Episode Transcript
[00:00:00] Speaker A: Um this is our musical this is our musical reaction, breakdown, breakdown and commentary, analysis.
[00:00:19] Speaker B: For educational and informational purposes notwithstanding, a copyright rights under the Copyright Act.
[00:00:29] Speaker A: Allows limited copyrighted material without requiring permission for purposes such as education, criticism, comment, teaching, scholarship and research.
[00:00:46] Speaker B: Now on to the Robert roulete podcast.
[00:00:49] Speaker A: You.
[00:01:14] Speaker C: Budy. Welcome back to Rock Roulette podcast. That's right, the crazy ass podcast that took over 1100 albums, stuck them in a list, put that list in a wheel, and typically every other week we spin the Wheel. She picks a record for us and we go through it one side per week unless it's shorter, and we try to get it done in one week, and we go through it track by track, and we rate it based on music, lyrics and production. Again, just a bunch of guys who love music just want to do a podcast. We're not professionals. Again, whatever that means, and just have fun and talk about it, how it relates to our lives. And we've known each other for a long time, so we bring up stories and shit like that. And like I said, we just have fun. And again, thank you to anybody who's been listening to us, anybody who's been commenting, following. I mean, again, get your friends to jump on board. If you like what you hear, give us any type of criticisms, comments, suggestions, we're open, we're cool, we're not uptight about anything.
And this week we have Frank back.
[00:02:15] Speaker A: My name is Frank.
[00:02:29] Speaker D: Hello, everybody. Great to be back again.
[00:02:33] Speaker C: Frank, do you have that as your ringtone or no, I'm going to make.
[00:02:36] Speaker D: It my ringtone for sure.
[00:02:38] Speaker C: You got to get it as your ringtone, man. That's good publicity. People are like, what is I was like, what? You don't know what that is? Rock Roulette. Hello, I'm famous.
[00:02:47] Speaker D: Actually, actually, the two of you should put that as my ringtone. So when I call, you know who it is, I have to do it.
[00:02:54] Speaker C: And we have Mark. Oh, hi, Mark.
[00:02:57] Speaker B: What's up, guys?
[00:02:58] Speaker C: And I'm sad. Ciao Bunatira.
So last week, the Wheel picked Deep Purple's third album, which is called Deep Purple. And we went through the first side. We're trying to do the whole thing, but we got a twelve minute song coming up on the second side. And Mark in his wisdom, said, yeah, let's cut it here. Which I think was a good thing.
[00:03:23] Speaker B: I called an audible.
[00:03:24] Speaker C: Yeah, but I think I mean, honestly, we ended on what I think we all thought was the strongest song, which was The Painter, which again, I've heard of. And I heard it's supposed to be a really good song, but I never really heard it until last week. And I'm on board. Overall, I don't think it's bad. It's not the let's say deep Purple. Very famous Deep Purple that a lot of people know. But I think The Painter is definitely more in that vein. It's more like the going back hush and then going forward to the new stuff because after this is when Mach Two came out.
But what are you guys thinking overall?
[00:04:03] Speaker B: Yeah, I'd like it so far. I mean, there's obviously places where they're trying to figure out what they're doing, you know what I mean?
But I think we like The Painter the best so far on that first side. I mean, there's a couple of other good songs on that side, but I think what everyone thinks of Deep Purple is going to be, like, in the next like in the see pieces over here.
[00:04:30] Speaker C: Yeah, especially in that last song. But, I mean, again, obviously, next album, if nothing else, you've got a new singer, which obviously in a lot of cases, definitely changes the sound of the band. And a lot of people that's what they associate bands with is the mean. Even Richie Blackmore goes into a different direction. He gets a little bit more solo y and a little bit melodic, a little bit more towards the classical and obviously with John Lord sharing the solos and everything. So here it's a little bit more individualized and he's also doing some funky sounds on the guitar.
[00:05:10] Speaker B: Yeah, no, like I said, I think they're trying to figure out the sound. It was funny. I was looking at some live stuff from around this period of time and it felt a little more like Deep Purple. But again, I don't know what's on the first I'm not as versed in Deep Purple, so I don't know what the first two records besides Hush?
I don't know as much. So maybe the other stuff does have more guitar on it than this does. I don't know.
[00:05:38] Speaker C: Probably this is at least one good way to start a foray into some of the Deep Purple we don't know. So, I mean, again, that's why we do this podcast, right? Discovery Rediscovery. So this was a good one to come up for us, I think.
[00:05:51] Speaker B: What did you think, Frank?
[00:05:53] Speaker D: No, I definitely liked the last two songs. I thought that those last two songs, are those still Side A or to start a Side B mark?
Like, if you were to look at the album, do you know?
[00:06:10] Speaker B: Oh, it's side A.
[00:06:11] Speaker D: It's still side A.
[00:06:13] Speaker B: Yes.
[00:06:14] Speaker D: Wow. I have to tell you, they have to be the end of Side A, right?
[00:06:18] Speaker B: Yes.
It's an order. I mean, Side B is shorter because there's a long song at the end. You don't get so much on the record.
[00:06:27] Speaker D: Yeah, so they definitely ended. I think side a really strong I liked it a lot. I enjoyed it. So I can't wait to hear side B.
[00:06:34] Speaker B: Me too.
[00:06:35] Speaker C: Yeah, I'm looking forward to it.
[00:06:37] Speaker B: All right, so let's do this. So the next song is why didn't Rosemary?
[00:07:05] Speaker A: There's a black hill. We have the climb everything I need cause nothing was mine satan's world how Black hill why didn't Rose Mary ever take the field?
Live and wait and waiting for the kill.
[00:07:31] Speaker B: I'm losing time but a keyboard super up front yeah.
I like it.
[00:07:38] Speaker C: Got a solo right from the beginning.
[00:07:41] Speaker B: No, I like it, though. Now I'm assuming I know it's someone I'm going to take a look at this really quick because I don't really know.
So this is original. But obviously that beginning part there is from something else, too, right?
[00:07:53] Speaker C: Yeah. That's from a bunch of different stuff. I think my first inclination is kind of like that British take. Right on. American blues.
