JohnVicarysMusicPassions

My music review of the new Zombies album released in 2023 61 years after their debut - includes the whole album for you to listen to Different Game was released on 31 March 2023. Track listing All tracks composed by Rod Argent, except where noted. Different Game 1. "Different Game" 4:57 2. "Dropped Reeling & Stupid" 3:52 3. "Rediscover" 3:58 4. "Runaway" 3:17 5. "You Could Be My Love" 3:48 6. "Merry-Go-Round" 4:24 7. "Love You While I Can" 3:18 8. "I Want to Fly" 4:16 9. "Got to Move On" 3:54 10. "The Sun Will Rise Again" Colin Blunstone 3:27 Personnel The Zombies Colin Blunstone - lead vocals Rod Argent - keyboards, backing and lead vocals Tom Toomey - guitar, backing vocals Jim Rodford - bass, backing vocals Steve Rodford - drums

2 live tracks Rock n Roll Doctor and Cold cold Cold by Little Feat

great year for music here are a few honourable mentions and then my Top 10 albums for 1968 Here i a list of the music you will hear after my brief comment (You Make Me feel Like) A natural Woman Aretha Franklin Chelsea morning Fairport Convention White Room Cream The Weight The Band Hope For happiness Soft machine I’m A Mover Free Dear Mary Steve Miller Band Baron Saturday Pretty Things The Chase/Mellowing Grey Family Dear doctor Rolling Stones Madame George Van Morrison Babe I’m Gonna leave You Led Zeppelin Gypsy Eyes/Burning Of The Midnight lamp Jimi hendrix Experience Draft Morning The Byrds

