Those Who Are About To Dive with Dr. Glund

Album 2. Track 3. Butty's Blues

THIS WEEK ON THE PROGRAM… Having narrowly avoided becoming permanent members of a 4/20 council (attendance optional, memory unreliable), your hosts Chaz Charles and the Voluptuary of Sonic Discernment, Dr. Glund, return to the sacred excavation site… Colosseum Track by bloody track. No safety net. No edit machine mercy. This week’s descent lands us squarely in the curious, blues-soaked corner of Valentyne Suite… A track that may or may not be about a sandwich. (It is not about a sandwich.) TRACK UNDER THE MICROSCOPE: “Butty’s Blues” — Colosseum A laid-back blues? Yes. A simple blues? Not a chance. This is Colosseum doing what they do best—taking something structurally familiar and quietly mutating it until it starts breathing on its own. What begins as a seemingly straight 12-bar framework (dismissed by the uncultured as “tarted up”) quickly reveals: * Horn arrangements that arrive like uninvited aristocrats * A rhythm section that refuses to sit still * Guitar lines that smolder rather than scream * And a sax presence that may, in fact, be narrating events from another dimension Dr. Glund identifies the key paradox: > “They’re either serving the song… or they’re completely out of their minds.” No middle ground is found. SONIC AUTOPSY: * Jon Hiseman: Not merely keeping time—installing infrastructure * Dave Greenslade: Laying down organ textures like a suspiciously groovy fog * Tony Reeves: Bass lines clocked, measured, and spiritually approved * Dick Heckstall-Smith: Delivering a solo that may have been smuggled in from a jazz club after hours * James Litherland: Tone so relaxed it nearly escapes the studio mix entirely Verdict: This is not a showcase track. This is a controlled drift into blues abstraction—a band choosing restraint… and still sounding like they might combust. LIVE FILES UNCOVERED: From the archives: * Played five times total * Debuted at Montreux Jazz Festival, June 22, 1969 * Final known outing: January 24, 1970 The live version? Longer. Meaner. No horns. And somehow… more dangerous. TRACKS LISTENED TO / DIGRESSION ZONE (PROCEED WITH CAUTION): Because discipline is for other podcasts: * A full archaeological excavation of a Montreux performance rabbit hole * The shocking revelation that “Butty” is, in fact, a person (not bacon-based) * Speculative casting: * “What if Robert Plant fronted Colosseum?” * Followed immediately by: * “What if literally any British blues singer did?” * A brief but sincere defense of Litherland’s vocal abilities * The phrase: “They just know shapes.” HIGHLIGHTS YOU DID NOT ASK FOR BUT ARE RECEIVING REGARDLESS: * A missed 4/20 party explained via “method acting” * The consumption of something called “The Gentle Journey” (results mixed) * Academic discussion of whether improvisation = genius or confusion * The ongoing theory that Colosseum is: * Either a masterclass in composition * Or five men confidently guessing at the same time PRESCRIPTION: Administer “Butty’s Blues” under the following conditions: * Lighting: low, suspicious * Volume: conversationally irresponsible * Beverage: optional, but historically encouraged * Attention span: uninterrupted Repeat until: * You begin noticing the spaces between notes * You start defending horn arrangements in casual conversation * Or you find yourself explaining why this song was only played five times FINAL WORD: Colosseum does not hand you the blues. They reinterpret it in real time, then walk away before you can ask questions. The blade of judgement… remains hovering. Here’s to ya Clay Cole—mind the butty. ---------------------------------------- Hosted on Acast. See acast.com/privacy [https://acast.com/privacy] for more information.

Album 2. Track 2. Elegy

THIS WEEK ON THE PROGRAM… Still reeling from whatever unholy concoction was coursing through the water pipe, your hosts Chaz Charles and the Voluptuary of Sound, Dr. Glund, lock onto a true centerpiece of the Valentyne Suite era and refuse—physically, spiritually, and rhythmically—to let go. This week’s mission: “Elegy” — Colosseum A track that doesn’t ask for your attention… It demands your full neurological participation. TRACK UNDER THE MICROSCOPE: “Elegy” — Colosseum Identified immediately as a signature Colosseum statement, this is where the band’s hybrid DNA—blues, jazz, and sheer bloody-minded force—fully ignites. What follows is a multi-version deep dive: * Studio version — tight, relentless, deceptively compact * U.S. mix — cleaner, drums forward, even more punishing * BBC 1969 session — faster, rawer, brushes in motion * 1994 reunion performance — expanded, heavier, swagger engaged Under examination: * Jon Hiseman delivering a performance that borders on percussive overachievement (in the best way) * James Litherland writing a “guitar piece” that largely abandons guitar * Dick Heckstall-Smith weaving lines that refuse to sit still * A band functioning as a single, many-limbed organism Verdict: This is not a composition. This is a system under load… holding together beautifully. TRACKS LISTENED TO / DIGRESSION ZONE (ABANDON HOPE): Because no episode is complete without veering into adjacent greatness: Free — The Paul Kossoff Study * The Hunter * → Blues minimalism with teeth; every note lands with intent * The Mover * → Forward motion, groove-led, Kossoff riding the pocket * Just for the Box * → Texture and restraint; space used as an instrument * Molten Gold * → Slow-burn immersion; tone as atmosphere All roads lead to: Paul Kossoff — a masterclass in feel, phrasing, and knowing exactly when not to play. HIGHLIGHTS YOU DID NOT ASK FOR BUT ARE GETTING ANYWAY: * A full breakdown of why “too much drumming” is not a real problem * The realization that “Elegy” works at multiple tempos and still dominates * Comparative philosophy: * Kossoff → say less, mean more * Colosseum → say everything, make it swing * Arms physically tiring from air-drumming along with Hiseman * The band unanimously declared incapable of producing a weak moment PRESCRIPTION: Take one dose of “Elegy” in all available forms: * Studio * BBC * Reunion Supplement with controlled exposure to Free for balance. Repeat until: * You develop opinions about drum mix levels * You begin explaining vibrato technique to civilians * Or you accept that feel and complexity are not opposites—they are weapons Avoid operating heavy machinery unless it is a Hammond organ. Here’s to Kossoff, here’s to Hiseman… …and here’s to a track that refuses to sit still. Here's lookin' at ya Clay Cole...let's go have a 'viskey. ---------------------------------------- Hosted on Acast. See acast.com/privacy [https://acast.com/privacy] for more information.

