Hey, guys, this is Don Aries from Deep Purple, and you are listening to the Deep Purple podcast. It's been a pleasure. You're listening to the Deep Purple podcast. A fan podcast devoted to one of the greatest bands in rock history. Deep Purple. Your hosts, Nate and John, cover their shared history with the band. Discover new music together and cover the father's reaches of the Deep Purple family tree. And beyond. Here's Nate and John now. Welcome to the Deep Purple podcast, a fan podcast devoted to one of the greatest bands in rock history. Deep Purple today's episode is episode 368 Ozzy Osborne. Bark at the moon and coming to you from the suburbs of Chicago. Where we're looking at our old high school yearbooks. I'm your host, Nathan Bojri. And coming to you from the suburbs of Providence. I'm your co-host John Lunar Beast, Matolla. Coming to you from Southern Road Island in Snug Harbor. My name is Scott Eugen. Coming to you from Northwest Indiana. I am Nick composed with one hand on a piano Jones. Oh my goodness. So one thing Scott Nick that we've been doing lately is John comes up with. Well, he brings forth a nickname for himself. And then I have to guess if it's AI or J.I. meaning John intelligence. So did he ask chat GBT to come up with the name Lunar Beast? Or did John come up with it on his own? Hello, why don't we take a take a poll here? Yep, but we'd love to get venturi gas if I could. Yes. Yeah. I'm guessing it's an AI. Okay. All right, Nick. I'm thinking John is playing chess with us intellectually. And it's something that he thought AI with you. It's I'm going with J.I. See that that I haven't encountered a situation like that yet where he's playing chess. But it's been in the back of my mind. So I'm a little worried. I would also say AI, but I am worried that he's trying to flip it on me. So I'm guessing AI as well. Okay. So the AI is habit. All right. So he wasn't playing chess. It was it was AI. But was it again, Lunar Beast? Lunar Beast. So what I do is is like, and I like to I like to come up with the ones I didn't choose because the moon Lunar. Right. Because they're so stupid. So a couple of other ones that came up with for a nickname for me was bark. That's it. Yep. That's it. Just John Bark. John Bark said everything. And then, you know, just to add another word moon bark. Okay. That sounds like a marshmallow E treat actually. Actually, sounds pretty good. Yeah. Yeah. Maybe you can do it as a bait treat Nick. I'm so like a variation on a moonlight. The werewolf record. You know, it's a way. I'll probably go with that one. Yeah. That would have been too. That would have been too obvious. I try to try to. Might as well be bark at the moon. This should be your nickname. Yeah. Night towel. Um. Night towel. Yeah. Night. Night. How will. Oh. Night. Night towel. Night towel sounds dirty. Rapper on my. Where's my. Where's my. Where's my. Night towel. Um. Ozzie's moon. Oh. Well, we've seen that. Yeah. Um. And then, um, I actually like these two. There's the howler and midnight fang. Midnight fang is pretty good. I thought that bark was the laziest. Um. Extremely lazy. Yeah. Well, welcome. Scott and Nick. Yes, the show. Thank you. Thank you. Welcome back as a returning Ozzie champions. Thank you for joining us. Thank you. And thank you for waiting for me. For those. For anybody other than the four of us, they don't know that I was delayed. I have some unforeseen traffic and. Bruce Culeck references were made. For those who have seen for those who've listened to pot of thunder. Yes, Scott said he's. He's going to leave after the initial discussion. He's just going to. He's just getting pissed. Well, he was waiting. Pist. Not true. Well, thank you for joining us. And of course, check out pot of thunder. If you aren't already. Everyone might be listening to everyone with your life. And then. Scott beigen back at us again. Any current podcast? Or are you in between podcasts? No, I'm in between podcasts in between your podcast. Actually, it was probably the last podcast that I've been a part of, which was when we, I think, went through. Speak of the devil. Oh, yeah, it was a lot of fun. And I was traveling at the time. So that was sort of a makeshift situation for me. So it's good to be. Well, back at, you know, stationary position here and doing another Ozzie related. I hope I'm with you guys. Absolutely. Yeah, we're thrilled to have you guys both back in first time that all four of us are doing an actual album review. So this is going to be a lot of fun. So before we get into the meat of the episode, of course, I'm going to take a break to thank. Our patrons because I don't know if you guys know this, but our show is 100% listener supported and add free. So if you get some value out of our show, consider giving us a little value back. You can do so on Patreon or on PayPal. There's other options as well in the show notes. As a patron, you get access to our patrons only discord channel or rating spreadsheet, which John was stuck in earlier. The patrons version. We got them out though. Links to submissions for our album ranking episodes and access to our too hot for YouTube for bitten episodes. So if our episode gets banned on YouTube, we'll put it up there on Patreon for you. So maybe this one, if Sharon catches wind of this, yeah. And everyone that I get to be on seems to be taken down. Does it? Okay. So well, if so, this will be on Patreon now. So I have high hopes. Let's go. Sharon's going to say, what are they going to be on? Are they going to make a dollar and 18 cents on YouTube off of this? I can't have. We're going straight to the dark web here. Yes. Silk Road. You can find this episode. So speaking of our patrons at the executive level, thanking our wonderful patrons, the in-memorium tier, the wonderful late Gerald Jerry Kelly and family, at the $25 uncommon man tier. We have Ovis Nockfee who's new book before we forget the book about John Lord and his life and music is either out now or going to be out soon. The pre-orders were all snatched up. So make sure to get your copy. The 20 is plenty tier. We have Alan. At the $10 good doctor tier. We have Dr. Mike Katan. At the turn it up to $11 tier Clay Wombacher, Frank Taylor, Godmortons and Michael Steen, Will Porter, Ph.D.P. and Michael don't call him Bradford backfired. At the $10 someone came tier. We have Ryan M Jeff Bryce Victor Compose. Better call Saul Evans. [Sawing] [Sawing] And Peter from Illinois. At the $8 pound lesser known patrons tier. We have Robert Smith. And at the deep thoughts by John Matola tier. The one and only fielding Fowler. And now deep thoughts by John Matola. Is that Glenn Hugh? Feeling's out fire tonight. Thank you so much to all of you for your support of the podcast. And of course our Hall of Fame members starting with Rich Young Wee. Shaila. So that was that. York Planner and Norman Vichelbaum. Thank you so much. All of your support of the Deep Purple podcast. Come taste the band. Rankings get them in by August 1st. We'll be doing that. That episode probably in the very early fall. So make sure to get your rankings in. And then we have some live shows coming up. One of them being Glenn Hughes and Dead Dazies and St. Charles, Illinois on May 30th. And then Deep Purple 2026 dates. Mansfield Massachusetts. Chicago and potentially Indianapolis will keep you posted on that. Those are those are going to be in August. All right. Well guys here we are. Barca the moon. A third solo album from Ozzy studio. So album. Who wants to be the first? So album. Who wants to get started with your history of this album? You know what you remember about it, what you know just to kick it off. That's go. Let our guests go for. Yeah, let's let's Nick you go for one of our guests. Yeah, Nick you go. I actually have never owned this album.
Well, really? Yeah, it just definitely leaving now. [LAUGHTER] Yeah. Never owned it physically. Back in the day, the cassettes that I had were blizzard and tribute. And then once CD started happening, it was already no more tears, era. So bark at the moon. I just never owned a physical copy of. So I know it much less than I know the prior two albums. And probably I would know Ultimate Sin better than it is. Well, so it's -- And I made sure I didn't go back and review anything. I mean, obviously I've heard it. And I have listened to this album. But it's not one that I know, you know, and note for note in my head, like the other two. So I do remember years ago getting a -- I think it was Japanese compilation. I tried to find it, but I couldn't -- it's just called the best of odds. OZZ. And it had bark at the moon on it, but it also had journey to the center of eternity. And that one kind of was like -- that was a pretty awesome deep cut. And we'll get into that. I'm sure. But we sure will. Yeah, that's -- that's another one that I know extremely well, because I owned it on a CD. But yeah, I wanted to kind of keep myself pretty fresh for it. It's not an album I know that well. And for those of you not joining us on YouTube, Nick's name is Journey to the Center of Nick. And the rest of three of us are really boring and did change your names. Had I known I would have come up with something clever. Yes. That's why I was 20 minutes late. I had to come up with -- Yeah. I was like, "Oh, that's all that time." Totally worth it. All right, Scott, what's your memory of this album? Yeah, man. It definitely goes back to you and I, Nate. I feel like much like Nick, we started our Aussie Journey with Tribute and possibly knowing that a lot of those songs were from the first two -- well, they were all Randy songs. I was the most excited to say the Sabbath songs. But so I think that our entry point to Aussie was Tribute and the first two Randy albums. But I also feel like probably next up for us was this album. And I can't tell you -- and I know I've owned the CD version and a cassette version of it. But I couldn't tell you where I got them. When I got them, I just know that there was a certain -- there was an awareness of a lot of these songs, I think, for sure, songs like Slow Down and -- A Barca at the Moon was like an MTV thing. So I knew about Barca at the Moon because that was a huge MTV video. And I was like, I'm not sure if I could do that. But I was like, I'm not sure if I could do that. albums like his first solo album all the way through "Speak of the Devil". And no, I'm sorry. Yes, "Speak of the Devil" was before this one. Yes, so this one including "Speak of the Devil" first to and that one were just like, his image was getting more and more crazy. So because "Speak of the Devil" the first two he was like "Azi on the front cover" and then diary he was like, you know, he looked insane on that one then he was a vampire now he's a werewolf and so it was like, you know, when you're, you know, when you're like 14, 15 or whatever and you're into that kind of stuff you're just like, wow. So and then this video was the one that hooked me in because it was like it was like a literal horror movie like first of all the song was awesome. And then the video told the story like it was an old like hammer horror movie which I love those movies, those horror movies. So like when this came on like the headbangers ball and like the late 80s early 90s, I was like, all right, this is, I gotta get this album. And while musically it's not, I think I I agree with Scott, it's that was a little, it's weird because it was it was very synth heavy even though there was no lack of synths or keyboards or even piano on the first couple of "Azi on the front cover". They were peppered throughout there. This felt a little, it felt different, right? Yeah, yeah. And the production was different. I mean, like, I mean, let's face it. I mean, 1983, like, you know, really guitars were for shit when people were recording them. They didn't really sound that great. I mean, Jake was great and like the title track was awesome, but I mean, overall, the album didn't feel like it was, you know, it had as much behind it, you know, in terms of like the songs, the production, like even then I knew it. So it wasn't my favorite musically, like overall, but the thing that really got me was like the like the video, the album cover and the title track, like Reeld me in. And, you know, while not one of my most favorite "Azi albums", it still falls in like that era, you know, my favorite era of "Azi". So. Yeah, I mean, mine kind of straddle, Scott and John's a bit. And I remember, I seem to remember tribute. Oddly, I remember tribute, diary, blizzard, speak of the devil, and then skipping a few, no rest for the wicked kind of, and then maybe picking this and ultimately it's sent up after the facts. So it was probably no rest for the wicked was the most recent album, it was in the stores, it was maybe more readily available. So I remember getting into all those albums and then checking out this one in Ultimate Sin. And my memory is that this in Ultimate Sin didn't really hit the same way with me, particularly Ultimate Sin. But my cousin Jeff who lived next door was really into Ultimate Sin. So probably a little bit more, that one spoke a little bit more to him, but that's where I got a lot of my stuff from. And like Nick said, he never had a copy of it. There was a lot of albums I never had a copy of, but with a similarly aged cousin next door into the same kind of music, we kind of traded things back and forth all the time. So if he had it, I wasn't going to buy it. So yeah, that's kind of my memory of it and that there's some obvious songs that really stick out to me and that I can remember really well. But I probably have not listened to this full album in I probably since the 90s. So this will be a really kind of refresh for me. I didn't do I didn't do any pre-listen to this one. I kind of am I not supposed to pre-listen because I did listen to a lot of songs. You can do whatever you want. I just wanted to kind of get it in my head. But yeah, yeah, but I wanted to have the reaction on the show of being like, oh yeah, remember this one or I don't I remember that not being as cheesy or whatever. I think everybody kind of does their own thing like I would I would try and like do my, you know, quote unquote homework and like listen to every album before. We did that for the first few episodes. You guys do you guys do a lot. So that's a lot of homework for you to do. For me, this is a once in a while thing. So I wanted to do it and trust me. I have no I have plenty of plenty of takes on all of the songs. Oh, great. That'll make makes it interesting. Yeah. So this lineup we've got Bob Daisley on bass and backing vocals. Drums Tommy Aldridge, the only I think the only album he was ever on with Ozzy at the studio album studio album. Correct. Jakey Lee on guitar and I, I mean, I, I like Jakey Lee. I feel like John, you're probably the one with the most Jakey Lee because I know you were really into badlands and I'm not sure what next history with Jakey Lee.
