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 Roc Roulette Podcast.
[00:01:03] Speaker B: Foreign.
[00:01:14] Speaker A: Hey everybody, welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1,700 albums, stuck them in a list, stuck them in a wheel. 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, the lyrics, the the production, the melody and the arrangement and we give it scores. Just a bunch of friends who love music want to do a podcast and everyone who takes this trip with us of Discovery and Rediscovery every week, we really want to thank you. The numbers have been consistent. Spread the word and reach out to us. Tell us what you like, what you don't like, things you want to hear. Add let us know man. Tonight we are a trio again. This hasn't happened in a while. We've got Frank.
[00:01:53] Speaker B: My name is Frank.
And I'm sexy foreign.
[00:02:09] Speaker A: We have Mark. Oh hi Mark.
[00:02:11] Speaker C: What's up guys?
[00:02:13] Speaker A: And I'm sad. Ciao buena. We began the new year with Greta Van Fleet, their first ep. Not that we are encouraging people to drink, but if you listen to the episode and you take a swig of anything, it could be water. When they say Mama or when Mark said Led Zeppelin or I said Robert Plant or any of those combinations, your bladder would be full quick. I do think overall they're pretty good musicians. Without a doubt. The bass playing really stood out to me. There was some good things there. Mark, I'm sure that you'll chime in once I come back to you on this. The singer had a lot of Robert Plant in him and his inflections. It wasn't always like that. There were definitely some good things there. I will not say that the comparisons are loud base. Mark, what was your overall?
[00:02:59] Speaker C: Do you need to know my overall take? Anyone who listens to the podcast knows my overall take. It was too much like Robert Plant, but I think we figured out that it was more the singer sometimes than the musicians. It just. It was too much for me. I don't know what everyone else thinks. I know I read some other things where people thought it was just an homage to Led Zeppelin. I think you'd have to be deaf to think that that's just an homage. It was a rip off of his vocal style in 90% of what he did. And in the other percent, some weird accent. Whatever hate they get is warranted as far as I'm concern.
[00:03:31] Speaker A: If it's an homage, then yes, there are definitely some things that sound a lot like it. But I definitely think there were some bright spots.
That's the peanut gallery right there. Frank, you had a chance to listen to it on your own. What's your take on it?
[00:03:47] Speaker D: The two of you nailed it. If you were doing any kind of a drinking game, whether it be alcohol or non alcoholic, you will be drinking the entire time. I remember when I first heard this band. How have I never heard this Robert Plant single?
Because I really thought it was him. And much to my surprise, the name of this group comes up. I look it up and I find out it has nothing to do with him. Sounds very Led Zeppelin. Like I personally like them maybe because of the fact that it sounds so Led Zeppelin like. But I think also because it just has that undertones of swampy blues vibes to. To some of their songs. When I listened in, I didn't only hear Led Zeppelin. I also heard some Muddy Waters in there as well. And I personally liked it. But yeah, total ripoff if you want to put it that way. The vocal style that is. Yes, the vocal style was definitely not original. I won't say a ripoff. It's just not original.
[00:04:37] Speaker A: Yeah, I think there were some good points. I don't think it was all Zeppelin. Some of the stuff that sounded Zeppelin wasn't terrible. But without a doubt the comparisons are warranted. And now we put Greta Van Fleet to rest for at least 10 more records before we jump in and get to spin the wheel again, which is always exciting. We get to spin the baby wheel in the new BET section.
In a world where new music is.
[00:05:00] Speaker C: Not easy to find.
[00:05:03] Speaker B: Welcome to New Bets.
[00:05:15] Speaker C: Here is the new Bets wheel.
[00:05:30] Speaker A: This is good. I heard this was out. I haven't listened to it on purpose. I knew, Mark, you'd put it on the wheel. I was hoping it'd come up. Gnr Atlas. I have no clue about this. Have you guys heard it?
[00:05:40] Speaker C: I haven't heard it.
[00:05:41] Speaker D: I just have to say thank you. This is amazing. I'm very happy person. Yes, I've heard it.
[00:05:46] Speaker C: I figured you heard it already.
[00:05:49] Speaker D: Kidding me. I counted down the seconds because now that's what these streaming apps do. They do a countdown as to when it comes out. And I just simply sat there and waited patiently.
