Episode 100 - Bon Jovi - Slippery When Wet (Part 1)

[00:00:04] Speaker A: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement, and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now onto the Rock Roulette podcast. Hey, everybody. Welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1200 albums, stuck it in a list and stuck it in a wheel. And typically every other week we spin the wheel, she picks an album for us, we go through it side by side, track by track, and we vote on it based on lyrics, music, and production. Again, just a bunch of friends who love music, just want to do a podcast, you know, nothing crazy, just having a little fun. So, before I announce the big crowd we have, I would like to say that this is our 100th episode. Oh, so are we doing Casey and the gang today? Cooling the gang, I mean. Oh, my God. Just mixed up two fucking seventies funk band. But, yeah, 100 episode. And we have four of us tonight to celebrate before we really get into it. So let's. Let's bring them on. First, we have Steve back after a while. You're the man. Still. [00:02:24] Speaker B: What up? [00:02:26] Speaker A: We have Frank traveling, but he wants to be in this podcast so much that he's calling in from his car. [00:02:32] Speaker B: My name is Frank. [00:02:39] Speaker A: And I'm sexy. [00:02:47] Speaker C: Hello, everybody. From somewhere in Pennsylvania. [00:02:53] Speaker A: We have Mark. Oh, hi, Mark. [00:02:55] Speaker D: What's up, guys? [00:02:56] Speaker A: And I'm Sam. [00:02:57] Speaker D: Ciao, Buenos Aires. [00:02:58] Speaker A: So, yeah, 100 episodes. We're excited about this. Again, we want to thank all of our listeners. If anyone has been there since episode one. And it's tuning in now, obviously. Thank you. Thank anybody new. Again, spread the word if you like what we do. And that's it. Last week, we actually got a short one. We got Green river by CCRD, which I think Mark and I had mentioned it a couple of times, I think during the podcast where we didn't know every song. We were kind of hoping for some gems. And, I mean, it turned out to be a pretty strong album from. From stem to stern. What do you think, Mark? [00:03:36] Speaker D: Yes, sir. It was everything we wished the Eagles was. [00:03:40] Speaker A: Yeah, I mean, we were actually a little surprised. And we didn't find, again, maybe that Eagles album wasn't the one to find the unknown gems. So we have the other albums in the list and maybe they'll come up some other time. So for not only our 100th episode, but just kind of talking about things to do. And when we first talking about putting the podcast together, we had thought about doing kind of like a new segment where each of us would pick either an album or band or just something new that they had listened to and say, hey, guys, you know, I checked this out. What do you guys think? So we're gonna. Little version of. It's gonna simplify it, though. Each week, one of us will pick a song that they've heard that's pretty fresh, that's in the genre, and then we want to share with not only obviously the guys in the podcast, but our audience. So I get to do my own special effect, which is. Which I guess is kind of like a cowbell. [00:04:39] Speaker D: We need to get you a real cowbell, I think. [00:04:41] Speaker A: Yeah. Or either that I just do it behind the drums and do a little. [00:04:45] Speaker D: There you go. That works, too. [00:04:47] Speaker A: But. So, to kick off this segment, which we are going to call new bets, as in, you know, anybody ready? New. New bets? Anybody putting new bets? Mark is going to be the first one. And Mark, can you introduce the song and the band that you are going to play? [00:05:03] Speaker D: Yes, sir. Well, it's kind of weird for me when I picked that, but I happen to hear the new striper end of day song part of it. I haven't heard the whole thing, but it sounded really good. Like he's even doing some vocals, like he did back in the eighties. Now, I don't know if they're tuned down or whatever, but I thought he sounded really good, so I figured we picked that for the first one. [00:05:20] Speaker A: Yeah, I mean, listen, like I said, I think I mentioned it when we did to hell with the devil, but some of the more recent stuff is. It's pretty good, it's heavier, and. But they can. They can still write a pretty decent song. So hopefully some of that will come up later, but whenever you're ready, Mark. [00:05:35] Speaker