Episode Transcript
[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 for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship, and research.
These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now onto the Rock Roulette Podcast.
[00:01:03] Speaker B: Foreign.
[00:01:14] Speaker C: Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1, 500 albums, stuck them in a list, stuck them in a wheel. And typically every week we spin the wheel. She picks a record for us. When we go through it, track by track, we talk about the music, the lyrics, the production, the melody and the arrangement and we give it scores. Again, just a bunch of friends that love music want to do a podcast. We always want to thank everybody who listens to us. Spread the word, tell us what you like, what you don't like. Tell other people what you like. Well, don't tell them what you don't like because then they may not listen. Just tell them what you like. That's what we are Threesome Tonight we have Steve back.
[00:01:48] Speaker D: Stephen, behave yourself.
[00:01:51] Speaker E: Steven, behave yourself.
What up?
[00:01:55] Speaker C: We have Mark. Oh, hi Mark.
[00:01:57] Speaker D: What's up guys?
[00:01:58] Speaker C: And I'm sad.
[00:01:59] Speaker E: Ciao buena.
[00:02:00] Speaker C: Last week we wrapped up a tribute to Ozzy. We put his solo albums in a wheel and the wheel pick osmosis for us, which I wasn't too familiar with. I'm pretty sure Mark wasn't too familiar with. We remember some of it. I will defer first to Steve because he couldn't make the second part of it. Steve, how familiar were you with it? And I know you listened to the second side on your own. What did you think about that?
[00:02:22] Speaker E: Obviously the bigger songs like Perry Mason, I Just want you and see you on the other side. Remember hearing those on the radio. As of the other stuff, I don't remember any of it. Even though I did give this album listen once when you know it came out and then listening to that other second half, I don't know, it didn't really do it for me as much. There was one song, Mike Jekyll doesn't Hide, that was a good one. I like that one. But all the rest of them kind of just sounded very 90s, mid-90s, kind of just. I can remember, I think, was Tomorrow and listening to it and just thinking, holy shit, this song's still going.
I think a lot of these songs kind of just dragged out.
[00:03:00] Speaker C: I think we all commented that the songs were a bit long and they kind of could have ended. I think Tomorrow, though, was one our favorites. It was a bit heavier, so I think we appreciated that. And then I don't know if My Jekyll Doesn't Hide was the one he did with Mark. You may remember if it's the one that he wrote with Geezer.
[00:03:15] Speaker D: I don't remember. I'd have to look back at my notes. But I think we like side two, I think, better than side one overall.
[00:03:19] Speaker C: Yeah, we definitely gave it better scores. If you look at the rankings online, some people really like it, some people don't like it. It's middle. It's. Some people put it first, believe it or not. But not too many. Most people, it's either middle or toward the bottom of the list. But again, I'm kind of glad we got it. It's something that I hadn't heard the full thing through. And as a tribute, random tribute, as we try to do here, I think it worked out. So I'm definitely glad that we got it and we got it. To wrap up, we want to announce that today is our third year anniversary. That's right. We've been doing this for three years. I know I mentioned it before. Anybody, Anybody who's been there with us for three years, please, one little shout out. If you'd endured us for three years, you deserve a lot of credit. We're still here. We're still doing this. We have quite a few episodes under our belt. We've had a little bit of an uptick. I haven't said that in a while, but Mark sent out some stats recently, and we have had a little bit of an uptick recently, I think. And again, anybody going back to the old episodes, whatever it is, thank you. And please, if you've been here from the beginning, give us a shout out, because we'd love to give you a shout out and say, hey, here's somebody who's been here the whole time. Maybe we're doing something right. And obviously based on that, we're going to keep the tradition of doing Jimi Hendrix records. And we're doing the next one, which would be Cry of Love. Obviously, we did the first three. This is a posthumous release, but we want to keep the tradition going. However, before we start the tradition. As always, we'd like to do our new BET segment in a world where.
[00:04:42] Speaker E: New music is not easy to find.
Welcome to New Bets.
[00:04:56] Speaker D: All right, so here's the.
[00:04:59] Speaker C: Hey, what is that?
[00:05:01] Speaker D: It's a phone.
[00:05:02] Speaker C: We still have that, Mark?
[00:05:03] Speaker D: I thought it rang differently. It must be a different phone.
[00:05:06] Speaker C: I thought so, too. It's three. Huh. I guess we got a new phone. You gotta pick it up, Mark.
[00:05:12] Speaker D: No one even has the number.
Hello?
That's very spooky.
[00:05:30] Speaker F: Hey there, cool cats.
This is Jimi Hendrix, floating in from the cosmic sky, riding a purple haze all the way to your dial. I just had to call into the Rock Roulette show and send some love for your third anniversary.
You see, music, it's a living thing, man.
It breathes, it sings, it dances through your soul. And you cats, you've been feeding that spirit for three trips around the sun, keeping the flame alive for all the groovy people tuning in. That's beautiful, man, just beautiful. Three years of spinning the wheel, dropping the needle and letting that rock and roll energy flow. Now that's what I call a beautiful trip, you dig? Keep the music alive, keep those amps buzzing, and never stop riding that rainbow of sound. So here's to the next trip round the sun, baby, and to everyone out there listening. Stay groovy, stay loud and love each other like the music loves you. I'll be watching from up in the electric sky Strummin a chord for every note you play. Peace, love and a little feedback to light your way.
[00:06:26] Speaker G: Now, if you will excuse me, I must be on my way.
[00:06:40] Speaker D: Wow.
[00:06:41] Speaker E: Damn.
[00:06:41] Speaker C: Not only did we get a phone call, but from beyond the grave. At first I thought it was Satan. I was like, oh, boy. Tell me he's will listener. I mean, if Hendrix listens to us, we can't be that bad.
[00:06:51] Speaker D: No, seriously, another one. There's another phone call with another ring.
[00:06:56] Speaker C: We have two phones, I think.
[00:06:59] Speaker D: Huh?
Let's pick this up.
[00:07:01] Speaker C: Who could it be?
[00:07:02] Speaker D: Hello?
[00:07:03] Speaker G: Whoa.
[00:07:04] Speaker B: Oh.
[00:07:07] Speaker H: Well, well, well, if it isn't the rock roulette party. This is Diamond Dave calling in to sprinkle a little sunshine and something outrageous on your big three year bash. Three years, huh? That's three years of wheel spinning, head banging and taking the world on a rock and roll vacation. I've been listening, I've been laughing, and let me tell you, you guys got more kick than a pair of spandex pants on tour in 84, baby. Now, I just wanted to swing by, do a little jump, a little spin, maybe a High kick or two and say happy Anniversary. Keep bringing the riffs. Keep spinning that wheel. And keep giving the people the party they didn't even know they needed. Remember, life's a stage, baby. So crank it to 11, grab a mic stand and give it the old Yankee Rose Wink Rock roulette. You cats are doing it right. And if you ever need a crazy frontman to spice things up, well, you know who to call.
You know?
I am the party, baby.
Zip T, Bippity Bop.
[00:08:27] Speaker D: Wow.
[00:08:27] Speaker C: I think he's called us before and.
[00:08:29] Speaker D: Now he's super duper into it.
[00:08:31] Speaker C: I guess he's into it and he offered to sing for us. We don't even have a band technically, but he offered to sing for us.
[00:08:37] Speaker D: There you go. David Lee Roth likes the show.
[00:08:39] Speaker C: Again, everybody. If Hendrix and David Lee Roth like the show, what are you guys waiting for?
[00:08:43] Speaker D: Seriously.
[00:08:44] Speaker C: I mean, clearly those calls are real.
[00:08:47] Speaker D: Yeah. Of course. They couldn't be made up. That. That would be not right.
[00:08:51] Speaker C: Of course not.
This isn't a music service.
