Episode 105 - The Jimi Hendrix Experience - Electric Ladyland (Part 2)

[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. [00:00:13] Speaker B: For listening to the artist's music. [00:00:15] Speaker A: 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 holder for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. [00:00:40] Speaker B: These so called fair uses are permitted. [00:00:42] Speaker A: Even if the use of the work would otherwise be infringing. Now on to 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 it in a wheel. And typically, every other week we spend the wheel, she picks a record for us, and we go through it side by side, song by song. I used to say we had three categories, but now we have more. So, I don't know. I think we added melody and arrangement because what Mark called the bush effect, where we thought some of this stuff was good and needed to be called out a little bit more than the other or needed to be put down more than the other. [00:01:49] Speaker C: But yes, it's on the protest. [00:01:52] Speaker B: It's on the protest. [00:01:53] Speaker C: It's on the protest. [00:01:55] Speaker B: Yeah, it is a little bit on the protest. There were some protests this week on our group chat. We'll see how that goes. But we got to celebrate that new rating system with our two year anniversary. And just like we did, we started out with Jimmy. We went one year with Jimmy, and we did two years with Jimmy. So last week we started electric lady land. And there were four of us last week. There are only three this time, but let's do the roundtable. We have Frank back. My name is Frank and I'm sexy. [00:02:42] Speaker C: Great to be here with all of yous. That's how we say it over here. Yous. [00:02:47] Speaker B: Yeah, yous. We've got Mark. Oh, hi, Mark. [00:02:50] Speaker A: What's up, guys? [00:02:51] Speaker B: And I'm Sadeena. [00:02:52] Speaker C: Ciao. [00:02:53] Speaker B: Buona Sierra. Yeah. So again, we picked Jimmy's third studio album, Electric Ladyland. And so for, you know, it's a double. So there are four sides. I think my personal opinion, the first side was pretty damn strong. I wasn't too, too crazy about the second one. I only felt. Only because I felt it was a little simple. There wasn't as much experimentation. There was some, obviously, some really good guitar work, some good drumming. But it was kind of picking up at the end with what I think was burning the midnight lamp, unless I'm mistaken, because my memory isn't always that great, but is that where we left off, Mark? Burning of the midnight lamp? [00:03:37] Speaker A: Yep. [00:03:38] Speaker B: So I think as it. And gypsy eyes, I think, was actually pretty cool, too. So I think it's. I'm hoping it's kind of building back into some more experiments and some cool kind of psychedelics and, you know, some cool, weird shit. Mark, you probably know better than we do, but obviously, you being the biggest Jimmy fan, how do you rank this album out of the experience albums? [00:04:00] Speaker A: The first three, I think it's the most experimental, so it's kind of where he was headed and what he wanted to do. And even the stuff after this was even more r and b kind of stuff. And that album is the posthumous albumen. There's two versions, I guess there was the cry of love, and then there's what the new one is. I forget I have it, but, you know, you'll kind of see where he was headed. I mean, this is him being more experimental. I think you'll like size three and four a little bit more. There's more stuff there. There's more stuff I think you would like. [00:04:35] Speaker B: Is there like a straight up jazz coming up to kind of. [00:04:41] Speaker A: Yeah, some stuff. There's another 13 minutes song. [00:04:43] Speaker B: Nice. Well, I tell you what, man, that fucking. Was it voodoo child? That was a 14 minutes song. [00:04:49] Speaker A: Yeah, 15. [00:04:50] Speaker B: That. That was great. I mean, that was. I. Me personally, I never got bored throughout that whole song. Never got bored, man. [00:04:58] Speaker A: It was good. [00:04:59] Speaker B: Yeah, it's really, really good. Frank, what are you thinking so far? [00:05:02] Speaker C: Love it. You know, that version of Voodoo Child is also my favorite so far. It's one of those songs that, you know, almost like that Barney song, the song that never ends kind of thing, that you always want to hear it in a way. No, no kidding aside, it's definitely that jam version was just truly amazing, and it shows you the genius of Hendrix. Right. And I think I shared this the last time that I never viewed Jimi Hendrix as a psychedelic rocker. Always view them as a rhythm and guitar kind of a rhythm and blues kind of guitarist and artist. So I think that we see that a lot more in this album than we did before. [00:05:43] Speaker B: Yeah, I mean, there was some r and b on here that I really, really liked. Again, it goes to show, right, he's a guy who. He can write pretty much any type of song. He can write the slow ones, he can write some of the faster ones. Some of the heavier ones, some of the lighter ones. I mean, obviously that guy had amazing, amazing talent. So I'm looking forward to hearing, like I said, I do remember some of the stuff, at least by the title, the titles. So maybe some of them will sink in. [00:06:16] Speaker C: Mark. Mark, did you get any results on our question to the people? [00:06:23] Speaker A: No, not yet. [00:06:25] Speaker C: Well, not yet. Do you remember what the questions to the people were you just gasping? [00:06:30] Speaker B: I don't remember either, but I remember something. What was the thing? What do we ask? [00:06:34] Speaker C: We were, we were gonna post a question to the people. Is Tom Morello this generation Sanders? [00:06:43] Speaker A: Oh, I have to post that out. Yeah, I'll post that out. Yeah, I'll do it after this. This episode. [00:06:48] Speaker C: Yeah, yeah. I mean, I think that was a very interesting question to ask. I'm curious. I don't know. I mean, I don't know. [00:07:00] Speaker B: Yeah, I mean, he pops to mind to me. I mean, again, not in terms of the actual playing, but just in terms of just embracing the technology and saying, hey, you've heard a lot of stuff that goes like this, you know, here's something else you can kind of do with the guitar. It's not always about notes. It's kind of like what I, what I can do and to keep it interesting. So definitely from, from that regard and. [00:07:26] Speaker C: Also keeping the fan base captivated. Right. Like, what is he going to do next? Like, what was going to happen? Kind of a thing. So, yeah. Interested, interested to hear what the people going to say. [00:07:38] Speaker B: Mark, before we start, are we doing a new bets? [00:07:40] Speaker A: Yes, I was going to say that. Yes, that's what we're doing. [00:07:43] Speaker B: Yeah, I didn't forget. I think I forgot last time with the time before, but I, we were kind of talking about some of the newer stuff that came out. [00:07:50] Speaker A: So this is your thing. Are you going to the wheel? [00:07:53] Speaker B: Oh, it's my turn. You know what? Let's, let's not. Let's. I'm a little bit torn, but I'm going to go with the, the smashing pumpkins one, I think, because I, again, when I heard it, I thought it was pretty strong. I think the whole album, again, obviously, we've mentioned this before. We try not to listen to stuff a lot in case it comes up on, on the wheels. We try to keep it freshen. But I figured I was actually away, so I had a little bit of time to kind of drift through it. So this is, again, Amazon introduced this as the single. So I was like, all right, if this is what they're saying is a single. Let's just pick this one. So. [00:08:34] Speaker A: Okay, we gotta do this for. We gotta do this first, though. [00:08:38] Speaker C: In a world where new music is not easy to find, a welcome to new bats. [00:08:53] Speaker B: Somewhere out there there's a cow with a headache. [00:08:57] Speaker A: Okay, here's siggro me from the smashing pumpkins. [00:09:24] Speaker C: A bit more to say, a dash. [00:09:27] Speaker D: A bit of sweet once that faint I'll say a laugh at. Now charge up. A chance to be can't you make me fall in Iwa. [00:09:52] Speaker B: Would chance by. [00:09:53] Speaker D: Chance wine swear on tame I will. [00:10:02] Speaker A: Lie where you love I'm not sure I like the way he's singing. [00:10:07] Speaker B: I don't mind. I mean, I just think. I think the song is pretty strong. [00:10:10] Speaker A: I think the riff is strong. I don't particularly like the melody. I don't particularly like his way his voice sounds. [00:10:15] Speaker B: I think he may have to do that now because he kind of did it before, too. But I don't know. I'm digging it. I mean, the whole album is kind of like. Frank, what do you think? [00:10:25] Speaker C: Need to get used to those vocals. But I like the music so far for sure. [00:10:30] Speaker B: Yeah. I mean, the vocals are different for him, but I don't know, I kind of dig it. I kind of. [00:10:36] Speaker C: I dig it. I'm digging it so far. [00:10:39] Speaker B: I mean, the riff is pretty strong. It almost reminds me, like, a heavier STP kind of thing. [00:10:43] Speaker C: Yes. Yes. Yeah, yeah, yeah. [00:10:48] Speaker A: Maybe. It's just I can't get used. I can't get used to the vocal. He needs to have more of a nasal in his voice and it just sounds weird. [00:10:57] Speaker B: It does sound odd. [00:10:58] Speaker A: All right, well, we got some more. Let's listen. It's a short song. It's literally 255, super short. Okay, here we go. [00:11:26] Speaker D: Az grave. [00:11:29] Speaker C: Forget play. [00:11:31] Speaker D: Don't you don't feel before I would rather you should know that you belong whatever you make home don't knock me out and not follow but can't tell me can't you make me believe I wear the chance back come on, come on, Thomas. Run away. [00:12:53] Speaker B: I like. I think it's pretty damn strong. You know what I mean? I mean, me personally, and I've heard some of the rest of the album. [00:13:02] Speaker A: Don'T like his vocal at all. [00:13:05] Speaker B: I don't. I don't mind it. I. You know what it is, too? I don't know. But I'm saying, I went through this and I was like, whoa, he sounds kind of like, you know, it's him, but he's doing something different. And at first, I'm like, but hearing it now, because, again, the music is what really drew me in. And I was like, all right, I don't mind it as much now, so. But I can understand where you're like, hmm. [00:13:31] Speaker A: Yeah, I'm. I like the music. I don't like his vocal, and I don't catch anything there that's being chorusy. I don't know. I just. Maybe it's just I can't. I can't get over the vocal part. Frank, what do you think? [00:13:43] Speaker C: I mean, honestly speaking, we live in a world of AI, so I can't tell anyone who's real, who's not singing and stuff like that. So I don't mind the vocals at all. It's a very different sounding. Smashing pumpkins, for sure. I love that they're going back what seems to be the roots of grunge, like that very in your face hard sound in a way. [00:14:04] Speaker B: I mean, this is kind of like siamese dream stuff, almost. You know what I mean? [00:14:07] Speaker C: Yes. Yeah. [00:14:09] Speaker B: And the production is good. You know what I mean? I think the production is pretty good. The drums sound good. [00:14:14] Speaker C: Very gritty. Yeah, very good. Yeah. [00:14:16] Speaker B: Very happy to hear this. I was like, oh, let me see what this is about. I'm like, whoa. I was like, okay, yeah, the vocals sound a little weird, but I'm