really is. I really liked the Red Dragon cartel albums. Oh, yeah. Badlands, I get it. They're great, but it just it was never like a band that I super got into. But, yeah, the when he came back with Red Dragon cartel, I thought that was great. I liked all of them. When badlands came out, I was really into it. I loved those two albums. And then when they released the, the posthumous third album, it was just as good as the first two, in my opinion. And then he came with back with Red Dragon. And I actually like the second, I think I like the second album better than the first. But I mean, he's always been like one of my favorite guitar players. Like, I mean, the lineup of Ozzy guitar players, if you go, like the succession that he had them in are probably my favorites. Like Randy's my favorite, then Jake and then Zach Wilde. Then, you know, I don't know, he probably had other people. I don't know who they are because I kind of lost interest after the mid mid to late 90s. So George Lynch is your favorite and your third favorite. Yeah. Bernie, I must call them Bernie Topan. Well, if you're if you're counting, if you're counting, yeah, Bernie, I almost said, if you're counting, yeah, if you're just counting like his official, like studio guitar players, like his long term players, right, right, not not Bernie or not, Brad Gillis, but both great. Yeah, both great. So I'd be split John on you make it, you're making me think of obviously the big, the big three guitar players for Ozzy. I'm like, like for Jakey Lee over Zach Wilde or vice versa. And I'm going to really have to listen to his solos on this. I don't have an answer to that question. But it's it's something to think about for sure. Yeah, I guess I never considered it. So I can see people fatiguing on Zach because of the pin harmonics, although I I enjoyed it. I like it. Yeah. Yeah. And Zach was like, he was, he did a lot of albums with Ozzy and some of those albums are just kind of like a bit forgotten. You know, you have your obviously no more tears is like the the pinnacle of this, no risk for the wicked. Obviously a great on-tree for for Zach. I think those two albums are smoking and he's smoking on those albums. Is it better than Jakey Lee? I don't know. Yeah, it's tough one. I'm an after I'm an after really listen. I don't feel like I have the best handle on Jakey Lee's playing. It sounds like just in maybe the last 10 years or so, it's you see the word underrated constantly when people talk about Jakey Lee. Yeah. I don't know that he's underrated, but maybe he's just not talked about as much. Like you don't hear anybody say he's he's not a good guitar player or you know, people when they talk about him say he's great, but I guess he's more in the shadow of Randy Rhodes and even I guess that's wild too. He does carry the burden of being the next guy after Randy Rhodes. That's tough. He's the transitional guy in hindsight. Yeah. So on keyboards, the main reason we're doing this, we've got Don Aeri. Of course, keyboard is extraordinary featured in the video for yeah, Bark of the Moon. You know, he had to be tight with Ozzy and I know they were really close. Like I think, wasn't like Don Aeri's son like the Paul Bear, Paul, Paul, ring bear at Ozzy's wedding. No, there are Paul Bears in the video for Bark of the Moon. He wasn't one of those. He was too used to young. I'm not sure about that one, but I think yeah, I think they're they're he's pretty close with Ozzy. And then obviously Ozzy on vocals. And then the only really additional musician is the strings are Elaine are arranged by Lewis Clark who worked with ELO and is known for his work on hook-down classics. I don't know if you guys ever saw any of those records or. Was that an infomercial? It's worked for me. Yeah. It's I think I have a few of them back here in my my wife's grandfather's record collection that's on the floor over here. Yeah, it was like, yeah, I was like an infomercial thing. Like if you get if you order now, you'll get the three disc version or whatever. Yeah, it was just kind of that's not the answering machine versions of classical. Nobody's home. Yeah, nobody's home. Oh, god. Oh, yeah, classic stuff. Okay, engineered again and backing vocals by Max Norman. And then we go to the album art. I can't see Ozzy just like this and not laugh. What do you guys think of this album? That's one of the most insane poses I've ever seen from a person in my entire life. And I hope in I'm sure you have it somewhere, but there's the European version of this, which I think is freaking cool. And I had never seen before today. Yeah, yeah, I do. Yeah. So yeah, Ozzy, fully decked out as a yes. And Scott put it. I don't know if you have the link because it might have been posted before you signed on Nick, but Scott put a link to his Google drive where he has behind the scenes footage of Ozzy getting all the makeup and everything for this. Okay. So I'm actually I have my my Bob Bayesley book open to the page where it shows him getting the makeup. Oh, okay. It was then maybe that's where the pictures are from. Yeah, where they came from. Yeah. So yeah, what do you guys think of what is this conjure up for you guys? How you know, and I guess we can talk about it if we talk about the video, but in in what I didn't realize and what I just learned today actually is, you know, looking at the timeline of things is, you know, we were really young, but thriller and this album came out within months of each other. And you're talking about two sort of, you know, basically monster movies, you know, the thriller video in the park at the moon video, even the, you know, the the uh political content of the songs, everything. I thought I thought maybe one I was really hoping that I could give Ozzy credit for laying the pathway for Michael Jackson. I thought that maybe that that was possible, but actually they were happening almost at the exact same time, which is to me fascinating. Two humongous videos from my childhood, this video and in thriller, but obviously this, yeah, this this this album art was whether it was taken from the video shoot or whether it was two different shoots who knows, but obviously this is something that was this imagery was recreated in the video or vice versa. So I found that to be just like a fast-tating like snippet of, I guess we're really into monsters in 1983, and I guess we were. So it's very really sensory brings back like these these memories of a business nostalgic memory of feeling that as a kid like wow, this is scary, kind of cool at the same time and rock and roll with this in the Michael Jackson's. Yeah. And MJ constantly following on the co-tails of Ozzy, right? Well, you know, that's been his sort of reputation, you know, whatever Ozzy does, I'll just just latch on to that and yeah, I mean, there was there was one show on the thriller tour where I think he was just like, come on, everybody go fucking crazy. Let's have a riot. A few people know that that show was not captured. That's right. So Nick, don't you have a theory about the first three album covers telling a story? Oh, I think we did. I think we did talk about that, didn't we? We might have talked about that on that. Yeah, it's been a while, but I don't really do tell. Oh, I don't have one. I don't have one male down or anything, but you know, on the first one, he's alive. Well, he's, he's sort of, I guess, don't they say it's a bit angelic? Yeah, I'm very likely a mad priest on the first album. It's something. Yeah. Yeah. And sorts. Yeah. So basically, it seems like, actually, I don't have a, I don't have a straight storyline, but it's basically, he's, he's succumbing to something on Blizzard of Oz. And then he's killed or turned into a werewolf. I guess that's when it happens is during the diary of a madman. Is he like crucified on the, is he the director of a madman or Blizzard was on the back? No, he's, I think he's just standing there. Oh, okay. Like he's just, he's just lost his mind. I don't know. I'd have to look again, but then if you look at Ultimate Sin, you could go further and be like, okay, he's, he's like an evolved, evolved version of of a Pokemon.
at that point. (laughing) - And Aussie's third stage evolution. (laughing) - Yeah. So that's-- - This font here always struck me. - Yeah. - It's the most tedious font that I think Aussie's ever had. - It's almost a precursor to some of the death metal bands where it looks like you're looking at dried out bushes. - That's what I was just gonna say. And I only now realize that for the very first time, this has made a bend the where it started. Now you got those band names, or you couldn't even tell you what it says. - Yeah. - But do you think that it's sort of meant to signify like this thing has hair like a werewolf? Like is that-- - Yeah. - Is it a werewolf? - Yeah, that's like a werewolf. - Like the hair standing up too. - Yeah, like it looks like-- - It's trickling to me. - It's trickling to me. - You know, bristly type of like werewolf hairs or like, you know, like prickers, like his nails or like the thorn bushes or, you know, something that has to do with the whole atmosphere of not just the werewolf, but like the outdoor atmosphere. Because if you watch like old harm movies, they have like, like wolves bain and like, they're in the woods. So you have like the tree with the bark. And it's very like kind of woodsy prickly. - Bingspree. - Yeah, furry, like that whole type of imagery. But yeah, this logo and the colors for the logo were always my favorite, Ozzy. The yellow and the red, like when he was doing that, it's like, he couldn't get more metal, you know, more, more horror than this. - It's cool, but that's when in whenever Nate, whenever you want to jump to the European version, which I had never seen, I was like, oh, I really, this is actually like a different mood and it's more in line with the colors that are actually in the photograph. Which I thought was cool. Which is not, which is not the yellow in the red. - That's like, it's like a more pale, or maybe it might be the same color yellow, but it looks more pale with blue instead. - Against that blue, that blue just sort of makes it, I don't know, I thought that that was a really neat variation that I hadn't seen before. - Yeah, it does, it changes it. - Less iconic though, right, John? Then what we know is that red and yellow, it to me is like more the iconic Ozzy thing. - Yeah, but if you were, if you were, if you were bringing this to me and you're just like, okay, this one and the other one, which one we pick, this would definitely be on the top two. - Yes, yes. - Because it's cool, but in a different way. - Although it's very hard to make out that it's just, it just looks like it says bark moon. Which might have been one of your AI names, I can't remember. But you can't really see it at the. - Yeah, that might have been something to bark. - John bark, my solo. - So, but this is one of my favorite album covers of all time. I mean, it just captures the mood of like an old school horror movie, like perfectly with the moon in the background. You can almost see like the clouds kind of like going by like very quickly with the moon kind of peeking through. - Right. - You know, you get that motion of it and then him climbing the tree and just like giving you that look like the thing about his albums is like, he's like looking at you. It's like, it's almost like when you, something that when you watch certain films, especially horror movies, one of the tactics that they use or techniques is like, if you're watching a movie so you feel safe, but when the character looks directly into the camera and you feel that they're looking at you, you're kind of just like, ah, you know, it scares the shit out of you. And if you think about it, those first Aussie albums, like every one of them, he's just like, he's those crazed eyes, he's just like staring directly at you and that's very unnerving. So in this one, you're looking at it and it's like, you know, kind of follows you around the room. You're like, going like this and you're like, he's looking at me. But yeah, it's very, it's very horror movie. It reminds me of when I used to go to the video store, there was that movie, a Werewolf of London. - Mm-hmm. - And it might have been out around the same time. Like definitely you're American Werewolf of London. - American Werewolf of London, yeah, yeah. And I don't know that I had ever saw it. My parents would let me get it, but I would always grab the video cassette and just like flip it over and like, look at the, you know, they'd have like the two or three stills, like maybe, you know, two or three of them out of the, out of all of, on the back there, like told you nothing about what the movie was about. It just be like, you know, a still of a guy going like this. You'd be like, all right, that doesn't tell me anything. And then maybe one picture of the guy all wolfed out, you know, but it used to, it used to just be so intriguing because it was scary. And you know, when this came out, I was probably like seven, so I was, this stuff scared the shit out of me, but I couldn't look away. So, so we get the iconic back cover here. Rees, yeah, flying up at the amazing sky. So cool, man. I love it. Big fangs. And this is the European version. So it's got the, that's the other thing about it is, it's different songs. Different sequence and different track sequence in different songs, right? Yeah, no slowdown on here, but that spite spiders and doesn't lead off with pocket the moon, which is probably my biggest thing about this album is leading off with pocket the moon is an incredible choice for good or for not. I can't tell yet, but I don't know why they would not. Why would you open with something else? I mean, sometimes they put the lead singer single in the second slot there, but I don't know, I don't know why they wouldn't do that. I have some thoughts on it, but we can talk about it when we go through the tracks. I guess. So we've got just some band shots in the album there. There's, there's the band Jake Balab, Ozzy, Tommy and Don. And then I like the, the juxtaposition there is Ozzy looks like absolutely insane. And then here he looks like, you know, just called dapper, short hair. So true. And it's worth mentioning that this is Steve Crusher jewel who did the album art on this one, speak of the devil, die of a madman and Nick's favorite born again. Oh, well, so we can win them all, you know, everyone has a bad day. We widely review, widely reviled cover and almost everybody hates it, which was intentionally made to be despicable by him. So I've read recently, but it's not that we need to get into that now, but yeah, I think it's supposed to be just very unnerving and the colors are just very, but the artist was almost an intentional FU to Don Arden. So I read and it got picked despite this in spite of that, it got still got picked by the band. And then he had he was committed to following through with it. This is what I read on the internet. There's no truth to this. I'm just saying. It was definitely wasn't picked by Gillan. It's terrible. Not by, no, not by Gillan. No, he did not like it, but the other guys did. Yeah, that's what I read. Did they have the same philosophy when adding effects to the drums? Yeah, that might. Apparently, the same for you. They wanted it to be repulsive, both visually and audio wise. So, so there you go. That's the kind of rundown of that. So I think we'll, we'll do our quick patron break here and then we'll just get right into the songs. Our next level of patrons is, of course, our core level. Coming in at the $6.99, the nice price plus tier, we have Spike the Rockcat's coast and Sugar T at the episode $6.66 here. We have Steve Coldwell, Arthur Smith, and Charles Meadows at the $6.65 almost evil tier. We have Kenny Weimor, Richie Sucksmith and Sarah Jane. At the 70 Norwegian coroner tier, we have Kai Runa. Yes, I'm Norwegian Olsen. At the $5.99 nice price tier, Adrian Hernandez. Hernandez error. Hey, who the hell are you? And scalloped strap Matt at the 60 Corona Scandinavian Knights tier DJ Newt Morton, Joe Hanson. Doesn't work anymore. At the 5 euro 50 cent tier, Merline Rota at the four pound Lucy for tier, we have Duncan Leask. At the $5.99.
