Episode 132 - Kansas - Leftoverture - Part 1

[00:00:04] 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 holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now onto the Rock Roulette Podcast. [00:01:03] Speaker C: Foreign. [00:01:14] Speaker B: Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1, 400 albums, stuck them in a list, stuck them in a wheel and typically every other week we spin the wheel. She picks a record for us and we go through it track by track and we talk about the music, lyrics, production, melody and arrangement and we give it scores just based on our own tastes. Again, there's a bunch of friends who love music and wanted to do a podcast. As always, we want to thank anybody who listens. It seems to be going up and up every week, so a lot of people checking out some of the older episodes we have. Thank you so much. Some of the more recent stuff we did, like the Van Halen stuff has hit pretty big. Then. Lizzy, whatever you're listening to, man, we really appreciate it. And again, drop us a note, tell us what you like, what you don't like. Anything we could do differently. You know, name an album that maybe you want us to check out, a song you want us to check out on the the new bets wheel, whatever comment, what you like, don't like or we're listening. And tonight we are trio again. We have Frank. My name is Frank and I'm Sexy. [00:02:25] Speaker D: Hello. Good evening everyone. [00:02:27] Speaker B: Glad to be back. We have Mark. Oh, hi Mark. [00:02:29] Speaker A: What's up guys? [00:02:30] Speaker B: And I'm Sev. Ciao buena sera. So last week we wrapped up Peter Chris's album Chris Cat Number one, which was I think more or a return to the rocky stuff he did in the Kiss days, not stuff that he necessarily did on his own. Me personally, I didn't think the album overall was actually too bad. I think there was a potential for a really strong album. My biggest complaint, and I think probably all of us was the production and arrangement of some of the songs, the way they sound, they were a bit weak. He gave it his all. That's the thing that's sad about everything. It's one thing if he was weak and the music was weak and production was weak. I think we all pretty much agree he was. He was firing on all cylinders, man. He was. He was giving it his all. Unfortunately, some of the stuff behind him wasn't doing as much. So, Mark, what do you think? [00:03:18] Speaker A: Yeah, I think the biggest thing is that there were good songs in that whole album. It's just the execution. Like Frank said, they weren't executed very well, so every song had good pieces. It's just they weren't executed right and it hurt the songs, I think. [00:03:29] Speaker B: Frank, would you agree? Pretty much 100%. [00:03:32] Speaker D: There is a. A really good album in there. It just was poorly produced. [00:03:36] Speaker B: Mark, I know you said that money was probably an issue, but, I mean, I may have mentioned it during the podcast and I thought about it afterwards too. I mean, here's, here's a legend pretty much in, in the rock community, someone. A band that has influenced a lot of people, people you don't even know or think they may have influenced some of the heavier stuff, even some of the light, poppy stuff. And you think in an occasion like this, someone with a name like Peter Chris kind of reaching out into the community and saying, hey guys, I'm looking to do a. A rock record. Who wants. I mean, I think people would have done it. I don't know the history. I did read the book. I don't remember what he spoke about here, but I think it could have been a pretty good opportunity to have some. Some guests other than Ace Fraley, who. Wow, didn't sound like Fraley at all. I think other than one song on the second side, I guess it's. It's hindsight. He did put out another album after that, though, so who knows, Maybe that'll come up on the list too and we'll see what the progression was. There another one in the books? Typically, we do the new Bets segment where we spin the Baby Wheel puts a single for us that's been recorded most likely within the last year. But we're doing an audible because a band that we had early on in the podcast, La Guns, has a new record and Frank had mentioned it to us. Based on Frank's suggestion, we're going to say hey, instead of spinning it this week, we're going to check out La Guns and Frank. What's it called? Taste. [00:04:56] Speaker D: It was Taste this. [00:04:59] Speaker B: Yeah, I'm pretty sure we know what the song will reference or be about. In the early days, I think sleaze, rock wise, the First Ellie Guns album is classic. I think it's. It's really good. We did the second one, Cocked and Loaded, which was a different album. It was definitely slicker, kind of like slick sleaze, if you want to call it. Unless anybody has anything to say. Mark, do the intro. [00:05:23] Speaker D: In a world where new music is not easy to find. Welcome to New Bats. [00:05:41] Speaker A: This is LA Guns. Taste it. [00:06:21] Speaker C: Feels like abuse Run around back to me you know my own that you leave me and I sh. Watch you singing the way that you taste when I love you Love the way it takes below See myself in a mirror through the crack But I can see myself clear I don't want but I crave all those Every time When I love, yeah Love the way, the way it tastes below Put inside to make me think I might choose for myself Gonna steal any way that I can get myself Clear Clear, Clear. Feel better, right? Oh, yeah. Watch it. Feel it, yeah. But I love that you taste when I love yeah I love the way, the way you taste below yeah I love the way that you taste when I love yeah I love the way the way you take me Love, yeah the way you touch below hello. Yeah, I love it, I love. [00:09:58] Speaker A: Yeah. [00:09:59] Speaker C: I love it. [00:10:17] Speaker B: I like that. There's a little throwback to the first album. I will say this. I mean, the production is pretty decent. The drums sound like. Drums. [00:10:26] Speaker A: Yeah. I was very happy with the drum sound. I thought it was really good. [00:10:29] Speaker B: Yeah, I. I think it's. It's reminiscent. It kind of reminds me of Def Leppard and Aerosmith making a song together almost. And that the very intro reminded me a little bit of Kiss on the Eighth Day. That kind of thing. That's not bad. He. He strains a bit, I think. [00:10:48] Speaker A: Well, he's like almost 60, isn't he? [00:10:50] Speaker B: Probably. I've always been a big Phil Lewis fan. I always felt like his voice stood out. Not bad. I mean, it seems like. [00:10:56] Speaker A: Sounds like LA Guns. Frank, what'd you think? [00:10:59] Speaker D: They never disappoint. They really do come out. They put on a great, great show. When you listen to the song, it's 100 LA like you say, that's LA Guns. End the story. They're not trying to be anybody else other than who they are. I think the production was really good. The guitars. I like the guitars on this one too. So good song. I can't wait for the album to come out. [00:11:18] Speaker B: So do. Is this. So this is Phil Lewis. Tracy Guns, right? [00:11:22] Speaker D: Mm. [00:11:23] Speaker B: Do you know who else is? [00:11:24] Speaker A: Yeah, I don't think anyone Else from the original. Thing is, I think it's. There's those two. [00:11:28] Speaker B: Yeah. [00:11:28] Speaker D: Nobody else is. Yeah. Mm. [00:11:30] Speaker B: So it's just those two. [00:11:31] Speaker D: Yep. Yeah. [00:11:32] Speaker B: It's nice to see the old. The old timer still doing it. [00:11:35] Speaker A: Yes, sir. [00:11:36] Speaker B: Good suggestion, Frank. Thank you. [00:11:37] Speaker D: Tracy's always been one of those guitarists that been around forever, and he's always