Album 3. Track 1. Jumping Off The Sun

Album 3. Track 1. Jumping Off The Sun

Fresh from untangling one of the strangest release strategies in progressive rock history, Chaz Charles and the Voluptuary of Sound, Dr. Glund, turn their attention to The Grass Is Greener—the mysterious U.S.-only Colosseum album that looked suspiciously like Valentyne Suite... because, well... half of it was. What begins as an investigation into a confusing record release quickly transforms into a celebration of one of Colosseum's greatest lineup changes, as Dave "Clem" Clempson, Chris Farlowe, and Mark Clarke announce themselves with all the subtlety of a freight train. And somewhere along the way... Dr. Glund accidentally discovers he's been wrong about who was singing one of his favorite Colosseum tracks for decades. TRACK UNDER THE MICROSCOPE: JUMPING OFF THE SUN — COLOSSEUM One song. Four different recordings. Multiple vocalists. Several decades of Colosseum history. One increasingly bewildered Doctor. The investigation begins with The Grass Is Greener, where Chaz and Dr. Glund piece together exactly how this transitional album came to exist—and why generations of fans (including Dr. Glund himself) have been confused by it. Along the way they uncover: * Clem Clempson's explosive debut with the band * The revelation that Clem—not Litherland, not Farlowe—sings the original studio recording * Chris Farlowe's later Daughter of Time interpretation * BBC live performances that showcase both evolving lineups * Mark Clarke's arrival and the chemistry that transformed Colosseum's rhythm section * Jon Hiseman somehow playing even more drums than should be physically possible The verdict? This wasn't simply a personnel change. It was a controlled evolutionary leap. TRACKS LISTENED TO / DIGRESSION ZONE (ABANDON HOPE): Because no investigation remains confined to a single album... The Grass Is Greener → Why identical album covers confused collectors for fifty years → Dr. Glund confesses to giving away his original copy because he thought it was a duplicate Daughter of Time → Comparing Chris Farlowe's vocal treatment of Jumping Off the Sun → The surprising differences in production and arrangement Transmissions: Live at the BBC → Rare BBC recordings documenting the band's rapid evolution → Live evidence that Clem's guitar work was every bit as devastating onstage Humble Pie → An extended appreciation of Clem Clempson's post-Colosseum career → Steve Marriott, wah pedals, Les Pauls, raw British hard rock, and enough Marshall amplification to rearrange nearby weather systems HIGHLIGHTS YOU DID NOT ASK FOR BUT ARE GETTING ANYWAY: * The phrase "I smell digression." * Multiple declarations that Jon Hiseman deserves far more recognition among great rock drummers * A groundskeeper arriving mid-recording to fertilize the lawn—proving that yes, the grass really is greener * "Barrel-chested" becoming the official unit of measurement for Chris Farlowe's vocal power * A spontaneous Humble Pie appreciation society breaking out before anyone could stop it * The realization that every version of Jumping Off the Sun has something uniquely brilliant to offer PRESCRIPTION: Administer Jumping Off the Sun in all available forms: * The original Grass Is Greener version * The Daughter of Time remake * BBC live recordings * Any performance featuring Clem with a Les Paul plugged directly into excessive British amplification Recommended conditions: * Stereo speakers * Healthy skepticism toward old album credits * A willingness to fall down several delightful rabbit holes Possible side effects include: * Buying back records you foolishly gave away decades ago * Spending the afternoon comparing Colosseum lineups like baseball statistics * Unexpected Humble Pie binge-listening * Declaring Jon Hiseman criminally underrated to complete strangers Avoid operating heavy machinery unless it is a Hammond organ. The Blade of Judgment remains firmly in its scabbard. Glory. Across every version. 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.

