Episode Transcript
[00:00:00] Speaker A: You.
[00:00:04] Speaker B: 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 on to the Rock Roulette Podcast.
[00:00:49] Speaker A: You.
[00:01:13] Speaker C: Hey everybody. Welcome to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1100 albums, stuck them in a list, stuck them in a wheel, and every other week, typically, we spin the wheel and she picks an album for us and we go through it side by side for usually week by week. And we go through song by song and we rate the music, the lyrics and the production just based on what we think. Again, we're just a bunch of guys who love music, wanted to do a podcast, lifelong friends. So we really appreciate anybody who listens, anybody who comments, anybody who's given us five stars, whatever stars, any stars. We'll take whatever stars you want to give us. And if you have any questions, comments, criticisms, please just shoot them out. Mark always answers right away. So again, shout out to everybody. And today we have Frank back.
[00:02:05] Speaker A: My name is Frank.
[00:02:18] Speaker D: Great to be back. Great to be back.
[00:02:22] Speaker C: We have Mark. Oh, hi Mark.
[00:02:25] Speaker E: What's up guys?
[00:02:26] Speaker C: And I'm sav. Ciao. Buena, Sierra.
So last week, Mark and I wrapped up the second half of Wasp the last command. And so Mark, what do you think? Better than the first side or as good? Same.
[00:02:41] Speaker E: I think the second side was almost better than the first side. I don't mean again, it's not my jam. I was never a big Wasp fan from back in the day, so I don't think that changed my mind. But I thought his voice was really good. The guitar stuff was a little cheesy for me, but I know it's some people's that's where they got into heavy metal is like Wasp. But it wasn't horrible.
I think I was expecting it to be worse than it was.
[00:03:14] Speaker C: Yeah, I mean, the lead stuff, to me as a non guitar player, I was kind of unimpressed.
And the production yeah, the production was weak. I mean, I know I said it a lot through the podcast, but I'm pretty sure I have it somewhere on vinyl. And I thought it sounded better.
You know, again, I would say middle of the road. I think we're going to hit worse than that.
[00:03:37] Speaker E: Oh, I'm sure there is stuff worse on the list.
[00:03:42] Speaker C: Frank, just out of curiosity, have you ever heard that album? Did you get to hear it anything, or you'll get to it at some point?
[00:03:51] Speaker D: No, it was never my thing.
[00:03:56] Speaker C: So the fact that we finished a record means that we get to spin the wheel this week again.
[00:04:02] Speaker E: Spin the wheel. Spin the wheel.
[00:04:03] Speaker C: As always, an incredibly exciting time for us. We don't have a lot of excitement in our lives, and the wheel is very exciting.
[00:04:12] Speaker E: So what do you think?
[00:04:13] Speaker C: As usual. Let's go around the room.
Frank, what do you think? What's she going to pick for us today?
[00:04:22] Speaker D: I think something from the have a.
[00:04:24] Speaker C: Good feeling about this little classic.
[00:04:29] Speaker E: Yes.
He was right the last time, so you never know the wheel likes him. I don't know. I have no idea.
I keep saying 80s, but I got 80s again. But it's not really what I wanted, so I don't know. I'm going to say 80s again.
[00:04:43] Speaker C: What are you looking for? Good 80s?
[00:04:45] Speaker E: Yeah, I'm looking for good eighty s. I want really super cheesy late 80s, or I want good eighty s.
I don't want middle of the road.
[00:04:55] Speaker C: Yeah, I'm thinking 90s today. I usually don't go 90s, but I'll say nine. We'll be all over the place. We got seventy s, eighty s and.
[00:05:02] Speaker E: Ninety s. Well, we're definitely all either.
[00:05:03] Speaker C: We'Ll be completely wrong, it'll be 60s or odds.
[00:05:10] Speaker E: All right. So are we ready to do this wheel thing? Okay, here we go.
[00:05:39] Speaker C: Deep Purple. Deep Purple.
[00:05:41] Speaker E: Wow. That's the first that was that like 1970.
[00:05:44] Speaker D: Look at that.
[00:05:45] Speaker C: No, wheel. Like first one. It's 69. I don't know if no, is it? Yeah.
[00:05:54] Speaker E: 1969. So it was totally different than everything.
[00:05:59] Speaker C: Yeah, this was the first variation.
[00:06:05] Speaker E: Mach one, as they say.
[00:06:07] Speaker C: Mach one. Yes. I couldn't think of the term mach one, so didn't I say it? I was like, because we did seventy s, eighty s and ninety s. Like, I bet you're going to get the 60s or the 2000s.
[00:06:22] Speaker E: Yeah, that's going to be cool.
I obviously know Deep Purple. I know Deep Purple songs, but I've never went into that catalog.
[00:06:36] Speaker C: This stuff, I'm not really familiar. I don't go back this far. I think I started around in rock. I think it's either in rock or Machine Head, so kind of like that stuff. But, I mean, you still got blackworm guitar, john Lord on keyboards and Ian Pace on drums. So if nothing else, that stuff's probably going to be pretty good.
[00:06:56] Speaker E: Yeah, pretty much.
I just got to find lyrics for this.
[00:07:03] Speaker C: How long is this record?
[00:07:04] Speaker E: I don't know.
[00:07:06] Speaker C: 44. 34.
[00:07:09] Speaker E: Well, this is not the first one, is it's? Like the third one or something, isn't it?
It is also referred to as Deep Purple Three.
So Richie Blackmore. So there should be good guitar stuff in here, I'm thinking.
[00:07:29] Speaker C: Yeah, progressive rock, hard rock, psychedelic rock.
[00:07:36] Speaker E: Yeah, I think it's going to be good. Like I said, this is kind of the stuff that I really want to get into.
[00:07:44] Speaker C: Yeah, I really don't know this record. Like I said, I kind of started around the really popular stuff with.
[00:07:51] Speaker A: So.
[00:07:51] Speaker E: Who'S the singer on this?
[00:07:54] Speaker C: Rod Evans.
[00:07:55] Speaker E: Oh, I don't even know who the hell that is.
[00:07:58] Speaker C: Let's see what else he's done.
[00:08:00] Speaker E: One of our Deep Dive podcast shows, the Deep Purple podcast all about this. Shout out to them.