[00:08:07] Speaker B: Yeah.
So the lyrics are, there's a black hill we had to climb everything I need but nothing's mine satan's world how about a kill? Why didn't Rosemary ever take the pill? Laying there waiting waiting for the kill oh, man won't do it but the devil will.
[00:08:27] Speaker C: So I read that this is actually about the movie Rosemary's Baby.
If anyone has seen it, I probably have.
[00:08:35] Speaker B: I haven't seen it in a long time.
It's going to be Satan, right? Isn't that what it is?
[00:08:40] Speaker C: Yeah.
[00:08:43] Speaker B: Well, I'm sure it was. It done in the 60s. I'm sure it was.
[00:08:46] Speaker A: Right.
[00:08:46] Speaker B: So that's probably what it's talking about.
[00:08:48] Speaker C: Yeah. What's his name?
I forgot his name. The guy who got busted then, I think, for underage roman Polanski.
[00:08:58] Speaker B: Roman Polanski?
[00:08:59] Speaker C: Yeah.
[00:09:02] Speaker B: I mean, I like this guy's voice. I don't think this guy has a bad voice at just it's a little different than what I think of Deep Purple because I'm probably thinking of Mach Two.
[00:09:13] Speaker C: Yeah.
[00:09:14] Speaker B: But it's not bad.
[00:09:14] Speaker C: He's definitely got a good voice. No.
[00:09:17] Speaker B: Yeah. It's not as rocky as who's next singer? Ian Gillen. Right?
[00:09:22] Speaker C: Yeah, Gillen.
[00:09:26] Speaker B: Okay.
[00:09:26] Speaker C: I mean, Gillen had a lot of that good screaming going, that inspired without a lot of the hair metal guys, of course.
[00:09:37] Speaker B: Here we go. Let's continue.
[00:09:43] Speaker A: Naturally mine I got life and the pain that goes with it if there's something else away can I get it waiting for them.
[00:12:05] Speaker B: You that was long.
[00:12:08] Speaker C: Yeah. It was good, though.
[00:12:09] Speaker B: It was good, though. I liked it. Yeah.
His sound here is so 60s guitar player, though.
[00:12:16] Speaker C: Yes.
[00:12:18] Speaker B: I think it sounds different in the 70s than it does here.
And it's more blues based here than it seems like it is later on.
I could be wrong.
And the organ solo was good, too.
[00:12:31] Speaker C: John Lord. Yeah.
My only complaint was that the drums felt a bit too mute. I guess the hi hat I hadn't even noticed was a bit muted. Like I was expecting more. I mean, honestly, if you had done it more with the ride or something I just seemed muted.
I need a little bit more oomph. You heard a little bit better during the guitar solo.
[00:12:59] Speaker B: I liked it was good. I like the guitar solo.
[00:13:01] Speaker C: I like solo.
[00:13:02] Speaker B: It was great.
[00:13:03] Speaker C: Yeah, it was good.
[00:13:05] Speaker B: Shades of what is going to be coming in the future, right?
[00:13:09] Speaker C: Yeah. Nice, long, bigger solos.
[00:13:13] Speaker B: Yeah. I thought the solo was going to end and I'm like, Wait, I'm going to hold off. No, this is not done yet. It's still going.
[00:13:18] Speaker C: Yeah, but it goes to show, though, right? I mean, considering how he's known for that classic vibe.
Right. And this is just straight up blues. I mean, he seemed pretty comfortable.
[00:13:32] Speaker B: Yeah. No, yeah. It's something I didn't realize. He nearly did. Like I said, I expected when I hear him, it's going to be more like a classical tinge on his playing, but obviously not. Obviously there's blue stuff going on, too, so it's good to know.
All right, so the second verse is I'm losing time and my mind why can I have what's naturally mine? I got life and the thing that goes with it if there's something else where can I get it? Laying there waiting, waiting for the kill oh, man, won't do it oh, man won't do it but the devil will so this is about the movie, I assume. Right.
[00:14:11] Speaker C: So you said Rosemary is a Baby came out in 1968.
[00:14:15] Speaker B: Okay. So it's fairly recent. It was like the year before this record.
[00:14:18] Speaker A: Yeah.
[00:14:19] Speaker C: I think the producer said they went to go see it and he just kind of wrote these lyrics.
[00:14:23] Speaker B: I mean, the lyrics aren't bad. No, pretty good. I'm going to back this up a little bit and we'll get into the verse.
[00:14:35] Speaker A: Here's my view I always lose things I want to do. Yesterday's news say lapse of all I've had it all out there without the dance song lying there waiting, waiting for the kill. Romy won't do without the devil. Wheel.
Take me as I am. Excuse for man whatever I push on the stops, man, it's a matter of interest. Tell me if you will. Why didn't Rose Mary epic feel laying out? Waiting. Waiting for the kill. Well, then we'll do about the Devil Wheel.
[00:15:31] Speaker B: His voice is so is so it's sort of bluesy, right? I guess it's a little bluesy. It's definitely not as rock as probably they want to be.
[00:15:40] Speaker C: Yeah.
It's good, though. And there's I like it. There's two guitars going on, right. I'm hearing guitar on both ears and it's two different things that are being played.
[00:15:51] Speaker B: I think so, yeah. I don't know, for some reason, I'm focusing on the lyrics on this song. I don't know why I'm not listening for guitar, for whatever reason. No, but whatever he's doing is great.
[00:16:03] Speaker C: This is a pretty good one two punch, considering back in the day you had to flip the record for this. But, I mean, if you got this on CD, it's pretty good.
[00:16:12] Speaker B: One two punch the painter and then this.
[00:16:16] Speaker C: Frank, what do you think? You've been quiet.
[00:16:18] Speaker D: No, I've just been enjoying it. No, I've been enjoying it. I really like the whole bluesy sound to like, Mark. I'm listening to the lyrics ever since you said that it was based on Rosemary Baby. So I'm just enjoying listening to the lyric and trying to make the association to the I haven't seen the movie.
[00:16:38] Speaker B: In a long, so yeah, me neither. I can tell you I can tell you everything.
[00:16:43] Speaker D: Can we hear some lyrics and can you read some of that?
