Locomotive GT – Same (1974)

frontcover1The late ’60s and, most especially, the 70s have inspirited the music and the rock from all over the place, so that it evolved all the way up to contributing to the appearance of the most prestigious and prodigious ensembles. LOCOMOTIV GT is a band that’s legendary in the Hungarian Rock scene, but also in the Occident, lighting up an irresistible and torrential rock, in a way that made them classic. For the culture of rock, LOCOMOTIV GT marks moreover an independent and styled breath than something typical and inspiring – nevertheless, it goes as a defining reference.

LOCOMOTIV GT processed, during the classic period, all the fantasy and the asperities of hard and blues rock. Yet, in almost the same general way, their music consistently caught a much more artistic brightness (and all sorts of jazz, pop, melodic, lyrical and experimental accents). The next periods, along with their transitions, didn’t shattered their spirit, but only changed their personality, their musical greatness and their perfection.

The band was founded in 1971 (biographical dates even state, more precisely, the day and the place: April 6th, Budapest) having a core of four great musicians: Gábor Presser and József Laux from OMEGA, Károly Frenreisz from METRO and Tamás Barta, a guitarist finally finding his way with this ensemble. The pressure of the music, at this beginning phase, was put on sophisticated expression, powerful rhythms and gullible orientations. Playing with familiar rock groups, selling out minimal music through different clubs plus some worthy festivals, was their first good steps up rock’s slipstream.

Their debut was considered experimental and hazy in Hungary, but the Western side saw it as the best new music that could come from the East. In 1972, the band was invited to play along legendary Joe COCKER or, right from the progressive top scene, with GENESIS. They also spend the year in London, recording a second album, “Ringasd el magad”, or producing several music projects. With Tamás Somló replacing Frenreisz, and with a wide-popular tour through North America, LOCOMOTIV GT became a worthy big name.

High tours and important projects continued in the next years, music itself finding probably the best expressions and wild maturity of all the style and fusion that was, so intimately, used. As oppose to this, the career break was slipping every time. More than a rumor or a hint, it seems LOCOMOTIV GT faced a lot of oppressive taste from the authorities, at least until the end of the 70s. Nevertheless, their portrait was constantly breaking the full standard and emotion of rock and interpretive art. Having always a lyricist by their side (Adamis Ann 1971-1977; Sztevanovity Dusán 1977-1984, 1997-2002) , LOCOMOTIV GT played colorful fictions and complex poetries, in a rustling frame of coolness, until they reached out from the blaze of hard rock (and, implicitly, of heavy thoughts) and continued to mix frictions of pure rock or, lastly, pop rock.

thomas-somloThomas Somlo

The 80s seemed refreshing, thanks to a better contract and an already indubitable fame, but the taste for rock and pop reached, well enough, a lower and colder level, so that the band departed for good after their 1984 studio release. They re-joined in 1992, only with the intention of making a farewell concert out of a big concert in Budapest. Up in 1997, the odds finally stopped being bitter, when the group reunited for good, recording a new studio album and deciding to continue their music journey, through big and important festivals or different projects and productions. Nothing of modern art, but, all the same, something of modern times, when LOCOMOTIVE GT stays legendary and can cheer up the endless taste towards their music and phenomenon.

By all this, LOCOMOTIV GT catches, therefore, a classic, rough, artistic and progressive spot. (by Victor “Philip” Parau; sources include biographical notes from the official website and from wikipedia)

“Locomotive GT were the Hungarian ‘supergroup’ formed by ex-members of Omega, Metro and Hungria. This rare and sought-after (English-language) album was recorded in London in 1973 (with Jack Bruce guesting on harmonica) by the famous The Rolling Stones producer Jimmy Miller and released next year in UK and USA by ABC Records. This is top-notch European progressive rock with jazz-fusion influences” (by .numusi.de)

In 1972, the band was invited to London, where this great second LP was recorded. The album’s material balanced between the classic progressive sounds of ELP, Gentle Giant and Procol Harum, and harder, bluesy rock.(by clear-spot.nl)


Thomas Barta (guitar, slide-guitar, harmonica, vocals)
Joseph Laux (drums, percussion)
Gabor Presser (piano, vocals)
Thomas Somlo (bass, saxophone, violin, vocals)
Jack Bruce (harmonica on 05.)
XY (*) (congas on 01., + 03.)

(*) who the fuck is XY ?