Money lender to your John Convery, German hindal, Jesper Alman, Alexi, the perfect stranger, Slepikoff, Kev Roberts, Scott Zerns, Cynthia Duby, Raf Kaff, - My chin goes about in, it's not so good. - Coyote Bonwater. (audience cheering) John Maselli. (upbeat music) - We're talking a big bang theory. (audience laughing) - Sarah Sanders. - No, Kelly Clarkson. - Jellybean, Evan Robison, purple, sweet. - Sweet, sweet, sweet, sweet, sweet, sweet, sweet, sweet, sweet. - Ralphie Lee. - I hope to meet you again real soon. You have a good, deep, purpley day. - And Joe Dopef your sigler. - He's with all the rest of us. - Speaking of born again, thank you so much to all of you for your generous support of the Deep Purple Podcast. All right, are we ready, gentlemen? Are engines warmed? Are we ready to? - I was gonna offer Scott some water 'cause we're in the same room. I can. (laughing) - This is great, Joe. - Thank you so much. It turned into a yeti. - Not bad. - Perhaps not water in here. We'll see. - All right. - It's a tea. So here we go, with the opening track, of the titular "Bark at the Moon." (rock music) ♪ We break the silence ♪ ♪ When people begin to die ♪ ♪ Yeah, it's pointless ♪ - What a great riff. Never get tired of it. - Have you guys ever heard Jake say that when he originally wrote it, it was more like a rat sort of a groove. Like it was half kind of half speed. It was with. - Oh, really? - But no, it was the 16th notes. It was a bit. The same tempo, but he was playing a lot of rats. - It does have some rat vibes, actually. ♪ It's built into a man's ♪ - Oh, you can kind of hear that since kind of coming in a little. You know, it's always there. So it was rat big on the scene at this point. - Well, Jakey Lee was in rat. - He was in Mickey Rat, right? - Mickey Rat. - Yeah. Before they recorded anything. So, you know, he came from that same school of playing. So it could have been a riff that he had left over from it. - I don't know. - It's actually. Have you ever seen a video of him playing it? He shows how he plays it. - Yeah. - It's, it sounds deceptively easy, but it's not easy. - Yeah, it's not easy, no. - It's not, yeah. (upbeat music) - Interesting deep purple connection. Early on, Jakey Lee was in a band called teaser, which was named after Tommy Bowlin's album teaser. - Oh, nice. - Nice. - The song Motley Crew made slightly more famous. - Yeah. - On, on the decade of "Deck In The Towel". - Yeah. - Pretty good version. - Yeah. - I don't know. This guitar solo is just lights out. - Yeah. - Oh, yeah. (upbeat music) - My, I feel like on the US version of this release of this, of course, gonna put this first, right? Cause Randy Rhodes died. And how are you gonna, you know, how are you gonna announce this new guitar? You have to use this song. You can't use a rock and roll rebel. - No. - You can use this song. - That's a good point. - I'm sure when I hear rock and roll rebel, I'll remember it, but I have no memory of what that sounds like. It sounds very generic. - Yeah, it's not, it's not great. Well, it's not great. - Well, well, yeah. - It's not great like this. I'll say that. - Yeah, no, this is easily the strongest song on the album. - By Miles, yes. (upbeat music) - Yeah, really great. I mean, great, ref, great solo, great arrangement to the song. - Everything about the song is perfect, I think. - I would agree. - Everybody howl. - Oh! - I should use that to replace the cover to the whole. - Oh, that wouldn't be right. (upbeat music) - This is the one, two, where the outro solo is just as iconic as the guitar solo. - Yes, exactly. (upbeat music) - Man. - Woof, woof. That ending really reminded me of like, the ending of a song on Rust and Peace, I can't remember what it was. It just, it was tornadoes, maybe. - Oh yeah, yes, of course. - The ending is very just like abrupt in that same way. - Yeah, or five magics, one of those. - Yeah, might be five magics. - Okay. All right. All right, but who wants to go first with their rankings? - John. - All right. - Oh, okay. - I know. - All right, you know, that's easy for me. Five all the way. - Kind of figure. - What is the, so? - One through five. - One through five, okay. - Half or in there. - Or in there. - Yeah, so we've done like 0.5s, what not. The lowest I've ever given was a zero, but nothing's gonna be a zero. - That's only one time. - What was a zero? - The flaming lips cover of smoke on the water. - Okay. I like the flaming lips, but I can imagine that probably sucked. - Yeah, no, it was the flaming lips and who-- - It was either the flaming lips with the singer of butthole surfers or the butthole surfers with the singer of flaming lips. I can't remember which one. It doesn't really matter. It's zero may have been generous. - It was terrible. So five is the highest we can give on this show. So five, four bark at the moon. If there was any way to introduce Ozzie's new guitar player to the masses, this was it. I mean, there's so much great stuff that that, well, I mean, everybody does it because I mean, Jake's playing is great. Ozzie sings like fantastic. Like Don Aries keyboards are not over the top. They're layered in as like, unlike on later on in the album, where they, you know, sound like they're a little obnoxious in spots. She warned in as you said earlier. I think Scott said. But yeah, everything about this song is just fantastic. It's a classic. And I mean, when I found out later on that Bob Dazley was principal songwriter on the bass flayer again, when I heard it, I could hear, I could kind of hear some of that carryover from the first two albums. Like I could be like, okay, now I hear like the Bob Dazley
isms, like I heard his sound a little bit. And I could hear it in this. Like it made a little bit more sense, but it made it even better for me like later on. But yeah, like top, top tier, like classic metal song. All right, Nick. Yeah, I gotta give this a five as well. I agree with everything that you guys were saying during and after the song this far. It made me think of like on this album, there are some songs. I wouldn't say every song is like this, but there are songs where you can say, this is a sort of a type of song that we heard on Blizzard or Diary. And this one, I don't know what song I would tear it with per se, but since you guys are talking about the soul, the second solo being as noteworthy as the first, maybe think of Mr. Crowley. And I guess like the whole thing of sort of like the evil monster terrorizing people sort of thing. But yeah, it's really is a perfect song. It's, it sounds great still like there's not intensity in on every song on this album like this song, but this song just right out of the gate is it just like kicks the door down. And it like you guys said, it does announce that like, hey, this is our new guy and like he's, he's in your face immediately. Why they wouldn't have this,
Why on any country would they think, maybe we don't put this on as the opening track? I have no idea. It makes zero sense. But yeah, five stars, absolutely. - I never really understand why they make those decisions to change certain things when they release things in different countries, especially like the UK and the US. It's not like it's a completely different alien culture that we can't even grasp. They can't handle yellow and red. We'll have to do yellow and blue to create delicate UK sensibilities. But yeah, this song kind of seems like it has to go first. All right, Scott. - Yeah, I mean, if I could give it a 10, I would say, this is probably a top five Aussie song for me, even including the Randy years, honestly. It's way up there. It's an incredible song. It's very much in line. I feel like with the opening tracks from both of the Randy albums, it's similar in tempo to I don't know, and crazy train. It's similar in tempo to over the mountain. It is that driving just kind of like boom, boom, boom, kind of thing. And yeah, everything about it is kind of perfect. So the other side of that is that the rest of this album, I think sort of pales in comparison to this song, unfortunately, and I do like other songs from this album. We'll talk about it. And I think who knows if this has anything to do with the reason to not put this first on the European release? Who knows? But when you come out swinging like this on this album, with this song, like you have nowhere to go, but down. I mean, this is from a production standpoint alone, from a drum sound standpoint alone, this song is so good. And to go from on the US version that we know so well, you go from this to, is it you're no different? It's the second track. Yep. And that song kind of sounds like shit. Honestly, it's like, it's just kind of does. Don't overplay your hand there. Sorry, I don't want to spoil it. But I mean, like when you play this song, when you play "Bark at the Moon," in all of it's like perfection, killer riffs, solos, drum sounds, vocal melodies, pacing, everything about the song is perfect. You're no different. It's tough. So anyways, absolutely a five. If I could give it more, I would love this song. Yeah, not much more to say about it. So it's one of the most perfect Aussie songs and what he does in his most perfect songs is he brings the metal, but also has the pop hookingness. And one doesn't detract from the other. And this is like the marriage of those two in like in the crazy trainway. Maybe, well, maybe better than crazy train. I don't know, it's really good. I will give it a five as well. This is definitely when I think of this album, I think of the song, which is not too out of the ordinary, but then like Scott said, I kind of draw blank. Like there's a couple of those songs that stick out to me that I remember really liking, but there's another couple of them that just looking at this title. Like I said, rock and roll rebel. I'm sure the second I hear it, I'll be like, oh, yeah, this song, but I can't even can't even sing it in my head right now. Psych for you to hear it again. I can't wait. And the Scott mentioned the whole pop vocal quality that Aussie has. It just made me think I forgot to mention it. It's one of my favorite like it works perfectly, but it's like, huh, why did he do that? Just right before the solo, oh, yeah, baby. When the baby, it's like it's all about. So many moments like this on this album. Eternal torment and then oh, yeah, baby. Yeah, baby. That could be right out of lyrics from Britney Spears song. And you know, and the funny thing about that is that it's that that isn't just like you guys, I remember hearing it when I was younger. And I like I rewind it because I'm like, did he say oh, yeah, baby. Like it was like it was like a rat song or like it was like, you know what I mean? Like you talk about different like this was a song about like a stripper or something. Yeah, exactly like sort of era, you know, it's like, is this like a Motley crew wild side or is this part of the moon? We don't know. But it fits somehow. Yeah, I wouldn't take it out if I were to produce or I'd be like, that it doesn't make sense, but it's great. It can't change it now. Yeah, but I agree to about the production like this. This seems like it is the spiritual successor of diary like it should. Yes, but now we're about to find out if you're no different is actually a bit different. So here we go. Slow slow synth intro here. Oh, yes, of course. I remember the synth intro. Very heavy in the mix. It's also yeah, the drums don't sound good on this. And it's also very funny to just imagine Don Erie playing something that I could have easily done in the studio. It's like what a waste. Yeah, yeah, he's playing like half notes on the keyboard. Very nice little bass run there by Bob. Yep. Essentially kind of like a ballad ish. But in the way of like, it's not like so tired ballad. It's not like revelation mother earth or something. You know, like, okay. Yeah, yeah, yeah. Thank you. Comp. Very good. It almost has like, like it could have been one of the slower songs on Osmosis or something like that. Funny you say that because a lot of songs in this album, I'm like, oh, I could almost hear this on No rest for the wicked. I could almost hear this on no more tears, which I'd never even thought about before. Which which speaks to the fact that like, okay, who wrote these songs actually, you know, was it possibly it was Osy? What? It didn't you hear what Nick said at the big, he heard all of it. One hand on the piano. Yeah, okay. Yeah, he wrote it. He wrote it. He all loved it. I would love to believe that. Yeah, we all knew that was Sharon for the money grab. He's like, here's what I want you to do, Jakey. He's just saying that the entire rapper park at the moon. Yeah, right. He's like, Jakey, we're in a Mixolydian mode. My mind. Mixolydian mode. I always liked this part. Yeah, yes. The bridges on this album are actually all killer. A lot of every song has a bridge or like a middle-late as they would say, but it's all really good stuff. And it's got that little fake out that makes you think it's like going into a different time signature, but it's still 4-4. Yes. Yeah, I would have to say this kind of bridge part is my favorite part of the whole song. It feels like Revelation Mother Earth or feel it feels like Randi Av. Echoes of that all throughout this album, which is cool. [Music] I mean, I don't know. I guess it's not like, it's not a bad song. It's just like after "Bark at the Moon," it's just very like very slow. That's my point, man. Like, there's no way you can open an album with "Bark at the Moon" and have anything else make sense because it's such a good song. Like, yeah. And everything else just pales in comparison. Like you're going at 100 miles an hour, then you slam on the brakes and then you're like, "Y'all know, different." And it's like, "All right, that's fine." But it's not like. Like, maybe a few more tracks down. I think it can work to go from that barn burner intro song into something like this. Yeah. Well, I mean, I've been used to this for like my whole life, so it's like it makes sense, but. Yeah. [Music] I guess for me, it's really always a matter of separating the nostalgia of how much I really do love these songs nostalgicly. To like, it's a really good song or do I just know it so well? It's very hard to. And that doesn't matter, actually. Ultimately, that doesn't matter. Right. Like, I like it for the reason I like it because I can sing it. I know like the fact of my hand, but I still want to interrogate like is this song