[00:08:55] Speaker D: Yeah. We don't have that kind of money or nor technology to make them be fake. Come on.
[00:08:59] Speaker C: Exactly. That's awesome.
[00:09:02] Speaker D: Yeah, awesome. Now that they call, let's get back to the wheel. So here is our wheel. Let's see what kind of new music we get to hear before we hear the old music.
[00:09:22] Speaker C: Cool. The Rolling Stones. Angry. This is kind of befitting.
[00:09:25] Speaker D: Yeah, it kind of fits the thing, doesn't it?
[00:09:27] Speaker C: Befits the theme.
[00:09:28] Speaker D: I've never heard this song. Obviously. It's from the newer album, I assume.
[00:09:31] Speaker C: I think so. I don't know if I heard this one.
[00:09:33] Speaker E: They put out a new album.
[00:09:35] Speaker C: When was it, Mark? I mean, this could have been later. Last year.
[00:09:38] Speaker D: Last couple years, I think.
[00:09:39] Speaker C: Yeah, whatever. It's the Stones. Stones. Hendrix.
[00:09:42] Speaker D: It kind of fits it. We got Hendrix for a regular thing. Now we get the Stones as a new thing. The scary part is that the Stones are making music in 2024 or whatever.
[00:09:49] Speaker E: Yeah, that's kind of crazy.
[00:09:50] Speaker C: And the other connection is the 27 Club.
[00:09:52] Speaker D: Yes, this is true.
[00:09:53] Speaker C: The Hendrickson Jones.
[00:09:55] Speaker D: Yep. Here is the Rolling Stones. Angry.
[00:10:08] Speaker B: Don't get angry with me I never cause you no pain I won't be angry with you But I can't be Strange as a river the rivers run dry we have back in love and I wanna know why why you angry with me?
Why you angry?
Please just forget about cancel out my name Please never write to me I love you just the same I hear a melody ringing in my brain Just keep The memories don't have to be ashamed.
Don't get angry with me.
I'm in a desperate state.
I'm not angry with you.
Don't just fit in my face.
The words at the door got teeth and the claw. My mouth gets sore I can't take anymore.
Why you ain't gay with me?
Why? Angry voices keep echoing Calling out my name.
Hear the rain Keep me on my wind of pain.
I hear a melody ringing in my brain.
You can keep the memories. Don't have to be ashamed.
Don't get angry with Sam.
Let's go out in a place.
I'm still taking the P out.
Come on.
[00:13:40] Speaker C: Not bad.
[00:13:41] Speaker E: Oh, no.
[00:13:42] Speaker C: Definitely the Stones.
His voice was slightly funny. At times it sounds like his mouth got even bigger. That makes any sense. I think the more it went on, the more I liked it.
[00:13:53] Speaker E: It wasn't bad.
[00:13:54] Speaker D: I think there's a little finagling going on in his voice. That wasn't bad. That was pretty good, actually, considering you don't think a band this many years in their career can make anything that good.
[00:14:02] Speaker C: Yeah, give them credit.
[00:14:04] Speaker E: The production was pretty good and drum sound was good. And the bass was actually really kind of dug the tone and the overall disc.
[00:14:11] Speaker C: And I like. They kept building with the hand claps and going with the voices and everything. I'm not angry with them.
[00:14:16] Speaker D: No, it's good. And from what I can gather, just looking at the album, that's not Charlie Watts. He does have a couple of things on this album, I guess, that they recorded before he passed away.
That's Steve Jordan, I think, who was the drummer for David Letterman.
[00:14:30] Speaker C: Yes. He did a Drumeo video recently doing Painted Black.
[00:14:34] Speaker D: It was good. I liked it.
[00:14:35] Speaker C: Yeah. Cool.
[00:14:36] Speaker D: Good way to start off the show, I think. If you like it or you don't like it, let us know. Let's rubber stamp this. Here we go.
[00:14:43] Speaker E: In a world where new music is not easy to find, welcome to new bets.
[00:14:58] Speaker D: Now we get to the meat of it. Going with our regular anniversary tradition. As Sereno said, We're gonna do Jimi Hendrix. We're at the end of the Jimi Hendrix. I don't know what's going to happen next year. This is the last technical stud record. This is posthumous 1971. Eddie Kramer is the producer, technically. Mitch Mitchell and Jimi Hendrix, from what I gather, doing a little research. But we rarely do research on this show since we knew this was coming up. Basically, he had four tracks already mixed before he passed away. So he had an idea of kind of what he wanted. The Sound to be. Some people say this is a compilation. Some people say it's the last real record. I think I'm on the side of it's the last real record. Because if anyone's going to know what it should sound like, I think it would have been Eddie Kramer.
[00:15:39] Speaker C: Mark, how does this record sit with you in terms of Jimi Hendrix?
[00:15:42] Speaker D: I don't know. It's probably my least listened to record. Although there are a bunch of tracks on here I like. I think at one point I was like, well, this is just a posthumous thing. This is not really a record. The more you listen to it, this is where he was heading. This is the sound he was heading for. He has a new bass player, which is not really new, but it's Billy Cox. It's not null writing anymore. It's a different sound, but it still sounds like him. You could definitely tell he was starting to change with the times, I think, a little bit.
[00:16:04] Speaker C: Steve, do you have any experience with this record?
[00:16:05] Speaker E: None whatsoever.
[00:16:06] Speaker C: I don't think I have either. Mark. I know that you and I chatted about it. There could be songs that I didn't know were on here, but I know. I guess once we get into it, I'll start figuring it out.
[00:16:15] Speaker E: Yeah, I think I'm the same way.
[00:16:16] Speaker D: I think you may have heard maybe two or three of these just in passing.
[00:16:19] Speaker C: Could be.
[00:16:20] Speaker D: There was also an album called First Rays of the New Rising Sun.
[00:16:24] Speaker C: I think I have that one.
[00:16:25] Speaker D: Oh, you have that one? That was done in 90. That was a compilation of this album. Voodoo Soup and Rainbow Bridge and maybe parts of War Heroes. It was all these, like, posthumous things that were released at the end. Pieces of things that he had done.
We talked about maybe doing that. I think we settled on. This is a real record. And that one was a redo. That's why we're doing this. And we were thinking about band, the Gypsies. But that's so long.
[00:16:47] Speaker C: We don't do too well with long stuff here. We tend to stretch it out even longer.
[00:16:51] Speaker D: Yeah, I think you're gonna like this. There's a bunch of songs on here I think you'll like. Happy third Anniversary. The first song is Freedom.
[00:17:15] Speaker B: You got my pride hanging out of my bed.
You messing with my life so I bugged my lip even messing with my children and you're screaming at my wife Babe, get off of my bed if you wanna get out of here alive Freedom, freedom, that's what I want now Freedom, that's what I need now Freedom to live Freedom so I can give.
[00:17:58] Speaker C: I definitely know this song. Without a doubt.
[00:18:01] Speaker E: Pretty sure I've heard this one.
[00:18:03] Speaker C: The production is throwing me off a bit, though. His voice is pretty high in the mix and the music to the point where the drums are playing a beat that doesn't seem to fit with what he's playing. And I understand that. Obviously this was done later, but the background sounds off to me.
[00:18:17] Speaker D: Do I think this was produced as well as the other stuff? No. I don't know if this was one of the tracks that was finished or this was the in between stuff that he didn't get to finish. I'm not sure what four tracks they had actually finished. We'll probably figure it out while listening to it. This feels a little unfinished. Still good. But it still needed probably a little more cleaning up and maybe a little more EQ and whatever else they were going to do to make it sound a little bit better. That's probably why people don't think this is a real album.
But I like it. I like the riff. I like the guitar playing. So far, I think he's doing a great job. This is where he was going in style.