[00:08:07] Speaker C: Shout out to them.
[00:08:08] Speaker E: We know nothing about this. So when we say all the wrong things, you can correct us.
[00:08:13] Speaker C: I don't know about yeah. So it was shades of deep purple. The book of Teletian. Is it?
Telesin talisman probably fucking that up. And then this one.
[00:08:32] Speaker E: It'S not a super long album.
[00:08:35] Speaker C: No, it's like, 44.
So the next studio album after this was in Rock, and that's the one that let's see what Speed King, Child in Time.
[00:08:50] Speaker E: See, I'm so not versed in this.
[00:08:54] Speaker C: I'm not versed in this one. I don't really know this one. I've never gone back this far.
[00:09:00] Speaker E: Frank, what do you know about this?
[00:09:02] Speaker C: He's like, I know it's deep. I know it's a color.
[00:09:05] Speaker D: Yeah, I know it's deep, and it's purple.
[00:09:08] Speaker E: John Lord, Ian Pace, and Richie Blackmore.
[00:09:11] Speaker C: Richie Blackmore.
[00:09:12] Speaker E: I don't even know what the singer.
[00:09:13] Speaker C: Sounds kind of I've heard him, so he's not Ian Galen, but I think the music is a little bit more subdued from what I've heard. I want to say it's a little bit more subdued.
[00:09:30] Speaker E: Okay, let's to it's like, you want.
[00:09:34] Speaker C: To listen to what?
[00:09:36] Speaker E: You want to listen to deep Purple. That deep.
[00:09:38] Speaker C: Why try this? Deep Purple.
All right, so, I mean, you know, Hush Hush isn't on here, but yes, Rod Evans is a singer on Hush.
[00:09:50] Speaker E: Okay.
All right.
So I'm excited for this.
[00:09:56] Speaker C: Yeah, I'm curious.
Listen, who knows? Maybe stuff will come up and we'll be like, oh, shit, I know that song.
[00:10:06] Speaker E: That's very bother. All right, so I got the first one pulled up. It's called chasing shadows.
Here we go.
That's a lot of percussion.
[00:10:45] Speaker C: Yeah, I like it.
This was actually written by the drummer and John Lord. Ian Pace and John Lord.
[00:10:51] Speaker E: Okay.
Yeah, they got the keyboards in there right away. It was a cool little guitar riff. Yeah, I've always wanted to explore yeah, no, I've always wanted to explore Richie Blackmore's playing a little bit more because every time I see it, I really like the stuff I hear, but I've never really explored, like, him very much.
All right, Deep Purple podcast. I know you're probably going to listen to this now that we're doing this, so you got to let us know what we're doing wrong.
Here we go. Let me back it up a little bit.
[00:11:22] Speaker A: Chasing shadows over Giant 20.
I love breathing sharp.
Let me I do it.
It.
[00:12:36] Speaker E: Yeah, it's kind of interesting. It doesn't change very much. It's a little praggy. There's a little bit of Praggy going on. Right.
[00:12:45] Speaker C: Bass line is really cool.
I like the bass of Doom. Doo doo doo doo doo doo doom doo doo doo doom but, I mean, clearly it's a drum and keyboard song.
[00:12:55] Speaker E: Chasing shadows over my walls with myself hardly sleeping dwarfs and giants 20ft tall to fill the room with their creeping oh, sounds of breathing sharpen my ears then they fade into nothing someone's laughter out in the street fills the night with their loving and then the choruses. I feel the ice in my head running its hands through my bed not even dreaming I seem to be dead colors of yellow and colors of red so is it like a nightmare? Kind of, sort of.
[00:13:28] Speaker C: I like how the giants and dwarves are both 20ft tall yeah.
[00:13:31] Speaker E: How's that possible?
I don't really know.
[00:13:36] Speaker C: I like the verse.
It didn't go anywhere. Just kind of felt flat. But I do like the verse.
[00:13:44] Speaker E: Yeah.
[00:13:46] Speaker C: Production is okay. A little muffled, I think, now.
[00:13:50] Speaker E: Yeah, it's not it is of the time, though. Yeah. I mean, remember, they're probably not recording this with more than friggin eight. I don't know if that's 16 track, probably. I don't know. I don't know if it says in the thing here whether what it was recorded with, but I'm curious to see if it changes pace because it sounds like the verse and the chorus almost the same exact thing. Yeah, it's very similar. At least. It's very similar anyway. Yeah, I'm going to back it up. Here we go.
[00:14:36] Speaker A: So secret.
I was we know we.
[00:15:46] Speaker E: So what'd you think of that?
[00:15:49] Speaker C: It wasn't bad. What do you think?
[00:15:52] Speaker E: It wasn't bad.
No. But I have to give it a little bit of deference for the wawa because wawa was such a new thing at this point. So he does use it to the whole thing. It's not horrible, obviously. He obviously plays guitar really well. That's Richie Blackburn is no joke.
So I liked the like I said, it's definitely on the Praggy side for me, and maybe for some people this is not Prague at all, but for me it is it's kind of funny. So this guy who's singing, Rod Evans, they wanted to do harder rock and that's why they fought Ian Gillan and then they got Roger Glover next to replace Nick Simper, who's the bass player here, who's doing a pretty good job, though.
[00:16:40] Speaker C: Yeah.
[00:16:42] Speaker E: This is supposedly the least successful of the first three records by Mark One lineup. By the Mark One lineup.
But it's definitely of the time. Right. And I kind of like it. It seems like to me it doesn't really go in many places. It's very similar riff through the whole thing.
[00:17:03] Speaker C: Yeah, I wish the chorus I really like the verse, so I mean, if there really was like a separation, then it'd be cool. Or even maybe if you change the beat, let's say, like kind of go into maybe just to differentiate. I mean, I do really like what's going on with the drums and the percussion, but yeah, just something to kind.
[00:17:23] Speaker E: Of to break it up a little bit.
[00:17:24] Speaker C: Break it up a little bit.
[00:17:26] Speaker E: Frank, what do you think?
[00:17:30] Speaker D: I like it a lot. It has some elements of I don't know, santana in there.
[00:17:37] Speaker E: Yeah.