[00:16:46] Speaker B: Yeah. So the last two verses are well, here's my views I always lose things I want to do are yesterday's news say life's a ball I've had it all all out there in another dance hall laying there waiting, waiting for the kill. Oh, man. I won't do it, but the devil will. Now I have to notice before I get to the next thing. Have you noticed in his writing here, it doesn't seem like the choruses and the verses are kind of set. He likes to back to back choruses up. Yeah, I mean I mean, verses like the back to back verses up like that. It's happened in a bunch of other songs earlier in the album. I'm just now just watching it's like, oh, he doesn't really break things up. He doesn't have, like, real choruses, at least a couple of songs. Didn't.
[00:17:31] Speaker C: He kind of throws them in? Well, there was that one, remember, where I forgot what the song was. So we had kind of gotten to what seemed to a chorus, and we're like I was like, the verse was good. What happened in the chorus?
[00:17:43] Speaker B: Yeah, I don't remember. I don't remember which one it was.
All right, so verse four is take me as I am excuse for a man wherever I push someone stops my hand as a matter of interest tell me if you will why didn't Rosemary ever take the pill? Laying there waiting, waiting for the kill oh, man, oh, man won't do it but the devil will yeah, so I.
[00:18:06] Speaker D: Did hear that part where you said, why didn't Rosemary take the pill?
[00:18:11] Speaker B: And the pill has to be fairly new at this point, right?
[00:18:16] Speaker C: Because I was thinking that, too. It's like, when did the pill come.
[00:18:20] Speaker B: Out in the think? Right.
Well, you look that up while I finish playing this.
[00:18:25] Speaker C: I mean, for them to reference this yeah, I know.
[00:18:27] Speaker B: Seriously.
Here we go.
[00:18:45] Speaker A: Happy birthday.
[00:19:22] Speaker B: So I'm going to read the last lyrics before we talk about it. So it's hard to hear the lyrics in the end, but he goes, oh, why won't Rosemary take the pill? Oh, no why didn't Rosemary ever take the pill the first day? Oh, lying there waiting waiting for the kill I said, why didn't Rosemary ever take the pill? Now when they say they're waiting for the kill mean they're waiting for the baby to come out so they could kill the baby? Is that what we're saying?
Is that what they mean?
I'm confused. I don't know.
[00:19:54] Speaker D: I don't know.
[00:19:56] Speaker B: But that's what it sounds like.
[00:19:57] Speaker D: Yeah, it does sound like that, but I'm just trying to put into context, like.
[00:20:06] Speaker B: Yeah, I heard both of the guitars this time, Sav, so I heard both things.
[00:20:14] Speaker D: They're both going back to back.
[00:20:16] Speaker B: Yeah, I heard the guitar on one side and the guitar on the other side. It's actually different for them. I mean, this is a lot bluesier than I think that I actually thought Deep Purple gets to well, it's also.
[00:20:26] Speaker D: In that era where blues was very I don't know. To me, personally, I always related sixty s more to the blues era than anything else.
So I'm not totally surprised.
[00:20:41] Speaker B: Oh, no, I'm not surprised. But I always feel like they're more of a I don't know why. I think they're more of a progressive band, but I mean, there is blue stuff in all the stuff they do, I guess.
[00:20:54] Speaker D: Yeah.
Actually, I thought they were more like psychedelic rock kind of group.
[00:21:01] Speaker B: You think so?
[00:21:02] Speaker D: Like I said, this is the first time really listening to it from start to finish.
[00:21:08] Speaker B: So you never really listened to the Deep Purple at all, I guess.
[00:21:11] Speaker D: Not a whole lot, no. I guess in my mindset, I just associated them to be psychedelic rock.
[00:21:17] Speaker B: Well, there is a little bit in here, too.
[00:21:19] Speaker A: Yeah.
[00:21:19] Speaker C: There's elements of that here, though, for sure.
[00:21:21] Speaker D: Yeah. No, but I thought they were completely psychedelic rock.
[00:21:25] Speaker B: Oh, no.
[00:21:27] Speaker D: Like a Jefferson Airplane?
[00:21:28] Speaker C: Kind of. This is their third album, and I know that Hush is, but when you consider these last two songs don't sound too much like what's been going on before, who knows what's on the other records?
[00:21:42] Speaker B: All right, I'm going to go first. I like the lyrics.
I like the lyrics a lot, actually.
They're doing a good job trying to tie you into the movie a little bit.
So I guess if you hadn't seen the movie, maybe you went to see the movie after you heard the lyrics of this. I don't know. So I'm going to give them a seven. I like the music a lot. I'm going to give it that eight. And production production is fine.
I don't think it's spectacular. I think you're right.
It's hard to hear the hihat.
[00:22:11] Speaker C: Yeah.
[00:22:12] Speaker B: But I did hear all the other guitar stuff, so I'm still going to give it an eight.
I think it still could have been a little bit better, but I wasn't horrible.
If this came on, I wouldn't turn it off.
[00:22:24] Speaker D: Frank no, I liked it a lot, too. I enjoyed the music itself. I thought that I don't know, I liked it a lot. I mean, I like the dual guitars going back and forth, so I'm going to give that an eight. The production, I don't think it was terrible. I was able to hear everything that they wanted to put out there.
So I'm going to give that an eight. And the lyrics. I really like the lyrics and the reference back to the movie. So I'm definitely going to give that an eight as well.
Sav yeah.
[00:23:01] Speaker C: I'm going to say seven on the lyrics, too. I mean, listen, anytime hard and hard movies are referenced, I'm always cool with that.
Yeah, the music was definitely an eight. I mean, I really liked it and I like the organ solo done then, followed by the guitar solo. Also gave me kind of like that Dorsey vibe where they each had their own space to do what they wanted to do. So I'm always cool with that.
I'm going to say a seven on the production just because the one part, I think when the organ was going, I'm like, where's that oomph?
And I think I gave a production to the other one, an eight. So I have to hold back a little bit. But, I mean, it's a really good song overall.
[00:23:42] Speaker B: Yeah, I like it.
[00:23:43] Speaker C: I like it done well and played well. So, again, like a really strong one two punch here.