D: All right, here we go. This is end of days. This is brand new. It was released on June 26, 2024. And I think their album's coming out in September, so we'll put that on the list when it comes. When it comes out, so. But I think you guys are gonna like this. Here we go. So what do you think of it so far? It's pretty good, right? [00:06:21] Speaker C: Sounds very early Aussie. [00:06:23] Speaker A: It sounds. I mean, I hear some early striper in there. For sure. [00:06:29] Speaker C: Oh, for sure. Yeah. [00:06:30] Speaker D: It's a very eighties guitar tone. [00:06:32] Speaker A: Yeah, it's definitely a throwback sound. [00:06:35] Speaker D: Yeah. And how would the drums. You know how you like those? [00:06:38] Speaker A: Um. So believe it or not, I wasn't paying attention to the drums. I was listening to the riff. Yeah. So I'm gonna. I'm gonna do that now. Listen to the. The production. [00:06:50] Speaker D: Oh, here we go. [00:07:04] Speaker E: Since my motions divide twice at a. [00:07:08] Speaker A: Time. [00:07:10] Speaker E: Get up the rocks from here skyscraper flight drop between selves suffocating its battle bell it's unforgettable sticking the thieves out the world doesn't flame as the scriptures are. Angels will weep with the heavens that will on the star. [00:07:44] Speaker A: Yeah, the drum sound better. I mean, the snare sound a little. Whatever for me. But I mean, the bass round sounds pretty good. The bass drum sounds pretty good. I hear a little maiden in there too, I think. [00:07:56] Speaker D: Oh, yeah, 100%. But it sounds like. It sounds like back in the day, right? [00:08:00] Speaker A: Yeah, it's definitely a throwback. [00:08:02] Speaker D: And his voice is pretty good. [00:08:04] Speaker A: Yeah, he's kept his voice though. I mean, I've heard some live stuff. He's still, you know, he's still pretty good. So I give him credit, considering how. I mean, he definitely uses his voice a lot. You know, he's not a. Steve, what do you think? [00:08:19] Speaker D: Oh, yes, Steve. [00:08:21] Speaker B: I'm digging it. Like, I definitely hear some of that maiden in there, but it sounded pretty good. It's pretty groovy. [00:08:31] Speaker D: Steve, go out and buy the album now. He's gonna be like striker fan all of a sudden. [00:08:35] Speaker A: He's been listening to hell with the devil. He just. He doesn't want to admit it, though. [00:08:41] Speaker D: It's very funny. Frank, what do you think? [00:08:43] Speaker C: Let me just tell you. It's great to hear a little bit of throwback from that classic, you know, heavy metal sound of the early eighties. Really cool. I definitely hear that. That maiden sound that the. That everyone's mentioned so far. I like it. And his voice sounds great, all things considered. I mean, to have those kind of pipes this late in life and, you know, career singing sounds great. [00:09:08] Speaker D: Yes. I was very surprised when I. When I heard it. Come on. I was like, holy crap. He sounds really good. All right, let's continue on this. [00:09:29] Speaker E: Broken bound seals are all broken that judgment is one needs remember more clear battle is ever Destiny's claim they never will be the same destinos and the smoke slowly clears tax of Victoria miss every fear darkness will the shadows will grow. Yes final content shall fall the spot of good and shall fall seeking the days and our final bell rose is a big as scriptures about angels the week when the heavens and fur love is again broken world this brokenness sadeena the world is afraid angels will weep with the heavens and below. [00:12:11] Speaker A: Like, the more went on, the more I liked it. The solo was awesome. [00:12:14] Speaker D: Yeah, I know. It was really good. And they very tastefully used harmony. It wasn't overused, which I like. It was good, everything about that. And I'm not a big striper fan, but that was really good. [00:12:28] Speaker A: Nice. I'll see you guys at church tomorrow. [00:12:32] Speaker C: Mark, was that a dual guitar, like solo that I heard somewhere in the middle there? [00:12:38] Speaker D: Yeah. I'm not sure if it's both of them playing the solo or one or it's just Oz fox. [00:12:42] Speaker A: I would think it's both. I mean, Michael Sweet is a lead guitar player, so. [00:12:46] Speaker D: Oh, yeah. Probably both. Then. [00:12:47] Speaker A: I don't know which is which because they've kind of. They changed their sound, too, right. Because signature