kind of digging this. Well, anyway, anybody who listens, chime in. [00:14:30] Speaker A: Yeah, I mean, I don't. Production is good. I just. I'd have to get used to that vocal from him. I just. I don't. To me, it doesn't really do anything for me besides the music. I don't know. I have to hear it again. I. I don't want to, like, downplay it because. [00:14:50] Speaker B: It'S good that he's put. [00:14:53] Speaker A: These. Putting new music out, but I just. Me, I don't particularly like that vocal whatsoever. It sounds. I can't even hear what he's saying. It says. It sounds like a stroke. [00:15:03] Speaker C: Yeah. [00:15:03] Speaker A: No, well, maybe you did have a stroke. [00:15:05] Speaker C: No, no, it's just not. It's just not his sound. Right. You don't expect that kind of a sound 30 years into a career like vocalists. You know, their sound changes. Right. And you know it's him, though, right? [00:15:23] Speaker B: I mean, you definitely. It's definitely him. [00:15:25] Speaker C: You can tell it's him. [00:15:26] Speaker B: He's just. And again, I don't know if this is something where he. Because I really haven't been following them, so. But I don't know if it's something he does now. If it's just easier, maybe, for him to kind of do that kind of thing for him to keep, you know what I mean? As opposed to what he did before, so. But, yeah, it's. [00:15:47] Speaker A: It's. [00:15:47] Speaker B: It's different. The vocals is definitely different, but I'm digging it, man. I mean, Mark, you got to put that on the. On the list, too, by the way, the album. [00:15:56] Speaker A: Yeah, yeah, but. [00:15:56] Speaker C: And by the way, and by the way, I think this is going to be now the second grunge generation artist that we listen to back to back weeks. Jerry Cantrell was last week. [00:16:07] Speaker A: Mm hmm. [00:16:07] Speaker C: Yeah. [00:16:08] Speaker B: That was a good song, too, man. I wound up listening to that a few more times. Vilified. [00:16:13] Speaker C: Yeah. So I wonder if we're seeing a little grunge revitalization here, revival, if you will, maybe. Be nice. I mean, it's been 30 years later. Be great to take it back. [00:16:27] Speaker A: Yeah. Like I said, I don't know what to make of that yet. Like I said, that's the first time I'm hearing. Maybe I have to hear it a couple times before it stinks in. My initial impression is just I don't like the way his voice sounds. I couldn't really understand what he was saying. It sounded very. I don't know, just sounded weird. [00:16:44] Speaker B: Marcus smashing the pumpkin. [00:16:49] Speaker A: I'm not a big fan of his voice in general, but I'm even less a fan of this version of his voice than I was before. I would rather have the old voice, which I know he doesn't like either. He doesn't like his voice either. It's very nasally. He knows it's very nasally, but that was kind of the voice I'm used to for him, so maybe I'd have to listen to this, and I don't want to poo poo it right off the bat, but I don't know. [00:17:10] Speaker C: But you're doing a pretty good job of it. Thank you. [00:17:12] Speaker A: Well, no, I like the music. I like the music, though. The music I like. And the drums are good production. [00:17:18] Speaker B: I'm kaying it, not poo pooing it. [00:17:20] Speaker A: I'm Kai. Kai. Yeah. I just. I don't know. It's the vocal thing is just throwing me off anyway, so we have to end it with this, though. Here we go. In a world where new music is. [00:17:31] Speaker C: Not easy to find, welcome to new bets. [00:17:42] Speaker B: Boop, boop, boop, boop. [00:17:44] Speaker A: Wait, wait, wait. All right, let's get to some real music now. [00:17:55] Speaker B: Oh, snap. Nea poo pooing on it. [00:17:58] Speaker C: He's not poo pooing on it. He's not poo pooing on it. That is chatting. [00:18:02] Speaker B: Pissing. [00:18:05] Speaker C: Yeah. [00:18:08] Speaker D: You like that, huh? [00:18:09] Speaker B: Yeah. Well, let's get this going, man, because we yapped a ton last time. [00:18:13] Speaker A: I know, dude. [00:18:13] Speaker C: It's already 12:00. We start yet? And we still got two sites to go. [00:18:19] Speaker A: Luckily, most of songs are short, so. [00:18:22] Speaker B: Yeah. [00:18:24] Speaker A: All right, so. So here we go. So this is rainy day. Dream away it. Well, that's cool. [00:19:17] Speaker B: Give me a little jazz, little sex. [00:19:19] Speaker A: I always like the guitars on this a lot. [00:19:21] Speaker B: Yeah, like that too. [00:19:23] Speaker A: Yeah, it's really good. Frank, what do you think? [00:19:26] Speaker C: I love it so far. Can't wait to hear the rest of it. [00:19:29] Speaker A: This is exactly what you expect from him, probably, right? [00:19:31] Speaker C: Mm hmm. Yeah. Yeah, it really is. [00:19:33] Speaker A: All right, let's continue. Here we go. That is the longest intro in the face of creation. That's, like, 210 of just intro, and the song's only 341. This is gonna be another song where you're gonna want more of the song, and you don't get it. [00:21:16] Speaker B: Mm hmm. So, yeah, I'm liking it so far, though. I mean, it's just cool. Like, you close your eyes and kinda like, it's very groovy. [00:21:29] Speaker A: Steve would like this. [00:21:32] Speaker B: I saw something online that Mitch Mitchell's not playing drums on this. [00:21:37] Speaker A: Oh, really? I didn't know. [00:21:39] Speaker B: Zero percussion. Buddy Miles is playing drums. [00:21:41] Speaker A: Oh, yeah. So Buddy Miles is the drummer who was with Hendrix when they did bend the gypsies. So, yeah, he's a good drummer too. And you can almost hear that. It's very. I think Mitch Mitchell would have had a more of a jazzy swing to his playing, I think, going on here. [00:22:03] Speaker B: There's not a lot going on now. [00:22:07] Speaker A: All right, so we have 130 left. Let's continue and see how we're gonna just, like, all hate that this is not gonna go on as long as it should have. This just seems to be the mo in this record. Just because I think it's just so long, you know? I mean, that they ran. They're running out of time on the vinyl. I think that's just. I think that's the reason. Because why wouldn't you make this a full song, right? Like, if this is the intro, this is probably a six minute song in reality, you know, if you had unlimited space. [00:22:34] Speaker B: Yeah. [00:22:35] Speaker A: So here we go. [00:22:38] Speaker D: Rainy day dream away let the sun take a holiday flowers fade and see the children play lay back and groove on a rainy day well, I can see a bunch of weapons. Look at them on the run the carnival traffic noise the teeth flashing leaving the ducks can groove rain dating in the popsicle pool and I'm leaning on my windowsill digging everything and I. You too. [00:23:38] Speaker B: It's cool the way you kind of change it up and. [00:23:41] Speaker A: Yeah, I like the stereo panning thing. [00:23:44] Speaker B: Yeah, I like the wah. It's like. It's so funny. It's kind of like he's going to do something, but he kind of plays around with it more, you know what I mean? It's not like some full blown solo. He just kind of does noises with it. [00:23:57] Speaker A: Yeah, no, it's good. This is one. This is my favorites on the record. Even though it's short. I just like the whole. I like the whole. What you call it? The whole tone, the vibe. Yeah. It's just really. [00:24:12] Speaker B: Yeah. I find out something about the. The saxophone player, but everybody's like a lot of people like. [00:24:23] Speaker A: I mean, they. You know, they. They end up putting so many people. I don't know if it tells me here if there's any extra people. Tenor sacks, Freddie Smith, whoever that is. Yeah. Okay, let's continue. Here we go. [00:24:51] Speaker D: Rain a day, rain all day ain't no use of getting up tired. [00:25:11] Speaker B: Yeah. Did they know that they were being faded? I mean, he's still. It's not even like an outro solo. He's still singing. [00:25:21] Speaker A: Yeah. I hope that there is a longer version of this somewhere just because it feels like there has to be. [00:25:29] Speaker B: Yeah, yeah, absolutely. I mean, like I said, he's still singing. He's singing a verse. It's not even like he's scanning or whatever. [00:25:38] Speaker A: No, I know. [00:25:39] Speaker B: It's so weird. [00:25:41] Speaker A: Yes, strange. Alright, Frank, so what are the words in this thing with lyrics and share this. [00:25:47] Speaker C: I know. Which one is this one? [00:25:49] Speaker A: Rainy day dream away rainy day dream away. [00:25:54] Speaker C: All right, so here we go. Hey, man, take a look out the window and see what's happening. Hey, man, it's raining. It's raining outside, Mandae. Oh, don't worry about that, baby. Think that's gonna be everything. We'll get into something real nice, you know. We'll sit back and groove on a rainy day. Yeah, yeah, I see what you mean, brother. Lay back and groove. There's a chorus. Rainy day dream away ah, let the sun take a holiday flowers bathe and I see the children play lay back and groove on a rainy day well, I can see a bunch of wet creatures. Look at them on the run. The carnival traffic noise is. It sinks into the splashy hum. Even the ducks can groove. Rain bathing in the parkside pool and I'm leaning out of my windowsill digging everything in are you two. Rainy day rain all day ain't no use in getting up tight just let it groove its own way let it drain your worries away lay back and groove on a rainy day lay back and groove and dream on a rainy day there you go. Not quite, Steve, but, you know, trying. I'm trying. [00:27:29] Speaker B: Half of that was in the fade. [00:27:33] Speaker C: Yeah, I would have to say that, right? That that last part was in the fade, right? [00:27:39] Speaker B: I think so. Some of it was definitely in the fade. It had to be. [00:27:41] Speaker C: He was still singing, he was still calling. [00:27:45] Speaker B: There's more lyrics. [00:27:46] Speaker C: You just don't know it. [00:27:51] Speaker A: You didn't do the bong hit, Frank, in the middle of the lyrics. [00:27:55] Speaker C: I don't know. That was a Bonnie or something else, but I like it. I like this. I actually have to say, this is great. [00:28:07] Speaker B: Do you want to go first then, Frank? [00:28:08] Speaker A: No, I'm going last on all these. So why don't you pick yourselves to go do this? [00:28:12] Speaker B: Yeah, Frank, you go first. I'll go second. I'll go first next time. [00:28:17] Speaker C: Let me just write down the. So from my dissertation. What is am I doing? Lyrics, Melody. Right. Arrangement, arrangement. [00:28:32] Speaker B: Music and production. [00:28:35] Speaker C: Music and production. All right, so I gotta say that I really do enjoy the lyrics. It's just one of those songs that you just listen to on a rainy day. I think it's perfect. It just captures that mood where you just kind of hanging out. This is the kind of song I could see myself in, like mid October, just chillaxing in my. In my porch, just looking out, watching the leaves turn and while it's pouring outside. So really something I can relate to. Really like it a lot. So I'm going to give the lyrics an eight. The melody, I'm going to give those that an eight as well. The music, I really like it. It really is, again, you know, musical genius. It goes all so well. So I'm going to give that an eight. Production. An eight. An arrangement. An eight. So I'm going to go all eights all across the board. How about you, Seth? [00:29:33] Speaker A: Well, before savino goes. Hold on a second. [00:29:35] Speaker B: Oh, we got straight eights. [00:29:37] Speaker A: Yes. I might. I