01. Rock Yourself (Adamis/Presser) 4.21
02. Gimme Your Love (Barta) 3.46
03. Free Me (Barta) 3.15
04. Confession (Barta) 4.21
05. She’s Just 14 (Barta) 3.51
06. Won’t You Dance With Me (Barta) 2.39
07. Hey, Get The Feelin’ (Barta) 3.31
08. Waiting For You (Adamis/Presser) 4.15
09. Serenade (To My Love If I Had One) (Adamis/Presser) 2.18
10. Back Home (Barta)    3:36
11. Jenny’s Got A New Thing (Adamis/Presser) 3.46




Jon And Vangelis – Private Collection (1983)

frontcover1Private Collection is the third album released by Jon and Vangelis, released in 1983 on Polydor Records. “He is Sailing” was released as a single shortly before the album. The song “Polonaise” was written under the influence of events that took place in Poland a little earlier (martial law). The song is dedicated to Poles.(by wikipedia)

Jon & Vangelis’ first two albums really seemed to be building up to this point. With Private Collection, the two artists (Jon Anderson of Yes fame and Vangelis) have created what feels just a bit like a classical work. Truly the nearly 23-minute “Horizon” really feels a lot like a modern symphony. It is definitely the culmination of their work together, their most ambitious effort. The shorter cuts on the album all have their moments and surely hold up to anything from the previous releases, but “Horizon” stands far above them all. It combines the best elements of Anderson’s work in Yes with the electronically classically tinged stylings of Vangelis to produce a work that is near masterpiece in its quality. It is a life-affirming, positive piece. Among the other highlights of the disc are “Deborah” and “He Is Sailing.” If you only buy one Jon & Vangelis album, choose the best-of collection. However, if you opt for a second disc, this is the one. (by Gary Hill)


Jon Anderson (vocals)
Vangelis (keyboards, ynthesiser)
Dick Morrissey (saxophone on 02.)


01. Italian Song 2.53
02. And When The Night Comes 4.35
03. Deborah 4.54
04. Polonaise 5.24
05. He Is Sailing 6.49
06. Horizon 22.53

Music composed by Vangelis
Lyrics written by Jon Anderson


Rick Sanders – String Time (1983)

frontcover1Richard ‘Ric’ Sanders (born 8 December 1952, in Birmingham, West Midlands) is an English violinist who has played in jazz-rock, folk rock, electric folk and folk groups, including Soft Machine and Fairport Convention.

Sanders’ first experience with a professional band was in the summer of 1972, touring Europe with classical/rock percussionist Stomu Yamash’ta’s Red Buddha Theatre. He later went on to play with jazz pianists Johnny Patrick and Michael Garrick. In the late 1970s he briefly toured as a member of the jazz-rock group Soft Machine and followed with a stint in The Albion Band. In 1981 he co-founded a recording studio, Morgreen Studios, with which he remained active for a few years. In 1984 he joined Fairport Convention and recorded his first album with them, Gladys’ Leap, the following year. Since 2002, in addition to his work with Fairport, he has also been working regularly with his trio, known as the Ric Sanders Trio, which features Vo Fletcher on guitar and Michael Gregory on drums and percussion.

Over the years Sanders has worked with a diverse roster of artists, including: Rick Wakeman, Dave Cousins of Strawbs, Jethro Tull, Robert Plant, Roy Harper, Gary Brooker of Procol Harum, Pentangle, Gordon Giltrap, Andrew Cronshaw, June Tabor, Martin Simpson, Charlie Landsborough, All About Eve, The Mission, Fred Thelonious Baker, Catherine Howe and John Etheridge (guitarist with Soft Machine and Stéphane Grappelli) with whom he co-led the group 2nd Vision, whose record has been re-released on Blueprint Records (Voiceprint Records Group).(by wikipedia)


This is his first soloalbum, recorded for a small German independent label calles “Jeton Records” (so the liner notes are in German only). Together with Steve Richardson and Pete York (from “Pete York´s New York”) he recorded a very unique and exciting album with great instrumentals … sometimes he reminds me to the great Sugar Cane Harris.

This is not only a very rare record … this is highclass Jazz-rock, recorded in direct to disc procedure  (Direct-to-disc recording refers to sound recording methods that bypass the use of magnetic tape recording and record audio directly onto analog disc masters.)

In other words: This is a masterpiece !


