well, if I'm a pirate, then Yankee Doodle was an islamic terrorist. (Dozens and dozens and dozens of my videos are already blocked in Denmark.)

SHE'S A RAINBOW
(Jagger/Richards)

she comes in colors everywhere
she combs her hair, she's like a rainbow
coming colors in the air
mm, everywhere, she comes in colors

she comes in colors everywhere
she combs her hair, she's like a rainbow
coming colors in the air, oh, everywhere
she comes in colors

have you seen her dressed in blue
see the sky in front of you
and her face is like a sail
speck of white so fair and pale
have you seen a lady fairer

she comes in colors everywhere
she combs her hair, she's like a rainbow
coming colors in the air, mm everywhere
she comes in colors

have you seen her all in gold
like a queen in days of old
she shoots colors all around
like a sunset going down
have you seen a lady fairer

she comes in colors everywhere
she combs her hair, she's like a rainbow
coming colors in the air, oh everywhere
she comes in colors

Edit for headphones, June 2022. A song from the 1969 album "Looking Back". On the album, at 2.49 this songs changes to mono, I tried to fix that.

DOUBLE TROUBLE
(Otis Rush)

I can't work at night
oh, I'm so low, I am double troubled

it's hard to keep a job
laid off and havin' double trouble

hey yeah, yeah
they say you can make it if you try

yes, in this generation of millionaires
hard for me, decent clothes to wear

your mother starts moking', baby
I got no place to go

bad luck and trouble has taken me
and I have got no money to show

aye hey, yeah, make it if you try
baby, that's no lie

yes, livin' in this generation of millionaires
it's hard for me to keep decent clothes to wear

®© UMG, FUGA on behalf of Decca Music Group Ltd.
®© therock&rollingsixties

Edit for headphones (musicorama). Live at the Olympia Theatre, Paris, March 29th, 1966 - 2nd show. Source file of this edit is song 17 of cd 2 of the bootleg "Musicorama Mixdown" by "All Sold Out" Productions (ASO-101-1/2). This bootleg has one of the best releases of this live performance.
If you're interested in downloading bootlegs, then here is an extensive list
(COPY and PASTE this ↓↓↓ into your browser's address bar & hit enter):

iorr.org/talk/read.php?2,1718165

(if that line ↑↑↑ appears as a link, then clicking leads to the wrong web page; you MUST copy & paste it into your browser's address bar).

Explanation of the iorr site's page: each bootleg label name in the list is followed by a link to a page on www iorr org.
Each of those iorr pages has a list of downloadable albums from one bootleg label.
Each album name is followed by a download link to filefactory.

When it comes to downloading at Filefactory: FIRST sign up for a (free) account.
For downloads at Filefactory go much faster after you are signed in.
You can download without signing up for a (free) account too, but that is much slower.

Edit for headphones. (In 1961 Scott formed the folk group The Journeymen with John Phillips and Dick Weissman.) Phillips (then of the Mamas & The Papas) wrote and co-produced the song and also played guitar on the recording. Session musicians were Gary Coleman (orchestra bells and chimes), Joe Osborn (bass). Hal Blaine played drums. The song was released on 13 May 1967 and was a #4 hit in the US, #2 in Canada, #1 hit Holland, the UK and in several other countries, selling over seven million copies globally. In 1986 Scott McKenzie joined the (new) Mamas and the Papas. Imo the stereo version has too much channel separation, hence the edit. Wo-men what a bass moves...

SAN FRANCISCO (BE SURE TO WEAR FLOWERS IN YOUR HAIR)
(John Phillips)

if you're going to San Francisco
be sure to wear
some flowers in your hair
if you're going to San Francisco
you're gonna meet
some gentle people there

for those who come
to San Francisco
summertime
will be a love-in there
in the streets of San Francisco
gentle people
with flowers in their hair

all across the nation
such a strange vibration
people in motion
there's a whole generation
with a new explanation
people in motion
people in motion

for those who come
to San Francisco
be sure to wear
some flowers in your hair
if you come to San Francisco
summertime
will be a love-in there

if you come to San Francisco
summertime
will be a love-in there

®© UMG

All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music. This sound recording is administered by UMG. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education, not for monetary gain.

Copyright disclaimer under section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

Edit 2b (live album version) for headphones, July 2022. Dubbed video. The song is of the album "Charlie is my Darling - Live in England '65", where the stereo effect was created by adding (partly) fake crowd cheering at the right and the left channel. A true high energy performance! Sound all pumped up to experience what the audience felt that day...
Lead guitar: Brian Jones. Guitar: Keith Richards. Drums: Charlie Watts. Bass: Bill Wyman. Lead vocals: Mick Jagger.

EVERYBODY NEEDS SOMEBODY TO LOVE (live album version)
(Bert Berns (aka Bert Russell aka Russell Byrd), Solomon Burke and Jerry Wexler)

everybody needs somebody, everybody loves somebody
everybody needs somebody, everybody loves somebody
yes
and I need you you you, I need you you you
I need you you you, I need you you you

PAIN IN MY HEART (live album version)
(Naomi Neville, real name Allen R. Toussaint. Original title "Ruler of My Heart")

pain in the heart
treatin' me poor, oh oh oh oooh
where can my, baby be
Lord, no one knows

pain in my heart
won't let me sleep, oh oh oh oooh
where can my, baby be
Lord, where can she be

Lord and one day
my days are gett'n tough
'won't you, come back, come back, come back, baby
Lord, somebody

pain in my heart
s'treatin' me poor, oh oh oh oooh
where can my, baby be
Lord, where can she be

somebody stop this pain in my heart

Lord and one day
my days a'get rough
a'won't you, love me, love me, love me, baby
Lord, somebody

pain in my heart
somebody stop this pain
pain in my heart, oh oh oh oh
pain in my heart
stop this pain baby
oh my my my my my my my my

®© ABKCO Music and Records, Inc.
®© UMG

(All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music.)