shrepper kind of had that signature sound, which is kind of in the verse. But I mean, if I felt like it really wasn't in the solo. They have. They have a new sound. And like I said, I've heard kind of some of the more recent stuff, but it's been a long time, so this could be something that they've had for a while. I mean, there's some Halloween in there, too. I mean, it's just kind of power metal, right? Really? I think that's how I describe it. [00:13:18] Speaker C: Yeah. You know what? To have that power metal with that energy so many years later, that's. That's impressive. [00:13:27] Speaker D: Yeah, yeah. Almost 40 years later. [00:13:30] Speaker C: Yeah, it's awesome. [00:13:31] Speaker D: It was. It was really good. I heard. And I was like, wow, I got to bring this to the podcast. Said, I said, I don't think anyone's heard this yet. It's just really was really, really. [00:13:38] Speaker A: I hadn't heard it yet. [00:13:39] Speaker D: Like I said, even. Even Steve has to like that. [00:13:41] Speaker B: Yeah. [00:13:45] Speaker A: You get more cowbell, Mark. [00:13:47] Speaker D: Oh, thank you. I appreciate it. I appreciate that. It's a good thing, but so, yeah, so, so this is going to be the new segment, new bets, if you have any. This how our listeners can get involved. If have a song you want us to put on new bets, you know, either go to rock roulettepodcast.com, send us an email, or, you know, send us a direct message on Twitter or Facebook and give us some ideas. Of stuff you want to hear. [00:14:11] Speaker A: Mark, what's Twitter? I'm sorry? [00:14:12] Speaker D: Oh, sorry. X. Oh, okay. [00:14:14] Speaker A: Okay. [00:14:14] Speaker D: Twitter. [00:14:17] Speaker C: The social media formerly known as Twitter. [00:14:21] Speaker D: But, yeah. So this way our audience can get involved, too, and send us some stuff. [00:14:25] Speaker A: Absolutely. [00:14:25] Speaker D: Yeah. Whether it could be independent band, it could be your band, it could be anything. So send them over. Awesome. [00:14:30] Speaker A: We didn't have these things growing up, ladies and gentlemen. [00:14:33] Speaker D: We didn't know. [00:14:33] Speaker A: So, obviously, if you guys want to share your music and get it out there to our. Whatever listeners we have, we're more than happy to share. We'll be honest with you, obviously. So. But, yeah. Cool. [00:14:45] Speaker D: So what are we doing for 100, Savino? And every time you say 100, I'm gonna have to do this. [00:14:52] Speaker A: We get. Cool. [00:14:53] Speaker C: I was. I was kind of hoping we get the reggae rap horn. [00:14:56] Speaker D: The reggae rap horn that, you know. [00:14:58] Speaker C: That. [00:15:01] Speaker D: One do I have. [00:15:06] Speaker A: So, basically, what we're doing for. For the hundredth is we. Or, again, a slight audible. We have a small list compiled of albums that had come up, but we couldn't do for one reason or another. Either the band came up too soon, or it was just mark and I think, and we. Something came up. We're like, oh, you know what? Let's kind of hold this off, maybe until we have more people. So it's just a little short list. We won't tell you what's on there. What. We're just gonna spin and see how it goes, I think, you know, let's have some fun. [00:15:41] Speaker D: I know. I know which one I want, but I don't know if that's gonna like me. [00:15:45] Speaker A: I don't know which one I want. [00:15:48] Speaker D: Well, I know which one I want. [00:15:49] Speaker A: I know which one you want. I think we all know which one you want. [00:15:54] Speaker D: Yeah, that's what I want. Good, because they'd come up, like. And it was too close, and we couldn't do. [00:15:58] Speaker A: Oh, that was. Wait, it was like two. Two spins later. Something like 2 hours later, I think. [00:16:04] Speaker D: Yeah, it was too close. So are we ready? [00:16:08] Speaker A: Yeah, let's do this. [00:16:09] Speaker D: This is the 100th wheel spin. Oh, yeah. 100 episodes been technically, like, like 40 something albums, but the hundredth episode spin. I got to find that now. See. [00:16:48] Speaker A: I can't see it. What is it? [00:16:53] Speaker D: Guess what? You know, it came. It came back up. Slippery when wet. Bon Jovi. [00:16:59] Speaker A: Oh, Steve's favorite album, for sure. [00:17:04] Speaker D: I mean, I'm okay with this. It's not the one I wanted, but I'm okay with this. [00:17:08] Speaker A: Yeah, whatever. Let's just do it. [00:17:09] Speaker D: So here's the question. Here's the question since we're doing audibles here. When was. When was Bon Jovi? When do we do New Jersey? We did New Jersey, episode 72. So that has been how many albums? [00:17:23] Speaker A: Oh, yes. [00:17:24] Speaker D: I think it's been 1234-5678 910, 1212 or 13 albums. [00:17:36] Speaker B: Yeah. [00:17:37] Speaker D: So it's. It's past. It's past the ten marks. [00:17:40] Speaker A: Yeah, it's. It's within range. [00:17:42] Speaker D: Okay. All right. Is everyone. [00:17:46] Speaker A: I mean, right. 