[00:05:57] Speaker C: It's like waiting online for tickets.
[00:05:58] Speaker B: Yeah.
[00:05:59] Speaker D: The good old days.
[00:06:00] Speaker C: Yep. All right, here we go. Guns and Roses Atlas.
[00:06:14] Speaker B: Why should I try and judge the things they say that just won't budge I'm letting go.
Still enough to show me how to keep it together.
Gets wrong and you're the one who show us just ain't wide enough who shows struggling and high enough I'd be the last to say don't follow your heart but more than what it takes to be a man Then what you know what you've shown Then what we know you understand you.
It's not the thing if I were you I would say all that I do to be half and strong Watch they'll belong oh, if you should take the time to look back at what you find on this adventures when it says run and the road gets wrong and you're the one you shown us just ain't right enough who shown you somewhere that hard enough I'll be the last to say don't borrow your heart but there's more Than what it takes to be a man Than what you've known Than what you've shown Than what we know you understand in fact I've never said don't follow for your heart if I thought that's what it take to make a man from what you know and all that you've been shown Jesus, I hope you understand.
But small do what it takes to be man Better you know than what you've shown Better we always understand in fact I never said don't follow your heart but that's what it take to make a man from what you've known and all that you've been shown Jesus, how I hope you understand.
[00:09:58] Speaker A: Let's defer to Frank first.
[00:10:00] Speaker D: They have definitely matured in their sound. It's not the rough in your face DNR that I remember from years ago, but I do like it.
[00:10:10] Speaker B: It.
[00:10:11] Speaker D: It's a good song. Duff, the bass on this is just tremendous. I like it a lot. New sound. I like it overall.
[00:10:17] Speaker A: Before I go to Mark, I will say that the bass was my favorite part of the song. I agree with you. I really like the bass in that.
[00:10:22] Speaker C: I was gonna say the bass was really good. I think unfortunately, it Shows that they're missing Izzy Stradlin. It just feels a little not put together enough for me. I'm a little disappointed. I just don't like the changes in the chords or some jarring parts there that don't feel like they flow good enough for me. I mean, Slash's guitar playing is fine. It didn't catch it. It's going to take a bunch of listens for that to happen. And there has to be some tomfoolery going on around with his vocal because I don't think he sounds like that.
[00:10:50] Speaker D: There's definitely a lot of engineering happening there.
[00:10:52] Speaker C: Yeah, I don't really know. It didn't really do anything for me right the second. Maybe it'll take a little time for that to settle in.
[00:10:58] Speaker A: Yeah, I think it's okay. Yes. Some of the court changes were, like you said, jarring. Like, wait, where did that come from? I won't say I completely dislike it. I think it's okay. Maybe like you said on another listen or so, but as of right now, it's okay. I'll leave it at that.
[00:11:17] Speaker C: Well, let us know if you like it or you don't like it. Let's rubber stamp it. Here we go.
[00:11:21] Speaker A: In a world where new music is.
[00:11:25] Speaker C: Not easy to find, welcome to New Bets.
[00:11:39] Speaker A: Well, that's fresh and old. Speaking of fresh and old, we have the Wheel spin and I'll request Fresh and Old. I think I said something like that last time. Where a band that we know, but an album that had a different style that we never heard, or at least not fully or at least not in a while. I think that would be interesting. Either that or some classic rock. Frank, what about you?
[00:12:04] Speaker D: I would like some funk metal, like a Red Hot Chili Peppers kind of a thing. Or Faith no More. Something like that.
[00:12:11] Speaker B: That.
[00:12:12] Speaker C: Okay, Mark the Wheel. Me. Last week I said 70s and it pulled up Greta Band Fleet, which technically, in some weird, strange way, is 70s, but it's not what I wanted. I'll stay on my 70s train. If the Wheel does what it does, it's going to give me another 3 years of non 70s until it decides it's going to throw me a bone. Here's the spin. Here we go.
[00:12:52] Speaker A: And the Wheel listens partially to me and partially to you. Mark. Idle Wild south, second album by the Almond Brothers Band. Nice to get some new blood. We've never done them.
Is Cool and the Gang on the list?