[00:18:49] Speaker C: Yeah. I mean, I think it's a good song. Good. The pacing of it is just odd. It sounds as if they tried pasting his vocal over the music in his end. Clearly, Again, obviously, we have to make some allowances because of what it is. The song itself, I think is pretty good.
[00:19:02] Speaker E: I'm digging it right now. It's kind of good.
[00:19:06] Speaker C: Do you want to read us some lyrics?
[00:19:07] Speaker E: Sure. You got my pride hanging out on my bed Mess my life so I brought my lead Even messing with my children and screaming at my wife Baby, get off my back do you want to get out of here alive? Freedom, freedom give it to me that's what I want now Freedom, freedom give it to me that's what I need now Freedom, give it to me to live Freedom, give it to me so.
[00:19:35] Speaker D: I can give Typical lyrics for Hendrix. I'm not too sure what's going on here yet. You messing with my wife. So I brought my lead, which means his gun.
[00:19:42] Speaker E: But.
[00:19:43] Speaker D: But I don't know. There's other parts in here that don't make sense for that. So I don't really know. I'm pretty positive this is one that they finished up after the fact. Like Sereno says, I think it's a little. Not finished or it doesn't feel like it's all together. Who knows if there was even drums on this. Maybe Mitch Mitchell did the drums after in 1970s technology, probably such an impossibility to get it right.
[00:20:00] Speaker E: Yeah.
[00:20:01] Speaker C: Like I said, I know we have to make some allowances here, right?
[00:20:04] Speaker D: Yeah, yeah, yeah. Regardless of what phase this is in, it's still a good song.
[00:20:07] Speaker C: Yeah, the bones are good.
[00:20:09] Speaker D: Oh, yeah, definitely. All right, let's continue. Here we go.
[00:20:15] Speaker B: You got my heart speak electric water?
You've got my soul screaming at home?
You know you hook my girlfriend get.
[00:20:25] Speaker G: All the gemstone, ma'. Am.
[00:20:27] Speaker B: Well, I don't need it now I'm just trying to slap it out of my hand?
Freedom is coming so I can live freedom so I can give freedom freedom that's what I need.
You don't have to say that you.
[00:20:57] Speaker G: Love me if you don't mean it.
[00:21:00] Speaker B: You better believe if you need me.
[00:21:04] Speaker C: Or you just want to please.
I try to pay more attention to the background this time, and it's a good song. If this had been produced during his lifetime, it would have sounded that much better. It's strong, so I think it's a really good song. I've heard it before. There's so many freedom songs.
I'm assuming that this is the one that I'm thinking of. It's a strong song. Mark, how does this rank as far? Is this one of your favorites, you think, on the record?
[00:21:34] Speaker D: Oh, 100%. Yeah. It's a great song. I was thinking what Steve said, that the funky part, if you listen to the background vocals, that's where the funky part feels like. The freedom to give it to me. Parts, that's so funky.
That's where he was headed, maybe in that kind of a direction. Even the drums. Mitch Mitchell's doing a great job. If he had to put drums on after the fact, I don't know if that's the case or not. You definitely can tell it's Mitch Mitchell, just the way he plays. I think it's great.
[00:21:55] Speaker E: I'm digging it. I don't know. Now I'm starting to wake up on. The drums are just maybe a touch off in timing some. Everything else other than that, I'm digging.
[00:22:04] Speaker C: The song of the next set of lyrics.
[00:22:06] Speaker E: You got my heart spitting electric water? You got my soul screaming and hollering, you're about to hook my girlfriend. You know, the drugs to a man. But I don't need it now. Unless you're trying to slap it out of her hand.
[00:22:20] Speaker C: Well, I assume that's drugs trying to hook my girlfriend. The drugstore man.
[00:22:24] Speaker E: Yeah.
[00:22:25] Speaker C: Not sure what electric water is with lacole. I know.
No.
[00:22:29] Speaker D: Maybe. Yeah. It could be, I don't know.
[00:22:31] Speaker C: He says, you got my heart spit in electric waters. Probably not.
[00:22:34] Speaker D: Maybe not.
[00:22:36] Speaker C: I'd be nervous if my heart was spent in electric water.
[00:22:38] Speaker D: Yeah, probably. And then I think, Steve, you have the next part too, right before the solo. I think he did that part too.
[00:22:43] Speaker E: You don't have to say that you love me if you don't mean it. You better believe if you mean me or you just want me to bleed me Better sticking your dagger in someone else so I can leave Set me.
[00:22:57] Speaker D: Free yeah, I don't know what the fuck's going on there.
[00:23:01] Speaker E: I'm a little lost.
[00:23:02] Speaker D: Maybe it doesn't mean anything possible. Maybe it's just a stream of consciences could put things together.
[00:23:07] Speaker C: I mean, it does have to do with. Don't, you know, stick your dagger in me. Think you can kind of hold me down kind of things. I think it's kind of a bunch of little references here and there. That's how I see it.
[00:23:17] Speaker D: Yeah. Generally I'm happy with his lyrics. He usually does a good job. I mean, if nothing else, they're fun generally. They're not goofy. They have something where you can take it a couple different ways. It's not always so obvious, which is a good thing. One of his big influences is Bob Dylan. And his lyrics are not exactly straightforward either. All right, let's see what we got with the solo and back it up a little bit. Here we go.
[00:24:24] Speaker C: Mark, all the guitars on this are him.
[00:24:26] Speaker D: Yes.
[00:24:26] Speaker C: Nothing was filled in?
[00:24:29] Speaker D: I don't think so. As far as I know, I believe it's all him. What I can tell.
[00:24:35] Speaker C: I'm not saying it doesn't sound like him. I'm just curious if they had to fill in any gaps.
[00:24:39] Speaker D: It doesn't say here about any guitar. I would doubt that very highly. Would we really know? The only thing that says there's a 12 screen guitar played on one of the songs that's going to be on the end of this side. Other than that, everything else is him.
[00:24:51] Speaker C: It's a good piece. The only thing suffering here to me.
[00:24:54] Speaker D: Is the production, which makes sense.
[00:24:56] Speaker C: But the song itself is great. I like that piece. I like the breakdown. I think the drums were a little bit more in sync during that part.
[00:25:02] Speaker D: The bass is doing some funky stuff during the solo. That was pretty cool, too. I like how he had the panning effect from the left to right. And then he did that little secondary piece. Guitars are not going to be the problem here. If it is, we're all in trouble.
[00:25:14] Speaker C: I Don't think drums will be a problem either.
[00:25:16] Speaker D: And the bass player, he's good too. This is not going to be a big thing. There's tons of people on this. Stephen Stills is on piano in one song. Steve Winwood's on one song.
[00:25:23] Speaker C: Oh, wow.
[00:25:24] Speaker D: Buddy Miles, who is his drummer for the little time in between the two records. He's on Easy Rider. There's lots of people.
[00:25:30] Speaker C: This is Hendrix, Mitchell. Mitchell and.
[00:25:31] Speaker D: And Billy Cox. That's the band that played Woodstocks. The same three guys that did this. Then band, the Gypsies, was without Mitch Mitchell, and that was Buddy Miles. And now Mitch Mitchell's back.
[00:25:42] Speaker C: Did you like the little Breakdown solo parts?
[00:25:44] Speaker E: Yes, I did, actually. I was doing that 71. It sounds very 70s sounding and how it's orchestrated and everything. Digging it.
[00:25:53] Speaker C: I think Hendrix is probably one of those people who just play anything. There's certain drummers that. That can play any style of music. Even if you haven't heard them do it, you know that they can do it. I'm sure Hendrix could play any style.