like, "Yeah, there's this song kind of like, crap, I don't know." Very hard to rate it in a vacuum. Like, "Oh, there's no way we can rate it from a distance. We're so in it." There's been quite a few albums that John and I have done in the last year that have been like, "Wow, if we had discovered this at the same time we were listening to this, this would have been the tops of a rotation for years. Just unbelievable. More obscure at least in the US metal albums, like Gary Moore and the Michael Shanker stuff, just unbelievable. Yeah, yeah. They're really, uh, stretching out to the outro. They really are. I love that. I don't know if it's got like a little chorus on the bass or something. It sounds like it, yeah. Very cool. And I don't think it's a fretless, but it kind of reminds me sort of like, um. Actually, I don't remember this fading out. Yeah, that's, that's, I don't remember that ending at all. Yeah, no. I mentioned it. Yeah, this is a different ending because that was not a hard stop. Like, that always faded out. Just faded out. Huh. What version of this, you play? This is the Japanese release, but it's got the, um, same order as the US. Okay. Well, the Japanese culture fading out of song is disrespect. Disrespectfully. Yeah. Thank you, Japan. Well, hey, you know, I'm happy to hear a couple of little things that I have never heard before. It's cool. Very cool. All right. Let's, uh, let's start it with Scott this time. What do you think of this one? Oh, we're rating these. Yeah. Uh, they're no different. Um, in the context of this problem, I will say, um, we're just looking at the track listing here to make sure that I'm here here. It does. You can rate them all the same. You can rate them all. You can, uh, five's given all zero. I know. I'm just trying to remember like what my, my own gauge of this is. You want to pass? No, it's, it's a, this is a two and a half for me. This is a little of the road. Yeah, it's fine. It's, uh, catchy. It gets stuck in my head. Sentimental for some reasons, but, uh, it's pretty unforgivable to have the drum sounds so horrible. And on this intro, it sounds like they, they turn on the mics and like the room next to the drum room. Yeah. Sounds, it's, it's, it's this is weird boxy like reberbie drum sound. I don't know what they were going for. Like they set up the drums. They set up all the mics and they're like, no, we're going to record any other move. Other room. They moved the whole set, but left the mics in the other room. Exactly. That's, that's the sound it has to me. Cause I've done. Um, or some version of, I've, I've made some version of that mistake. And that's kind of what it sounds like. And, uh, it's really tough to come second after bark at the moon. So I'll have to give it to. Sorry, you're no different. I mean, a lot to me, but that's what I got. All right, Nick. I'm going to give it a two. Oh, wow. I did enjoy the bridge. I don't know, to me, it was just, uh, it was like. Um, I think it's, I just want you is the song on as most of that it was really reminding me of. Like, especially with the keyboard at that pace. Um, I don't know. I didn't, I didn't dislike it. I have a feeling I'm not going to dislike any of the songs on this album, but. There's got to be some sort of, okay, it's got to make sense that. I'm not going to be a part of the song. I think Nick, on one of your recent episodes, I think it was, you guys had brought up a really good point, which I think you've made before. But a lot of people don't think about is like when, when actors are in movies and they're portraying a part, nobody, like scandalizes them for that. But when you're in a band and you're portraying an image or you're singing lyrics and you're trying to portray like, you know, tell a story. They associate that with the person and the band doing it almost like it's, it's their identity. They're real and it's, I never thought of it that way, but it's really, it's true because it's all entertainment. I'm pretty sure, I'm pretty sure Chris was the one that made that point and it's, it's true. There, there seems to be a different connection that people make with, with the performers depending on whether it's music or acting. Yeah. And Ozzy did that on one of those videos that we used to watch all the time, or is like nobody, you know, Vincent Price can, can play all these parts and do all this like really dark macabre sort of stuff and say, TANIC stuff or whatever. Nobody bats an eye, but if I write a song about it, I'm the bad guy. Exactly. Yeah, it's like Vincent Price is an evil doctor and then at the same time he's posing next to a tapestry in a serious catalog. Yeah. All right, John, what do you think of you're no different? I'll give it a three. I think it was a middle of the road, but slightly, slightly above because like, I guess I, I didn't like, I didn't think it was like, as I remember it, especially because I really do like that bridge part, it has some really good kind of emotion in it. There's some like kind of like chords that Jake plays that are very like Jake E Lee, you know, you could just tell it to style like. And I mean, yeah, I mean, if you, if you, if you isolated from like, okay, this is the song that followed bark at the moment, it's really not, it's really not that bad. I mean, the verses are a little plotting. So it's like, like I said, my favorite part is the, that bridge, but yeah, I wouldn't, I wouldn't put it in like the upper echelon of songs just because I agree, like those, those drums just always bothered me, you know, it's just. You know, it just the, a lot of this album just sounded really thin, you know, very, just the kind of production that wasn't as punchy as the first two albums, which is weird, right? Because you had the sit like the same songwriters. They recorded, they recorded a rich farm, same producer, but it sounds like it was a completely different album. It's not like Tommy Aldrich didn't hit the drums hard or anything like that. Yeah, I really, I really feel like my suspicion is that they decided like, okay, bark at the moment is going to be the lead single and we're going to give a special attention in the song session. It's, it sounds just way more attended to than the other songs in this album. Honestly, all of the other songs, it sounds like it was, it was, you know, it was a special piece, which is, and it does sound way better than the other songs in the song. I think that's, that's the downside to leading off with that song because everything else kind of. We've, we've encountered that and something I didn't, I never really gave much thought to over the years, but in doing this show, we've encountered that a lot where you got one or two songs that they clearly put a lot more money into and you can tell. It happens, it happens, but usually with like low budget or debut albums, not with Aussies, the third studio album, you would think they weren't.
Like could they have been that pressed for? - Yeah, it's something to prove coming off of Randy's passing out apparently. - Maybe. I'm gonna give this one a four. I really like this one. I like-- - Oh, let's go, Nene. - I like it a lot. - We're all over the board with this one, huh? - It does sound like, it sounds like a demo. Like, you know what I mean? Like, it sounds, and I kind of like that about it. Like I like a lot of those compilation albums that are like, oh, here's an unreleased track that probably never should have been released. But like I found so many good songs over the years like that. Like I kind of have a fondness for that sort of lower fidelity. Sounds like we're just kind of mapping this out versus this is all polished and ready to go. So something about that I really liked. But that's just me. All right, the next track up is called, Now you see it and in parentheses, now you don't. Yes. Oh, yeah, yeah, yeah. ♪ Over very well, man ♪ ♪ Because it's all I've for me ♪ - Okay, this has really taken me back. Like I remember this very well now. Is there like a weird sound effect that comes later? - Oh, yeah. - Yes. - Okay, I keep hearing it in my head. - It's terrible. (laughs) - Sorry, man. - Sorry, man. - Or amazing. - I don't know. I'm liking what I'm hearing in my head. ♪ You know me, yeah ♪ - This is a fun little, it's fun. - Yeah, it's not bad, but there's always, there's always been some element of this song that's just like it's just kind of missing the mark for me. Like I mean, it's a heavy riff. It's classic Aussie vocals. It's heavy. - Not a terribly inspired chorus. - No. - Yeah. - Yeah. (rock music) - It's coming up here, I think, right? - Yeah. (laughs) - This is like a, - One of several times, during the read listen of the album, and I literally laughed out loud. - Yeah, first in my head is on a cool line. - It's great. - But it sounds like I like it's trying to do that like horror movie thing. - Reek, reek. - You're right. - It's like, it's like psycho and reverse kind of. - Oh yeah, yeah. - But this isn't a scary song. - No, not at all. It's just like a traditional-- - Depending on your interpretation of it, John. - It sounds like it could be something off of like, live and let die, or not live and let die. Never say die, you know? Like, it sounds like a late era Sabbath song. - Yeah, yeah. (rock music) ♪ See it, it's time to dance ♪ - Again, the bridge killer. Yeah, it's cool. (rock music) ♪ See it, it's time to dance ♪ - It's a good like melodic solo from J.K. Lee. - Yeah, I see it. - Pretty good, yeah. (rock music) ♪ Now you see it, now you know ♪ ♪ Now you see it, now you know ♪ - But the drum song equally bad here. - You can hear the mic is like laughing. (laughs) - What did you say about the drums? - They still don't sound good here. - No, they don't. - No. - They sound better on Barca de Moon than any other song. (rock music) - Sorry, Don, I just don't like it. (laughs) ♪ I've been singing before ♪ ♪ Yet I see it again ♪ ♪ I see the people that come first ♪ ♪ Now you face me again ♪ ♪ So far I'm afraid to come back down ♪ ♪ Now you know ♪ - It's like a weird like little like almost sky. It's like metal sky. - Yeah, I was thinking about that. When I listen to it, I'm like, were they trying to like comp a little sky reggae thing here? And then I think they probably were in some way, but. (rock music) Oh, and here we go. (laughs) The, the budge in flaps. - Yup. - Gag from the earlier albums comes back, which really cool, man. (laughs) What's he saying there? - Are you familiar with bodge and flaps? - I'm familiar with flaps. - Flaps? - Bodge is a euphemism poor, well. (laughs) - He's trying to put it delicately. - It's not a family show. - I guess so. - Bodge. - But I'm here with my family. (laughs) - I think we can put, yes. - You know what I'm saying? - Use your imagination and then flaps also use your imagination. - Yes, yes. - That one. - The budge in flaps, I think we're a suicide solution. - Yeah. - Like thing and the, like oh, that's a weird thing. - No-bombs movies. - I think, no-bombs. - Next got something from the book of knowledge there. - Yeah. - You know, you're in, you're pretty much, pretty much on the button there from what I can tell. - Oh geez, I try. - According to Mr. Dazley, on a lighter note, now you see it now you don't, came from a sexual innuendo that I thought of while I was in the London Hard Rock Cafe with Jake one afternoon. It's about the old in and out. Jake's got a shuffle of it. For Chuck L. Hoverton. - Now you see it now you don't. (laughing) - That's what Bob Dazley quote. - Yeah, that's what he's like. - The old in and out. Because the more recent Bob Dazley stuff that I've seen, posits that this song is actually about Sharon Osborne and it's sort of a scree, it's sort of a scree against Sharon Osborne. So I don't know, not in any sexual way, just sort of a, if you read the lyrics, sort of. - Maybe he was talking about writing credits. Now you see it now you don't. - No, no, exactly right though. No, exactly right. So I feel like Bob Dazley, I wanna believe him, but also I feel like he has like three different versions of every story he has. - Yeah, it's funny how almost every song can be turned into, I was writing this for Ozzy and Sharon, but it's a song criticizing them without them knowing it. It always have been like that. - Yes, tough. - Now you see it. - I like the version you read, that sounds funny to me. - So one thing like, - Yeah, I'm gonna start out to, I'm sorry guys. - Oh sorry, no, I'm sorry, just I'm gonna look up the lyrics 'cause I thought I heard a few things in there that might be some tongue in key sort of. - Overbearing woman. - Is that a very good question? There's a question, there's a lyric, can I ask you a question, can you accept a blow? A blow I assume meaning a harmful punch of sorts. - Maybe. - That's problematic in a few different ways probably, but if it's applied to his relationship with Sharon and their contentious, you know, back and forth about his writing credits, then it sort of does make sense actually, so I don't know. - My goodness. Well, there was one thing - You didn't think it was gonna get this deep name. - No, I didn't, I really didn't, this is great. There was one part that little, (singing) that little instrumental kind of intralude. And this album came out in December of 1983, but in May of 1983, just looked us up, the song, send me an angel came out. - Oh. - And it sounded exactly like that to me. ♪ Don't know what to do ♪ ♪ Don't know what to do ♪ - That's what I was hearing when I was playing that. And I'm like, did that song influence this one? And some small way, like, it was very, - A way better theory than bark at the moon influencing thriller.