might have an eights thing. Do I have eights? Oh, I don't have eights. Next. I don't have eight. [00:29:46] Speaker B: All the numbers. [00:29:47] Speaker C: All the ochos. The ochos. [00:29:52] Speaker A: Yeah, that. You know what? That's what I'm gonna use when I make the thing up. Yeah. [00:29:55] Speaker C: Okay. [00:29:58] Speaker B: I'm gonna say seven on the lyrics when they're pretty good. I might go. I'm gonna go eight on the music, though. And, I mean, Melody's fine. It fits the thing. I'll say eight on the melody because it fits the music. I will eat an arrangement. I mean, I do like the fact that he. The way he kind of had that little jazzy thing going with the sacks and stuff. So that's. That's a. I think it's a cool way to start the side production. I want to ding, though, because I don't understand that fade. I mean, I understand for timing, but, I mean, cutting him off and, I mean, I'll say seven on production. I'm not going to ding it too much because I think this song sounds really good. But I probably would have given it an eight if it wasn't for that quick fade. So what do I do on. [00:31:03] Speaker A: Yeah, so I'm gonna do eight in lyrics. I really like the lyrics. I really like the melody. Eight on that musicianship. I'm gonna say nine because I've always liked the guitar parts in here. I like all the jazzy stuff. At the beginning, I thought that was a pretty cool idea to do arrangement eight and production eight, even though it does fade fast. I. Again, I really do think this is a time crunch thing and that there has to be more of this someplace. So. Yeah, I just. I mean, I can't ding it for that just because I know he has such a lot, you know. Could you ding it? The whole overall thing? Because he has. He has a 13 minutes song coming up. We just. Does a song need to be 13 minutes? I don't know. You'll have to make that decision when you hear it. [00:31:49] Speaker B: Yeah, I may ding it further if this 13 minutes thing going on. [00:31:53] Speaker A: Yeah, who knows? You like the 15 minutes one. You might like the. [00:31:56] Speaker B: That was great. Yeah, this is good as them. And I'm down. [00:32:01] Speaker A: Okay, so the next thing is a 1983. A merman. I should turn to bed. [00:32:12] Speaker B: So this sounds back in 1983, right? [00:32:15] Speaker A: Well, it's funny. 1983, like, so that, to him, that was far in the future, right? So this is 68. So it's like 15 years in the future. [00:32:25] Speaker C: Yeah. Now it's like. Yeah, it was like our eighties when we looked at. What was that? Space odyssey, 2001. Yeah, 2001. We're supposed to go to Jupiter. So far we managed to do was send a couple of Tonka trucks to Mars. [00:32:49] Speaker A: All right, you guys ready? Here we go. This is a long. [00:32:51] Speaker B: Ready? [00:32:52] Speaker A: Here we go. [00:33:29] Speaker D: Alive, but the war is here to stay so now I love Catharina and me desire to take our last walk through the doors to the sea not to die but to be reborn away from land so better than torn forever. [00:34:06] Speaker B: That'S cool. That reminds me of a nineties song. Like, the rhythm, the feel of it. It kind of reminds me of almost, like, sound guarding, honestly, like something I could picture them doing. I mean, they all were from Seattle, right? Yes, but I can hear his influence massively in this song from where on? I mean, I hear Soundgarden trying to do something like this, honestly, like, the riff and kind of like what's going on in some of their slower stuff. [00:34:45] Speaker C: Yeah. [00:34:46] Speaker B: And something else I wanted to mention. I don't remember. I kind of like that opening stuff going on. [00:34:55] Speaker C: Yeah, I kind of like the opening effects. It's almost like you're going through a time warp. [00:35:00] Speaker B: Yeah. To the nineties. [00:35:04] Speaker C: 83. No, that's an idea. Yeah. You know, Mark, you got to share with the people the text that you sent about the student saying, hey, I found an article from the late 19 hundreds. [00:35:20] Speaker A: Do you really want me. Want me to read that? [00:35:24] Speaker C: That was funny. The student. I found an article from the late 19 hundreds. Can I use it as a resource? [00:35:32] Speaker A: Is there a cutoff date? [00:35:34] Speaker C: Is there a cut off date? It's from 1994. [00:35:41] Speaker A: Well. Well, think about this. So when he was writing this song, he was only 15 years away. Around. Right. From 83? [00:35:49] Speaker C: Yeah. [00:35:50] Speaker A: Right. Think about this. Now. We're listening to this in 2024. It's like 41 years, 1983, and it's so beautiful. Yeah, well, no, this song is, like 60 years old, but we're saying 1983 is 41 years old. It's crazy. All right, so why don't you read some lyrics, Frank? From the beginning? [00:36:12] Speaker C: Yeah. Hold, please. Hooray. I awake from yesterday alive but the war is here to stay so my love Katharina and me decide to take our last walk through the noise to the sea not to die but to be reborn away from the land so battered and torn forever. Forever. [00:36:42] Speaker A: Some good lyrics. [00:36:44] Speaker B: I mean, definitely. [00:36:45] Speaker A: I assume this has to do about, like, Vietnam war stuff. [00:36:50] Speaker C: Yeah, you know, it's kind of weird. Like. Yeah. So let's see. Okay, so let's think about this for one moment. Right. 1983. A merman. I should turn to bed. I wonder what that means. [00:37:06] Speaker A: I don't know. [00:37:07] Speaker B: So it says, Hendrix imagines himself and his lover escaping a war torn world by becoming mer people and living under the sea. [00:37:16] Speaker C: Just a research. [00:37:26] Speaker A: Yeah. I mean, I like everything I'm hearing so far. So, all right, let's continue. We have 1228. Yeah, I know it's long. All right. [00:37:39] Speaker D: Can you see it's really such a mess every inch of birth is a biting this giant pencil lipstick tube shaped veins continue to rain and cold screaming pain and the arctic stains from silver blue to bloody red as I beep find the sand in the sea it's straight ahead well, it's too bad that our friends can't be with us today where's today? The machine that we built would never save us that's what they say. That's why they coming with us today and they also said it's impossible for men to live and breathe underwater forever was a main complaint. And they also threw this in my face. They said, anyway, you know, good. Well, it would be beyond the will of God and the grace of the kingdom. It. [00:39:45] Speaker B: I like the effects he's doing too, on his vocals and everything. The way he's ramping up his voice music. [00:39:54] Speaker A: I like that guitar thing, that little line he does after the ends of those verses like that a lot. And then all the cool, like phase ii, like reverse delay. [00:40:09] Speaker B: All those. And the base is really strong in this too. [00:40:12] Speaker A: Yeah. Is this Mitch Mitchell? I mean, is this, um. No. Redding. I'm trying to make sure, trying to see if it's saying anyone else. I think that's. I think that's him as far as I can tell. [00:40:30] Speaker B: I have a thing that says it's. It's. It's Jimi Hendrix on base. [00:40:34] Speaker A: Oh, maybe it is. Yeah. Who really knows, though? It could be him. [00:40:43] Speaker B: Yeah. The slide I'm looking at, it says it's him. That was the same one that said the last one was Buddy Miles and not Mitch Mitchell. [00:40:49] Speaker A: Yeah, well, I'm liking it so far. [00:40:55] Speaker B: I mean. [00:40:57] Speaker A: I mean, it's only 33 minutes in. We have no ten minutes to go. [00:41:01] Speaker B: Yeah. [00:41:03] Speaker A: Frank, what do you think so far? [00:41:07] Speaker C: I mean, you know, I. It's great. It really is great. I'm just trying to picture, like, what mindset he was writing this in. Like, was he picturing kind of like, hey, I. Here I am in the sixties, and I'm in a world riddled in war. And I think it's going to be much different, you know, in the eighties kind of a thing. I wonder if that is. I don't know. What do you think, Mark? [00:41:37] Speaker A: Yeah, I mean. I mean, that's definitely 100% what it could be too. I mean, it's just, again, you have to take this in context of, like, all the things that are going on. On this track, like, you didn't. They invented all these things to sound this way, where today it's an easier thing to kind of do. And it's just amazing to have it sound like this, you know? And, you know, obviously, this is one of those songs where you think, okay, there have to be drugs involved in this. [00:42:06] Speaker C: And I feel like I'm right there with them. [00:42:08] Speaker A: Oh, yeah. [00:42:09] Speaker C: They did a great job making you on that trip. That's the perfect word I was looking for. It's very immersive. They somehow managed to take the music and immerse you into this journey in the future where it. Shit, right. [00:42:31] Speaker A: Well, imagine if you were a teenager. You put this on in headphones. It's in stereo. Almost nothing is in stereo. Everything you listen to on the radio is basically mono. Right. Am radio. You put this thing on. How. How trippy does this have to be for you? Like, when you're listening, if you're. If you're a young person listening to this for the first time. [00:42:53] Speaker B: This inspired a thousand people to pick up drugs. [00:42:56] Speaker A: Oh, yeah. [00:42:57] Speaker B: No, you're right, Mark, and the guitar. [00:43:00] Speaker C: But I think you're right, Mark, about saying that, like, how they just really created this immersive experience and music and lyric and bringing you, transporting you to a future and just saying, hey, this is what we think the future looks like. And it's just the way they coordinate. The whole thing is great. I like it. From the opening chords till now. It's great. It feels. I feel like I went through a. [00:43:25] Speaker A: Portal oh, it's great now. It's great why don't you read the lyrics? Please. [00:43:31] Speaker C: Oh, say, can you see it's really such a mess every inch of earth is a fighting nest giant pencil and lipstick tube shaped things continue to rain and cause screaming pain and the arctic stains from silver blue to bloody red as our feet find the sand and the sea it's straight ahead it's straight ahead well, it's too bad that our friends can't be with us today well, it's too bad the machines that we built will never save us oh, boy. That's that AI situation right there. That's what they say. That's why they ain't coming with us today. And they also said it's impossible for man to live and breathe underwater forever was your main complaint. Yeah, and they also threw this in my face. They said, anyway, you know good and well it would be beyond the will of God and the grace of the king grace of the king. Yeah. Yeah. [00:44:44] Speaker A: That thing about the machines. You're right. Is that something you had? But he's, he's. [00:44:49] Speaker C: I'm sorry, but that's what. Oh, yeah, it's crazy. Obviously, he's talking about man and technology and, like, man versus technology in a way, right? [00:45:04] Speaker A: Mm hmm, mm hmm. But it's very, it could be applied today, actually, too, which is kind of weird. [00:45:14] Speaker B: Yeah. [00:45:17] Speaker C: Which was always a Ray Bradbury Sci-Fi kind of thing. Man versus technology. That was always a Bray Bradbury. I wouldn't say always, but there were a couple of stories that Ray Bradbury, famous Sci-Fi writer, used to write about. You know, basically, you know, man versus technology. The one short story that really comes into play is called the belt. And the belt is about a