Extended edit 2 for headphones, this one is without the repeat of the second instrumental part. For three is a crowd... I extended the song, for it seemed so short to me. Source file of the edit is the song on the 1968 album "Last Time Around (1993 hdcd remaster atco cde 90393).
A very nice song from Buffalo Springfield's last album, released to fulfill contractual commitments.
(By the time the album was completed the group had functionally disbanded: nowhere do all members appear together on any track, and even the cover photo of the group is a montage.)

This great song was recorded February 5, 1968, Sunset Sound, Los Angeles, California. Lead vocals: Neil Young; bass: Gary Marker.

songs on the album:
1 - on the way home
2 - it's so hard to wait
3 - pretty girl why
4 - four days gone
5 - carefree country day
6 - special care
7 - the hour of not quite rain
8 - questions
9 - I am a child
10 - merry-go-round
11 - uno mundo
12 - kind woman

personnel on the album:
Richie Furay - guitar (1,2,3,8,10,11,12), vocals (1,2,3,5,10,12)
Dewey Martin - drums (1,2,3,9,11)
Jim Messina - bass, vocals (5,12)
Stephen Stills - guitar (1,2,3,4,6,8,10,11), piano (4,6,8), organ (6,8,11), bass (6), vibes (1), percussion (11), Handclaps (11), background vocals (1,5,10), vocals (3,4,6,8,11)
Neil Young - guitar (3,9,10), harmonica (9), piano (1), background vocals (1), vocals (9), appears in some capacity on (5)
Bruce Palmer - bass guitar (1,2,3,8,10,11), vocals (12)

with

Buddy Miles: drums (6)
Jimmy Karstein: drums (8,10)
Gary Marker: bass (9)
Jeremy Stuart: harpsichord, calliope, bells (10)
Rusty Young: pedal steel guitar (12)
Richard Davis: bass (12)
unidentified: horns (1), saxophone, clarinet (2), drums (4), bass, drums, harpsichord, orchestra (7), piano, drums (12)

I AM A CHILD (extended)
(Neil Young)

I am a child, I'll last a while
you can't conceive of the pleasure in my smile
you hold my hand, rough up my hair
it's lots of fun to have you there

God gave to you now, you give to me
I like to know what you learned
the sky is blue and so is the sea
what is the color when black is burned?
what is the color?

you are a man, you understand
you pick me up and you lay me down again
you make the rules you say what's fair
it's lots of fun to have you there

I gave to you now, you give to me
I'd like to know what you learned
the sky is blue and so is the sea
what is the color, when black is burned?
what is the color?

you are a man, you understand
you pick me up and you lay me down again
you make the rules you say what's fair
it's lots of fun to have you there

I gave to you now, you give to me
I'd like to know what you learned
the sky is blue and so is the sea
what is the color, when black is burned?
what is the color?

I am a child, I'll last a while
you can't conceive
of the pleasure in my smile
you hold my hand...

®© UMG

All rights reserved by the copyright owners.

Edit 4 for headphones. This edit has another different approach in sound editing. From their best album ever - "Aftermath" - one of the sweetest harmony songs... with even more of Bill's bass. Writing of which: I corrected the bass notes that Bill omitted from 2.24 to 2.28. Yes indeed, something's wrong with me...

Recorded March 6-9, 1966. Released on "Aftermath" in 1966.

Dulcimer: Brian Jones. Lead & first and second backing vocals: Mick Jagger. Acoustic guitar: Keith Richards. Bass: Bill Wyman. Drums: Charlie Watts.

I AM WAITING
(Jagger/Richards)

I am waiting, I am waiting (oh yeah, oh yeah)
I am waiting, I am waiting (oh yeah, oh yeah)
waiting for someone to come out of somewhere
waiting for someone to come out of somewhere

you can't hold out, you can't hold out (oh yeah, oh yeah)
you can't hold out, you can't hold out (oh yeah, oh yeah)
waiting for someone to come out of somewhere
waiting for someone to come out of somewhere

see it come along and don't know where it's from
oh, yes you will find out
well it, happens all the time it's censored from our minds
you'll find out

slow or fast, slow or fast (oh yeah, oh yeah)
end at last, end at last (oh yeah, oh yeah)
waiting for someone to come out of somewhere
waiting for someone to come out of somewhere

stand up coming years and escalation fears
oh, yes we will find out
well, like a withered stone, fears will pierce your bones
you'll find out

o we're waiting, oh we're waiting
oh yeah, oh yeah
oh we're waiting, oh we're waiting
oh yeah, oh yeah
waiting for someone to come out of somewhere
waiting for someone to come out of somewhere

oh we're waiting, oh we're waiting
oh we're waiting, oh we're waiting...

®© UMG
®© ABKCO Music, Inc.

All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music. This sound recording is administered by UMG/ABKCO. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education, not for monetary gain.

All the pictures shown in this video are property of their respective owners. I don't hold any copyright about these pictures. These pictures have been collected from different public sources including different websites, considering to be in public domain.
If any one has any objection of displaying any picture here, just send an email and I will remove it immediately, after verification of the claim.