[00:26:03] Speaker D: I think also he wanted to increase the band size. I don't know if it happened much here. I mean, there's other things on here. So maybe. Yes, I think he wanted to make the band bigger with more instruments instead of just a three piece. Maybe this was his way of starting to do that. I don't know if the production was up to par as it would have been on a full studio record. It's a great song now. It would have been even better if it was produced 100%. All right, let's play it out. Here we go.
Yeah.
[00:26:30] Speaker B: Freedom.
So I believe it.
Freedom.
Freedom.
[00:27:10] Speaker C: A little nod to Crosstown Traffic. It sounded like there.
[00:27:13] Speaker D: Yeah, 100%. I'm glad you caught that.
[00:27:14] Speaker C: It's a great song.
[00:27:16] Speaker D: I'm starting to think the drums are not on time on purpose. That M part almost solidified that for me.
[00:27:21] Speaker C: It didn't stick out to me as much as it did before. It sounded off, but it has to do more with. With the production because it's so far in the back if you're not really listening to what the rhythm guitar is doing. But then once I kind of synced it all in, it didn't stand out to me the way it did the first time. Steve, did you kind of pick up on that? This still kind of feel off to you as well?
[00:27:39] Speaker E: No. As the song went on, it didn't feel like it was just out of sync.
[00:27:43] Speaker D: And you got to remember, too, there was no click then either.
Even if he did come in and do drums afterward, he had to just be on some of it. Could have been a little bit off at the beginning because he was trying to figure out where the fuck to do, where to be.
And then maybe he figured it out as he went along. Why they didn't re record it, I don't know. Maybe they figured they got the best they were gonna get.
[00:27:59] Speaker C: Do you have any more lyrics specifically to read?
[00:28:01] Speaker E: No, it's a little bit of extra stuff. I'll just say it. Keep on pushing Right on Straight ahead Right ahead Keep on pushing Straight up there Straight ahead Straight ahead freedom Keep on pushing so I can lift, babe Straight ahead freedom Keep on pushing so that I can give Straight ahead freedom that just keeps going Keep on pushing Freedom.
[00:28:19] Speaker C: Who wants to go first? Mark, do you go first? Does Steve go first?
[00:28:22] Speaker D: I'll go first if you want. I'm gonna say eights across, except for product production. I'm gonna say seven. And the only reason I'm gonna do that is because I can't bang it too much because he didn't really have Hendrix there. And he's going by whatever songs they actually mixed, which is probably not this one. I don't think. Again, I don't know that that's kind of my assumption. I'm not gonna kill the production so much, Even though it's not up to the standard of what he normally would have done. But I think with the circumstances of what happened, I think he did a great job. Seth.
[00:28:48] Speaker C: I will say six on the lyrics, six on production, and then eights on everything else. I gotta. I gotta ding it a little bit. I give allowances, and I think for what it is, maybe, just maybe. Oh, man, we could have lived and done this, man. Come on, again. I will try to make as many allowance as possible, but hearing it just from that standpoint, it is a great song. I was actually gonna do sevens, but when I heard you do eights, and then I'm like, yeah, I could probably bump this up to 8 for everything else, Steve.
[00:29:12] Speaker E: Yeah, I think I'm gonna come here where you're at. Because the lyrics, still trying to figure them out at the moment. In the production, it was good, but that slight time where things were off kind of bothered me. So, yeah, I'll probably go 6 on that. Hate for everything out. Once everything's synced in, everything was solid as a good song.
[00:29:30] Speaker D: Next song is Drifting.
[00:29:52] Speaker G: Drifting on a sea of forgotten teardrops.
[00:30:02] Speaker E: On a lifeboat.
[00:30:06] Speaker G: Sailing for.
[00:30:13] Speaker B: Your Love you.
[00:30:45] Speaker G: On a sea of Old heartbreak.
[00:30:52] Speaker B: Unlif.
[00:30:55] Speaker G: Sitting for.
[00:31:02] Speaker B: Your love.
[00:31:29] Speaker C: I think the production works better with this one. I feel everything is blended better. He's not up as fun to me because it's mellow. It's not bad. It's the kind of song I think I want to lay in bed and close my eyes and, like, listen to, as opposed to sitting here critically listening to it. I think it's a song that you.
[00:31:44] Speaker D: Can drift away to, and it's called Drifting. So you get to drift away.
[00:31:47] Speaker C: I was drifting away.
[00:31:49] Speaker D: It's very what Hendrix does when he does songs like this. I'm sure we had songs on the other albums that you could compare and go, oh, that's sort of like that. It's. It's in that kind of vein. It's a very mellow, washy kind of song. I like it.
[00:32:03] Speaker C: I do find both songs very Hendrixy so far, that's for sure. Sure. I'm not hearing anything where it's like, oh, he was kind of going in this kind of direction. I do feel that they're both very Hendrick so far.
[00:32:13] Speaker E: This one's definitely one of those where you just, like, lay in bed and chill and relax. Yeah. Drifty, floaty. I'm digging it. And like you said, both these songs are definitely just. They remind me of Hendrix. So they're nothing out of the ordinary or something. That's different. Hendrix.
[00:32:29] Speaker C: You want to drop some lyrics?
[00:32:30] Speaker E: There's only so many lyrics for this song. Drifting on a sea of forgotten teardrops On a lifeboat sim for your love Sailing home Drifting on a sea of old heartbreaks On a lifeboat Sailing for your love Sailing home Definitely interesting.
[00:32:46] Speaker C: See lyrics.
[00:32:47] Speaker D: Yeah. And he's got a lot of mileage out of those two little verses.
[00:32:50] Speaker E: Yeah, you're right.
[00:32:51] Speaker D: Yeah. I don't know if there's any more lyrics of the song. Maybe he repeats again. I forget.
[00:32:55] Speaker C: How long is this song?
[00:32:56] Speaker D: Mark349. Short. Most of the things on here are short. I like the reverse guitar. That's pretty cool. He's really good at that. Knowing what the reverse is going to sound like. From things I watched, Mitch Mitchell was saying he knew exactly what it was going to sound like when he played it and they flipped the tape over. He knew what it was going to sound like. Played reverse.
[00:33:12] Speaker E: Nice.
[00:33:12] Speaker D: All right, let's continue. Here we go.
[00:34:58] Speaker C: Odd as a second choice.
[00:35:00] Speaker D: That's very unfinished.
[00:35:02] Speaker C: Sounds like it should have ended the side as opposed to being the second song on the side. Especially after Freedom.
[00:35:07] Speaker D: Yeah. I don't know about the ordering of it. Again, you can't blame him about that because he wasn't here.
[00:35:12] Speaker C: Obviously. No more lyrics?
[00:35:14] Speaker D: No. That's why I think it's not finished. I don't think he would have left it that way. I think he had something else to go on with that. As far as finished song, it's not really a finished song to me. But it has lots of cool stuff in it. That's why I like it. I just think it has lots of interesting guitar stuff. Lots of reverse guitar. I kind of like that. It's very dreamy feeling. I feel if you could have finished it, it would have been a great song. So who's going to go first? I'm not going first this time.
[00:35:34] Speaker C: I'll say seven on production. I think it's produced better than the first one. I'll say six on the music and five on arrangement. I'll ding the arrangement on it only because it's repetitive. It is interesting, but it's kind of repetitive. And six on the melody. I like the melody and six on the lyrics. It's not bad. And like you said, Mark, it does sound unfinished. Even though there's cool things going on. Feels like there could have been other stuff that probably would have gone on. Not terrible. Steve, what do you think?
[00:35:59] Speaker E: I don't know. I'm still trying to decide. I mean, the lyrics, it's kind of hard to say because, you know, I feel like they're kind of unfinished. So it's kind of rate lyrics that are not finished. I don't know. Feels kind of wrong, but I mean. Yeah, I guess I'll just say for now. We'll do five for now on the lyrics. The song overall wasn't bad. I kind of dug it. It was dreamy, drifty. So you know what? I'm gonna say a seven on the song production. I'll probably say a seven, too. It was definitely better than the last song. I could hear things and things were going on, so that was cool. And I kind of even. Doug. A melody it had. I'll say I said probably six on that arrangement. I'm probably going to say six. It was good, but it sounds unfinished. It could be better than what it is.