100th episode. 100th episode. [00:17:50] Speaker D: It's a gigantic record. [00:17:51] Speaker A: It's a big one. [00:17:53] Speaker C: I think it was one of the. The biggest one for that time. [00:17:58] Speaker D: Oh, 100%. [00:18:00] Speaker A: Oh, it was massive at the time. [00:18:03] Speaker D: Yeah. I'm a little. I'm a little disappointed. [00:18:10] Speaker A: When did this. When did this album come out? [00:18:13] Speaker D: 867-8786 yeah, yeah, 80. [00:18:19] Speaker C: I thought it was 87 months. [00:18:23] Speaker A: 86. You know why, Frank? Because I remember we were graduating grammar school and all the girls were singing never say goodbye crying. I do remember that. There they were singing to each other in the classroom. [00:18:39] Speaker D: So there you go. [00:18:43] Speaker A: Steve, how old were you when this album was. Was 86? [00:18:47] Speaker B: I'd be four, you little fucker. [00:18:51] Speaker D: Fucking asshole. [00:18:53] Speaker C: Did he just say he was four? [00:18:54] Speaker A: He was four years old when this album came out. [00:19:01] Speaker D: What a fucker. [00:19:03] Speaker A: Oh, man. [00:19:04] Speaker C: Hey, listen, hey, listen. It's better than some of the things I hear when they say, oh, my parents were dating in high school and this album came out. [00:19:12] Speaker D: Yeah, it could be. It could be worse. At least he was alive. [00:19:15] Speaker A: Yeah. [00:19:18] Speaker D: That's cool. I mean, I don't know how much of a fan Steve is of Bon. [00:19:24] Speaker A: Jovi, but there's some good stuff on this album. But overall, I don't think it's as good as New Jersey. [00:19:33] Speaker D: It was the bigger album. [00:19:36] Speaker A: Was it done? New Jersey was. No. [00:19:38] Speaker D: What am I know? [00:19:39] Speaker A: I don't know. [00:19:42] Speaker C: This was by far one of the biggest hair metal albums for that time. [00:19:49] Speaker A: Yeah. [00:19:50] Speaker D: It was twelve times platinum. [00:19:53] Speaker A: Nice. [00:19:56] Speaker D: It's a lot of. It's a lot of. A lot of stuff. Well, the things to know about this that we've learned after the fact is that supposedly Al John such didn't play bass on this. This is always Hugh McDonald. This is what we've learned after the fact, as far as I. As far as I know. So he didn't play on this album, nor did he play on New Jersey. Technically, I don't think either. So I forget. I forget what he did play. He did play on something later, but I think from the beginning he hasn't been playing. Hugh McDonald, who's the bass player now in Bon Jovi. Has been playing bass for Bon Jovi since the first record, I think. So he just didn't have the right look, I don't think, at the time or now technically, but a little easier now than it was then, you know, in the middle of the eighties, like, you couldn't look the way he looks, you know what I mean? And being this band just didn't happen. [00:20:56] Speaker A: Yeah. [00:20:56] Speaker D: So. [00:20:57] Speaker A: Well, Alec John such was older than Olima anyway. Right, wasn't he? [00:21:00] Speaker D: Yeah, by, like, eight or nine years, I think. Something like that. But he. He basically put the whole band together, really. He got all the other guys, I think. [00:21:09] Speaker A: I think so, too. I think I'd read something or maybe less than we were reading something about that. [00:21:14] Speaker D: Yeah. And this is where they started the pizza party thing. I don't see. Do you even know about this? [00:21:21] Speaker B: I know nothing. [00:21:22] Speaker D: Okay, so basically what they had done is. Well, first of all, they started writing with other people. So Desmond child is on here, right? He's on 12344, the. Of the ten tracks. And. And so what they did was they would. They got fans that were fans of theirs from the previous two records, and then basically got him down