great. [00:11:43] Speaker A: In a world where new music is. [00:11:47] Speaker D: Not easy to find. Welcome to New Bets. [00:12:02] Speaker B: Now we get to do what is always incredibly fun for us. We get to spin the mama wheel and we get to see what. What she picks for us to listen. Any. Anybody have any wants or predictions? [00:12:14] Speaker A: I don't know what to say. Every time I make prediction does the opposite of what I want. I really don't want 80s again. I don't want 80s. So anything other than 80s I'll be good with. [00:12:23] Speaker B: I don't even care at this point. Whatever it is, it is. [00:12:26] Speaker D: It'll be a great follow up. Brides of Destruction, if that came up. [00:12:32] Speaker B: I had that cd. [00:12:33] Speaker A: If you want it, it won't happen. Just be prepared. Are we ready? [00:12:37] Speaker B: Let's do this. [00:12:38] Speaker A: Let's do this. Here we. [00:13:01] Speaker B: Wow. Kansas Left Overture. Talk about classic rock. [00:13:06] Speaker A: I know very little about Kansas. [00:13:08] Speaker D: That makes two of us. [00:13:09] Speaker B: You'll definitely know some stuff from this. [00:13:11] Speaker A: Okay. Does it have the big song on here? [00:13:13] Speaker B: I want to say there's two big songs on here. You know, I don't always remember everything, so. [00:13:18] Speaker A: Yeah, the big one's on here. At least one big one's on here. This is the fourth album by Kansas released in 1976. Okay, so the personnel is Steve Walsh, organ, piano, synthesizer, vibraphone, lead and backing vocals. Kenny Livgren, electric guitar, piano, Clavinet Moog, Oberheim, synthesizers. Robbie Steinhardt, viola, violin, and lead vocals on Miracles out of Nowhere and Cayenne Anthony and backing vocals. Rich Williams, electric and acoustic guitars. Dave Hope, bass guitar. Phil Ehart, drums, percussion. They tourist Kansas now. [00:13:56] Speaker B: I think they tore. I don't know. I don't know who's in it, though. [00:13:59] Speaker A: Yeah, I don't really know who's in it right now. Bill Ehart's still there? Well, they're still touring sort of kindness. [00:14:04] Speaker B: They're always on those. What do you call it? I think, you know, those bills, like triple bills, quadruple bills type things. [00:14:10] Speaker A: Yeah. Oh, and Rich Williams, the electric and acoustic guitar player, he's still there. Jeff Glicksman is the producer. [00:14:16] Speaker B: You know who that is, right, Mark? [00:14:18] Speaker A: Do I? [00:14:19] Speaker B: Yes, you do. You should know who he is at least. [00:14:21] Speaker A: Partially like the Marx. Is that the same people? [00:14:24] Speaker B: I think Jeff Glicksman began Paul Stanley's solo album and then got kicked off. Ah, the original. [00:14:32] Speaker A: Gotcha. [00:14:33] Speaker B: Pretty sure if I remember my KST history correct. [00:14:36] Speaker A: Yeah, I don't. I guess it's possible. Cool. Like, this is something I don't really know very much about. Obviously I know the big song on here and maybe I know one other. And that's a great song. [00:14:46] Speaker B: It could be one of those things where. You know what I mean? Sometimes, like. Oh, that's what that is. [00:14:51] Speaker A: Yeah. I'm excited. Kansas is one of those bands you hear about all the time. You've always heard about them. They were always like a guitar player Magazine always had Kansas songs back in the 80s. So it's just one of those things. Are we ready to do this? [00:15:03] Speaker B: Ready. [00:15:03] Speaker A: First song is the obvious song. Carry on Wayward son Carry on my. [00:15:09] Speaker C: Wayward son There'll be peace when you are done Lay your weary head to rest don't you cry no more. [00:16:16] Speaker B: Once. [00:16:16] Speaker C: I rose above the noise and confusion Just to get a glimpse beyond this illusion I was soaring ever higher But I flew too high Though my eyes could see I still was a blind man Though my mind could flick I still was a madman I hear the voice is when I'm dreaming I can hear them say. [00:17:11] Speaker B: I mean, I can give you my scores now. [00:17:13] Speaker A: Me too. [00:17:13] Speaker B: I think, oh, my God. I mean, Jesus Christ. This song is beyond good. It's produced perfectly. It's. The lyrics are great, the production is great, the music is great, the arrangement is great. This is a 10 all the way. [00:17:27] Speaker A: This song, for me, every part is memorable, from the verse to the riff to the little instrumental part. Like you said, lyrics, everything. [00:17:35] Speaker B: This is, to me, a stand up. This is a song comes on like. Heard the song a million times. A million and one. [00:17:41] Speaker A: Yeah. You don't turn this song off when it comes on. Frank, what do you think? [00:17:44] Speaker D: You know, there's a reason why it's called classic rock, right? It's. It's. They're just. They stand the test of time. [00:17:50] Speaker B: Yeah. [00:17:50] Speaker D: I'm with Sav on this one. It just. It just. Everything is. Just sounds so sharp. You would think that with today's music and the way that it's recorded and everything with these engineered engineer and things like that, that you would hear a different. [00:18:04] Speaker B: It just doesn't. [00:18:04] Speaker D: It sounds so good. It's not like you're going from CD to like a VHS grainy look. It's just still sharp. [00:18:10] Speaker B: I mean, just a First snare crack when it comes in pop. [00:18:14] Speaker A: We've complained all the time. Everyone thinks that, you know, because all the technology, that music sounds better now, but I don't think it does. I think that the producers back then knew how to record, they knew how to produce, they knew how to mix. Now it's all about. I shouldn't say always, but a lot of the music nowadays is all about how loud can it be? How compressed can it be? How much can we fix this person's vocal because they can't hit this? We're just going to cut and paste the chorus. Chorus to this thing. We're going to straighten the drums out. We're going to do all these things. I think in the end of the day, you make it almost so perfect, it's not as good as it could be. [00:18:46] Speaker B: I think this song is perfect. The musicians make it perfect. [00:18:49] Speaker A: I don't know if perfect. I'm sure if you ask them, they can hear things that they play that they're not perfect. [00:18:54] Speaker B: Oh, yeah. But there would be wrong. I'd be like, no, sorry. No. No criticisms from you guys. Sorry. Perfect song. Great job. [00:19:02] Speaker A: Yeah. This is perfect song. This is like the Thin Lizzy thing. This is perfect song. Song, chorus. Carry on, my wayward son Deal with peace when you are done Lay your weary head to rest don't you cry no more now what's the piece that he's doing when he's done? What's he doing? Working. [00:19:17] Speaker B: I was reading that some people said it was a. Like a comparison to the prodigal son in the Bible, but he said it's actually about spiritual alienation. And apparently two years after this, he actually converted to Christianity, I guess. Kind of a peace, right? Like he's on a journey and when he's done with the journey, then he'll have peace. That's how I kind of look at him. [00:19:36] Speaker A: Gotcha. Verse one is, once I rouse above the noise and confusion Just to get a glimpse beyond this illusion I was soaring ever higher But I flew too high through my eyes could see I still was a blind man through my mind I could think I still was a madman I hear the voices when I'm dreaming I can hear them say. And then obviously back to the chorus. Good lyrics. [00:19:58] Speaker B: Yep. [00:19:59] Speaker A: Let's continue. Let's not yap too much because it's a good song. I don't want to yap too much