Episode 104 - The Jimi Hendrix Experience - Electric Ladyland (Part 1)

[00:00:05] Speaker A: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only. Notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now onto the Rock Roulette podcast. [00:01:14] Speaker B: Hey everybody, welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1300 albums, stuck it in a list, stuck them in a wheel. And typically every day of the week we spin the wheel. She picks an album for us and we go through it side by side, track by track. And we talk about the music, the lyrics and the production. But this week we will also speak about melody because Mark likes to call it the Bush effect. Where some of the lyrics were good, some of the music was okay, but some of the melodies were. So that does have an effect on the song. And in case you couldn't guess, we did do bush, Razor blade suitcase last week. But before we kind of get into all that, we do want to say that this is our two year anniversary episode. So we have four people with us today, which is great. We have Mark. Oh hi Mark. [00:02:09] Speaker A: What's up guys? [00:02:10] Speaker B: We have Steve. [00:02:12] Speaker A: Steven, behave yourself. [00:02:15] Speaker C: Stephen, behave yourself. [00:02:18] Speaker A: What up? [00:02:20] Speaker B: We have Frank. [00:02:22] Speaker D: My name is Frankenhein and I'm sexy. [00:02:38] Speaker C: Hello everybody. [00:02:40] Speaker B: And I'm Sav. [00:02:41] Speaker A: Ciao Buenos Aires. [00:02:42] Speaker B: So before we go into some of the newer stuff, just want to circle back. And Mark, what was your overall opinion of Razor Blade suitcase? [00:02:55] Speaker A: I still only remember two songs from that record, or maybe three. And just not to change it up, but the bush effect now has put in melody and arrangement. So now instead of three ratings there's gonna be lyrics, melody, music, arrangement, production. Because there was so much jumbled up shit in that last record that we couldn't separate lyrics from Melody because we didn't have a. We don't have a rating of it. So Bush has forced us to separate our stuff out because that's just the way it is. So from now on that's going to be starting after our two year we're making a little bit of a tweak and that's going to be the tweak from now on. Five. Five ratings. [00:03:41] Speaker B: The two year tweak. [00:03:43] Speaker A: Yeah. It's just, unfortunately, was no way for us to separate it. Yes. Last week. [00:03:47] Speaker B: Yeah, there was some good. There was some good lyrics. I think overall, the lyrics probably got the best lyrics in production, probably got the best votes. We just. At least I did. I felt like it was. It was a rushed record. It just felt like there were bits and pieces that were floating around. They're like, well, let's put this here. Let's put this there. So, I mean, I like the sound of it. I thought the. The production was pretty good. It definitely was raw, but it sounded powerful. But, yeah, I mean, some of the melodies especially. I mean, some of them were exactly the same, whether they fit the song or nothing, so a little disappointing. I mean, especially considering anybody who likes the first record, so. Well, I'm just gonna start. Steve, do you have any recollection of the record or at all? [00:04:35] Speaker E: Maybe a song or two? [00:04:37] Speaker B: Like swallowed probably? Right. [00:04:39] Speaker E: Yeah. [00:04:42] Speaker B: Not really frank anymore recollection or. [00:04:46] Speaker C: I. I do. [00:04:47] Speaker B: Yeah. [00:04:47] Speaker C: So what's odd is that mark kind of touched on this when this album was out. They were still songs on the charts from the previous one. So you kind of had, like, two albums at the same time. But I do remember one or two songs on this one. Overall, I'm not. I don't recall it being one of my favorites, but again, I don't remember because there was just so many songs on the charts during that time. [00:05:13] Speaker B: Yeah, I mean, listen, it could be one of those records where it's like, well, the first one was polished. It was pop, you know, kind of had these hooks and stuff. This is a little bit more loose. So, I mean, I can absolutely see people saying, well, I like this one better, which some people did. I mean, some people called it a masterpiece that was reading online, I mean, teach their own. Mark and I were just kind of not digging it overall. But listen, again, not to knock them. The guy can write a song. And, you know, we saw them live and they were great. So especially him. I mean, he ran around the whole crowd. He was literally, I mean, I would say, 2ft away from us. So they put on a great show, and I actually added one of the songs I'd never heard of onto my playlist. Why don't you listen to it a lot? Which is sound of winter, which is a few albums down the line, so. But you know what? That's in the past. So, again, welcome to our two year anniversary episode. Can't believe it's two years. But just to show time passes by incredibly, incredibly quickly. So maybe before we get into what we're going to do, which anybody. [00:06:25] Speaker E: Oh, shit. [00:06:26] Speaker B: Hey, man, did someone get our phone again? [00:06:29] Speaker A: I think so. [00:06:32] Speaker B: Mark, you better answer it. Mandy. [00:06:48] Speaker A: Hello? [00:06:49] Speaker D: Hello? Can you hear me? [00:06:51] Speaker B: Hello? Hello? [00:06:53] Speaker D: Great. Hey, guys. It's Jimi Hendrix again, tuning in from the great beyond to celebrate rock roulette's two year anniversary. It's been a wild ride, and I'm digging the vibe. Keep the music loud and the spirit of rock and roll alive. Let's keep on rocking and rolling, and don't forget to push the boundaries and make some magic, peace, love, and groovy riffs to you all. Now, if you will excuse me, I must be on my way. [00:07:35] Speaker B: Wow. So do we know where he's calling from? Because that sounded like in between the two spaces. That was like rock and roll limbo. It's like God wants to let him in, but he's like, jimmy, you gotta cut the feedback, man. But I'm glad that he. [00:07:55] Speaker A: Boise. Boise. Bop. Titty bop. Look at all the people here tonight. [00:07:59] Speaker E: Hey, guys. [00:08:00] Speaker A: David Lee Roth here, and I'm pumped to be calling in to celebrate your two year anniversary. It's been a wild ride, and I've been loving every minute of it. You guys are bringing the energy, the style, and the rock and roll flare that keeps things exciting. Keep on rocking, and remember to live life with that larger than life attitude. Here's to many more years of high octane fun and fantastic episodes. Remember, money can't buy you happiness, but it can buy you a yacht big enough to pull up right alongside it. Success is never final, and failure is never fatal. It's not about whether you win or lose, but about how good you looked. Before I go, remember one thing. I won't go down in history, but I will go down on your sister. Bibbidi bop. I dropped my pencil. I don't feel tardy. [00:08:52] Speaker B: Ah, David. It's a good thing we're not. What's his name? Wolfgang. Or else he would have. He would have chewed us out. Call us like Jesus's son or something. I don't know. Is the phone gonna ring again? Or we could be done. All right, over here. I think we're. I think we're done. I don't hear the phone ringing anymore. [00:09:14] Speaker C: Yeah, I do have. I do have one question here, please. So we. So. So the podcast has been live for two years, right? [00:09:21] Speaker B: Mm hmm. [00:09:23] Speaker C: And how many albums have you covered. [00:09:26] Speaker B: Already so far on podcast? [00:09:28] Speaker A: How many would you like to know that hold on. Hold on. [00:09:31] Speaker C: Yeah. How many have we covered? How many? [00:09:33] Speaker A: Please hold. [00:09:34] Speaker B: And we have been live. We don't use any tracks on this show. [00:09:37] Speaker A: We promise you there is no tracks. [00:09:40] Speaker C: No tracks other than the pre recorded. [00:09:42] Speaker B: Ones that we play fully. Of course. Those are all tracks. Those are any of those songs. [00:09:47] Speaker A: We have done 55 albums. [00:09:50] Speaker C: 55 albums. And the number of albums went up to 1003. [00:09:58] Speaker B: No, 1300 around the list. [00:10:00] Speaker C: 1300. Oh, my God. I would expect it to come down at least a little. [00:10:08] Speaker A: No, no. [00:10:10] Speaker B: Mark keeps finding stuff to add. We're the ones. Eventually we're the ones that are going to be calling into other people's podcasts from the grave. We do one more. We still have 1000 albums left. [00:10:24] Speaker A: All right, well, the last thing we have to do, since he's not here, we have to play this for him. Ready? Here we go. Bring me Nick. Let's debate Nick. Come on, little Nicky titty baby. That's for Nick. [00:10:38] Speaker B: Is. Nick is definitely here in spirit. He's gonna be joining us as soon as he can. You know, he's just. The weekend nights have been a little bit. A little bit crazy for him, so. But he said he'll be back as soon as he can, so. Well, let's do two things. Let's first talk about since he called us, we will be doing traditionally Jimi Hendrix. Because the initial. The first episode we ever did was. Are you experienced? The second episode we did was Mark, what's the name of the second album? It's failing me now. [00:11:10] Speaker A: Axis Bald is love. [00:11:12] Speaker B: Axis Bald is love. So to keep on the tradition, we will now be doing electric lady land, Jimi Hendrix's third album. So, you know, not got any surprises. Anybody who's been following us, anybody who's actually paid attention, we thank you. If you said, hey, there are two years coming up to announce that. I wonder if they're going to do Jimi Hendrix. If anybody said that, please chime in because we love you. No matter who listens, we love you. So again, I didn't say it in the beginning, but thank you to all the listeners, especially anybody who's listened to us from the beginning, and maybe drop a note, say, hey, you guys have done this better. You guys have done this worse. Whatever it is, man. We can take criticisms or more. We're good guys like that. Big boys. We can take it. So. But before we jump into that, we do have a segment that we've been doing for the past couple of weeks, which we called new bets, where we've kind of had another list of things that we've mentioned that have seen that's new from certain bands within the genre, and unless I want to something specific, my song is already on the wheel that I was thinking of, so. But I figure let the wheel pick it in case it comes up. So, Mark, do you want to start the new bets. New bets segment? [00:12:32] Speaker A: Yes, I do. Here we go. In a world where new music is. [00:12:38] Speaker E: Not easy to find, welcome to new bets. [00:12:49] Speaker C: You know what that needs at the end of that? [00:12:52] Speaker B: More Cowbell? [00:12:53] Speaker C: No, no, it needs, like that. That one. I think it was like, the Muppets, Gonzo. And once the Muppets song was over, it would just blow that. The sax. [00:13:10] Speaker A: No. You know what he needs? [00:13:14] Speaker C: Oh, here you go. The rap horn. [00:13:17] Speaker B: So, Mark, what did it pick? [00:13:19] Speaker A: Oh, I don't know yet. [00:13:20] Speaker B: Oh, I did. Oh, that's just the intro music. I'm sorry. [00:13:22] Speaker A: That's just the intro music, guys. [00:13:24] Speaker B: I cannot see it because the way my hookup is. So we're gonna trust Mark to say. [00:13:30] Speaker A: Yeah, I'll do it for you. [00:13:31] Speaker B: Yeah. [00:13:31] Speaker A: All right, so hold on. Let me. Let me get this all. So, Frankie, so explain. So you're gonna have the wheel? You're gonna have the wheel do your thing? [00:13:39] Speaker C: Absolutely. Yeah. You know, the people have been sending in their requests, our new song review. So let's let the wheel pick it. [00:13:48] Speaker A: So are we ready for this? [00:13:50] Speaker C: Yeah. The people's wheel. We're gonna spin it. [00:13:52] Speaker A: The people's wheel. Here we go. Ooh. Everyone should like this. Jerry Cantrell vilified. Does anyone know this song? [00:14:18] Speaker B: No. No, I've never heard of it. I didn't even know I had something new. Cool. I think that makes four of us. [00:14:28] Speaker A: I don't. I don't think I. I think I may have heard a piece of this before I put it on, but I haven't listened to it, really, so. Alrighty. So let's try it. Here we go. So this is Jerry Cantrell vilify. [00:15:01] Speaker D: Sadeena. Oh, it's true. [00:15:58] Speaker A: You know, you don't realize how much he is part of Alison chain sound. Do you hear, like, solo stuff? [00:16:05] Speaker E: Yeah, I was gonna say this is very Alison chains esque. [00:16:08] Speaker B: Yeah, absolutely. [00:16:10] Speaker C: Yeah. [00:16:11] Speaker E: But if you're gonna do, like, solo something, don't you think you should do something a little different from, like, your main band? [00:16:16] Speaker A: That's not what the fans want, though. [00:16:18] Speaker B: Guess I don't know enough of his solo stuff, though, to know what it should sound like. I mean. I mean, it's. It's good. I mean, I like it, though. [00:16:28] Speaker E: Yeah, no, I'm definitely digging it. [00:16:30] Speaker A: Frank, what do you think? [00:16:31] Speaker C: I mean, I'm a huge Alice and chains fan, so I, you know, I automatically dig it. But to Steve's point, I do. Yeah, I agree with him. I mean, if you're gonna do a solo project, go out and do something completely different. Right? Like, last week, I just finished listening to a solo project by Andre 3000, who is the other half of. What's the name of the group? Outcast. Rock group outcast. You want to hear something completely different? Go listen to outcast, and then go listen to Andre 3000. [00:17:04] Speaker A: Totally different. [00:17:05] Speaker C: So I'm with you, Steve. [00:17:07] Speaker A: Yeah. All right, well, let's continue it. [00:17:15] Speaker D: Oh, what sad piston dragging home what is the. As if you don't know it's a hell of a show. [00:18:13] Speaker E: It'S a hell. [00:18:14] Speaker D: Of a shallow way as it grow. [00:18:23] Speaker A: It'S a hell. [00:18:40] Speaker D: Oh, my savior I fail you oh, my savior, I fail. [00:18:51] Speaker B: You. [00:19:03] Speaker A: Don'T. [00:19:08] Speaker D: Fly as if you don't know it's a hell of a shallow it's a hell of a shallow. [00:20:03] Speaker B: It'S. [00:20:03] Speaker D: A hell of a show. [00:20:16] Speaker B: It's good. [00:20:17] Speaker C: I like it. [00:20:18] Speaker E: That's catchy. Yeah. [00:20:19] Speaker B: That sounds like a good Alison chain song, right? [00:20:22] Speaker C: Yeah, yeah, it sounds like. It sounds. It sounds like a great Alison sing song. [00:20:29] Speaker B: Yeah, yeah. But I'm saying, if he's. If he's the main writer of that group, right. Let's say, like, riff wise and everything, if he has a style, he has a style. I mean, I don't know what the initial stuff was when he, um. I thought it was a little bit more southern rocky sounding towards the beginning, and maybe that's where he kind of wanted to separate himself, but it's his stuff, right? So he. If he writes in that style, and he can still write a good song in that style, I give him credit. And he did a lot of the background vocals anyway, right. When you thought kind of Lane Staley was just backing himself up, it was really Jerry Cantrell singing with him. [00:21:07] Speaker C: Yeah. And just to make that style still relevant 30 years later is incredible. And make it sound fresh that you want to rock out to it is incredible. He's touring. I think he's. I'm not too sure if he's touring with Bush or if he's touring with live in Stone Temple pilots, but I definitely know he's torn. [00:21:26] Speaker B: Mark, do you have any info on that? Like, who's playing with them or. I mean, the drums almost sound kind of. [00:21:31] Speaker A: Do you like the drums? [00:21:33] Speaker B: They're not bad. They sound kind of programmed. I could be wrong, though. [00:21:38] Speaker A: So the album's called I want blood. Trying to see who's playing. If it tells me who's playing on this, I'm looking. Talk amongst yourselves. Oh, wow. There's lots of people on it. It's guest performances from Duff McKagan, Robert Trujillo, Mike Borden and more interesting. So I guess he has a bunch of people on here. [00:22:04] Speaker C: So he kind of did like a Darrell's house hang in with Daryl, where he just invites a bunch of artists to hang out, jam out, then record it. Yeah. Excellent. [00:22:16] Speaker A: I guess. I mean, he has a bunch of solo stuff. Yeah, he has, like. He has like, um. I don't know, like five solo albums, something like that. This is the fifth one, I think. [00:22:26] Speaker B: Yeah, he's been doing this for a while, the solo albums. [00:22:29] Speaker A: And this is brand new. So this is. This just literally just came out. [00:22:32] Speaker C: 2027 Westward, I think, was his debut that he did back in 96, maybe. [00:22:40] Speaker B: Wait, the band? [00:22:41] Speaker A: No, boggy Depot was his first. Yeah, that's the first one. [00:22:47] Speaker C: Foggy depot. That was the stabbing. [00:22:49] Speaker B: Westford had one album that was amazing. I think it's like wither, blister pulling peel, something like that. [00:22:57] Speaker A: So I just added a whole bunch of Jerry Cantrell to the list. So there's more albums on there now. So if we. We may not end up getting one of his. Maybe someone else. It's good. Yeah, I like it. You know what? If new music could sound as good as that, I'd be happy, but it's generally not that good. Or it's not gone. It's not good enough for me. It's not good the way I like it. So. I mean, there's tons of music out there. I just. A lot of. It's just so samey. Same that. Like, when you hear this, you're like, wow, it's so different. But it's not really different. It's just. It's just good. I know. Hot take, whatever, I don't care. [00:23:30] Speaker B: I'm. [00:23:31] Speaker C: Well, the people. The people's wheel picked a good one. [00:23:35] Speaker A: Yep. It is a good one. [00:23:36] Speaker B: Do we have any other. Any other business before? [00:23:39] Speaker A: No, I was gonna get to electric lady land, if that is good for everybody. [00:23:42] Speaker E: Nice work. [00:23:44] Speaker A: So this is the last studio album by the Jimi Hendrix experience. It was produced pretty much solely by Jimi Hendrix. It's their biggest selling album. Has one of the biggest. Well, the best selling single all along the watchtowers on this. That's on side four. Technically, so. So basically, he engineered the whole. I mean, he engineer, Eddie Kramer engineered, but he produced this whole thing. So it's gonna go through a lot of. If no one's really familiar, it's gonna go through a lot of different of his kind of styles that he's, you know, do I want to say famous for? I guess I. It just goes through a whole bunch of his stuff. It's not very one one, you know, one thing. So I think you're gonna like it if you like the other ones. [00:24:31] Speaker B: Mark, how did you, being a major Hendrix fan, how does this rank for you in terms of the first three experience? [00:24:39] Speaker A: It's kind of hard, man. I mean, there's a lot of songs I like on here. It's. I mean, I don't. I mean, my top Hendrix thing can go. It can go move around, depending, but I'd say it does. It ends up my number one every, you know, depending on how I want to listen. It's very varied. Like, the first