[00:23:51] Speaker B: So the next song is The Bird Has Flown and that was written by John Lord, evan Rod Evans and Richie Blackmore.
So let's see what this thing does.
[00:24:03] Speaker C: I'm thinking so.
[00:24:06] Speaker B: You think so? I don't think so.
[00:24:08] Speaker C: I don't know.
[00:24:09] Speaker B: I don't know.
Are you saying that by the title, by itself, possibly. Just because the title I'm just thinking kind of mellow.
[00:24:15] Speaker C: What? I could be wrong.
[00:24:16] Speaker B: Yeah. Okay, here we go.
[00:24:33] Speaker A: On his cornerstone catches busy on his wrinkle hand plus the lava stone catches nothing only grains of sand.
[00:24:51] Speaker B: It'S a weird sound.
[00:24:53] Speaker C: Yeah. Told you. Ballad. I bet you a lot of people had this at their wedding.
[00:24:57] Speaker D: Oh, man, I was just about to say this. Like, what happened here? What was this recording?
[00:25:06] Speaker C: It was recorded years ago.
[00:25:09] Speaker D: Like, in somebody's garage?
[00:25:11] Speaker B: Yeah. With a microphone, like 20ft away. I don't know what's up, but it.
[00:25:15] Speaker C: Sounds like there's a good song there that we just can't hear.
[00:25:18] Speaker B: Yeah, I don't know what's up with that.
I have no idea what changed. I'm confused. All right, let's continue. I'm just confused.
Well, I'll read you the first verse, I guess, since you already did it. Oh, the beggar on his cornerstone catches pity in his wrinkled hand but the lover whose bird has flown catches nothing only grains of sand. That is actually really good.
[00:25:42] Speaker C: That's deep, man.
[00:25:45] Speaker B: I like that a lot.
[00:25:46] Speaker C: Yeah. Overall, I mean, I think we've been digging the lyrics.
[00:25:50] Speaker B: Your lyrics are good.
[00:25:52] Speaker C: Yeah.
[00:25:52] Speaker B: All right.
Production wise, I don't think this will get any better, but here we go.
[00:26:01] Speaker A: All the children in the distant house they have feelings only children know.
But the love catches nothing. Only great to know.
The sensation is not new to you. It's something you all have known.
You get it? It goes. Right through you. Yes, it's something we all have known and the bird is flown to a place on its own somewhere all alone.
[00:26:54] Speaker B: The doors called. They want their song back.
I mean, it's not bad.
It wants to be, though, right there.
[00:27:02] Speaker C: It's like, what the hell is going on, man?
[00:27:05] Speaker B: No, but that part right there.
[00:27:08] Speaker C: What is it? Give me some loving. You know how, like, the bass in the beginning of that song, it kind of blows everything away?
[00:27:20] Speaker B: Yeah. Well, the production is not great, and that part at the end wants to be. It's a little Dorish like toward the end right there, which is okay, I guess.
[00:27:30] Speaker C: No, go ahead.
[00:27:31] Speaker B: But his voice is not as good in this whatever range we're going in right here. That last part, I didn't like his voice there.
[00:27:39] Speaker C: And you know what? That's kind of a chorus.
It is a chorus so far.
[00:27:46] Speaker B: Okay, so the second verse is good. All the children in the distant house they have feelings only children know but the lover whose bird has flown catches nothing only flakes of snow that's actually good.
[00:27:59] Speaker C: Yeah, it's really good.
[00:28:01] Speaker B: And then the chorus is the sensation is not new to you it's something we all have known you get it? It goes right through you. Yes, it's something we all have known and the bird, it has flown to a place on its own somewhere all alone yeah, I don't think the chorus is as good as the verses are.
[00:28:22] Speaker C: No.
[00:28:25] Speaker B: And like I said, I didn't like his voice in that last part of the song. It just was not in the register. Whatever I like about his voice is not okay. Yeah, I like it in the verse.
[00:28:36] Speaker C: It's good. He's almost like monotone, but it fits.
I like what he's doing.
[00:28:42] Speaker B: What do you think, frank?
[00:28:44] Speaker D: I don't know. I'm a little confused. How do you go from what we just heard to this?
[00:28:48] Speaker B: I don't.
[00:28:52] Speaker D: Of I'm a little bit confused so far.
I don't think this sound matches his vocals.
[00:29:01] Speaker C: This is like an older demo, almost.
[00:29:03] Speaker D: Yeah, it sounds like a demo to me, and it just doesn't I don't know. This sound doesn't fit the vocals in my personal so far. I think so. I don't have an opinion just yet. I want to hear the rest of it. I'm just trying to figure out why this song in this spot instead of.
[00:29:23] Speaker B: Why does it sound like that, why.
[00:29:26] Speaker D: This song in this spot? And why does it sound this way?
[00:29:29] Speaker A: Yeah.
[00:29:29] Speaker B: I don't know. All right, well, let's continue. Let's see if they can pull this out somewhere with something.
[00:29:40] Speaker A: You all I heard is in his lonely cave had to sell to keep him company but the lover whose burdens blown has his heartache just the same as me sam says the sensation is not new to you it's something you all have known you get it? It goes right to you yes, it's something we all have known.
[00:30:17] Speaker B: And the.
[00:30:18] Speaker A: Bird slow.
[00:30:25] Speaker B: Okay, well, that chorus was a little bit better. I don't know what they did in the first chorus. Yeah, but yeah, but his voice is I don't know. I like it. It's okay. In the verses and the choruses, this one was a little bit better.
So it's now the hermit in his lonely cave has someone to keep him company but the lover whose bird has flown has heartaches just as you and me well, it says same as you and me he doesn't say that he has heartaches just like me but that's not what the lyrics here say. I don't know if I doubt there were lyrics inside this record in 68. I doubt it.
And then the chorus is the same. The sensation is not new to you it's something we all have known you get it? It goes right through you it's something we all have known and the bird is flown so I don't know.
The production is a little wacky. Yeah, everything sounds a little weird.
[00:31:25] Speaker C: It says there was, like a clear it was like, experimentation that they were trying to do, even though they said some of the earlier experimentation, because this is a little bit more kind of straightforward. So it's like in between hard rock experimentation.