Album 2. Track 1. The Kettle

THIS WEEK ON THE PROGRAM… After a brief and medically questionable hiatus, your hosts Chaz Charles and the Voluptuary of Sound, Dr. Glund, return—slightly battered, mildly reflective, but fully operational—to resume their sacred excavation of Colosseum. The Doctor has seen things. Felt things. Lost a friend. Gained perspective. Worn the hat. And yet… the pipe is lit, the commandments remain intact, and the mission continues. This week’s descent takes us into the second album—Valentyne Suite—and straight into a track that has baffled, delighted, and ultimately revealed itself to be about something far more serious than anyone realized… Tea. Or rather… the catastrophic absence of it. TRACK UNDER THE MICROSCOPE: “The Kettle” — Colosseum At first glance: cryptic lyrics, swirling instrumentation, and a vocal performance that critics once dared to question. But under the Glundian lens? This becomes a full-blown existential crisis centered on one immutable truth: The kettle is dry. What unfolds is equal parts musical appreciation and lyrical detective work: * Jon Hiseman’s drumming: precise, explosive, and fully in command * Guitar tone dripping with late-60s authority (wah-wah certified) * A leaner, horn-less arrangement that flirts dangerously with power trio territory * Vocals vindicated in real time against the crimes of past criticism And finally, the breakthrough: This is not abstract poetry. This is not surrealism. This is a man… who cannot get a proper cup of tea. Verdict: A groove-heavy, deceptively complex track that passes the Glundian tests—and reveals that British cultural stakes are far higher than previously documented. DIGRESSION ZONE (STEAM RELEASE VALVE): Because no kettle boils in isolation: Ginger Baker – “TUSA” (with Masters of Reality) → Proof that tea is, in fact, a recurring thematic obsession → Spoken-word madness meets thunderous groove → Possibly the Rosetta Stone of beverage-based rock philosophy Michael Bloomfield – “Going Down Slow” → A soulful detour into blues territory → Telecaster weeping, bending, testifying → A meditation on decline, legacy, and the weight of musical genius left slightly unrealized PRESCRIPTION: Administer “The Kettle” at a volume sufficient to: * Hear every cymbal articulation * Feel the guitar in your molars * Contemplate your own access to tea Repeat until: * The lyrics make sense * Or they don’t—but you no longer care Avoid: * Empty kettles * Weak tea * Critics who don’t understand the assignment Here’s to Robbie. Here’s to Kenny. Here’s to the kettle—may it never run dry. Time for a 'visky. ---------------------------------------- Hosted on Acast. See acast.com/privacy [https://acast.com/privacy] for more information.