Edit for headphones, May 25, 2021.
Source of the edit is the song on the 1997 remaster of the 1966 album "Buffalo Springfiel" (ATCO Records – 62080-2).

The band got its name from a steamroller doing local road repairs.

Stephen Stills was inspired to write the song because of the Sunset Strip curfew riots in November 1966, a series of early counterculture-era clashes that took place between police and young people on the Sunset Strip in Hollywood, California, beginning in mid-1966. Local residents and businesses had become annoyed by how crowds of young people going to clubs and music venues along the Strip had caused late-night traffic congestion. In response they lobbied Los Angeles County to pass local ordinances stopping loitering and enforced a strict curfew on the Strip after 10 p.m. The young music fans felt the new laws infringed upon their civil rights.

On Saturday, November 12, 1966, fliers were distributed on the Sunset Strip inviting people to join demonstrations later that day. Several of Los Angeles' rock radio stations also announced a rally outside the Pandora's Box club on the corner of Sunset Boulevard and Crescent Heights. That evening as many as 1,000 young demonstrators, including future celebrities such as Jack Nicholson and Peter Fonda gathered to protest against the curfew's enforcement. Although the rallies began peacefully, trouble eventually broke out. The unrest continued the next night and periodically throughout the rest of November and December, forcing some clubs to shut down within weeks. It was against the background of these civil disturbances that Stills recorded "For What It's Worth" on December 5, 1966.

Stills said in an interview that the name of the song came about when he presented it to the record company executive Ahmet Ertegun. Stills said: "I have this song here, for what it's worth, if you want it." Another producer, Charlie Greene, claims that Stills first said the above line to him, but credits Ahmet Ertegun with giving the single the parenthetical subtitle "Stop, Hey What's That Sound" in order that the song would be more easily recognized.

Neil Young - guitar, vocals
Stephen Stills - vocals, guitar
Richie Furay - vocals, guitar
Dewey Martin - vocals, drums
Bruce Palmer - bass 1966-1967
Jim Fielder - bass 1967
Doug Hastings - guitar 1967
Ken Koblun - bass 1967
Jim Messina - bass 1967-1968

Charts:
Canada 5
U.S. Billboard Hot 100: 7
U.S. Cash Box Top 100: 7
U.S. Record World Top 100: 8
New Zealand 19
Belgium 73

FOR WHAT IT'S WORTH
(Stephen Stills)

there's something happening here
but what it is ain't exactly clear
there's a man with a gun over there
'telling me I got to beware

I think it's time we stop
children, what's that sound?
everybody look what's going down?

there's battle lines being drawn
nobody's right if everybody's wrong
young people speaking their minds
getting so much resistance from behind

Edit 2 for headphones, January 2021. Dubbed video.
Recorded November 2 & 3, 1964. Released first in the US on February 12, 1965 on the album "The Rolling Stones, Now!" In UK September 24, 1965 on "Out of our heads". Ource of this edit: the album "The Rolling Stones, Now!" (Japanese mini lp remastered 2006 - UICY-93015).

Electric guitar & piano: Brian Jones. Vocals: Mick Jagger. Electric guitar: Keith Richards. Bass: Bill Wyman. Drums: Charlie Watts; even today (January 2021), Charlie uses the smallest drum kit in rock music. He doesn't get wrapped up in all the hyperbole and overindulgence that rock stardom can encourage musicians to engage in. Concerning his drum kit size, Ron Wood said, "Charlie's an economist".

OH BABY (WE GOT A GOOD THING GOIN')
(Barbara Lynn Ozen) *

no matter how she wants me
I'm not going nowhere
I'm gonna stick right here, babe
you know how much I care
so don't worry 'bout me baby
'cause I'm right here at home
oh baby, oh baby, we got a good thing goin'

you may talk all about me
and scandalize my name
but deep down inside me
I know I'm the only man
so don't worry 'bout me baby
'cause I'm right here at home
oh baby, oh baby, we got a good thing goin'

so maybe I knew her
once upon a time
but that's all in the past babe
baby let me know you're mine, all mine, all mine

no matter how she wants me
I'm not going nowhere
I'm gonna stick right here, babe
I know how much you care
so don't worry 'bout me baby
'cause I'm right here at home
oh baby, oh baby, we got a good thing goin'

got a good thing goin' babe
we got a good thing goin'
that's what I said
we got a good thing goin'
got a thing goin' for ourselves
got a thing goin' for ourselves
we got a pretty good thing goin'

®© UMG
®© WMG
®© ABKCO Music and Records, Inc.
®© EMI Music Publishing
®© SOLAR Music Rights Management

All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music. This sound recording is administered by UMG. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education, not for monetary gain.

All the pictures shown in this video are property of their respective owners. I don't hold any copyright about these pictures. These pictures have been collected from different public sources including different websites, considering to be in public domain. If any one has any objection of displaying any picture here, just send an email or comment and I will remove it immediately, after verification of the claim.

Edit for headphones. Source file from the album "The Kinks Remastered" (1995). First it was released on the EP "Kwyet Kinks" in September 1965. In october 1965 a # 13 hit in the US. In Europe the single was released in March 1966, reaching # 6 in Holland. Nada in the UK: yeah, two minutes and fourty two seconds, that was far too long for the sensitive, good, fine & healthy ears of the English dj's...