bunch of children that they were in a nursery then. The whole nursery used to have these scenes, and the children always chose to the scenery of the african belt, where there were the lions and they associated with the lions. And it's pretty interesting, you know, so outside the scope of what we're talking about here. But anybody listening out there definitely read the belt by Ray Bradbury. [00:46:04] Speaker A: All right, let's. Let's continue. We still have ten minutes. [00:46:07] Speaker C: Oh, Jesus Christ. Are you serious? [00:46:10] Speaker A: Yeah. [00:46:19] Speaker D: So my darling and I make love in the sand to salute the last. [00:46:23] Speaker B: Moment our machine. [00:46:35] Speaker D: Smile. [00:46:36] Speaker B: Before hits go under, we take a. [00:46:38] Speaker D: Last look at killing Noah. [00:46:41] Speaker A: What? [00:46:42] Speaker D: The outer style. The outer star. [00:50:42] Speaker A: It's very, very psychedelic. [00:50:49] Speaker B: Yeah. I mean, it kind of reminds me of something like the doors would do too. And I really love the way the young, like that hi hat, the way was panning side to side. It's really cool. It's a really cool breakdown. [00:51:03] Speaker A: Yeah. That panning thing, they had to do or do that all by hand. There was no automation like there is now. You could automate that now. Someone had to sit there with the fucking knob, twist that fucker to get that to happen. And you can tell because it's not really smooth. Like, you can feel like someone's turning the dial, can hear it. [00:51:24] Speaker B: So it's really cool. [00:51:26] Speaker C: You know, it's what I love about that breakdown. It's like they're making you sit and think about what they just sang, the lyric they just shared with you, like, hey, you know, we just dropped some heavy stuff on you. Here goes some music for you to think about it and ponder on it. I love it. [00:51:49] Speaker A: Yeah. I haven't listened to this a long time, and I forget how good it is. And it's only has eight minutes left to go. No, sorry, five minutes. Not eight minutes. Five minutes. Five minutes, 54. Why don't you read that last part of the lyric from before the breakdown, Frank? And then we'll continue. [00:52:12] Speaker B: Um. [00:52:16] Speaker C: So down and down and down and down and down and down we go. Hurry, my darling, we mustn't be late for the show. Neptune champion games to an aqua world is so very dear right this way. Smiles of mermaid I can hear Atlantis full cheer. Atlantis will cheer I can hear Atlantis will cheer. [00:52:52] Speaker A: Lyrics in this are very super duper spacey and psychedelic. This is where he's a psychedelic artist, Frank, right? Yeah, yeah, definitely another rhythm blues. [00:53:02] Speaker C: Yeah, yeah, definitely. I mean, he's out clearly, trying to take you. He's trying to find an outlet and escape. For what? That reality during that era. And, hey, I know another place, and in this situation is underwater. Like Aquaman kind of a thing. I like it. I gotta tell you, I really digging it. [00:53:24] Speaker B: Yeah, it's really strong trap. [00:53:27] Speaker C: Yeah, strong track. Very strong track. [00:53:32] Speaker A: Yeah, he's coming out swinging so far, right? The two tracks so far, they're great. All right, let's continue. We got more. We got five minutes to go. Let's continue. [00:55:36] Speaker D: Sadeena. [00:57:11] Speaker B: It's also got that transfusion sound. Like, I'm waiting for miles to pop it with some trumpethe because, I mean, he was. He was kind of starting to dip his toes in this around this time, too. The electric, um, the electric instruments and so definitely it has that vibe too. [00:57:32] Speaker A: Yeah, I think that was he. That was one of his, um. That was one of his things too. I think. I think he listened to him too. That's kind of. I think that's where some of this came from. It's just, it's got a lot of fusion, right. Jazz, fusion, drums, especially. [00:57:50] Speaker B: That's what it reminds me of. Like I said, I'm just waiting for some Miles Davis trumpet to pop in, so. [00:57:58] Speaker A: Mm hmm. [00:57:59] Speaker B: Yeah, it's strong. It's really good. I mean, it's, you know, it's just piece upon piece. Like, it's more and more. Not necessarily more and more interesting, but just cooler. Like, each of part is cool and it blends and it fits and it's done really, really well. So it's a really strong song. [00:58:19] Speaker A: Yeah. I mean, considering it's 13 minutes too. [00:58:23] Speaker B: Yeah, but I'm diggin it, though. It's like the. The one on the other side. I'm not saying, I'm not sitting here going like, oh, my God. What the fuck? Another piece. I'm going, oh, okay. This is cool. This is cool. [00:58:35] Speaker C: So. [00:58:35] Speaker B: So. [00:58:37] Speaker A: No, it's great. And Frank, misleading is not a lot of lyrics in this, so he's probably happy. [00:58:44] Speaker B: I don't think there's any. Are there any more for this? [00:58:47] Speaker C: No, that's. It was all solo. And I gotta tell you, I love it. It's just, you know, he just drops some knowledge on you, and then he is playing a solo for you to absorb it. That's. That's how I view it. [00:59:06] Speaker A: Yeah. And this is a super experimental thing, so, you know, it's just one of those tracks that just keeps building to different stuff. He throws different things in, but just when you think he knows, you know, what's gonna happen, he switches it up on you. So I'm not hating this. I mean, for a 13 minutes song, it's. It goes by fairly quick. [00:59:28] Speaker B: Yeah, because he doesn't. He doesn't dwell on too much too long. [00:59:32] Speaker A: No, it's good. Yeah, we got 229 to go still. Here we go. I don't know if I'm going to stop it again. I may depending if it changes up, but I'm going to try to ride it out if we can. So here we go. [01:00:00] Speaker D: So down and down and down and down and down and down we go. Hurry, my darling. We mustn't be late for the show. Neptune champion games to an awkward world of. [01:00:20] Speaker B: So. [01:00:23] Speaker D: Right this way. Smiles mermaid. I can hear a Mandev here. [01:02:14] Speaker B: There's still, like, five minutes left. [01:02:17] Speaker A: No stun. Those are weird effects at the end. Yeah, there's weird effects at the end, too. [01:02:24] Speaker B: That was cool. [01:02:25] Speaker A: Birds or whatever he was trying to do. [01:02:27] Speaker B: I know. It's not like seagulls. Maybe they're coming out of the water, I assume on the other. [01:02:32] Speaker A: The other shore, maybe in 1983. [01:02:36] Speaker B: Yeah, they were like, oh, shit. Get the fuck back. [01:02:41] Speaker A: Yeah, so, all right, who's gonna go first? [01:02:46] Speaker B: I'll go first. [01:02:47] Speaker A: I go ahead. [01:02:49] Speaker B: I make it easy. I'm gonna go nines across the board. I think the lyrics are cool. I think the music is cool, and I think it's all cool. I wasn't bored ever. And, you know, just like the one on the first side, I think he knew how to keep it interesting. The. The instrumentation is great. There's some really good drum work. There's some great bass work. Whoever the fuck is playing, the production is great. I mean, there's not much I can really say. Bad thing about that, so. Frank? [01:03:27] Speaker C: I don't know, guys. You know, I think we may need to introduce another category here. Theme bird effects. Theme theme I gotta tell you, I love the theme. I just felt from the opening riff that we were being transported to something else. And the lyrics, I gotta go with Sav here. Triple nine. I'm gonna go five nines across the board here. It's just. I truly appreciated the whole music. And it's just. I mean, the lyrics itself is just so powerful and driven and it's so relevant to today, even. Right? So you take those lyrics and put them into today's situation compliant resonance. So nice. Across the board for me. And the theme, I love it all over. All the theme. I'm going to give that a nine to mark. [01:04:28] Speaker A: Yeah, well, I'm going to go. I'm going to trump all of you guys, and I'm going to do tens across the board, because I think that it is so. It is so ahead of its time. It is so interesting that even though it's 13 minutes, it doesn't feel like 13 minutes. And he's introducing all these new sounds and all these new things. All I can think again is if you're in 1968 and you put this on, you get the first song. You get this song. Like, what do you make of this? And how do you go back to other stuff after this? It's just. It's just. It's. It's almost a perfect thing in its. In its 13 little minutes. And since I did do a triple ten, I have a ten thing. Here we go. The new ten thing. Quintuple ten. [01:05:21] Speaker B: The best of the best. [01:05:23] Speaker C: That was kind of weird. [01:05:27] Speaker B: If we ever make a movie, that guy's gonna do in a world. [01:05:31] Speaker C: In a world when Jimi Hendrix is. [01:05:33] Speaker B: King makes 13 minutes songs, and Mark gives it quintuple tins. [01:05:39] Speaker C: Yeah. [01:05:40] Speaker A: So there we go. I like it. [01:05:45] Speaker C: Yeah. I gotta tell you, that was awesome. I just love the whole Sci-Fi situation they try to inject in there, like, hey, listen, let's just escape this world and go into the war deep in the sea, you know, kind of situation. But. [01:06:04] Speaker A: So have you ever heard that before? [01:06:06] Speaker C: Three. [01:06:06] Speaker A: I'm sorry. Have you ever heard that before? [01:06:09] Speaker C: No. I mean, maybe a Marvel comic somewhere along the way. DC comic. I'm not into the whole super. I'm not into the whole superhero world. I know people who are, but I'm not one of those. But, you know, just this whole concept of, hey, let's escape. And then it almost seems like, hey, we came back in 1983 and the world is still kind of shit. And hangers. I hate to break it to you, but you come back in 2024. It's still broken. Yep. It's still a broken place. [01:06:45] Speaker A: Yeah. 60 years later, it still sucks. [01:06:48] Speaker C: Yeah, yeah, yeah. But I got it. But you put it best, Mark. You really did define it best. It just feel like we're being. It's an immersive. This song is an immersive experience. You know, I almost feel I need to hear this song in a VR kind of headset and see what that looks like. [01:07:14] Speaker A: I was going to say it's like VR for the ears. [01:07:17] Speaker C: It really is VR for the ears. I just hope that it'd be great if someone could create this song. VR for the eyes. We swimming through the oceans. And he's singing about the song. You come back in 1983, and it's like, all right. Yeah. You know, it's not that much better. [01:07:37] Speaker A: And again, think it's only for him. It's only 15 years ahead. Like, he's thinking that 15 years is gonna be all this crazy shit going on, but that didn't happen for another 40 years. So crazy. All right, so you go from the 13 minutes song to the 1 minute and two second song. [01:07:56] Speaker C: Okay, let's hear it. [01:07:58] Speaker A: This is moon turn the tides gently, gently away. That's it. Yeah. I don't think we can read that because it's not really a song. [01:09:06] Speaker B: I mean, it's cool. [01:09:09] Speaker A: Well, you could rate it on production. I guess that's something you could rate it on. [01:09:14] Speaker B: That's fine. [01:09:15] Speaker A: I mean, it's weird. [01:09:20] Speaker B: I don't. I don't think it's kind of worth rating me personally. [01:09:23] Speaker A: It's fine. It's fine. [01:09:24] Speaker B: It's a bit of noise. I mean, it's cool. But I