[00:17:37] Speaker D: Maybe all the percussions. Yeah, the percussions and all that very Afro kind of sound to it.
[00:17:46] Speaker C: That's pretty cool.
[00:17:47] Speaker E: Yeah. I wasn't expecting that.
[00:17:52] Speaker C: 169, too, at this point. They're contemporaries.
[00:17:57] Speaker E: Yeah.
So the only thing so far is lyrics that there are here is all I'm asking some secret voice is to lead me to darkness I'm so tired dawn never comes I just lie in the shadows I like the fact that they've only used chasing Shadows for the first word and they've never said it since yet.
[00:18:17] Speaker C: Yeah, I do like it. I mean, it definitely paints a cool kind of image.
[00:18:22] Speaker E: All right, so here we go. Let's see what comes up next.
[00:18:38] Speaker A: Is to leave you dark so tired don't ever come I feel the running my bed read it's a weird ending.
[00:20:54] Speaker E: I wonder if it's I wonder if it flows into the next song.
Now, the one thing I could say is that the chords under the chorus do change. I think it's because the drum beat stays pretty much the same to the whole thing. There's not a lot of separation.
[00:21:08] Speaker C: Yeah, but I'm not crazy about the melody he uses either, honestly speaking, because, again, I like the verse, so I'm just not crazy about that chorus part.
[00:21:20] Speaker E: So the verse is all I'm asking. Some secret voice is to lead me to darkness I'm so tired dawn never comes I just lie in the shadows and then back to the chorus. And then I kind of like john Lord does a pretty good solo at the end of that, too.
[00:21:35] Speaker C: Well, I mean, John Borg.
[00:21:37] Speaker E: Yeah, I know, but, I mean, I'm.
[00:21:39] Speaker C: A big fan of when they do their keyboard guitar solos together.
[00:21:44] Speaker A: Yeah.
[00:21:44] Speaker E: I wonder if we can hear any of know. All right, Frank, why don't you tell us? What do you think so far? What are your ratings on this mean.
[00:21:59] Speaker D: For the music part of it, I like wasn't it wasn't what I was expecting. So I'm going to give that seven there.
As far as the production, I agree with Savage kind of, like, very flat. Nothing really flies out there. Give it out of five and the lyrics give those a six. So I'm not quite just trying to figure out where they're going with Frank's.
[00:22:23] Speaker E: Coming hot right out of the gate. Five already. And take very long.
Hot take. Hot take by Frank.
Let's see. I think I agree, six with the lyrics. I mean, I like them, but I'm going to take a little bit off just because the melody is a little wonky, especially in the choruses.
The verses aren't bad. The choruses, I wish there was a little bit of separation.
Musicianship, I'm going to say seven. I think that because the drums kind of stay the same through the whole thing, it's hard to have the separation even if the melody was different, just because that just stays the same. I like what he's playing. I like all the percussion and stuff. I just think it is not any separation for me.
So I wish that was a little bit better. And I'll give it a six on the production. I think it could have been we've heard stuff that's been produced in around the same time frame that I think sounds better.
Hopefully the changes a little bit. Going a little forward.
[00:23:27] Speaker C: SAF yeah, I like the lyrics. I mean, it's got kind of that fantasy element to it. So I'm going to say seven on the lyrics.
I'm going to say seven on the music.
I think if the chorus had gone somewhere else, I probably could have given eight because I did really like the verses and the solo parts were okay.
Not my favorite kind of solos, but I'm still going to say I'll say seven on the music.
I think the production isn't terrible. I think the percussion is great and you can hear the bass and yeah, we definitely heard stuff from this era that sounded better. But, I mean, considering that those are kind of like the two main things, I think they sounded decent. I was going to say six, but I'll bump it up to a seven and then we'll see what's coming down the pike.
[00:24:21] Speaker E: So what did you get the lyrics?
[00:24:23] Speaker C: I guess I did a triple seven, then.
[00:24:25] Speaker E: You did do a triple seven. That's why I was wondering.
[00:24:27] Speaker C: I did do a triple seven. Yes.
[00:24:29] Speaker A: Nickety tippy, baby.
[00:24:30] Speaker E: Seven, seven, seven. Nice.
All right, so the next song is called Blind.
Who wrote this? Who wrote this one?
Blind is by John Lord. So I'm assuming it's going to be heavy keyboard, I assume.
Guess we'll find out. Here we go.
[00:25:14] Speaker A: I see reflections in the water autumn color summer's daughter and as the year is growing older I see winter on my shoulder I stand in the haze watching stormmade ripples grow home on my own never knew you were needed till I found myself standing here alone that.
[00:26:01] Speaker E: Was a very nice drum break.
[00:26:03] Speaker C: Yeah, well, he's a good drummer. I mean, this is what I associate. That's definitely the kind of sound of the drum sound, the snare sound. I mean, that's EMP. So without a doubt, that opening riff reminds me of the zombies.
[00:26:23] Speaker E: You know.
[00:26:23] Speaker C: What, into something else.
[00:26:25] Speaker E: Yeah, but it's still so 60s because I don't know if they've found their sound yet. Well, I mean, they had hush and stuff before this. Right. But I think the next version of Deep Purple is a lot more a little heavier, I think.
Right.
I think the lyrics are pretty good. And I like the melody a lot. I mean, for me, it's not as much guitar as I thought there was going to be. It's only two songs in okay.
[00:27:00] Speaker C: I don't know. Maybe.
[00:27:04] Speaker E: I have no clue. Well, here are the lyrics. I see the reflections in the water autumn colors summer's laugh summer's daughter and as the year is growing older I see winter on my shoulder I stand in the haze watching stormy ripples grow on my own never knew you were needed till I found myself standing here alone is this a love thing?
[00:27:27] Speaker A: Maybe.
[00:27:27] Speaker E: Possibly. About a woman or I don't know. They're using the seasons and stuff to.
[00:27:35] Speaker C: Be they definitely got that fantasy element there again, though.
[00:27:40] Speaker E: Yeah, we think so far. Frank.
[00:27:49] Speaker C: He'S speechless. I don't know.
[00:27:51] Speaker D: I need to listen to it a little bit more. I'm still kind of up in the air about it.
[00:27:54] Speaker A: Okay. Yeah.
[00:27:56] Speaker D: It's definitely different than what I'm used to.