Kinks frontman Ray Davies wrote this song after the group's 1965 tour of the United States. The tour did not go well, with infighting, fatigue and a conflict with the musician's union that kept them from performing in the country for another four years.

Davies recovered from the tour with a vacation at the English resort town of Torquay, Devon. There, a wealthy hotel guest recognized him and asked Ray to play a round of golf. Far from being flattered by the invitation, he took great offense. "I'm not gonna play [...] golf with you," he told him. "I'm not gonna be your caddy so you can say you played with a pop singer."
Davies composed the song based on this negative experience with this and some other "upper class" guests and he crafted the song to mock what he perceived as their condescension and self-satisfaction.

A WELL RESPECTED MAN
(Eay Davies(

'Cause he gets up in the morning,
And he goes to work at nine,
And he comes back home at five-thirty,
Gets the same train every time.
'Cause his world is built 'round punctuality,
It never fails.

And he's oh, so good,
And he's oh, so fine,
And he's oh, so healthy,
In his body and his mind.
He's a well respected man about town,
Doing the best things so conservatively.

And his mother goes to meetings,
While his father pulls the maid,
And she stirs the tea with councilors,
While discussing foreign trade,
And she passes looks, as well as bills
At every suave young man

'Cause he's oh, so good,
And he's oh, so fine,
And he's oh, so healthy,
In his body and his mind.
He's a well respected man about town,
Doing the best things so conservatively.

And he likes his own backyard,
And he likes his fags the best,
'Cause he's better than the rest,
And his own sweat smells the best,
And he hopes to grab his father's loot,
When Pater passes on.

'Cause he's oh, so good,
And he's oh, so fine,
And he's oh, so healthy,
In his body and his mind.
He's a well respected man about town,
Doing the best things so conservatively.

And he plays at stocks and shares,
And he goes to the Regatta,
And he adores the girl next door,
'Cause he's dying to get at her,
But his mother knows the best about
The matrimonial stakes.

'Cause he's oh, so good,
And he's oh, so fine,
And he's oh, so healthy,
In his body and his mind.
He's a well respected man about town,
Doing the best things so conservatively.

®© UMG

All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music.

Edit (phaser) for headphones. Only audible via speaker boxes. Edit of the mono release. of the 1989 cd "singles collection - the london years" [abkco-london 844 481-2.
"Play with fire" was recorded January 11-18, 1965. Released first as B side single to "The last time", February 1965 (UK), March 1965 (US). Released also on "Out Of Our Heads" in 1965.

Lead vocals & tambourine: Mick Jagger. Acoustic guitar: Keith Richards. Electric guitar & harpsichord: Jack Nitzsche. Bass: Phil Spector. Background vocals: the studio's janitor. The other Stones had gone to sleep after a long studio session.

PLAY WITH FIRE
(Nanker Phelge)

Well, you've got your diamonds and you've got your pretty clothes
And the chauffeur drives your car
You let everybody know
But don't play with me, 'cause you're playing with fire

Your mother she's an heiress, owns a block in Saint John's Wood
And your father'd be there with her
If he only could
But don't play with me, 'cause you're playing with fire

Your old man took her diamond's and tiaras by the score
Now she gets her kicks in Stepney
Not in Knightsbridge anymore
So don't play with me, 'cause you're playing with fire

Now you've got some diamonds and you will have some others
But you'd better watch your step, girl
Or start living with your mother
So don't play with me, 'cause you're playing with fire
So don't play with me, 'cause you're playing with fire

®© UMG
®© Sacem
®© ABKCO Music and Records, Inc.

(All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music.)

Edit for headphones. More bass, wider sound.
"The Ballad of Lucy Jordan" is a song by American poet and songwriter Shel Silverstein. Taken from Marianne Faithfull's 1979 album "Broken English", this song was released as a single in November 1979. It reached #2 in Austria, #4 in South Africa, #5 in Switzerland and Germany, #7 in Belgium, #17 in France, #18 in Australia, #20 in New Zealand and #48 in the UK.

The performance is of a French tv show.
This song must have been very difficult for her to mime: no microphone to hide her lips, long intimate close ups and two hundred sixty three words to sing...
I made synchronisation better (no more glitches by Marianne), I made a better intro (cut out the French crap) and I ended the video better: a slow fade out with Marianne's languorous glances...

THE BALLAD OF LUCY JORDAN *
(Shel Silverstein)

The morning sun touched lightly on
the eyes of Lucy Jordan
In a white suburban bedroom
in a white suburban town

And she lay there neath the covers
dreaming of a thousand lovers
til the world turned to orange
and the room went spinning round

At the age of 37
she realized she'd never ride
through Paris in a sports car
with the warm wind in her hair
So she let the phone keep ringing
as she sat there softly singing
little nursery rhymes she'd memorized
in her Daddy's easy chair

Her husband he's off to work
and the kids are off to school
and there were oh so many ways
for her to spend the day

She could clean the house for hours
or rearrange the flowers
or run naked through the shady street
screaming all the way

At the age of 37
she realized she'd never ride
through Paris in a sports car
with the warm wind in her hair
So she let the phone keep ringing
as she sat there softly singing
pretty nursery rhymes she'd memorized
in her Daddy's easy chair

The evening sun touched gently on
the eyes of Lucy Jordan
on the rooftop where she climbed
when all the laughter grew too loud

And she bowed and curtsied to the man
who reached and offered her his hand
and he led her down to the long white car
that waited past the crowd

At the age of 37
she knew she'd found forever
as she rode along through Paris
with the warm wind in her hair

®© UMG

(All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote
awareness and interest in the artists and the music.)