one, like, when we did our experience, that's very, like, poppy. Four minute to the point, right. By this point, he had kind of gotten control of his sort of. Kind of control of his music. So you'll have, you know, a 1 minute song, and then you'll have a 14 minutes song and you have a two minute song, and then you'll have three minute songs and four minute songs. So he was able to, you know, push the limits of, like, the recording stuff and do sounds that no one ever had on here before, like he did before. Him and Eddie Kramer kind of like, you know, everyone takes for granted. Like, I think we said that the last couple of records. Right. The Hendrix stuff, like, everyone takes for granted that you have all these things you can do. But when they were doing the records, they didn't have all that stuff they were making up as they went along. [00:25:40] Speaker B: Yeah. [00:25:41] Speaker A: So, you know. You know, you're gonna hear things like, oh, yeah, well, yeah, you can do that, but you only can do that because they figured out how to do it. It wasn't there, but when they were trying to record. So it's a rig. It's a really good record. It's. It's for. It's a four sided record, but there's a lot of short songs. So, you know, he's still kept in the short song thing. But he does stretch out. But when he stretches, like, it's funny. Like, it's four minutes, four minutes, two minutes, two minutes and then 14 minutes. So there's no in between. It's like, really short or really long. [00:26:15] Speaker B: Yeah. [00:26:16] Speaker A: So, yeah, it's. It's gonna be. If you have never listened to it, it's gonna be. I think you're gonna like it. [00:26:22] Speaker B: I mean, I know I have. I don't think I'm gonna remember every song, though. It's been a while. [00:26:28] Speaker A: Yeah. I mean, this is something, you know, this is something. If you sit down, you gotta kind of listen to the whole thing to kind of get the whole just. But, yeah, it's definitely different from the first one. The second one had a little bit experimentation, but it was still short. But this one being the last actual Hendrix experience record. You know, there's some other stuff. There's the posthumous record that came after this, after he died that he was working on. And there's a band of gypsies, which is not really Hendrix experience, and that's a live thing. Maybe we'll get to that one day if it ever comes up. Because basically Hendrix hasn't been picked in 103 episodes. Right. Unless we picked it. [00:27:05] Speaker B: No, he said he's actually never come up on the wheel. Like, it wasn't even where I was like, oh, hendricks him up? No, but we're saving that for the anniversary. He's never officially come up on the wheel. [00:27:17] Speaker C: Watch it come up next week, probably. [00:27:20] Speaker B: Yeah. [00:27:21] Speaker A: All right, are we ready? [00:27:23] Speaker E: Yeah, ready. [00:27:24] Speaker A: So who's gonna read lyrics? Is gonna be Steve? Is it gonna be frankenous? Who's gonna do it? [00:27:27] Speaker B: I think they should try to read them at the same time and see. [00:27:29] Speaker E: If they can sink synchronization. [00:27:33] Speaker C: I think it should be Steve. I like his macho man voice. Randy. Macho man. Sad when he reads it out later. [00:27:39] Speaker B: Plus, I mean, Steve got a shout out for the way he read social disease, which was lyrical. [00:27:45] Speaker A: Matt, I used by. [00:27:46] Speaker E: Yeah, very cool, man. Very cool. [00:27:50] Speaker A: Yeah, he enjoyed your reading of that. [00:27:52] Speaker E: Just gonna keep going then. [00:27:55] Speaker A: It's too funny. Oh, so we should mention his name again so Steve can know if whoever finds him on social media. Kyle Anderson. I'll read it again. The one positive of this is hearing Steve read the lyrics to social disease. [00:28:08] Speaker E: Nice. Thank you, Kyle. [00:28:10] Speaker A: Thank you, Kyle. [00:28:11] Speaker C: Nice. There you go. Thank you. [00:28:13] Speaker B: I promise you, Steve, that. That was my favorite part of that song, was you reading the lyrics. [00:28:21] Speaker A: Alrighty. So are we ready to do this? [00:28:25] Speaker E: Yep. [00:28:26] Speaker A: Okay. So the first thing is we actually can. We can actually. We can actually. We can actually do a review of even this thing, because now we have arrangement, so we can probably do music arrangement and production since this is like an intro thing. You can rate this. So here we go. So this is. And the gods made love. That's it goes in. [00:30:16] Speaker B: So they fucking around with tape speeds and stuff like that. Like that's what that sounds like, the real going fast. [00:30:20] Speaker A: And so this is what's really cool about this. So it's tape loops and phasing which like that stuff like really you couldn't like just plug it, plug a, like a pedal in, get phasing. They had to phase the tape by hand and loops of tape. And he said people were gonna criticize this track. So he put it at the front just to get it over. But you have to think like if you're there in 1968, you hear that like coming out of your stereo, like what do you think? [00:30:54] Speaker B: People probably stopping their cassette and fast forwarding like what's going on my tape is what? [00:30:59] Speaker A: Cassette. [00:31:00] Speaker E: It says vinyl. [00:31:02] Speaker B: Yeah, I know. Was it only vinyl? [00:31:06] Speaker C: Eight track. Eight track. [00:31:07] Speaker B: I was gonna say when did eight track come out? [00:31:10] Speaker C: When was a track came out? What was it for sale? A track? [00:31:16] Speaker A: I think it was later. [00:31:17] Speaker B: It sounds like someone's trying to recreate that sound right now on a bicycle. [00:31:26] Speaker A: Well, no, this true. It was in the mid sixties. They could have been an eight track, maybe. I, there was, there was real, real to reel vinyl. I guess there was a track, but hrack sucked. Those things are horrible. So. But you know, think, you know, think if you're a kid, a teenager in 1968, you put that on like what the fuck? How is he even doing that considering what everything else sounded like? [00:31:52] Speaker B: Like, wow. And my high feels even better. [00:31:55] Speaker A: Wow. Considering what all the rest of the music sounded like. Like what would you think about that, you know? [00:32:00] Speaker E: Yeah. Totally messed with your head. [00:32:03] Speaker A: Yeah, well, obviously I'm going to. So I guess we can only really do arrangement. There's no really music in there and production I would guess. Right. So I'm going to give it two tens just because I don't know how they even came up with doing that and how they figured out how to do that. Although reverse. They had reverse lyrics. Steve, did you look at the lyrics thing for that? [00:32:26] Speaker E: Yeah, nothing pops up. [00:32:28] Speaker A: It just says instrumental, mine says interlude. Ermit aram ino jaco. [00:32:34] Speaker E: What the fuck? [00:32:35] Speaker A: I don't know. De nosis e rafutus. [00:32:39] Speaker B: Well, it's backwards, right? Cause it's. Okay, one more time. Shut up for a second. [00:32:45] Speaker A: Was that what it is? Oh yeah, it is backwards. Okay, one more time. [00:32:52] Speaker B: Shut up for a second. [00:32:53] Speaker A: Shut up for a second. That's pretty funny, huh? Interesting yeah, reverse stuff. [00:33:00] Speaker B: It's Mittsback, man. It's satanic back masking. I could get the word out. [00:33:08] Speaker A: Well, I'm reading it. So I rated tens because I don't know how the hell you would even do that with the primitive technology they had. Anyone else going to rate? [00:33:16] Speaker E: Um. I don't know. I mean, I'm gonna kind of go with you and just go ten, because, like you said, like, the primitive technology. And I know what it's like trying to do something like that now. It makes it very easy, but back then, you had to literally do everything differently, and you had to, like, take the reels and slow them down and then. Yeah, so I'll say a ten on that one. [00:33:43] Speaker B: So the ten is based on mark, the arrangement. [00:33:47] Speaker A: Arrangement and production, I guess, because there's really nothing else you can do. Right? There's no real music on there, so. [00:33:55] Speaker B: So this is a little bit hard for me to. I think, for work, I would give it a take. You know what I mean? For what they did. I wish. And I'm not trying to sound whatever, but I wish it was a little bit more there. You know what I mean? Because you kind of went to this point. But imagine if there was, like, guitars in there and whatever, you know what I mean? Whatever it was where even just fuller sounding. That makes sense. So it's cool. But I think that he could have done and even did more. I mean, this probably shit coming down the pike on this album, that'll be like, oh, my God. But there was stuff I felt even on the last one where you're like, holy shit. What the fuck? So I'm gonna say. Yeah, I'm gonna say ten, seven. I'll be a little judgy. Ten, seven. [00:34:46] Speaker A: Which is the ten? Which is the seven? [00:34:48] Speaker B: I don't know. Like I said, I give it a ten for work. For the cool factor. [00:34:57] Speaker A: Me and Steve are still keeping it in the ten right there. So with our 210s, it doesn't matter what he does. Steve. [00:35:03] Speaker B: That's it, Frank. [00:35:06] Speaker C: Yeah. I try to figure out exactly what I just finished hearing there. As far as production, I mean, wouldn't you say this was 68, Mark? I think. Yes, 68. So to create that kind of a sound, I mean, I gotta give that an eight right there. And production time, I'm gonna give that a seven. [00:35:29] Speaker B: Yeah. [00:35:29] Speaker C: Seven. [00:35:30] Speaker B: My scores weren't so bad, eh? [00:35:33] Speaker A: Right, Steve? It's okay. Means these 1010s kind of, like. Kind of, like, held it up. Yeah. I mean, I can understand why he put it at the beginning. So he just wanted to get it out of the way, because people are probably gonna criticize that, probably back in the day. Like, what's the stupid shit that he's doing? [00:35:48] Speaker B: It's like a little thing, though, I think, to start with. [00:35:51] Speaker E: Oh, yeah. [00:35:52] Speaker B: Kind of like draw them in and be like, wait, what the hell is this? [00:35:56] Speaker A: 100% no. All right, so now let's get to a real song. This is a quickie. Two minute and 10 seconds. Have you ever been to electric lady land? Title track. [00:36:14] Speaker D: To electric lady Land. The magic copper queen for you so don't you be late in motion. I wanna try to sound emotions. [00:36:53] Speaker A: Groovy. [00:36:55] Speaker E: Super groovy. [00:36:56] Speaker B: There's a differ. There's an r and b feel to that. [00:36:59] Speaker A: Oh, yeah. Well, this comes. This is all his stuff when he was touring back on, before he was, you know, Jimi Hendrix with all the Eisenhowers and all that kind of stuff. Like, you got falsetto. He's got that. That is very. It's a very pop. So poppy. Right. Very popular. [00:37:17] Speaker B: I mean, and it doesn't. It doesn't sound forced, right? Because you think about the guy who did purple haze, right, and foxy, foxy lady, and then you hear this. You're like, okay, this sounds just as good. He can do. He can do r and b, and so. And he's done it before. I mean, obviously, having listened to the other stuff, he has. We have talked about where he kind of shows his roots, but this is really not. I mean, it's good. I'm, like, got my eyes closed and I'm, like, swaying. [00:37:46] Speaker A: Bass playing is good now. I think he. Jimi Hendrix recorded most of the bass on this. It says Noel Redding is playing bass, but from what I can gather, he may have played most of the bass on this. [00:38:02] Speaker B: On the whole album. [00:38:04] Speaker A: Yeah, I kind of think so. Hmm. [00:38:08] Speaker B: But drums are all still Mitch Mitchell. [00:38:10] Speaker A: Oh, all Miss Mitchell. Yeah. [00:38:12] Speaker B: Okay. I don't want to be handling the guy compliments again and be like, no, that's, you know, John Smith. [00:38:19] Speaker A: So this is how. No, Redding, you know, cut his nose off. Despite his face, Redding, who had performed his own band in mid 68 called Fat Mattress, found it increasingly difficult to fulfill his commitments with the experience. So Hendrix played many of the bass. [00:38:33] Speaker B: Parts, but no, Redding was still, um. I guess a live bass player. Right. He still. Did he go on tour with him? [00:38:40] Speaker A: You know, I think so, yeah. I'm pretty positive at this point. Yeah, I think. I think he did. I mean, obviously, I wasn't alive, but my assumption is, yes, but. But, yeah, it's so smooth and, like, his guitar playing is so, like, clean and so, so much of an r and b feel in that. So very, very effortless. Like, you don't think he's, like, forcing this out? Like, you hear some people who, like, like, try to go into, like, areas where they shouldn't go, and you can, like, hear it where he just kind of goes in between, like, the psychedelic rock heavy thing to this. Yeah, and his vocals sound good, too, usually, you know, people like, you know, bust his hump about vocals, but I thought it was good on. [00:39:24] Speaker B: Yeah, but it fit the music, though. You know what I mean? I. I think we probably mentioned this, too, before, right? If you. If you listen to Hendrix and you take his songs and let's say he had a singer, another singer, right? I don't know. They probably not. Not that. I mean, obviously he would still shine as a guitar player and songwriter, but I just think that you need to hear him. And again, it's just like hearing, you know, somebody else sing. Like Dylan, if Dylan was writing, but somebody else was singing, like, no matter what his vocals were. I don't know, it's just there's a charm to it that, to me, adds to the song. [00:39:59] Speaker A: So, Steve. [00:40:01] Speaker C: Yes. [00:40:03] Speaker A: Lyrics, please. [00:40:04] Speaker E: All right. Have you ever been, have you ever been to electric lady land? The magic carpet waits for you so don't be late oh, I want to show you the emotions I want to run you the sounds and motions electric woman waits for you and me that's as far as we got, right? [00:40:28] Speaker A: Okay. I think so. And the melody is so good, though, too. See, opposite of last week. Right. The melody. I mean, there's not a lot of lyrics, but when you read the lyrics, like, you can hear the melody in your head. [00:40:38] Speaker C: Yeah. [00:40:39] Speaker A: So it's just so. It's just so good. I mean, to me, this has got to be as far as a rock goes like this. Like, you know, outside metal, but rock, and it's got to be top ten record. I mean, we're only one song in, as far as I'm concerned. So when you hit the rest of. [00:40:53] Speaker E: It, I want to hear it. [00:40:55] Speaker B: Yeah, well, I mean, there's some big name stuff on this record, man. [00:40:58] Speaker A: Uh huh. Yes. Stuff that. It's just like, album track. That's just so good. Even though it's Alan, I don't find. He has a lot of filler. Even though there's album track there, I don't find it to be a filler. He doesn't have a lot of filler songs. [00:41:11] Speaker B: No. [00:41:12] Speaker A: All right, let's continue. It's only two. It's only two minutes and 1 minute something left. It's a very short song. Actually, I'm gonna say this probably again, there are some songs you're gonna want it to continue longer, and it ends up. And ends up not being. Not being long enough. [00:41:27] Speaker D: So it's time we take a ride we can cast all your heads over the sun side while we fly right over the love field sea look up ahead I see the loveland do you understand prison I want to show you I want show you. [00:42:39] Speaker A: I want show. [00:42:40] Speaker D: You. [00:42:50] Speaker B: Yeah, that was really quick. That sounded less than two minutes, honestly. [00:42:53] Speaker A: No. See, and that's the part where I said, you see what? You're just getting into it, and then it fades out. You're like, fuck, yeah. That has to go a little bit longer. [00:43:00] Speaker C: Yeah. [00:43:01] Speaker A: You know, this is already a double album, so I guess, you know, the vinyl format constricted him to, you know, he couldn't really stretch out as much as he would have done nowadays. Right. Because you wouldn't have any, like, limitation. [00:43:13] Speaker E: True. [00:43:15] Speaker A: Yeah. So Steve finished the lyrics up. [00:43:18] Speaker E: It's gonna be fun. So it's time we take a run sign. We take a ride. You cast all your hang ups over the side while we fly over the love filled sea. Look up ahead I see you love land soon you'll understand yeah, yeah, yeah, yeah make love make love make love make love no. Okay. I was thinking I was going to try to go all high for that. I want to show you but I can't. I want to show you the angels will spread their wings spread their wings I want to show you good and evil lay side by side while electric love penetrates the skyd I want to show you lord, Lord, lord I want to show you I want to show you I want to show you show you yeah, yeah. [00:44:19] Speaker A: Okay. [00:44:24] Speaker B: So, Mark, does he. Is he just doing the background or is anybody. [00:44:28] Speaker A: Well, he's definitely doing the background. [00:44:31] Speaker B: Yeah. [00:44:31] Speaker A: I'm trying to look here to see if it's saying, if any of the other people are doing background on that song. I'm looking here. Back ring vocals. I think it's just him on that. It looks like. Yeah, just him on that. [00:44:47] Speaker B: I give him credit, man. I mean, there's different, like, tones, right, to going on. [00:44:52] Speaker A: Yeah. Yes. There's, like, falsetto he's doing. And he's doing lots of stuff. And. Did you hear the drums now or no? [00:44:59] Speaker B: Yes. [00:45:00] Speaker A: Yeah, it's definitely Mitch Mitchell. You can hear. You can just. Just to hear the way he's playing. He's got that jazzy kind of swing thing going on. All right, Savina, you can go first. I'm gonna go last. [00:45:14] Speaker B: Trying to think about the lyrics. The lyrics are a little bit hard because it's like, eh. And they're like meh. I'm kind of like up a little bit. Up and down. Alright, so for music I'm going to say an eight production, I'm going to say seven. I like the melody. I'll say an eight on the melody and lyrics. I'll say seven. I was going to go six. But there's just some, some other lines in there that are trippy that I kind of think elevated a little bit more and makes it his. So yeah, that's what I'm gonna say. Whatever I just said is what I'm gonna say. Cuz I don't even remember because it's like, wait, there's four categories now, so. [00:46:04] Speaker A: But yeah, I mean, what about arrangement? [00:46:07] Speaker B: Oh, arrangement. I'll say an eight on arrangement as well. That's a really good song. I mean, it's just, it's just to me a really good r and b song. That's. That's. That's how I see it. I mean, I can. You can play this and, you know, it puts you in a mood. It gives you kind of like visions and things, so. Right, like his first album starts off with Purple Haze. [00:46:32] Speaker E: Right. [00:46:32] Speaker B: And what it was. What does axis boulders love start with? [00:46:35] Speaker A: Up from the skies. No, that's more of it. That's more of a b. Well, it does the first. That little intro thing. Exp. And then it goes up from the sky. So up from the skies is a little more upbeat. It's not as mellow as