(laughing) - But not record. - Oh boy. So while next search is for the more details there, Scott, do you wanna give your rating for the song? - Yeah, because for me, I'm at like a war for this one, actually. - Okay, yeah, I really, this is one where the nostalgia actually really hits hard. And it's a fun song and you know, it's silly in some ways. And like I'm now I'm only now understanding what the lyrics might mean, who cares, right? The song itself, I think is pretty fun. And it's kind of rocking. It's kind of like a cool tempo to it. And I could have cool groove. It's different. It doesn't really sound like any other Ozzy song like that I can pinpoint, or saying some of these other songs are like, "Oh, I could, sounds like from the earlier albums or sounds like from a later album." This song kind of just lives on its own here. And that's good with me. And for me, it's a four. Maybe it might be my last four. All right, John. I'm gonna have to give it 2.5. It's just, there's always been something about this song where it's just missing something. It always has been like objectively, like you have, like I said, you have a heavy riff. You got kind of classic Ozzy melodies, even a little humor in there, but. - Is it missing an out of place synth drop? - No, it's not. It does not. - No, that's definitely in there. - It's in again. - But I don't know. I don't know if it's the production. I don't know if it's like Tommy Aldridge. Like. - His, I will say like the groove on this is not as grooving as I would like, but. - Yeah, it's a little like square. - And it's kind of square for like, this song feels like it could be a little more funky. And it's, Tommy Aldridge isn't funky. And that's fine. That's supposed to be, but. - World, world renowned scod drummer, Tommy Aldridge. Yeah, scot or anything even like sort of like groovy. I don't know. - Scamasta. - Yeah, but not one of my, not one of my favorite. Not one of my favorites. - Yeah. - All right, Nick, did you find what you were looking for? - I found a lyric that's highly entertaining because you're not gonna hear it. It's gets, it doesn't back up the theory or what he claims in the book, but. It's just a bizarre lyric that you won't hear in any other song. It's give me central heating, hope that I can pay the bill. (laughing) - That sounds, that sounds like it's from a Joe Walsh song. Or dire straits or something. - Yeah, it's, it's, I don't know. Looking at the lyrics, I can see, I could see it going in either direction. Some lines I could see, you could say, oh, that's an innuendo, a little naughty innuendo, but for the most part, it does look like, you could say this is about being taken advantage of by somebody. - Oh, it's great that it's cool to have a double meaning. Like it's got the, which I never, ever thought. Now you see it, now you don't, that that, that would have an innuendo, but the fact that it's an innuendo is hilarious 'cause that's such a funny thing to say. (laughing) But also being like a dual meaning about, you know, with Sharon, now you see it, now you don't about the credits, about the money, about the promises, about whatever. - Yes. - It's great. - It doesn't, it makes it more funny, I think. - I think so, it's great. So what would you rank this one, Nick? - I'm gonna be unpopular once again. I gotta give it another two, two twos in a row here. I just, I was John noticed, I wasn't trying to try, trying to draw attention to it, but I did start laughing just the whole, like, now you see it, now you see it, like, it's cheesy. - Yeah, yeah. - It's cheesy and quite frankly, that part of the sign thought was awful. (laughing) But I like the main riff. I like the main riff and it had some nice vocal parts aside from that, but I couldn't get past just, how unappealing I found that, when the title of the song was being sung, - It's even, it's even harder when you see it. - When you think about the subject matter, now you see it. (laughing) - It's kind of, yeah, like, - No you don't. - There was something. (laughing) - Absolutely, there was a, there was a quote I saw about Bob Dazley's "Sit Something About." - Yeah, there was more of a hide the sausage kind of lyric. (laughing) - Which I was like, I guess so. - And then there was the Sharon stuff, I don't know. How do you see it now you don't? - I don't know what more there is to say. This is great. I like it. I think it's kind of like, got a nice little, like, I think it could have a little more bounce to it, but it's a fun. - You're right, it's kind of square, man. - They're at least not taking themselves too seriously. - Yeah. - But that brings us to the song that I am most curious about so far and that's rock and roll rebel. - Oh. (upbeat music) - Very cool, Jake Reff. So is this gonna be a song about how it's just so hard to be a rock and roll guy and like, nobody understands you? I guess we'll have to see. (upbeat music) - So the guitar solo in the beginning was different on this version. Oh, was it? - Yes. - Then on the US version. Oh yeah, I remember this one now. (upbeat music) - I remember they say I worship the devil thing. - Yeah. - Yeah, Jake's, Jake's fills here are like, way different than they are on the US version. I've never heard these before. Should've gotten a different version. I actually is really interesting. And actually I think it makes it better. A lot of different ministries he's bringing up in this. - Yeah. ♪ Yes, I'm a rock and roll, roll ♪ ♪ And I miss free as every ♪ ♪ I know the river ♪ - I miss free as the breeze. - That could be an Apal Enca song or an Aussie other for an unfetlearing. - I like what Tommy's doing on the ride symbol there. - That is interesting, yeah. ♪ They'll drive them with your heart ♪ ♪ They know it through your head ♪ ♪ If they could breathe between the nights ♪ ♪ You know they see the rain ♪ - I like the nice little slow down here for the guitar solo. - Yeah. - Yeah, there are a lot of parts in these songs that are just really good. Even if the songs overall aren't all good, there's a lot of good elements. - Nice. I think that's that typical like like finger tapping with the pick sort of thing. - Yeah. - Like in the, I don't know solo, right? - Yeah, yeah. - Did he just mention an Inky bus? - He did. - Yeah, I have thoughts about that one too. - Yeah. - Sorry. ♪ This is the game ♪
-Like, I gave you the function of rivers, looking down yonder with jam, lemma find slept make my last trip to kill me -Like, I've made very hard (settling a low tempo music) - All right. Rock and roll, Rebel. What are your thoughts about the Inkembiss line? Scott. - Oh, I just thought whoever wrote that lyric, whether it was Bob Dezlier or Hazier, whoever else, was probably, you know, a couple beers and a couple lines into their night and we were like, "Oh, I'm so excited." And we were like, "I'm so excited." And we were like, "Oh, I'm so excited." And we were like, "Oh, I'm so excited." And we were like, "Was the song called Inkembiss?" - Yes. - Oh, that would, I guess that would be it. It was the song Inkembiss. - That would make sense. - There you go. - All right. Well, Scott, do you want to go first with your ranking then since you're the one with Inkembiss's on the mic? - Yeah, be sure. - Or Inkembiss. Is it Inkembiss? - Inkembiss. - It's song to me is just not great. It's the. It's not. I mean, I, it's, it's kind of like. Are you, did we talk about this on the last time I was on the podcast about songs about rocking? - We know. - It sounds like something we were talking about. - We know. - But did we talk about songs about rocking? - Is this like songs about the boys? - Yes. - Oh, that's it. We talked about songs about the boys. - Songs about the boys. - So, yeah. - Also, there's songs about rocking. Fans that talk about rocking and how much they rock. In my band, you know, we sort of have an unspoken rule. Or actually, no, it's more of a spoken rule that we, you know, when we're listening to songs and I listen to lots of stuff like this. But like, songs about rocking are kind of like, we're just, we don't listen to songs about rocking. And Johnny, we'll be happy to hear that the exception to this rule is kiss. - Kiss. - Kiss. - Kinsing songs about rocking and we will rock with them. Other bands, there's always a song about rocking. And it's just like, enough, man. It's like enough about the self-referential stuff about how much I rock. Or I'm a rocker or anything about rocking is kind of off the board. To me, this song just falls into that bucket. And I don't think there's anything more. That solo, upon hearing the solo, actually, I was like, oh, it's actually a pretty decent solo. But not much about this song really does it for me personally. Outside of that, I'll give it like a two. All right. Nick. It's, you know, I was actually a bit relieved. When hearing this one because of the previous two songs, I thought we're kind of off the mark. Not that I thought this one was great, but it's like, okay. At least like the chorus is a bit more memorable than the last two songs. A bit more like, oh, it's like, I felt like, okay, okay. We're back to where we should be a bit. So I'm going to give it like a three and a half. All right. And you know, Jakey Lee and his pinch harmonics, oh, you just can't stop himself. Little did we know what we were going to be in for in a few years. It made me think so. I'm a really big Randy Rhodes fan. And I can't think of him playing pinch harmonics. Did Randy Rhodes play pinch harmonics? Or did Jakey Lee bring that to Ozzy, essentially? I think he's doing it constantly here. I think there's like a few like solos where he maybe puts one in, but it's almost like just one little. Yeah, but not really. I mean, definitely not part of like a hook of a song. No, nothing like that. I can think of it. It wasn't that. It wasn't that often if he did do it. Because I want to tell that to Randy. Randy did it. Not part of the part. Yeah. But whatever he does is a lot way more subtle than what Zach Wilde would do. Yes, for sure. But that just made me think like is this is this really like where three albums in and is this the first. I mean, Barca the Moon there was there was a pinch harmonica to during the solos, but. I think Jake brought that to the Ozzy albums. By Polly. By Polly. By Polly. All right, John. I'll give a 3.5. I think that it was. I actually liked it better than I thought I don't know if it's. I there's a couple of things on on this version and I got to go at the version we're listening to. There was a couple of things on this version where I think it was. It was a little bit heavier. I think it was a little bit heavier than on the one that I remember because like I said some of Jake's fills and solos were different. Then on what what I grew up hearing, you know, but it was essentially the same. You know song, but. Which was what though what compared to what. So that his. Like after the when the drums kick in after the initial riff, he does like a solo like right from the right from the onset and there was no. Solo and there was also different like it fills like in between like each. Verse like what that's what I'm asking like a different version that I that. Yeah, because Nate said that this is the Japanese version that we're listening to. Oh, okay. Yeah, I don't know that I'm familiar enough with the well. I think I didn't catch it. Yeah, but okay. Yeah, so I mean, I know that there are there's sometimes there are subtle differences in like edits and production and stuff like that. Like little things like that. It was actually right. I actually freshened it up a little bit, but I mean, I always thought that this was like a good riff and like I thought it was a pretty decent song like again, not as. After now you see it now you don't I'd say it's like in the same. You know, same category of just like, okay, these are like these are like album. Album tracks right there's nothing special, but it's a little yeah a little bit better than a little bit better than that. You know, you know, if you take out the kind of some of the weird lyrics that are. He's been singing for the past few songs. You know, you know, he's got some good melodies in here. There's good playing. I just like. I don't know like I really feel like if Lee Curse Lake was still part of the band, this might have been a better album. Because I'm not really digging what Tommy Aldridge is doing so far. That's that's a like I have thoughts about. I've heard of Lee Curse Lake versus Tommy Aldridge and it's just I'm surprised that like and it's in Bob's book as well. He talks about how it took time you longer than they were all expecting to nail the drum parts down in the studio. And because from stuff that I've heard, I've formed the opinion that Tommy Aldridge was upgrade from Lee Curse Lake as far as in the live setting from stuff that I've heard. So it's just yeah, it's really I guess it just live and in in studio or two different live in studio or two different. I was just going to say like those are two two different things. Some guys excel live and some guys are like more dynamic in the studio and maybe it was not. But what is it like to be both Scott? I don't know I haven't done much studio work not not as much as live I guess. That's much just like not really a rock and roll rebel sorry. Well, you only identify with higher level rocking like this. Yes, level rocking. That's true. I mean, God gave rock and roll to me. That's right. And me, which I just learned is not a. Right. Yeah, our our. They kind of rewrote it a little bit. Yes. That's that this is another podcast, but I just learned that. That nor.