*
*
summary of this song by Sharon:
It is about a 30ish year old woman who realizes that she has reached that point in her life where her dreams will never come true. She has a very boring life that is driving her crazy. The main theme is that she finally becomes detached from reality. She goes out on the roof, where many people see her, and the psychiatric attendants come to take her to a mental institution. In other words, complete nervous breakdown and the death of her cherished dream. It is as the Rolling Stones sang: "Lose your dreams and you will lose your mind."

Edit 5 for headphones. Lovely, atmospheric song. Sounds best on vinyl! Too bad Charlie's only on the left, together with Bill. I changed that: Bill more centered, Charlie on both channels. Also gave Keith's VERY pleasant guitar more body. As usual, for a great deal Brian is making the song stand out with his high harmonica sound...

Recorded August 3 - 11, 1966, released on the album "Between the Buttons" in January and February of 1967 by Decca records and by London records. Those were the days...
Source cd of the edit: "Between The Buttons" (US version)(1986 remastered German manufacture.)(London 820 138-2).

Harmonica & autoharp: Brian Jones. Vocals: Mick Jagger. Acoustic & electric guitars: Keith Richards. Drums: Charlie Watts. Bass: Bill Wyman. Piano: Jack Nitzsche.

The back cover of "Between The Buttons" is dominated by a six-panel cartoon accompanied by a rhythmic poem drawn by drummer Charlie Watts. When Watts asked Oldham what the title of the album would be, he told him it was "between the buttons", a term meaning "undecided". Watts gave the phrase to the title of his cartoon which in turn became the title of the album.

"Between The Buttons" was called "among the greatest rock albums" by Robert Christgau, who later included it in his "Basic Record Library" of 1950s and 1960s recordings, published in Christgau's Record Guide: Rock Albums of the Seventies (1981). He also wrote of the album for Rolling Stone magazine's "40 Essential Albums of 1967": "(T)his underrated keeper is distinguished by complex rhymes, complex sexual stereotyping and the non-blues, oh-so-rock-and-roll pianos of Ian Stewart, Jack Nitzsche, Nicky Hopkins, and Brian Jones." AllMusic's Richie Unterberger hailed it as one of the Rolling Stones' "strongest, most eclectic LPs". In a retrospective review for Entertainment Weekly David Browne called the album "a cheeky set of sardonic Swinging London vaudeville rock", while Billboard magazine's Christopher Walsh wrote that "it's brimming with overlooked gems, the band delivering a captivating blend of folky, Beatles-esque pop and tough bluesy rockers." Tom Moon wrote in The Rolling Stone Album Guide (2004) that the album was "lighter and thinner" than Aftermath and, "having belatedly discovered pop melody Jagger and Richards were suddenly overdosing on the stuff." Music scholars Philippe Margotin and Jean-Michel Guesdon observed baroque pop and music hall on the album. Jim DeRogatis included "Between The Buttons" in his 2003 list of the essential psychedelic rock albums.
In 2003 the album was ranked number 357 on Rolling Stone magazine's 500 Greatest albums of all time list. Based on such rankings the aggregate website Acclaimed Music lists it as the 715th most acclaimed album in history.

WHO'S BEEN SLEEPING HERE
(Jagger/Richards)

what you say girl, you see what is wrong
you, must be joking, you was led alone
but the butler the baker, the laughing cavalie

Edit 2 for headphones, March 2022. A song from from the album "L.A. Woman", released in March 1971. "Love Her Madly" was composed by guitarist Robby Krieger, it served as the lead single from the album "L.A. Woman", their final album with frontman Jim Morrison. Session musician and Elvis Presley TCB Band touring member Jerry Scheff played bass guitar on the song. "Love Her Madly" became one of the highest-charting hits for The Doors. It peaked at No. 11 on the Billboard Hot 100 singles chart and reached No. 3 in Canada.
This was recorded in a very casual atmosphere. The musicians all played together, with no overdubs. They produced it themselves, which meant they could relax and make their own rules. The whole album was recorded in just two weeks.
Doors guitarist Robby Krieger wrote this song on a 12-string guitar. It is about the numerous times his girlfriend (and later, wife), Lynn, threatened to leave him. "Every time we had an argument, she used to get pissed off and go out the door, and she'd slam the door so loud the house would shake," Krieger said.

LOVE HER MADLY
(Robby Krieger)

don't you love her madly
don't you need her badly
don't you love her ways
tell me what you say
don't you love her madly
wanna be her daddy
don't you love her face
don't you love her as she's walkin' out the door

like she did one thousand times before

don't you love her ways
tell me what you say
don't you love her as she's walkin' out the door

all your love
all your love
all your love
all your love all your lovin' is gone
so sing a lonely song
of a deep blue dream
seven horses seem to be on the mark

yeah don't you love her
don't you love her as she's walkin' out the door

all your love
all your love
all your love
yeah all your lovin' is gone
so sing a lonely song
of a deep blue dream
seven horses seem to be on the mark

don't you love her madly
well don't you love her madly
ah don't you love her madly

®© WMG on behalf of Elektra 0591
®© therock&rollingsixties

Edit (instr.) for headphones. Wow: organ out of tune from 0.24 to 0.26 and from 0.30 to 0.32. Also on the album release. Which prooves my theory that the early Stones songs for the main part were recorded in one take. The take was not redone, probably because the organ was recorded together with a perfect drums and bass part. Only Mick Jagger's vocal overdubs (the louder voices on the guitars channel) and the third rhythm/solo guitar parts were added later on. Still a great piece of art. Listen to (I think) Brian Jones on guitar in the background (also the opening of the song), while the rhythm guitar (Keith) is rhythming & riffing all along, with (added) extra riffs all over the song.