[00:31:43] Speaker B: You think this is what they wanted to do and this is where his voice didn't work for them, maybe.
[00:31:47] Speaker A: No.
[00:31:48] Speaker C: I don't know, man. Again, I think his voice is good for what they're doing here.
I just think that the production is.
[00:31:58] Speaker B: And this lesson was on purpose. It was on purpose to sound like this.
[00:32:02] Speaker C: I mean, it was recorded, they said, the same day as something else and was chosen as a B side for the US release.
[00:32:09] Speaker B: Okay.
All right, so they have 44 seconds. Let's see what this is. Supposedly a guitar solo and organ solo. How quick can they be? Let's see.
[00:32:21] Speaker A: All the hermit in his lonely cave has itself to keep him company but the lover whose bird is blown as his heartache does the same as me the same as me now I can't.
[00:33:03] Speaker B: Well, there's no solos in there at all. Obviously, the site is incorrect.
I don't know what to make about that.
Is it horrible? No, I think it's a good song.
[00:33:17] Speaker C: I think the production is what's killing it.
[00:33:20] Speaker B: Oh, it kills the crap out of it.
[00:33:22] Speaker A: Yeah.
[00:33:22] Speaker B: And I didn't hear anything that was this bad before. Do you hear anything that was this? Unless they forced this on.
[00:33:27] Speaker C: Oh, my God. As soon as this started, I was like, wait, what?
[00:33:33] Speaker B: Well, then you can go first, then.
[00:33:35] Speaker C: I mean, the lyrics are really good.
I'm going to say an eight because I don't know what I gave some of the other ones, but, I mean, these are really good. They're poetic and they're really good lyrics. I like them music. I like the music.
I wasn't crazy about the chorus, but it did get better.
So I'll say a seven on the music and I mean production. Jeez.
I'm going to say a five on the production. I was going to say six, but I have to lower it.
I don't know. It's just confusing. I don't know if this is what they were going for. This is even if it were what.
[00:34:19] Speaker B: They were going for, it was a bad mistake.
[00:34:21] Speaker C: But it's just so drastic.
Even if you want to do an effect on his voice, let's say, because then even at the end, right. It seemed like even when he does like that scream, I mean, it seems like there's an effect on his vote, but do it that way. Keep it on him, but don't keep it on everything.
So this is definitely a case of where production I'm sure we're all going to agree here, so I don't.
[00:34:52] Speaker B: This is where it does that.
[00:34:54] Speaker C: Yeah. If anybody listens to this episode and you're like, no, you don't get it, please tell us.
[00:35:00] Speaker B: I need to get it.
[00:35:01] Speaker C: Yeah. Because I just feel the production killed again. Like a one, two, three punch.
[00:35:09] Speaker B: Obviously not. It's obviously not a time frame thing either, because the Hendrix stuff was done this there was tons of records done at this time frame. Didn't sound like that.
[00:35:17] Speaker C: No, but anything before this, even just on this record. Yeah, if we were complaining about the production throughout I mean, not that it's incredible sounding, but there's been nothing like this.
[00:35:32] Speaker B: All right, Frank.
[00:35:37] Speaker D: I like the lyrics.
It's growing on me. And it's something that I definitely want to go back and revisit.
So I'm definitely going to give that a seven.
The music itself, it just seems like they kind of try to do a throwback a little bit to try to fit to that time frame. So I like the music. I'm going to give that a seven. And the production, I mean, hey, listen, this was on purpose. They had to create a certain sound. They want to go back to create a specific sound.
And that's not always easy to do.
I'm going to go ahead and give that a seven as well. So triple seven is across the board for me.
[00:36:21] Speaker B: Nicky Titty, baby. Seven, seven, seven. You're much better than me. I think I'm doing Sabina. I'm doing eight on the lyrics because I like the lyrics. Seven on the music and five on the production. I don't care what anyone's trying to do. No one can tell me anyone listens to that. Even then, with all the other things they did and said, oh, this sounds great.
Yeah, no, unless you really want it to sound like shit. And if that's the case, then we give you a ten because you did a really good job making it sound like shit.
[00:36:48] Speaker C: Yeah.
[00:36:49] Speaker D: So let me ask you this, Mark. If this was the first song on the album, what are your thoughts?
[00:36:55] Speaker B: I still would have gave it a five. Really? Wow. Yeah, because it sounds like crap. It sounds like someone's recording. It with a fucking towel over the microphone.
[00:37:06] Speaker C: I mean, no joke. This isn't much better than us recording in some cheap studio with the radio. This reminds you of honestly.
[00:37:16] Speaker B: Yeah. This is not great.
[00:37:18] Speaker C: That's what it kind of reminds me of.
[00:37:21] Speaker B: Well, here comes the albatross into the room.
[00:37:25] Speaker A: Yeah.
[00:37:26] Speaker B: So this is April. It's a twelve minute song, so I'm curious.
[00:37:35] Speaker C: A lot of lyrics. I think there should be a lot of music in this one.
[00:37:39] Speaker B: Oh, I'm pretty positive there is some lyrics. But it can't be as this is not twelve minutes.
So I'm curious to see when the lyrics actually even come in here.
All right, here we go. Brace yourselves, people.
So before changes, what are we thinking about that?
It's actually really good.
[00:40:16] Speaker C: Yeah, it's not bad.
[00:40:17] Speaker B: It reminds me, I mean, obviously it's.
[00:40:21] Speaker C: An early Prague rock feel for sure.
[00:40:23] Speaker B: Oh, super. And obviously way better produced than the track before it.
[00:40:28] Speaker C: Yeah, that's not the so mark, depending on how quick we are. Not quickyard. The Bird has Flown alternate a side version, Symposy, that's only 254. And then they changed it over to this. I don't know if we find out if that's any better, but keep that in mind, okay?
[00:40:48] Speaker B: Yeah, I don't know. Well, I think we're going to keep it the way it is because this is the way you would have listened to the record, right? So you would have hit that thing and went, what the fuck? Anyway, again, I don't think it's a bad song going back to that.