mean. [01:09:26] Speaker C: What? [01:09:27] Speaker A: Yeah, just, again, just for the. The sheer technological thing that it is back then, so. All right, well, the next song is still raining. Still dreaming still raining still dreaming is buddy Miles again. And Mike Finnegan, who played the organ on rainy daydream away. He's on this as well. Conga is Ray for set. And he's on this as well. And on the last song, two songs ago, actually, the flute on 1983 was Chris Wood. Chris Wood. Who's he? He was a british rock musician best known as the founding member of the rock band Traffic. Oh, traffic. There you go. So a lot of traffic going on on this record. [01:10:21] Speaker B: Yeah. Cross down. Traffic. Traffic. Traffic. [01:10:25] Speaker A: Gotcha. Traffic. Traffic. [01:10:31] Speaker B: Now we're here. [01:10:32] Speaker A: Yeah, we're here. Okay, so we're going to do the song. So here it is. This is still raining, still dreaming. [01:11:00] Speaker D: Rain a day, rain all day ain't no use of getting up tired just let it groove its own way let it drain your worries away live I can groove on a rainy day. [01:11:31] Speaker B: Yeah, I know the song. I've heard the song a few times. I didn't know that. I guess I didn't put the title and the song together. [01:11:42] Speaker A: Well, this is the second half of the song. I never put the two things together until right this second. But would they just cut the song in half? [01:11:47] Speaker B: Maybe, but I want to say, like, I've heard this part. All of a sudden it dawned on me, like, wait a second. I know this song where it didn't dawn on me as much as the first time. [01:11:56] Speaker A: It's so weird. [01:11:58] Speaker B: Yeah. [01:11:59] Speaker A: So my assumption that fade, then it comes back over here. [01:12:03] Speaker B: Yeah. [01:12:04] Speaker A: I don't know why I never noticed that. That's weird. You know, many times I've learned, listened to this album. How did I not realize that that's what's going on? [01:12:11] Speaker B: But it's funny because now listening to this part, too, I'm like, wait a second. I've heard this song on the radio a lot of times. I didn't. It didn't hit me either until, like, this. Does he do that talking thing, too in the. I guess he does, right? In the first summer. [01:12:27] Speaker A: The other one? Yes. Yeah, that's on the phase. [01:12:30] Speaker B: Yankee. It reminds me of, like, you know, what they do in Yankee Rose. [01:12:33] Speaker A: Yeah. Well, maybe that's where it kind of came from. Well, it can't be the other way around, so. All right, we're gonna can. We're gonna continue on this. Here we go. [01:14:21] Speaker B: Yeah. This is more involved. Without a doubt. [01:14:25] Speaker A: Yeah, it's crazy. [01:14:26] Speaker B: Feel like there's more going on. And then the first one is louder. Well, the organ was really in the first one right there. I don't remember that going on in the other one. Was it? Yeah, I don't remember. I don't know. The song is just, like, sticking out to me more. Just seems, like, heavier and more involved. Plus, he's not singing as much. [01:14:52] Speaker A: No, but I feel so stupid now that I didn't. Maybe because there's a 13 minutes song in between these things that it kind of, like, messed me up and now. And then it came back around, like. Cause this is the fade. That's where it faded, the last part. And it's continuing from here, which is, if you think about it, a really smart idea. Like, let's cut the song here, we'll fade it, and then two songs later, we'll bring it back in. [01:15:22] Speaker B: They should have kind of upfaded it. That would have been cool. Kind of raise the volume. [01:15:28] Speaker A: Yeah. [01:15:29] Speaker B: Wait a second. [01:15:31] Speaker A: I mean, the guitar on this is pretty. It's pretty good. The. It's still great. [01:15:36] Speaker B: I just feel like this would more of an oomph than the other one. But again, I think the other one's more lyrical, more singing going on, whereas this one is more of an instrumental. Even though he's kind of. You know what I mean? Like, he's saying stuff. He's pretty much repeating whatever it is. [01:15:52] Speaker A: Yeah. And this is like four. Four. Almost four and a half minutes. Well, four minutes and 25 seconds, actually, so. All right, so let's continue. Here we go. [01:18:02] Speaker B: That little drum weird thing at the end was kind of throwing out for a moment. Yeah, it wasn't. It wasn't that smooth, so I was kind of, like. [01:18:14] Speaker A: On purpose. [01:18:14] Speaker B: I know, but it wasn't. I don't know. It wasn't that smooth. But there are other lyrics to be read here. Really? Or. [01:18:22] Speaker A: No, there's no lyrics. [01:18:24] Speaker B: Yeah, I will first. [01:18:28] Speaker A: You're good. [01:18:29] Speaker B: I mean, all right, for whatever he's saying. I mean, I'm gonna say a five on the lyrics. Whatever he does say, it's just repetition, but I'll give him a break. Melody. There's not much, but. I mean, I don't know what I said last time for the melody. [01:18:42] Speaker A: If I said a seven, you said eight. [01:18:47] Speaker B: Okay. I mean, listen. For what he's saying, it's fine because it's the same melody. I'm gonna say five there, and eight's across the board for the other ones because, I mean, it's really strong. The production didn't cut it out when it shouldn't have. Again, the jump stuff at the end kind of bothered me, but I really like the loudness of it. It's loud, but it's. It's controlled perfectly. So, yeah, it's cool, Frank. [01:19:17] Speaker C: Yeah. So I'm gonna mirror a little bit what Sav said. I'm gonna give the lyrics here. Seven. Melody is seven. The music. I really like it a lot. It was just the right Hendrix for me. So I'm gonna give that an eight production. An eight and arrangement in eight mark. [01:19:40] Speaker A: I'm gonna say seven on the lyrics. Cause I liked the lyrics last time, so I like, like them this time. Eight on the melody, nine on the music. Because I gave the music nine prior. So there's a great use of wawa in this wawa through the whole thing, but it doesn't fatigue you. Wawa it's just. It's very vocal. It sounds like a voice, which I really like. Arrangement. I'm gonna be an eight in production. I'm gonna give an eight. I think it's great. I just feel really stupid now that I didn't realize it was the second part of it. People saying, you're a Hendrix fan. You didn't realize that? I really didn't realize that until I'm listening to it now. Again, I haven't listened to the album in a while, but still, I should have known that. It's just. It's just a weird thing I didn't put into an. [01:20:27] Speaker B: I forgotten, though, too. I mean, you know what I mean? Sometimes you just forget some obvious things. And, I mean, when you look at the titles, it's kind of like, oh, okay, I get it. It's cool the way he did that, right? Still doing and still rating, still dreaming. [01:20:42] Speaker A: Yep. It's very. It's a very interesting way to, like, put a different song and just cut the song in half and bring it on the other side of a big 13 minutes song. Still crazy. All right, so the next one is house burning down. Has anyone ever heard this before? [01:20:59] Speaker B: The title sounds very familiar to me. [01:21:01] Speaker C: No, I have not heard the next song at all. [01:21:04] Speaker A: All right. All right, here we go. So here's house burning down. That's very strong. Like, that's just so, so great sounding. He's. I mean, he's hitting it all on this side. I don't know what to say. [01:21:47] Speaker B: Yeah, this side is strong. Definitely strong. I mean, like I said, it just. That second side was especially coming off to that first one. She's like, you know what I mean? These ones. Like, these little diddy songs. No, I'd rather have more stuff like this than have, like, that little Miss Strange and, you know, long, hot summer night, I guess was okay. But just stuff like this stands out. [01:22:16] Speaker A: I mean, from here on is pretty much. [01:22:19] Speaker B: Yeah, I mean, the next two songs. [01:22:21] Speaker A: Are like, yeah, no, crazy. All right, let's continue with. Here we go. [01:22:59] Speaker D: Well, I asked my friend where is that black smoke coming from? He just coughed and changed the subject and said, oh, I think it might snow some so I left him sipping his tea and I jumped in my chair and run off to see just why and who could it be this time? Sisters and brothers daddy's mother standing around crying when I reached the scene the flames were making a ghostly wine so I stood on my horse's back and I scream without a crap I say, oh, baby, why did you burn your brother's house down. [01:24:00] Speaker B: I think I do know this one. [01:24:02] Speaker A: Yeah, it's a great song. [01:24:03] Speaker B: I think I forgot. It's strong. It's a strong riff. Strong lyrics. [01:24:11] Speaker A: Yeah. How you couldn't like this. It's just so fucking good. [01:24:15] Speaker B: Yeah. [01:24:17] Speaker A: Frankie, why don't you. [01:24:18] Speaker C: I read some lyrics, you give me one. Because my Mac just put it up. You know what it is? Is that. No, what happened? Is that the new os updated so. [01:24:35] Speaker A: Hendrix at the wrong time. [01:24:39] Speaker C: Well, I gotta tell you, at least it did it much faster than my fucking windows. Shit. That is still doing it. Okay, I'm here. What's the name. [01:24:51] Speaker B: What's the, uh. [01:24:52] Speaker C: What's the name of the, uh. The album? [01:24:55] Speaker A: The song house burning down? [01:24:59] Speaker C: House burning down. Sorry, guys. Here we go. [01:25:06] Speaker B: Hendricks, you know we don't use pre recorded tracks. [01:25:10] Speaker C: Exactly. Here we go. Ready? Okay. Mark, ready? Here we go. Hey. [01:25:16] Speaker A: Go. [01:25:17] Speaker C: Hey, hey, hey look at the sky turn a hellfire red somebody house is burning down, down, down well, I asked my friend where is that black smoke coming from he just coughed and changed the subject and said oh, I think it might snow some so I left him sipping his tea and I jumped in my chariot and rode off to see just why and who could it be this time? Sisters and brothers, daddies and mothers standing around crying when I reached the scene the flames were making a ghostly whine so I stood on my horse's back and I screamed without a crack I say, oh baby, why would you burn your brother's house down? [01:26:18] Speaker A: Yes, supposedly this is about the main person character and riots against the Vietnam war in the late seventy's. So a guy coming upon the riots for the who are in the late sixties. So it's good so far, man. Yeah, I do really like it. And let's continue. I don't have to mention like the two guitars, like playing at the same time. Sometimes there's parts where it's like just delay and other time it's like one guitar playing on the right, one guitar playing on the left, but they don't. They don't really like step on each other that much. It's a hard thing to do too. [01:26:53] Speaker B: No, it's cool. I mean, it fills up the space, but it doesn't. It blends. [01:27:00] Speaker C: Yeah. [01:27:00] Speaker A: It's not an easy thing to do. But that's why he's Jimmy Hendrix and we're not. All right, here we go. [01:27:30] Speaker D: One step from the crowd he was 19 miles high he shouted and disgusted so we paint red through the sky I said the truth is straight ahead so don't burn yourself instead rock master burn, hear what I say so I finally rode away but I'll never forget that day cause when I reached the valley I looked way down across the way a giant boat from space landed