I chose to slowly fade out the picture: music is best heard with eyes closed.

®© UMG
®© ABKCO Music, Inc.

All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music. This sound recording is administered by UMG/ABKCO. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education, not for monetary gain.

All the pictures shown in this video are property of their respective owners. I don't hold any copyright about these pictures. These pictures have been collected from different public sources including different websites, considering to be in public domain.
If any one has any objection of displaying any picture here, just send an email and I will remove it immediately, after verification of the claim.

Copyright disclaimer under section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

Edit for headphones. The Mamas & The Papas lip synching "California Dreaming" at The Hollywood Palace.
"California Dreamin'" is a song written by John Phillips and Michelle Phillips and was first recorded by Barry McGuire. However, the best-known version is by The Mamas & The Papas, who sang backup on the original version and released it as a single in 1965.
I made a new stereo mix. No sounds were added, it is the plain song.
The instrumental part was cut out in this tv performance, therefore the video has some pictures added to fill the instrumental part. The video is taken from Youtube; someone did a nice job, so I decided it deserves a good stereo sound..... though I must admit I accidentally found a way to 'enhance' the stereo sound.

CALIFORNIA DREAMING
(John and Michelle Phillips)

all the leaves are brown (all the leaves are brown)
and the sky is grey (and the sky is grey)
I've been for a walk (I've been for a walk)
on a winter's day (on a winter's day)
I'd be safe and warm (I'd be safe and warm)
If I was in L.A. (if I was in L.A.)

California dreamin' (California dreamin')
on such a winter's day

stopped into a church, I passed along the way
well, I got down on my knees (got down on my knees)
and I pretend to pray (I pretend to pray)
you know the preacher like the cold (preacher like the cold)
he knows I'm gonna stay (knows I'm gonna stay)

California dreamin' (California dreamin')
on such a winter's day

all the leaves are brown (all the leaves are brown)
and the sky is grey (and the sky is grey)
I've been for a walk (I've been for a walk)
on a winter's day (on a winter's day)
if I didn't tell her (if I didn't tell her)
I could leave today (I could leave today)

California dreamin' (California dreamin')
on such a winter's day (California dreamin')
on such a winter's day (California dreamin')
on such a winter's day

®© UMG

(All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music.)

Edit 3 for headphones, April 2022, dedicated to Sharon... may your plain be covered with roses. Source file of the edit is from the Japanese mini lp "Between The Buttons" (US version, 2006 remastered UICY-93023). Edit to enjoy the organ & bass even more intensely. I so really dig this song. It's nearly perfect. It is fabulous. Real great organ & real great bass performance. A natural born singer, Mick Jagger.
Recorded August 3-11, 1966, released on "Between The Buttons" in February of 1967. So many many years ago and then such perfection...

Organ: hurray for Brian Jones. Bass and backing vocals: another hurray, for Keith Richards. Lead vocals: Mick Jagger, hurray! Piano: Jack - hurray ! - Nitzsche. Drums: the late great Charlie Watts. (The only Rolling Stones' song without guitar, says monsieur Big Sky.)(Merci beaucoup!)

"Between The Buttons" was called "among the greatest rock albums" by Robert Christgau, who later included it in his "Basic Record Library" of 1950s and 1960s recordings, published in Christgau's Record Guide: Rock Albums of the Seventies (1981). He also wrote of the album for Rolling Stone magazine's "40 Essential Albums of 1967": "[T]his underrated keeper is distinguished by complex rhymes, complex sexual stereotyping, and the non-blues, oh-so-rock-and-roll pianos of Ian Stewart, Jack Nitzsche, Nicky Hopkins, and Brian Jones." AllMusic's Richie Unterberger hailed it as one of the Rolling Stones' "strongest, most eclectic LPs". In a retrospective review for Entertainment Weekly, David Browne called the album "a cheeky set of sardonic Swinging London vaudeville rock", while Billboard magazine's Christopher Walsh wrote that "it's brimming with overlooked gems, the band delivering a captivating blend of folky, Beatles-esque pop and tough bluesy rockers." Tom Moon wrote in The Rolling Stone Album Guide (2004) that the album was "lighter and thinner" than the album "Aftermath" and, "having belatedly discovered pop melody, Jagger and Richards were suddenly overdosing on the stuff." Music scholars Philippe Margotin and Jean-Michel Guesdon observed baroque pop and music hall on the album. Jim DeRogatis included "Between The Buttons" in his 2003 list of the essential psychedelic rock albums.
In 2003, "Between The Buttons" was ranked number 357 on Rolling Stone magazine's 500 Greatest Albums of All Time list. Based on such rankings, the aggregate website Acclaimed Music lists it as the 715th most acclaimed album in history.

"Between The Buttons", this album's name is from a dialogue. Someone in the studio - while the album sessions were still going on - asked if the album's name was known yet. It wasn't, so drummer Charlie Watts said: "It's between the buttons", which means, not yet, but soon it will be.

SHE SMILED SWEETLY
(Jagger/Richards)

why do my thoughts loom so large on me
they seem to stay for day after day
and won't disappear I've tried every way

but she smiled swee

Edit for headphones. Its original one minute and fourteen seconds is just too short imo. So I extended it to two minutes and five seconds.* A great tip for each musician: play your song in reverse & a new melody is born!