[00:41:01] Speaker C: Not at all. But that's what I'm saying. That's why it kind of pisses me off.
[00:41:05] Speaker B: Well, this is definitely a little more praggy.
[00:41:08] Speaker C: Oh, yeah, absolutely.
[00:41:13] Speaker B: But not a super lot of drums yet.
[00:41:15] Speaker C: Kind of just very simple doom.
[00:41:17] Speaker B: Very simple.
[00:41:18] Speaker C: Yeah.
[00:41:20] Speaker B: I like it though. I like the acoustic guitars. I think there's a twelve string in there. There's electric now coming in now. There's some vocals, there's some chorus coming in, so I like it.
[00:41:31] Speaker C: I definitely feel like walking into the Renaissance Fair here.
[00:41:34] Speaker B: Yeah, that's what it does sound like.
Frank, what do you think so far?
[00:41:42] Speaker D: So far, I think it's the kind of song that you want to listen to as you drive around your Volkswagen bus looking for the perfect stream. Driving through the country through the English countryside.
That's what it sounds like so far, but we'll see.
[00:41:56] Speaker B: Driving through the English countryside? Is that what you said? Yeah.
[00:41:59] Speaker D: Driving through the English countryside looking for some shrooms or something.
[00:42:04] Speaker C: There you go. Trip. Road trip.
[00:42:07] Speaker A: Yeah, baby.
[00:42:12] Speaker B: All right, let's continue our trip to the English countryside. Here we go.
[00:42:16] Speaker C: On shrooms.
[00:44:01] Speaker B: Know, though, you could see like, where like a movie like Spinal Tap makes fun of this like a stonehenge.
[00:44:10] Speaker C: Yeah, it's got that big.
[00:44:13] Speaker B: But I mean, obviously, musician wise, it's ridiculously good.
[00:44:18] Speaker C: Yeah. These guys can play their instruments, without a doubt.
[00:44:23] Speaker B: And they didn't care anything about commercial success with this side of the.
[00:44:29] Speaker C: Mean. I said that Richie Blackwater had written this before, like the album. I think it said it's his birthday, April. So.
[00:44:40] Speaker A: Yeah.
[00:44:40] Speaker B: No, it's great.
[00:44:41] Speaker C: I'm really curious to see where this goes, if it's going to stay in this vein or it's just kind of.
[00:44:44] Speaker B: Like no, I think it's got to.
[00:44:46] Speaker C: Change kind of erupt into something.
[00:44:48] Speaker B: I think it's going to change. And then there's lyrics, and that's got to be on the back half of this, I assume.
[00:44:53] Speaker C: Oh, yeah.
[00:44:55] Speaker B: All right. Here we go, people. Here we go.
So obviously we're into some orchestral stuff right now, and supposedly the strings were arranged by John Lord.
[00:47:03] Speaker C: The production on the orchestration is really good.
[00:47:06] Speaker B: Yeah. I don't know. Doesn't say what orchestra they use for this. It's not saying.
I don't know.
But, I mean, obviously this is a very ambitious thing to do. All right, let's let's continue.
[00:47:38] Speaker A: Al.
[00:48:54] Speaker B: How long would it have been until you skipped through this thing if you were listening to it?
[00:49:02] Speaker C: Maybe three minutes ago.
[00:49:05] Speaker B: It's kind of long.
[00:49:06] Speaker C: I mean, this part here is a bit.
[00:49:11] Speaker B: This is very Renaissance fair.
[00:49:13] Speaker C: Yeah, definitely. Very. I'm waiting for the guys to come jumping around, shoot some arrows.
I mean, again, it's not bad.
I'm also a big fan of fantasy movies and stuff like that that would incorporate this. But when you know, or you think that something bigger is coming, I'm just like, okay, all right, let's go. What's coming?
[00:49:42] Speaker B: It shouldn't be that long. I think at 848 changes. We're at 722, so let's see if.
[00:49:46] Speaker A: We can get to that party.
Be shaped. As it slowly comes away still falls the April rain and the valley still with pain and you can't tell if I cry as I look up to the sky where it should be blue where I should why should be so that I don't know.
[00:52:03] Speaker B: Well, that's much better.
[00:52:04] Speaker C: Yeah.
[00:52:05] Speaker B: I mean, I actually like his chorus in there, actually. Not too bad. Usually choruses, I don't like his that much, but I like that chorus.
[00:52:12] Speaker C: Yeah. And, I mean, I think it fits. You know what I mean? To me, it wasn't something where well, I wasn't expecting this type of song. I think it does kind of fit what was going on before.
[00:52:25] Speaker B: Yeah.
[00:52:26] Speaker C: But just a long time to get there.
[00:52:29] Speaker B: Yes.
So the verse is, April is a cruel time even though the sun may shine and the world looks in the shade and slowly comes away still fall the April rain and the valleys filled with pain you can't tell if I cry as I look up to the gray sky where should it be? Gray sky where should I see? You ask why why should it be? So I'll cry say that I don't know so lyrics are pretty good.
[00:52:59] Speaker C: I mean, overall, not bad. In general, we've given some pretty decent ratings to the lyrics.
[00:53:08] Speaker B: Frank, you liking this part better?
[00:53:17] Speaker C: Frank fell asleep at the fair.
[00:53:21] Speaker B: Yeah, he's probably sleeping at the oh, there he is.
[00:53:29] Speaker C: He just had a big cup of meat with a turkey leg.
[00:53:34] Speaker B: Where did Merlin make him disappear? He's gone. Yeah, it's like.
[00:53:41] Speaker D: Oh, guys, can you hear me?
[00:53:43] Speaker B: Yeah, I can hear you're back.
[00:53:44] Speaker D: Yeah, no, the thing keeps cutting out on me. I don't know what's going on.
[00:53:48] Speaker B: So do you like this part better?
[00:53:50] Speaker D: Yeah, I do. I like it a ton, actually.
Like I said, it just caught me by surprise, that's all.
But I like it better overall. Like you and the two of you, I found it to be very different, very unique. And I like the sound.
[00:54:11] Speaker B: Yeah. All right, let's continue.