this, but. [00:46:46] Speaker B: I'm saying, you got that, you know, that tape stuff going. You got this metal thing going, right. And it's like, okay, like, where's he going with this? This is very. So, yeah, I mean, it's really good. I kind of remember this and I want to say if I do, I think I like it better now than when I remembered. So. [00:47:04] Speaker A: No, I'm saying, you know how I look at this is that I want it to continue. But it's. It. I find myself on this record. I said this before too, is I just start to get into the song and it's really good and then it fades out too quick because there's not enough room. You're like, God damn. What happens if the song would have went for three minutes. And not just 201 or whatever it is. [00:47:24] Speaker B: Yeah, I could have taken another minute of the song easily. Absolutely. [00:47:28] Speaker A: All right, so who's going next? [00:47:30] Speaker B: How about butters there, Frank? [00:47:32] Speaker C: You know, I've always considered Hendrix more of a rhythm and blues artist than a psychedelic rock artiste, so really love the song. Um, it kind of is the. It's the type of song I was laughing to myself because when it first started playing, it's the kind of song that you listen to, like, like soft seventies porn kind of a thing, opening song. So I started laughing there a little bit. Um, uh, but, uh, but overall, I like it a lot. I think I'm gonna give it. I'm gonna give it cinco eight s across the board. I can't say triple eight. So go single eights. It's just one of those songs where the lyrics fit the music perfectly and vice versa. And the composition is just great. The production is great. So all the way around. I'm gonna give a triple. I'm gonna give it cinco eight. [00:48:18] Speaker B: Frank took the easy way out. [00:48:21] Speaker C: No, no, no. It's just. [00:48:22] Speaker B: Hey, I almost could have gone that way too, so. I hear you, man. It's really. It's really good. [00:48:28] Speaker C: Yeah, it really is good. Like, the lyric and the music go, they're hand in hand. Like, you try to put that lyrics in another music and it's not gonna sound as great. And the other way around, it's just well written. And to your point, this could have been easily a four minute song. You will still enjoy it. But I like it. So, Steve. [00:48:47] Speaker E: Yeah. I think I'm going to mirror you with the five five. But eats because everything, everything was good. It was super smooth. She's super. I don't know, like the only complaint, like, I think we're all having right now is that it was too short. You know, wish it could have lasted a little longer, but, you know, everything was on point. The lyrics were kind of, like Frank said, kind of matching with music. And it just flowed. I liked the way it flowed and it's kind of just grooving along. So, yeah, gonna go five eights, Mark. [00:49:29] Speaker A: Actually, I'm a big Hendrix fan, so there's not gonna be surprising about how I rate this, probably. But as far as lyrics, I'm gonna do eight too, because it's super psychedelic. So I take it into the time it was made. But he does some interesting things in there. I mean, I think he always had interesting lyrics. So I'm gonna do eight. The melody I super like the melody so much. I'm gonna give that a nine. Cause I always liked the melody from this musicianship. I mean, I wanna say nine there because I like the phasing on the guitar. I like the bass playing, drumming. Everything's good. They feels there's other stuff going on, production wise in the back that I like. I'm gonna say eight on the arrangement because I wish it was longer. So the only reason it's an eight would be a nine, probably, if it was three and a half minutes, four minutes. But I want more of that song, and we're never going to get more of that song. And they faded out unless there is, you know, some extended stuff, which I may not know about. So there could be all your Hendrix people out there who are no bigger fans than me. Let us know if there's any extended electric lady Lane tracks that they actually produced. I'm not sure if there aren't because I don't have all the extra box sets and all that kind of stuff. So I don't know, production, I'm gonna give that a nine, too. Just because if you think about what they had to do to make the sound this way during this time, it's almost impossible feat. So I don't really know how easy this is. Even done now, even with all the modern technology stuff, I think it would still be hard to get the sound this way, obviously, because the player is too involved. So. So, yeah, so 9899 or what did I say? I'm saying 89989. That's a lot of things to put in. I'm only used to threes, not fives. But I like it this way because at least now we can break the melody out from the lyrics. Even if you don't like the lyrics, you might like the melody. So I kind of like that a little bit better. Alrighty, so let's. Let's do the next song, which is crosstown traffic. [00:51:52] Speaker D: 90 miles an hour girl is a speed I drive, you tell me it's all right you don't mind a little pain. You say you just want me to take you for a drive. [00:52:24] Speaker B: Yeah. I mean, clearly a classic. [00:52:28] Speaker A: Yep. [00:52:29] Speaker B: One of his most famous songs. [00:52:31] Speaker E: Yeah. [00:52:32] Speaker B: And I love that beginning where it kind of starts one way, then it goes both, and then it fades into the other way. But it's not perfect, right? When you listen to it, it kind of goes like that, but it's just so cool the way it starts and the way what it does in the beginning and that. I mean, I do like I know, Mark, you had mentioned one time we don't like where the kind of. Is a. Some of the vocals follow whatever, but when you have a cool riff like that and the do. Do you know he's singing to it. It just sounds so perfect. [00:53:05] Speaker A: Yeah, no, I don't have any. I have no criticism of that whatsoever. Now, this is definitely no writing on bass. You can hear the bass is pretty good on this, too. And there's a makeshift kazoo with a comb and a tissue paper. [00:53:19] Speaker E: Okay, I was gonna say it. Something kind of kazoo, like it's fate. [00:53:23] Speaker A: It's a made. It's a made. They made it up with a comb. Tissue paper. Because they didn't have a kazoo. And the background vocals are Noel Redding and Dave Mason, which is from traffic, right? [00:53:34] Speaker B: Oh, wow. [00:53:37] Speaker A: The guitars from traffic. So there were a lot. There's a lot of people on this record that just, like, showed up. And this. This, contrary to popular belief, was not recorded at electric lady land. So it was recorded. Yeah. No, well, they made the. They made the thing after it, actually. It was supposed to be a night. He wanted to make a nightclub, but Eddie Kramer convinced him to. To make a studio instead of a nightclub. [00:54:01] Speaker B: Was it recorded at acoustic lady man? [00:54:06] Speaker A: Olympic in London and Mayfair in London. The record plan in New York City. It's so different than the other song, but. But it's still a little bit of an r and b thing in there, right? Even though it's just not clean. [00:54:17] Speaker B: Yep. I saw that r and b vibe. [00:54:20] Speaker A: Steve, lyrics, please. [00:54:22] Speaker E: You jump in front of my car when you, you know all the time. 90 miles an hour, girl, is the speed I drive. You tell me it's all right you don't need a little pain? You say, you say you just want me to take you for a drive? You're just a little. No, you're just like. Yeah, I'll get this right. Crosstown traffic so hard to get through to you crosstown traffic I don't need to run over you crosstown traffic, all you do is slow me down I'm trying to get on the other side. [00:55:01] Speaker A: Of town didn't, um, the red hot chili peppers do a cover? This song. Was it on. Was it on mother's milk? When we did mother's milk? I forget. [00:55:10] Speaker B: I don't remember. [00:55:12] Speaker A: I don't remember if it is. Hold on. I'm gonna look right now, but I'm. [00:55:16] Speaker B: Lucky if I'm gonna remember what was on this record. The memories. [00:55:21] Speaker A: But I know they did a cover of it. No, it wasn't on there, but I know they did a cover of it. And, like, the late eighties. [00:55:27] Speaker B: Listen, you had me convinced that I. [00:55:29] Speaker A: Did hear it on that album, so I wasn't sure. So what do you think, Steve? [00:55:36] Speaker E: I mean, I dig it. I've heard this song before, and, you know, it's kind of like one of my favorites. And they kind of, kind of like that start where it's just kind of, like, builds in and goes, so. [00:55:48] Speaker A: Yeah, and this is the. And this is the. Not the remaster. This is what it sounded like in 68, so that's probably, you know, and like Sabino said, that stereo thing is not perfect. [00:55:58] Speaker E: Yeah. [00:55:59] Speaker B: But it's just cool. [00:56:00] Speaker A: Kind of like moving around. But supposedly, this was the first record that was totally in stereo for him. Interested? Yeah. I don't know if that's true or not. This is on Wikipedia, so take it for a grain of salt. But it's saying it's the first one that was mixed in stereo. I think it shows you how far back this was, right? How far. What you had to do to get things to sound like this. This. [00:56:19] Speaker E: Yeah, you're right. [00:56:20] Speaker A: All right, let's continue. Here we go. [00:56:22] Speaker D: I'm not the only souls accused of hit and run tire tracks all across your back. I can see you had your fun. But, darling, can't you see my signals turn from green to red? And with you I can see a traffic jam straight up ahead. You are just right. So hard to get through to you. [00:56:58] Speaker A: Before we go into the next part, I guess we'll have Steve Reed lyrics. But it's interesting how he uses the lyrics about speed and fast, about chasing women. Interesting how he, like, uses that wordplay and stuff and innuendo. Yeah. [00:57:16] Speaker B: Kind of reminds me of, like, prince and little red Corvette. It's like the pictures of all the jockeys that were there before me. [00:57:23] Speaker A: Mm hmm. [00:57:24] Speaker B: When he talks about the tire tracks. But the way he puts it here is interesting. [00:57:31] Speaker A: Yes, Steve. [00:57:34] Speaker E: All right. I'm not the only soul is accused of hit and run tire tracks cross your back I could see, I could see you've had your fun. But, darling, can't you see? My signals turned from green to red? And with you I see a traffic jam straight up ahead. You're just like crosstown traffic so hard to get through to you. Cross down traffic, I don't need to run over you crosstown traffic all you do is slow me down. And I've got better things on the other side of town. [00:58:08] Speaker A: Tire tracks, tire tricks. That's funny. I wonder. Prince, like, took that as, like, inspiration. And when he did little red Corvette, you wonder maybe. [00:58:18] Speaker B: I mean, you know, he was. He did some. He did some pretty good innuendos throughout his career. And the way he worded things, I do like the way he says, though. I can see you had your fun. It's. [00:58:28] Speaker A: It's. [00:58:28] Speaker B: You know what I mean? He kind of steps out of the melody a little bit, and he kind of just says it, almost speaking like, yeah, I've seen you had your fun. Like, who? You. You know. What are you trying to say about me? What about you? Kind of thing. [00:58:40] Speaker A: Sounds like there's, um, a little piano in this thing, too. Some piano. And I think that's Hendrix, too, from what I gather. He's everywhere here. He's like. He's like. He's like Dave Grohl in the first, um, foo Fighters records, playing everything. [00:58:53] Speaker B: Nice. [00:58:55] Speaker A: All right, let's continue. Here we go. [00:59:17] Speaker D: Out. [00:59:20] Speaker A: Cross. [00:59:34] Speaker D: Street. Yeah. [00:59:50] Speaker B: It'S funny. Like, I didn't want to chime in because it kind of felt like it was almost coming back again. Like, the volume knob, it's like they were lowering it, and then they kind of, like, went up a little bit by accident, then lower than went up by accident a little bit. I was like, wait, is this something? I don't remember specifically, but maybe it. [01:00:07] Speaker E: Comes back up cheese in it. [01:00:09] Speaker B: That's funny. Yeah. [01:00:11] Speaker A: And they're really, um. And they really use the stereo thing in that chorus. Thing was going back for back and forth to both sides. [01:00:20] Speaker C: Mark, you know, when you were saying about the red hot chili peppers, I thought you were gonna bring up the roller coaster of love. That was part, I think it was the Beavis and butthead soundtrack, I think. [01:00:31] Speaker B: Yeah, I'm pretty sure. [01:00:32] Speaker C: Rollercoaster. Like, if you listen to that, you listen here, you kind of draw some parallels. I think there's even a kazoo in that one. [01:00:39] Speaker A: Yeah, it's weird. Like, the guitar solo is there, but he's kind of, like, doubling it with that makeshift kazoo thing. I guess that's a ballsy thing to do. Even then. It is like, hey, let's put some kazoo in this and release. And release this as a single. Sure. [01:00:53] Speaker B: Can you imagine, though, like, going on tour as Jimmy's kazoo player? I'd be like, I can do this. [01:01:01] Speaker A: Let me audition. [01:01:02] Speaker B: Jimmy. [01:01:04] Speaker A: Here's a comb and a piece of tissue paper. Have a good time. All right, I'm gonna go last on all these. So who wants to go first? Somebody decide. [01:01:12] Speaker B: I think Steve should go first. [01:01:14] Speaker A: All right. [01:01:14] Speaker E: Steve might have to rope me through these two that we added. [01:01:19] Speaker A: Okay, so music. I mean, lyrics, melody, music. Arrangement, production. [01:01:26] Speaker E: Okay, I'll still forget, but, um. Let's say lyrics. Um, lyrics. I'm gonna give an eight because they're, I don't know, like Ruben's saying kind of clever, innuendo y kinda. I don't know, like, how it's written. So we'll say eight, uh, melody. Right? There's a cool melody to this. So we're gonna say. I don't know. I'm gonna say a two. I guess this melody kind of goes with the. Yeah, forgetting what I'm saying. Melody, lyrics. We're good. What's next? Melody. Lyrics. Music. Music was great. Like, I love how there was, um, so many different things going on in there. Like, uh, there was different guitars, there was the kids who. There was the bass, there was drums, the vocals. There's all kinds of things just going on in there. Uh, but it all kind of fit together. Um, I'm gonna. I'm actually gonna go with a nine on the music on this one. Um, production, I'll probably say nine because through all that that was going on, I could hear everything was clear and everything was kind of distinguishable. Even though, like, you know, the stereo thing was a little, at times, a little funny. But I'm gonna say nine and. Is that it or am I missing something? [01:03:09] Speaker A: Arrangement. [01:03:10] Speaker E: Arrangement. Um, I'm gonna say eight on arrangement. Two of them. So lots of eights and nines. Uh, seven. [01:03:21] Speaker B: Yeah. So lyrics? I'll say it's seven. And I mean, obviously the, you know, the wordplay, but I always liked that whole. The tire tracks across your back. I can see you had some fun kind of thing. Louie, he says in the way he delivers it. And I'm probably gonna go eights across the board and all the other ones just kind of make it simple. I mean, it's a great song and, I mean, I like it as much as the first one. I probably would have told you I like this one better going into this because, I mean, it is a great song, but I mean, just comparing it to the first one, I mean, I really like the first one. So I'm kind of, like, on the same, on the same level. So, yeah, I mean, it's a great song. I mean, you want to talk about a, you know, good one two punch with two songs that are kind of have that rv vibe but still kind of sound pretty different. So I give them credit, man. Frank. [01:04:16] Speaker C: Yeah. You know, I'm gonna give the lyric and the melody an eight. I just love all those little innuendos and things like that. I just love it. As far as production, arrangement and music, I mean, I'm gonna have to give those nine. I mean, seriously, you gave somebody a comb and a tissue and they made a sound that we're talking about generations later. And it's memorable. I mean, the creativity that has to go into doing that and the production to make it sound stand out and everything, like, just make the sound sound so good. You gotta give it a nine across those three categories. [01:04:52] Speaker A: Mark, I like going last here because I'd like to hear what everyone else says. Yeah, I'm gonna give eight on lyrics. I like the innuendo. It's not a lot of lyrics. Again, this is another song where it's only two something, 227. So it ends way earlier than I would like it to end. So I say lyrics and melody, probably eight musicianship. I'm gonna say nine, like Frank said. Like to just say, hey, we need a kazoo. We don't have that. You have a comb and some tissue. We can probably do that. So the. The way that they came up with things and made things up on the fly, because they had no choice and they had to. That's why production and probably music would be nine, an arrangement. I guess I'm gonna give that a nine too, just because it's a rain. The arrangement is great. It's perfect for what it is. Again, I wish it was a little longer, but I. It's one of my favorite songs and it's a really good one to punch. So. [01:05:45] Speaker B: Boom man by Cell Garden, when they had that guy with the spoons, I've been cool if it was like Kazoo man, but he was just doing that with the comb and a tissue at the end of the video. [01:05:58] Speaker A: Well, here is the big song on this side. So this is voodoo child, but not voodoo child. Slight return. That's the one you probably know, and everybody knows from this record, so. So voodoo child. This is 15 minutes, 1450, technically likely. Steve Winwood is on here. [01:06:17] Speaker E: Nice. [01:06:18] Speaker A: Jack Cassidy is playing bass from hot Tuna and Jefferson airplane. Mitch Mitchell on drums. And this is a. This is a. It's a muddy Waters blue song called Rolling Stone, but with original lyrics and music. It also. It evolved from the catfish blues that Hendrix played regularly during 19 67 68, which was an homage to muddy waters. So unlike some other band, which we haven't talked about yet, but me and Savino listened to the podcast on the way back from the Sammy Hagar show, he credited people and he rewrote all the lyrics and music. So even though it's based upon one, something else. [01:07:03] Speaker B: So it's not like his lyrics set to the music, to the original. It's kind of like a reworking. [01:07:10] Speaker A: Yeah, reworking, yep. So it's gonna be a long one. So I don't know how many. How much lyrics in here, Steve? But we'll see if I forget. I don't listen to this track that much because it's so long, but I'm excited to hear because I haven't heard in a long time. So here's voodoo child. [01:08:33] Speaker D: Well, the night I was born Lord, I swear the moon turn on fire red the night I was born I swear my mood turned off by your red well, my poor mother bright I thought the gypsy was right and I see the bell down right there mountain lion found me there waiting on morning walk out lions found me there except me on Eagles way Eagles way he took me past the gospel infinity and when he brought