Me neither. I need to listen to I like.
[00:28:01] Speaker E: The lyrics so far.
[00:28:03] Speaker C: I like the lyrics. The melody I'm kind of like.
[00:28:08] Speaker E: Well, maybe it'll grow on you. Let's see.
[00:28:09] Speaker C: Yeah, listen. Believe me, it's happened before where we play a verse I'm like, and then all of a sudden I'm like okay, I hear it now.
[00:28:20] Speaker E: Here we go.
[00:28:22] Speaker A: And in the water. Such a sad face slowly drowning such a sad face.
If only I could change the season like a poet I've my reason.
It started to snow in the middle of July.
Wonder why never didn't understand you my sorrow is hanging in the gray sky in the summer days we blew to the sun on melting wind but the seasons change so fast leave us all behind la.
[00:29:31] Speaker E: Before the solo comes in and back that up a little bit.
Yeah. The chorus seems a little clunky.
I'm liking the verses a little bit better.
[00:29:44] Speaker C: The verses better this time around.
[00:29:46] Speaker A: Yeah.
[00:29:46] Speaker E: They don't bother me that much, but.
[00:29:48] Speaker C: Then it kind of goes into, like, that chorus.
[00:29:52] Speaker E: In the summer days we flew through the sun on melted wings that thing.
It's not very strong. I don't think so. The verses and in the water such a sad face slowly drowning such a sad face if only I could change the seasons like a poet. I have my reasons it started to snow in the middle of July wonder why never did understand you my sorrow was hanging in the gray sky and in the choruses in the summer days we flew to the sun on melting wings but the seasons change so fast leave us all behind blind.
[00:30:37] Speaker C: The lyrics are cool.
[00:30:39] Speaker E: Lyrics are very cool. I like them. The chorus is not very strong. If they were going for catchy, that's not really I mean, maybe they're not, but it's not super strong in the chorus.
[00:30:51] Speaker A: Yeah.
[00:30:51] Speaker C: And I don't know that this I wouldn't consider as progressive. No, it sounds kind of like no.
[00:30:59] Speaker A: Yeah.
[00:30:59] Speaker E: Some chord changes, like you can hear where it sounds like the change is gonna you know, exactly what's going to happen because it's very 60s sounding.
[00:31:07] Speaker C: That harps a chord.
[00:31:09] Speaker E: Yeah.
All right, let's see what the solo does.
[00:31:17] Speaker A: We wazzy tone.
[00:31:54] Speaker E: Lots of fuz. Fuzz.
[00:31:55] Speaker C: WA fuzz. And loud.
[00:31:58] Speaker A: Yeah.
[00:31:59] Speaker E: So it's a little piercy sounding, too.
[00:32:01] Speaker C: A little treadly.
[00:32:02] Speaker E: You know, it's kind of weird. Like, I always thought that Richie Blackmore's playing was more on the classical side or this sounds a little more bluesy to me. So I'm a little confused about what I'm supposed to be listening to because, again, I have such a cursory thing of Deep Purple that I'm expecting one thing, but it's throwing me a curveball.
[00:32:27] Speaker C: Yeah.
This sounds like a band when you know their popular stuff. This sounds like a band that's kind.
[00:32:33] Speaker E: Of trying to figure it out.
[00:32:36] Speaker C: Yeah. Because, I mean, their first three albums came out, I mean, again, what, within a year? A year and a half, yeah.
[00:32:46] Speaker E: No, I'm not super in love with the guitar tone on that. It looks a little buzzy to me. I mean, I know fuzz can kind.
[00:32:53] Speaker C: Of do stuff like that.
[00:32:55] Speaker E: It's a little harsh on the ears. Yeah.
And again, I give him a little bit of leeway, especially with the WA because I think that it was such a new effect, you know what I mean? Just kind of started being happening the last five years or whatever, that it could be overused really easy.
I mean, I don't hate it as much as some other people playing Wild all the time, but yeah, the sound, I think, gives it it just ruins it a little bit for me just because it's so piercy. So piercy sound.
[00:33:32] Speaker C: I mean, at that point, you got to kind of bring production, right. Wouldn't you say?
Who produced this? I don't think we said who produced the production.
[00:33:45] Speaker E: The production is Derek Lawrence and English record producer famous for the Joe Meeks outlaws deep Purple, Flash Machiavell and Wishbone Ash.
[00:34:03] Speaker C: I know wishbone ash.
[00:34:04] Speaker E: Yeah.
I mean, he's done a bunch of other stuff, too, but it's not really giving me the warm and fuzzies right at the moment. So the drums sound pretty decent.
[00:34:17] Speaker C: Yeah.
[00:34:20] Speaker E: So, Frank, what do you think now that we got up to this part? What does it sound like to you so far?
[00:34:27] Speaker D: I'm still a little bit lost about.
[00:34:29] Speaker E: It, to be honest.
[00:34:31] Speaker D: The lyrics are starting to grow on.
[00:34:32] Speaker C: Me a little bit. I don't feel like there's a lot to hold on to on this one. Yeah, already, I mean yeah, I agree that the verse did sound better the second time, but, I mean, that chorus.
[00:34:42] Speaker E: It'S just yeah, chorus isn't great. Well, it's coming up again, so here we go.
[00:34:52] Speaker A: But then the stone fell on the water putting end to summer's daughter and me I turn away remembering all the season such a standing started to rain in the middle of the sun winter's begun never did understand you my sorrow is hanging in the gray sky in the summer days we flew to the sun a melting wind but the season change over leave us all behind I.
[00:37:26] Speaker C: Like that outro piece. Kind of reminded me of the doors.
[00:37:29] Speaker E: Yeah, I like the outro piece a lot. Drums are really good. Keyboard part at the end is really good.
[00:37:34] Speaker C: The bass line is really cool.
[00:37:36] Speaker E: Bass line? Yeah. For someone who's getting replaced really soon, the bass lines are pretty good.
[00:37:42] Speaker C: Yeah.
[00:37:43] Speaker E: Chorus is crappy and it's kind of funny. That little pre chorus thing, that's where you hear the 60s psychedelic change is that chord change that happens right before the chorus, like, oh, I heard that on lots of songs from that time frame. So there is a little bit of psychedelic going on here, too.