[00:13:11] Speaker C: I don't know.
[00:13:12] Speaker A: I got to see them at the Beacon Theater. I'm pretty sure it was Dickey Betts's last tour with them. I saw them in Rush, pretty close together. Obviously they were really good. I don't remember everything they played. I didn't know enough. The Allman Brothers Band is one of those bands that you always hear of and you think you know a lot from. And then you start listening. I mean, obviously, unless you're a fan and you've listened to everything. Then you hear it and you're like, oh, yeah, I kind of know this one. I don't know this one. Oh, but that sounds good. I should listen to that. Mark, what is your experience with him?
[00:13:40] Speaker C: I know the big songs. I don't think I've ever listened to any album straight through. I like everything I've heard. Like Dwayne Allman. I like Dicky Betts. I pretty much like what they do. I just didn't go out of my way to listen to full records. You listen to the greatest hits and that's what you listen to. All that stuff I really liked. I assume I'm gonna like this. It just makes the cutoff at 1970 technically is a 70s record. I guess the wheel made me look stupid. And listen to me.
[00:14:04] Speaker A: We say classic rock. If you look at it that way, it fits in perfectly with. Produced by Tom Do Frank. What is your experience with them?
[00:14:12] Speaker D: I never heard any of their albums from track one to the last song. I'm familiar with the more popular tunes. And maybe some of the side B's along the way I've heard. I cannot say that I'm very well versed on their catalog.
[00:14:27] Speaker A: This should be interesting. There's definitely one massive hit on this, for sure. And there's another one, too, that's pretty popular. That they think they always play live as well. Without a doubt, one will definitely sound familiar.
[00:14:39] Speaker C: The Allman Brothers Band is Greg Allman on vocals, organ and piano. Dwayne Almond on slide guitar, lead guitar, acoustic guitar. Dicky Betts on lead guitar. Barry Oakley on bass, guitar, vocals on Hoochie Coochie man and harmonica vocals on Midnight Rider. Jai Johnny Johansson, drums, Congress. Timbali's percussion. Butch Trucks, drums, timpanis. And then additional musician of Tom Doucette on harmonica and percussion. Not a very long album, but it should be cool. This was number 38 on Billboard 200, so it's not bad.
[00:15:09] Speaker A: Nice.
[00:15:10] Speaker C: Yeah. All right. We ready to do this?
[00:15:11] Speaker A: Yeah, let's do it.
[00:15:13] Speaker C: And the first track is Revival.
[00:16:50] Speaker A: Definitely Almond Brothers. I like the odd little time. Obviously the musicianship is great. That's a cool little musical Start.
[00:16:57] Speaker C: It's very Whipping Post esque.
Isn't it, though? We used to do Whipping Post, which. I love playing that. So this gives me that kind of a vibe. I do like it. The drums are great. Bass is great. The guitars are awesome. That dual guitar thing, done correctly and right here. It's done correctly. It's awesome. We haven't even gotten vocals yet. And it's one minute and 34 seconds in. You would never have that happen now. There's no way a song would start for a minute and 34 seconds before you got to anything. And I do like that. I do like intros. I'm digging this so far.
[00:17:26] Speaker D: I don't know when the last time I actually heard a song where the. It's an instrumental to kick things off. It's been a minute for sure. Definitely appreciating it.
[00:17:33] Speaker A: So far, no lyrics to read yet, Mark. So that's good.
[00:17:36] Speaker C: Yes. I don't think there's a lot of lyrics in this. All right, here we go.
[00:17:48] Speaker B: People, can you hear it?
In a revolution.
Everyone is singing we know one thing People, can you feel it?
Love is everywhere People, can you feel it? Love is everywhere People, can you feel it?
Love is everywhere People, can you feel it? Love is everywhere People, can you feel it?
Love is everywhere People, can you feel it?
Love is everywhere Love is everywhere Love is everywhere Everywhere.
Love is everywhere Love is everywhere Love is everywhere Love is everywhere People, can you feel it?
Love is everywhere People, can you feel it?
Love is everywhere People, can you feel it?
Love is everywhere Love is here People, can you feel it?
Love is everywhere People, can you feel it?
Love everywhere it's everywhere can you feel it?
Love is everywhere People, can you feel it?