Steve Richardson (bass)
Rick Sanders (violin)
Pete York (drums)


01. New Years Day Celebration (Sanders/Jiving Broth.) 7.09
02. Something (Harrison) 5.04
03. Every Little Thing She Does (Sting) 4.26
04. Ebony Slide (Richardson/Jiving Broth.) 4.52
05. Mother Nature’s Son (Lennon/McCartney) 2.37
06. Allois Manius Syneda + Don’t Fret (Sanders/Baker/Jiving Broth.) 9.43




Chet Atkins – East Tennessee Christmas (1983)

frontcover1East Tennessee Christmas is a Christmas album by guitarist Chet Atkins, released in 1983. He had recorded a Christmas release previously for RCA 22 years earlier. He covers some of the same territory in this release but with a smoother production.

Writing for Allmusic, critic Stephen Thomas Erlewine wrote of the album “… an accomplished but unremarkable holiday effort. Much of the album sounds too slick, and the song selection is a little too predictable for its good, making the record itself sound like it is something Atkins had done before… the overall album makes little impression, and only dedicated Atkins fans will need to add this to their collection. (by wikipedia)

And here´s another opinion:

Christmas is the time in our family to pull out albums that bring back warm family memories. Each album is cozy and familiar as a favorite blanket and the smell of Christmas baking. Every once in awhile a new song will add itself to the list as a family classic (like Mannheim Steamroller Christmas in the Aire .) But, usually we stick to the family faves. Chet Atkin’s East Tennessee Christmas album is one of our standards. I have no idea when the vinyl was purchased (sometime in the 80’s) and by whom, but it is a lovely soothing Christmas album and has a place of honor with Johnny Mathis, Bing Crosby, Andy Williams and Montovani Christmas Carols. The instrumental songs are perfect background music for baking and opening presents and dinner parties. It is not ‘in your face’ or ‘sing along’ or ‘schmaltzy’ Christmas music. You can’t dance to it and it is not the cutesy-poo-gagsome stuff that a lot of holiday tunes have turned into. It is quiet, elegant, and simple steelstring guitar picking by Chet with the occasional background chorus and limited symphony accompaniment. It is calming and slightly sleepy without descending to elevator music.

My favorite tracks are the ones that show off the guitar stylings of Chet sans chorus, “Silent Night”, “Christmas Song” and “I’ll Be Home for Christmas”.
The boys chorus in ‘Away in the Manger’ and “Little Drummer Boy” is unnecessary, but not wince-able. What I like most is that it is a melodious and unique spin on old favorites. And, let’s face it, who needs lyrics? We already know all of these songs by heart. (by Eclectico)


Chet Atkins (guitar)
David Briggs (keyboards)
Randy Goodrum (keyboards, vocals)
David Lawbaugh (drums)
Larrie Londin (drums)
Tony Migliore (keyboards)
Farrell Morris (percussion)
Bergen White (keyboards, vocals)
Paul Yandell (guitar)
Diane Tidwell – Donna McElroy – Hurshel Wiginton – Lisa Silver – Mrs. Edwards “Kids” – Steve Wariner
Nashville String Machine


01. Jingle Bell Rock (Beal/Boothe) 2.07
02. White Christmas (Berlin) 2.42
03. Let It Snow! Let It Snow! Let It Snow! (Cahn/Styne) 2.40
04. Winter Wonderland (Bernard/Smith) 2.42
05. The Christmas Song (Tormé/Wells) 3.10
06. I’ll Be Home For Christmas (K. Gannon/J.Gannon/Ram) 3.18
07. East Tennessee Christmas (Atkins) 2.47
08. Do You Hear What I Hear? (Regney/Baker) 3.24
09. The Little Drummer Boy (Davis/Onorati) 3.08
10. God Rest Ye Merry Gentlemen (Traditional) 1.22
11. Silent Night (Mohr/Gruber) 2.04
12. Away In A Manger (Traditional) 2.01




Ronnie James Dio – Live in San Jose (1983)

frontcover1Ozzy may be the Prince of Darkness, but Ronnie James Dio is the Elfin King of Evil!

After reigning as the lead ghoul in TWO prototypical metal bands – Black Sabbath and Rainbow – Ronnie James struck out on his own in 1983 ‘cuz he knew he could do it better. He certainly didn’t disappoint with Holy Diver, the first album from the band that could only be known as DIO. Like fellow black magicians Ozzy Osbourne and King Diamond, Dio had a preternatural ability to surround himself with virtuoso musicians capable of bringing his Medieval fantasies to fruition. As though the molten-metal assault of his band wasn’t enough, Dio augmented his arsenal with outrageous theatrics, including (but not limited to) explosions, smoke and fire, a castle, lasers and a sword fight with a 20 foot dragon. Yes, it’s that awesome.