[00:38:03] Speaker C: Oh, yeah, there is that's definitely.
[00:38:07] Speaker E: Okay, lyrics. I'm going to go first. I'm going to say I like the lyrics a lot. Seven.
They were interesting and I like the melody in the verses. The chorus, not so much musicianship, I mean, everything's played very well. I mean, I don't like the guitar soul that much. It's a little piercing sound. Not that it was played badly because it wasn't the sound, which is a very piercing, fuzzy tone with some wawa on it. Whatever. I'm going to give that a seven, I guess. The production I'm going to give a seven, too. I can hear everything. It's not like it's I think it's a little better than the last one, but not by very much. So I'm going to give it a seven and you know what that means.
[00:38:56] Speaker A: Nicky Titty, baby. Seven. Seven. Seven.
[00:38:59] Speaker E: He's not even here and he gets his stuff all the time. All right, Frank, what do you think?
[00:39:08] Speaker D: The production definitely a seven. I mean, everything sounds really good is right there.
[00:39:15] Speaker C: I don't know.
[00:39:16] Speaker D: This song just didn't just didn't get me the lyrics.
I'm going to have to read them again. But for the sake of right now, I'm going to give those a six and the music, I'm going to give that a seven. Actually. I kind of like the whole music vibe, but overall, it's not one of those songs that I'm going to race back and say I want to listen to over and over.
[00:39:45] Speaker E: For sure.
[00:39:48] Speaker D: Savito.
[00:39:50] Speaker C: Yeah. I like the lyrics again, so I'll say seven on the lyrics.
I'm going to say a six on the music on this one because it felt a little bit discombobulated and I gave the other one a seven. So I just feel that the other one overall was better. Although there are elements of this that I like better. I mean, the drumming was really cool. Obviously, the bass line was cool. I really like that outro. I mean, that outro alone would give it a seven, but I mean, before that.
Well, I gave the other one a seven on production, so I'm going to give this one a six.
And again, it wasn't that it sounded bad, but a little flat again, because stuff is better. That solo was literally hurt my ears.
[00:40:45] Speaker E: So what are you doing?
[00:40:46] Speaker C: 76766.
[00:40:52] Speaker E: Okay.
Yeah, this is interesting. Again, not what I think of Deep Purple, but again, my scope is very limited, so it's definitely the 60s version of it. And it's not hush either.
[00:41:08] Speaker C: Well, that's the thing, right? I mean, I knew that it wasn't the really famous rock stuff that we knew, so I knew that they had a period before that.
But then I'm like, okay, well, when was Hush? And Hush is older than this, right? And Hush is a pretty straightforward rock song.
But who knows? Maybe they're just trying to do, I don't know, all of the rest of that album for me to judge. I mean, it could be one of those because I think Hush is the first song. And who knows, maybe the rest of it sounds like this, right? It doesn't really sound like so well.
[00:41:42] Speaker E: The next song is a cover of Lalina by Donovan.
[00:41:48] Speaker C: Donovan.
[00:41:49] Speaker E: Donovan. So I don't know. It's supposedly a ballad, I assume we're going to see. I'm not sure. Maybe they did this figure in.
[00:42:00] Speaker A: Well.
[00:42:00] Speaker C: It'S a dirt song, so they had to do the ball.
[00:42:02] Speaker E: Yeah, but it's funny. But it was recorded in 68 and released in 68 just the year prior.
So it's really interesting how they did that. Like, oh, we're just going to release the same song that someone just did a year before.
But that happened a lot back then, too, so that's not surprising. Yeah. I don't know what to expect from this at all.
[00:42:24] Speaker C: Do.
[00:42:25] Speaker E: Here we go.
When this time, before we get into his vocal, I kind of like that. I like I like the keyboard part. I like the guitar part.
[00:43:02] Speaker C: Cool little intro.
[00:43:03] Speaker E: Yeah. I don't know what the original sounds like. I don't know either, so that's not going to be interesting. That's interesting that I don't know what the original sounds like, but I like this so far.
[00:43:15] Speaker C: Yeah, it's a dude. I mean, it reminds you deep purple, like child in time.
[00:43:24] Speaker E: All right, here we go.
[00:43:29] Speaker A: When the sun goes to bed that's the time you raise your hand that shall Latin life lalania can't blame you lalania arty tadi DA can your heart get much sadder that you're latin life lal can't blame you olania run your hand through your hair paint your face paint your face up with despair let your love life lanya I can't blame you o, lanya.
[00:45:22] Speaker E: Before we get to the organ solo, it seems like there's no choruses. Like it's all verses, which is a weird, like thing, which I don't hate.
I like the guitar playing.
[00:45:35] Speaker C: I'm hoping it goes somewhere, but I don't know that it. Will?
[00:45:39] Speaker E: I don't think so.
[00:45:40] Speaker C: I feel like it's kind of teasing that it's going to go somewhere else.
[00:45:44] Speaker E: Yeah, it feels like it's going to be going something a little more, like, energetic. Right. But it doesn't seem like it's going there.
[00:45:51] Speaker C: His voice is really good in this song, though. I mean, it's like tailor made for his voice.
[00:45:55] Speaker E: 100%. Yeah. I think musician wise, it's really good.
Okay, so the verse is when the sun goes to bed that's the time you raise your head that's your Latin life, Lalania can't blame you, lalania artie tart lady DA can your heart get much sadder? That's your Latin life lalania campblania lalania run your hand through your hair paint your face with despair that's your Latin life Lalania can't blame you oh, lalania run your hand through your hair paint your face paint your face with despair that's your Latin live lalania I can't blame you o lalania so supposedly it's like about a marginalized woman. Supposedly written by the actress, I guess. Donovan wrote it about her, I guess, and it's about socially marginalized women.
So it's, know, being like a street walker and things of that nature, being a prostitute.
Which makes sense with some of the lyrics. Right. Paint your face well, yeah. Which is like one saying that when the sun goes to bed that's the time you raise your head. Meaning you're going out walking at night. Right. You're out there street walking at night.
So, I mean, it's pretty serious kind of lyrics for, like I'm assuming it was supposed to be a pop song, I guess. Like I said, I don't know the original and for the you know, you couldn't really say lots of stuff. So they're kind of dancing around these things.