Love is everywhere People, can you feel it?
Love is everywhere.
[00:20:06] Speaker A: I love the panning of the vocals and the music. That was really cool. It's very 60s sounding to me. Kind of reminds me of that.
[00:20:14] Speaker C: Yeah, it's very counterculture, revolutionary sounding. Late 60s. Even. The words, which I'll read now before we get into anything else. The verse is, People, can you feel it? Love is everywhere People, can you hear it? The song is in the air we're in a revolution don't you know we're right? Everyone is singing There'll be no one to fight and the chorus is, People, can you feel it? Love is everywhere and that's pretty much. I'm not going to read all the times they say that, but it's interesting. It's different. Everything's good. And there's a little bass part in the beginning and then the bass break. And the drums are good. Everything's cool on this. I like it.
[00:20:44] Speaker A: Frank, you go first. You haven't been here in a while.
[00:20:45] Speaker D: I love the jamming. What I really do love is that you hear all the instruments very clearly. Very well engineered, very well produced. I'm gonna give the music an 8.
[00:20:53] Speaker A: Lyrics.
[00:20:54] Speaker D: Yeah, I guess when you look at it from the perspective of the 60s mindset, I'm gonna give the lyrics an eight as well. Production, I'm gonna give a nine medley. I'm gonna give that a seven. I do like the song Z a.
[00:21:06] Speaker A: Little bit more conservative. I would say six on the lyrics. I'm gonna say an eight on the production because I really like what they did there at the end. Seven on the music, seven on the melody, seven on arrangement. Mark.
[00:21:16] Speaker C: I think I'm gonna do six on the lyrics too. Even though they're very simple, I do like them. The melli. I'm gonna give them a seven because I like the melody a lot. Music. I'm gonna do a seven arrangement. I'm gonna do a seven. And production. I am going to do an eight. Sitting to production is very well done. You can hear everything is separated nicely. I do like the beginning with the two guitar thing. I thought that was really well done. Okay, next song is don't.
[00:21:55] Speaker B: Tell me about the car I saw parked outside your door Tell me what you left me waiting two or three hours for and tell me why when the phone rings Baby, you're up and cross the floor Please don't keep me wandering no longer.
I think about the bedtime I think about yours and man, you were lost in the silver spoon I pulled you out in town I hope that you got rid of.
[00:22:43] Speaker A: This one. Has a little bit more of the rock feel. I feel that's pretty cool. It's pretty good too.
[00:22:46] Speaker C: It's very swampy. I love the sly guitar. That's great stuff. Dwayne Walman's awesome as far as a slide guitar player. It's very bluesy. It's very swampy. I like the words because they're telling a story about him pulling this woman out of her silver spoon light. It's pretty cool. I like that. And the groove is really awesome. It'd be hard to get a groove like that today if you didn't do everything live. They probably cut this and they found the one that felt the right way. Because everything now is so time to the beat, so straight. You'd have to let yourself not do all the things that happen in music today to let this happen.
[00:23:19] Speaker D: I'm digging it. I do like that really bluesy sound. I do love the engineering. You actually hear all the instruments so clear compared to some of the stuff that's done today. I mean, and it's amazing how clear and how great it's engineered so far.
[00:23:33] Speaker C: I think when you have a good producer and good engineers back in the day, even with all the technology that's here today, sometimes you can't get this. And I don't know why. I just think people are so stuck in putting the plug in on making everything perfect that they lose the part of this where it sounds the way it sounds. I'm not saying it can't be done. I'm not saying it's not being done, but you don't hear it as much. Verse 1 oh, tell me about the car I saw parked outside your door Tell me what you left me waiting two or three hours for Tell me why when the phone rings baby you're up and cross the floor Refrain Please don't keep me wandering no longer verse 2 I think about the bad times I think about yours and mine you were lost in the silver spoon I pulled you out in time and I hope that you got reasons for the way that you've been lying Please don't keep me wondering no longer Is he saying it's another man or is it her parents? I'm confused. What is he saying?
[00:24:27] Speaker A: Well, when he says about the car I parked outside your door, I'm thinking somebody else is there. I think it's another man.
[00:24:33] Speaker C: That's what thought. But then the silver spoon thing, Is it his silver spoon? Is he's like the sugar daddy for her. Is that what he means?