My Review of this great album The cover photo was taken in Union Station in Los Angeles. Track listing Side One "You've Been in Love Too Long" (Ivy Hunter, Clarence Paul, William Stevenson) - 3:43 "I Gave My Love a Candle" (Joel Zoss) - 4:20 "Let Me In" (Yvonne Baker, Alphonso Howell, George Minor) - 3:38 "Everybody's Cryin' Mercy" (Mose Allison) - 3:29 "Cry Like a Rainstorm" (Eric Kaz) - 3:55 Side Two "Wah She Go Do" (Calypso Rose) - 3:12 "I Feel the Same" (Chris Smither) - 4:40 "I Thought I Was a Child" (Jackson Browne) - 3:49 "Write Me a Few of Your Lines/Kokomo Blues" (Mississippi Fred McDowell) - 3:36 "Guilty" (Randy Newman) - 2:58 Personnel Bonnie Raitt - acoustic guitar, electric guitar, vocals, bk vocs, handclapping, bottleneck guitar Paul Barrere - electric guitar George Bohanon - trombone Sam Clayton - congas Carol Farhat - handclapping Glenn Ferris - horn Freebo - fretless bass, tuba, bk vocals Lowell George - slide guitar Earl Palmer - drums John Hall - electric guitar, background vocals, handclapping, mellotron Bob Hardaway - horn Robert Hardaway - saxophone Milt Holland - tabla, tambourine, timbales, claves, shaker Carl Huston - handclapping Kirby Johnson - conductor Jim Keltner - drums Marty Krystall - saxophone Taj Mahal - harmonica, vocs, background vocals, acoustic bass Van Dyke Parks - piano, keyboard, vocals, background vocals Bill Payne - organ, piano, electric piano, vocals, background vocals Joel Peskin - saxophone Nat Seligman - handclapping Tony Terran - trumpet Oscar Brashear - trumpet Bud Brisbois - trumpet Ernie Watts - soprano saxophone Production John Hall - producer John Haeny - engineer Richard Heenan - mixing Arnie Acosta - mastering Doug Sax - mastering Ed Cherney - remastering supervisor Lee Herschberg - remastering Jo Motta - project coordinator H George Bohanon - Kirby Johnson - horn arrangements Tom Gamache - art direction, design Sandy Kroopf - art direction, design, photography, back cover Michael Dobo - photography, cover photo You’ve Been In Love Too Long" Girls, you've been in love too long I said girls, you've been in love too long When just his smile takes all your pain away And you find yourself believin' whatever he may say Now when he gets you cryin' But your heart tells you Girl keep right on tryin' You know Girls, you've been in love too long (You're a fool for your baby) Girls, you've been in love too long (You're a fool for your baby) When you accepted wrongs, just to share his kiss Even your lonely nights, you know they're filled with happiness You know Girl you're in trouble You know your...heart is seein' double Cuz when you're head tells you to run But your heart tells you "Girl he's the only one..." You know you have…been in love too long Cuz when a week of loneliness can be erased with just one sweet caress Girl...you've been in love too long When his wrong looks right…though he always treats you bad You find little excuses for all the sadness and abuses "I Gave My Love A Candle" I gave my love a candle A promise at life And I told 'm when my number comes up Winds would fill the sky Me I'm fixin' to die Moving down that same lonesome road No I don't know why Goodbye, goodbye, goodbye You didn't have to fool me You didn't have to lie My love comes 'ound like a thief in the night But only love can make you cry And we have walked side by side Moving down that same lonesome road No I don't know why Goodbye, goodbye, goodbye Your love was like a diamond ride a wave On a sea that calms my mind Moving onward to a distant shore Where the boats sail in a line We have danced to a fateful rhyme Moving down the same lonesome road No I don't know why Goodbye, goodbye, goodbye You didn't have to fool me, no You didn't have to lie If it all came out so ugly It's only my love that could make you cry And we have walked side by side Moving down that same lonesome road And I still don't know why Goodbye, goodbye, goodbye x2 Ooh ooh ooh Goodbye, goodbye, goodbye Let Me In" Let me in I can see the dancin', (let me in) The silhouettes on the shade (silhouettes) I hear the music (music) All the lovers on parade (oh) Open up (let me in), I wanna come in again I thought you were my friend Pitter patter of those fee-ee-ee-ee-eet Movin' and a-groovin' with that be-eat Jumpin' and stompin' on the flo-o-o-o-oor (Lemme in ) Let me in! (Open up.) Open up! Why won't you open up that door? (Let me in.) I hear (open up) music let me in (music) I wanna come in again Let me in (let me in), a-well I heard it just then I thought you were my friend Pitter patter of those feet Movin' and a-groovin' with that beat Jumpin' and stompin' on the floor (Lemme in.) Let me in!. (Open up.) Open up! Why don't you open up that door? (Let me in.) I-ah-I (open up) hear music, let me in (music) Oh, I heard it just then. Let me in. (Let me in.) I wanna come in again I thought you were my friend Everybody’s Cryin’ Mercy" I don't believe the things I'm seein' I've been wonderin' 'bout some things I've heard Everybody's crying mercy When they don't know the meaning of the word A bad enough situation Is sure enough getting worse Everybody's crying justice Just as soon as there's business first Toe to toe, touch and go Give a cheer and get your own souvenir Well you know the people running round in circles Don't know what they're headed for Everybody's crying peace on earth Just as soon as we win this war Straight ahead, gotta knock em dead So pack your kit, choose your own hypocrite You don't have to go to off-Broadway To see something plain absurd Everybody's crying mercy When they don't know the meaning of the word Nobody