me back, he gave me Venus, which is free hey, and it's. [01:10:37] Speaker A: Okay. Before we get into that sixties gave. [01:10:40] Speaker B: Us so much good music, man. [01:10:43] Speaker A: But you want to hear some interesting things about this song, so. [01:10:46] Speaker B: Sure. [01:10:48] Speaker A: So it mixes two of his favorite things, which is Chicago blues and science fiction. So he put some science fiction stuff into here. It also, he used to go and jam it, you know, New York City clubs. So he was. He was jamming at the scene on May 2, 1968, and he brought a group of 20 people back to the studio. This is Jimi Hendrix. So he's a big entourage of people back. So Noel Redding gets all pissed off. He storms out, so he's not on the recording. They ended up, Steve Winwood and Jack Cassidy and another guitarist, Larry Corrella Coryell, were present. He didn't play, though, the other guitar player, he was invited, so he didn't want to. So basically, there was no chords, there was nothing. They just started to play and record. So this is what ended up coming out of just the recording. So all those people, those crowd noises, those are the people he brought with him. And there were like three takes a. They did three takes. [01:11:52] Speaker B: So, Mark, were the lyrics improvised on the spot, too, do you know? Or was it something he kind of had? [01:11:58] Speaker A: And they started to record at 07:30 a.m. after they got back from the club and three takes were recorded. The first one, they kind of got their levels. A second take, Hendrix broke a string, and then the third take provided the master. It was used on electric land. Music. Music writer John Perry claims there were at least six takes recorded, but several incomplete. I'm not sure if he doesn't say if he did the lyrics, like, then, or did it after. It doesn't say, but it was fairly, obviously fairly live. And all those people you hear there are basically the people he brought with him. [01:12:35] Speaker B: So, I mean, here's the deal. Right at the core of it, it's that typical kind of blues song, right, with the. That then, but with the repetition of. But again, I forgot who it was that we spoke about one time. I don't know if it was Stevie Rayvon or somebody else. And we said, where? It's like, if it's done right, it sounds good. You don't. You don't sit there going, oh, boy. Right. We've heard this so many times before, and, you know, it's just. I just think when it's done right like this, it just sounds really good. Yeah. [01:13:12] Speaker A: No, it's not fake sounding. It's. It is exactly what it is. [01:13:16] Speaker B: Yeah. And Steve Linwood is wailing, man. [01:13:20] Speaker A: He's good. Speaking of Steve's, though, we have our Steve. [01:13:25] Speaker B: Yeah. [01:13:25] Speaker A: Yes, and Steve. And Steve's gonna read some lyrics. [01:13:29] Speaker E: All right. Well, I'm a vital child lord, I'm a child yeah. Well, the night I was born lord, I swear the moon turned to fire red the night I was born I swear the moon turned fire red well, my poor mother cried out, lord, the gypsies were right and I've seen her fell down right dead have mercy. Well, the mountain lions found me there waiting and set me on eagle's back, o Lord well, the mountain lions found me there and they set me on the eagle's wing it's the eagle's wing, baby. What did I say? Well, you took me past the outskirts of infinity and he brought me back. He gave me Venus witch ring. [01:14:24] Speaker C: Hey. [01:14:24] Speaker E: Yeah. And he said, fly on flying. Because I'm a child, baby. Voodoo child. [01:14:31] Speaker A: Yeah, well, there's the science fiction part. See, that's. That's why it's so different. [01:14:36] Speaker C: Yeah. [01:14:36] Speaker A: He didn't just do, like, the blues things. He just threw, like, that weird, like, science fiction stuff in there in the middle of that. [01:14:42] Speaker B: Yeah, but it's just so up his alley. [01:14:46] Speaker E: Yeah. [01:14:46] Speaker B: I mean, Mark, this one in the. In the gatefold. Right. Doesn't have, like, some weird story that he kind of wrote to you wherever. Like, I heard the typewriters in the. Mirrored the room full of mirrors and. [01:14:57] Speaker A: Yeah. He. He was out there when it came to that kind of stuff. Yeah, but that's. But that's how we brought, you know, that's why, you know, he says that he kind of brought all that blues and psychedelic thing together into one. That's why they were, I guess, when all the, you know, english guitar players saw him, they were like, I don't know what the fuck we're doing now. Whatever they were doing, they were trying to do this right. But it was just so authentic coming from him because he lived it that it's a little hard to kind of go like you kind of think. You probably think your stuff just sucks. It's like, well, how are we gonna do this now? Look at what he's doing. Frankie, what do you think? [01:15:36] Speaker C: I love it. I mean, you know, I love the whole blues sound they are going on. I mean, muddy Waters, I mean, anything that buddy Waters ever made and those he influenced, it's just nothing but greatness right behind it. And there's so many artists that you could say, you know, when you hear their songs and how great they are, they point back to Muddy Waters. So definitely hear that Chicago blues there. Like I said before, you know, I've always known Hendrik as a rhythm and blues artist more than a psychedelic artist, and that's where his true genius really shines. And this song is right there with it. [01:16:13] Speaker A: Very well said. All right, this is a long song. Let's continue. We got eleven minutes left. [01:16:19] Speaker C: Jesus, it's like 1145 over. [01:16:21] Speaker A: Here we go. This is the longest song on. In this episode anyway, so this is what we're gonna get out of the way. I'm gonna let it run for a little bit. So here we go. [01:16:53] Speaker D: Well, I'll make love to you and love knows you'll feel no pain cause I'm a million miles away and at the same time I'm right here in your picture frame. Sadeena, were my arrows amazing? [01:20:33] Speaker B: I'm gonna clap like the people are clapping. I mean, that is just an amazing boost jam. Everybody's just going off, but it's just so perfectly in sync. [01:20:45] Speaker A: Well, I also think that you can't really get that without being in the room at the same time doing that. Did you hear the interplay when he was playing, like, the keyboard and he was playing the other parts? [01:20:59] Speaker B: Yep. [01:20:59] Speaker A: Like, in between. Like, you can't do that with just recording one person at a time. That doesn't work or it won't sound like that anyway. If you could do it. [01:21:10] Speaker C: Mark, you said that they recorded this after they came back from the club, like, at 730 in the morning? [01:21:15] Speaker A: Yeah, 730 in the morning, they started recording. So they got back from whenever they were out. Wow. [01:21:19] Speaker E: That's crazy. [01:21:20] Speaker C: You know, I went to whiskey tasting a couple of days ago, and it took me, like, five days to recover. [01:21:28] Speaker B: Frank. [01:21:29] Speaker C: I know. [01:21:30] Speaker B: You never know. You could. You could have written something, you know. [01:21:34] Speaker C: As I was listening to this. Yeah. As I'm listening to this, you know, one of the things that. That runs through my mind, and it boggles me how it never happened. You can imagine if Jimi Hendrix and Jonas Joplin would have recorded something together in the blues area, what that album. [01:21:54] Speaker A: Would have been like, or even Jim Morrison. David could have officially recorded something. [01:21:58] Speaker B: I thought that there was some stuff hanging around of Hendrickson Morrison. [01:22:03] Speaker A: There is, but I think it's very, like. I think it's in a club doing. I don't think it's very, like. It's hard to hear. I think it's not great recording. [01:22:12] Speaker C: No, but. But just with Janis Chaplin and Hendrix just dropping some blues together, and, man, I'm just trying to picture it. It would have been like what we just finished hearing. It would have been a jam with her singing and him going jamming back and forth would have been fantastic. And, man, how would never happen? I don't know. Because they often played the same venues, if you think about that. They were always around. They. They were synonymous. I mean, they were always seemed to be playing the same festival all the time, so I don't know how that never happened, but, man, that would have been amazing. [01:22:47] Speaker B: Yeah. I could picture her scouting and wailing over this kind of, like, I'm not even gonna make believe I can imitate her push. [01:22:55] Speaker C: Yeah, no, that raspy voice that just knows how to express pain. Like, that voice. Her voice is just. It just knows how to feel your pain and just vocalize it in a way that. Oh, and in Hendricks guitar play. Oh, wow. I don't even know. [01:23:11] Speaker B: Tell you what, though. You can do with AI. You can, right? [01:23:14] Speaker A: Yeah, I don't know about that. [01:23:15] Speaker B: Maybe somebody out there who listens to us can throw some japanese. [01:23:20] Speaker C: There you go. Anything is possible. We will create our own thing. [01:23:25] Speaker A: I also like how he uses, like. Like, he'll say, like, the little things in between, like, the. The back, like, right. Not right up against the mic, but, like, pulled back. It just makes it sound so authentic. It's just. [01:23:37] Speaker C: Yeah, and this is authentic. [01:23:40] Speaker B: A live jam, right, of, like, people who know exactly what they're doing, where you don't it's like, oh, we're gonna call up Jimmy on stage and Steve and Mitch and they're just gonna jam for us. Okay. Hey, you know, Jimmy, throw some. Throw some fucking weird lyrics over this. Okay. All right. I stopped singing. Let's just jam. Okay. [01:24:00] Speaker C: Yeah. And the fact that they did this after being out all night doing whatever and just to have it sound so organic. Oh, man. [01:24:09] Speaker A: Wow. [01:24:10] Speaker B: I mean, I could be wrong. I don't know, Jimi Hendrix, like every. But I'd like to think that his moments of sobriety were probably few and far between. So I think even if you caught him at 730 in the morning or if you caught him at 730 at night, he might still be kind of that. Hey, man. [01:24:30] Speaker A: Oh, I'm sure. Yeah, he was probably. Yeah, eventually killed him. But it just, you know, you're right. He probably. It probably very. It was probably very few and far between. You're probably right. I'm saying no, but you were probably right that. How often was he like. So. Although, I don't know, man, because people you heard of, people talk about and they. They always say he wasn't always messed up, so maybe he was able to function. You know, people can be functioning even though they do all that stuff. [01:24:57] Speaker B: Hell, hair metal function. [01:24:59] Speaker A: Uh, it really depends. Did it really function, though? [01:25:03] Speaker B: Well, I'm just saying, I mean, these guys got bliss and who knows? Maybe just. You know what I mean? Like everybody wants to attribute, oh, you know, drugs and all the good music it made and. But we don't. We don't know how they were when they were recording, when they were writing, exactly. You know what I mean? Like, what came out of. Out of that. What came out of the sobriety? Was it a mix? Was it. I mean, you hear all the stories and everything, but. [01:25:25] Speaker A: Well, Steve, why don't you read some of the lyrics, please, before we go into the next section? All right. [01:25:32] Speaker E: Well, I make love to you and Lord knows you'll feel no pain yeah say I make love to you in your sleep and lord knows you felt no pain have mercy because in a million miles away at the same time right here in your picture frame yeah what did I say now? Because I'm a voodoo child Lord knows I'm a wooden child yeah I like that. [01:26:02] Speaker A: And at the same time I'm right here in your picture I'm. Because I'm a million miles away I have to. Same time I'm right here in your picture frame yeah. Like that one normal blues lyric. [01:26:11] Speaker E: Uh huh. [01:26:12] Speaker C: Were they facetiming each other. [01:26:16] Speaker B: They didn't have frames back in time. Just kidding. [01:26:22] Speaker A: All right, we're about halfway through, so we're gonna continue. Here we go. [01:26:31] Speaker D: Made a desire from far away it's Jupiter. [01:26:38] Speaker A: So. [01:26:47] Speaker D: My heroes are made of desire from far west Jupiter we're down by the midland sea I have a hummingbird and I hum so loud, you think you are losing your mind. [01:30:42] Speaker B: Yeah, exactly. [01:30:43] Speaker A: Mitch Mitchell on the drums. [01:30:46] Speaker B: Yeah. Like, it's funny because I was gonna say before, kind of. It reminds me of almost like, a yemenite jazz jam, too, where kind of everybody has their solo. Everybody knows where their solo goes. I'm like, I wonder if he's gonna get a drum solo. [01:30:59] Speaker A: Yep. You got a drum solo? Yeah, yeah. [01:31:02] Speaker B: He's clicked the sticks a couple of times. They didn't re record it? [01:31:07] Speaker A: Nope. I heard he's, um. He's as integral to this whole situation is Hendrix's. I think, personally, his drumming is just perfect for whatever he does and whatever they're doing, whether it's the bluestop with the weird psychedelic stuff or whatever it is, he's just perfect for. [01:31:30] Speaker B: I mean, I'd like to give him. I'd like to think that Hendrix gave him space. Right? Which is nice. No, but in general, you know what I mean? It wasn't like, you got to play this. You got to play this kind of thing was like. [01:31:47] Speaker C: All the while out. You know what I loved about it? Everyone stayed in their lane. No one tried to outplay anybody else. And then the big jam session at the end, everybody just throwing in their mix. Honestly speaking, I wouldn't be. I would not have been the least surprised somebody picked up a pit but started playing and just throw some. Some. Some jams in there. It would have been great. But it's just. I just love it. It was great. [01:32:12] Speaker B: I mean, the only thing missing from this song is a kazoo. [01:32:17] Speaker C: Well, they have kazoos. They had a comb and some tissue. [01:32:21] Speaker B: That's what I'm saying. They need some combination tissues. Open this thing, and it would have. [01:32:23] Speaker A: Been like, all right, so I think we're. We have to have Steve read lyrics now. These lyrics are really psychedelic. [01:32:32] Speaker E: These are getting out there. Yeah. Well, my arrows are made of desire from far away is Jupiter's sulfur mines say my arrows are made of desire desire from Jupiter's sulfur mines way down the methane scene. Yeah, I have a hummingbird, and so it hums so loud, you think we're losing your mind. And then the next lyric I have is, after the feedback, turn that damn guitar down. [01:33:09] Speaker A: Yeah, they didn't re record that either these days. That would never stay there. [01:33:13] Speaker E: Uh oh. [01:33:15] Speaker A: But it would lose some of his charm without it there. [01:33:20] Speaker C: Yeah. And that's what they were going for with this recording. That was just so organic. Thought let's just not change much about it. [01:33:30] Speaker A: No. [01:33:31] Speaker C: Although they did. How many takes? [01:33:34] Speaker A: Some say three, some say six. So no one really knows. I don't think so. Who knows how many start stops and starts? And then they use pieces from one and another. You know what I mean? You know, I feel bad for Eddie Kramer. Like, he's the guy. Like, hey, we're coming back from the club at 06:00 in the morning. Get down to the studio so we can record. [01:33:51] Speaker C: I would love to hear those other takes because, you know, they were not the same. They just got into the groove along the way. And it must have sounded much different than the final recording. [01:34:04] Speaker A: Well, we got 346, so I think we should finish this up. [01:34:07] Speaker C: Oh, Jesus. [01:34:08] Speaker A: Yeah. Well, this is the longest song in the record, so here we go. [01:34:18] Speaker D: Liquid gardens and arizona new red sand I float and lick the garden way down in and the New York drowns us we. [01:37:24] Speaker B: I like how you hear him, but what's happening? What's happening? It's cool, right? Because it's got that bluesy thing, but it kind of has those two other parts where it kind of goes into different things, too. [01:37:40] Speaker A: Yeah. [01:37:41] Speaker B: I've been cool to be at that gym. [01:37:44] Speaker E: You're right. [01:37:44] Speaker A: Still going? [01:37:46] Speaker B: Yeah. You hear the voices? [01:37:48] Speaker C: Yeah, you know, hold on. I think I heard in the background there. Let's go get some pancakes. [01:37:52] Speaker E: Hold on. [01:37:55] Speaker A: Where are the disco fries? We need the disco fries. [01:37:57] Speaker C: Yeah. No, there's no disco. Yes, the sixties. [01:38:01] Speaker A: I know. Go get some psychedelic fries. [01:38:07] Speaker E: Psychedelic? Well, I float in liquid gardens in Arizona new red sand yeah, I float in liquid gardens way down in Arizona red sand well, I taste the honey from the flower named blue way down in California and the New Yorks drown as we hold hands hey, yeah, yeah. Hey, cuz I'm a voodoo child lord does a voodoo child yeah. [01:38:44] Speaker D: Yeah. [01:38:45] Speaker E: They're way out there, huh? [01:38:47] Speaker A: Started off really, like, super, like, traditional bluesy thing, and then just moved in some weird psychedelic science fiction stuff. [01:38:54] Speaker E: Oh, all right. [01:38:55] Speaker A: Who's going first? I'm going last. So you guys work it out between yourselves. [01:38:58] Speaker B: I'll let Franco first. I don't know if he's gone first yet. [01:39:00] Speaker C: I mean, come on, I'm teetering between 9.5 and ten. I just love the whole thing. I mean, it was so. It's a gem. That was very organic. The lyrics are great. The music is just so. It just draws you into the whole experience, and. And then to have someone to engineer that and put that all together for the production part of it, I mean, you got to be great at what you do amazingly, so. You know what? I'm gonna give this five tens across the board. I think I'm gonna be the first one to give five tens on this one. [01:39:34] Speaker A: Oh, wow. I don't have a 510, but I have this for you. Hold on. It's close enough. This is when we had. This is when we had threes. I have to make new ones now, but here you go. [01:39:42] Speaker C: 1010. I mean, it's just great, the blues song of it. And like you said, mark and somewhere in the middle just kind of made a right and went into this whole psychedelic thing. It's just. It's just great. So. [01:40:03] Speaker E: Yeah. [01:40:04] Speaker C: Sad. [01:40:06] Speaker B: Yeah, man, I was. I was teetering, too. I was like, am I gonna give this, like, nine or ten? Because, I mean, I was just loving it. I'm gonna say. I'm trying to think of the lyrics. I don't know if I'm gonna give it to ten to the lyrics. I mean, I do. Like, I'll say. I'll say nine on the lyrics, and then I'll go tens across the board. I mean, I was like. I was gonna say nine nines across the board on everything, but as soon as you said 9.5, I was like, yeah, man. I don't know if I'm gonna. But, yeah, I mean, that was. That was really, really good. That was