on this. Anyway. Go. [00:20:03] Speaker C: Masquerading as a man with a reason My charade is the event of the season and if I claim to be a wise man it surely means that I don't know On a stormy sea of moving emotion tossed about I'm like a ship on the ocean A Santa Claus for winds of fortune But I hear the voices say. [00:20:47] Speaker B: I wasn't sure if you're gonna cut it there, but I figured you might since it's like the next musical piece. I mean, just simple write. Piano, drum. His voice is great. [00:20:57] Speaker A: The background vocals are really good. [00:20:59] Speaker B: Yep. [00:21:00] Speaker A: I don't know what else to say about this. [00:21:02] Speaker B: This is the kind of song you write and you're like. Yeah. You just look at each other and you go, yeah. [00:21:09] Speaker A: You would think you would have to know that this is going to be something, right? I mean, maybe they didn't. I don't know. [00:21:14] Speaker B: I mean, who knows? You never know. You know? He saw. There's so many good songs out there unheard by the general masses. This deserved to be as popular as it is. [00:21:23] Speaker A: Oh, 100. Yeah. It's a great song. Okay, so verse two is masquerading as a man with a reason My charade is the event of a season and if I claim to be a wise man well, it surely means that I don't know On a stormy sea of moving emotion Tossed about I'm like a ship on the ocean I set a course for winds of fortune But I hear the voices say there's like so many good lines in this. Just one verse. [00:21:51] Speaker B: It's very poetic. It's. It rhymes, but not cheesy rhymes. It paints a picture. [00:21:58] Speaker A: My favorite is On a stormy sea of moving emotion Tossed about like a ship on the ocean. That's a great line. And then obviously chorus. And then here comes guitar solo. Even the guitar parts on here are very signature and, like, they're perfect for the song. [00:22:15] Speaker B: Yep. Drums are great. Kind of doing its thing. [00:22:19] Speaker A: Yeah. I don't know what you could take out of this and produce. It's produced. Awesome. [00:22:23] Speaker B: Exactly. Exactly. It's so crisp. [00:22:27] Speaker A: Yeah, it's great. All right, here we go. [00:22:30] Speaker C: Don't you cry no more. [00:23:29] Speaker B: You think about how technically he could have done, like a straight up solo, but they don't. Right. I mean, you really get the organ solo first. First, and then you kind of get the trade off. It isn't specifically, like this guitar solo. The organ, if anything, gets more play than the guitar does, but it's still so cool. It just fits. [00:23:45] Speaker A: I don't know what to say. I mean, everything in there is great. [00:23:47] Speaker B: Yep. [00:23:48] Speaker A: The drums are great playing off of everything. It's just Done amazingly well. [00:23:52] Speaker B: Yep. [00:23:52] Speaker A: And now the next part coming is just as signature as the rest of the song. And this is a totally different part. All right, here we go. [00:24:07] Speaker C: I st Heaven wa Don't you cry don't you cry no, it's. [00:25:33] Speaker A: There's definitely two guitar players in that. [00:25:36] Speaker B: And these are the kind of things where you look back to somebody buying this record and just putting the needle down, you know, New Kansas albums out. Let's see. And then this thing comes and just rocks you. [00:25:47] Speaker A: I don't know what Frank's gonna do. I know what me and Savina were doing. [00:25:51] Speaker B: Yeah, I already know what I'm doing. [00:25:52] Speaker A: Frank, are you doing the same thing we're doing? [00:25:55] Speaker D: Of course. Yeah. I think anything less is just outright disrespectful. You're not into rock music. [00:26:00] Speaker B: The fan of rock. Again, you have a right to like and dislike what you want, clearly. But I just think this song is straight up tense. [00:26:09] Speaker A: Oh, yeah. 100%. There's no way we can not do that. [00:26:12] Speaker B: Quintuple 10 the best of the best that was easy. [00:26:18] Speaker A: Wow. I think I knew that before. Like you said before even came on, we're like, okay. This is like the Thin Lizzy song. That song's perfect, too. This song's perfect. [00:26:26] Speaker B: Yes. It's awesome. Awesome. [00:26:28] Speaker A: There's awesome little parts in it. It changes a little. A little extra solos here and there. And his vocals. Holy. [00:26:35] Speaker B: Yeah. Really good. He has a beautiful voice. [00:26:38] Speaker A: You can sing like a. [00:26:40] Speaker B: Let me just think about, like, Dust in the wind. I mean, just how beautiful his voice is in that song. [00:26:45] Speaker A: Oh, yeah. That's just awesome. Now we get to listen to other stuff that I don't think I've ever heard anything else on this album. So I'm going to be very excited to hear other things that I don't know. [00:26:55] Speaker B: Yeah, I mean, like I said, I've heard this before. I couldn't. I don't remember because it's been so long. I'm very excited. [00:27:02] Speaker A: So the next song is the Wall. [00:27:45] Speaker C: I can't believe the things I see the path that I have chosen now has led me to a wall and with each passing day I feel a little more like something dear was lost it rises now before me the dark and silent barrier between all I am and all that I would ever want to be it's just a travesty Towering marking off the boundaries my spirit would erase. [00:28:30] Speaker B: The intro, I absolutely remember I don't know if it's because I let carry on my wayward son Playing that it kind of went into this one. I definitely remember the intro. And I mean, that's. That's a great intro. I mean, again, so well produced, I think, on. And, I mean, I'm digging the rest of it too. His voice is beautiful. Whatever the hell's going on, the guitar and whatever you hear a lot. I think bass on this. Accents on the bass. So far, I think it's pretty strong. [00:28:55] Speaker A: There's not much you can, like, complain about here. His voice sounds awesome. The beginning part is good. And this is a mark of a lot of the 70s hard rock is that intro that goes for like, 30 or 40 seconds before you even get to the song. Like, you rarely get that now. You never get intros. It just goes right to the song. [00:29:13] Speaker B: You know, some, like, dream theater to kind of get those big intros before the guy even starts singing. Singing. [00:29:18] Speaker A: And the verse is interesting. I don't know if it's vibraphone or Andy's guitar and stuff, so I think it's. And I don't know which guitar player is playing this. Is it Harry Livegren or is it Rich Williams? I'm not sure which of those two guys is doing most of the solo stuff. It both says electric guitar, so it could be either of them, I guess so. It's good. Frank, what do you think? [00:29:37] Speaker D: I like it so far. I didn't realize what you were just saying before about the introduction. They get right into the song. You're absolutely right. They just get right into the song. These days, very seldom do you hear that long rap up. [00:29:47] Speaker A: I like the intro. I like intros. Sucks that they don't really do that anymore. [00:29:50] Speaker B: Yeah. [00:29:51] Speaker D: I wonder why that is. [00:29:52] Speaker B: I say this as a person who kind of not shied away, but wasn't really listening to a lot of stuff. At one point, I found myself listening more to, like, podcasts and instrumentals. And I think it's because of. I had a big commute for a while. I couldn't read and listen to things at the same time. My mind wasn't working that way. I was doing, like, a lot of. A lot of reading. There is music like this that's out. You got to just search it out. But the stuff. The stuff is out there. It's there. He's