back in the New York group were by the same person anyway. Yeah. And for more on that, you can listen to Pot of Thunder, the first 300 episodes or so. Let's go. Okay. Yeah. Yeah. Like this one had weird lyrics. Like he keep bringing up all these ministries, the ministry of truth, the ministry of peace, the ministry of fear, the ministry of grace, the ministry of war, the ministry of joy. Just come on. I'm a little Aussie. Of course. Yeah. The only ministry I know is the one I don't know. I am. (laughing) You know what? That's a perfect impression, Nate. He would have just trailed off and like. No, I don't. The only ministry I know is him. (laughing) Okay. I mean, I'm assuming those are all real over in the UK. Yeah. Yeah. The ministry of fear. What does your dad do? Oh, he works for the ministry of fear. (laughing) He's with the government. So, yeah. His belt is huge. That's the fear. That's the fear. Yeah. It's kind of a, yeah. It's a weird song. I feel like. Yeah. I'm going to give this one a three. I like, I mean, it's okay. It's a pretty good song. I feel like I know the songs on the second side of the album better looking at the head. But I think the thing I didn't really remember about this one as much was the thing he does. It's like. I'm just a rock and roll rebel. I tell you no lies. What is that? Yeah. Like that really brought back memories for me. It's just like it's a weird thing to do. Yeah. I mean, it's like, I think it was maybe John that said it's, yeah, it's kind of an album track. Yeah. All right. I mean, this really is an album full of deep cuts. I mean, you don't really hear about anything except bark at the moon off this album. Right. Right. Exactly. Yeah. And we're. There were only what two videos, right? From the album. It was the bark of the moon and so tired, right? That was it. Yeah, I guess all right. Like such a weird second choice for an Aussie video. In 1983. Such a weird video. Yeah. I get a listen to the watch the video after this, but really do. So going over to the second side of the album. Starts with a song. This was one of the ones I remember the most for some reason. Center of eternity. Classic church bell. Trying to love. Oh, yeah. Oh, yeah. Yeah. I was really vergorean monks. I always I always thought that this was cool because I felt like this. And then when Don Aries organ comes in, like, is reminiscent of, like, the first couple of albums, like a Mr. Crowley type of thing, but also like sticks with like the horror theme. And then when you're in the music video, you know, you know, it's just just like this part is great. Like this just makes me think of like, you know, Phantom of the opera, like some kind of horror movie, like, you know, gets us back to Park at the moon, you know. And this is the do the played Mr. Crowley for Christ's sake. Yeah, that's pretty awesome. Sounds like early Metallica. Oh, good call. And they did this one live, right? Yeah. Just a really, this is a really heavy riff. And like nice fast pace, you know. Yeah. And then I think I'll be the chorus just like goes right back to the intro, the Gregorian Monk intro. Yeah. Gregorian keyboards. That was cool. Once again, the bridge is the best part of the song. Forever is a long, long time is a really good line. I guess you're right, Aussie. This is great. The bass playing is just so, so killer. Guitar playing too, but I'm just more impressed by the bass playing, honestly. And it's very reminiscent of the first two albums, like the things you're doing on the bass. Yes. And it's why I like it. Oh, that was nice. That's not on the, I've never heard that before. No, no, no, that was really good. That was really a standout. Oh, weird. Right. There's no way I've never heard that little triplet riff before in my life. Wow. I think that's a little bit more than I thought.
playing all around like you know great great singing by Ozzy. I love it. All right Nick. And this is one that blew me away when I first heard it many many years ago when it's on that compilation that I bought. And it hearing the little slight differences that for some reason are there. That's where the end got me even more fired up about it than I was previously. So I'm going straight up five for this one. Oh yeah man. Let's always love this song. This song is awesome. It's in the vein of like SATO where it's just it really just is like yeah yeah. It's faster than the other songs on the album and it has a thrash. You sort of a feel to it and Ozzy singing pretty fast. Yeah he's really belted it out. Yeah like I mean this I could imagine someone running out of gas doing this one live. But I think if I'm not mistaken the versions I've heard of it live or they pulled it off. So yeah super fast tempo. It's like you expect like bust arrives to come in when you're singing that face you almost rapping you know it's a crazy. Yeah yeah and it's solos are awesome. Well the main solo and it's got the other lead going on too. Just a song I've always loved and hearing it now. I think I like it even more and I'm going to agree with you guys. This version is really cool. It's it's pretty much the same but then there's the slight variations and none of the variations have been like oh that's not that you know that's inferior to the one I that I've always heard. Yeah it's a nice little treat to hear these different like two bars of different. Yeah yeah yeah so really great. Love it. All right Scott. Yeah man I honestly real like I said I re-listen to the album over the past couple days just to get re-equainted with it and I fully intended to come into this song with like a screeching a scorching hot take of like how bad this song is but you listening to it on it? No seriously re-listening to it with you guys and just right now literally in the moment I I'm revising my opinion of it because I always thought it was a cool ambitious if not slightly you know copying the Mr. Crowley vibe with the you know the dramatic organ intro with like a rock song okay like that's something that you know it's clearly like modeled after that in some ways but when I re-listen to it the other day I was like it's it's really this like gothic dramatic thing and then it comes into this yeah like that's like I don't know if I can deal with that it's like two different sounds like abba the way you're just saying it well right so in that in right I was maybe being a bit unfair to it by like characterizing it in that way because it's actually especially putting this in 1982 and 83 whenever this came out and you mentioned like a metallic thing doesn't sound metallic but it's I know what you mean by when you said that it has like a it's propulsive in a way like a metallic a song might be around this time and that's actually kind of I don't know all of that to say I like this more than I did two days ago it's actually pretty rocking I can't joke with I can't you know make fun of it as much as I want to do sorry to say I had a whole bunch of stuff but I can't can't use it and I'll you know for me it's a it's a three middle of the road all right oh yeah we're really all over the map on this uh I know I know I know a lot of different opinions here I'm gonna I'm gonna give it a 4.5 I really really like it I've always really like this one and that little triplet thing reminded me of um uh high high speed dirt by mega death that I don't think I can remember the album. And then it just goes right back into the riff. But I don't remember the album enough to no that that wasn't on the original album, but I don't think it was. But yeah, it's great, but he is like Ozzy's like really singing quickly, fast. It's almost it is almost wrapped. Is this the first rap song? But yeah, I like it a lot. This is the first rap song. I just asked the audience and yes. It said bark. Yeah, it said bark is the first. The first rap song was released in 1983. See now that now that like I heard Scott sing the melody. No, I'm just like, I don't know if it sounds so heavy anymore. So if you dance while you sing it like this. It's really tough. That's right. 2 days ago. Now I'm not there anymore. So when in 1998, a BC boys released Hello Nasty. And I loved it and I listened to it all the time. And then one day Scott came over and I was listening to it and I was like, do you remember this? Do you remember? Yeah. Oh, you're asking me. No, no, I just. I just. I was like, oh, I love the new BC album and he's like, I don't like it. Every song is like this. Bap, bap, bap, bap, bap, bap, bap, bap, bap, bap, bap, bap, bap, bap, bap, bap, bap, bap, I'm like, oh, he just freaking ruined it for me. Because I couldn't disagree. And that's I feel like that's what Scott did to you with. I'm sorry. Yeah, yeah. I like I'll pick up on rhythmic motifs that are repeated in as a drummer. That's what drummers do. That makes sense. And that sense like the Beastie Boys album was like that and then. I'm not yeah, I'm not saying that Ozzy sounds like Abba or anything like that. You would be one of the first. I key into the rhythmic motifs is what I'm saying. As any good drummer should. All right, the next track up is so tired. The tender love theme from Barca the Moon from Barca. Now it sounds like a like Barry Man. I was just smoking jacket in a pipe. I feel like this is one of the more maligned Ozzy songs though, right? Like it's not. I think the fact that this this was released as the second single to this album and I think that that was not a popular choice. So I've read otherwise I don't know much about it. Orchestration is actually really good. Yeah. Well, I mean, really it's it's like tonight off of diary. It's it's. Yes. It's on that it's on the same formula. Yeah, yeah, except I'm not giving this a five. Not yet tonight is your gift tonight. Oh, yeah, I give tonight. I give tonight a 100 tonight is so good. I know it's really it's really good. But I get what I get what Nick is saying though. This is from cut from that same moment. Yeah, it is. Yeah. I mean, it's a little base the high up in the neck base. Feels very cool. Very cool. Very bad days. Like very Bob, basically. I've got the video playing off on my laptop. Yeah, it's it is something. It's something to behold, isn't it? I don't think I've ever seen him. I don't think so. As he's as he's got Linda McCartney's hair. Yes, he does. And I think red skeleton is in it. I don't know. I thought John Cleese was in it, but I might be mistaken. I have no idea. The best part is not being able to tell if you guys are joking or not. Oh, it's I don't even know if I'm joking. I'm not sure. I think I'm honestly it's I don't know how this song isn't better known frankly. Pretty poppy, right? Catchy. Very poppy. I don't I don't see why it wasn't something that he wouldn't play years later live or something like that. But it just. Yeah, I think it just never caught on. I don't yeah, I don't get it. I like it. Thank you. Fine. Yeah, you got to see the video. It's it's.