really, really. I mean, it was worth. To me, it was worth the length of the song. To me, it's like when you play the doors and you play light my fire and the end, and when the music's over, if you don't hear the whole thing, it's just not the same, you know? And I was never tired. There wasn't ever a point where I was listening to that. I'm like, oh, my God. I was just like, yeah, man, go. I just. I never got tired of it, so. Steve. [01:41:15] Speaker E: Yeah. So. Hmm. I think. I don't know. It's hard, I might say, eat on the lyrics just because they kind of. Some points just go really out there, but they're still interesting. But everything else, I'm gonna say a nine. Just a great, like, jammy kind of song. I mean, even the production was really good. It had a really nice live feel, so you kind of captured the whole room in there and everything else kind of just worked. Right. I think maybe my own link complaint would be at the end where I had all that extra time with them just talking. He could have probably, you know, saved that and used that like a couple songs where it's like, oh shit, I want two more minutes. But other than that, you know, it's just a really good solid, bluesy, psychedelic y kind of jammy. Just flowed and worked. So yeah, Mark, I think you guys. [01:42:25] Speaker A: Might be giving this higher than melody lyrics, lyrics and melody nines and the rest ten. I say that I agree. I never thought it, but I agree with Steve. Like if we could have cut out some of it we probably could have boosted up a couple of the other songs we want to hear a little bit more of. But as a totality of. For a 15 minutes thing, like you can't really, like you could play that through and not really get tired of hearing that. And like Frank said, dear, to be able to engineer that at 730 in the morning after being out all night and getting this all together. And if it. I think if it wasn't played live it wouldn't have the field that it has. And the mere fact that they left stuff in it wasn't perfect is what almost made it perfect because they left stuff in that fix everything which they would have fixed everything today. [01:43:21] Speaker C: They wanted you to be in that moment 100% with the imperfections, with the, with the, with the. With everybody that's celebrating it. They all came out to clap and all that other jazz and, and you know, like turned out they. Guitars and feedback, like all of it. They wanted to. They wanted you to be in the room and they. That engineer did it perfectly. They put you in that room. [01:43:42] Speaker A: That's what Andy Kramer is the man. Because you would take. Be hard for anyone else to probably take care of that. Well, going from the longest song on the album to a shorter song that. So that's totally different. This is no redding singing a song. And just like the last time is going to be very super poppy and gonna be very sixties pop. [01:44:04] Speaker C: Okay, Mark, at this point, what side of the album are we on? [01:44:08] Speaker A: We are. We're on side b now of record one. Of record one. [01:44:12] Speaker C: Side B, record one. Okay. [01:44:15] Speaker A: And the songs get really short. Now there's a four minute song but there's nothing over four minutes, really. 404 is the longest. So this song's 247. So this is a little miss Strange. And look how different this is now. We did all this stuff. We did the psychedelic thing. We did that weird stuff. A little r and b and now in the blues. And now this is what we get for here. [01:44:57] Speaker D: No one knows where she comes from. Maybe she's a devil in the sky I can't tell by looking in the eyes little Miss Rage, little Miss Strange came into my father I don't know. Just watch the last day. [01:45:34] Speaker A: Wow, that's so sixties. [01:45:36] Speaker E: I was gonna say super sixties pop. [01:45:38] Speaker A: Mm hmm. [01:45:39] Speaker C: You know. You know what I hear? You know what I heard right there? I heard the Beatles singing jumping jack clash. [01:45:50] Speaker A: Yeah, it's very. It's very of the time. And it's very definitely. You can tell that he didn't write this, right? [01:45:57] Speaker E: Yep. [01:45:59] Speaker A: That was the bass player, but he's doing it. He's actually doing a good. Like, his vocal is not bad. [01:46:05] Speaker B: No, they were of the time. Yeah, but again, you're not going to say to yourself, you're not going to hear the song and be like, oh, shit, this is a Noel Redding song. [01:46:15] Speaker A: You still hear him. So, Steve, read the lyrics. I guess you got two choruses and two verses. [01:46:19] Speaker E: All right. No one knows where she comes from maybe she's a devil in disguise I can tell you by looking in her eyes a little Miss Strange little miss Strange little Miss Strange came into my parlor I didn't know just what to ask her. I don't remember what we did after little Miss Strange little Miss Strange. [01:46:41] Speaker A: And now we're gonna do whatever little solo thing he's gonna do here. [01:47:34] Speaker B: There's a cool bass line going on there. That is Ol Hendrix. Right? I mean, Noel Redding never played guitar on any of this. [01:47:44] Speaker A: No. Don't think he played. No, I think he played. I wouldn't think so. He played acoustic guitar on Little Miss Strange, so some of that is him, which I never knew. I never paid attention to that. But, yeah, I guess all that acoustic stuff is him at the beginning and stuff. I don't know. I think the solo stuff, I mean, unless that solo acoustic stuff for sim two, maybe. It doesn't really say it's possible. Yes. [01:48:11] Speaker B: I mean, didn't everybody say he was just a frustrated guitar player? [01:48:14] Speaker A: He was a guitar player first. [01:48:16] Speaker B: Yeah. [01:48:17] Speaker A: Wow. You're not gonna be a guitar player in Jimi Hendrix band. It's like this. Like, you're not gonna be guitar playing Eddie Van Halen's band, you know? I mean, like, it's just. That just doesn't happen, so. [01:48:28] Speaker C: Nope. [01:48:28] Speaker A: Yeah, yeah. But you know what? He put Hendrix puts his stamp on this, too, even though it's a quick little pop song. [01:48:36] Speaker B: Yeah. [01:48:37] Speaker A: And who knows if he had. If he did this because to appease him, to make, you know, like. You know, he's, like, not. Not happy with what's going on right the moment. So maybe it was put on there for that reason. It's not a bad song. It's just definitely not in the same vein as some of the other stuff. [01:48:56] Speaker C: So maybe there were some trade offs. Okay, Jimmy, you could do what you want, but you need to let us do what we need to get this done. [01:49:04] Speaker A: I don't think he. I don't think overheading had that kind of pull, but maybe he maybe said, hey, listen, I got the song, blah, blah, blah. Maybe he liked the song. Say, yeah, it's cool. Let's do it. Give him. Throw him a little bit of a bone. You know what I mean? The bass parts are good. I mean, anytime you hear him play bass, it's pretty good. [01:49:18] Speaker B: Yeah, the bass is good. I like him. I mean, the title, too, right? [01:49:22] Speaker C: When you listen to the song on vinyl, it makes. It makes a little sense, because at this point, you're flipping over. But I don't think you have that same continuity. If it was on cd or streaming nowadays, I don't think you're gonna have this song follow voodoo, that. That version of voodoo child, I don't think. [01:49:40] Speaker A: But on vinyl, it makes 100% sense. Come out with the. With the poppy song at the beginning of this side. So. [01:49:46] Speaker C: Yeah, because you got to get ass walk over to the fucking record player, flip it over. [01:49:51] Speaker A: You're like, I'll just let this thing play. [01:49:54] Speaker C: Yeah, your mind's gonna reset, but I don't think it would. It would if you were arranging this today. You will not have this song followed out. [01:50:02] Speaker A: No, I don't think so. [01:50:04] Speaker B: No. [01:50:05] Speaker A: All right, let's continue. Here we go. I love the. I love those little lead things at the end of that. That might be my favorite. That's one of my favorite things. Even though I like, this is not, like, my favorite song in the world, but that. Those parts that he put right there, you're like, holy fuck. In this stupid little pop song. [01:51:27] Speaker E: Yeah. [01:51:28] Speaker B: Don't think it's. Our playing is good. I mean, the instrumentation is good. I mean, even the drums. And obviously what Hendrix is doing in the baseline, but, yeah, it's good. Little diddy thing. [01:51:39] Speaker A: All right, what, you going first? I'm going last as usual, but I vote Steve. [01:51:43] Speaker C: I think Steve should go first. [01:51:44] Speaker B: You want to see? All right, well, let's see if go first. [01:51:46] Speaker A: Well, Steve has to read lyrics. I think, right. And then he can go. [01:51:49] Speaker E: Yep. I was gonna say we got a couple more. Little Miss Strange. Came out of the darkness walked across my head I stood beneath the night I'm talking about the dream I had the other night Little miss Strange Little miss Strange so I'm trying to think of what the hell the. Because it's kind of like different from last song, which was different from the other song. Yeah, I don't know. I'm kind of feeling like eights across the board. Like. Or maybe seven on the lyrics just because they're just. I don't know. But yeah, I think I'm gonna go seven. The lyrics, the melody was, you know. All right, so I think we'll take eight on the rest of them. It was like a catchy sixties pop song. You know, I can kind of close my eyes and see like I. The sixties going on. Like the freaking people dancing the way they did and flower power and all that shit. It's kind of the way it made me feel. But, you know, there was like cool little guitar things going on and bass was solid and everything was good. Just. I don't know. It kind of didn't do it for me as much as previous songs. So I think that's maybe why I'm a little. But. Yeah, Frankie. [01:53:30] Speaker C: Yeah. You know, I think it goes a little bit back to shit. I forget the anniversary episode that we did the last Hendrix. Mark, refresh my memory. Was that our. [01:53:43] Speaker A: She's so fine. I think that's what won the last record. So that's what it kind of reminds you of because I think it's like a sister song to that song. [01:53:50] Speaker C: Okay. Yeah. So at the end of the day, I think this. With this what this song reminds me of a lot too. That, and also that Hendrix is not. They're not scared to experiment and throw things in there that throws you off. It's like they don't follow necessarily a theme. They just kind of put in what they feel is right. And that's what the song is. It's very poppy, very sixties poppy. I like the lyrics a lot. I'm going to give the lyrics an ain't a the melodies. I'm gonna give that an eight as well. Production, arranging of music again for the time, for the sound, what they were trying to do. You got. You gotta get those lines there. They did it just perfectly. I just feel like I'm right there in that. In the. [01:54:35] Speaker B: Don't know, man. Maybe I missed something on this because my scores are not gonna be as high oh, wow. [01:54:42] Speaker C: Here we go. Here we go. [01:54:45] Speaker B: I mean, I'm gonna say a five on the lyrics, and I'm just being kind of nice on that. I'm only gonna say a six on the music because of. I mean, I think what they play is good, but to me, this is. To me personally, this is a forgettable song, especially after having come off what's before it. I mean, arrangement is fine. I'll say, I guess, seven on the arrangement. I didn't really like the melody. I'm gonna say five on the melody, and I'm gonna say seven on production. I don't. I don't think it's produced as well as the other ones either. Honestly, if you told me that this was, like, a cover that they just kind of wanted to do, then I would believe it. And I feel like, in a sense, it is a cover just because of the fact that he wrote it. And I don't know, man, I just. I wasn't feeling this one too much, honestly. [01:55:40] Speaker C: Are you comparing it to the previous one? Is that what the whole thing is? [01:55:44] Speaker B: I mean. I mean, I'm trying not to, because if I compare it to the previous ones, I probably. I might even go a slightly lower. [01:55:51] Speaker C: Oh, comparing it, same thing. [01:55:53] Speaker B: But no, I'm trying not to do that, you know, because, I mean, there is some cool stuff going on. I mean, that's why I rated it. You know what I mean? I mean, Hendrix is still doing some cool stuff. I mean, the drums and the bass are good, so. But as a song itself, just. I don't know, just definitely, like, hands down my least favorite so far. I wish I would have kind of run tapes backwards over this. I don't know. [01:56:20] Speaker C: It's. [01:56:20] Speaker A: I don't know. [01:56:21] Speaker B: It's okay. It's kind of a throwaway for me right now, so. Mark. [01:56:24] Speaker A: Well, I've always considered this like a bone being thrown to him, so, yeah, I'm gonna say, like, six on the lyrics. They're fine. They're fun. You know, their sixties pop lyrics is nothing crazy. Probably six on the melody. Musicianship, though, I'm gonna give it an eight because the stuff that Hendrix does at the end of that thing, maybe some of my favorite stuff that he's done just because what he's doing there and what he's doing in this weird little pop song that's in the middle of this much bigger, more ambitious record, Rageman's fine seven. And I thought the production was fine. I'm gonna give it an eight. I mean, you know, realistically, even with all. Even with savino scores, this thing's still a seven. So it's. It's the. It's the weird stepchild of the other song that's on that thing. And again, I do feel it's a bone thrown to him to keep him happy, but I don't know. But now we're just gonna get back to Hendrix, and it's gonna be much better. So this is long, hot summer night. [01:57:42] Speaker D: As far as my eyes my heart was way down cold for windstorm for my father where can you come? [01:58:09] Speaker B: I'm not 100% loving this either right now. [01:58:13] Speaker A: Wow. I figured we were back on track. [01:58:18] Speaker B: I don't think it's as good as the other stuff he has on this record so far, but, I mean, I'm still kind of listening. I'm not saying, like, it's like, okay. [01:58:28] Speaker A: Me personally, Steve, why don't you do the lyrics? [01:58:31] Speaker E: Sure. Was a long, long, long hot summer night as far as my eyes could see but my heart is way down cold, cold winter storm my darling where can you be? Where can you be? Baby, where can you be? [01:58:49] Speaker A: Who knows where she is? She's someplace. [01:58:52] Speaker E: She's somewhere. [01:58:54] Speaker A: Let's continue. [01:59:02] Speaker D: All those inside everybody's on fire but I'm so in a cold where are you when it's a hot, cold summer? Where are you when it's a hot, cold summer? Where are you when it's a hot, cold summer? Around about this time the telephone whips. [01:59:35] Speaker B: Home. [01:59:38] Speaker D: Scared little Anna clean out of her mind from the candle he beeps out of his hide and see and grab little Annie from the ceiling just in time and the telephone keeps on screaming hello? Says my shaky voice well, how you doing? Good. Myself is better. Catch up, tell I was doing fine it was my favorite. Talking way down possible I better move and I'm tired of crying. [02:00:46] Speaker A: That'S a lot of lyrics. [02:00:48] Speaker B: Yeah, well, it's like a whole story. [02:00:51] Speaker C: There's a lot. A lot of things going on there. [02:00:54] Speaker A: Yeah, like the stutter part where he stuttered the next line. That's too fucking funny. [02:01:00] Speaker E: Is this, like, mixed differently because I'm hearing drums on the left side and bass on the right. Wasn't it, like, more stereo previously? [02:01:08] Speaker A: It looks like it's. It looks like it's a little mixed, a little different. [02:01:10] Speaker E: Yeah, yeah. [02:01:12] Speaker B: The drums are also lower in the mixed and too in this one. [02:01:15] Speaker A: Mm hmm. Yeah, it's. It's a weird little song, too, but it. I mean, I personally think it's better than the song prior. [02:01:24] Speaker B: Yeah, I think it's better. [02:01:26] Speaker A: Yeah, right, Steve, you got like three verses to read. [02:01:30] Speaker E: All right. [02:01:31] Speaker A: And it gets weirder as it goes. [02:01:33] Speaker E: Along think there were three sugar walls and two candy cane windows but Sirius moon melted all these in sight and all the those in sight everyone's on fire but I'm snowing in a cold blizzard where were you on this cold huts a hot, cold summer yeah, okay. Where were you on this hot, cold summer? Where were you on this a hot, cold summer night? Around about the time the telephone blew its horn across the room scared little Annie clean out of her mind clean out of her mind roaming at the candle he peeps out of his peek a boo hide and seek and grab the little Annie from the ceiling just in time and the telephone keeps screaming, yeah, yeah, yeah hello, says my shaky voice well, how are you doing? I start to stutter ah, can't you tell I'm doing fine? It was my baby talking she way down across the border she says, I'm gonna hurry to you, you I've been a fool, I'm tired of crying. Those are some fucking lyrics. [02:03:05] Speaker A: Crazy. So long. But, but this is typically, I mean, this is where maybe the drugs don't help sometimes. [02:03:13] Speaker C: Yeah. Guys, guys, I just gotta pause right now, okay? For the longest time, whenever I heard Steve read lyrics, he reminded me of someone. And that someone always said was Randy macho man savage. Right? [02:03:28] Speaker E: Yeah. [02:03:29] Speaker C: Right now, in this moment, he just reminded me exactly who reads lyrics, and that is ministry. Jesus built my hot rod. Right before he read that part. [02:03:42] Speaker A: That's exactly what. [02:03:46] Speaker C: Holy shit, this is. He sounds like that part in ministry. Jesus beat my hot rod. I'm sorry, I know this is a tangent, but I just love when Steve reads. Thank you. [02:04:00] Speaker B: Nice. [02:04:02] Speaker A: So you liking this a little bit better now, Samino, or are you still on the fence? [02:04:06] Speaker B: Yeah, it's so, it's probably my least favorite of his songs, but it's not bad, you know what I mean? [02:04:15] Speaker A: It's really weird, though. There's some weird stuff that goes on here. [02:04:19] Speaker B: Yeah, yeah. I mean, he's trying to tell a story. I mean, it sounds like too, like Annie with their head. It sounds like she's on a bad trip. [02:04:26] Speaker A: Mm hmm. [02:04:27] Speaker B: So roaming the candle, I like that. [02:04:32] Speaker A: And I, like, I said, I like the stutter part where he goes, I start to stutter. Can't you tell I'm doing fine? Like he even does the stutter after that. That's kind of funny. Yeah, it's definitely an album kind of track. It's definitely you know what I mean? I don't think it's filler, but I think it's. It's where he, like, experiments with things. I always liked this song. I always thought, I always thought was a good song, but we almost done, so let's finish it up. Here we go. [02:05:08] Speaker D: But I can't feel the heat coming. [02:05:10] Speaker B: On. [02:05:14] Speaker D: I'm so glad that my baby coming to rescue me so bad that my baby rescue, rescue, rescue rescue rescue rescue rescue me rescue me rescue