Album 2. Track 5. Valentyne Suite

Having survived another descent into the Colosseum archives—and possibly a heatwave-induced hallucination—your hosts Chaz Charles and the Voluptuary of Sound, Dr. Glund, arrive at the towering centerpiece of Valentyne Suite: a 16-minute, 52-second monument to ambition, improvisation, and the complete abandonment of commercial restraint. This week’s mission: VALENTYNE SUITE The title track. The payoff. The reason the album exists. The moment Colosseum stop being merely a band and become a weather system. TRACK UNDER THE MICROSCOPE: Valentyne Suite — Colosseum What follows is less a song review and more an archaeological excavation of one of progressive jazz-rock’s foundational texts. Dr. Glund and Chaz trace the suite through its many movements, marveling at: * Dave Greenslade simultaneously conquering Hammond organ and vibraphone duties * Jon Hiseman attacking the drums with enough force to power a small municipality * Tony Reeves quietly proving yet again that he may be one of the most criminally overlooked bassists of the era * Dick Heckstall-Smith and company navigating abrupt musical turns that somehow never derail the locomotive * A composition that changes shape so often it feels like several albums occurring at once The Doctor repeatedly notes that six minutes into the track, they are somehow only getting started. Verdict: This is not progressive rock. This is the blueprint that escaped the laboratory. TRACKS LISTENED TO / DIGRESSION ZONE (ABANDON HOPE): Because no Colosseum discussion can remain on the rails indefinitely: * The Grass Is Greener * → A discussion of the American release and its altered track listing * → Includes a confession involving a long-ago record giveaway and immediate collector's remorse * Colosseum Live '94 * → Evidence that the suite remained a monster decades later * → Features the arrival of Clem Clempson and Chris Farlowe in full flight * BBC and television performances from 1969 * → Investigated like recently unearthed Dead Sea Scrolls * → Prompting further research missions HIGHLIGHTS YOU DID NOT ASK FOR BUT ARE GETTING ANYWAY: * The phrase “Air Keys” becoming a legitimate performance technique * A lengthy investigation into disappearing guitars in Spotify mixes * Swiss engineering being blamed for audio anomalies * The realization that Colosseum concerts in 1969 likely required enough equipment to invade a small country * “Be the energy you want in the world” somehow becoming official podcast philosophy PRESCRIPTION: Administer Valentyne Suite at maximum practical volume. Recommended conditions: * A functioning stereo * An uninterrupted 17-minute window * A willingness to surrender all sense of conventional song structure * Optional Hammond organ * Mandatory curiosity Possible side effects include: * Air-keyboard performance * Sudden appreciation for Tony Reeves * Questioning every modern radio edit you've ever heard * Spending the rest of the week searching for live versions from 1969 Discontinue use only if: * Your speakers begin smoking * You start pricing vintage Leslie cabinets * Or Jon Hiseman appears in a dream demanding a tighter rhythm section The blade of judgment remains sheathed. For now. 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.

Album 2. Track 4. The Machine Demands A Sacrifice

THIS WEEK ON THE PROGRAM… Having once again survived the relentless demands of modern life without acquiring a pension, your hosts Chaz Charles and the Voluptuary of Sound, Dr. Glund, return to the labyrinthine depths of Colosseum's Valentyne Suite. This week's sacrificial offering: THE MACHINE DEMANDS A SACRIFICE A title that sounds less like a song and more like a warning label. What begins as a brief, mysterious piece on the album becomes something far stranger when followed through Colosseum's live history—a shape-shifting musical organism that refuses to stay in one form for very long. TRACK UNDER THE MICROSCOPE The Machine Demands a Sacrifice – Colosseum The Doctor and Chaz investigate: * Why every late-'60s musician seemed deeply suspicious of "The Machine" * Whether Pete Brown was writing social commentary, science fiction, or both * How a compact album track evolved into a live improvisational weapon * Why every subsequent version seems determined to outgrow the last Along the way, the pair compare: * The original James Litherland version * Early BBC performances * The Chris Farlowe-era live arrangements * The reunion-era interpretation that may finally reveal what the song wanted to be all along Verdict: Not every Colosseum track arrives fully assembled. Some require decades of field testing. TRACKS LISTENED TO / DIGRESSION ZONE (SYSTEM ERROR: CONVERSATION OFF COURSE) Dirty Honey → Modern rock delivered with maximum swagger and minimum compromise → Proof that guitar bands have not yet gone extinct Screaming Cheetah Wheelies → Southern-fried groove rock with riffs thick enough to require excavation equipment → Further evidence that the '90s produced more than flannel and existential dread Bedford – "Suburban Blue" → A welcome reminder that younger musicians are still capable of making glorious noise → Restores a small but measurable amount of faith in humanity HIGHLIGHTS YOU DID NOT ASK FOR BUT ARE GETTING ANYWAY * The mysterious disappearance of pensions * Roger Waters catching friendly fire for building an entire career out of childhood trauma * An investigation into suspicious cowbell deployment * Invisible saxophone theories * The realization that Colosseum rarely played the same song the same way twice * Dr. Glund determining that some songs simply need twenty-five years to finish cooking PRESCRIPTION Take one dose of The Machine Demands a Sacrifice followed immediately by at least one live version. Repeat until: * The arrangement finally reveals itself * The cowbell mystery is solved * Or you find yourself arguing that every song should be seventeen minutes long Avoid operating heavy machinery. The machine has already made its demands. 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.

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.