Album 1. Track 8. Those About To Die

THIS WEEK ON THE PROGRAM… Having returned from rubbing elbows with actual rock royalty (and surviving), your hosts Chaz Charles and the Voluptuary of Sound Doctor Glund descend once more into the sacred text of Colosseum—armed with nothing but sharp ears, questionable memory recall, and a bag of contraband jelly beans. This week’s mission: the thunderous, mind-expanding, utterly undeniable closing statement of the debut album… THOSE ABOUT TO DIE And yes… it absolutely earns the title. TRACK UNDER THE MICROSCOPE: Those About To Die – Colosseum The Doctor declares it without hesitation: “If you don’t know Colosseum… THIS is where you start.” What follows is a full-blown sonic autopsy: * Drums that don’t just keep time—they command it * Organ work that lays down a thick, chugging carpet of groove * Guitar and sax interplay so tight it may in fact be a single sentient organism * A band functioning less like individuals and more like a musical octopus with a PhD Verdict: This is not a song. This is a controlled detonation of talent. TRACKS LISTENED TO / DIGRESSION ZONE (ABANDON HOPE): Because no episode is complete without veering wildly off course: Eddie Hinton – Something Heavy → Soul, grit, and a man absolutely refusing to let go of a groove R.L. Burnside – The Criminal Inside Me → Mississippi blues storytelling featuring: * 40 nickels * A bag of potato chips * And several imminent threats of bodily harm Kim Fowley – Animal Man / Chinese Water Torture → A deeply unsettling descent into late-60s experimental madness → May or may not summon something into your home HIGHLIGHTS YOU DID NOT ASK FOR BUT ARE GETTING ANYWAY: * A wedding dance set to Colosseum (because romance is subjective) * A helicopter wedding over Niagara Falls (because gravity is optional) * Extensive discussion of “ass pockets” (science pending) * The phrase “bases drunk” permanently entering the lexicon * The realization that rock stars… might be lunatics PRESCRIPTION: Take one dose of Those About To Die at maximum volume. Repeat as needed until: * Your face melts * Your neighbors complain * Or you begin explaining time signatures to strangers Avoid operating heavy machinery unless it is a Hammond organ. Here's to ya Clay Cole, let's go grab a 'visky. ---------------------------------------- Hosted on Acast. See acast.com/privacy [https://acast.com/privacy] for more information.

Dr.'s Digressions Nick Steed Themes & Variations Continued

Having already established in Part 1 that Nick Steed did not join Colosseum to become a museum-quality replica of Dave Greenslade, Part 2 turns to the mechanics of how a living band stays alive. What emerges is both reassuring and faintly absurd: a group of veteran musicians, scattered geographically but united spiritually, convening in Sussex to “top and tail” songs they already know by heart, refusing on principle to rehearse Stormy Monday Blues, and more or less trusting that fifty years of accumulated instinct will do the rest. Nick explains that when Colosseum prepares for the road, there is very little ceremonial fuss. The old epics are not anxiously overhandled. The newer material gets the attention. The older material, having long since entered the bloodstream, is allowed to remain there. This is, apparently, what happens when a band has moved beyond rehearsal and into telepathy. From there the discussion moves into writing: how songs are built, how unused ideas survive from one album to the next, and why Colosseum does not road-test unfinished material in public. The reasoning is sound. If you play something half-formed live and later improve it in the studio, some enterprising listener will insist the earlier version was superior, and then civilization begins to wobble. Nick also gives a glimpse into the current internal chemistry of the band: Clem brings the blues, Mark brings the rock, Nick brings the proggy jazz-fusion sprawl, and somewhere in the middle Colosseum remains gloriously, stubbornly itself. The result is a band that still sounds like Colosseum, while continuing to make new work that does not merely repeat the old tricks in slightly different trousers. We also learn that Nick writes late at night, often after bad films and in the company of his beloved 1964 Hammond A100, that lyrics remain a troublesome business unless attached to an actual story, and that The Hunters emerged from exactly such a process: folklore, collaboration, and the old-fashioned miracle of a song becoming itself before anyone can stop it. There is also talk of solo work, of Secrets of the King’s Court, of church performances with choir, of future recordings, of young fans discovering the band, and of the quietly comic dignity of still being the FNG — the fucking new guy — even after helping carry the music forward. Meanwhile, the central revelation of the hour may be this: Colosseum is not operating as a legacy act embalmed in reverence. It is still a working band, still writing, still touring, still surprising itself, and still producing music with enough life in it to blow up a Hammond or two. Which, in this parish, counts as a very healthy sign indeed. YOUR PRESCRIPTION Recommended Indulgences to Satisfy the Voluptuary (Listener Discretion Encouraged, Authority Not Recognized) Administered not for correction, but for pleasure. Dosage may be increased arbitrarily. Recommended Conditions Best consumed late at night, preferably after one has watched a bad film and decided to improve the evening personally Volume set high enough to hear the organ breathe Headphones encouraged; overrehearsal discouraged Pairs well with a viski, a notebook full of unfinished song ideas, and the confidence to leave Stormy Monday Blues alone May be taken alone or in the company of someone who understands that some bands rehearse songs, and some bands simply remember them Further Listening — Nick Steed Edition Nick Steed - Influential Guidance [https://open.spotify.com/artist/1X34MYTgdKTWiussYbf79e?si=xFG_A3E2TqGtxGwEA7FqVg] Nick Steed - Thr33 [https://thr33trio.bandcamp.com/album/thr33] Nick Steed — Secrets of the King’s Court (RECORD RELEASE) [https://open.acast.com/www.nicksteed.co.uk] Clem Clempson - www.clemclempson.com [https://open.acast.com/www.clemclempson.com] Ray Detone - www.raydetone.com [https://open.acast.com/www.raydetone.com] Stephen Cordiner - www.stephencordinermusic.com [https://open.acast.com/www.stephencordinermusic.com] Big Red Studios - www.bigredstudios.co.uk [https://open.acast.com/www.bigredstudios.co.uk] ---------------------------------------- Hosted on Acast. See acast.com/privacy [https://acast.com/privacy] for more information.