me. [02:05:47] Speaker A: Rescue. [02:05:51] Speaker B: Rescue me. [02:05:54] Speaker A: Aw. [02:05:55] Speaker B: How long was that one more? [02:05:58] Speaker A: That one was 328, Steve. Finish it up. And then whoever wants to go first, go. [02:06:07] Speaker E: Yeah. Long, long, long hot summer night as far as my eyes could see as far as far as far as I could see but I can't but I can feel the heat coming on my baby it's getting closer I'm so glad my baby's coming to rescue me I'm so glad my baby's coming to rescue me so glad my baby's coming to rescue me rescue we can get the rest, right? Rescue rescue rescue, rescue yeah, there's a. [02:06:40] Speaker B: Whole bunch of rescuing. Rescue me Steve, you can go first. I gotta think about this one. [02:06:49] Speaker E: Mn. I don't really know. It was better than the last one, but it wasn't in certain aspects, I guess. Lyrics? I'm gonna say, I don't know. We're gonna go six because they were a little, just confusing for me, too, to read. So let's say six and melody wasn't bad. I don't know. We'll say we'll go seven on that. Musicianship was all right. I don't know. More towards Hendrik esque music, I guess, if there's such thing, since there's such a wide gamut that he covers. But we'll say seven on that. I didn't like the production as much on this one. Like I said, picked up on the. There was differences in that, so I'm gonna say a seven on that. And what's the last one? [02:08:11] Speaker A: Arrangement. [02:08:12] Speaker E: Arrangement? Um, no, no, it was all right. I'll go seven on the arrangement, I guess. Yeah. So have you figured it out yet? [02:08:30] Speaker B: Um, yeah. I could throw some numbers out there. Yeah. I mean, I wasn't sure about the lyrics, but since you did six, I'll go six as well. I mean, they're okay. I mean, they kind of tell, you know, they're interesting in a certain regard, but I think I gave seven to something that I thought was better. So music was okay. I am gonna say six in the production so let's go with that. I was disappointed. Like, the drums were buried in. In the back, I felt. And just, I don't know, in general, just, I don't feel like it was produced as well as the other ones. So I'm gonna nick a little bit on that just because of how good I think some of the other stuff is. Music was fine. I mean, I guess. I don't know, man, it's hard because I don't want to, like, totally knock this. It wasn't terrible, but if I go back to this record, I don't know that I'm gonna go back to these two songs, honestly. All right. Melody was fine. I do think the melody was pretty good. I mean, I kind of like that part. So I'll say seven on the melody and then I guess a six on whatever else is left Mark because I'm starting to forget to. But I don't know, I just, I just. And again, this is not. Not to compare, I'm trying not to compare, but as a. As a kind of like standalone song, it just, it didn't hit me the way some of the other stuff has. But Frank. [02:10:06] Speaker C: Yeah, you know, it makes me wonder when this song was written, it just feels a little bit like I'm a little bit lost. Like, was this one of the last songs that they wrote in the album? Like, one of the questions I've always asked is just because we hear it in a certain sequence doesn't mean that the song was created in that order. This could have been something that was created towards the very end of their needing to write an album. So I wonder, this is one of the last songs where there's like, alright, let's just throw a whole bunch of stuff together and wherever this track lands, it lands kind of a feel to it. So as far as lyric and melody, I'm gonna give that a six as well. The production is still very good, so I'm gonna give those an eight. The arrangement and music, um, I don't know, I just didn't feel the same passion as you heard it in previous tracks. So, um, I'm gonna give those a six mark. [02:11:02] Speaker A: I mean, I'm probably not gonna do much different than everybody else. It's not my most favorite thing. I don't hate it. I like, I like the storytelling and the lyrics and I gave little Miss train six, so I have to do better for this. So I'm gonna say seven. I'm gonna say seven on the melody music. I think music was fine. I'm gonna give that a seven arrangement? Seven. [02:11:23] Speaker B: And. [02:11:23] Speaker A: Yeah, the production was a little weaker on this. I'll give that a seven. I think that I don't have. I don't have a five seven thing. It's all sevens across the whole board. So I guess I gotta play a triple seven thing, even though it's not triple seven anymore. You could tip it, baby, 777, play. [02:11:40] Speaker C: The second time, and then we owe you. [02:11:42] Speaker E: You could tip the baby, 777, take one back. [02:11:46] Speaker A: But, yeah, I agree. There's parts of it that I like, but, yeah, I could see why this is not. It doesn't. It doesn't stand up to some of the other stuff. [02:11:56] Speaker C: It's just what it is that's the problem. It's not bad. [02:12:02] Speaker A: This is still a seven in our rate ratings. Even when all the ratings we gave, it still ends up being a seven. So it's still a good song regardless of, you know, what. We even put all the ratings we gave it. [02:12:12] Speaker C: So, you know, the challenge that this. This song had was that it's going against superstar songs. Yeah, that's true. It's hard to be a superstar when you're in the lineup full of superstars, so. [02:12:25] Speaker A: Very true. So the next one is. Come on. Which is a cover of the Earl King song. You. Most people heard it as let the good times roll. So he does a good. He does a good job with this thing, too. This is in his wheelhouse. So here we go. Come on. Let the good times roll. [02:12:56] Speaker D: I love you. You, baby. Like a minor love go. I'm all sugar let the good time roll so many people live and make believe they keep a lot of. Do it up their sleeve but my love, baby isn't the kind that fool come on, baby, let the good times roll. [02:14:00] Speaker A: Okay, we're gonna hold off till we get to that part. So it's pretty generic r and b. [02:14:04] Speaker B: Stuff, like reminiscent of fire. [02:14:06] Speaker A: Yeah, it's kind of like that, right? [02:14:08] Speaker E: Yeah, yeah. [02:14:10] Speaker A: I mean, he does a good job. I mean, you know, he's. It's. This is more of a guitar showy kind of a thing than maybe the original is. [02:14:22] Speaker E: I feel like that guitar is a little louder than everything in the mix. [02:14:27] Speaker A: Well, he's also producing it, so why not? I guess that's the same thing with injustice for. All right, turn the bass down. Yeah, everything else up. It's fine. No one's gonna miss the bass. [02:14:40] Speaker E: No, no. All right, Steve, go ahead, read people talking. But they just don't know what's in my heart and why I love yourself I love you, baby like a minor loves gold come on, sugar let the good times roll hey, so many people live in make believe to keep a lot of the dirt in their sleeves but my love, baby is no kind that folds. Come on, baby let the good times roll hey, let the good times roll on me let me, baby come on and let daddy fill your soul, baby let the good times roll. [02:15:28] Speaker A: One of his little innuendo going on there? [02:15:31] Speaker E: Yeah, I think so. [02:15:33] Speaker A: Daddy come on, daddy all right, here we go. [02:15:56] Speaker D: Namdeh, Jenna. [02:17:16] Speaker B: I mean, it's a good showcase for his playing. [02:17:19] Speaker A: Yeah, that's for sure. And I noticed that the drums are on the left side. [02:17:25] Speaker B: Yeah, I don't like the production on this one either. I mean, they're low. The bass is playing this really cool walking bass line. It's just kind of buried in the background. So, I mean, it's cool. Like, I I don't. Here's the deal. I like the loud guitar. I actually like the way it sounds and how before he goes into solo, gets even louder. But I think it's still bounced, right? It's okay. I don't hear the guitar. Oh, my God, it's so loud. Like, yeah, it's louder than the other stuff, but it doesn't, it's not bad. It's just that the other stuff, you know what I mean? If it was brought up and on both sides, I think it would just be fuller as a song. [02:18:06] Speaker A: Yeah, I agree with that. [02:18:08] Speaker B: I'm pretty sure I like this better than the original. [02:18:12] Speaker A: It's. Well, it's. It's a showcase. I think he changed the key too. I think key. I think he changed its more guitar friendly key. I think so. But, yeah, I mean, you know, he does some interesting stuff and gets used to wah wah pedal up a little bit. So it is a showcase for guitar playing. I think that's what it's for more than anything else. And supposedly this is one of the song, one of the first songs he ever learned how to play. So I guess he's been playing it for a long time. [02:18:35] Speaker B: It's like a tribute. [02:18:38] Speaker A: Yeah. It's a little faster than the original. I think it's just a bunch of things that just make it, um, supposedly was just a live thing that they played. This is a filler track. This is something they played just because they needed to fill the record out, and they just did it live. So, you know, live is pretty good for. [02:18:56] Speaker C: How do you know that? [02:18:58] Speaker A: Supposedly that says with the Internet. [02:19:03] Speaker C: Because we know the Internet doesn't lie. [02:19:06] Speaker A: Wow. Yeah. But you could hear that this is something. This is not like he didn't go and say, hey, you know, I'm gonna make the redo this all. Write the lyrics again. He. This is a thing. The show office playing. They need to fill a track out. It is what it is. It's not bad. It's just. It just what it is what it is. For me, anyway. That's what it sounds like. [02:19:24] Speaker B: No, I mean, I dig this soloing. [02:19:26] Speaker A: Yeah, that's what it's for. Yep. Let's continue. I think there's only a little bit more lyrics, and we're almost out, so here we go. [02:19:33] Speaker D: It's nice if it's understood? It's even nicer when you're feeling good? You got me flipping like a flag on a pole? Come on, sugar, let the good time roll? [02:20:52] Speaker B: Just fade it out. [02:20:55] Speaker A: Quick fade. Steve, read lyrics and then whoever wants to go first. [02:21:01] Speaker E: Oh, love is nice if it's understood? It's even nicer when you're feeling good? You got me flipping like a flag on a pole? Come on, sugar, let the good times roll hey, let the good times roll hey, feel me, baby, I'm talking the good times roll come on, let me fill your soul let the good times roll. [02:21:29] Speaker B: Okay, Frank, you go first. [02:21:35] Speaker C: I like it. You know, I can understand as a phyllo song, but as a phyllo song, it did a great job overall, I just like it a lot. So the lyric and melody, I'm gonna do an eight. Production arrangement of music. Hmm. I didn't hear the original, to be honest. So I can't. I give you. I just can't give that number in comparison. But based on this arrangement, I guess I gotta give it an eight because I like them a lot. But that number may change once I hear the original composition. Seth. [02:22:24] Speaker B: No, I mean the lyrics. I'm gonna say five. I mean, the typical lyrics of those types of songs where it's kind of like, oh, I'm kind of got something to rhyme, and it's fine. I'm gonna say seven on the music. I mean, he absolutely made it his own, without a doubt. I mean, it's kind of. I mean, arrangement, I'm gonna say seven. Because the way he did it, obviously, I think he did a really good job. I like it better than the original. I don't think I've ever been a fan of the original, honestly speaking. So, I mean, melody, what are you gonna say? I'll say seven. I mean, I guess the melody goes with what he's trying to do production. I'm gonna say six again. I mean, I just. I really. I really like that. I'm okay. Like I said, I'm okay with the guitar being louder, but, I mean, the bass and drums are just buried, and they're doing some really cool stuff. And towards the end, they start letting loose even a little bit more. But, I mean, unless you really focus on that left side, you can't hear shit. And, I don't know, I'm just. I'm surprised that this second side is kind of. Kind of going the way it's going, so, I mean, I'm not the only one, obviously, kind of complaining about the production, so. But, yeah, I mean, again, it's a great cover. I mean, again, I like it better than the original, and his playing is great. I just wish the production was better. It just would have made it, I think, a better experience overall, that's all. Mark. Wait. Steve, did you go? Steve? I'm sorry. I'm sorry. Steve, you go. I used to kind of get you and Frank to go first. Well, I just think. [02:24:15] Speaker E: No worries. Um, I don't know. I think I might just go street sixes for everything. Um, the lyrics were all right, and all the other stuff was good, I guess. I mean, there was some cool stuff going on, but it was kind of killed by the guitar. So I think, like, the production kind of killed it for me right there, you know, but the mixing and having guitar kind of center. And in other words, I was kind of listening with, like, one ear on, one ear off, kind of seen, like, where the mix was, and there's, like, little faint traces of, like, germs and bass on the right. So it's kind of weird how they decided to mix it and just didn't make sense to me. So, I don't know, everything else was. I don't know, it just felt kind of too guitar y for me. So I'm gonna say six it across the board for that. Yeah, mark. [02:25:31] Speaker A: Yeah, I agree with everyone else. I mean, it's a filler song. It's a vehicle for his guitar playing. So. Lyrics. Five. I'm fine with that. He didn't write the lyrics anyway. Melody. I like the melody. Seven. It's very good. That's the catchy part. His music is a seven. The arrangements, seven. Production. Six. I'm nothing. I'm not sure why he decided to pan everything that way, considering he had all this stereo stuff going on. So I think it's just a quick thing that they did just to fill it out, and it really wasn't. It really wasn't. I don't think thought out as much because even, like, there's some things he's playing there. You're like, I'm surprised he left that in there just because. Yeah, maybe he wanted it to be that live sounding, but I'm surprised that he wouldn't go back and fix that. But maybe they just needed to fill this out, so who knows? I don't know. I think we hopefully get. I think we're hopefully gonna get back on track with the next song, so. [02:26:29] Speaker C: Oh, just. Just really quick on lyric for me. I need to change my score. [02:26:33] Speaker A: Okay. [02:26:35] Speaker C: I'm gonna put it zero because they didn't write this. [02:26:40] Speaker A: Zero because they didn't write it. [02:26:43] Speaker C: Yeah, you have to put a zero. [02:26:45] Speaker B: Screw you, Hendricks. [02:26:47] Speaker C: Yeah, they're right. The melody. The melody is nice. Oh, well, you can't. Based on the original writing, because we're based on this artist rendition. So I give the melody. I still. I'll keep my melody score. But the lyric, I give a zero because, you know, it didn't come from the artist. [02:27:06] Speaker A: Yeah, but someone. And somebody wrote it. [02:27:08] Speaker C: Yeah, but, yeah, I'm not hearing that someone else's voice. I'm hearing lyrics voice, you know, Hendricks voice, his witnesse. So zero. The melody, I think the melody, you know, I keep the melody because that's. That's his melody. That's Hendricks melody. Right? [02:27:25] Speaker A: Yeah, well, I don't know. A little bit of it is. Yeah. I mean, there's definitely his inflection in some of this stuff. Right. So, you know, from the original, there's definitely a difference in the way it's. [02:27:34] Speaker E: Yeah. [02:27:34] Speaker B: I mean, I'm not mistaking what I'm saying that this is. Come on, baby, let the good times roll. Right. I'm not mistaken what I'm thinking of. [02:27:40] Speaker A: That song, I believe. [02:27:41] Speaker B: So let it fill your soul. [02:27:44] Speaker C: So when we think about, you know, that's the tricky part. The melody part is tricky because how you. How you deliver it. How you deliver it, it makes all the difference. The marchers text you like, hey, just mute Frank. [02:27:59] Speaker A: I should do that, though. But I didn't. Mute him now. Mute him. [02:28:04] Speaker B: Listen, there's another song on the second side where you're like, who wrote this song? Wait, this is not his song. [02:28:12] Speaker A: That song on the second side, the original artist song. No one even cares about that version. [02:28:18] Speaker B: But you want to know something? The original is pretty damn good, man. [02:28:21] Speaker A: I know, but this one's taking that over, though. [02:28:26] Speaker B: I mean, he made it his own. [02:28:28] Speaker C: But I think we're a little bit of a dilemma. I can't give. I can't give points to someone who didn't write it. [02:28:34] Speaker A: Oh, no. You're not gonna have any choice with that, though, unfortunately. [02:28:38] Speaker B: Well, we're just kind of given a little thing to, again, who wrote it. If we were doing, let's say, the version of that song and we. And the lyrics were there, that's kind of like what it is, right? That's what we've always done with covers. So even if we give it a low score, we're not giving the current artists that we're listening to the low score. We're giving it to the original writer. [02:28:59] Speaker A: Yeah. [02:29:01] Speaker C: All right. I'm just. I just feel like I'm giving an a to someone else's. [02:29:05] Speaker B: Oh, no. Yeah, you're. Listen, what you're saying makes sense. I mean, it does make sense. [02:29:11] Speaker C: Like, hey, I think that you're doing a great job, but you didn't write these lyrics. So to give you those points is. [02:29:18] Speaker A: Like, I get it. I get it. I don't agree with it, but I get it. [02:29:24] Speaker C: I just love Mark. I'm gonna kick you in the balls, but, you know, I'm gonna shake your hand on the way out. [02:29:28] Speaker B: Mark is like, frank, I give your lyrics a zero. [02:29:34] Speaker A: I always base it on the original. The original person who wrote it. Even if it's a cover, I'm only going against the lyrics, even if it wasn't written by whoever. So if someone covers a song, if I don't like the lyrics, I give it whatever I think the lyrics are, even because the artist didn't write the lyrics. But I'm still rating the lyrics. That's how I look at it. [02:29:51] Speaker E: But. [02:29:52] Speaker C: But here's the thing. It's like part of the lyric is the voice delivering it. The originator. Yeah. [02:30:00] Speaker A: All right, see, that's okay. It doesn't matter. I agree with you. Zero is fine. It does. It didn't even impact the score. What, whatsoever. By giving the zero. So does it matter? So it is what it is. All right, so, gypsy eyes. So this is the next one. Hopefully this gets us back on track with everybody. Here we go. [02:31:08] Speaker D: Might you be. And knowing all the time you still roaming the countryside, do you still think about it? [02:31:27] Speaker B: I mean, that's definitely better. [02:31:29] Speaker E: Yeah, this is way better. [02:31:30] Speaker B: I do wish he kind of kept that melody, though, from the beginning, though, because I was really digging that. That gypsy eye part, and then he kind of changed it in the verse and not that. It's terrible, but I was really digging that kind of thing. He had gone. This