kind of. Kind of got to find it kind of deal, you know what I mean? Like anything else, really, I'm sure it's there. [00:30:27] Speaker A: The problem is it's not mainstream, though, and this was mainstream music, so everyone was hearing this, you know. Yeah. You could have Went out and found other things back then, too. Not as easy, obviously, because you have to buy everything, but you could find other stuff. You know, nowadays, it's such instant gratification time. People's attention spans aren't long enough. So an intro like this. No, seriously. I think intro like this, people would lose interest too quickly and be like, oh, I'm gonna flip to the next song. Like, if you don't get to something right away, people just switch it right off anyway. Verse. I'm woven in a fantasy I can't believe the things I see the path that I have chosen now has led me to a wall and with each passing day I feel a little more like something clear was lost it rises now before me A dark and silent barrier between all I am and all that I would ever want to be Is just a travesty Towering Marking off the boundaries my spirit would erase so he keeps with the very insightful lyrics. Are we saying what this song is about? [00:31:28] Speaker B: So this is a song about self realization, specifically the narrator's efforts to overcome a barrier on their path to fulfillment. So there are some religious overtones. But again, he said circumstances surrounding the writing of the song support this. It was written by Kansas guitarist Kerry Livgren, who became an evangelical Christian in 1979, three years after this was released, and who is known to have explored other spiritual doctrines in the intervening period. It is reasonable to assume that the wall. Other lyrical themes on Leftoverture reflect his experiences in this regard. Makes sense. I mean, it sounds like somebody trying to find themselves, right? [00:32:07] Speaker A: No, it's good. I wonder how this is going to change, though. The actual song, as it's going on, it's 448, so I wonder if it's going to get a little rocky or is it going to stay in this kind of vein. I wonder. [00:32:15] Speaker B: I think it'll probably change a bit. I think there's going to be some. Some dynamics coming. [00:32:20] Speaker A: All right, well, let's see. Here we go. [00:32:22] Speaker C: To pass beyond Is what I seek I fear that I may be too weak and those of you who see to glimpse the other side the promised land is waiting Like a maiden that is soon to be bright the moment is a masterpiece the weight of indecision's in the air Standing there simple and the sum of all that's me it's just a travesty Towering Looking out the light and blinding me I want to see. [00:33:10] Speaker B: So a little bit more. I mean, kind of like the same theme, but obviously a little bit more instrumentation. And obviously there's a stop so we know something's coming. [00:33:17] Speaker A: Drums sound awesome. [00:33:19] Speaker B: Yeah, just very, very clean. And again, it's so crisp. I don't know a better word to describe it than crisp. [00:33:27] Speaker A: Well, you know who mixed this? Joyce Marino. Now, and we had a bunch of albums from him. He was doing lots of stuff. He's really good. Yeah, you can't complain about the production here. I mean, it's funny. You go from the Peter Chris record, right, which is 20 years after this record, and look how good this sounds. Y more money. This is a fourth album from Kansas, probably real studio. Probably wasn't on that. I mean, there's lots of things to say. Not that you can't get good sounds on this stuff now. It's just. I think there's so many shortcuts that get done now. I think it just ruins music for a lot of music anyway. That's my opinion. I mean, I'm sure there are people that disagree with me and say that everything sounds great now. I think that it's just not the same. There's so many shortcuts taken and so many ways that you can fix things. Fix people's voices, fix tempos, fix all these things that somehow it takes something out. The person who's not perfectly in time all the time, or vocals that are not and pasted. But someone had to sing all those pieces. Makes a difference in what it sounds like. That's just my opinion. [00:34:24] Speaker B: One of my major complaints again is kind of the drum sound, which, I mean, was very refreshing. Hearing La Guns not sound like. Like that. I was very, very happy to hear the drum sound like that. [00:34:33] Speaker A: They sounded great. So, you know, it can be done right, even with the new stuff. It just has to be recorded a certain way. And you have to want to have to go through the painstaking time to sit and get a good drum sound before you get going. As opposed to saying, I will just fix it later. We'll just play some with samples later. It'll be fine. And then all you get is samey. Same drums from lots of people. [00:34:52] Speaker B: Which, I mean, to me, takes away from the drummer. Obviously, there's some good drums going on there. I think it's good to kind of have your own sound. [00:34:59] Speaker A: Sound 100 how you tell what drummers what. As opposed to just everyone sounding the same. Yeah, same thing with guitar. Same thing with vocals. You could do anything to anything. You can take all the cool technology now and you can apply it to an older style of recording and it would probably be better. I mean, you Know again, old man, get off my lawn. It's hard to argue with this, that this sounds really good and there was no wizardry. Well, I mean, there's some wizardry going on, but a lot of this is just talent. Good musicianship, good vocals, good production. [00:35:27] Speaker B: Good Production, absolutely. [00:35:29] Speaker A: Verse 2. To pass beyond is what I seek I fear that I may be too weak and those are few who've seen it through to glimpse the other side the promised land is waiting Like a maiden that is soon to be a bride the pre chorus is. The moment is a masterpiece. The weight of indecisions in the air and then back to the chorus. And so now we're gonna get some instrumental and some guitar solos. I'm sure it'll be interesting because it seems everything they do is interesting. Frank, what are you thinking so far before we get to the solo? [00:35:58] Speaker D: I like it. We talked about this once before, that there was a time where mixing and audio engineers had to be engineers. They had to figure things out. They didn't have the technology, they had to invent the technology in that moment. And here what you're listening to is just some of that brilliant engineering taking place with the tools that they had just to make it all sound so as good as it is. So really, truly brilliant work here. [00:36:19] Speaker A: Yeah. To find sounds that they didn't know. [00:36:21] Speaker D: How to get exactly. They had to be engineers. They had to figure it out. [00:36:25] Speaker A: Here it is. [00:37:01] Speaker B: Quick. I was expecting more. [00:37:03] Speaker A: This was awesome. [00:37:04] Speaker B: Oh, yeah. [00:37:06] Speaker A: And guitar playing was good. [00:37:08] Speaker B: It was. I just. I wish it was longer. The singer came in and the guitar player was like, no, no, wait, wait, I'm not done. I'm done. [00:37:14] Speaker A: You know, it's funny, you can't have every song like Carry On My Way where it's like fun. [00:37:18] Speaker B: No, but it's still a grand song though, right? It's kind of like a grand mid tempo ballad type thing. I mean, again, it didn't have to be a separate piece, just a little bit longer of a. Of a solo. I was. I was getting into it and then it just kind of stopped. [00:37:31] Speaker A: Well, this would be counted as progressive rock, right? I would think. [00:37:34] Speaker B: I guess. Yeah. I