and had them listen to the songs before they released them. So they got it. They got like a. It was like a. It was like a yemenite, what they call a focus group back in the day. So they had a focus group of teenagers to see if they liked the music. And then that's kind of how. So if the songs passed that past those guys, they got recorded. [00:22:10] Speaker A: So I think they picked the order, too. I saw him say one time, maybe I remember him saying the order in which they picked him in. So I don't know if it was just ranking order or if they actually kind of picked the. The tracking, the track listing. [00:22:29] Speaker D: Yep. And so, I mean, this has some massive, massive songs on it. 12340. All for the. All four of this. [00:22:41] Speaker C: I think this was it. Four or five? [00:22:44] Speaker D: Four. [00:22:47] Speaker C: Either way you look at it, they were. There were monstrous. [00:22:54] Speaker D: It was gigantic. There's not. There's not much you can. Much more you could say about how big this is. So. So, Steve, why don't you pull lyrics up, since that'll be your job tonight? Since Frank can't read lyrics. He's in the car. [00:23:07] Speaker C: He's all right. [00:23:10] Speaker D: Steve's got to read the hair metal lyrics. [00:23:13] Speaker A: Give the youngster some work. Right? [00:23:15] Speaker D: He was only four. You might as well do it. This will be. This would be good. And this is a Bruce Farber producing and Bob rock engineering. So this is before he was actually, like, a big engineer guy. And so, yeah, it's a big thing. So let's do. When Steve is ready, let me know, and I'll be ready to do this already. So the first song is let it rock. I assume everybody but Steve knows this song. [00:23:49] Speaker A: Yeah. I'm not a fan of this song. [00:23:51] Speaker D: Are you not? [00:23:52] Speaker A: I'm not a fan of a few of these, honestly. Some of them. I feel like this album has more throwaways than New Jersey, but, yeah, it's. [00:24:02] Speaker D: Really of the time, though. It's really of the time. So lots of stuff that's on here is, like, solidly in the mid eighties. [00:24:10] Speaker A: You know, it's definitely a big album. Right. In terms of comparison to what they've did before. [00:24:16] Speaker D: Oh, yeah. [00:24:17] Speaker A: Like, in terms of this broken production and. For sure. [00:24:21] Speaker C: Yeah, this was the album. This was their opus. This is the one that they couldn't catch up to. [00:24:27] Speaker D: Yeah. I mean, even though New Jersey was big, it wasn't as big as this, though. [00:24:31] Speaker C: Not as big. New Jersey was huge, but this was their monster. [00:24:34] Speaker A: But I think it's a better album, though. [00:24:37] Speaker C: Which one? This one? I think so, too. I thought that New Jersey was by far one of the best albums they put out, but history says otherwise. [00:24:53] Speaker D: Well, sales wise, anyway. [00:24:54] Speaker A: Yeah. [00:24:55] Speaker C: Sales wise, yeah. [00:24:56] Speaker A: Well, I mean, it's. But it's also what we spoke about with the poison. Right. Because we. We all agreed that flesh and blood is a better album than I open up and say, ah, but open up and say, um. Sold more. [00:25:10] Speaker D: Mm hmm. Yep. Well, it had wanted. I mean, it didn't have wanted. It had every rose on it, so that's why. So cool. All right, here we go. So this is let it rock. You know, I always remember it from that. It always made me feel like Boston. Some strange reason. I don't know why. Feel what feels like Boston? [00:26:12] Speaker A: Yeah. Or like Dracula's castle. Like, it's an old silent movie. Like, the big organs that they have. [00:26:20] Speaker C: That'S the one thing that Bon Joey did so well. They made the organ player cool again. They made that guy cool, the solo. So cool. [00:26:28] Speaker D: But you know what, though? You generally don't hear him that much in this. I mean, he's in the mix, but he's way down, usually. Generally not as. He's not really up in the mixes. Like, right here. He's really up in the mix, but then the rest of it is not as much. [00:26:42] Speaker A: So we'll probably hear more of him here, I think, than in New Jersey. But again, I haven't. I haven't listened. Listen to this album in a long time. So. [00:26:53] Speaker D: I've listened to it recently, actually, so. Yeah. No, again, I do see. [00:26:59] Speaker C: Is it in your cd player, Mark? Be honest. [00:27:01] Speaker