From the album "After The Goldrush". A 1970 masterpiece ** by Neil Young and Crazy Horse with Greg Reeves, Steve Stills and Nils Lofgren.
Vocals: Neil Young, Danny Whitten, Nils Lofgren, Steve Stills, Ralph Molina
Piano: Neil Young, Jack Nitsche, Nils Lofgren
Bass: Billy Talbot, Greg Reeves
Drums: Ralph Molina
Guitars: Neil Young, Danny Whitten, Nils Lofgren
Harmonica: Neil Young
Vibes: Neil Young
Flügelhorn: Bil Peterson
Patches: Susan Young

Most of the album's song were inspired by the Dean Stockwell-Herb Berman screenplay "After The Goldrush".

TILL THE MORNING COMES
(Neil Young)

I'm gonna give you 'til the morning comes
'til the morning comes, 'til the morning comes

I'm only waiting 'til the morning comes
'til the morning comes, 'til the morning comes

I'm only waiting 'til the morning comes
'til the morning comes, 'til the morning comes

horn

I'm gonna give you 'til the morning comes
'til the morning comes, 'til the morning comes

horn

I'm gonna give you 'til the morning comes
'til the morning comes, 'til the morning comes

I'm gonna give you 'til the morning comes
'til the morning comes, 'til the morning comes

I'm only waiting 'til the morning comes
'til the morning comes, 'til the morning comes

reversed part:

semoc gninrom eht lit' ,semoc gninrom eht lit'
semoc gninrom eht lit' gnitiaw ylno m'I

semoc gninrom eht lit' ,semoc gninrom eht lit'
semoc gninrom eht lit' uoy evig annog m'I

semoc gninrom eht lit' ,semoc gninrom eht lit'
semoc gninrom eht lit' uoy evig annog m'I

horn

semoc gninrom eht lit' ,semoc gninrom eht lit'
semoc gninrom eht lit' uoy evig annog m'I

horn

semoc gninrom eht lit' ,semoc gninrom eht lit'
semoc gninrom eht lit' gnitiaw ylno m'I

semoc gninrom eht lit' ,semoc gninrom eht lit'
semoc gninrom eht lit' gnitiaw ylno m'I

semoc gninrom eht lit' ,semoc gninrom eht lit'
semoc gninrom eht lit' uoy evig annog m'I

Edit 2a for headphones, December 2020. Dubbed video. Better synchronized. Though this video's real live performance is very interesting too, this one has the original studio version of the song, edited.
First recorded on January 10, 1964, re-recorded on February 4, 1964,
Third UK single, Feb. 21 1964.
First US single, March 6 1964, and on the first US album England's Newest Hit Makers, May 29, 1964.
Source file of the edit is on the album "England's Newest Hitmakers" Japanese mini lp (uicy-93013).

In 1964 "Not Fade Away" charted nr.3 in the UK, nr.44 in Australia, nr.44 in the US.

Harmonica: Brian Jones. Guitars: Brian Jones & Keith Richards. Percussion: Brian Jones & Mick Jagger. Lead vocals: Mick Jagger. Bass: Bill Wyman. Drums: Charlie Watts.

NOT FADE AWAY
(Norman Petty & Charles Hardin Holly, that is Buddy Holly)(Original performer: Buddy Holly in 1957.)

I'm gonna tell you how it's gonna be
you're gonna give your love to me
I'm gonna love you night and day
well love is love and not fade away
well love is love and not fade away

my love's bigger than a Cadillac
I try to show it if you drive me back
your love for me has got to be real
for you to know just how I feel
love is real and not fade away
well love is real and not fade away

I'm gonna tell you how it's gonna be
you're gonna give your love to me
love to last more than one day
well love is love and not fade away
well love is love and not fade away
well love is love and not fade away
lo' love is love and not fade away
not fade away

®© ABKCO Music and Records, Inc.
®© UMG

(All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music.)

Edit for headphones. Peter Asher's sister Jane dated womanizing Paul McCartney for several years, that's how they got this McCartney song. In 1966 a no.14 hit in the USA, no.28 in the UK, no.15 in Holland. Well, what about these three countries, why only mention them? Well, to begin with: the British have the guts & wisdom to leave stupid money absorbing European Union (let's hope many countries will follow their good example); America, well America first (though not in this sentence), that's obvious. And Holland keeps the American feet dry & is England's best neighbour.

WOMAN
(Paul McCartney)

woman, do you love me?
woman, if you need me then believe me I need you
to be my woman

woman, do you love me?
woman, if you need me then believe me I need you
to be my woman

and should you ask me how I'm doing
what shall I say? things are ok
but I know that they're not
and I still may have lost you

woman, do you love me?
woman, if you need me then believe me I need you
to be my woman

I guess you'll take your time and tell me
when we're alone, love will come home
I would give up my world
if you'll say that my girl is my woman

I've got plenty of time (I've got plenty of time)
just to get through it
once again you'll be mine (once again you'll be mine)
I still think we can do it
and you know how much I love you

woman, don't forsake me
woman, if you take me then believe me I'll take you
to be my woman

®© UMG
®© WMG
®© ABKCO Music, Inc.
®© EMI Music Publishing
®© SOLAR Music Rights Management

All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music. This sound recording is administered by UMG/WMG/ABKCO/EMI/SOLAR. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education, not for monetary gain.