[00:24:39] Speaker A: You were lost in the silver spoon that pulled you out in time. I almost see it as a drug reference.
[00:24:44] Speaker C: Oh, yeah, that could be.
[00:24:45] Speaker A: I pulled you out in time, almost like, hey, like I saved your life.
[00:24:49] Speaker C: Wasn't even thinking about drugs for that. I thought it was a money thing. I didn't really think about that.
[00:24:53] Speaker A: The phrase silver spoon obviously refers to that just because it says I pulled you out in time. And I think about the bad time to think about yours and mine.
[00:25:00] Speaker C: Yeah, definitely could be what it is. I was on the wrong track. Maybe. All right, let's continue. Here we go.
[00:25:06] Speaker B: Sam, I think I'm on a go now to know that I'll be back you can think it over baby tell me how you're going to act and I'm going to keep on holding on But I don't get no stronger Please don't keep me wondering oh, my.
God.
Please don't keep me wandering I know.
[00:26:14] Speaker A: What do you think of the little solo there, Mark?
[00:26:17] Speaker C: It was really good. It's really hard to play slide guitar and keep those notes in tune and in the right place and give it vibrato and do all that stuff so effortlessly. Luckily, the Allman Brothers had two great slide guitar players, which was Dwayne Allman, obviously, and then Derek Trucks, both great slide guitar players. It's very hard to do that very well. It's not just putting your finger on the note. You got to slide, like, right over the fret. And you got to keep the vibrato and keep it in the right note without going too far to one side, too far to the side where it sounds out of tune. Hard thing to do correctly. And with feel and with soul, the way he does. It's such a hard thing to do. And he's really great at it.
[00:26:58] Speaker A: This whole band is about feel. I think the whole vibe is so. And feel. That's really their thing.
[00:27:03] Speaker C: His voice is awesome, too. You feel everything he's trying to sing.
[00:27:06] Speaker A: Absolutely great voice.
[00:27:08] Speaker C: Verse three is. I think I'm going to go now but you know that I'll be back you can think it over Baby, tell me how you're going to act I'm going to keep on holding on But I don't get no stronger chorus. Please don't keep me wandering no longer or please don't keep me wandering no longer and I know and I know and I know I've never been in love before oh, oh, baby, baby yeah he's trying to keep her but he knows that she's cheating on him and he's never been loved before and it's clouding his judgment about her. It's good. I like it. All right, here we go.
[00:28:53] Speaker A: I wanted some soloing. There was just more of the same thing over and over. I was a little disappointed in that. Overall, I think the song has pretty good feel.
[00:29:00] Speaker C: Yeah, that slide guitar lick at the end, that last lick was really, really good. He doesn't overplay. He knows exactly what he needs to do and he plays it the right way. This song is all about feel and all about getting the point across and having the music breathe and not be so worried about if it's perfect. Perfect, because it's not perfect. But that's what makes it so good, I think.
[00:29:17] Speaker A: Yep. A lot of feel on that one.
[00:29:19] Speaker D: I'm enjoying the listen. It's such a Simple song from a music perspective and lyrics. But yeah, it's so great. You actually can feel the lyrics. You can actually feel the singing. I'm enjoying it. It's awesome.
[00:29:30] Speaker A: I feel like we could be listening to this with our long hair and beads. Maybe some wacky tobacco.
[00:29:37] Speaker C: It's very calming in a weird, strange way.
[00:29:40] Speaker B: Way.
[00:29:41] Speaker C: Even though there's a lot of dirty blue stuff going on, it's just very mellow. I'll go first. Seven on the lyrics, seven on the melody, eight on the music, seven on the arrangement, eight on production. I think it's a great song. Again, I've never listened to any All Brothers album straight through. So this for me is not even a rediscovery. It's just a discovery.
[00:29:58] Speaker D: Frank, I am gonna go production. 9. Everything else, I'm gonna give it 8. So far, these first two songs, the production has been really solid.
[00:30:08] Speaker A: Solid.
[00:30:09] Speaker D: To make this sound so clear with the technology had back then is amazing. And the song overall just has this really cool vibe. This really calming way. And you can actually feel the singer expressing himself. Really digging it. Love the lyrics too.