mean, there's. There's definitely some echoes of Genesis I hear here. Without a doubt in. In this song, it's almost like Progressive Light. [00:37:43] Speaker A: Was Genesis before this or after Genesis? [00:37:45] Speaker B: First album, I think was 69. [00:37:47] Speaker A: Oh, okay, that makes sense then. [00:37:49] Speaker B: I'm pretty sure 69 or 70. [00:37:50] Speaker A: Yeah, yeah. Guitar Player was good. It was a little short. It's fitting. The song it's fine. [00:37:55] Speaker B: Hey, listen. For me, a drummer complaining that the guitar solo was too short. Clearly that's a compliment, so. [00:38:01] Speaker A: It's true. All right, here we go. [00:38:09] Speaker C: Are waiting on the other side there's more than I can measure in the treasures of the L that I can find and though it's always been with me I must tear down the wall and let it be all I am and all that I was ever meant to be in harmony shining like it all who wake you cross There is no love. [00:40:01] Speaker B: Nice little outro. Yeah. It was cool guitar, really. Right. Which is odd. You thought I. I thought maybe little. [00:40:06] Speaker A: Lot of bass. All right, why don't you go first? [00:40:09] Speaker B: And let's see, I was thinking 8 on everything. I'm going to say 8 on everything. 9 of production. Cuz again, I mean, I could probably give it a 10, but let's be a little bit slightly conservative. Yeah. Let's say that it's a good song. I kind of remember parts of it for sure. I mean, I'm hoping there's stuff that I do remember as we go through it. Frank, you want to go. Want to go next? [00:40:30] Speaker D: Yeah, I'm. I'm going Triple nines on this one. Still has that great, crisp production sound. The lyrics, the melodies, they just great. It's just a great song that just flows. It's exactly produced and arranged how it's supposed to be. Mark. [00:40:43] Speaker A: Wow, these are high scores. I think I'm going to do triple HS across. [00:40:48] Speaker B: Quintuple Ocho bebetaniki. Are you guys forgetting the narrating system? You both said triple eight, quintuple, eights. [00:40:54] Speaker A: Eights all the way across. Yeah, I'm forgetting my own system. Sorry. [00:40:57] Speaker B: There you go. That's okay. Head up. [00:40:59] Speaker A: Yeah. I think everything is good on this. It's interesting. It's hard to follow that first song. Don't get me wrong wrong. Even getting eights or nines over here is amazing because that first song is just. It's so perfect for what it is. Not easy. Okay, so the next song is what's on my Mind. [00:41:32] Speaker C: Well, you told me that I was just not the one and you left me standing out in the cold it's been a long time and I'm so much better now that I'm looking back and seeing it all and for the first time there's no pain in my life Been a lot harder on it I've gone We had a good baby things and it made me a man and I know you got me going yeah. Why Feelings are showing I only say it what's on my mind well, I. [00:42:21] Speaker B: Slightly reminiscent, I think right. Of Carrion. That kind of like that groove. I mean, the melody is different. His voice is great. It reminds me of somebody who came later on. I'll have to think about it. Production still really good. You know, I'm digging it so far. What do you guys think? [00:42:36] Speaker A: He's a very deep, purplish. At least this song anyway. [00:42:39] Speaker B: To me I can hear that. [00:42:40] Speaker A: And his voice is awesome. I like that. They do a lighter part of the verse and then what's the next part? Pre chorus. And the pre chorus gets a little more guitar in it. That's pretty cool. Is this being like a discovery for me? Because obviously I know. Carry on wayward son. I don't know anything else. I don't think on here that I know right off the bat that it's like being into music and then finding this music and going where the was this? Why do I not know the rest of this? I feel so musically illiterate that I don't know any of these songs. It's just so funny. [00:43:07] Speaker B: That's why we do this, right? We always. Well, I actually. I don't think I've said it in a long time. It's discovery and it's rediscovery stuff that we haven't listened to, should have listened to. I mean, we talked about it throughout and Lizzy and. And even the Journey album we did, which was the one before Steve Perry came in, and some really good songs that were on that album that we had never heard. That's why. That's why we do this. And I'm really glad that this came up. [00:43:29] Speaker D: Yeah, I'm with you, Mark. Like, sometimes you. You come across these gems and you say, how did this get by me? The reality is there's just so much music out there that there's always going to be that one great album that's just going to sneak right by you. [00:43:41] Speaker A: We would have needed someone to push this in our face, though. At least during the time that we grew up. Sabino's cousin would have had to have like, told us, hey, you have to go listen to this album. If no one pushed this in our face, you could find it. But it would have been much harder. You'd. We didn't have recommendations from Spotify saying, hey, maybe you'd like this, maybe you'd like this. [00:43:59] Speaker B: Yeah. And again, you had to buy this stuff, even if someone said it was great, but if someone didn't have it, you either had to buy it or find someone who had it, who could lend it to you. Now you just search. You hear one good song and. Oh, let me. I heard this one good song. I mean, check out the artists and see if I like anything else by them. [00:44:14] Speaker A: That's the positives about the technology. I mean, it sucks for the musicians themselves, and that's got to get fixed. But as far as, like, discovery, you can find things much easier than it would be before. Hear the lyrics. Well, you told me that I was just not the one and you left me standing out in the cold. It's been a long time and I'm so much better now that I'm looking back and seeing it all. And for the first time, there's no pain in my life. It's been a long hard road that I've gone. We have a good thing and it made me a man And I know you've got me going. Yeah. Pardon me, my feelings are showing. I'm only saying what's on my mind. Mind again. Good lyric. [00:44:50] Speaker B: Probably the most simplistic so far, though, right? I would say, yeah. [00:44:53] Speaker A: What I've kind of noticed of any of the progressive stuff we've done, the lyrics tend to be very good, generally. [00:45:00] Speaker B: Well, I mean, you want kind of lyrics that mimic the music, the complexity of the music. [00:45:05] Speaker A: It's no tasting. All right, here we go. [00:45:10] Speaker C: Well, I found you or maybe I found myself and I. I think we knew it all of the time we've been together Just like a lock and a key and we open up each other's minds. Yeah, I was laughing. Cause there was not a cry There was too much growing to do. We had a good time and it ain't over yet. Cause I know you got me going. Will you. [00:45:54] Speaker B: I like how they just stopped and didn't go back into the. The title. So now I'm really curious to see what they're going to do here. [00:46:00] Speaker A: I really like the pre chorus. That's like, my favorite part of the song. [00:46:04] Speaker B: It's catchy overall. It's a catchy song. Song, without a doubt. [00:46:08] Speaker A: Yeah. And the musicianship is pretty good through this whole thing. [00:46:11] Speaker B: I could almost picture Boston having done a song like this. [00:46:14] Speaker A: Yeah. Well, it's all the keyboards, too. Probably doesn't hurt that it sounds that way. I'm sure Boston heard a little bit of this and went, huh, what can we do? That kind of does similar stuff. The