All the finest moments from Holy Diver are brought to life here, plus a post-Ozzy Sabbath classic, and what would no doubt have been Dio’s signature theme if he hadn’t immediately crushed it with his solo debut: Rainbow’s “Man on the Silver Mountain.” All are flawlessly executed by Ronnie James’s team of ringers, with the notable exception of a showy drum solo by Vinny Appice, which offers little more than an opportunity for the faithful minions to queue up for the toilet without missing a second of their leader’s screed.

Performance values and technical ability have been all but abolished from rock ‘n’ roll. Attempting anything even remotely approximating a Dio show could potentially get a band laughed off the stage – and that’s what makes it great. It takes guts and no small amount of talent to pull this off, and if done correctly, no one can deny its entertainment value. So, stand up and shout! This is DIO! (by concertvault.com)


Vinny Appice (drums)
Jimmy Bain (bass)
Vivian Campbell (guitar)
Ronnie James Dio (vocals)
Claude Schnell (keyboards)


01. Stand Up And Shout (Dio/Bain) 5.59
02. Straight Through The Heart (Dio/Bain) 4.37
03. Shame On the Night (Dio/Appice/Bain/Campbell) 5.42
04. Children Of The Sea (Dio/Iommi/Butler/Ward) 6.34
05. Holy Diver (Dio) 8.33
06. Stargazer (Blackmore/Dio) 4.01
07. Heaven And Hell (Dio/Iommi/Butler/Ward) 16.00
08. Rainbow In The Dark (Dio/Appice/Bain/Campbell) 4.49
09. Man On The Silver Mountain (Blackmore/Dio) 9.08


Alternate frontcover


Big Country – Live Barrowland Glasgow (1983) (VHS rip)

frontcoverThis energetic show was recorded on New Year’s Eve 1983 in Glasgow, Scotland, near Big Country’s hometown. The show opens with the sounds of rain, thunder and lightning. After an earsplitting crash, the effects slowly fade, and the band breaks into “One Thousand Stars.” Big Country’s trademark guitars in their “bagpipe” mode cut through the song’s intro, leading into Adamson’s passionate vocals. The rest of the show is propelled by the band’s powerful rhythm section and the interplay between the twin guitar action of Adamson and Watson.

“We recorded that show at a venue called Barrowlands in Scotland,” said Mark Brzezicki. “When we tour, the gig we always look forward to is the gig on our home turf. The response at that gig is always exceptional.” “I was aware that I had to play me arse off during that period,” Brzezicki adds, “because we were coming off an important tour for us. Everything kept getting moved during that gig. There was a surge of people from the front of the stage. Complete mayhem, and the hottest gig I have done ever.” “Angle Park,” “Lost Patrol,” “Fields Of Fire” and the signature “In A Big Country” are all here, making this recording a true testament to the quintessential Big Country live show of that era.

bigcountry01“The excitement going on in the room that night was really a Scottish thing,” says Watson. “We tried to make it a huge party, as much as possible. We had just gotten back after three months in America. We loved America but we were missing home. And this show was a homecoming.” The performance was held in a hired ballroom, or dance hall, similar to the legendary Roseland dance hall in New York City.

Steve Lillywhite (the platinum producer best known for his work with The Rolling Stones and U2) was the engineer on recording of the show. Lilywhite had produced the band’s first two albums, and wanted to be part of this historic performance. “We knew that the show was going to be taped and shot on video and it was going to be broadcast live around the world, and in the States on the King Biscuit Flower Hour,” says Stuart Adamson.(by concertvault.com)

The best concert ever. we need it released. I was there and it was the best night of my life.(by h m forrest)


Stuart Adamson (vocals, guitar, piano)
Mark Brzezicki (drums)
Tony Butler (bass; background vocals)
Bruce Watson (guitar, vocals)
Dundonald & Dysart Pipe Band