[00:47:42] Speaker A: Right.
[00:47:42] Speaker E: And they're doing a good job. He's doing a good job dancing around it.
[00:47:46] Speaker C: I like when he says Arty tart.
[00:47:49] Speaker E: Yeah. Artie Tart. LaDiDa all right, so I think we're coming up to organ solo, and the guitar playing is pretty good. That clean guitar behind. He's playing it very well.
[00:48:03] Speaker C: Again, it's not necessarily grabbing me. It isn't something I may go back to, but as a song itself, it's not bad.
[00:48:13] Speaker E: I'm curious to see what this thing had. It charted top 40 single reaching number.
[00:48:22] Speaker C: 33 in the US.
[00:48:25] Speaker E: Yeah. And on the hot 100.
And for whatever reason, it wasn't released in the UK. Because there was some contract dispute. So this was the United States, and he performed it on the Smothers Brothers in 1968.
So obviously it was a big enough song, so maybe that's why they recorded it. Figured they might get a hit out of it. You know what I mean? Again, because it was just a hit that happened so much back then. Oh, that was a hit, like last year. Let's do it again. We'll do it our way.
[00:48:52] Speaker C: Yeah.
[00:48:54] Speaker E: Hey, listen, if it was a hit again, right, whoever wrote the song is really happy about that.
[00:48:59] Speaker C: Yeah.
[00:49:01] Speaker E: All right, let's hear the keyboard solo.
That was very good.
That was the Hammond Organ.
[00:50:05] Speaker C: I like the way the the drums kind of changed up, too, to get a little bit of a shuffle.
[00:50:11] Speaker E: Yeah, well, musicianship wise, I mean, there's a lot to like here and obviously what ended up happening later, having a little bit more obviously they got a little more hard rock and that's what they wanted to do. Maybe the drummer and the singer really couldn't do what they wanted to do for where they were going to change.
But, yeah, as far as musicianship on here, it's hard to fault this.
It's hard.
All right, let's get back to the verses.
[00:50:43] Speaker A: The sun goes to bed that's the time you raise your head that's your love and life lalania I can't blame you lania augie Saudi DA can your part ever get ever get much sad?
That's your rotten life lane I can't blame you no, I can't blame you I can't blame y'all.
[00:52:30] Speaker E: It'S a weird, like, ending, just stops.
So, by the way, the singer here, he starts Captain Beyond after this, rod Evans. That's where you probably heard the name, So, which is on the list, too.
I heard some of that stuff, actually. Stuff's pretty good.
I had you listened to that right, then I send that stuff to you.
[00:52:54] Speaker C: I remember one thing.
[00:52:55] Speaker E: Yeah, it was actually pretty kind of.
[00:52:56] Speaker C: Prague, too, or no, a little bit, yeah.
[00:52:58] Speaker E: I kind of liked it, though. It was really good. So that's why his voice sounds a little familiar, maybe.
So I like the guitar thing at the end. I think it's pretty cool, too.
But why don't you go for a staff?
[00:53:17] Speaker C: The lyrics aren't bad. I mean, I'm not going to give them a seven because I gave the other ones a seven. But I'll say a six on the lyrics.
I'll say a six on the music, too. Again, it's not that it's bad, and I'll say shouldn't think of the production on this one.
You know what? I'll say seven on the production. I think they actually did a really good job.
I think everything was really balanced here and I think his voice was really good, too, and the way everything was done. So I'll say a seven on the production.
Frank?
[00:54:02] Speaker D: I like the production. I mean, the production so far for me has been right, kind of like there middle of the road kind of thing, so I'm going to give that a seven.
I like the music, the melodies, I enjoyed it, actually, so I'm going to give that a seven as well. And then the lyrics, I mean, they're very dark and very deep, to Mark's point. It's like just bringing over that some woman who makes a living, I guess, right, Mark? Walking the streets.
Yes.
I always enjoy a song with a good story behind it, so I'm going to give that a seven.
[00:54:42] Speaker E: Oh, you know what that means, nicky Dicky, baby. Seven, seven, seven.
He's back.
I'm going to say six on the lyrics. I mean, the mere fact that he didn't write them. So I'm going to give him six just because of that, because it's a cover. So if we were going over Donovan, I might give it more, but just for this, it's six.
I like the music a lot. I'm going to say seven on the music. I think everyone did a really good job. I like the guitar thing at the end. I like the keyboard part of the whole thing. John Lord's great in this, I think know, every once in a while you'll find an album where you're going to give the MVP to so far, Ian Pace is the MVP for me.
[00:55:25] Speaker C: He's a really good drummer. Yeah.
[00:55:27] Speaker E: And this guy's voice sounds great on this, too. It is tailor made for his voice. And I think they knew this was going to be a single, right? So if it was, I don't know if it was or not. I'd have to look at the actual list to see if this was an actual single. And I don't know if it's even telling me, I don't know offhand, but it sounds like it was produced to be a single.
[00:55:52] Speaker C: The other one was a hit.
[00:55:54] Speaker E: The right hotels, I would assume. So I'm going to give that a seven, two. So I'm going to do six, seven, seven.
Now, the next song, which is Fault Line, I believe, is an instrumental. It's only 146.
So let's see what they do with this.
[00:56:14] Speaker A: You wave.
[00:58:00] Speaker E: Very cool.
It's like one of the early things of like a drum loop, but it was just like the tape that they reversed because it was just like a loop over and over and the guitarist thing was good in it, I guess. Do you want to rate this at all?
[00:58:19] Speaker C: I don't know.
Listen, if I had to rate it, obviously you can't rate on lyrics, but I really like that. I'd give that two nines on production because it sounded great. I think they did a great job and clearly they were using whatever they could to make it that's weird for the time was really cool.
I really like that.
[00:58:42] Speaker E: Okay.
I think I'm going to give it a nine on the music because I think it's so very inventive.
And production, I'm going to give it eight because I wish that the guitar was a little bit louder, which wasn't so far back.
So, I mean, I'm going to give it nine and an eight. I thought that was pretty damn cool for the time.
Again, it's like the early thing of a drum loop because it was just like over and over and over and over. Just that reverse thing. Yeah, it was nifty. Frank, what do you man, you know.