knows the meaning of the word Cry Like A Rainstorm" Life isn't easy Love never lasts You just carry on And keep moving fast I turned off the highway Pulled into town I'm fancy free darlin' And I've travelled round Sometimes I'm up Sometimes I'm down Tell me where can I run to Tell me how have I sinned When you cry like a rainstorm And howl like the wind So who shall I start with Tell me how to begin When you cry like a rainstorm And howl like the wind My thoughts are lost in memories That keep me free Know if all the stars were shining They would not help me see Don't you know that Sometimes I'm up Most times down Where can I run to Tell me how have I sinned You cry like a rainstorm And you howl like the wind Well my life isn't easy And my love never seems to last So I'll keep on carrying on darlin' I'll just keep moving fast I turned off the highway Pulled into town And I'm still fancy free And I keep travellin' round Sometimes I'm up Most times I'm down Where can I run to Tell me how have I sinned When you cry like a rainstorm And you howl like the wind So who shall I start with Tell me how to begin When you cry like a rainstorm And you howl like the wind Cry like a rainstorm And you howl like the wind "Wah She Go Do" I could understand why a woman must have an outside man I could understand why a woman must have an outside man A man just wants to run like rat and have his wife to abide by that Every night he's havin' a ball and when he reach home he ain't touching his wife at all And if the woman says she's feelin' sexy (Wah She Go Do) And the man says he's feelin' sleepy (Wah She Go Do) An she's bawlin' "C'mon Doo doo" but this time it soft like soft candle No satisfaction! So you see a woman must have an outside man If you have a husband give him plenty of position If he starts runnin' just laugh don't say anything If he picks up an outside woman show him you can pick up two outside men An that's the only way a woman should get some respect today (Wah She Go Do) x2 Every woman they want and usin' we as a convenience Then they turn an' say they can't trust a woman today For days he ain't seen his home; the man goes and leaves his wife all alone At the end when his head is bald; they go and don't know a woman never phone at all An' if the man say "Lie down on de bed" (Wah She Go Do) Then the man lays down as if he's dead (Wah She Go Do) An she wantin' water in she tank. Yet de man so damn disobedient No satisfaction! So you see a woman must have an outside man I Feel The Same" Say goodbye 'Well I know it's true I know you're leaving me but I 'I'm leaving too You won't forget me 'Or the sound of my name Please believe me 'I feel the same It seems so empty now 'Close the door Ain't it hard to believe that you ever ' Lived this way before All that nothing ' Causes all that pain Please believe me I feel the same Well this broken soul 'That I know a, a heart that's breakin' You can't make it whole 'Until you know what has been taken And all those pieces 'Uh that you find them all your own I said goodbye 'Now you know it's true You said you're leaving me, but honey I 'I'm leaving too You won't forget me 'Or the sound of my name Please believe me 'I feel the same x2 "I Thought I Was A Child" It's such a clever innocence with which you do your sorcery As if somehow the years just bow and let that young girl go free I thought I was a child until you turned and smiled I thought I knew where I was going until I heard your laughter flowing And came upon the wisdom in your eyes Surprise-- I've spent my whole life running 'round Chasing songs from town to town Thinking I'd be free so long as I never let love slow me down So lonely and so wild until you turned and smiled By now I should have long been gone But here I am still looking on As if I didn't know which way to run It's such a clever innocence with which you show myself to me As if you know how it feels to never be who you wanted to be I thought I was a child until you turned and smiled I thought that I was free but I'm just one more prisoner of time Alone within the boundaries of my mind I thought I was a child "Write Me a Few of Your Lines / Kokomo Blues" When you get home baby Write me a few of your lines When you get home little baby Write me a few of your lines That'll be consolation Lord Honey oh my worried mind Left my baby Standin' in the backdoor cryin' Well I left my little baby Standing in the backdoor cryin' I never felt so sorry Lord Honey till he said goodbye Kokomo me baby Kokomo me right Kokomo your mama She'll be back tomorrow night I'd like to cry in your arms tonight Baby don't you wanna go? Right on to Lemon Light City Sweet home Kokomo Go on down to the river baby Goin' to sit down on the ground Well I'm goin' down to the river baby Goin' to sit down on the ground And let the way of the water Lord Honey wash my troubles down Kokomo me baby Kokomo me right Kokomo your mama She'll be back tomorrow night I gotta cry with you baby Baby don't you wanna go? Right on to Lemon Light City Sweet home Kokomo Guilty" Yeah baby, I've been drinking And I shouldn't come by I know But I found myself in trouble darling And I had no place else to go Got some whiskey from a bar man Got some cocaine from a friend I just had to keep on moving Till I was back in your arms again Well I'm guilty, yeah I'm guilty I'll be guilty for the rest of my life How come I never do What I'm supposed to do Nothing that I try to do ever turns out right Well you know how it is with me baby You know I just can't stand myself It takes a whole lot of medicine For me to pretend to be somebody else