with eerie graves and came and taken all the dead airways I help my red Lord found out. [01:29:41] Speaker B: Now I know where Atari 2600 got other explosion sounds from. That's what that reminds me of. Total. Like playing Atari games. [01:29:51] Speaker A: Yeah. It's a good song. Would you take Sabina? [01:29:56] Speaker B: I thought it was good. [01:29:58] Speaker A: Yeah, strong. I mean, it's super strong. I like all the effects and everything that's going on and all those kind of things. It's just pretty cool. [01:30:09] Speaker B: Yeah, the production is good. [01:30:12] Speaker A: Yeah, I mean, this, you can hear the flange flanging, but the problem is there was no flanger. So they had to. Drake, he had to. They had to actually do it on the tape real to make the flange happen. So this, that wasn't even like an effect. That was just like them slow doing stuff onto the tape to make it flash. [01:30:30] Speaker B: So is there any. As far as you know, is there any footage of recording of any of this? [01:30:36] Speaker A: I don't think so. Not that I know of. Maybe. [01:30:39] Speaker B: There's got to be somebody recreating it, right? There's got to be somebody's like, well, if you ever cured this is what they had did. There's probably something on YouTube where. [01:30:47] Speaker A: Yeah, I never looked there. Might be curious. [01:30:51] Speaker B: I mean, that'd be great to see how this was all done. [01:30:54] Speaker A: Yeah. All right, Frank, why don't you read the last part lyrics, and then one of you will go, and why don't you read the lyrics, Frank? And then you can do your review. [01:31:03] Speaker C: Okay. So, um, do one moment. Hey, hey, hey, hey look, the sky turn and hellfire red Lord, somebody's house is burning down, down, down look at the sky turn a hell fired red Lord, somebody's house is burning down, down, down. Well, someone stepped from the crowd, he was 19 miles high. He shouts, we're tired and disgusted so we painted red through the sky. I said, the truth is straight ahead so don't burn yourself instead try to learn instead of burn. Hear what it say, yeah, yeah, yeah. So I finally rode away. But you'll never forget that day. Cause when I reached the valley I looked way down across the way a giant boat from space landed with eerie grace and came and taken all the dead away. Hey, hey, hey, hey. Look at this guy. Turned a hellfire red lord, somebody's house is burning down, down, down look at the sky turn the hellfire red lord somebody's house is burning down, down, down and for the outro he goes. 000-00-0000 baby, the song. [01:32:52] Speaker B: Frank, you go first because I've been going first. [01:32:55] Speaker C: Ah, I'm just trying to cipher through what this is. This song is about. Is it is about Vietnam. Again, Mark, what do you think? Or the riots. Or the riots. [01:33:07] Speaker A: Yeah, the riots happening. Him coming upon the riots and that's what the, you know, the sky painter read stuff on fire and their own, their own places, you know, their own neighborhood because of the war, to protest. [01:33:23] Speaker C: So I'm just trying to figure out, so what was this song came out 68. This one came out in 68. Right. Is this a song about the Watts riot? [01:33:34] Speaker A: The 65? No, it's about, it's about Vietnam riots. [01:33:38] Speaker C: The Vietnam riots. Okay. I mean, hey, listen, either way you look at it, it's like it's very powerful lyric and I love it. It's really strong lyric. It's something that you can look back on. So I'm gonna give those a nine the melody and nine the music. I like the music. It just, just beautiful. Guitar is amazing. It's like, you know, an eight production, eight arrangement in eight. Sam. [01:34:11] Speaker B: I think I was gonna go straight eights across. So I think that's what I'm gonna do. Just straight eights. I mean, I think it's a really good song. The stuff that's going on is cool. The guitar playing is cool. That's a really solid song. I mean, again, I feel that. I don't think there's really been anything wrong so far from what we've been listening to on this podcast. So really, really strong. Second and half. Sorry, third and fourth. So it's so far, Mark. [01:34:43] Speaker A: Yeah, I always like this song. It's another song, you know, the next three, the last three songs are super strong. So I mean, the whole, this whole fourth side, third and fourth side are pretty strong. So I'm gonna give the lyrics an eight melody, an eight musicianship. I'm gonna give a nine because I really like the guitar playing and the use of multiple guitars do, you know, multiple things at the same time and not step on each other. It's great arrangement. I'm gonna give it a nine. I really like the arrangement and production. I'm gonna give a nine because the whole flanging thing and all that kind of stuff, that's, you know, you don't think about. Again, you don't think about because now, you could do those things so easily. How they had to invent all that stuff, you know, to have these wacky sounds come out. So, you know, this is a groundbreaking record for, you know, a lot of. [01:35:37] Speaker C: I'm just trying to figure out what he's. What he's really singing about. Was he talking about the Century City anti Vietnam war march? [01:35:45] Speaker A: I don't know. I don't know if it's anything specific. I'm not sure. [01:35:49] Speaker C: It's got to be something. So that happened and. Hold on, I'm gonna have to fact check it. 67 album came out. 68. Maybe. Maybe about that specific Century city march could be. [01:36:08] Speaker A: Who knows? I do not know. [01:36:11] Speaker C: I mean, you know, either way you look at it, it's just very powerful lyric there. [01:36:16] Speaker A: Oh, it's powerful. So the whole song is powerful. Just everything is great. [01:36:20] Speaker C: Awesome. [01:36:21] Speaker A: Now we come to the biggest song pretty much of his career, which is a cover. And I did go back Savino and listen to the Bob Dylan version. And as far as I'm concerned, this still destroys that. [01:36:37] Speaker B: Oh, yeah, I think this is better, but I don't think his version is bad. Is bad. It has uniqueness about it. It's kind of offbeat as well. [01:36:46] Speaker A: The one thing I can say is that it's one of these songs that the COVID version is more well known than the version of the original artist. [01:36:56] Speaker B: Yes. [01:36:57] Speaker A: Yeah. It's one that he made this song his own, even though, you know. No, the chord changes are fairly similar. And obviously, the lyrics are exactly the same and the arrangements fairly the same. It's just he took it to whatever level he took it to and made it, you know, more associated with him than actually Bob Dylan, which is a hard thing to do. [01:37:17] Speaker B: Yeah, I mean, I'm sure there are a lot. A lot of people who have no idea that this is a Bob Dylan song. [01:37:28] Speaker A: Yeah. So this is a great song. I've played this song a bunch of times. This is. The guitar parts are great, everything's great. And his written, his interpretation of the lyrics, the way he phrases things is great. [01:37:38] Speaker B: Yes. [01:37:41] Speaker A: It's similar to, like when you say, like ace freely did New York guru groove. You know what I mean? One of those things where not in the same, you know, obviously New York groove is. It wasn't as big of an artist that did it. But still, no one knows who the original person is of that, really. They only if you know the song. You mean, you know, the ace Frailey version. [01:38:04] Speaker B: Actually heard it on the radio the other day. [01:38:08] Speaker C: No. By the way, Mark is ace freely friendly comment in the wheel? [01:38:12] Speaker A: It's. We already did that. [01:38:13] Speaker C: No, you did not. [01:38:15] Speaker A: Yeah, we did. It was like the second album or something. [01:38:17] Speaker C: Shut your face. Was it really? [01:38:20] Speaker A: Yeah. [01:38:21] Speaker C: Oh, Jesus Christ. [01:38:22] Speaker A: Sorry. Well, you'll get another ace Fraley album somewhere along the line. [01:38:26] Speaker C: I'm sure it's not the same as Fraley comic. That's my favorite all time. [01:38:30] Speaker A: I know. Sorry, we can't take it back. Let's go. Ready? [01:38:34] Speaker B: Yeah. [01:38:35] Speaker A: All right, here we go. All along the watchtower. How do you not love that? [01:39:00] Speaker B: Yeah, no, it's a great song. [01:39:04] Speaker A: And the production's pretty good, too. [01:39:06] Speaker B: Yep. [01:39:07] Speaker A: Maybe they knew this was gonna be a single. [01:39:09] Speaker B: That's. I mean, that's straight up acoustic, right? [01:39:12] Speaker A: Well, yeah, the beginning, but not the lead guitar part. That's electric, but. [01:39:16] Speaker B: No, no, but I'm saying, you don't really hear acoustic in his stuff. [01:39:21] Speaker A: Not that much. No, not that much. [01:39:24] Speaker B: I don't remember ever really trying to. [01:39:27] Speaker A: See if anyone's on here. So Brian Jones is playing percussion. [01:39:30] Speaker B: Oh, nice. [01:39:31] Speaker A: I didn't know that. Dave Mason is doing the twelve string guitar, so that not interest. [01:39:37] Speaker B: There you go. Dave Mason? Yeah. From traffic. Yeah. [01:39:39] Speaker A: Yep. He did the background vocals on crush sound traffic, and he's doing the twelve string guitar on this, so it's awesome. All right, let's continue. [01:39:47] Speaker D: There must be some kind of way out of here. Say that joker. I can't get no real business man there. Drink my wine, plowman dig my earth none will level on the mine nobody up in this world. [01:40:22] Speaker B: Yeah, I mean, I'm gonna be honest with you. I. A lot of times so businessmen, they drink but that non will level on the line nobody offered his word. I thought he was just making shit up. I thought he was like, nobody undermine nobody else. I was like, what the fuck is he saying? Honestly. And the funny thing is, I did look up the lyrics one time. Is that what he's saying? But hearing it now, I'm like, wait, that's what he's saying? [01:40:52] Speaker A: Mm hmm. [01:40:54] Speaker B: It's so funny. [01:40:56] Speaker A: Yeah, I don't. Not sure if I knew nobody offered his word was the actual lyric. [01:41:01] Speaker B: I didn't know that. [01:41:04] Speaker A: Now, the funny part is, now the Dylan version is none of them along the line know what any of it is worth. [01:41:13] Speaker B: But that's what it sounds like he's saying. But he's kind of tripping on it, maybe. No, but, um. I don't know, man. That's so weird. Maybe he's just like, wait, what? [01:41:24] Speaker A: All right, Frankie, once you read the first verse. I don't even know if this, this lyric thing is correct. I don't know. I don't know who's right, who's wrong. Alright, Frank, go do it. [01:41:37] Speaker C: You guys gotta have to hold on one moment because everything. Sewing up Dylan on this one, so hope. Oh, Jesus Christ, bro. I can't get anything from Hendrix. Six and a half hours later, 70 years later. Oh, Jesus Christ. You fucking wall breaker, bro, one pair of pants later. Oh, here we go. I got it. Alternate take. I hope this is it. Here it is. Ready? There must be some kind way out of here said a joker to the thief there's too much confusion I can't get no relief businessmen, they drink my wine plowmen dig my earth none with a level on the vine nobody out of its worth hey, no reason to get excited the thief, he kindly spoke there are many here among us who feel that life is but a joke but you and I, we've been through that and this is not our fate so let us stop talk falsely now the hour is getting