This video is the property of the respective owners. I don't hold any copyright about this video. This video has been collected from different public sources including different websites, considering to be in public domain. If any one has any objection of displaying this video, just send an email or comment and I will remove it immediately, after verification of the claim.

Copyright disclaimer under section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

Edit 1 for headphones. Recorded on January 10, 1964, released in the UK April 17, 1964 on "The Rolling Stones", and May 29, 1964 in the US on "England's Newest Hit Makers, the Rolling Stones" in 1964.
Harmonica: Brian Jones. Vocals: Mick Jagger. Electric guitar: Keith Richards. Bass: Bill Wyman. Drums: Charlie Watts. Tambourine: Mick Jagger or Brian Jones.

I JUST WANT TO MAKE LOVE TO YOU
(Willie Dixon)

I don't want you be no slave
I don't want you work all day
I don't want 'cause I'm sad and blue
I just want to make love to you, baby
Love to you, baby
Love to you, baby
Love to you

I don't want you cook my bread
I don't want you make my bed
I don't want your money too
I just want to make love to you, baby
Love to you, baby
Love to you, baby
Love to you

Well I can tell by the way that you twitch and walk
See by the way that you baby talk
Know by the way that you treat your man
I can love you, baby, till the night train

I don't want you wash my clothes
I don't want you leave the home
I don't want 'cause I'm sad and blue
I just want to make love to you, baby
Love to you, baby
Love to you, baby
Love to you

Yeah

I don't want you wash my clothes
I don't want you leave the home
I don't want 'cause I'm sad and blue
I just want to make love to you, baby
Love to you, baby
Love to you, baby
Sweet love to you, baby
Love to you, baby
I just wanna make love to you, baby
Love to you, baby
Love to you, baby
Love to you
I just, I just want ot make love to you, baby
I just want to make love

®© UMG
®© ABKCO Music and Records, Inc.

(All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music.)

Edit 2 for headphones, December 2020. From the album "MOFO" (the Making Of Freak Out), which also has the name "The MOFO Project/Object", a dressy 'version' of "Wowie Zowie" (basic tracks - 1970 fz remix).

This one is to show you what really neat & friendly music Zappa was able to make. He lied when he wrote that this song was just to attract a certain kind of listeners, just to get them to buy his music. In fact, deep down he was a friendly person that loved fine, friendly & nice things. I remember some interview with a "Mothers" band member saying during a studio mixing session a certain part was so beautiful, and that Zappa really shouldn't mix it and have it loose its sound. Then Zappa's frustrated personality came to the surface and decided not to, and forever some beautiful part was lost. Well, he's not to blame, I think it's the influence of the world he grew up in. As Zappa stated in one of his songs, "your whole attitude stinks I say, and the life you lead is completely empty", he was talking about American womanhood. I think he was being polite, for I think he meant the whole of the United States. Except the few free & non commercial individuals. I mean you, who reads this.

The official release with vocals had Frank Zappa: guitar & vocals. Ray Collins: lead vocalist, harmonica, tambourine, finger cymbals, bobby pin & tweezers. Jimmy Carl Black: drums (also sings in some foreign language). Roy Estrada: bass & guitarron, boy soprano. Elliot Ingber: alternate lead & rhythm guitar with clear white light.

WOWIE ZOWIE
(Frank Zappa)

wowie Zowie
your love's a treat
wowie Zowie
you can't be beat
wowie Zowie, baby
you're so neat
I don't even care
ff you shave your legs

wowie Zowie, baby
you're so fine
wowie Zowie, baby
please be mine
wowie Zowie
up and down my spine
I don't even care
if you brush your teeth

dream of you each mornin'
I dream of you each night
just the other day I got so shook up
I dreamed of you in the afternoon
I dream of you each mornin'
I dream of you each night
just the other day I got so shook up
I had a flash in the afternoon

wowie Zowie, baby
love me do
wowie Zowie
and I'll love you too
wowie Zowie, baby
I'll be true
I don't even care
if your dad's the heat

(Wowie Zowie...)

wowie
wowie Zowie
wowie
wowie Zowie
wowie
wowie Zowie
wowie
wowie Zowie
wowie
wowie Zowie
wowie
wowie Zowie
wowie...

®© UMG

(All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music.)

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Created 2 months, 1 week ago.

191 videos

Category Music

This channel is about my edits for headphones.
Guarantee: I add no sounds, all you hear is the artists' music. I don't "DES" (digitally extract stereo) either.

With « processed 'stereo' » I mean: fake stereo, just to enjoy the music a bit 'better', a bit 'stereo-ish'.

My edits are here for free, I don't earn money with this (it only COSTS me money), so please don't be offended if I play around with sound, it is just my hobby, I have no intention to be a wise guy or smart ass, it's just what I like to do...

These edits are best experienced via headphones... if you want advice:
Sennheiser HD 520 II - I have one and it sounds nearly perfect
Sennheiser HD 580 (Precision) - my wife has one and it sounds perfect
Sennheiser HD 595
Sennheiser HD 600
Sennheiser HD 650 or even... a Sennheiser HD 800 (very expensive)
less expensive and also nearly perfect: a Shure SRH 940.

The latest Sennheiser with a good review by my local newspaper's music specialist is the Sennheiser HD 560 S.
.
If you're interested: here is my YouTube channel: https://www.youtube.com/channel/UC1RqGkNwaJKzHvsJ-RBCOpA/videos

Greetings from Holland

Ruudtes