is like a precursor to black Betty, I think. [02:31:45] Speaker C: Yes. I was gonna just say, know what? It's amazing to me. It's like, how great song influence other songs. [02:31:54] Speaker A: Right. [02:31:54] Speaker C: Because literally, that's what I heard. Hey, black Betty bad bade. I was just waiting for that part as well. Yeah. It's just, like, totally awesome. Like, you have a song that they wrote and how influence, you know, us many years later. Yeah. Anyway, that. That's what I was waiting for. [02:32:15] Speaker A: All right, Steve, lyrics. [02:32:16] Speaker E: All right. Well, I realize that I've been hypnotized I love you, gypsy eyes I love you, gypsy eyes all right. Hey, gypsy way up in my tree I'm sitting by my fire wondering where in the world might you be all I and all knowing all the time you're still roaming by the countryside do you still think about me or my gypsy? [02:32:47] Speaker A: Well, I walked like you said hey, gypsy hey, gypsy hey. [02:32:52] Speaker E: We did. We didn't go past that, did we? [02:32:55] Speaker A: No, not yet. No. [02:32:56] Speaker B: I think that's the end of where we ended. [02:32:57] Speaker A: Yeah. Here we go. [02:33:24] Speaker D: I remember the first time I saw you the tears in your eyes were like trying to say oh, little boy, you know I love you first I was too strange men fighting to the devil for me to I'm tired of missing my own highway without can be I love you, me and I can sing all I say I love you, love you, love you. [02:35:36] Speaker B: Wow. That was the quickest fade. [02:35:38] Speaker E: That was really a bro. [02:35:40] Speaker A: Yeah, I think they're running out of space on the record, I think. [02:35:43] Speaker B: Oh, man, that was so funny. Like, shut it off, Jimmy. [02:35:47] Speaker A: Now, you wonder how much is getting faded, like, at the mix or this or the mastering, as opposed to, like, you know, I mean, like, did they just have to fade it because they had no choice? Like, you wonder maybe. [02:35:58] Speaker B: Yeah, cuz, I mean, he was still going. And it's one thing if you fade out as a soul and you hear it kind of go, but this is just like. You know, he went from, like, wherever was the truth. [02:36:07] Speaker C: I think the fate was a thing back then. [02:36:09] Speaker B: Yeah, but this was like, they lost power. It's like, ah, shit, man. We lost power. Oh, fuck it. Keep it. [02:36:16] Speaker C: Fuck it. Just keep it like that, bro. Yeah. Everybody accepts it. [02:36:22] Speaker A: Steve has a lot to read before we can go over this. So, Steve, go ahead. [02:36:24] Speaker C: Mm hmm. [02:36:26] Speaker E: Well, I walked right on up the rebel roadside the one that rambles for a million miles yes, I walked down the road searching for my love and my soul too but when I. When I find you I ain't gonna let go I remember the first time I saw you the tears in your eyes looked like they were trying to say oh, little boy, you know I could love you but first I must make my getaway two strange men fighting to the death over me today I was trying to meet you on the old highway hey. And then this is all I think of is ram jam right now. Well, I realized that you've got hypnotized. I love your gypsy eyes I love your gypsy eyes love your gypsy eyes love your gypsy eyes all right. Um. I've been searching so long my feet hey they painful lose the battle down against the road my weary knees take that place off the side I fall but I hear a sweet call my gypsy eyes have found me and I have been saved Lord, I've been saved that's why I love you said I love you hey I love you Lord. [02:37:42] Speaker A: I love you hey that's a lot of lyrics, man. That's a lot of lyrics. [02:37:47] Speaker E: Yes, it is. [02:37:51] Speaker A: Who's going first? [02:37:53] Speaker B: I'll go first. I don't think I've gone first in a while. I can see six on the lyrics. They're okay. I'm gonna say a seven on the production, a seven on the melody, and I'm gonna say an eight on the music and the arrangement. I think there's some really cool stuff that's going like, this is, to me, this is him getting back in form. I mean, I think, by far, this is the best song on this whole song. Like, without a doubt. To me, there's, like, there's. There isn't even a contest. To me, this sounds like Hendrix doing what he does. And I know I missed it. This whole side. I mean, obviously, one of them. Well, technically, one wasn't his. One was a cover. I mean, I do think he did a great version of that cover, but, I mean, obviously, I don't know. Just this one, to me, just sounds more interesting than anything else that came before it on this side. So I think it's a. It's a stand that, without a doubt, on this side, I could have kind of done without the other ones. So if you went from. You know what I mean? If you went from voodoo child into this, I'm like, okay, all right. [02:39:15] Speaker A: So what did you give? Lyrics. And then would you give Melvie a seven? [02:39:22] Speaker B: Yes, production a seven, and music and arrangement in eight. [02:39:29] Speaker A: You like the arrangement, too? [02:39:31] Speaker B: Yeah, it was cool. It was cool. And, I mean, my God, what an influence on that other song was. Even some of the echoing he does in the guitar and some of the sounds he's doing. [02:39:39] Speaker A: Mm hmm. [02:39:40] Speaker B: I mean, so. [02:39:45] Speaker C: Frank, you know, sav, I gotta say, production arrangement of music, I'm gonna give those eight. The lyric and melody. I'm kind of right there with you. It's like I just. I'm always, always, always curious. When did the artist write this song? What part? What time in the album timeline did they write this in? And did they write this right after voodoo Child? Was it somewhere in the middle, a couple of songs later kind of a thing? Because the energy and the lyrics that you're writing is present, and sometimes it's also present in the music, but not here. This music, they just kept that energy up. But maybe perhaps in the lyric and the melody, they're not as energetic or as creative. So I just feel that this was one of those songs that maybe was written towards the end of the album. So I'm gonna give those a set a seven, Steve. [02:40:41] Speaker E: All right, so, um, I think I'm going to do the lyrics in the melody at seven also. They were there, but they weren't there. It kind of goes what Sav said. It's starting to get back to where, I guess Hendrix more is Hendrix II, as opposed to the last songs that we listened to. To. And everything else will probably go eight. You know, music was way better. Everything I could hear better in the mix, it wasn't, you know, just one side, and guitar kind of took over everything. So, yeah, we'll go eat for everything else, and just lyrics and melody will go seven. Mark. [02:41:29] Speaker A: Yeah, I think I'm doing the same thing. Seven, seven. And then 888. There's some interesting parts here, some interesting lyrics. I like some guitar playing, obviously here. There's not a lot of guitars, not really a solo. Like, it's just basically, music is a lot. There's a lot of lyrics. Right? There's like four was like five verses. Steve. [02:41:48] Speaker E: There is. Let's see, 1234. Yeah, I guess you could say there's four, five, depending on how you look at it. [02:41:59] Speaker A: Yeah, that's a lot. It's a lot. So, yeah, I think this is him starting to get back. I knew Frank is right. Like, where was this written? Was this written earlier? Later? Like, I think that really depends on, like, the way things work out. [02:42:12] Speaker C: So, yeah, you know, it makes you wonder, like, was this something towards the end when they're kind of losing that energy, or was this something towards the beginning when they're starting to form that energy. I don't know, but it's definitely not like the prior tracks that we've heard. But it's definitely not. I don't know. I'm just trying to figure that out. [02:42:32] Speaker A: Yeah, it's hard to tell. All right, so we're at the end of the second side and the end of the episode. So nice. This is burning of the midnight lamp and all I can say there's. It's an interesting use of. You have. Haven't heard this song. Interesting use of wawa. And I believe harpsichord. Let me double check that to see if that's what I think this is. But I believe it is harpsichord. [02:42:59] Speaker D: Blah, blah, blah. [02:43:03] Speaker A: Trying to see if it tells me who's doing what here. I'm trying to back up. Sorry. There's backing vocals by the sweet inspirations. Those are four women, or they're an r and B girl group. They did a lot of background work. The family member, the group was Deon Warwick. [02:43:27] Speaker B: Oh, nice. [02:43:28] Speaker E: Interesting. [02:43:31] Speaker A: There you go. So I'm trying to figure out who plays what on this. I believe there is a harpsichord on this, though. I'm not sure who plays Oregon. No, it's not. It's not listing who does it. But anyway, I think you'll like it. It's an interesting take on how to use wawa in a good way. All right, here we go. [02:44:19] Speaker B: That's very 60 sounding, too. [02:44:22] Speaker A: Yeah. It's just a weird way to use wawa. Yeah. [02:44:25] Speaker E: I kind of like that little fill into, like, at the end right there before it kicks in. Like. [02:44:33] Speaker A: Yeah, but even, like, the part, like, just playing the part with the wawa on. Just weird. Like, playing the chords and playing the parts with the harpsichord. It's just weird. It's an interesting way to use it. Like, mostly people use, like, you know, they don't use it in that fashion. [02:44:50] Speaker E: No. [02:44:51] Speaker A: So, yeah, it's a little different. And I think the production right now is much better. [02:44:55] Speaker B: Yeah, it's very crisp sounding. [02:44:57] Speaker A: Yeah. All right, let's continue. [02:45:02] Speaker D: The morning every day I have felt too just a little more than enough. [02:45:53] Speaker B: I kind of wish he followed the melody into the song. I feel like once you start singing, everything becomes kind of this mess. I don't know, maybe it's a production. It's because I just. [02:46:07] Speaker A: I don't know. [02:46:07] Speaker B: That part is kind of catchy and then cool. And then he kind of goes into this verse where. I don't know, it comes a little bit out of left field and I feel like the part, the production gets a little smothered together. That's a word. If not, then I just invented one. [02:46:27] Speaker A: Yeah. It feels like. It feels. There's a lot going on. I think that's what it is. There's so much going on, it's hard to, like, keep things separate. Oh, Hendrix played the harpsichord. There you go. [02:46:41] Speaker B: Yeah, I think I just read that, too. I was about to say he did some. They said overdubs on it. [02:46:45] Speaker A: Mm hmm. That's interesting. This track also marks Henger's first use of wawa effect on his guitar recording. Really? Wow. [02:47:00] Speaker E: Interesting. [02:47:01] Speaker A: I would think it was. What? Yeah. Maybe he didn't use Wawa before this. That's right. Yeah. I think that's right. So that's, um. It's interesting. [02:47:14] Speaker B: Yeah. I would never think that after two albums. Really? [02:47:19] Speaker A: Yeah. I mean, you know. You know what it is, that it was a new effect. So, you know, I mean, well, think. [02:47:27] Speaker B: About associated with him. Right. You just say it's there and. [02:47:32] Speaker A: Yeah, I mean, this is 68, so this is the third record. Like, it's only been three years, so two years, actually. 67, 68, right? Yeah. Was the first. 166. I forget. [02:47:43] Speaker E: I don't remember. [02:47:46] Speaker A: Anyway, let this go, and then we'll come back and I'll look it up as we're going. Here we go. Oh, Steve, you want to read lyrics before we do this? [02:47:55] Speaker E: Sure. Okay. The morning is dead day two there's nothing left here to lead me but the velvet moon all my loneliness I felt today it's a little more enough it's a little more than enough to make a man throw himself away and I continue to burn the midnight lamp alone. [02:48:20] Speaker A: I think he's getting back into the groove a little bit. That's my opinion. [02:48:25] Speaker D: Now the brown wall, it really doesn't bother me. It's just the ever falling. It makes it so hard for innocent sacrifice and I continue the right make my. [02:49:32] Speaker A: That's so typical for him to do that. [02:49:35] Speaker B: That's definitely interesting. I mean, without a doubt. [02:49:38] Speaker A: And you want to know something? I'm starting to almost realize why some of these things are just weirdly mixed. I kind of think that, like, really stereo was, like, so new. Like, you don't think about that now, right? But think about then. Almost all radio is all am, right? Most of us, everything was in mama. Mm hmm. So, like, even in this song, like, you hear them fading things, right, left. Like, this is, like, a super. Just experiment in what to do with now that you have two channels. So maybe, like, the weird things we were saying about like the mix, like pushing things to one side. Maybe it was just experimenting to see what things sounded like by moving things around. [02:50:21] Speaker E: Could be. [02:50:22] Speaker A: I don't know. You know what I mean? [02:50:23] Speaker B: Yeah, no, I mean, it's definitely interesting. Without a doubt. I mean. I mean, there's definitely some cool shit going on. Without a doubt. I mean, yeah, the guitar is definitely not as fuck, but I mean, I mean, it's all right. Like I said, I kind of wish that he just made the other insurance a little bit louder in some of this stuff. I mean, that was really like the only thing. Just because it felt like the production kind of shined on that first side and not that it's bad here. I mean, this sounds. I'm probably, maybe I'm way off, but if I had a guess I would. I feel like this one has a little bit of an older feel than the other stuff to me. You know what I mean? This one sounds like it was written. [02:51:06] Speaker C: Earlier. [02:51:09] Speaker B: And because to me it has that sixties sound like, it's almost like Hendrix doing a psychedelic version of a Noel Redding song. That's, that's kind of like what I'm feeling here, you know what I mean? Where Noel Redding was very simple and what was going on and Hendrix just kind of played what he did over it. This is almost like, hey, you know, hey Jenna, you've got this song. Well, yeah, let me, let me do this to it. Let me really make this my own and, you know, fuck some shit up. [02:51:40] Speaker A: Well, this song was written for, for axis, so it's very. So it was written for the prior action, the prior record. [02:51:51] Speaker B: Yeah, that's what it feels like to me. [02:51:53] Speaker A: Yeah, well, you know, I mean, he is taking chances here. Like even the harpsichord and all the weird, like, you know. Yeah, it's sixties but there wasn't everyone. You, if you just left the harpsichord the way it was and didn't play the Wawa pedal over with the guitar, that's like a weird thing to do. And during this time, like obviously, you know, the keyboard and stuff was done, doors and all that kind of stuff, a lot of other bands were using beatles too. Yeah, yeah, that's what I'm saying. Yeah, but like, him just putting that weird wawa thing over it and it's weird. Like, I think the first verse is very messy in sound, but I think it changes, which is weird. [02:52:30] Speaker B: Yeah, it has gotten better. I think it has gotten better. [02:52:34] Speaker A: I always felt that first verse was a little messy and then it got. It kind of straightens itself out and again, this is, like, he's the producer of this record. So, like, he did everything producing wise. So he made all the choices to do this. So if he wanted to sound like that, that's what happened. And it also could be that he's not very skilled in doing that yet. Because this is his third record. You know what I mean? It's the first one he's producing. He's starting to pull away from the other guys that are making him do whatever, what he doesn't want to do. So he's taking control of, like, all this stuff. Oh, wow. This was recorded 30 times. They took 30 takes of this. [02:53:13] Speaker E: Wow. [02:53:14] Speaker B: Damn. [02:53:15] Speaker A: I like the backing vocals with the girls. That's pretty cool too. [02:53:18] Speaker B: Yeah, no, it's. It's. The more I listen to it, the better I take it gets. And like I said, I kind of. That intro part with the harpsichord in the wall, which is so catchy. It's like, almost like a ding, bang, bang, bang, bang. Right? Like, you played it faster, be like a little thing, and then, like, the verses. But then, like you said, it does seem like it's getting better as it progresses. But, I mean, from an experimental and interesting standpoint, I mean, yeah, it's really cool. [02:53:48] Speaker A: So he's saying. This is what he's saying the songs about. There are some very personal things in there. But I think everyone can understand the feeling when you're traveling. That no matter what your address, there is no place you can call home. The feeling of a mandeh in a little old house in the middle of the desert. Where he's burning the midnight lamp. You don't mean for things to be personal all the time. But it is so. Probably because he's been traveling around for the last two years, right? All over the place. He never stopping. They're pushing him hard to tour and record. Because, remember, this is third record in two years. [02:54:18] Speaker B: Yeah, I know. [02:54:20] Speaker A: So they're pushing him hard. [02:54:23] Speaker B: Yep. [02:54:24] Speaker A: Right. Steve, what are we up to? [02:54:26] Speaker E: All right, now the smiling portrait of you is still hanging on my frowning wall. It doesn't. It doesn't really bother me too much at all. It's just the ever falling dust that makes you so hard for me to see. That forgotten earring laying on the floor. Facing coldly towards the door. And I continue to burn the midnight lamp. Hold. [02:54:55] Speaker A: Burn. [02:54:55] Speaker E: Yeah, yeah. Lonely, lonely, lonely loneliness is such a drag. Such a drag. [02:55:04] Speaker A: That's so 60. Psychedelic. Loneliness is such a drag. [02:55:07] Speaker E: Yes, it is. [02:55:09] Speaker C: Any chance we could just hear another part of it? Mark, just. Just play one more part. [02:55:13] Speaker A: Oh, we're not done yet. I still got more. [02:55:15] Speaker C: Oh, you still got. Mark, I thought. I thought you said this is short. [02:55:19] Speaker A: Well, we got another minute and 17, so here we go. [02:56:21] Speaker D: Today. Oh, my God. Yeah. No, Mandez. [02:56:37] Speaker A: Another weird fade. [02:56:38] Speaker B: Yeah, but at least it kind of had that mobile room going. [02:56:41] Speaker A: Mm hmm. And I. I think I figured out why. It's really messy sounding. There's a lot of phaser. [02:56:49] Speaker E: I was gonna say there's a lot of frequencies. [02:56:53] Speaker A: Yeah, right. Doesn't that. You think what makes it, like, really messy is the phasing? [02:56:56] Speaker E: Yeah. A lot of frequencies competing there. [02:56:58] Speaker A: Yeah. [02:57:01] Speaker C: Um, Sav or Steve, are you able to very quickly look up Joe Cochran's rendition? A little help from my friends. What year was that release? [02:57:11] Speaker E: Let's see. [02:57:17] Speaker B: He's gonna check because my mouse is loud. It's gonna be click, click, click. [02:57:24] Speaker C: I know. [02:57:24] Speaker B: Yeah. [02:57:25] Speaker C: Because you know what, Sav? You