[00:36:43] Speaker D: It's hard because it's not a finished song. I don't think the lyrics are bad. I think if he had a chance to flesh it out, it would have been great. I'm going to say six on the lyrics. I like the melody. I'm going to say seven on the melody. I think the music for what he did and not totally finishing it up. I think it's great. I like the reverse guitar. Like, all the little guitar things going on. I'm gonna say seven on that arrangement. It's fine. I'm say six. I think the production is better on this. For whatever reason, even though it feels like an unfinished song, they produced it more. Or maybe it wasn't an unfinished song. Maybe this is the way he wanted it. I don't really know. I'm gonna give that a 7. It's hard to tell. Again, I don't know what four songs were mixed. I'm just kind of grasping about what songs that he had that they actually got to the mixing part of. Right. The next song is Easy Rider.
[00:38:14] Speaker B: You so magic the things will ever so be clean he's talking about L.
Tragic, baby but don't you wait on today we got freedom coming our way Freedom coming our way.
[00:38:55] Speaker C: I think great core of a song. Without a doubt. But the production is suffering. It just.
It's a little frustrating, especially being Eddie Kramer. I don't know. I'm not a producer and obviously Eddie Kramer is a legend. Andrew. Because Hendrix's other album sounded great. I just wish they could have fleshed this out more. That's my only complaint. Because, again, I think there's a great song here. Just me or. I know they're doing the best they can with what they had.
[00:39:21] Speaker D: Yeah.
[00:39:21] Speaker C: So I feel bad criticizing it. There's like some. So much cool shit going on, but I just can't hear it.
[00:39:29] Speaker D: His vocals really push back and it just feels a little muffled again. Who knows what they had to work with. I don't know. And again. Again. This is 1970 technology. What could they have done? Could they have made it better? This song feels like it's worked out. So is this one of the mixed songs? Doesn't sound like it to me. But you're right. As far as the song goes. This is like freedom. It's a great song. It just needed to be finished. Cool guitar stuff going everywhere. All the lead stuff going on. Little melodies are really good. I don't know what happened here. Or they just didn't have all the pieces. Maybe. Or just the technology didn't allow them to finish it up the way it could have been finished. I don't know.
[00:40:05] Speaker E: Absolutely agreeing. Because the song has a lot more potential behind it. It's sounding really good. Really. Again, it's just another song that sounds Hendrix. It just needs some more love to it.
[00:40:16] Speaker C: Want to love some lyrics on us.
[00:40:17] Speaker E: Steve sure, There goes Easy Easy rider Right down the highway of desire he says the free wind takes him higher Trying to find heaven above but he's dying to be loved Dying to be loved he's telling me Living is so Magic Thumb is forever so he claims he's talking about lying He's a tragic baby but don't worry about today we got freedom coming our way Freedom's coming.
[00:40:44] Speaker C: Our way have either one of you seen the movie?
[00:40:46] Speaker D: A long time ago. A long time ago.
[00:40:48] Speaker C: Great movie. Actually saw it recently.
[00:40:50] Speaker D: It's supposed to be about that.
[00:40:52] Speaker C: One of his songs was in the movie. If 6 was 9. Cool soundtrack.
[00:40:56] Speaker D: Makes you even more upset that he never lived to see this, because what could he have done? Like this Haven has a little bit of different stuff. Has a little percussion in there, which I think is Billy Armstrong. If I. If I'm not mistaken is the percussion. And the drums on here is not Mitch Mitchell. This is Buddy Miles. It does sound different. Steve Winwood and Chris Wood are the backing vocals. So there's a bunch of people on this that tried to finish this out. So maybe this was one of the ones that wasn't finished.
[00:41:21] Speaker C: It's not the song, it's the production. It's just so low. That's the only thing. Which is probably the thing we should criticize, at least, considering what it is. Of course, and I feel badly, but, I mean, if the song itself wasn't that great, it doesn't matter. I mean, production can help a bad song only so much, but it can definitely hurt a good song.
[00:41:40] Speaker D: I don't know what they had to work with or what was left and what they had to put on here and what they had to finish. Maybe if we heard the original what was left, we would have went, oh, fuck, you guys did a great job.
[00:41:50] Speaker C: Even if he just turned the knobs up a little bit, I would have been cool. Just a little bit louder, I think.
[00:41:56] Speaker D: Yeah, it's low and his vocals are really mixed back. But again, maybe on purpose. Who knows? I don't know.
We could second guess this all we want. I don't think anyone really knows the reasonings behind why this is happening the way it is and why it sounds the way it is. And again, maybe we're listening to the supposedly finished product, but maybe it wasn't as easy to do. I don't know. And I'm sure emotionally it wasn't easy either. He had just died. This is like six months after he died. They didn't really get chance to take all into Account what was going on. I'm sure the record company is trying to get this thing out too. Let's continue. Here we go.
[00:42:56] Speaker B: Do what you please Gotta get the brothers together and the right to be free.
[00:43:44] Speaker C: Bass is great. I love the bass line in this. It's heavy, too. Too. There's a heaviness, too, to this song, right, Steve? I mean, you're digging the bass, I assume, right?
[00:43:53] Speaker E: Definitely. It's. That's driving it. I love it.
[00:43:55] Speaker C: Technically, the levels are there. It's low level when you think about it. I don't think anything is out doing anything. Everything is just solo. And that's really my only complaint about this song.
[00:44:05] Speaker D: I may say controversial things, but I think his guitar playing is really good. It might be some of the best guitar playing he's done. He was working 24 hours a day for like the last three years. Guitar playing is really on point here.
[00:44:17] Speaker C: Yeah, it's excellent.
[00:44:18] Speaker D: I have no complaints. I do feel that it is low. I'd be curious if we have five minutes at the end of this. I would like to pull up the other record, just play a piece of it to see if it sounds like the same thing. Or did they fix it in the new thing? Or did they leave it the way it was? I'm curious.
[00:44:30] Speaker C: See more lyrics.
[00:44:31] Speaker E: How long do you think he's gonna last?
Guess. See all the others say do what you please Gotta get the brothers together to be free In a cloud of angel dust I think I see me a freak he would forsake a monster Mama, you going to marry me? I'll be stone crazy Love coming in at you Stone crazy baby.
[00:44:52] Speaker C: You kind of sounded like him there at the end. Steve. Stone baby. Stone crazy baby.
[00:44:56] Speaker E: Well, thank you. Channeling it.
[00:44:58] Speaker D: Steve's doing his Hendrick impersonation. All right, here we go.
[00:45:12] Speaker B: Desire.
Sam, it.
[00:46:34] Speaker C: That was actually pretty funny. I thought it was going to go right back into this.
[00:46:38] Speaker E: Kind of weird.
[00:46:40] Speaker C: That was funny. I jacked the volume up almost all the way on my headphones and I kind of got the vibe that I was looking for, But I guess it's kind of like what needs to be done. Although the one before this just didn't suffer from the same thing again. The levels are all there. There's nothing wrong with the levels of what's going on. It just sounds so low unless you jack it up. But I felt the one before this, you didn't. I didn't have to do that. It was actually clearer sounding to me. Crisper. But maybe it was easier. I Mean, this song has a ton going on. Even the one before had a ton going on. But maybe because it was just like him with the different parts and it was a little simpler on the drums and everything. Maybe that was kind of easier to flesh out. But like you said, Mark, if you don't know what was finished, what wasn't finished, what parts were, whatever, I guess it's kind of hard to judge, right?