[00:30:23] Speaker A: How about I go now?
I will say six on the lyrics again. Eight on production, seven on arrangement. I was gonna give it eight, but I wanted a solo. Darity.
Seven on the melody, seven on the music.
[00:30:36] Speaker C: Cool. Now we come to a song that probably everyone knows. At least all of us probably know this. This is Midnight Rider.
[00:31:01] Speaker B: No Pat.
And I'm bound to keep on R.
I've got one more silver down there But I'm not going to let him catch me, love not going to let them catch the midnight.
I don't own the clothes I'm wearing and the road goes on forever I've got one more silver dollar But I'm not gonna let him catch me no, not gonna let him catch the midnight R.
[00:31:53] Speaker A: Straight up classic. Pretty much anybody who's ever listened to rock and roll knows this song. Really good song. Was using a commercial too. I think it was a funny commercial. I don't know why at that point when the commercial was out, which that was a while ago. I don't know why I thought this was. I thought it was Leonard Skynard and not the Elman brothers and could be sacrilege. Say people like, what the. You don't know the difference. I really thought it was them.
[00:32:13] Speaker C: I think the vocals are great. I'm assuming that's also Barry Oakley and Greg Allman doing that together. It's really awesome.
[00:32:20] Speaker A: Awesome.
[00:32:20] Speaker C: It's very simple. You have to have heard this if you heard rock in the last 50 years, you should know this song. It's a great song. I like the lyrics. I think everything's really good on this. And it's very concise and to the point. There's no intro, solo or intro thing. They get right into it. And I like the fact that they used a one line for the chorus. Just tagged on to the end of the verse.
[00:32:40] Speaker D: You're gonna have to live on a different planet if you never heard this song before.
I mean, you really do. All time classic. It's just one of those songs that you can listen to it 100 times a day and then it gets old.
[00:32:51] Speaker C: It's weir. Because some songs, you get fatigue from listening to them. You've heard them so much, you almost don't like them anymore because they're so played over and over and over. I don't really feel that about this song though. I've heard this song, I can't tell you how many times. But I never go, oh, I'm going to turn this off. And I don't know why that is. And then you have other songs. We've heard it a billion times. You just don't want to hear it. It comes on, you skip it. I'm not too sure why that is for this song. Verse 1 well, I've got to run to keep from hiding and I'm bound to keep on riding I've got one more silver dollar But I'm not going to let him catch me no, not going to let him catch the midnight Verse two and I don't own the clothes I'm wearing and the road goes on forever I've got one more silver dollar But I'm not going to let him catch me no, not going to let him catch the midnight rider who is the midnight rider and why doesn't he have any money and he only has one silver dollar I don't know.
[00:33:38] Speaker A: If it's about anybody specifically because we can look it up. I just feel like it's the character. And it also reminds me of the Easy Rider movie.
Yeah, that motorcycle guy.
[00:33:48] Speaker C: All right, here we go. Let's continue.
[00:33:54] Speaker B: Sam.
[00:34:33] Speaker A: Great solo. I really like that part.
[00:34:35] Speaker C: Yeah, it's great. I wish it wasn't so drowned in reverb, though. It almost gets lost because there's so much reverb on it. I'm assuming that's a production choice. And that was both Dwayne Allman and Dicky Betts.
[00:34:45] Speaker A: I actually kind of like that about it.
[00:34:47] Speaker C: Did you?
[00:34:47] Speaker A: I did, yeah. I like that about it. I understand your point, but I feel like I filled out the space a little bit. I wish. There's almost a little bit more going on during the verse, but it doesn't really need it where that came in. That's where my being okay with, hey, it doesn't need it. That is like. I like to fill this part up with it. That's just me personally. I mean, I do understand your point.
[00:35:05] Speaker C: Yeah, I don't hate it. I wish the reverb was a little bit less. I'm not going to bitch about it and say, oh, it sucks. Because that reasoning. If it was a little bit less reverb, I think I would like it a little bit better. It's still great regardless.