[00:59:15] Speaker D: So far, I like that one the best so far.
[00:59:17] Speaker C: That may be my favorite.
[00:59:21] Speaker D: Sounds like it doesn't sound like a song from that era, so they really did. I liked it a lot. I like the music. I give that a nine. And for me, the production a nine just to come up with that. It just sounds way ahead of its isn't that weird?
[00:59:33] Speaker E: Like, the thing that's the one thing you wouldn't think all right.
Yeah, I was very surprised. I thought it was going to change up a little, but it didn't. It just kept with that loop over and over and over and that's not something you hear back then.
[00:59:47] Speaker C: No, but the guitar was a little bit that's what the changes you know what I mean? So that's what kind of just the same thing.
[00:59:56] Speaker E: I liked it. All right, so the next one is The Painter.
[01:00:02] Speaker C: I think it's a pretty famous song by them.
[01:00:05] Speaker E: Is it? Okay, here we go.
[01:00:11] Speaker A: You it.
I don't.
[01:00:44] Speaker E: Okay. As a guitar player, I like that a lot. Yeah, I think that was awesome to.
[01:00:50] Speaker C: Me, hands down, the best song out the gate.
[01:00:53] Speaker E: Oh, 1000%. Yeah. I'm not too thrilled with his guitar tone, but other than, like, I like the playing. I think the playing is great. And again, more bluesy than I would think. And not as in the classically thing that you would think that Malmstein ripped, you know what I mean? From what I would think Rishi Blackmore would be, which is maybe later on stuff. I'm thinking of that. Maybe some maybe the stuff in the 70s is more like that. But this is more bluesy than I would think.
[01:01:23] Speaker C: Yeah, it was very bluesy. But it was good, right? I mean, the sound is good.
[01:01:27] Speaker E: Really good.
[01:01:27] Speaker C: It's a rock and song. I mean, it reminds you a little bit of posh and stuff, no? Yeah, I think that they're really good.
[01:01:35] Speaker E: At yeah, I know. I like that a lot.
Okay, let's just back it up a little bit.
[01:01:48] Speaker A: Juncture of my life it take away the misery take away the sight my job let me out of you write off make a mean game I don't need a poem just give me what to say.
[01:02:40] Speaker E: And before the solo happens this is the most energetic song. I like the energy a lot. I like everything about, like, the drumming. I like the guitar playing, like the bass playing, like the singing, everything. Melodies aren't bad.
Like it a lot.
[01:02:55] Speaker C: This is the kind of song that inspires you to cover it. You know what I mean?
Like, you want to play it, you know what I mean? You want to kind of, like, jump behind the instruments. It's like, all right, come on, let's do this.
[01:03:04] Speaker E: Yeah, no, this is so far, I think, besides the instrumental thing, this is my favorite song so far.
[01:03:10] Speaker C: Yeah, absolutely. I mean, hands down.
[01:03:13] Speaker E: So the verses go, painter, come color up my life o painter, come color up my life take away the misery take away the strife writer, write me out of play writer, make the meaning gay oh, I don't need a podium just give me words to say yeah, it's cool. It has a little bit of a Hendrix vibe, I think. Just a light. Right. Don't you think? Maybe that's why I like it so much.
It just sounds that way.
[01:03:42] Speaker C: I just love that.
Come on.
[01:03:48] Speaker D: Oh, you are alive there everything from that time everything from that time no.
[01:04:00] Speaker E: So just remember that.
[01:04:02] Speaker C: I like the Greek, though. I like the groove. This thing just grooves, you know what I mean?
[01:04:06] Speaker E: Do you like it, Frank?
[01:04:11] Speaker C: I like it a lot.
[01:04:12] Speaker D: I like the lyrics. Just a very playful write out there with the painter and the writer so far.
[01:04:24] Speaker E: I like it solo on this. I'm sure there is. It sounds like there's going to be. Here we go.
Was pretty good.
[01:06:25] Speaker C: That was really good. What did you think of the guitar solo?
[01:06:28] Speaker E: I like the guitar solo. I think I like the organ solo even better.
[01:06:31] Speaker C: Yeah, me too.
Yeah, I think the organization I think the solo he was doing guitar wise in the beginning was a little bit more I kind of wanted him to do a little bit more like that. Like, I felt he was playing more in the beginning, but, I mean, it was still good and yeah, I mean, the organ told him that was awesome.
[01:06:52] Speaker E: Yeah, it was great. The sound was right. Everything was right. And that little weird thing they was doing at the end, too, is pretty cool.
[01:06:58] Speaker C: Yeah.
[01:06:59] Speaker E: We're going to back it up here, that little piece, and then we're going to go into the next thing. Here we go.
[01:07:04] Speaker A: You sing.
Let me sing a song.
Let's sing up.
Let me sing a song.
You don't have to worry. I sing. You can sing along.
[01:07:41] Speaker E: There we go.
So what do you think of that? I think that was great.
[01:07:47] Speaker C: That was really good.
I don't know how this one got away.
[01:07:54] Speaker E: Every once in a while you run to a song, you're like, Crap, why haven't I heard the song?
[01:07:58] Speaker C: I knew the name for sure. I've heard about this song and so I know the name and I know that it's supposed to be whatever. I don't think I've ever seeked it out. And actually, I think I read something about them recently, too, where this song came out and I said to myself, well, I got to listen to that song. I don't know it.
I'm glad we did it here.
[01:08:18] Speaker E: No, I'm glad we did it here. Who wants to go first?
[01:08:23] Speaker C: You go first, Frank.
[01:08:24] Speaker E: I'll go first. Okay.
Yeah.
Lyrics. I like the lyrics a lot. I think that they're my they're not the most introspective kind of lyric things, but I just like the way they flow.
So I'm going to say eight on the lyrics. Musicianship, I'm doing nine on that. Because guitar playing is great. Drumming, everything's great.
I like the pace, I like the energy. I like lots of stuff in that. So I'm going to give that a nine. And production, I think I'm going to give that a nine, too. I like the way it sounded. The keyboard was recorded really well. The organ, it was just awesome. So I'm going to give that an eight. Nine, nine subino.