01. One Thousand Stars (Adamson/Brzezicki/Butler/Watson) 4.25
02. Angle Park (Adamson/Watson) 4.32
03. Close Action (Adamson/Brzezicki/Butler/Watson) 4.13
04. Lost Patrol (Adamson/Brzezicki/Butler/Watson) 4.48
05. Wonderland (Adamson/Brzezicki/Butler/Watson) 4.10
06. The Storm (Adamson/Brzezicki/Butler/Watson) 5.16
07. Dundonald & Dysart Pipe Band Sequence (Traditional) 3.40
08. Porroh Man (Adamson/Brzezicki/Butler/Watson) 7.51
09. Chance (Adamson/Brzezicki/Butler/Watson) 5.56
10. Inwards (Adamson/Brzezicki/Butler/Watson) 05:54
11.  Fields Of Fire (Adamson/Brzezicki/Butler/Watson) 6.38
12. Harvest Home (Adamson/Brzezicki/Butler/Watson) 4.38
13. Tracks Of My Tears (Robinson/Moore/Tarplin) 3.15
14. In A Big Country / Auld Lang Syne (Adamson/Brzezicki/Butler/Watson/Traditional) 8.13





Prince And The Revolution – Purple Rain (1984)

FrontCover1Purple Rain is the sixth studio album by American recording artist Prince, the first to feature his backing band The Revolution, and is the soundtrack album to the 1984 film of the same name. It was released on June 25, 1984 by Warner Bros. Records.

Purple Rain is regularly ranked among the best albums in music history. Time magazine ranked it the 15th greatest album of all time in 1993, and it placed 18th on VH1’s Greatest Rock and Roll Albums of All Time countdown. Rolling Stone magazine ranked it the second-best album of the 1980s and 76th on their list of the 500 Greatest Albums of All Time. Zounds magazine ranked it the 18th greatest album of all time. Furthermore, the album placed 4th in Plásticos y Decibelios’ list of The Greatest Albums of All Time. In 2007, the editors of Vanity Fair labeled it the best soundtrack of all time and Tempo magazine named it the greatest album of the 1980s. In 2012, Slant Magazine listed the album at #2 on its list of “Best Albums of the 1980s” behind only Michael Jackson’s Thriller. That same year, the album was added to the Library of Congress’s National Recording Registry list of sound recordings that “are culturally, historically, or aesthetically important”.

The two main songs from Purple Rain, “When Doves Cry” and “Let’s Go Crazy”, topped the US singles charts and were hits around the world, while the title track went to number two on the Billboard Hot 100.

The 1000th issue of Entertainment Weekly dated July 4, 2008 listed Purple Rain at number one on their list of the top 100 best albums of the past 25 years. In 2013, the magazine also listed the album at number two on their list of the 100 Greatest Albums ever The RIAA lists it as having gone platinum 13 times over. To date, it has sold over 22 million copies worldwide, becoming the sixth best-selling soundtrack album of all time.


Purple Rain was released by Warner Bros. Records on June 25, 1984, and was Prince’s sixth album. Prince wrote all of the songs on the album, some with the input of fellow band members. “I Would Die 4 U”, “Baby I’m a Star” and “Purple Rain” were recorded live from a show on August 3, 1983, at the First Avenue club in Minneapolis, with overdubs and edits added later. This marked the first time Prince included live recordings on any release.The show was a benefit concert for the Minnesota Dance Theater and featured the first appearance of guitarist Wendy Melvoin in Prince’s band, The Revolution.

Purple Rain was the first Prince album recorded with and officially credited to his backing group The Revolution. The resulting album was musically denser than Prince’s previous one-man albums, emphasizing full band performances, and multiple layers of guitars, keyboards, icy electronic synthesizer effects, drum machines, and other instruments. Musically, Purple Rain remained grounded in the Minneapolis sound and R&B elements of Prince’s previous work while demonstrating a more pronounced rock feel in its grooves and emphasis on guitar showmanship. As a soundtrack record, much of the music had a grandiose, synthesized, and even—by some evaluations—a vaguely psychedelic sheen to Prince3the production and performances. The music on Purple Rain is generally regarded as the most pop-oriented of Prince’s career, though a number of elements point towards the more experimental pop/psychedelic records Prince would record after Purple Rain. As with many massive crossover albums, Purple Rain’s consolidation of a myriad of styles, from pop rock to R&B to dance, is generally acknowledged to account in part for its enormous popularity.