[00:35:16] Speaker A: So just a quick. I was reading. It was written by Greg in a cabin rented for songwriting. Rhodey Kim Payne contributed two lines to help finish a song. And then the two of them broke into Capricorn Sound Studios in the middle of the night to record a demo of the song, shattering a window to unlock the door after the band's record producers refused to rouse from bed to come let them in. The song tells the story of a man on the run.
[00:35:39] Speaker C: They broke into the studio, dude, we got to record this fucking right now before we fucking lose this.
That's great. Back in the day, you didn't have studios in your house. You couldn't do that. You had to use studios. If they couldn't get in there. It. We're going to break into it and do whatever we need to do just because we need to get this thing on tape or we're going to lose the thing.
[00:35:54] Speaker B: Whole.
[00:35:55] Speaker C: Whole vibe of this song.
[00:35:56] Speaker A: That's great.
[00:35:56] Speaker C: Okay, let's continue. Here we go.
[00:36:13] Speaker B: But I'm not going to let him catch me, though. Not going to let him catch the midnight.
No, I'm not going to let him catch me. No.
Not going to let him catch midnight. Right there.
As you know.
[00:36:58] Speaker A: I think someone accidentally lowered the knob too quickly and they're like, oh, it. Leave it.
[00:37:03] Speaker C: Yeah, I think that's more because of vinyl. And they had to fade it out quick. That was a really quick fade.
[00:37:08] Speaker A: Very quick. And I would have liked a little bit more jamming there at the end. Who knows? Maybe they say, listen, this could be a hit. Let's not make it too long.
[00:37:15] Speaker C: It's three minutes.
[00:37:16] Speaker A: Oh, there you go. Of perfect radio time.
[00:37:20] Speaker C: I just think that they knew exactly what they were going to do. And it went to number 19, which was pretty cool. That's good for that Time frame, too.
[00:37:27] Speaker A: Yeah.
[00:37:27] Speaker C: First three is. And I've gone by the point of caring Same old bed I'll soon be sharing and I've got one more silver dollar But I'm not going to let him catch me no, not going to let him catch the midnight rider and then the chorus part goes out all the way to the end. This is an awesome song, Sav, why don't you go first?
[00:37:42] Speaker A: I'll say seven on the lyrics and eight on everything else. Little classic. Heard it so many times. Still digging it, Mark.
[00:37:48] Speaker C: I am going to do eights across. I think it warrants eight across. It's such a great song. All the parts are really great, Frank.
[00:37:57] Speaker D: I'm with you, Mark. Eight across from me again. One of those classic songs. Never gets old. Never get tired of listening to it. I can listen to it again right now if you played it.
[00:38:07] Speaker C: Okay. The next song is in memory of Elizabeth Reed. This is a longer song. It's almost seven minutes. I'm assuming there's gonna be a lot of soloing going on. We'll see. I don't know this song at all. Here we go.
[00:40:17] Speaker A: Mark, you sure you never heard this?
[00:40:18] Speaker C: I don't think I ever did even that.
No, I never heard it. No.
[00:40:23] Speaker A: Well, what do you think?
[00:40:25] Speaker C: It's very Latin, jazzy.
[00:40:27] Speaker A: A little bit of Santana in there, I think.
[00:40:29] Speaker C: Yeah, I like it. It's seven minutes of instrumental, though.
[00:40:33] Speaker A: Well, they're a jam band, so.
[00:40:35] Speaker C: Yeah, I know.
[00:40:36] Speaker D: A little different than we heard so far. I'm digging it. Like Mark said, it's very jazzy, very Latin jazz. I can hear that in there.
[00:40:42] Speaker A: I'm digging it.
[00:40:43] Speaker D: It's different. I like it.
[00:40:44] Speaker C: This is definitely. Take a hit, sit there and listen to this, if that's what you do. Or take a drink and sit there and listen to this. That's what this is. Put your headphones on and you just zone out.
[00:40:53] Speaker A: Just feel it.
[00:40:54] Speaker C: Oh, yeah, it's great. All right, let's continue here.
[00:43:09] Speaker B: It.
[00:43:40] Speaker A: Totally great. I'm just so digging it again. It's like you said, Mark. You just let it play. Close your eyes. I think if I stand up, too, I'll do one of those Woodstock dances.
I could see myself kind of doing that, too.