lyrics are, well, I found you. Or maybe I found myself. I think we knew it all the time. We fit together just Like a lock and a key and we open up each other's mouth. Yeah. I was laughing because there was no room to cry. There was too much growing to do. We had a good time and it ain't over yet Because I know you've got me going. Will you pardon me? My feelings are showing. I'm only saying. And you're right. Yeah. They don't repeat it again for the next time. [00:46:50] Speaker B: Going into the music, see what they do. [00:46:53] Speaker A: Here we go. [00:47:30] Speaker B: Little breakdown. I mean, I like the groove on the drums. It's similar to Carry on, obviously, that kind of thing. It's still different. [00:47:37] Speaker A: Yeah, the solo was good. Very typical classic rock solo of the era. It's very well played. I don't think you could ask for more in this song than that. Yeah, it was good. This one's only 329, but, you know, the first one was over five, then it was four. The next one's going to be six. All right, here we go. [00:47:53] Speaker C: You came from nowhere and you just jumped in my life And I know it never will be the same you made me love you now I'm home once again? No, I never want to leave you no more Cuz I've been tattoo the better half of my seven days. Nowhere else that I'd rather be you feel the same day you fix that broken heart Yes, I know you got me going you. It's on my mind. [00:49:00] Speaker B: When that last part came in, I was like, I'm digging this. I said, they're gonna end it. They're gonna end it too soon. I want this to keep going. They're gonna end it. Damn perfect ending. But I wish it was a little bit longer because I really like that. [00:49:12] Speaker A: It was a perfect ending, though. [00:49:14] Speaker B: It really was. I knew it was coming. Like, I was like, they're gonna end it here. I wish it was longer, but I was like, damn it. But that was a great ending. [00:49:21] Speaker A: Yeah, the song's great again. I feel so uncultured musically that I don't know this. All right, let me read some words. You came from nowhere and you just jumped in my life and I know it never will be the same you made me love you now I'm home once again. No, I never want to leave you no more Because I returned to the better half of myself and there is nowhere else that I'd rather be. You filled it empty you fixed up my broken heart Yes, I know you've got me going. Pardon me, my feelings are showing I'm only saying what's on my mind and they did the. I'm only saying what's on my mind. I like that part a lot, too. I thought that was really good. I don't know. I think I'm going to go first. The song is really good. I don't know if there's much more for me to say than I've kind of said through the whole thing. I think this has to get eights across again. I really like this. And if I do eights, that means I have to do this. Quintuple ocho bebetti taniki Frank. [00:50:13] Speaker D: I'm with you, Mark. You can't speak enough about the production and the arrangement. The production specifically. Right. And what a stark difference from what we heard last week. Yeah, the lyrics, I I everything about it. I just like it a lot. So I'm gonna go with 8.2ocho. [00:50:28] Speaker B: I'm gonna veer a little bit on this one, make it a little bit more interesting. I'm gonna say seven on the lyrics. I'm going to say an eight on the arrangement, actually. That's it. Yeah, let's do it like that. Seven on the lyrics. And then ate everything else a little. But I still think it's a great song. [00:50:43] Speaker A: Just need to be the contrarian, don't you? [00:50:45] Speaker B: I I yeah, I need. I got a little bit. [00:50:48] Speaker A: You know, Now I understand why people love this band so much. Same thing when we were saying Within Lizzy. Now I totally understand why this was in the guitar magazines all the time. They always had song. I just didn't know. And I didn't have the ability to go say, hey, does anyone have Kansas? Or we weren't really listening to that except for the, you know, the first song I've heard. Other than that, I never heard anything really. You know, obviously I've heard a couple other Kansas songs, but nothing from this album that I know. It's great drums and bass. You know, we said it before. 70s bass players always are so good. [00:51:19] Speaker B: I honestly think that the biggest instrument discovery on this podcast has been the bass playing, where we're like, holy. [00:51:26] Speaker A: Did you hear that? [00:51:27] Speaker B: Did you? I mean, the Doors, right? Remember that? [00:51:32] Speaker A: Yeah, yeah. [00:51:33] Speaker B: It's great all around. Just great musicians have great voice. [00:51:36] Speaker A: Well, we've come to the end of the first side, and this is Miracles. Out of nowhere. [00:52:19] Speaker C: On a crystal morning I can see the dew drops falling down from gleaming heaven I can hear the voices call when you're coming from now, sun the world is not for you Tell me what's your point of view? Hey, that Mr. Madman what you know that I don't know Tell me some crazy stories Let me know who runs the show he turns and walks away Tell me what made you that way Here I am just waiting for a sign Asking questions Letting all the the time it's always here, it's always there. It's just. [00:53:23] Speaker B: Nice exchange between the voices, the instrumentation. I mean, the way things coming out. That acoustic guitar is clean as. I mean, it's beautiful, man. [00:53:32] Speaker A: Mark, would you think produced really well? You can hear everything. All the separations there. The acoustic guitar sounds great. This is the other guy singing on this. This is not. Well, I think he's in there. I believe this is Robbie Steinhardt, who plays, like, violin, viola, and he does lead vocals on this. This is super progressive for me. Like, this is where the progressiveness, I kind of feel, is the most prominent. [00:53:56] Speaker B: Absolutely. [00:53:57] Speaker D: No. Yeah. I think this is, like, so far the most progressive song on the entire album. Although the entire album, I think, was labeled as progressive. Not so much arena rockish. [00:54:08] Speaker B: Sure. What they were labeled. I wouldn't say arena rock. There's definitely tinges of without a doubt progressive. [00:54:13] Speaker D: Yeah. I think at this point, they were all progressive. But you hear it in this song for sure. [00:54:17] Speaker A: Labeled as progressive. [00:54:19] Speaker D: It's labeled as aggressive, the entire thing. [00:54:21] Speaker A: Yeah. [00:54:21] Speaker D: And now this album specifically wasn't. It was like their breakout. This is where they became, like, superstardom. Right up there for that generation of band cans with Boston was this. It was this. The album that made them break out, that catapulted them to the. To front and center. [00:54:36] Speaker A: It came out with mixed reviews. Rolling Stone called Left Overture Kansas's best album to date and said it was Warrants Kansas spot right Along Boston. And Sticks. [00:54:45] Speaker B: It's funny, I do hear a little bit of. I was gonna say sticks. So the second album had Song for America, which is a pretty big song. I think it's a long kind of progressive song song. Third one, I don't really see any hits, but. Yeah, I mean, this one came in, and then the one after that, which is Pointed Over Turn. That's a really big song. I don't know if you guys ever heard that one, but that's a really good song. And then Dust in the Wind is also on the next one. [00:55:08] Speaker A: Well, this album did 4 million and it went to number 5. So this is a big album. [00:55:13] Speaker B: Yeah. [00:55:13] Speaker A: Yeah. I mean, I'm assuming this has to be kind of the