In addition to the record’s breakthrough sales, music critics noted the innovative and experimental aspects of the soundtrack’s music, most famously on the spare, bass-less “When Doves Cry”.[citation needed] Other aspects of the music, especially its synthesis of electronic elements with organic instrumentation and full-band performances (some, as noted above, recorded live) along with its landmark consolidation of rock and R&B, were identified by critics as distinguishing, even experimental factors. Stephen Erlewine of AllMusic writes that Purple Rain finds Prince “consolidating his funk and R&B roots while moving boldly into pop, rock, and heavy metal” and identifies the record’s nine songs as “uncompromising…forays into pop” and “stylistic experiments”, echoing general sentiment that Purple Rain’s music represented Prince at his most popular without forsaking his experimental bent.


“Take Me with U” was written for the Apollonia 6 album, but later enlisted for Purple Rain. The inclusion of that song necessitated cuts to the suite-like “Computer Blue”, the full version of which did not earn an official release, although a portion of the second section can be heard in the film Purple Rain, in a sequence where Prince walks in on the men of The Revolution rehearsing. The risqué lyrics of “Darling Nikki” contributed to the use of Parental Advisory stickers and imprints on album covers that were the record label’s answer to complaints from Tipper Gore and the Parents Music Resource Center.[10][11][12]

“There’s every emotion from the ballad to the rocker,” observed Jon Bon Jovi. “All the influences were evident, from Hendrix to Chic.”

Prince won two Grammy Awards in 1985 for Purple Rain, for Best Rock Vocal Performance by a Duo or Group and Best Album of Original Score Written for a Motion Picture or TV Prince5Special, and the album was nominated for Album of the Year. Prince won a third Grammy that year for Best R&B Song (songwriter) for Chaka Khan’s cover of “I Feel for You”. Purple Rain also won an Oscar for Best Original Song Score in 1985.

Purple Rain sold 13 million units in the United States, including 1.5 million in its debut week, earning a Diamond Award from the Recording Industry Association of America. According to Billboard magazine, the album spent 24 consecutive weeks at #1 on the Billboard albums chart (August 4, 1984 to January 18, 1985), becoming one of the top soundtracks ever. Purple Rain traded the #1 album chart position with Bruce Springsteen’s Born in the U.S.A. twice, during 1984 and 1985. The album has sold more than 20 million copies worldwide. The album further established him as a figurehead for pop music of the 1980s.

Singles from the album became pop hits worldwide, with Prince scoring four US Top 10 singles from the album. Of them, “When Doves Cry” and “Let’s Go Crazy” reached #1, “Purple Rain” reached #2, and “I Would Die 4 U” reached #8. The fifth and final single “Take Me with U” reached #25, but became a top 10 hit in the United Kingdom, meaning all Purple Rain singles became worldwide hits.


Lisa Coleman (keyboards, vocals)
Matt Fink (keyboards)
Brown Mark (bass)
Wendy Melvoin (guitar, vocals)
Prince (guitar, vocals)
Bobby Z. (drums, percussion)
Apollonia (vocals on 02.)
David Coleman (cello)
Jill Jones (background vocals)
Suzie Katayama (cello)
Novi Novog (violin, viola)

01. Let’s Go Crazy (Prince) 4.39
02. Take Me with U (Prince) 3.54
03. The Beautiful Ones (Prince) 5.13
04. Computer Blue (Prince/Nelson/Wendy/Lisa/Fink) 3.59
05. Darling Nikki (Prince) 4.14
06. When Doves Cry (Prince) 5.54
07. I Would Die 4 U (Prince) 2.49
08. Baby I’m A Star (Prince) 4.24
09. Purple Rain (Prince) 8.41
10. Purple Rain (live 1983) (Prince) 13.34




Prince Rogers Nelson (June 7, 1958 – April 21, 2016)


I never meant to cause you any sorrow
I never meant to cause you any pain
I only wanted one time to see you laughing
I only wanted to see you laughing in the purple rain

Purple rain, purple rain
Purple rain, purple rain
Purple rain, purple rain
I only wanted to see you bathing in the purple rain

I never wanted to be your weekend lover
I only wanted to be some kind of friend, hey
Baby, I could never steal you from another
It’s such a shame our friendship had to end

Purple rain, purple rain
Purple rain, purple rain
Purple rain, purple rain
I only wanted to see you underneath the purple rain

Honey, I know, I know, I know times are changin’
It’s time we all reach out for something new, that means you too
You say you want a leader, but you can’t seem to make up your mind
And I think you better close it and let me guide you to the purple rain

Purple rain, purple rain
Purple rain, purple rain
If you know what I’m singin’ about up here, come on raise your hand
Purple rain, purple rain
I only want to see you, only want to see you in the purple rain