First live performance of their classic album released in 1967 with guests Dvid Gilmour and Host Arthur Brown The first rock opera ever. Hope the 13th Floor Elevators or somebody didn't beat them to it, or I'll really be flunked. Track listing: 1) S. F. Sorrow Is Born; 2) Bracelets Of Fingers; 3) She Says Good Morning; 4) Private Sorrow; 5) Balloon Is Burning; 6) Death; 7) Baron Saturday; 8) The Journey; 9) I See You; 10) Well Of Destiny; 11) Trust; 12) Old Man Going; 13) Loneliest Person; [BONUS TRACKS:] 14) Defecting Grey; 15) Mr Evasion; 16) Talkin' About The Good Times; 17) Walking Through My Dreams. I'm not getting into the discussion over whether S. F. Sorrow kicks the shit out of Tommy or whether Tommy bashes the chitlins out of S. F. Sorrow. It's clear that, since S. F. Sorrow came out first, Townshend was heavily influenced by the storyline and the concept in general; however, if you hear misguided rants about how S. F. Sorrow has no pretentions and no bombast as opposed to Pete's overbloated project, don't you go around believing it - this is an equally mystical and convoluted tale, with a plot that's even harder to guess, especially if you haven't read the story it is supposed to accompany, and while the subject matter of Sorrow is a wee bit more grounded (after all, the protagonist does have to deal with a lot of ordinary life problems before having his magical dream about Baron Saturday), the overall message is even less clear than that of Tommy. And that's all I'm gonna say. Draw your conclusions yourself after you've heard this. But one thing's for certain - hear this you must, as it's undoubtedly the Great Lost Psychedelic album of the Sixties. The Pretties are really one unjustly forgotten band: having achieved no success with their gritty blend of R'n'B and having effectively reinvented themselves as one of swinging London's coolest psycho outfits, they achieved even less success. R'n'B fans naturally thought they were betrayed, and as for the new breed of hippies and loony Tolkienists, they didn't want no aliens, being perfectly happy when entertained by the likes of Barrett's Pink Floyd, Marc Bolan and the Soft Machine. As a result, S. F. Sorrow bypassed the public eye completely, and it's a shame. It's not even that the album has a great load of melodies. It doesn't; none of the band members were perfect songwriters, and there ain't a single instantly memorable riff or a single absolutely smashing vocal melody on the record. It's the incredible, exciting atmosphere that one just has to soak in. To a certain extent, S. F. Sorrow takes a little bit of everything Britain was living on at the time: pop, psychedelia, hard rock, magic and mystery, illusions and naiveness, beauty and ugliness, whatever. In these songs I can feel everything that the Pretties were raised on - Beatlesque harmonies, Rolling Stones grittiness, Kinks humbleness, Hendrix guitars, and early Pink Floyd schizophrenia, and, what's more, lots of things that would follow on. Seems like the Who weren't the only band who got their clue from this record. Listen to the flute rhythms in 'Private Sorrow' and tell me this doesn't sound like vintage Jethro Tull. Listen to the aethereal chantings in 'Trust' and tell me Peter Gabriel didn't rip this off for a section in 'Supper's Ready'. Listen to 'Balloon Is Burning' and tell me this doesn't predict the chaotic jams of Yes. Listen to the 'love love love' chants on 'Bracelets Of Fingers' and tell me this doesn't render Freddie Mercury superfluous. Come on, you tell me all this and I'll just reply that you're not able to build up a solid historic perspective. :) Anyway, in case you're just an unexperienced reader who doesn't know what the hell I'm talking about, here's the rub. S. F. Sorrow is a rock opera (concept album, whatever - one can make some nitpicks and say that since there are no clear differentiations between singer parties it ain't no opera, but well, that's just a nitpick), based on a short story by some author whose name I have forgotten. It tells about a guy named S. F. Sorrow who is very lonely all his life, has an unhappy romance, joins the army, ends up in America, gets disillusioned in life and then dreams of a certain Baron Saturday who leads him away to the Moon, which he used to dream of when he was a child, and shows him his true self. It all ends up rather sadly, with S. F. Sorrow just getting further disillusioned and spending the last days of his life in isolation and misery. In other words, Ray Davies (the 'little man' line) meets Pete Townshend (the 'mystery' line). But to hell with the story. Like I said, it's just great fun to take this as a whole without bothering too much about the concept. A couple of the tracks are nothing more than dated psychedelic collages ('Well Of Destiny'), and a couple are rather primitive pop songs with rudimentary melodies ('She Says Good Mornings'), but every now and then the band falls upon a deep and rich psychedelic gold mine which, combined with their existent pop instincts, provides you with everything that, for instance, Syd Barrett could never provide you with. 'Bracelets Of Fingers', where S. F. Sorrow dreams of the moon, starts with some breathtaking accappella lines and goes from a heavenly chant to a wah-wah-driven rocker to a sitar-embellished mantra. 'Private Sorrow', as I already said, predicts Jethro Tull: the main melody, represented by a war march accompanied by a Celtic-sounding flute, is perhaps the most memorable moment on the album, and it brings such images to my mind as Tull rarely can - armies marching high up in the cold mountains, under a gray sky... wow, sorry for the lyrics. 'Death' is gloomy, dreary and sends shivers down your back. 'I See You' could threaten to conquer the world in its pomposity, if only 'hallucinogenous' didn't squeeze out from all of its openings. And 'Trust' is gorgeous beyond words, simply gorgeous beyond words. It's songs like that that really give 'psychedelic' a good name, apart from all the Beatles stuff, of course. Are you listening? Notice how the echo reprises everything Phil May chants out in that calm, awesome voice of his, too. To diversify the picture, the band rocks out in a couple of places, notably on the shrill, frantic 'Baron Saturday' and the grizzly 'Old Man Going', and they certainly haven't lost any of the roughness of the early R'n'B days. But it's not the rocking out that really makes the record, no. If you want to summarize the Pretty Things at that stage of their career with just one phrase, it would be something like this: "The Pretty Things weren't the only band to go psychedelic after the Beatles showed the way, but they were the only band that were able to expand the theme of 'Tomorrow Never Knows' over the length of an entire album and get away with it'. 'Nuff said. And don't forget to grab the re-issue, too: it adds four excellent bonus tracks, taken off the Pretties' psychedelic singles. 'Defecting Grey' in particular is a classic, one of the definining singles of its era: a multi-part psychedelic 'mini-suite' glued together from many pieces ranging from lightweight shuffles to backward sitar gimmicks to astral collages to heavy guitar freakouts. The others are no slouch, either.