breakout thing. [00:55:17] Speaker D: Yeah, I would guess. [00:55:18] Speaker B: I mean, the other albums went gold, though. The. The albums before this did go gold. I'm just looking at it. And the next album sold just as. [00:55:24] Speaker A: Much or had this in the wind, that's why. Probably. [00:55:27] Speaker B: Yeah. And I mean Point of no Return is a big point of no return. If you hear that song, you guys will know it. [00:55:37] Speaker A: Well, the funny part is there was a review from Robert Christow said the album lacked intelligence and conviction of European progressive rock and that the self deprecating humor implied in the song and album title titles is completely absent from the record itself. [00:55:52] Speaker B: I think that guy said the same thing about our album All Music. [00:55:57] Speaker A: Stefan Thomas Irwine wrote, the album contains neither hooks nor true grandiosity to make it interesting. Despite the great single Carry On Wayward Son, the fact that Kansas never managed to rival it anywhere on this record. As much of a testament to their crippling ambition as their lack of skills. Okay. [00:56:16] Speaker B: I mean, is Carry on the best song so far? Yes. [00:56:20] Speaker A: You could say the same thing for Thin Lizzie for Boys Are Back in Town. You could say that's the best song on that album if you really want to be objective. But there were a lot of other great songs on there. The mere fact that he's saying, oh, you know they can't do it again, well, fuck, can you do it one time? Because I don't think you can. I don't think I can. [00:56:37] Speaker B: Yeah. [00:56:38] Speaker A: So if you can't do it, you shut the fuck up. [00:56:40] Speaker B: I mean, being a one, let's say they were one hit wonder with Carry On, My Wayward song. That's. That's a good. What is a good hill to Die On, Right? [00:56:47] Speaker A: For fuck's sake. The singles sold 4 million. Carry On Wayward Son sold 4 million and it went to number 11. So a top 20 hit. It was their. Their first top 40. And it's still played now. [00:56:59] Speaker B: Oh yeah. [00:57:00] Speaker A: Almost 50 years later. [00:57:01] Speaker B: Absolutely. It's a testament. It's an amazing song. [00:57:04] Speaker A: Here we go. On a crystal morning I can see the dew drops falling down from the gleaming heaven I can hear the voices call when you coming home now, son the world is not for you Tell me what is your point of view? Hey there, Mr. Madman what do you know that I don't know? Tell me some crazy stories Let me know who runs this show Glassy eyed and laughing he turns and walks away Tell me what made you that way and then the chorus is. Here I am just waiting for a sign Asking questions, learning all the time it's always here it's always there it's just love and miracles out of nowhere Aware words are pretty Good, too. [00:57:39] Speaker B: Yeah, it's good lyrics. [00:57:40] Speaker A: I mean, the guy saying that they're not intelligent and there's no skill here. I beg to differ. I'm not a Kansas fan. Like, it's not a band that I listen to, really. You'd have to be really a dummy to say that. There's no skill here. [00:57:52] Speaker B: I wouldn't mind being this stupid. [00:57:54] Speaker A: Yeah, me too. Here we go. [00:57:59] Speaker C: Tell me now, your mother what's it like to be so old? Children grown and leaving Seems the world is growing cold Though your body's ain't in you your mind is just like new Tell me where you going to it's so simple I'll be right before your eyes if you only look through the sea sky it's always you. [00:58:41] Speaker B: And they do these little changes, too, right. I think that chorus was the same as the first one. They changed the dynamic. It is, right? [00:58:48] Speaker A: Yep. [00:58:48] Speaker B: Which is cool, because I think they do that in the other songs as well. Well, I saw the song before it, obviously. They cut off the chorus and went into the music. Music. So that was a little change. But here, too, I'm like, oh, I think that's different, actually. Like this chorus even better than the first one. And I like the first one. This is really good song, man. [00:59:04] Speaker A: Yeah. If this is lack of skill, I'd like it to be this unskilled. [00:59:07] Speaker B: Yeah, I wouldn't mind. [00:59:09] Speaker A: I mean, obviously those reviews didn't stand the test of time of any sort. [00:59:12] Speaker B: Listen, man, at the end of the day, right, you're entitled to your opinion. That's what it. I mean, that's what we're doing, right? There's people who probably listen to us and say, you guys are stupid for liking this or not liking that. [00:59:23] Speaker D: Yeah, exactly. Exactly. Three kulos and a microphone. That's what they're saying. [00:59:27] Speaker B: Yeah. [00:59:30] Speaker A: Where it's at, where it's at. Here's verse three. Tell me now, dear mother what it's like to be so old Children growing and leaving Seems the world is growing cold and though your body's ailing you your mind is just like new Tell me where you're going to. And this is a changed chorus. It's so simple, I mean, right before your eyes if you only look through this disguise it's always the here, it's always there it's just love and miracles out of nowhere Love and miracles out of nowhere and I have to say again, the drum sound here is ridiculously good. Even every tom hit, every cymbal hit, every hi hat snare it's great. It's mixed and recorded so well. [01:00:07] Speaker B: Yep. And the bass is kicking ass again in that song. [01:00:10] Speaker A: So now here's a musical interlude. I'm not sure what it's going to be, but I'm sure it'll be a little longer than the other ones. I would. Zoom. Let's go. [01:01:53] Speaker B: The beginning actually reminded me a little bit of some music from Italian. Jealous. A jelly Thought that was cool. What do you guys think? [01:02:00] Speaker A: Very renf fair at the beginning. But I'm going to say something now and you're going to tell me if I'm not crazy. Did Ghost steal a little bit of this? [01:02:08] Speaker B: It could be. I mean, again, right? What? We kept saying the same thing. We couldn't put our finger on it, but there were influences and maybe specifics that we had heard before but couldn't. Specific. Well, this sounds like this. It kind of sounds like this. And I can hear this. Yes. I can hear it in one of the songs from that album that we listen to. I don't know if it would show up in anything else because I don't really know. And my understanding is they do kind of change styles. And he just changed his name again, right? Wasn't that in the. In the. I think he just changed his name again. [01:02:40] Speaker A: I'm not sure. Did he change it again? [01:02:42] Speaker B: I think so. It came up in my feud. [01:02:44] Speaker A: I heard that part and I was like, wow, that's definitely something we heard on the Ghost album. We just did very similar stuff. And I hadn't heard this, so I'm not saying that I looked at that. It went, oh, this has a little bit of, like, Renaissance kind of sound. And that has a little bit of Renaissance kind of sound. [01:03:00] Speaker B: Absolutely. [01:03:00] Speaker A: But it's very similar. Like, even the melodies are super similar. So maybe that's where it came from. [01:03:06] Speaker B: It's European progressive sounding. I do hear that. Can hear some of the Genesis going on in there. And like I said, some of the Italian horror movie things. Especially when the drum comes in with that keyboard kind of beat going. I've heard that in. In movies like that. So, I mean. Yeah, it's good. Well played, well arranged. [01:03:23] Speaker D: Yeah, I. You know, I was thinking about that very Ren Fair, like you said, kind of little jet to is kind of thing. Not