[01:09:07] Speaker C: So I'm going to say a nine of the music start with that. Without a doubt. I'm going to say an eight of production. I would have given it a nine. The only thing is, I wish the drums were a little bit louder. I think they kind of got lost in the mix a little bit there at times.
I think the second song had better production of the drums. You can hear a lot of the stuff that he was doing, and he was doing some really cool feels and stuff here. Just wasn't as loud.
I'll say severin on the lyrics, I thought they were pretty good, they were simple. But actually, again, it was a flow and it was a pretty cool message. But, I mean, hands down, this is definitely the star of the show, so frank yeah, yeah. You know what, I'm going to be.
[01:09:52] Speaker D: Right there with the two of you. I'm going to give the music a nine. I thought it was great. Great jam song. Sav I love how you picked it up. It was like one of those songs that you just want to once you hear, you want to just pick up your instrument, start jamming it out and playing it out. Right. So I'm definitely going to give that a nine.
The production, I'm going to give that a nine as well. I think that the drum drowning out the drums was on purpose to let the guitar and the keyboard and the organ come out on that one, just to represent that error in the music. So I'm going to give that a nine. And the lyrics, they were good.
I really did enjoy the lyrics there. They were fun to listen to and had a story behind it. So I'm going to give those an eight.
[01:10:37] Speaker E: It's 100% the best song on this record so far.
[01:10:41] Speaker C: Yeah.
[01:10:41] Speaker E: I wish there were four more songs just like this song before.
[01:10:44] Speaker C: Yeah, well, I think once you get.
[01:10:46] Speaker D: Into the later stuff well, maybe there is.
[01:10:52] Speaker E: We don't know.
[01:10:52] Speaker D: Well, that's going to be next week.
[01:10:53] Speaker E: Because one of the songs is twelve minutes.
[01:10:56] Speaker C: Yeah.
[01:11:00] Speaker E: We'Re talking music, you're talking 22 minutes, and we're already at almost an hour and a half right now. Hour and 20, whatever. But yeah, no, I'm glad we got this. I never would have listened to this on my own, ever. And never ever. I probably would have listened to older stuff.
Again, I'm so not tuned into the Deep Purple thing. Like, I know there's Mach One, mach Two, mach three versions of Deep Purple, but I'm not really versed in their albums and what's on what and who's on where.
But to me, this is what I think the Deep Purple sounds like, at least at this point anyway. Like the hush thing. This is kind of getting more into what it sounds like later, right?
[01:11:44] Speaker C: Yeah, more consistently of what it sounds like later.
[01:11:50] Speaker E: Yeah. That's great.
That song saved the whole side of the record.
So for me anyway, yeah, that was definitely the best one. All right, Sav, do your thing.
[01:12:02] Speaker C: So we are part of the Deep Dive podcast network. Again, great bunch of guys. More individualized podcasts like me and Rush, you name it. Like the rush, ratchet guys. Great bunch of guys. And they were on our show a few weeks ago. But yeah, I mean, check it out again. You got Tom Petty, obviously. You got the Deep Purple we mentioned, you got the Rush Ratchet Guys, you got Queen, you name it, you got it. So check them out. And Mark, where are we on the interwebs rockwoodled pod?
[01:12:40] Speaker E: Everywhere. Rockwoodledpodcast.com. Keep giving us votes on good pods. That'd be great.
Share out our episodes, do all the stuff that kind of moves us up. We're still in the top ten over in one thing of the Good Pods, but again, that's all because of you guys. Obviously, you guys voting for us and getting us up there keeps us going, especially getting records like this, which we don't really listen to all the time. This is one of the prime examples of why we do this podcast, because we don't really get to listen to all this stuff all the time. We find a song like this, like The Painter, that I'd never heard, but I wish I'd heard it earlier.
[01:13:21] Speaker C: Yeah, it just proves how random it is, right?
[01:13:26] Speaker E: Yeah. It's only 54 years later. What do you want? Yeah.
Anyway, well anything else you want to say, Frank, before we.
[01:13:40] Speaker D: You know what's really great about the show? Like you, Mark, this is not an album I would have picked up on my own.
But ever since that we heard that instrumental, it looks like we may have turned the corner here.
[01:13:51] Speaker E: Maybe. I guess next week we'll see what side, too.
I mean, they put three songs on the next side because they're a couple of over five and then a twelve minute song. I'm curious to see what I wonder I wonder if that's going to get into a little more Praggy area because it's such a long song. Twelve minutes.
[01:14:07] Speaker C: Yeah. That was like a killer two punch.
[01:14:14] Speaker E: Yeah. To end the record.
It kind of like started I mean, Chasing Shadows was okay, and then the middle kind of like was all right.
It wasn't really catching me. And then the last two songs, they did a great job.
[01:14:30] Speaker C: Not that you wish, but had they started the album with that weird thing and then kind of went into this. You would have been like, Damn.
[01:14:35] Speaker E: Yeah, maybe the sequencing. Yeah. But who knows? But then you go live. Well, the rest of the record sucked because this way you were like, it's all right. It's not the whole and then, bam.
[01:14:44] Speaker C: Yeah, exactly.
[01:14:45] Speaker E: Yeah. So I guess it happens on the next one.
I guess we will see you guys next week.
[01:14:52] Speaker C: Yeah. Ciao, Chow.
[01:14:54] Speaker D: Yeah, mark, did you ever find out? Did you find out which one?
[01:14:57] Speaker E: Do you mean actual? You mean, like, singles?
[01:15:01] Speaker D: What was released?
[01:15:02] Speaker E: I don't see very blah, blah, blah. I'm just trying to see it says we don't know. We can always talk about that.
It didn't really chart in the US.
The label had financial problems and caused the delay in releasing it.
I don't think they really got to tour very much on this. It doesn't look like so I don't think it was a big seller.
It's not saying how much sold. At least it doesn't say here.
So I don't know. Maybe the Deep Purple podcast guys can let us know more about this album, like, where it charted and what it sold and whatever it is.
[01:15:52] Speaker C: Yeah.
[01:15:54] Speaker A: So?
[01:15:55] Speaker E: I don't know.
[01:15:55] Speaker D: All right, cool.
[01:15:56] Speaker E: All right, guys.
See you next week.
[01:15:59] Speaker C: Yeah. Ciao, Chow.