[00:47:21] Speaker D: Yeah, it's a great song. The bass part at the end there, the drums, Belly Ma is doing a great job. This just driving song that if it could have been finished correctly, it would have been standing up there. Probably with some of his bigger stuff, I would think this and Freedom so far he didn't lose a step, I gotta say that much. He was still writing good stuff all the way to the end.
[00:47:38] Speaker C: Yep.
[00:47:38] Speaker E: Even any last lyrics, Sister repeat of the burst verse.
[00:47:42] Speaker C: Mark, do you want to go first on this time?
[00:47:44] Speaker D: Yeah, I'll go first. I think I'm going to do the same thing I did on Freedom. Eights across and then seven on the production. I think the lyrics are good, I think the melody is good. It actually might be a better song than Freedom technically. It's just there's lots of shit going on. On. If I remember correctly, when I was watching some of the videos, he was like pulling apart. So he's like, yeah, here's one guitar now here's another car and here's another guitar. All playing different things. He was good at mixing all that stuff and making it sound as a cohesive thing. Even though everything was playing different things. Just showed you the genius of him. The more he did it, I think the better he got. If you listen to are you experienced and you move it over to Electric Ladyland and let you lady land. He's much more experimental and changing things around and trying to take chances. And I think that is coming over into this too. And only reason I'm doing 7 on production because it's low. I'm not giving a 7 on production because it sucks produce wise. I'm going to give deference to that and say that they did as good as they could do. Steve.
[00:48:33] Speaker E: The lyrics were right, but I don't really know the premise of the film so I can't really. I'll say like six for the lyrics. Production could have been better but everything was in there. It needs some fine tuning. Seven with that and then eat for everything else. The music was great. The bass at the end was really. Was totally digging that it was dry and just making everything Go. Everything else song, it was there, but it just needed a little more love. Yeah. This would have probably been like one of those more memorable Hendrix songs if it just had a little more attention to it.
[00:49:06] Speaker C: I'll make it easy. I'll say the same thing. Six on the lyrics, seven on production, and eight on everything else. Like you said, Mark and I had said before, I don't think the production of it is bad per se, in terms of what's going on. It's just low. I mean, I just had to jack it up to really get the effect. But the song itself is just great. The musicianship, it's great, like non stop. It's so driving. A really good song.
[00:49:29] Speaker D: Yeah. I figured there would be a bunch of these you'd like. All right, here's Night Bird flying.
[00:49:52] Speaker B: She's just a My Flying through the night she's just a nightmare she's flying down to me.
[00:50:20] Speaker G: Set her free so all.
[00:50:23] Speaker B: We got, baby Is one precious night all we got is one precious night Shoes and things and lay down under.
[00:50:39] Speaker G: The bed.
[00:50:43] Speaker B: Just wrap me up in your beautiful way Better hear what I say okay.
Please take me through your dreams Inside your world I want to will be until tomorrow no tears will shed hold on till the sun gets out of.
[00:51:13] Speaker D: Bed.
[00:51:15] Speaker B: Hold on hold on, baby this.
[00:51:18] Speaker C: One feels a bit too. They're trying to catch up to him. Feels slightly sloppy. I think the beginning reminded me of Soul man, that baby, it's in that vein.
[00:51:30] Speaker D: I still think it's good, but I do think this is another one where they had put things together. That's what it feels like. The base of the song is great. I don't know how it's going to end up. When looking at lyrics, I'm sure Stevie's looking at the same thing. There's not much here. I wonder if the second part of it's going to be instrumentally more. Because he didn't finish it, which is maybe possible. It's not like you could just cut and paste back then either. You'd be cutting tape up. I mean, unless you're really good. Could you double the lyrics somewhere down the line? Maybe if you, you know, rerecorded to another piece of tape and then cut the tape and put it together. I don't know. I don't even know if you could do that back then. So it's just one of those things. I think it's good still.
[00:52:02] Speaker E: It's good. No complaints on anything with the sound, the bass love on right now.
[00:52:07] Speaker C: Do you want to give us Some lyrics.
[00:52:08] Speaker E: She's just a nightbird Flying through the night Fly on She's just a nightbird Making a midnight flight Salon. Salon. Well, she's flying down to me but till tomorrow Got to set her free Set her free so all we got, baby is one precious night all we got is one precious, precious night Throw your blues and shoes and things and rigs down under your bed Just wrap me up in your beautiful wings Better hear what I say, yeah don't carry me home Please take me through your dreams Inside your world I want to be until tomorrow no tears will be shed hold on until the sun gets out of bed hold on hold on baby Fly on Salon.
[00:52:53] Speaker C: Apparently this is about a prostitute.
[00:52:54] Speaker E: Oh, yeah.
Stuff.
[00:52:57] Speaker C: But he wants more than a one night stand. He wants her to take her into her dreams.
[00:53:00] Speaker E: Nice.
[00:53:01] Speaker C: I'm just reading what somebody wrote. I'm not interpreting it myself.
[00:53:04] Speaker D: Oh, you're not doing that yourself.
[00:53:06] Speaker C: I didn't come up with all that just from that. I'm not a Hendrix whisperer.
[00:53:10] Speaker D: All right, let's continue. Let's see where it goes. Here we go.
[00:55:17] Speaker C: I feel a little bit of country and southern rock tinge to that. Almost some Almond Brothers guitar stuff going on. A lot of guitar. I mean, it sounds good. Obviously the guy could play. Without a doubt.
[00:55:29] Speaker D: It's not one of my favorites. Just because I don't think it's finished. So far as pure guitar playing, I have nothing to complain about. Just a great thing. Stuff. There's not even much to say. Seeing that he doesn't know how to finish, begin and end. That's not the case. You know, I say that about a lot of the things you listen to solo. You're like, ah, it could be better in here. You just sit back and enjoy Jimi Hendrix playing guitar. And for that fact, I think it's great. I wish it was finished. I feel bad that he never got to finish these things. And what would this have been if it was a full song? I don't think he left it this way. It doesn't feel like that to me.
[00:55:56] Speaker C: Anyway, I don't think there's any more lyrics. Right. Stevie kind of went through them already.
[00:56:00] Speaker E: Yeah, no, those are everything.
[00:56:01] Speaker C: I'll go first.
[00:56:02] Speaker E: First.
[00:56:02] Speaker C: I think the musicianship was good on this in terms of the guitar and what's going on. Obviously the bass. But this one didn't really grab me as much as the first and third one did. I'll say five on the lyrics, six on the music, six on arrangement, six on production, and a five on the melody. I really wasn't feeling this one too much. Steve.
[00:56:23] Speaker E: I think I'm just gonna go six across for Everything lyrics. They were somewhere in there. They were unfinished. But again, it's kind of hard to rate something that's unfinished. The music was good. Everything that was going on in the song, melody wise production. Again, it's kind of like a lot of this album where it's kind of just. It needs a little more love, it needs something else. Maybe it just needed more time to be written. Now that's kind of where it's at. Overall, it was a good song. A little less than the last one. Mark.
[00:56:51] Speaker D: I'm gonna say six in the lyrics, six on the melody and seven on everything else. I appreciate it is what it is. I know it's not finished. I know he didn't get to finish out what he needed on this, the pieces that were there. I don't think the production was a bad. And by the way, just to let you know, Easy Rider wasn't produced, wasn't engineered by Eddie Kramer for whatever reason. So I don't know if that contributes to the low volumes of everything. He did mix it, but maybe he didn't record it. Jack Abrams and Bob Hughes, Those are the two people who engineered it on two different years, 69 and 70. So I don't know what that means. Was it done in other studios somewhere or was it done in this studio? But he wasn't there, so we can't even blame Eddie Kramer on that.
[00:57:27] Speaker C: Yeah, like I said, though, I mean, once I jacked up the volume, it was fine.