need to upgrade from your Commodore 64, bro. [02:57:28] Speaker B: I got. I got the quiet mouse because the other thing was bluetooth. It just worked on its own. Flintstones shit here, man. [02:57:39] Speaker E: Released April 23, 1969. [02:57:44] Speaker C: And this song was released when 68. I mean, you can hear some similarities between the two songs of. Yeah, you definitely can. Between Joel cockers rendition of Little Help from my friends and this. You can hear those similarities. [02:57:58] Speaker E: Mm hmm. [02:57:59] Speaker A: It all goes back to Hendrix, my friend. All this one. Would you like. [02:58:02] Speaker C: See, I. You know what? You might be right, Mark. You might be right. [02:58:06] Speaker A: See, I keep saying might be right. [02:58:08] Speaker C: That. That's why I was like, I need to know who. Who wrote this first. And that rendition, you know, the Hendrick rendition came out first, so. Yeah, yeah, you might be right. Except for the blues version. Except for the blues. Yeah, the blue Hendrick Hendrix blues is more muddy Waters and the whole Chicago area, you know, like, you know, but. Yeah, everything else. [02:58:30] Speaker A: Yeah, I think you always say before Hendrix. After Hendrix is what it is. You know, it's the truth, though, as far as guitar playing wise goes. And some of this. I mean, listen, he was copying a little bit. I mean, he listened to other people, obviously, Bob Dylan, and he listened to the Beatles. He was listening to what they were doing, too. So, you know, he's not 100% original, but in guitar playing wise. Experimental wise. [02:58:52] Speaker C: Yeah. [02:58:52] Speaker A: I mean, I think everybody back then, like, pet sounds is super experimental, and so was Sergeant Pepper. Right, Samino? That was all super experimental. [02:59:02] Speaker B: Well, I mean, yeah, once. Once the Beatles started just hanging out in the studio making records. I mean, the wife album. I mean, there's stuff on rubber soul that was whatever. Even, like, some stuff on revolver, some backwards stuff going on. [02:59:17] Speaker C: You know, if I was to pinpoint back, a guitarist would experiment as much as Hendrix did. I don't know. I think Tom Morello might fit that bill as someone who really experimented sound. [02:59:30] Speaker B: I've always said that Tom Morello is. Is the Hendrix of this generation. [02:59:34] Speaker C: I think so. I think. I think. I think that's not crazy to say. [02:59:38] Speaker B: It's not about whatever. It's not about. I'm not going to say whatever talent. This is good. But I'm saying about somebody who said, you know what? I can do more than just play a solo or just play whatever. I'm going to do something weird, and I'm going to make my solo just as interesting as. Because, I mean, honestly, a lot of times, even if I like the song and I don't know the song, I'm waiting to hear what the fuck he's gonna do. Because I'm like, all right, dude, what are you gonna do? You know what I mean? I think it's exciting. And even the. Even though the rhythms he plays, even if they're simple, he's still got some stuff. He's very. To me, that was my thing. I was like, if I had to pick somebody and, yeah, there's other people who've experimented with. I just feel like, you know, Hendrix, I think the more if had he lived, you know, he embraced whatever technology he had then. So I can't imagine that Hendrix would have stopped ever embracing technology and trying to move his guitar playing forward and say, okay, well, here's what I did with the wawa. Here's what I do with this, and here's what I do with this, and here's what I do with this. And he was ahead of the curve. [03:00:45] Speaker C: Yeah, yeah. You know, like, through this podcast and just marks appreciation of Hendrik. So, you know, and just the way that Mark talks about Hendrik, not only as a musician, but as an artist and how he experiments and do all those things, and you start thinking about modern day guitars and things like that. Like I said, like, tom Morell comes to mind for me along those lines, like someone who's not scared to experiment, and you look forward to see, okay, what he's gonna do next in this. In this solo. Is he gonna come out something crazy. When you hear that song, when you hear a song that Tom Morell is in, you. You're waiting for that next craziness. And, oh, by the way, I heard his podcast recently. Not a podcast, but he has a show on Cus XM, and he jams out with his son, and his son is, wow. Just as good as a dad. So looking forward to another generation of Morella music. [03:01:41] Speaker A: I do agree that, well, he's unique in the way he approaches. I think, to me, guitar playing wise, there's only been two major shifts, and you know what I'm gonna say? The first shift was Hendrix. That's the first shift. [03:01:54] Speaker B: And the second shift was CC Deville. [03:01:56] Speaker A: Yeah. Yes, it was. It was blue Saracino, actually. Stop. Eighties. Stupid reference. That no one knows. But I think the difference with, like, the Hendrickson and the Van Halen thing is that there's very few guitar players who have, like, different things that they do but then change everything. I think that's only happened twice as far as. As far as I'm concerned. Twice. It may happen again. You know, Morello definitely has his place, and, like, I think he's great, but he does a lots of different stuff that no one does when he plays a solo. You know, it's him. Right. That's the mark of a good guitar player, no matter what that is. But there's really only been two biggest tectonic shifts when Tom Morello came out, right? Did all of guitar playing do what he does? No. That's how, you know, there's. When there's a big, gigantic shift when the guitar player comes out, and then everyone does it after him when Van Halen came out, and then everyone played like him after that. I mean, you can have innovative people. You can say Neil Peart, right, as far as drums go in the rock thing. But not everyone decided to play like him after that, though. [03:03:02] Speaker B: No, but maybe that's the thing. People are like, listen, if we do this, it's gonna sound like him. And I'm sure there's people out there that do things that he does, and. But, I mean, it's like, if someone sounds like Hendrix, they sound like Hendrix, right? I mean, I think Stevie Rayvon, to me, I know that you had said that there's other stuff that he sounds like, but there's definitely stuff that he does. I'm like, okay, that's. Which is fine, but I'm saying. I mean, it's. It's fine, because if you can do it and do it well and then still kind of. Kind of still make it your own, that's a big deal. [03:03:33] Speaker A: It's hard. [03:03:34] Speaker B: Yeah, it is. Absolutely. [03:03:37] Speaker C: Yeah. I mean, I don't know. Yeah. I'm not gonna say anything because I know what you guys are gonna say you're biased in that opinion. No, I know. You think I'm gonna say what? You know, I'm gonna say Taurus, that I think should be in that conversation. [03:03:53] Speaker A: No, of course. No, no. As far as a guitar, he's a great guitar player. I'm saying that. I'm saying that this. It's hard to have a guitar player that's so big that changes everything. And I. Like I said, there's. There's only two that I can name that that's happened with that. Everything changed. But no, definitely slash is a great guitar player. I mean, if you're gonna start putting in the rock thing, a hard rock, like, he's got to be top ten. There's no doubt to me. [03:04:22] Speaker C: He's gotta be, you know, I wonder. Yeah, I wonder if Prince would have done a metal song or a rock song, if we would have been someone who changes everything. [03:04:33] Speaker B: Listen to chaos and disorder. Great song. [03:04:38] Speaker C: Yeah, he would have changed everything. [03:04:39] Speaker B: Great rock song. [03:04:40] Speaker C: Maybe he did. Yeah. [03:04:42] Speaker A: But, you know, the difference is, is that he was into a lot of it. He really wasn't only guitar player, he was focused on other things besides that. You know what I mean? And so, so he had a lot of other things going on besides the guitar playing, but had. Did you see the my guitar gently weeps live thing that he's with Tom Petty and. [03:04:58] Speaker C: Oh, my God, that was amazing. He stole the show. He stole the show. And Tom Petty is one of my favorite guitarists. I regret never seeing him live. He played a couple of times a couple of miles up the road from us. Never caught a show. Never caught a show. [03:05:15] Speaker B: I know. I've never. I never saw him either. I would love to have seen, literally. [03:05:19] Speaker C: One of the most intimate venues you can catch a couple of miles from us. Never caught him live at the Capitol Theater. Oh, my God. I would have loved to have seen him at the Capitol Theater. [03:05:29] Speaker B: Frank, you got to check out the documentary of him making wildflowers. It's really good where it's kind of supposed to be him on his own, but he brings in like three or four. Four members of the Heartbreakers anyway. But he changed, you know, it's not the same drummer. And so. But it's. It's just good because you get to see. You get to see him with his kids and how he kind of creates. It's really good. So. It was really good. Well, you know, if you're a fan of him in that, it's only about that album, though, so, I mean, but I've always. Really? [03:05:59] Speaker C: I gotta check it out. You know who's another one of my favorite artists as a recent guitarist? Chris Stapleton. Love him. Love him as a guitarist. Love him as an artist. Love him as a lyricist. He's just amazing. I got to see him, actually. He brought out one of the team, one of the members from the heartbreakers and his show over in the Meadowlands, and they were just absolutely amazing. [03:06:20] Speaker B: He's country. Yeah. [03:06:21] Speaker A: Yeah. Yep. [03:06:22] Speaker C: Yeah, yeah, yeah. Mostly country. [03:06:23] Speaker B: Yeah. I mean, you see some of these people live, and I'm like, holy shit. Like, I think one of them was plain eruption. I don't know which one it was. It could have been the dude in the progressive, whoever does the commercials with Manning. I forgot his name with, like, the hat, the cowboy hat. But it's kind of, like, pushed up. [03:06:40] Speaker A: Kind of Brad Paisley. [03:06:42] Speaker B: Is that it? Is that it could be him. Yeah. But I think I saw him do, like, eruption. [03:06:48] Speaker C: Yeah. But back. Back to our original argument. I will say that Tom Morello is this generation's Hendrix in terms of experimentation, pushing the music limits. So I'm with you, sav, on that one. [03:07:01] Speaker B: Yeah. I mean, that's who, to me, comes to mind. I mean, again, I'm not saying, like, oh, my God, whatever. He didn't. I'm just saying somebody who embraces it the way I think Hendrix would have. So. Yeah. [03:07:14] Speaker A: All right, Steve, finish it up. [03:07:16] Speaker E: Sure. [03:07:16] Speaker A: I think we're ready. [03:07:17] Speaker E: Okay. So here I sit to the face the same old fireplace getting ready for the same old explosion going through my mind and soon enough the time will tell all about the circus wishing well and someone will buy and sell for me someone will toll my bell and I continue to burn the midnight lamp all alone burn, yeah, yeah lonely loneliness is such a drag. [03:07:49] Speaker A: Everything'S a drag. [03:07:51] Speaker E: Drag, man, is drag. [03:07:53] Speaker B: It is cool, though, because you can understand what he's talking about. But he does it. He definitely does it in a. An interesting way. [03:08:00] Speaker A: Yeah, he's. His lyrics always like that. I mean, they're never, like, straight on, right, telling you exactly what's happening, so. All right, who's going first? Steve, you go first. [03:08:08] Speaker E: All right. I'm, um. [03:08:15] Speaker A: I don't know. [03:08:17] Speaker E: I think. I think, um. I think we'll just go eats just because everything was starting to get back towards where it should be. It's just, uh, while the other stuff was there before that, I don't. It's a lot of wasted space, but, yeah. So we'll go lights. We'll keep it like that, I guess. Yeah. Frank? [03:08:55] Speaker C: I'm gonna get the lyrics in the melody, a seven production arrangements. I'm gonna give that an eight. I'm with you on that. That they are on track. I just love the, I just, I truly enjoyed the music, the production and the, in this song. It was just really, really well done. So, yeah, so sav. [03:09:16] Speaker B: So I was going to do sevens across the board, not an 8th, but I think it's like it would be good enough to put on a playlist and kind of listen to again, I mean, again, it did kind of get better as it progressed. And I mean, music wise, it's definitely interesting. So, yeah, sevens across mark. [03:09:44] Speaker A: I do like the lyrics on this. I'm gonna do an eight on lyrics, eight on the melody. I think I'm gonna do eight slight across the board like Steve. Well, you know, actually I might do. I'm gonna do eight lyrics, eight melody, nine music and non arrangement and a production. Because I do like, I do think the interesting parts of using the wawa, the way he's using it and I. The interesting phasing even though it kind of like, I like what they're trying to do, but it's just so new that I think they just can't do what they want to do. I think. I think if it was, you know, three or four years later that they would get exactly what they wanted out of it. But I don't think the technology has caught up to them. I don't even know if this was eight track or 16 track. May. I don't even know. I don't know if it, if they tell me what this was recorded on. Um. Holy crap. I gotta tell you something else to me now. [03:10:42] Speaker B: Yeah, yeah. [03:10:44] Speaker C: It's 02:00 in the fucking morning. That's what he wants to tell you. [03:10:49] Speaker A: Mitch Mitchell did 50 takes a gypsy eyes over three sessions. That's crazy. [03:10:54] Speaker B: Oh my God. [03:10:55] Speaker A: 50 takes. Holy fuck. Yeah, it's crazy. I don't know. I don't know what this is recorded on. I'll try to find out before the next episode. We're not going any longer for this. We've already yapped long enough. This is a long album, but this is, this is 200. So that's why it's this long. So, I mean, not 202 years. [03:11:12] Speaker B: Two years. Two year. [03:11:14] Speaker A: I was like, I have to in the brain. [03:11:16] Speaker B: Oh my God. I fell asleep for a long time. [03:11:20] Speaker C: Hey, Mark, do you have the ability to put out a survey? [03:11:23] Speaker A: Sure. [03:11:24] Speaker C: Let the people decide on a certain question. The question is going to be, is Tom Morello this generation center. I would love to hear that. I love to hear what the people think. [03:11:36] Speaker B: Don't even. Don't even. You can even. Don't even phrase it that way. Who do you think is. Well, hold on. This generation, don't forget, we're a few generations behind. We're at least two, two or three generations behind. So I would say, you know, who is modern era. Yeah, modern ish era. I mean, or just who is the closest guitar player to pick to last 20 years? [03:12:03] Speaker E: Who. [03:12:04] Speaker B: If you said that, if you had to say that anybody picked up the mantle from Hendrix, who? I mean, because, I mean, Mark, even with you saying that, okay, Eddie Van Halen changed it. I don't think he picked up that mantle from Hendrix. Right. Because they're so different. Me personally, I don't think Eddie experimented as much. He was just a straightforward, amazing player. I don't. I don't get those vibes, and I don't get really vibes necessarily from tom morello either. Again, it's not about that to me. It's just like, this is the stuff that he probably would have done, but obviously, in his own way. [03:12:44] Speaker A: The only thing I can say on the van halen thing is that the difference is that just like. Just like frank was saying, well, what's going to happen next? Right. Pretty much the first six van halen records, you, every time he came out, you went, okay, what guitar thing is he gonna do right now? That's gonna. The people are gonna shake their heads and go, I don't understand. And pretty much that happened for the first six records that every time the record came out, there was a new technique that he decided to do. And, like, his thing wasn't more the effects, but his was just more technique. So he would do this thing and people like, what the fuck? I don't understand how that's even guitar. So. So that is really what it is. Yeah. He didn't pick the mantle up of. Of effects and stuff because he really didn't use a lot of effects. [03:13:28] Speaker B: Yeah. [03:13:30] Speaker C: You know, and by the way. And by the way, that's all recorded stuff. You can imagine what he did things when he was live, who, like, live recording. Like, you know, doing a concert, they can just go out and do whatever back then. [03:13:42] Speaker A: Yes. [03:13:43] Speaker C: Experiment, do whatever they want anymore. Exactly. [03:13:45] Speaker A: So back then, yes. That's a long. It's a long episode. It's a long album. [03:13:51] Speaker C: Yeah, yeah, we still got more to go. [03:13:53] Speaker B: Typically, we do one side per show. Right. [03:13:55] Speaker A: So, yeah, double albums. A killer. [03:14:00] Speaker B: Yeah. [03:14:02] Speaker A: All right. So, Savino, do your thing. [03:14:04] Speaker B: Yeah, so we are part of the Deep Dive podcast network again. Like I always say, great bunch of guys suck us in right away. If you want individualized podcasts about guys like bands like Rush, you know, again, shout out to our buddies at Rushdeen. Trash, Judas Priest, you name it. Tom Petty, like Frank was talking about. You got Uriah he, Zeppelin, Queen, you name it, it's probably on there. So if you set up listening to us ramble on about different things, you hear them ramble on, but about specific things, so. And, mark, where can they find this on the interwebs? [03:14:37] Speaker A: Rock roulette pod everywhere. Rockrulletpodcast.com. if you want to submit a new bets submission, go to the website. There's a little. There's a little form there you can fill out. It'll go right to our list. [03:14:49] Speaker B: Actually, I think if they submit something, we should put it to the head of the list, right? [03:14:53] Speaker A: Still gonna get randomized? [03:14:55] Speaker B: No, but I'm saying, I think if somebody actually says, hey, be like, okay, somebody listens to us. Let's, let's. Let's. Somebody's paying attention to us. [03:15:06] Speaker A: Okay? [03:15:07] Speaker C: They should go into the people's wheel. They have to go into the people's wheel. [03:15:10] Speaker B: I will figure it out. Don't worry about it. [03:15:13] Speaker A: Anyway, set your. Set your podcast player to download us automatically so you get all our new episodes. And if you can, please do review. Give us five stars. It helps us with the algorithm. The algorithm decides who listens to us, who we get referred to. So five stars helps us out wherever you listen to your podcasts. [03:15:34] Speaker C: And that's rate us on Steve's readings. [03:15:38] Speaker B: Yeah, we didn't have any social disease. [03:15:40] Speaker A: But I'm sure Kylie Anderson will like Steve's reading. All right, guys, we will see you next week for the next two sides of this two year anniversary episodes. [03:15:52] Speaker E: So ciao. [03:15:53] Speaker B: Ciao. [03:15:54] Speaker E: Later. [03:15:56] Speaker C: Have a good night. Later.