(upbeat music) - Really good. You guys could do a whole podcast on the show. - Yeah. - Honestly, it's its own podcast. - Like not just an episode, like a full podcast. - Like a full podcast series on the episode. - Yeah, like the so tired podcast. Specifically an episode, but maybe you're right. - Remember Dan Acroid as the judge in nothing but trouble? - Yeah. (laughing) - Yeah, right. - Does he has a very similar makeup job than one of the scenes as one of the characters? (laughing) - It's a must watch. (upbeat music) - All right, wow. - Yeah. - So, yeah. Nick, why don't you kick it off this time? - Um, ooh man. I always liked this one. Ever since I saw the video on Head Bingers Ball Years ago. I said, oh, that's a, that's a, I mean, honestly, I know it's not the same song as tonight, but if we're, and I think there's definitely some validity to it. If we're looking back and saying, okay, well, Ozzy, at this point, had certain types of Ozzy songs. There were, there was a formula. There were certain places that worked for Indigo to, for the band to go to. And this was one of them. And I mean, it's, you know, good-bye to romance in a way. Tonight. And this one. And I think it sounds great. Like some of the other songs we've been saying aren't sonically up to snuff as much as, particularly the, the, the Chiller opening track. But I think this one sonically is great. And I forget who mentioned the orchestration, the orchestration sounds really nice. I think John mentioned it. And I am gonna give a four and a half. - All right. - 'Cause I just think it's a really well-written, well-recorded, just, it's a pop song. It's memorable. It should be bigger than it is. - All right, Scott. - Yeah, I'm out of four for this one, man. I agree. I agree with Nick. I think that it's just a solid, if not possibly, you know, copy of earlier Ozzy Ballads or some sort of like, you know, vanilla Beatles-E adjacent thing that Ozzy's tried to do through the years. Doesn't matter. It's awesome. It's a solid pop song. It stands on its own, I think pretty well. And yes, sonically, I think it sounds a whole lot better than some of the rocker, more rocking songs on the album. It says, just a nice, dialed in, mix. And yeah, for me, it's a four. All right. John? - Well, I can't believe that I'm giving it a four, but I'm getting it a four. Well, I thought I was going to-- - I was going either honestly. - I was going in thinking I was going to give it like, like not like a two, but I mean, maybe like a three, but I mean, yeah, hearing it back and just kind of shaking off like all of the flack that it gets, you know, for being like the, you know, the bark at the moon, ballad, you know, it's like, you guys all make a good point. Is that like if you go through Ozzie's catalog, he does have like a slow song with like, you know, who has some piano via lens. Even if you go back to like the stuff that you did with like Sabbath, you know, I mean, it's-- - There's always something. It's always a stretch. - Yeah, it's not a stretch. Yeah, but I mean, sometimes it can be like, like a ballad ballad, not with like, like piano and shit and you know, and like a full orchestra. Like some people would see this as a turn off, but it's actually a really strong song. And I think, you know, probably the reason that wasn't bigger is like if you gave this song to somebody else that was like bigger around this time, then this, you know, probably would have been a hit if it wasn't Ozzie singing it, you know, if it was like, I don't know, Tina Turner or something. (laughing) - No, no, no, I'm just trying to think, like, you know what I mean? Like who was big in '90s? (laughing) - I pay a lot of money for the team's turn of version of the song, so that's-- - I didn't think it was that funny, Nick, but that was the first day that it came to mind. - Like, I'm just-- (laughing) I can't think of a better example, but I can't also, I also cannot think of how it would sound to keep it turned or to. - No, I'm enjoying trying to figure it out. - But it's extremely intriguing. But you know what I mean? If there was another big pop artist at the time that did a cover of this song, I bet you would have been a lot bigger. But that being said, the production, the instrumentation, like it's like a great song on its own. And it was part of this album. The one thing that I remember though is Nate, is your cousin, Jeff, love to make fun of this song. He's just like, oh, that song. (singing) - That's so tight. - Sure did. - He did. - Oh, so yeah, so I mean, I think it's kind of like been maligned in our own minds, but we're sitting too with a critical ear. It's a great song. - I will give it a 3.5. - I liked it more than I thought I would. I can hear this being like a radio hit of like the 70s. Like it seems like it's just a little too late. You know what I mean, I can hear it. - Yeah. - I don't know who the pop Tina Turner, she was big in the set. (laughing) I don't know, the Captain and Taneel. - Yeah, there you go. I can see this big, it's got that kind of like schmaltz, those schmaltzie strings. It kind of reminds me of let it be, like the album, not the song. - Sure. - Of all those Phil Spector arrangements that, - Right. Paul McCartney hated. - The piano's got a very bright sound. Like I wish that the orchestra was a little less melodramatic. Almost, like I feel like it could be, it could have a better impact for me anyway, but. - Yeah, there's like a middle ground where it's not overpowering all of this orchestration and piano like flourishes that they put on it. - Especially when it's the one song in the album that's got that stuff, it makes it stand out even more. Where it's just like, whoa, what is this? - I really agree. - It doesn't belong. - I really agree. - Yeah. - Nate, I'm gonna say, if you watch this video, you would give it a 10 out of five. - I'm going to watch the video. - The video's gonna change your life and I don't know in what way, but it's really gonna change it all. - I reserve the right to change this back up to a five after this episode. - I think we should watch it together after we sign off. - I think so, because there's a part that I completely forgot about that I just thought, oh wow. - There's a few parts that I'm like, I can't even. - Just the sleeve happened. - The goot, the YouTube thumbnail alone is. (laughing) - Yeah, I'm gonna go in. - But there's a part of it, yeah. - I'll just say one of the characters, Azi plays, is ooh, it just seems completely out of left field and it's an actual historical thing. (laughing) - One of the characters he plays, this is like an any Murphy style situation where he's playing. - It is an Eddie Murphy style thing. He plays all the characters in this video. - He does. - He laid the groundwork for Eddie Murphy and Mike Myers and all of these guys play all of the characters. - He laid the groundwork for Eddie Murphy. - So I made an event at Rapp. - He invented the actor playing multiple roles. - Yes. - If Eddie Murphy sang this on his album. - Yeah, that was a big kiss. - My girl likes to party all the time, followed by this. (laughing) - Azi's portrayal of an actual person who existed. - All right, we'll watch in this after the show. - Okay, I don't wanna say any more. - All right, stay tuned for that, folks. All right, the next track, the penultimate track on the album, Slow Down. (upbeat music) - Ooh. - They call those harmonics, Nate. - You heard of those? - I've heard of those. - You just lay your finger on the guitar. You don't push down too hard. That's called the harmonic. (laughing) (upbeat music) - Oh yeah. - Again, that's God. - I know. - I know. - I know the synth, man. I can't help it. - It works though. Everything in the song works great. - The stabs, yeah. - For now it does, yeah. (laughing) - It's a little crazy at the end. (upbeat music) - Yes. - I think that's great.
It's very like, it's very poppy at work. Yes, it is. It is. It sounds like something you hear during the Olympics. Yeah. It does feel Olympic. Although you don't want to tell people to slow down during the Olympics. Yeah, you generally not. No. I love Bob Gaisley over here. Yeah, he's really, he's like Steve Harris. This is very, this is made in Steve Harris galloping, triplet feel, dig it, dig it, dig it, dig it, dig it, dig it, dig it, dig it, yep. Which, I'm in too. Yeah, it was. You have to smile when you play those little bad descending riff. Slow John and join the human race. It's such a weird line. Yeah, what does that mean? Like, who is he speaking? We don't know, of course. Is this song about a workaholic or something like that? Yeah, it could be. Again. This is awesome. Yeah. The bridges are killer on this album. Drippin. That was kind of Metallica. Or it was, that was like a fade to black, but before fade to black. Yeah, yeah. That whole section was fantastic. So good. So here, you hear the synths on the background of this one? Yeah, it's like a arpeggiated kind of thing that keyboards can do, like they're like sequence. Hold down a chord and it just does that. You know, it's one of those things. So now you're moving way too fast. Oh, yeah. That's funny. It's like the ending of S-A-T-O. Yeah, very similar. Yeah. But yeah, that sort of like repeating echoing down, I'm going to motize. Guys, guys, we got to do that S-A-T-O ending, all right? We need it. We need it on this album. Guys, we need to do that. It's our brand. It's our brand. It's our brand. They're talking like they're from freaking wall family. Yeah. All this kid kid kid kid kid. We're going to do the S-A-T-O ending. All right, kid. So shut up kid. Kid, you're going to love it. When my cousin, Jeff and I who live next door to each other would want to hang out with Scott, we'd be Scott, want you come over. Okay, sure. But notoriously, he'd be super, super late, which in my adult ears, I kind of think back and I'm like, oh yeah, like because his mom was probably doing things that was too busy to drive him over. And we would just be like, we would just give him such a hard time about being late. So we would actually get to the point where we'd set up the speakers in his, my cousin's bedroom window, which looked down on my driveway. And we would play this song when he finally arrived. It just sarcastically mock him for being so late. But then what I think about it was not me or Dave, though, that was me. No, that was you. You have a video of you guys doing. Oh, probably. Yeah. Oh, that's awesome. Which we should probably honor. And then we would see your mom. Did she drive like that gold Toyota camera? Was it a camera? No, they're old Honda civis. Honda civis, a gold Honda Civic would finally come in the driveway, but they're finally he's here and then we could play this song. We'd be waiting so long to press play because we'd have it queued right up to the, right up to the chorus, you know. But at any rate, John, why don't you go first, slow down. You slow down. Your haste is making waste. Making the human race. I'm teetering between two ratings here. I'm not sure. Are they like really for a part like a like a one in a five because that would be interesting. No, no. No, it's like a half a point. You know what? I'm going to go ahead and where is it? There we go. I'm going to give it a five. Oh, my goodness. Wow. Oh, okay. John, I'm unbelievable. I do. I do. Like aside from a side from bark at the moon, whenever I've listened to this, anything off of this album within the past several years, like this is the second song that I'll go to just because it's so it's just so good. It's got a great hook to it. It's a beat. It's poppy. But it's also heavy. You know what I mean? It's it's melodic. It's it's just great. It's five in a different way than bark at the moon. Bark at the moon is in context. This album is like is menacing and dark and horror movie. And this is just just a great like I think like poppy melodic song. And it's like it's one like that I seek out. I was going to say some of the other ones. It's like like I don't I don't like you know, um, walk in and just be like Alexa, play your no different. You know, like it already knows you don't even have to ask. You know, Hey Alexa, play now you see it now you don't. It's like I never say that. I never seek you. You like weak ass drums. But I mean aside from bark at the moon, this is the only other song off this album that I will seek out or listen to on its own. So that's how I know that that that's though that was the right call. I'm reading it that I. All right, Nick. John's vote has emboldened me. Oh my goodness. Yes. It he boosted it an entire point. Wow. Yeah. Hell yeah. I'm going to be a lot, man. I'm going four and a half on this one. All right. Wow. I was going to do four point five. I it's the cheese level like for some reason. And now you see it now you don't the cheese. I think worked against it, but the cheese only lifts this one. Exactly. Yes. And I thought that I it took me a second and the part was already over the very beginning of the song, but I was thinking it's I don't know when personal Jesus came out. The the cashmote. But it's totally similar. Oh, wow. The very, very beginning. That's immediately like I'm like what's on is it? 19. Yeah, very essay very essay to insert in spots tempo wise and those stops at 10, 10, 10, 10, like just through the bridge. It's a dim, boom, boom, boom, boom, boom. It's a fashion, definitely kind of song, just like personal Jesus. And I think and I think I may ask whatever sort of artificial intelligence is listening to me through my microwave later to play the song. It's really good. Alexa set a timer for my microwave burrito and play slow down by Aussie. Like let's see, I need to I need to something that will cook for exactly four minutes and twenty seconds. That's a lot. Oh, what was Alexa? I was a who's talking in the other remote select. See, that's what you're going to be careful. I don't know what she was saying, but apparently she wasn't agreeing. Oh, Scott. Yes. Yes. Great. Is like, yes, he's like, what? What? I know. I am inspired actually in turn by John. I am influencing people. I think this is, yeah, I think this is this is my third favorite song on the album and I'm giving it a 4.5 and I think despite it's cheesy sort of arpeggiated synth things or any of the synth things that it has going, which I think are like stated so much. [BLANK_AUDIO]