[00:57:32] Speaker D: Yeah. All right, so we're at the end of the first side. This is my friend.
[00:57:53] Speaker G: Y' all. Pass me that bottle and I'll sing y' all a real song.
Well, I'm looking through Harlem My stomach squealed just a little more A stagecoach full of feathers and footprints Pulls up to my son box door Now a lady with a pro handle necktie Tied to the driver's fence Breeze in my face Bourbon and coke possess words.
[00:58:37] Speaker B: Haven't I seen you somewhere in hell or.
[00:58:41] Speaker G: Was it just an accident?
You know how I felt.
[00:58:50] Speaker C: So a give or take. Not that it's bad, but it's that standby thing. Not that it sounds faked, but it's really kind of one of those things that anybody could have done. Actually kind of reminds me of a British band doing American blues, if that makes any sense.
[00:59:08] Speaker D: I don't know. I think he's good. I think he did this on. On the other records, too. He's good at making this atmosphere kind of thing where you feel like you're in a bar. You feel like you're in a place where they're recording this. I think it feels very authent, actually to me. I do like his lyrics a lot in this. He uses a lot of weird references and just different things. Like the lady with a pearl handled necktie. I don't even know what the that means, but I like it.
[00:59:31] Speaker C: Yeah, I do like the atmospheric. I did want to mention that I kind of like that part of it.
[00:59:35] Speaker D: Yeah, it's a little bluesy. He's doing the basic bluesy thing. But from him it sounds a little more authentic than some people trying to do it. It doesn't feel like he's forcing this to come out. You could tell this is just what he does.
[00:59:44] Speaker C: Yeah. I mean, I don't know if I said sounds for it, not that it sounds forced kind of. After hearing Freedom and Easy Rider, this just sounds too plain, I guess, is a word which is a compliment to him. I'm sure there's going to be some great guitar playing coming up with a lot of feel. That'll probably save it a bit. But as of right now, just saying. Okay. Like, I've heard this so many times.
[01:00:04] Speaker E: Regardless of hearing that blues, you kind of. Whatever. Dig it regardless. Yeah, I guess I'm kind of opposite of you. I'm kind of digging it at the moment. And the whole atmosphere thing is kind of cool too. That's all right.
[01:00:16] Speaker C: Thanks for leaving me hanging there, Steve. Like, no, listen, maybe just hasn't sunk in for me. Maybe. Like I said, I'm sure there's going to be some great blues guitar playing coming up. That'll probably turn me around at least a little bit.
[01:00:27] Speaker D: I think it's very loosey goosey. It's not as tight as Freedom or Easy Ride. It's just a very chilled out. I'm just gonna play a song that's loosey and I'm gonna play some guitar. He does that on a bunch of these albums. He has songs that are like that. It's just, you know, he takes it from the really structured kind of thing to this, which is very unstructured structured. Even though it has a structure to it. It just feels very spontaneous. It probably isn't spontaneous though. Probably everything that's going on is probably very well scripted out. He just makes it feel that way.
[01:00:53] Speaker C: Do you want to give us some lyrics?
[01:00:55] Speaker E: While I'm looking through Harlem My stomach squealed just a little more A stagecoach full of feathers and footprints Close up to a soapbox door Now a lady with a pearl handled necktie Tied to driver's fence Breathes in my face Bourbon co presses words I have obscene Seen you somewhere in hell or was it just an accident? You know how I felt that so.
[01:01:20] Speaker D: Those are not easy words to read.
[01:01:22] Speaker E: They're not. As I'm reading them, I'm trying to understand what the hell I'm actually reading too.
[01:01:26] Speaker D: You can hear all the wheels turning his head as he's trying to read it.
[01:01:28] Speaker C: Steve's starting to sound like Hendrix in the phone call we got before.
[01:01:31] Speaker D: Yeah, seriously.
All right, here we go.
[01:01:35] Speaker G: Before I could ask was it the east or west side My feet, they howled in pain the wheels of a bandwagon cut very deep but not as deep in my mind as the rain and as they pulled away I could see her words stagger and fall on my muddy tent well, I picked them up, brushed them off to see what they said and you wouldn't believe.
[01:02:03] Speaker B: Come around to my room with a tooth.
[01:02:05] Speaker G: In the middle I bring along a bottle and a present in and sometimes it's not so easy Especially when your only friend talks Sees, looks and feels like you and you do just the same as him it gets very lonely out in this room, baby Here.
[01:02:42] Speaker C: I think the lyrics are my favorite part. He's definitely not doing that. Typical. There's no repetition here. There's some funky imagery. It's Hendrix.
[01:02:50] Speaker D: There's not much to say more than his lyrics are good and he's doing a good job. As much as it feels like it's spontaneous. Spontaneous? It's not spontaneous. He knows exactly what he's doing. Do you want to read the rest of that?
[01:03:00] Speaker E: Before I could ask was it the east or the west side My feet, they have fouled in pain the wheels of the bag and wagon cut very deep but not as deep in my mind as the rain and as they pulled away I could see her words staggering and falling on my money tent Will I pick them up, brush them off to see what they say and you better believe Come around to my my room with a tooth in the middle and bring along the bottle and the present and sometimes it's not so easy, baby Especially when your only friend talks Sees, looks and feels like you and you do just the same as ham Gets very lonely up this road, baby yeah, yeah.
[01:03:41] Speaker C: This song has the most words, it seems, at least. At least repeated.
[01:03:44] Speaker D: It feels very finished. It feels like this is close to what it was going to be.
[01:03:48] Speaker E: Yeah. With all the extra stuff that's going on in the background, it definitely feels like it's something that was a little more finished than others.
[01:03:55] Speaker D: All right, here we go.
[01:03:55] Speaker B: Well, I'm riding through LA on a.
[01:03:59] Speaker G: Bicycle built for fools and I seen one of my old buddies he say, you don't look the way you used to do I say, well, some people look like a coin box he say, look like you ain't got no coins to spare and I lay back and I thought to myself and I said.
[01:04:22] Speaker B: This I just picked up my pride.
[01:04:25] Speaker G: From underneath the payphone and combed his breath right out of my head and sometimes it's not so easy Especially when your only friend talks, sees, looks and feels like you and you two just. Just the same as him.
[01:04:52] Speaker C: The lyrics are my favorite part of the song.
[01:04:54] Speaker D: Well, you like his lyrics in general, don't you?
[01:04:55] Speaker C: Listen, I like when he's out there. I definitely do. And even if it doesn't make sense to me, I'm sure it made sense to him. And be like, don't you get it, baby?
[01:05:04] Speaker D: Not as much guitar as you would think.
But the guitar that's there, though, is really good. All the stuff he's playing behind, it's just very substantial, dude, but it does exactly what it's supposed to do.
[01:05:14] Speaker C: Side note, Mark. I don't know if it's true. No. Redding is credited with bass on this. Is that possible? Oh, maybe on this website that I'm looking at. I don't know how official this is.
[01:05:24] Speaker D: It says the same thing on Wikipedia, too. So it's very possible. I mean, not that Wikipedia is the end all be all of truth about stuff. It's possible. Maybe this was recorded later on. Supposedly, Stephen Stills plays piano on this.
[01:05:35] Speaker C: But it's not Mitch Mitchell on drums.
[01:05:36] Speaker D: No, it's Jimmy Maze. I don't know who that is. Steve. Lyrics.
[01:05:40] Speaker E: Well, I'm riding through LA Bicycle Built for a fool and I see one of my old buddies and he say, you don't look like the way you usually do I say, well, some people look like a coin box he says, looks like you got no coins to spare I leaned back and thought to myself and I said this I just picked up my pride from underneath my paper and combed this breath right out of my hair okay, I'm trying to figure out what's going on with these little.