[00:54:18] Speaker A: Maybe once in a while I'll forget when I smile.
But then the feeling comes again of an April without end. Of an April only as a goddamn mind I can see hope to find.
But there is nothing to be done when I just can't feel the sun and the springtime is the season of the night.
Gray where it should be blue gray sky where I should be.
SA.
[00:56:42] Speaker B: It was like early sweet picking. They hear that.
I was like, what the hell?
[00:56:48] Speaker C: That was cool.
[00:56:49] Speaker B: It was cool. Well, let me read lyrics, then we can talk about the end part of it.
So the bridge goes maybe once in a while I'll forget and I'll smile and then the feeling comes on again of an April without end of an April lonely as it come in the dark of my mind I can see all too fine but there's nothing to be done when I just can't feel the sun and the springtime is a season of the night. And then chorus gray sky, where should it be? Blue gray sky, where should I see? You ask why, why should it be? So I'll cry said it, I don't know.
And right before that chorus, there was a really cool guitar lick, which is good. And that guitar stuff at the end was pretty neat.
[00:57:30] Speaker C: Yeah, it was good.
[00:57:31] Speaker B: Yeah. So kind of long to get there, but it was kind of worth the wait to get there.
[00:57:35] Speaker C: Yeah. I mean, that part was really good. I like that.
[00:57:38] Speaker B: So, Sabina, why don't you go first?
[00:57:40] Speaker C: I'm going to say a seven on the lyrics.
Pretty cool. Pretty cool, pretty poetic.
So production, I'm going to say an eight. Everything is very clear and the orchestration was done well.
I'm going to say a seven on the music and not because of an appreciation for what was going on, but as a whole, I think if the song was four minutes shorter, I probably would have given it an eight.
But just as a whole, I mean, the last part, I probably could give an eight, so but I'll just say seven overall.
[00:58:24] Speaker B: Mark I'm going to say seven on the lyrics because I like the lyrics a lot. I'm going to get an eight on music because I'm not going to bang the music because of the eight minutes of instrumental before that part.
If I would do anything, I think maybe I'll do seven on production, because that's a production thing.
We should know better than to do that or split it up or do something or maybe take the first part and put that to the end part and cut the middle out. I don't know, do something. Because I actually like the song by itself, so I can't just kill it.
[00:59:01] Speaker D: Frank yeah.
So I like the lyrics, for sure. So I'm going to go ahead and give that a seven.
The production itself, I mean, everything's great, sounds great. It really pops out there. So I'm gonna give that an eight.
And the music, I'm gonna go ahead and give that a seven as well.
I just like the sound. Didn't like the long upstart, but I can't complain about it.
I like the music a lot, so I'm going to give that a seven.
[00:59:41] Speaker B: Well, just so you know, I mucked up before I played the wrong version of The Bird Has Flown. Would you like to hear the real version of The Bird Has Flown?
[00:59:49] Speaker C: Yes. Hopefully it's better than the one we've heard. I mean, again, it's not that it was a bad song. It's just that production was well, I.
[00:59:57] Speaker B: Guess we'll find out right now, let's see if this sounds better because I was very upset that it went into that weird place after two good songs in a row.
Let's see.
Yeah, that's fucking way better.
[01:00:36] Speaker C: Yeah.
[01:00:37] Speaker B: Jesus Christ.
So I must have played the wrong one when I played it the last time. Oops.
[01:00:44] Speaker C: That's all right. I'm glad to hear it.
[01:00:46] Speaker B: Yeah.
[01:00:47] Speaker C: I'm glad to know that a version like this exists.
[01:00:50] Speaker B: Yeah, because like we said, we liked the song. It was just a production that fucked it.
[01:00:54] Speaker C: Yeah.
[01:00:55] Speaker B: But I want to hear the rest of this and see how it kind of works out. See if I like this anymore.
[01:01:02] Speaker A: Catch a drink of hand.
All the children in the distant house they have feelings only children know what the lovers don't catch nothing.
It the sensation is not new to you. It's something we all have known.
You can go back to you. Yes, it's something we all have to a place on its own somewhere all alone.
[01:02:08] Speaker B: Tiny I didn't realize how much WA was in that song until now. Like, it was so muddied up that it yeah, it's really good. It actually makes it makes a song. I don't know if I like his deep voice at the end of that part.
[01:02:27] Speaker C: It was just weird.
Where did that come from?
[01:02:33] Speaker B: It's like a crooner singing rock music.
It's weird again, but maybe this is one of the reasons why they ended up getting someone else. Because they wanted to do other stuff, not that his voice is bad. It's just maybe not what they were looking for.
Well, I'm liking this so far, so maybe I'm going to have to change a couple of things at the end of this. Let's see.
[01:02:58] Speaker C: Yeah.
[01:03:01] Speaker A: All I heard is only keep it company but the go that's all you and me baby, the sensation is not new to you it's something we all have you get it?
Yes. Something we all know and the bird of a spoke baby, you all the hurry every step of the robin it.
[01:05:52] Speaker B: Now, what I got to say is those parts are really good. And the funny part during the keyboard parts, that you can hear all his hands hitting the keys. Like, you never would have left that nowadays, which I didn't really I wouldn't think you would leave that there, you know what I mean? But they left those pieces in there, even though they probably could have cleaned out of it if they wanted to.
[01:06:17] Speaker C: I mean, I wish there was a little bit of a drum backing it when he was doing it.
[01:06:23] Speaker B: Was he playing drums like this in the last version? Because the drums in here I like better.
Do they sound the same?
[01:06:29] Speaker C: There's more going on here. Yeah, that's what I think. I think it was simpler, it was more straightforward.
[01:06:39] Speaker B: All right, we got, like, a minute left. Let's see.
[01:07:42] Speaker A: It.
[01:07:42] Speaker B: Well, that's much better.
[01:07:44] Speaker A: Yeah.
[01:07:47] Speaker B: Well, I think I'm going to have.
[01:07:49] Speaker C: To.
[01:07:51] Speaker B: I'm going to go through all my numbers again, so I'm going to say eight on lyrics. I think that's what I had before. I'm going to do eight on the music as I think it's much better. And I'm going to go from five to seven, I think, on production, because it's way better. I don't know what the fuck the other thing was or why I played that version besides this version, so I don't know.