[00:43:53] Speaker C: It's great. Bass playing is great. I didn't realize that Barry Oakley died right after Dwayne Allman a year later on a motorcycle.
[00:43:59] Speaker A: They're buried in the same place, too. I think I was reading.
[00:44:02] Speaker C: Yeah, I think they are. And they died, like, a year between each of them. That's crazy.
[00:44:06] Speaker B: Boy.
[00:44:06] Speaker C: It in 24 didn't even get a chance to even take in what they did. I like it. The keyboards are awesome. I like the guitar playing. I assume that was Dicky Betts, cuz he wrote this. I haven't heard any slide yet. I don't really know if Dwayne Alm is doing any regular guitar playing. I assume it's not all Dicky Bets. Let's continue. Here we go.
[00:45:48] Speaker B: It.
[00:46:34] Speaker A: Just kidding.
[00:46:35] Speaker C: That's what it sounded like.
That was awesome.
[00:46:38] Speaker A: Great. I could always use a little bit more of a drums and percussion breakdown. But hey, they gave them a little bit.
[00:46:43] Speaker C: Bit of room. Yeah. This is really a guitar thing.
[00:46:46] Speaker A: I think I definitely know this one. This is actually one of their bigger songs.
[00:46:49] Speaker C: Never heard this ever. I guess we could rate this. I think we could say music arrangement, production. Why don't you go first?
[00:46:56] Speaker A: I'll say eight. I was digging it. Bop of my head to it. Musicianship was great. The feel was great. Production was great.
[00:47:02] Speaker C: Mark, Same thing. Eights across. There was even a little mistake at the end and they left it in which I kind of like. I don't know if I could just leave the mistake there. But I understand why they left a mistake. The take was so good. They probably weren't going to get another good take like that. And the little bit of flow which probably bothered them after the fact, it's fine. But I could understand as a musician going, crap. I wish I didn't fucking flub that. But it doesn't ruin anything. It endears you more that they left it there. Frank.
[00:47:25] Speaker D: I'm with you guys. Eights across. I'm still rocking out to it. I never thought I would dig their albums the way I'm digging it right now. Definitely can sit here and listen to this song again. If you played it, just jam to it.
[00:47:37] Speaker C: It's really good. I'm glad we got this.
[00:47:39] Speaker D: And the engineering is so good.
[00:47:40] Speaker C: Oh, yeah. The recording and engineering, superb. That sounds. Side one. Believe it or not, that's it.
[00:47:45] Speaker A: One of our quickest ever has to be.
[00:47:46] Speaker C: Yeah, it's fast.
[00:47:47] Speaker D: Oh, wow. Is it just short or we were just enjoying it that much?
[00:47:51] Speaker A: It's short.
[00:47:51] Speaker C: The second side is even shorter, I think. All right, Sav, why don't you do your thing?
[00:47:55] Speaker A: We are part of the Deep Dive Podcast Network and the Boneless Podcast Network.
[00:47:59] Speaker C: Boneless, you know, like those chicken wings without the bone.
[00:48:02] Speaker A: Again, like I always say, Great bunch of guys took us in right away. If you want individual podcasts about bands, Judas Priest, Rush, Metallica. You know what? Check them out, man. They're a great bunch of guys. And Mark, where can they find us on the interwebs?
[00:48:16] Speaker C: Rock with that pod on all the social media. Go to rockwelletpodcast.com, do the polls, do the merch. You know what to do. Put us on your auto download and rate us five stars every place, because that really helps the podcast out and we want to keep moving up the charts and getting more people to listen. So if you can rate us, that would be awesome. Next week we get to finish this off because at least me and Frank haven't listened to an Allman Brothers album all the way through. This would be a first for both us.
[00:48:39] Speaker B: Of.
[00:48:40] Speaker C: Of us. Sav. I. Forget it. Have you listened to an album all the way through?
[00:48:42] Speaker A: I probably have. Definitely a live one. I don't know if a studio one. It's one of those bands, man, you think you have, but maybe you haven't. So this is cool.
[00:48:51] Speaker C: All right, guys, we will see you next week.
[00:48:54] Speaker A: Ciao. Ciao.
[00:48:54] Speaker D: Have a good night.
[00:48:55] Speaker C: Later.
[00:49:05] Speaker B: Sam.