D: Oh, yeah. In my five disc rotations, I probably left it in there. No, this would be, um. This would be cassette. This is. This was before. This is before I got a five disc changer. I don't think so. This. This would be cassette. [00:27:21] Speaker C: Wait, right. [00:27:21] Speaker D: 86. [00:27:22] Speaker C: What year was your Honda? What year was your Honda? [00:27:25] Speaker D: 88. [00:27:25] Speaker C: 88. We gotta find that car, bring it back. [00:27:30] Speaker A: Yeah. [00:27:31] Speaker D: Probably still running somewhere. [00:27:33] Speaker C: Go cruising with it. [00:27:34] Speaker A: Yeah. If we. If we ever do a classic rock segment where someone picks a classic rock song, we got to name it the Hyundai segment, the Hyundai XL segment, the Excel segment. [00:27:48] Speaker D: All right, let's continue. Here we go. [00:29:05] Speaker E: All right. If you have a good time, it's all right if you want to cross that line break on through to the. [00:29:16] Speaker A: Other side. [00:29:24] Speaker E: Burning out of control let it go, let it go with the ma. [00:29:50] Speaker A: There's a lot of whoa's, I think, on this album. [00:29:53] Speaker D: It's a very cat. It's super duper catchy, man. You can't really. I mean, they did a really good job at that. It's a fun guitar song. Playing guitar to. I played this a bunch of times. Yeah, it's fun. [00:30:05] Speaker A: Yeah. [00:30:07] Speaker D: I don't hate it. I think it's a good opener. [00:30:11] Speaker A: It's a big opener. It is a good opener. I agree with that. But this could be maybe the second or third time I've ever heard this song in hearing the album multiple times. [00:30:23] Speaker D: Really? [00:30:24] Speaker A: I mean, me personally, it's a skipper for me. [00:30:28] Speaker D: Oh, wow. I do like this, though. I don't know. I mean, I like, I'd like. I'm not gonna. I'm gonna save all my stuff, but. [00:30:37] Speaker A: Mark's gonna give it tens. [00:30:39] Speaker D: This is definitely not a filler song, and it's a good. If you're gonna open up. I mean, really, even the big hits, I think, wouldn't be as good as an opening thing is this. So it's very high energy. It's very catchy. And Steve's gonna read us the lyrics. [00:30:56] Speaker B: We start with the whoa, whoa, whoa, whoa. And then the weekend comes to this town seven days too soon for the ones who have to make up what we break up of their rules well, I saw the captain kid on sunset tell his boys that they're in command while Chino danced the tango with the broomstick in his hand, he said, it's alright, alright? If you have a good time? It's alright, alright? If you want to cross that line? Break on through to the other side? Let it rock, let it rock? Let it go, let it go? You can't stop a fire? Burn out of control? Let it rock, let it rock, let it go, let it go? With the night or on the loose? You gotta let it rock. [00:31:58] Speaker D: Yeah. [00:32:00] Speaker B: I think that's. Yeah, it's gotta do. [00:32:04] Speaker D: I'm sure some of the things here are very specific. I'm not sure about the captain kid thing. That has to be something real. [00:32:11] Speaker A: Well, Captain Kidd was, um. If I'm not mistaken, I could be wrong. It's a name he gave himself when he flew out into the audience. I don't know if it was on this tour, but I mean, when I hear lyrics like this, all I think is Bruce Springsteen. I mean, he gave a lot of character names to in his songs. And so I always think that it's kind of in that regard, that's who I think of. And I'm not saying that, oh, he originated this, but I mean, again, me being a Springsteen fan and hear a lot of stuff when I see lyrics like this, which is fine, I mean, you know, he's trying to paint a picture of these people and what they're doing. You know, Chino's got a broomstick in his hand, so. [00:32:56] Speaker D: Yeah, well, it's a very positive lyric. Right. Having a good time. I mean, this is really what this is about. I mean, it's produced very well. I mean, the drums do have that, like eighties, like, snare reversed. It's the. It's the eighties reverse. Reverse delay, whatever reverb fucking thing on the snare. [00:33:19] Speaker A: Well, what do we talk about? All about the modern. Right? The modern. [00:33:24] Speaker D: Oh, this is way better than that. [00:33:26] Speaker A: I mean, the drums sound better, but I'm saying. And when the next phase of production comes, they'll be talking about