something about it that's driving and there's something about it that's like really just kind of like repulsive and and to me to me okay so from me the thing about this song is that chorus and I don't know how to describe it in terms of like you know music theory or notation I have no idea what the chords are but the change from the verse to the chorus is like a very unique change and there's something about it that feel to me feels like really cool and it's like it just gives me like a feeling that's really good it's it's in it's an unorthodox change from a verse to a chorus quarterly speaking and I for me that's why I love it and I think everything else about it just tracks and yeah I can leave out all of this synthesizers and it's fine we're good in 4.5 for me Nate your haste is making waste you better think Alexa still talking to him Alexa stop see I told you I had to take off my I had to take off my headphones it said because it was say I was like what she say says your microwave burrito timer is done I forgot I even had the one down here I thought we just I've never honestly used the one down here it's just kind of underneath the TV okay sorry I missed the end of that are you you're all set oh oh you missed the end of mine I missed the end of what you were saying because oh oh oh the woman in the other room it's a 4.5 okay yeah it's it's great all right excellent Nate was busy deactivating his panic room yes he's a 4.5 my bulletproof walls were starting to descend um I'm gonna give this one a four I and I thought I was gonna give it we're all we're all like just hanging out in this song I love it I thought I was gonna give it much less too I've kind of been emboldened by all you and I think the thing about it is too I haven't like I said I haven't listened to this album probably since the 90s I think of this song frequently and I can hear all the parts of my head and maybe because we played it so many times out the window for Scott um but yeah it's just like I hear all those synth parts and it's like it's it's a and it's just a it's a funny like fun song like your haste is waking waste it's not a good line but it's like not it no not at all but it's it's but I still like it you know I mean that's something that your teacher tells you and you know yeah yeah and you join the human race an equally terrible line it doesn't make any sense really unless you're talking what are you talking about like what you one of you brought up I think uh either Nick or Scott was you know maybe somebody working so hard you know join you know join the human race stop you know being part of the grind and all that so I guess I can get it but it's yeah yeah this isn't the clash this isn't the clash they're not like this is not some political subversive uh message yes it might be a song about ulcers stress-related ulcers or something like way closer to the truth sir probably all right which takes us to the final song on this album and that is waiting for darkness menacing synth they're gonna do it John if you don't give this a five we're we're in a fight i'm glad you're in southern Rhode Island another one where another one where it sounds like it's in a nod tied signature but it's not i love what if anybody the bass is really bass on it's great yeah very prominent yeah i'm gonna have to add a uh another column on the spreadsheet for Julian we'll get him on the next one that part sounds reminiscent of uh uh what song is it i don't know but it's very um it's very like very Aussie you can't kill rock and roll that chorus kind of kind of sounded like it yeah yeah okay yeah yeah really great bass tone on the song the bass is very present in all these mixes which is like really great i'm sure they fixed that in subsequent mixes and made it more homogenous that's kind of unexpected this is right to me this is the reverse of the other songs where like this bridge is like whatever i think it's very cool this is cool yeah this is it's like that first part compared to the rest yeah this is great she's that same like kind of pattern on the ride symbol from one of the other songs yeah he has like things he goes back to all the time it sounds to me like the orchestrations fit a little more in the song they're not they don't jump out as much yeah ill psycho yeah totally agree i think this song is more tended to than the other and this has a very like if you like if you isolated the music i feel like it it would be like in a like a Friday the third uh now sorry a nightmare in alms street for something like that i like what he's doing with that like kind of delayed snare hit it's kind of like giving you anticipation yes yeah i hear uh the similarity to you can't kill rock and roll this time yeah yeah just the beginning part of that this part this part too same same rhythmic thing going on yeah i think it was always good about like incorporating uh unorthodox rhythms this part i thought whether whether he had to do with it or it was a lot of basic thing i don't know but wow that's the way that that's the way to end it yeah very cool all right yeah well sky i or well john you go first because i think you might have already uh no i'm afraid of sky he said if i don't give it a five he's gonna move um you never know with me in this album yeah well i that well this is this is another one where i was i wasn't expecting to to like it this much so i'm giving it four um it definitely um it it captures that kind of that spirit of like bark at the moon or center of eternity um you know kind of that horror element you know with the with the music um and and this is the one that i could hear the most like i said being like a you know nightmare and home street soundtrack or you know 80s harm will be soundtrack which is you know very cool like that's that's what i want from this album but yeah there was a lot of like great
parts in this. I forgot about the orchestration in that solo section. And it's, yeah, it was really cool beating. Don, Don, areas like all over this album, like the first, you know, first album, he was like, yeah, he came in, did his parts, didn't really interact with the band. He wasn't on the second album. No. And then he wasn't. He was the keyboard player on the second album. Someone else. Some random, not deep, deep purple person. Was it like, no, Lauren, some bridge water. What was that guy's name? Yeah, it was just, it was some other dude. Yeah. And I mean, there wasn't like a, yeah, I mean, I guess I don't think that Don was available. So bad. So I can't remember. Yeah, some bloke. But yeah, and this one, like, Don is like all over this album. And it's like, it's great to hear. Now that we, you know, now that we're looking for it, like back then, it was like, yeah, cares, you know, a keyboard. Lindsay Bridgewater. There we go. >> Lindsay Bridgewater. What did you call him? >> Lauren's Bridgewater. That was pretty close. >> Lauren's. >> But he's, but yeah, this is a great song. >> Yeah, he's, it looks like there's nobody credited on the original one for keyboards. He was just, he was additional personnel on the re-release that had some live tracks. So, there you go. >> Where? >> Lindsay Bridgewater's credit. Don Erie is credited, but he's not actually on the album. >> So it's what on diary? >> Yeah. Well, we knew he wasn't on diary, but it sounds like he was more involved. Like, he was part of the band and recording with the band, with this, in this album, because he's just like, he's all over it. >> Yeah. >> And it's, yeah, with mixed results, but I would say like, mostly favorable. >> Yes. >> All right. >> Scott. I think we know what you're going to do. >> Oh. This is a 4.99. >> You just can't comment on that. >> No, I love, no, I mean, no, it's a, okay, so a 4.5, or it's upwards of a 4.5 for me, the song is killer. Yeah. >> I feel like they really, whoever chose the sequencing of these albums, the US and European versions, obviously had different ideas, but for the US version, to book in the album to me, with like the two strongest songs, it was like a pretty cool move. Obviously, part of the moon. Clearly, the front runner for like best song in the album, to open the album, but this song is like a quintessential Aussie song in so many ways. It's not, it doesn't have the cheese of so tired, or some of these other songs on this album that are like, that's kind of like cheesy, it's kind of like dated. I feel like this song, waiting for doctors, could be, I could hear this song on subsequent albums. I could hear this song, honestly, on No More Tears, especially with the bass intro, the bass and the high-hat intro, the way this is, like I can almost hear this on No More Tears, note for note, with that production style, and I'm like, yeah, that belongs on the album. So, I don't know, to me, it's like a, it's a great bookend to the end of the album and yeah, it's a 4.5 plus, it's a 4.99. With a line over it. It can't be as good as, it can't be as good as a barca of the moon, so I can't give it a five. Okay, Nick. Yeah. I'm going to give it a four. I enjoyed it quite a bit, and it struck me now that I guess we've concluded the album, and that I had my earlier theory, which I still think is true, that you can look to the previous, the two previous albums and say this song is a type of song like this, and this is a type of song like that, whatever. But I think this album, mostly, it's mostly similar, sonically at least, and performance-wise, I mean, it's got a lot of the same people on it, but I think it's closer to the ultimate synth to the first two albums. And I think that this song has this, it's kind of like, it's complicated, like the title track from Diary, but it totally sounds like it could, you could have told me this was from the ultimate synth sessions, and I would have believed it, you know, it just, it very much sounds like it, and I guess a lot of the album does. So it's interesting that within like, what they recorded Diary in 80, 80 or 81, I forget, but just within like a couple of years, you have like the Aussie that you're going to have like for the next couple of albums. Yeah, it's an interesting change from the first two albums, even though there are definitely similarities. It's pretty fascinating as far as possibly being like a transitional album. But I did really much, or I did very much really enjoy this song, so I'm going to go up the four. And I will also give it a four. I'd like to quite a bit too. Yeah, I don't know if there's anything left to say about waiting for darkness that hasn't already been said by everyone else. Are you waiting for darkness? I am. I'm waiting for darkness, but then you can say that. More so the waiting for darkness. I'm going to wait for John while he fumbles with the spreadsheet. I am going to thank our final round of patrons. As we wrap up this episode and that is of course our foundation level patrons at the three pound and 50 pence deep purple New York tier. We have Lord Longford at the three pound aromatic feed tier Simon Ford at the three euro 50 cent tier Western Super Mario Pilgrim at the 293 pence tier. We have Blackmore tights at the two euro and 50 cent too many tiers tier. We have soldier of fortune too many tiers at the $3.33 halfway to evil tier Steven Sharp and at the $3 N Nobody's Perfecteer we have Peter Gardo. Ian DeRose A. Mark Broback Stuart McCord Iven Phil Boo Runaer Seaminson Ruin Asynatic Wusey's Corey Morissette There's Ashley Adam Cork Tim Wood Steve Down to Earth Kohler Michael Mattin Vegas Lisa's Grace Superstar Eddie Lyon and Rosal Tom at the 19.31 Cold Hard Danish Coroner tier we have Karsten Lau Cold Hard Danish Coroner and the $1 made up name tier we have the casket filled with spiders Leaky Mosalium Steven Summerver LeConsciator 1999 Fanatic Hank Detank privatized Ashen Lionel's Wopper the electric alchemist Andersensterm ICDC Dirtble Purple David Hadham Graham Bonnets Disco Pants and Haircuts and Sick Tone Thank you so much to all of you for your generous support of the Deep Purple podcast and without further ado John is going to take you to the rating spreadsheet. Yeah, it's Tommy Bowling. All right, John, where does? All right. Where does what's this album called Barca de Mourne? Fallen are overall album rankings. Well, spoiler, you know, we're not going to piss anybody off because it's not as high up as a diary and blizzard. Well, still, piss will be some people off just because we're doing a lot of the album, but yes, so it's yeah, 7.75 rating. We rate you and me Nate read exactly the same 3.88. Even though our exact song rankings weren't the same. 28th percentile. So it's like in the top, you know, almost quarter of our album. So still in the upper echelon here of our list. And my son, my son rankings don't factor. They will. They do. We're getting to it. We're getting to it. They will. I don't know how you guys come down. Interestingly, it's between Gillen Glover accidentally on purpose and look.
at this. Born again. Yeah. It's it's always funny how that happens. Disturbing the priest. Yeah, exactly. Do a handgill and projects, say I'm watching this one. Yes. So, let me see. Let me see. And then right after we actually rated it the highest, Nick gave it a 3.81 and Scott 3.75. Oh, wow. Yeah, a couple of a couple of low, low rankings there. That's okay. Very close. Yeah. Yeah. And then let me see for, let me see. Where is the? I'm just trying to see for our guest ratings. Let's see. Where are you guys here? Yeah, kind of in the top. We had a combined reading of 11.56. Like all of us. So, that's kind of a upper, again, upper percent, upper percentile for guest ratings as well. And overall, the album for our rankings brought it to its number 45 in the list in the top 28%. 45 out of 162 albums rated. So. Yeah. I mean, I have to say like I really, I enjoyed the songs on this album more than I thought I would going into it, just knowing the album and knowing it wasn't my most favorite Aussie album, like one that I skip over quite a bit. But I'm pleasantly surprised. All right. Glad I give another shot. Excellent. All right. Yes, this came out in what November of 1983? Not going to get into the, we're going long. So I'm not going to get into the Kering reviews or anything like that. But yeah, and closing thoughts by, by either a few gentlemen before we wrap up. I'll just say that like listening to it with you guys and hearing your input made, gave me a little bit of a more open mind about some of these songs. And I'm kind of glad actually, because I listen to it in the car over the past couple days. And I was like, oh, man, this is so weird. But also, it's like, you have to have the context of like your own opinions and where what time period this came out in. And you guys are able to sort of inform that with your opinions. And that sort of changed my, gave me a little bit more of a positive spin on it. It's cool. Thanks. All right. My big takeaway or takeaways from this episode is that this album's more of a mixed bag than I remembered. But I had a lot of fun when we all rallied around slowdown. We really did. Like, yeah, if if if I was going to bring up this album after this episode, after we're done recording, what song would I go to? It would be that I'd be like, I know, that one. Yeah, we kind of rallied around it. We did. Yeah, we really just, yeah, we really just, it was a sleeper hit of the show. Yeah, there was a lot of fun listening to it. If you guys, I'm happy for that song. Yeah. Yeah, no, I think it's great to like, relisten to these, to these albums together, whether it's, you know, me and Nate or like us and, you know, other like guests that like we grew up with it or were really into it because, you know, we get different perspectives, you know, we get to talk about it in comment while the song's on and we kind of show each other like some things that we like don't like, you know, makes you think, you know, and it's a great way to revisit the album. 100%. Well, guys, thank you so much. For joining us on this episode. It's another one for the record books, I think. It's going to be a pretty long one. Yeah. But yeah, once you start talking about the songs, it's, it's, there's a lot to analyze and a lot to a lot to digest, but always fun hanging out with you guys. And, uh, yeah, what the links between D purple are much more tenuous in the later Aussie albums, but we'll figure out some way to get the group back together every year. So we need to give some of our listeners an episode off so they can, uh, listen to other podcasts and that's our Aussie episode. All right. Well, thank you guys. Awesome talking to you and everybody. We will see you again next week. Thank you. If you like the D purple podcast and would like to support the show, please consider joining our Patreon, alternating on PayPal. Patrons get all access to the podcast, Discord server, ratings, spreadsheets and live stream invites. You can also leave us a five-star review on Apple podcasts to help new people discover the show. You can follow the show on Blue Sky, Facebook, Instagram, all threads. You can also check out the website at deeppurplepodcast.com for show notes and more. Contact us via email at john
[email protected]. Thanks for listening. Five to five to six hours worth of of Nick in your podcast feed this week. Wow, that's that's more than my family can. My family would ask for less. One crazy calls a tape of seven different songs and funny recordings for answering machines. I'll be 1495. Give someone the gift of God for their answering machine. A little friend, which you've actually done is but one way ticket to the answering machine's own. But I'll be back with four to long. Crazy calls a tape of seven different songs and funny recordings for only 1495. Call 1-800-351-5200. [Music]
PodcastTranscript AI