1st of 2 videos ranking my Top 20 songs for 1973

A look back at the songs that caught my ear on the radio way back in 1972 with audio

Paul talks about how the album developed, his recording style and the input of the artists who added to the magic of the songs - A review here that i stole sums up this album and Paul Weller's styles Curiously, and somewhat admirably, Paul Weller is one of the very few artists of his generation that actually makes one less bothered about what he did at the start of his career than what he does now. It’s 40 years since he first broke through with The Jam and In The City hit the record shelves, but unlike so many of his contemporaries who are only too happy to hit the anniversary trail with a tedious regularity (just wait for those 50th anniversary shows where one surviving member is propped up by youthful sidemen and a Zimmer frame), Weller has little truck with the past. As evidenced by the creative re-birth that started with 22 Dreams just under a decade ago, Woking’s most famous son has got on with the business of the here and now with one eye on the ticking clock and an ear open for new sounds. Following on from the experimental nature of his previous three albums - works that rank among his very best material - A Kind Revolution initially presents itself at odds with its predecessors, yet repeated listens find a document that continues in a sequence of high quality control. So while the production isn’t as in-your-face as before, the flourishes that characterised those releases are here deployed to subtle effect on an album that’s only too happy to explore a variety of stylistic routes including blues, jazz, deep house and dub elements to make a surprisingly coherent and cohesive statement. The opening one-two of ‘Woo Sé Mama’ and ‘Nova’ really do lull the listener into a false sense of security. Both up-tempo numbers rooted in soul and psychedelia - the latter makes nods to the Pink Floyd of swinging London - the playing and delivery is made by an artist and band clearly enjoying themselves but it’s what follows that truly grabs the attention. The real core of the album is based around Weller taking a look at the world as he approaches his 60s and trying to make some sense of the turmoil, madness and instability that’s come to define the second decade of the 21st century. Crucially, these aren’t howls of rage but something more contemplative and meditative and, consequently, more memorable and affecting. Featuring Boy George on backing vocals, ‘One Tear’ evolves from a hybrid of influences including dub, house and funk into a deep groove that finds Weller raging against organized religion and the carnage that’s been wreaked in the name of God. Equally affecting is ‘The Cranes Are Back’ wherein Weller tries to find hope in a desolate world that’s becoming increasingly desensitised to images of dead refugee children washed up on beaches. His optimism is palpable in the shape of cranes - both the birds and machines - that represent re-birth and regeneration. Not that he pretends to have any answers. ‘The Impossible Idea’ is a yearning for a better world but how we get there is anybody’s guess. And that’s not a cop out, but an admission of a world in chaos led by people with even less of a clue than those they’re supposed to be representing. But what’s also remarkable about A Kind Revolution is Weller’s heightened sense of melodicism that translates as hope and so prevents the album falling into despair. Indeed, as displayed by ‘Hopper’, a track that wouldn’t feel out of place on a Super Furry Animals’ set list, sometimes all you can do is take some time out, kick back and watch the world go by. Paul Weller may well be hampered by a particular image in the eyes of his detractors as much as his more conservative followers, but peel away the surface layers and you’re left with a restless artist with an itch that just needs constant scratching. And let’s hope it stays that way; with the past firmly behind him, Weller’s forward advance is something worth looking forward to whilst savouring a satisfying present. My initial thoughts 2017 First impressions two standout tracks Satellite Kid and One Tear but a host of other great cuts in a variety of styles. Weller is always challenging himself to create something new and this album is no exception.