late all along the watch hour princess kept the view while all the women came and went barefoot servants too outside in the cold distance a wildcat did growl two riders were approaching and the wind began to grow how? I'm just curious what they're talking about here. [01:43:21] Speaker A: Do you want to do it, savino? [01:43:24] Speaker B: Um, yeah. Wait, what. What verse was that? [01:43:29] Speaker A: He went through all the verses. [01:43:31] Speaker B: Oh, I was on mute. I'm sorry. [01:43:39] Speaker A: Bro. [01:43:40] Speaker C: This is why I hate fucking reading. I don't want to read anymore. [01:43:43] Speaker B: This is like Steve is rolling in his bed right now. [01:43:49] Speaker C: This is a Nicola John. [01:43:52] Speaker B: We gotta get him back and we gotta get Nick back. He's been missing for too long. [01:43:57] Speaker C: Yeah, this is Nicola job. He knows how to read it. He knows how to do it. [01:44:06] Speaker A: He's done for the whole song now. [01:44:08] Speaker B: There you go. Emotional damage. [01:44:12] Speaker C: It reminds me of grade school when they were like, read this passage. And I was like, I don't want to read. You read the whole passage. You read the whole passage and be like, you were supposed to read the whole passage. You literally just told me, read the whole passage. I hate it. I hate the whole thing. It's like a mass. When Riverside, when they used to make us read a mass, I hated it. The whole thing. [01:44:32] Speaker B: Oh, yeah, of course. I used to read every Sunday, man. [01:44:36] Speaker C: Yeah, it's like, you know, oh, my God, don't get me started on that, Paul. To the corinthians. You know, I sometimes wonder corinthians even new Paul. Did you just write them real letters? Anyway, don't get me started on that. Sorry. [01:44:55] Speaker A: Okay, here we go. Guitar solo. [01:45:13] Speaker D: No reason to get excited but they be kind of bold there are many here among us who feel that life is but a joke but you and I, we been through that and this is not our. Our faith so let us start talking falsely now but I was getting late Maverick all along the watch hour princess kept a few while all the women came and went bevered servants too with a wild night in the cold distance a wildcat did brown easy to ride. [01:48:03] Speaker A: Yeah. I don't know what else to say about that guitar playing. Sly guitar. It's just ridiculously good. [01:48:12] Speaker B: It's funny because actually, I thought that song was older than it was. I didn't think he was on here for some reason. I thought it was on. It would have been. I don't know why. [01:48:24] Speaker A: Yeah, supposedly he went through a lot of different. They tried to mix it he didn't like. He just kept putting more guitars on. He ended up doing 16 tracks on this, which was gigantic for back then. [01:48:35] Speaker B: Yeah, but it's so full sounding, though. There's still a lot going on. I mean, sounds great. [01:48:43] Speaker A: He ended up playing the bass on this, too, so it's great. So why don't you guys go first? [01:48:49] Speaker B: I'm gonna say nines across the board. Let's make it easy. I mean, I don't necessarily know what the lyrics are about because I think it's part of a. I think it's part of a story from Dylan. I could be wrong. [01:49:04] Speaker A: Well, from what I can tell, the second verse, the part that says, is it the second verse? Now, the third verse, there could be some biblical parts on the third verse, so. Yeah, I mean, you know, you probably could take this a whole bunch of different ways. Now, there's a part in the second verse, so let us stop talking falsely now the hour is getting late one can understand the watchtower in the same way as the french philosopher Michael focal notion of pen atop pano. I can't even say that word. Panopticon a central prison construct. Construct that extended the threat of surveillance and normalization merely by its presence. I don't know if that has anything to do with this. But, I mean, I'm. Again, this. This is not his words, obviously. This is Dylan's words. So who knows what Dylan was thinking about on this. But, yeah, it's. It's a great song. Everything's good, Frankie. [01:50:09] Speaker C: Yeah, I love the. I love the whole song. You know, I'm trying to look up the meaning of the song, but I can't come across it right now. I love the lyrics, the melody. So those in eight, the arrangement in eight. Music and production, I'm giving those a nine. I really do enjoy the whole thing, you know, whenever I hear this song, it reminds me of that famous scene of a Bronx tale, personally, where they lock the doors up. So just trying to figure out the connection between the two, but I can't do it right now. But, yeah, so that's my favorite part of it. [01:50:54] Speaker A: Mark, what did you give the arrangement? I don't think you said arrangement. [01:50:57] Speaker C: What are you doing for your arrangement? They'll give those an eight. [01:51:01] Speaker A: This should probably be no surprise to anybody. Quintuple, ten. [01:51:06] Speaker B: The best of the best. [01:51:10] Speaker A: There we go. [01:51:11] Speaker B: I figured you're gonna go, nines are ten. [01:51:13] Speaker A: So he took whatever Dylan did and made it better. So that's why I have to give it a ten. He took a song that wasn't his and made it his that everyone remembers this. You know what I mean? So it's. It's. It's an impossibility that I couldn't give this thing a ten 1010s across, because it's just too. It's too good. It's very hard not to do that. [01:51:34] Speaker C: A song of what? Decide. Or ever. [01:51:37] Speaker A: Ever. Or this album. [01:51:39] Speaker C: This album, yes. [01:51:40] Speaker A: This is the last song. [01:51:41] Speaker C: Holy shit. [01:51:42] Speaker A: So this is a song. This is voodoo child, slight return. So this song is probably guitar players dream. Anyone who does a Hendrix song, most of them do this song because this is a show off of guitar stuff. Steve Ray Vaughn's version is like eleven minutes long. This is five minutes. So it's short, but there. There are tons of longer versions of this song, but. And you. As soon as you hear it, obviously, sabina, you know this song, right? So it's. It's just one of the songs that, you know, guitar players play. [01:52:16] Speaker B: So, I mean, this is top three for me, for Hendrix. I could be number one. [01:52:22] Speaker A: Could be. [01:52:22] Speaker B: I mean, it could be number one. [01:52:24] Speaker A: I mean, there's a lot. A lot of things that could be number one. Purple haze, foxy lady. Right. It's gonna be a lot of number ones, but, yeah, this is definitely top five. So a big one two punch all along the watchtower. Voodoo child, slap return to finish the whole album out. [01:52:38] Speaker B: Oh, yeah, absolutely. [01:52:40] Speaker A: Yeah. So here you go. Last song on side four, voodoo child, slight return. [01:54:19] Speaker D: Raise on the side. [01:54:38] Speaker B: I mean, so powerful. [01:54:42] Speaker A: Yeah. [01:54:44] Speaker B: It just mixed so powerfully. You know what I mean, it's so loud. [01:54:52] Speaker A: Yeah, there's no doubt what kind of song this is, right. And you kind of forget that the wawa was a very new effect when this was done. Yeah, the first album. [01:55:05] Speaker B: Right. He ever used it? [01:55:07] Speaker A: I think so. I don't remember hearing on the other stuff. I could be wrong. I have to go back and listen, but I don't think so. What do you think, Frank? Tell us what you think and then read the lyrics. Do what? [01:55:17] Speaker C: I can't read the lyrics. Mark, can you take over? [01:55:22] Speaker A: Yeah. We having computer problems again? [01:55:24] Speaker C: Mm hmm. [01:55:25] Speaker A: Yeah. Maybe. Maybe you should get this. This might help you. [01:55:34] Speaker C: I don't know what it is. It's weird. Totally weird. [01:55:38] Speaker A: So here we go. While I stand up next to a mountain and chop it down with the edge of my hand well, I stand up next to a mountain and I chop it down with the edge of my hand while I pick up all the pieces and make an island might even raise a little sand because I'm a voodoo child lord knows I'm a voodoo child, baby so this may be about psychedelics and hallucinogens, possibly chopping down mountains to create islands of solitude. So who knows? I'm sure this has a lot to do with a lot of drugs, I'm sure. Because it seems like everything has to do with that. But, um. Yeah, and I was just looking while we were. Before Frankie got back, and so Hendrix used the wawa in 67 on I don't live today. I forgot about that. So. But he uses it a lot here, I think. Here more than a lot of places. [01:56:40] Speaker B: Yeah. [01:56:40] Speaker A: He's used it sporadically, but I think this is. He's used it more here than I think anywhere else. But it's still a new effect. Like, a lot of people are still not using it. All right, here we go. Solo time. So I'm going to read you some more. I'm going to read you some more wa stuff. So the wa that was used on I don't live today was not a pedal wa. There was no pedal wa at that point. You controlled it with your hand. Hendrik said he heard that the first record where he heard the wawa effect was tales of Ulysses from the album Disraeli years by cream. [01:57:54] Speaker B: I was gonna say, I hear some cream, too, on this. [01:57:58] Speaker A: Oh, yeah, I'm sure. [01:57:59] Speaker B: I know there was a. What do you call it? Right. Not a bad rivalry here, right? A playful kind of rivalry, right? [01:58:07] Speaker A: Yeah. So he says he got his wah after he saw Hendrix. So Zappa playing in New York City in 1967 and bought a wa immediately after the show. So. So, you know, I think, you know, the crybaby wall, which he used, you know, wasn't out when he put his first record out. So there we go. So the first time he really used it was the foot song exp, which is on access builders love and up from disguise, which is accessible. So even though he did use it in on the first record, it was. Wasn't the foot pedal that everyone knows about now. Yeah, it's really new, even at this point. Yeah, it's really two year old or whatever. So it's like, you know, no one's really using it that much yet. So I guess when people hear this, they're like, oh, I guess that's what you do with it. [01:58:58] Speaker B: Yeah, exactly. Yeah. I mean, again, this is so strong. [01:59:03] Speaker A: Oh, yes. It's ridiculously strong. Yeah, this whole. I think this whole side is ridiculously strong. [01:59:09] Speaker B: Yeah. [01:59:11] Speaker A: Yeah. Here we go. To you. [01:59:50] Speaker B: World. [01:59:52] Speaker D: I'll be on the next one. Don't be. Don't be there. [02:01:48] Speaker A: Yeah, well, they don't have a lot of space. Faded out quick. [02:01:53] Speaker B: Yeah. [02:01:54] Speaker A: So the words for this is, I didn't mean to take up what we all your sweet time I'll give it right back to you one of these days didn't mean to take up all your sweet time I'll give it right back to you one of these days but I'll meet you no more in this world I meet you in the next one don't be late. Don't be late. And the voodoo child again. And then the outro is. I'm a voodoo child, baby I don't take no for an answer question. No, lord knows I'm a voodoo child, baby yeah. It's a strong song, man. [02:02:22] Speaker B: Oh, yeah. [02:02:24] Speaker A: Considering that Steve Ray Ron made this into like an eleven minute song. [02:02:29] Speaker B: Yeah. Which we covered right. On this record. [02:02:32] Speaker A: I think we did on this podcast. [02:02:34] Speaker B: I mean. I'm sorry. [02:02:35] Speaker