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Album 1. Track 5. Beware The Ides of March
EPISODE SUMMARY
Welcome back to Those Who Are About To Dive: Chronicling Colosseum, Track by Bloody Track, where Chaz Charles and Dr. Glund continue their unhurried excavation of Colosseum’s debut album. If you’re looking for tidy conclusions, brisk pacing, or polite opinions, you’re still in the wrong ocean.
THIS EPISODE:
“Beware the Ides of March” — Track 5 from Those Who Are About to Die Salute You (1969)
Chaz and the Doctor dig into one of Colosseum’s most ominous early originals, written by Dave Greenslade and Jon Hiseman. Organ-led, processional, and unapologetically severe, “Beware the Ides of March” pushes the band further from blues convention and deeper into jazz-rock territory. Comparisons inevitably arise — including nods to A Whiter Shade of Pale — before landing on what truly separates this track: intent, tension, and a band moving with one collective will.
Mid-episode, the conversation turns electric when the hosts stumble into a 1969 Montreux Jazz Festival performance of the song. What follows is a real-time reckoning with Colosseum at full power — ferocious, disciplined, and startlingly ahead of their time. The live version reframes the studio cut entirely, underscoring just how dangerous this band could be when the reins came off.
From there, the show takes a single, focused digression into Bloodline and their 1994 track The Storm. Used as a modern comparison point, the discussion centers on patience, atmosphere, lineage versus conviction, and music that only reveals itself if the listener is willing to stay put. A firsthand story about seeing a teenage Joe Bonamassa hidden behind an amp adds texture without rewriting history.
The Glundian tests are applied.
No sellout detected.
Mind expanded.
The warning stands.
This episode is part music history, part live discovery, and part reminder that some tracks demand your full attention — and repay it.
Recommended Indulgences to Satisfy the Voluptuary
(Listener Discretion Encouraged)
Administered not for correction, but for pleasure.
Dosage may be increased at will.
Recommended Conditions
Best consumed after dark, preferably when nothing important remains undone
Volume set slightly higher than advisable
You are quite prepared to rock out; Spock display optional
Headphones encouraged; lights optional
Pairs well with a visky, a comfortable chair, and the firm decision not to check one’s phone
May be taken alone or in the company of someone who understands when not to speak
Prescribed Listening
Bloodline — Cell Block 7 (1994)
A driving blues-rock cut powered by groove and forward motion. Chosen here not to match the mood of “Beware the Ides of March,” but to match its commitment — a band digging in, locking tight, and letting momentum do the work.
Hosted on Acast. See acast.com/privacy for more information.
View all episodes
By Chaz Charles and Dr. Porifera GlundEPISODE SUMMARY
Welcome back to Those Who Are About To Dive: Chronicling Colosseum, Track by Bloody Track, where Chaz Charles and Dr. Glund continue their unhurried excavation of Colosseum’s debut album. If you’re looking for tidy conclusions, brisk pacing, or polite opinions, you’re still in the wrong ocean.
THIS EPISODE:
“Beware the Ides of March” — Track 5 from Those Who Are About to Die Salute You (1969)
Chaz and the Doctor dig into one of Colosseum’s most ominous early originals, written by Dave Greenslade and Jon Hiseman. Organ-led, processional, and unapologetically severe, “Beware the Ides of March” pushes the band further from blues convention and deeper into jazz-rock territory. Comparisons inevitably arise — including nods to A Whiter Shade of Pale — before landing on what truly separates this track: intent, tension, and a band moving with one collective will.
Mid-episode, the conversation turns electric when the hosts stumble into a 1969 Montreux Jazz Festival performance of the song. What follows is a real-time reckoning with Colosseum at full power — ferocious, disciplined, and startlingly ahead of their time. The live version reframes the studio cut entirely, underscoring just how dangerous this band could be when the reins came off.
From there, the show takes a single, focused digression into Bloodline and their 1994 track The Storm. Used as a modern comparison point, the discussion centers on patience, atmosphere, lineage versus conviction, and music that only reveals itself if the listener is willing to stay put. A firsthand story about seeing a teenage Joe Bonamassa hidden behind an amp adds texture without rewriting history.
The Glundian tests are applied.
No sellout detected.
Mind expanded.
The warning stands.
This episode is part music history, part live discovery, and part reminder that some tracks demand your full attention — and repay it.
Recommended Indulgences to Satisfy the Voluptuary
(Listener Discretion Encouraged)
Administered not for correction, but for pleasure.
Dosage may be increased at will.
Recommended Conditions
Best consumed after dark, preferably when nothing important remains undone
Volume set slightly higher than advisable
You are quite prepared to rock out; Spock display optional
Headphones encouraged; lights optional
Pairs well with a visky, a comfortable chair, and the firm decision not to check one’s phone
May be taken alone or in the company of someone who understands when not to speak
Prescribed Listening
Bloodline — Cell Block 7 (1994)
A driving blues-rock cut powered by groove and forward motion. Chosen here not to match the mood of “Beware the Ides of March,” but to match its commitment — a band digging in, locking tight, and letting momentum do the work.
Hosted on Acast. See acast.com/privacy for more information.