my kind of thing, but it's. But it's good. [01:03:32] Speaker B: Frank saw little people dancing around Stonehedge. [01:03:35] Speaker D: Yeah, there you go. Yeah, they were just dancing around. [01:03:38] Speaker A: Final tap. [01:03:39] Speaker D: Drink, drink Drinking their mead all over the place. [01:03:42] Speaker B: Oh, man. That movie. I know we talked about it so many times. But that movie is just one good part after another. Another. [01:03:48] Speaker A: And it all something that could happen to any band at any time when. [01:03:52] Speaker B: They get the measurements wrong for so. [01:03:54] Speaker A: Much 4 inches by 4 inches instead of 4ft by 4ft or whatever it's supposed to be. [01:04:00] Speaker B: Yeah, whatever it was. And they're being all serious and they. [01:04:04] Speaker A: Turn around, there's this little teeny little Stonehenge. [01:04:06] Speaker B: Yeah, it's coming down, right? It gets like carried down. [01:04:09] Speaker A: Well, they have the little people dancing around with the smoke and then it just comes down, but is teeny weeny. And they're just looking at each other like, what? [01:04:15] Speaker B: Because you can't really tell, I think, at the beginning how small it is until it reaches the ground. [01:04:20] Speaker A: It's ridiculous. All right, let's continue. Here we go. [01:04:27] Speaker C: I sang this song a hundred, maybe a thousand years ago no one ever. [01:04:39] Speaker A: Melissa. [01:04:39] Speaker C: Listen, I just plan that I go I'll stick to the sunset like the western heroes do Tell me what you're gonna do Here I am I'm sure to see a sight all my life I knew that it was But M is always here it's always there it's just love and miracles out of nowhere Love and miracles out of nowhere out of nowhere. [01:06:53] Speaker B: So I think this is where, if you're Kansas and that critic is in the audience, you flick pics in his eyes and throw a stick at his head. Because that was awesome. I mean, that song, to me, just got better and better. [01:07:06] Speaker A: Yeah, it's really good. Like, to Frankie's point, maybe if you're not a musician, it's a little harder of a sell as opposed to Carry On Wayward Son. Right. Because I think if you're. Even if you're not a musician for that, it's easy. I think when you're a musician, you listen to this and you go, wow, that's really good. But maybe the general person may not be as interested in that. I'm not saying everybody, but, you know, the general top 20 public is probably not listening to that generally. I wouldn't think. [01:07:32] Speaker B: No, I think in general. I mean, a lot of people obviously have. Not obviously, but have maybe the same complaint generally about progressive music. [01:07:40] Speaker A: I would think so. [01:07:41] Speaker B: A lot of hands, a lot of. There's a lot of music. Music in it. So if you're not getting into that music or what they're doing, or even if it's an appreciation of holy cow. What they're doing. But I mean, that. That coda was perfect. It was so good. [01:07:57] Speaker A: Oh, yeah, definitely 100. Frankie, why don't you go first? [01:08:02] Speaker D: Again, not my favorite song so far. Again, the production here. Any arrangements. I mean, can't deny it. You just hear all the instruments, you hear the vocals. Everything is great. So I'm gonna give those eight there. Look. Do we wrap up the lyrics on this bar, Whatever few there were? [01:08:19] Speaker A: No, I forgot to read them. Let me try them now. Here we go. [01:08:22] Speaker D: Yeah. [01:08:23] Speaker A: I sang this song 100 maybe a thousand years ago. No one ever listens. I just play, and then I go off into the sunset like the western heroes do. Tell me what you're going to do. And a chorus. Now the chorus is different again. Here I am I'm sure to see a sign all my life I knew that it was mine it's always here, it's always there it's just love and miracles out of nowhere Nowhere Love and miracles out of nowhere. [01:08:46] Speaker D: Again, not my most favorite, but I'll give the lyrics a7. The music. Yeah. You know, it is great music. It truly is. I'm gonna give that an eight. The melon. Yeah, the melody. You got to give it an 8. They go hand in hand. So, Sav. [01:09:01] Speaker B: I'm gonna say an eight on the lyrics and a nine on everything else. I. If I could do nine and a half, I probably would, But I'll say eight and then nine to across mark. [01:09:11] Speaker A: Yeah, I mean, I think I'm going to kind of mirror that. Everything was really good. And even it was another guy singing, and even the other guy singing was good. I heard the original vocalist there, too. Generally, they did a great job. How you really complain about that? It's awesome. This is such a cool discovery for me. [01:09:27] Speaker B: Yeah, that was a great, strong first side. Some pretty high scores. [01:09:33] Speaker A: Yeah. [01:09:33] Speaker D: I wonder. I wonder how this would sound on voice. Vinyl. [01:09:36] Speaker B: Good. I've only heard it on vinyl other than this, so I can tell. Sounds good. And it's. Who knows? This may be hiding somewhere in my vinyl collection. [01:09:45] Speaker D: I mean. Yeah, I would. I would imagine it really does. Is much more immersive on vinyl than what we're listening to right now. [01:09:52] Speaker A: Yeah, it's awesome. I can't wait till the second side. Now I'm curious to see what they do. I said that the end song is six minutes. The end song is like over eight minutes. [01:10:01] Speaker B: But, I mean, talk about two amazing bookends, right On a side, Carry On My Wayward Son in this one. [01:10:06] Speaker A: Well, you know, I probably think that if you were listening to this in 1976, you heard Carry On Wayward son. And then if you're not really into progressive rock, you brought the record and didn't get that again. So I could almost see where that critic was like, well, they couldn't do it again. So yeah, you know, if you're just like the guy just dabbling into it, you may not want that or you may want more of that first song, but you don't really get it. So either you're gonna like this, you're gonna go, I, ah, you know, for me it's a one song and done album. Because it's not what I like. [01:10:36] Speaker B: Dope. [01:10:37] Speaker A: Well, you know, again, you know, yeah, teach their own. But that first song does one thing right. It's not really super progressive. There's whinges of the progressive part there. Not that much. You know, it's like you said in the 90s, you bought an album for one song and then the rest of it sucked. You didn't like it that much. I mean, that could happen here too, I would think. All right, Saf, why don't you do your thing? [01:10:57] Speaker B: So we are part of the Deep Dive podcast network again, like I always say, great bunch of guys took us in right away. If you want individual podcasts about bands, check them out. You got Rush, Judas Priest, Zeppelin, Tom Petty, you name it, it's probably on there. And Mark, where can they find this? On the interwebs. [01:11:14] Speaker A: Rock with that pod, all the socials, rockwell, podcast.com, go over there, look at the polls, buy some merch, leave us a new bets idea, Leave us a new album idea. Put us on your automatic downloads so you get us every Tuesday. And if you can review us wherever you do your podcast podcasts and give us a five star review because that just moves us to more people and share these things out if you like what we do. And next week we'll be finishing this thing up and I'm excited. [01:11:44] Speaker B: I'm super excited. [01:11:46] Speaker A: It's going to be cool. [01:11:47] Speaker B: Awesome. [01:11:47] Speaker A: All right, well, we'll see you next week. Cho Cho mine later. [01:11:58] Speaker C: It.