THIS WEEK ON THE PROGRAM…

Still reeling from whatever unholy concoction was coursing through the water pipe, your hosts Chaz Charles and the Voluptuary of Sound, Dr. Glund, lock onto a true centerpiece of the Valentyne Suite era and refuse—physically, spiritually, and rhythmically—to let go.

This week’s mission:

“Elegy” — Colosseum

A track that doesn’t ask for your attention…

It demands your full neurological participation.

“Elegy” — Colosseum

Identified immediately as a signature Colosseum statement, this is where the band’s hybrid DNA—blues, jazz, and sheer bloody-minded force—fully ignites.

What follows is a multi-version deep dive:

• Studio version — tight, relentless, deceptively compact
• U.S. mix — cleaner, drums forward, even more punishing
• BBC 1969 session — faster, rawer, brushes in motion
• 1994 reunion performance — expanded, heavier, swagger engaged

Under examination:

• Jon Hiseman delivering a performance that borders on percussive overachievement (in the best way)
• James Litherland writing a “guitar piece” that largely abandons guitar
• Dick Heckstall-Smith weaving lines that refuse to sit still
• A band functioning as a single, many-limbed organism

Verdict:

This is not a composition.

This is a system under load… holding together beautifully.

Because no episode is complete without veering into adjacent greatness:

Free — The Paul Kossoff Study

• The Hunter
• → Blues minimalism with teeth; every note lands with intent
• The Mover
• → Forward motion, groove-led, Kossoff riding the pocket
• Just for the Box
• → Texture and restraint; space used as an instrument
• Molten Gold
• → Slow-burn immersion; tone as atmosphere

All roads lead to:

Paul Kossoff —

a masterclass in feel, phrasing, and knowing exactly when not to play.

• A full breakdown of why “too much drumming” is not a real problem
• The realization that “Elegy” works at multiple tempos and still dominates
• Comparative philosophy:
• Kossoff → say less, mean more
• Colosseum → say everything, make it swing
• Arms physically tiring from air-drumming along with Hiseman
• The band unanimously declared incapable of producing a weak moment

Take one dose of “Elegy” in all available forms:

• Studio
• BBC
• Reunion

Supplement with controlled exposure to Free for balance.

Repeat until:

• You develop opinions about drum mix levels
• You begin explaining vibrato technique to civilians
• Or you accept that feel and complexity are not opposites—they are weapons

Avoid operating heavy machinery unless it is a Hammond organ.

Here’s to Kossoff, here’s to Hiseman…

…and here’s to a track that refuses to sit still.

Here's lookin' at ya Clay Cole...let's go have a 'viskey.

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