[01:06:08] Speaker D: I can say that I think he used the coin box thing. So he just can make the next line say, looks like you don't have no coins to spare. I think he Just made that line up just so he could use the next line.
[01:06:19] Speaker C: It sounds to me that if I met Hendrix in a bar like this, bar, wherever he's playing, and I sat down and had a conversation with him, it'd probably go something like this.
[01:06:29] Speaker E: Probably.
[01:06:30] Speaker D: This song has lots of lyrics. There's more lyrics coming.
[01:06:32] Speaker C: Yeah.
[01:06:33] Speaker D: Yeah. I don't think there's gonna be much guitar here. I think this is gonna be just a whole bunch of lyrics together, which is fine. I like when these lyrics are like this. All right, let's continue on. Here we go.
[01:06:43] Speaker G: I just got out of a Scandinavian jail and I'm on my way straight home to you But I feel so dizzy I take a quick look in the mirror to make sure my friend's here with me too and you know smoking well, I don't drink coffee so you feel my cup full of sand and the frozen tea leaves on the bottom Sharing lipstick around my broken edge.
[01:07:11] Speaker B: And my coat that you let your dog lay by the firearm and your.
[01:07:15] Speaker G: Cat, he attacks me from his pillbox L.
And I thought you were my friend too, man My shadow comes to.
[01:07:23] Speaker B: Mind before you I'm finding out that.
[01:07:26] Speaker G: It'S not so easy Especially when your only friend talks, looks, sees and feels like you. You do the same, just like you.
[01:07:58] Speaker C: I like the coughing there, though. Maybe it's gonna go into Sweet Leaf.
[01:08:02] Speaker D: Yeah. This is just a fun song.
[01:08:04] Speaker C: Yeah, that's what it sounds like.
[01:08:06] Speaker D: That's all it's about. It's a song for him just to throw lyrics at. I think you expect to be this big guitar thing going on here, but there's not. It's about him just throwing lyrics and some of the stuff in that stuff. Last verse. Holy. I can't even understand what the. Is going on.
Speaking of that. Steve.
[01:08:20] Speaker E: Yeah, Thanks. I gotta read this.
Just got out of a Scandinavian jail and I'm on a way straight home to you But I feel so dizzy I take a quick look in the mirror to make sure my friend's here with me too and you know good well I don't drink coffee so you fill my cup up with sand hand and froze the tea leaves on the bottom carry lipstick around the broken edge of my coat that you let your dog lay by the fire on and the cat he attacks you from complete his pill box ledge and I thought you were my friend too, man My shadow comes in the line before you Lord, it's so lonely here.
Yeah, yeah, yeah, yeah.
Anyone want to help translate that?
[01:09:11] Speaker D: No, I'm sure there's Meaning behind that somewhere. I'm sure if you looked into it long enough, you probably could figure out with some meaning going on. Although I have to say, the part I like the most is in the chorus, when it goes. Especially when your only friend talks, sees, looks and feels just like you. Just the way the rhythm of that part of the chorus, I really like that a lot. I don't know what Savino's going to do on this. I'm going to go first because I don't want Savino to ruin my vibe.
Lyrics. I'm gonna say eight because I really like the lyrics. I'm gonna say seven on the melody because I really like the melody. Musicianship, there's not a lot to show, but I think in the simplicity of what he's doing, it's really good in the simplicity of what it is. I'm gonna say seven. Arrangements, interesting. I'm gonna say six. And production. There's not a lot of production, but I think all that ambient noise sound is done very well. Even though it's running through the whole thing doesn't really step on the lyrics too much. So I'm gonna say seven. I like this a lot. It's weird and strange and just like a stream of consciousness. Words kind of coming out. Saf.
[01:10:05] Speaker C: I'll say seven on the lyrics, seven on production. I like the vibe. I think it's clear they were going for something and they achieved it. But musically I find it boring and I feel badly saying that it's Hendrix. But at the same time, I've also given eights on other things that I think are really awesome. It just sounds like something that anybody could have done. I don't think he's necessarily doing it better than anyone else. And I mean that as non offensively as possible. It's a compliment to him. I'm just going to say fives on the rest. I'd like to the lyrics. I mean, I don't think the melody is bad, but I don't think it's anything. There's nothing stand out here for me other than the lyrics and the vibe of, hey, this actually sounds like he recorded this in a bar. The rest of it to me is kind of stuck. Sorry if I harsh your mellow, Mark.
Steve.
[01:10:50] Speaker E: I don't know, I think I'm just gonna have to go sevens across with everything. For what it was worth. It was good. It had the vibe to it. I don't know, it just had something to it that was just a little more. At least for me. Even with the Lyrics that were just out there. I think it kind of enhanced the song. The production was. I feel like it was good because all the little ambient things, the noises, it did make you feel kind of like it was in the bar. The arrangement, I kind of dug it too, because simplicity, it worked. I feel like, for what it was worth, that's what it is.
Yeah, it's Steve. And it's Quintuples seven Nikki Titty baby.
[01:11:29] Speaker C: Steve's never heard that one. Steve, you've been on the show more than you know.
[01:11:33] Speaker E: That's amazing.
[01:11:35] Speaker C: Isn't it great?
[01:11:37] Speaker D: When I first played that for Savini was like, holy, that sounds like Steve.
[01:11:41] Speaker C: But listen, don't worry. We're still going to give you payment and credit, we promise.
[01:11:45] Speaker E: Oh, thank you.
[01:11:46] Speaker C: You still get the royalties.
[01:11:48] Speaker D: Before we get out of here, I just want to do one really quick thing. I just want to play a piece of something from the other. Other album. So just to see if it makes any difference, we wanted to say what Easy Ride is. Sounded like.
[01:11:58] Speaker C: Right, sure. Or freedom.
[01:12:00] Speaker D: Yeah, I'm going to pick a piece of each. So here we go. Let's try this.
[01:12:19] Speaker B: Sam.
[01:12:45] Speaker C: Well, not much difference, I think.
[01:12:47] Speaker D: No, no, I don't think so. Here's freedom. Let's try this. Let's see what this sounds like.
[01:13:10] Speaker B: Hanging out of my bed, you messing with my life.
So I bought my lip.
[01:13:16] Speaker C: Not much difference there either.
[01:13:19] Speaker D: No, I was hoping it was gonna be a difference, that's all, but I guess not.
[01:13:22] Speaker C: I mean, they are what they are. They're really good songs. Clearly they did with what they could with it. I don't know the whole story or exactly how it was done or what's going on, but a good song is a good song.
[01:13:32] Speaker D: Yeah, and unfortunately, he never got to finish it, so we'll never know. All right, so I want you to do your thing.
[01:13:36] Speaker C: So we are part of the Deep Dive Podcast network. As always, I say great bunch of guys took us in right away. If you want to individual podcasts about bands, check them out. Rush, Judas Priest, Tom Petty, you're right, Heap, you name it, it's probably on there. So check them out. And Mark, where can they find us on the interwebs.
[01:13:51] Speaker D: Rock with that pod on all the social media. Rockwelletpodcast.com go to the polls, go to the merch, leave us an email to put an album on the list. Put us on your download so you get us every week and do five stars wherever you rate your podcast because that helps us in the algorithm. And next week. Hopefully Frank will be back and we can finish up our third year anniversary and episode with the second part of the Cry of Love. See if we got some stuff on that side that Savino likes and doesn't harsh my mellow out.
[01:14:16] Speaker C: It was only one song.
[01:14:17] Speaker E: Really.
[01:14:17] Speaker D: That's all right. Me and Steve fixed it up.
[01:14:19] Speaker C: You did?
[01:14:19] Speaker D: Y All right guys, we'll see you next week. Later Ch later.
[01:14:35] Speaker B: It.