A: Yeah, I think we did. Yeah. Much longer than this song. I like both versions, actually. Obviously Hendrix version is the version, but I do like the Ray Vaughn's version, even though it's a lot longer. He extends this thing out a little bit. [02:02:49] Speaker B: I think I commented that his wasn't as heavy. You know what I mean? Like, this is just a heavy song. And that one's like kind of mellower. Maybe. Maybe because of the. Because it came out later and the production wasn't as gritty, probably. [02:03:07] Speaker A: Why don't you go first, Seth? [02:03:08] Speaker B: So lyrically, I'm going to say seven and everything else. I'm going to say ten. Make it easy. I can't do ten of the lyrics. I know I could do whatever, but I mean, I. But, I mean, musically, arrangement wise, the production of it. I mean, it's just. This is the kind of song that you. Once it comes on, you just jack it up to ten and just let it blow out the speakers. There's nothing else to say about this. I mean, what an amazing way to end the record. Awesome. Frank. [02:03:37] Speaker C: Same. Standing across the board. I mean, I didn't realize this was the last track of the albumen. And the fact that they made it, it's amazing because it just kind of punctuates the talent and the genius behind what we just heard. So it's ten across the board for me, Mark. [02:03:56] Speaker A: I'm gonna do the same thing. Sabino, seven and then tens. I could give it tens across the board, too. But it's not as. I don't think. I think he's had better lyrics than this. But, I mean, you can't. You can't deny the song. The song's ridiculously good. I mean, even saying seven on the lyrics is probably a little bit low for that. But, you know, I mean, it's a great way to end the album. You can. You can't end the album any better. [02:04:24] Speaker B: Yeah. I mean, they're not. They're not terrible, but, I mean, compared to some of the others, this is just a little more simple, you know? Again, he does kind of that repetitive blues kind of thing, but. And by the way, Frank gave straight tens across the board. [02:04:37] Speaker A: I know. Oh, that's right. I have to do it. Hold on. [02:04:40] Speaker B: Yeah, you gotta do your thing. [02:04:41] Speaker A: Here it goes, here it goes. Here it goes. Quintuple ten. [02:04:45] Speaker B: The best of the best. [02:04:47] Speaker C: I mean, this. This is one great songs, right? We think Hendrix is one of them. [02:04:54] Speaker A: Oh, yes. [02:04:55] Speaker C: Yeah. You can't. Whatever you think about Hendrix and his lyrics and his songs, you know, iconic songs, less than ten. I don't know. The fact that you give it a nine, mark, it's hard. [02:05:08] Speaker A: No, that's hard. I mean. I mean, you could easily give it all nines. It would be fine. Give it all tens. It's all fine. I mean, you know, this album is gonna end up scoring pretty. Pretty high. I think the overall is eight, which is really high. Most of our records don't get that high. [02:05:22] Speaker B: I mean, like I said, other than those. Those handful of songs on that second side, when he lets loose, I think he's at his best, whereas those songs are a little bit more controlled, kind of. You know what I mean? I didn't feel like it was, even though that one song, I forgot which one we said, where we all said it was basically a. What do you call it for him? Just a kind of solo. And obviously, the solo wig is great, but, I mean, when he gets into it and starts messing around with the music, the production, the noises, the lyrics, I mean, to me, that's where he's. He's at his back. [02:05:58] Speaker A: Yeah. And I think that the second half of the. Of the album really showcased all that. [02:06:03] Speaker B: Yep. Absolutely. [02:06:06] Speaker A: Yeah. [02:06:06] Speaker B: I mean, Jimmy closes out our two years with a. Which strength. [02:06:12] Speaker A: Oh. [02:06:15] Speaker B: So, Mark, do we have, um. Do we have his other stuff, too, on the list? Like, if we go. If I make it to three years, are we doing, like, what is it? Um, the gypsy. What's it called? Cry of love? [02:06:26] Speaker A: Well, we could. We could either do the cry of love. We can do band of gypsies. We could do whatever we want. Yeah. Other stuff is on here, too. [02:06:32] Speaker B: Yeah. Because I am curious to see what happens after the experience. [02:06:36] Speaker A: Yeah. So, yeah. Cry of love is. Cry love is on their first raise, the new rise of sun. It's kind of. Cries of love. The cry of love. It's kind of the same. Um, it's just an updated version that was done. I was nineties to early two thousands. I think they re. They redid stuff, so I don't know what we would do. I think cry of love is more of a. Would be more of, you know, what happened, like, right after he was, you know, passed away, and they released whatever stuff he had done, you know? So maybe that would be the next thing. Unless it comes up on a regular spin, which is possible, too, which it hasn't yet in two years. [02:07:10] Speaker C: I know. [02:07:10] Speaker B: That's the thing. We actually. He has never come up. We haven't ever said, oh, shit, we got Jimmy, but we gotta wait. He's actually never come up on a spin, so. [02:07:22] Speaker A: So what do we think overall? [02:07:24] Speaker B: I mean, like I said, if I put on one, three, and four, I'm a very, very happy man. I can kind of deal with outside, too. Even, like, some of the better stuff, I just feel didn't compete with, like, the other side stuff. But, I mean, you give me slides, one, three, and four, man. And I'm like, hot damn, that's some good shit on this album. [02:07:46] Speaker A: Yeah, 100%. Yeah, it's a great album. It's. It's. You know, if flip flops for me, which is the best, you know, it depends on how I feel, but it's just the technology and the embracing of technology. This guitar sounds, all the things that they did to make this album mean. You can't deny the impact that this had, you know, on everything. So it's a hard. It's a hard thing to say. It's not. It doesn't belong in, like, the top albums of ever. So, you know, it's him and his. At his creative Max, where he was doing what he wanted to do and didn't have as much, you know, people telling him, you have to do a four minute song. Yeah, you can't make a. Yeah, only 13 minutes. Gotta be four minutes. It's gotta go on the radio. And he ended up having the biggest hit ever with the COVID Right. Which he made his own, which is a hard thing to do. So to make someone forget the original version, right. And put a cover out that. That everyone just remembers your version as the. As the version of that song. That's a gigantic feat to do, especially with someone like Bob Dylan, who's revered for his lyrics and, you know, the stuff that he did. So it's a little hard to imagine back in the day that happened. [02:08:59] Speaker B: So is this considered his best album? [02:09:03] Speaker A: I mean, can you consider. I mean, listen critically? I mean, for me, it's hard to say because, like, the other albums are not like this. Well, the axis bold love started to go in this direction. Right? A little bit, and then here, he just basically took control himself and just, like, did it where in the first one, you know, he's being controlled a little bit by Chaz Chandler and the other manager. And you got to do the things this way. You got to do things this way. Like, there's no. Here. He's just doing what he wants and how he, you know, just, like, all along the. Watch out. He wasn't finished. He had to keep putting more guitars. I don't like the way it sounds. So he ended up doing lots of stuff to do. That's hard. [02:09:48] Speaker B: Yeah. [02:09:49] Speaker A: Yeah. So, Sabina, once you do your thing or anyone. But before you even do that. Well, before you even do that, thank you for anyone who stuck through us for these two long ass episodes. [02:10:00] Speaker B: Oh, my God. Yeah. And anybody who's ever. Anyone who's been there for two years, I mean, honestly, give us a shout out, please. [02:10:09] Speaker A: Yeah. Seriously. [02:10:10] Speaker B: Yeah. I've been with you guys for the. From the beginning, and again, like, I didn't mention in the. In the beginning, but thank you to everybody who listens and again, drop comments, questions, criticisms, whatever it is, man. But we'll listen, you know, again, pick an album for us. We'll do it. We're open to all this stuff. So. But, yeah, so again, like Mark was saying, thanks so much. And like we always say, we're part of the Deep Dive podcast network. Again, great bunch of guys who took us in right away. And if you want more individualized podcasts about like Rush, again, shout out to our buddies at Rush Ranch, Judy's priest cast. You've got, you got Zeppelin, you got your Riley heap, Tom Petty. You name it, it's queen. You name it, it's on there. So if you're looking for more individual podcasts, then check them out. And Mark, where can they find those? [02:11:00] Speaker A: On the interwebs, as usual. Rock roulette pod. Rock roulette podcast.com. drop us a note. We have a little thing there where you can, you know, put a song on the new bets wheel. So, you know, fill that out if you want us to try to, you know, go over something that's new in the last couple of years that, you know, we may not have thought to do. So. Yeah. And make sure that you review us wherever that you do your podcasts and, and give us a five star rating if you like what we do, pass us around, you know, tell more people about us so we can continue on doing this. If you like what we do. And next week is an actual wheel spin, which is awesome. [02:11:45] Speaker B: Yeah, it's always fun to spin the wheel. [02:11:48] Speaker A: Yeah, it's fun to spin the wheel. [02:11:50] Speaker B: What do we have before? Oh, Bush. [02:11:52] Speaker A: Yeah, Bush. Yes, sir Bush. So we're getting back to the wheel again. See what the wheel is going to do. [02:11:58] Speaker B: Yeah, we'll see what we, she picks from us. [02:12:03] Speaker C: Thank you. [02:12:04] Speaker A: Yes. You're welcome. For what? [02:12:08] Speaker C: You muted me. [02:12:10] Speaker A: I didn't. You. What were you talking about? [02:12:14] Speaker C: No, I just want to make sure that the fans have a way to know that when they vote that we seeing the votes coming through. [02:12:21] Speaker A: Well, yeah, if they decide to put a song on there, it's going to come on the list. So. And then if we pick it, we'll say who it was. [02:12:29] Speaker C: Whose turn is it next week to pick for new music? [02:12:33] Speaker A: Probably me. I'm probably gonna go to the wheel. [02:12:37] Speaker B: Okay. [02:12:37] Speaker C: The people's wheel, though. [02:12:40] Speaker A: Yeah, with the wheel that has brought the songs on it. Yes. [02:12:46] Speaker B: For anybody listening, if you're wondering how we kind of sometimes descend into madness, it is 02:00 in the morning at this point. So if you ever listen to us. You're like, you guys get nuttier and nuttier. That's why. [02:13:06] Speaker C: That's Steve. That is. That is Steve right now. [02:13:10] Speaker A: Oh. He's been sleeping for a long time. Don't worry about it. Well, we've been yapping for long enough. [02:13:17] Speaker C: I gotta say. Great album. Great album. [02:13:19] Speaker A: Yeah, it's an awesome album. [02:13:20] Speaker B: Yeah. [02:13:20] Speaker A: Awesome. [02:13:21] Speaker B: Awesome. Happy two year, fellas. [02:13:23] Speaker A: Happy two years, everybody. Thank you for listening. [02:13:25] Speaker C: Thank you. [02:13:25] Speaker A: We will see you next week. [02:13:26] Speaker C: Have a good night. [02:13:28] Speaker A: Later.