Frank, are you going to keep everything seven, seven, seven across across the board like you did last time?
[01:08:26] Speaker D: No, I'm going to give the music an eight on this one. I like this one.
[01:08:29] Speaker B: He upgraded himself.
[01:08:30] Speaker C: Nice. Yeah.
[01:08:31] Speaker D: No, I like this.
I like the drums towards the end.
[01:08:36] Speaker B: The drums are really good.
[01:08:38] Speaker D: He basically has a drum towards the end.
[01:08:39] Speaker C: Had that in the other part. But maybe that's why they you know what I mean? They're like, we'll do it. So just leave it blank now.
[01:08:46] Speaker B: So, Sav, what are you doing?
[01:08:49] Speaker C: Um what'd I say before seven on the lyrics.
[01:08:52] Speaker B: No, I think you said eight on lyrics.
[01:08:54] Speaker C: Did I really think so.
[01:08:57] Speaker B: That's what I have here. So I typed it wrong.
[01:09:01] Speaker C: I'll keep that music, I'm going to bounce up to an eight. I don't think I had eight before production. Production. I'm going to say seven.
[01:09:13] Speaker B: Yeah, it's way better.
[01:09:15] Speaker C: Oh, yeah. I mean, just the crack of a snare and the pop of the snare.
This is like night and day. I mean, you can tell obviously it's the same song, but it's just again, who knows, maybe I was trying to find some more information. I'm sure it's out there.
And maybe the Deep Purple podcast think.
[01:09:39] Speaker B: That this song makes the second side maybe better than the first side overall. Yeah, I mean, obviously notwithstanding the twelve minute song and if they could have broken it up or done something different with it, but I can't fault the musicianship on the no at all.
But yeah, I wish they would have made broke it up and done something else. But I mean, it's rare that the second side tends to be better than the first side because I think we had a lot of sixes on the first side and on the second side, except for the painter on the first side, that's where it started to turn around.
[01:10:14] Speaker C: Yeah.
[01:10:17] Speaker B: Doesn't happen all the time. It rarely happens.
[01:10:20] Speaker C: Then you feel that baton being passed on to the next version.
[01:10:25] Speaker B: Mach two. Well, I'm glad we did this. There were certain bands where I'm like the greatest hits guy, like Doobie Brothers, Sticks, Ario, Speed Wagon, you know what mean? Like I don't know, a just I know the hits or whatever they play.
So to hear a record like this where I know the hits from Deep Purple, but not anything like any deep parts of it makes it exciting for when we get some deep cuts from Deep Purple.
So I'm sure when I was playing The Other Bird Has Flown, the Deep Purple podcast from our network was screaming at us, that's the wrong one.
[01:11:04] Speaker C: Good version.
[01:11:05] Speaker B: Play the good version. You're playing the wrong one.
My mistake. My Butterfingers went to the Wrong Bird has flown on this thing. But I'm glad we came back because it does help that side a lot because I was really annoyed that they went from where they went to that I was like, what the hell?
[01:11:25] Speaker C: Yeah, no, me too. And again, I mean, I thought that there was a good song there. It's just the production killed or whatever they were trying to do with it.
[01:11:32] Speaker B: Yeah, I don't know what they were trying to do. Make it shorter. They were making it shorter.
[01:11:35] Speaker C: I assume this version kills the other one.
[01:11:39] Speaker B: Oh, it kills it.
There's no doubt.
All right, well that's excited. I'm excited. We got this.
[01:11:47] Speaker C: Yeah, me know, like you said, you know, that the songs there's good songs and you say to yourself, all right, even if I know the greatest hits from this band, this band is too good for them not to have other songs that I haven't heard.
[01:12:00] Speaker B: Yeah, I agree, Savina. Once you do your thing.
[01:12:05] Speaker C: Yes. So speaking of the Deep Purple podcast, we are all on the Deep Dive Podcast network again, great bunch of guys. And you want more individualized and let's say further knowledge on individual bands. These are the guys to check out again. You got deep purple. Tom Petty, our budies at Rush, Rash and queen Maiden.
[01:12:29] Speaker B: Van Halen.
[01:12:29] Speaker C: Uriah Heap. Yeah, Van Halen. I mean, obviously. Check them out. And Mark, where can they find us? On the Internet.
[01:12:38] Speaker B: On the interwebs rockwillet pod rockwilletpodcast.com. Share our episodes. Vote us up on whatever platform you listen, whether that's good pods or Apple podcasts or Amazon or Spotify or wherever that is. Leave us some five star reviews that moves us up. And that means more people hear us and gives us the energy to continue going and doing this because it's a rediscovery or discovery in this case for us, of albums we've heard or not heard. And you never know, things may change in the way we either like or don't like things just because we're hearing it. How many more years later?
Or finding something like this, which, generally, I don't think I would ever have played on my own.
[01:13:21] Speaker C: Maybe somewhere down the line one of the things we just thought about it we can do is kind of go back to something we've listened to and then see if our scores change.
That'd be interesting.
[01:13:35] Speaker B: So if anyone has a record they want us to maybe go back to just drop us a line and say, hey, why don't you guys go back and listen to this again? Tell me what you think.
[01:13:43] Speaker C: Yeah, maybe there's something you liked and we didn't like. Or vice versa. Like, what the hell? This album sucks. You guys.
[01:13:49] Speaker B: Like, sucks. Yeah, it's possible.
Anyway, well, I guess next week we get the spin, which is always fun, and we will see what we come up with. Who knows? We were all wrong this time. We all picked a decade and it totally gave us a curveball, as the wheel does all the time into the avoided everything we picked.
[01:14:10] Speaker C: Seventy s. Eighty s. Ninety s. Right. And we got the 60s.
[01:14:12] Speaker B: We got the course.
That's the way it goes. The wheel does what it wants.
[01:14:17] Speaker C: Exactly.
[01:14:19] Speaker B: All right, people, we will see you next week.
[01:14:21] Speaker C: Me jobs hop.
[01:14:23] Speaker B: Later, guys. Later.