Talking Heads fans - David Byrne solo Great concert Setlist Tracklist : 01:04 - (Nothing But) Flowers (Talking Heads) 06:10 - And She Was (Talking Heads) 10:34 - Once In A Lifetime (Talking Heads) 16:07 - God's Child 21:08 - The Great Intoxication 25:42 - Uni De Felice 28:40 - The Revolution 31:16 - Sax And Violins (Talking Heads) 37:24 - This Must Be The Place (Naive Melody) (Talking Heads) 42:23 - What A Day That Was 49:43 - Like Humans Do 54:06 - UB Jesus 58:30 - Life During Wartime (Talking Heads) 01:04:28 - Lazy 01:11:01 - I Wanna Dance With Somebody (Whitney Houston) 01:16:08 - Ausencia 01:20:04 - The Accident 01:23:21 - Road To Nowhere (Talking Heads)

Those music albums that remind you of life's memories with people with places and at a particular impressionable age - Here are a few that sum up my life from 1975 through to 1985

Is it Lou Reed's best album - My look at New York from 1989 Includes slides + the full album at the end for you to hear

My review of this first solo album by Tom Petty called Full Moon Fever - Produced by jeff Lynne with a host of musicians helping out tom including Jeff Lynne, George Harrison + Mike Campbell from The Heartbreakers and a brief appearance by Roy Orbison and Del Shannon

This concert took place on 14th September 1967

Awesome concert with 2 giants coming together after 39 years - remember Blind Faith in 1970

The ex Go-Between Robert Forster released this album in February 2023 - it is a powerful set of songs focusing on his relationship with his wife - fellow musician who at the time of the making the record was suffering from terminal cancer - it includes the opening track on the album She's A fighter

First 3 tracks from this magnificent live show by Jethro Tull Live at Montreux 2003 is a video and a live album by British rock band Jethro Tull, released in 2007. It was recorded at the Montreux Jazz Festival where the band played in 2003. Track listing DVD track listing "Some Day the Sun Won't Shine for You" (Anderson) "Life Is a Long Song" (Anderson) "Bourée" (Instrumental) (Anderson) (Version de Noël) "With You There to Help Me" "Pavane" (Instrumental) (Anderson) "Empty Café" (Instrumental)(Barre, Noyce) "Hunting Girl" (Anderson) "Eurology" (Instrumental) (Giddings) "Dot Com" (Anderson) "God Rest Ye Merry Gentlemen" (Instrumental) (Anderson) "Fat Man" (Anderson) "Living in the Past" (Anderson) "Nothing Is Easy" (Anderson) "Beside Myself" (Anderson) "My God" (Anderson) "Budapest" (Anderson) "New Jig" (Instrumental) (Giddings, Anderson) "Aqualung" (includes "Band introduction") (Encore) "Locomotive Breath" (includes "Black Sunday (reprise)") "Cheerio" (Instrumental) (Anderson) Personnel Ian Anderson - vocals, flute, acoustic guitar, harmonica, mandolin Martin Barre - electric and acoustic guitar, flute Andrew Giddings - keyboard, accordion Doane Perry - drums, percussion Jonathan Noyce - bass guitar, percussion

My look at albums throughout my life that have had an emotional impact because of the people I have met and/or the places that I have been listening to them - Nostalgia meets emotional attachment - First of 3 videos

Yep like some new music as well -

Great music albums from 1967 - I was 13 so became music I listened to 3 years later - includes one song from each album - Try and guess the albums and then the songs - How many out of 20?

My take on this legendary album by The rolling Stones with edited images of the band and lyrics + a short audio of the music

Great single and album track from the debut lbum Chicago Transit Authority by Chicago