the face of whatever's going on now. The gate or whatever effect they're using. [00:33:39] Speaker D: Yeah, you can't tell anyone, one drummer from another. It all sounds the same. So. I mean, again, I don't hate this. It's very positive, upbeat. [00:33:51] Speaker A: Steve, what do you think? So far you haven't spoken. [00:33:54] Speaker B: Yeah, it's. It's totally eighties. Yeah. Cheesy, kind of. It's not my cup of tea, but I'll listen to it. [00:34:05] Speaker A: Frank, what do you think? [00:34:07] Speaker C: I like it a lot. You know, it a little bit. I hear a little. Okay. I know that. I know all of you think I'm crazy, but I hear a little bit of Fraley's comment. Rock soldiers into the night, mix into one song here. [00:34:20] Speaker D: I never would have, like, put those things together. [00:34:22] Speaker C: Frailey's Comet from Freylee's comet. Yeah, yeah. If you listen to those two, the drums and that, between rock soldiers and into the night, you combine those two, I hear a little bit. [00:34:38] Speaker A: Yeah, that's not too far. [00:34:39] Speaker D: Remote. [00:34:40] Speaker A: I think the production is kind of similar. Right, because there's definitely some big production on that album. [00:34:45] Speaker D: Yeah. So, no, I mean, again, I don't hate this. I always like my autograph. A little bit of melody. I mean, I would say back in the day, I was less of a fan of this because, you know, again, all the girls liked it. Right? So it was like you, if you wanted to have any kind of, like. You couldn't. If you were a rock guy, you almost couldn't like this. This would almost be like the guilty pleasure rock thing back in the day, because you'd have to like other stuff. You'd have to like mate and whatever. You know what I mean? You couldn't really like this if you were like. [00:35:21] Speaker C: It's like. [00:35:24] Speaker A: But we liked it. I mean. [00:35:30] Speaker D: I'm just. I'm just saying, you. You know, that's the truth, though. [00:35:34] Speaker A: Mark's like, now I don't have to worry about other guys. [00:35:37] Speaker D: Yeah, I do. I do kind of like, the more I've live, obviously, I've looked at. Listen to this a lot. We've played songs from this album since they were brand new live. [00:35:47] Speaker A: Yeah. [00:35:48] Speaker D: So there's a couple songs, or at least two or three of the songs. I mean, we played at one point or another, I think. [00:35:54] Speaker A: Well, one of them for sure. [00:35:56] Speaker D: One of them a lot. [00:35:59] Speaker C: Back in the. [00:36:00] Speaker A: Later. [00:36:01] Speaker C: Back in the day, we call this poser rock. [00:36:03] Speaker D: Yeah, this is true. See, so Frank knows what I'm talking about. [00:36:06] Speaker A: Yeah, but, I mean, we were listening to this. Yeah, but you still listen to it. I mean, you could have called any of this poster rock. You could have called poison Motley crue. I mean. [00:36:19] Speaker D: Yeah, but not as much now. Now, Motley crue, that wasn't in this. Wasn't in this. [00:36:23] Speaker A: Yeah, but I mean, once he kind of changed your image and everything, they kind of were in that. In that genre. [00:36:30] Speaker D: No, I agree with you as far as sound goes, but as far as, like, people, like, saying, oh, that's poser rotten. Now, Motley Crue, to me, was never in that. In this kind of, at least for me, they were never in this kind of thing. This, to me, was more than, your girl liked this, so you liked it because they liked it. And gotta say, at least, you know, if not that I saw them on this tour because I didn't have the disposable income to see them on this tour, but I assume it wasn't a sausage fest, let's put it that way. So, I mean, there was positives about going to a Bon Jovi show, right. So it's just. It is what it is. All right, let's continue on this. We have lots of. We have lots of things to talk about. There's gonna be bigger songs we'd be talking about. We can't be talking this all for sure. All right, here we go. [00:37:31] Speaker E: Rocking holes, my fair radio yeah. So rock sit on the table then give it up to the king of swing before it's time to go it's all right if you wanna cross that map break off to the other side let it ride. [00:38:33] Speaker D: Yeah, we'll stop before the solo. [00:38:36] Speaker A: Yeah, but I hear the. What Frank is saying, that pan up, spin up. Right. Because that's what. Into the night. That's totally into the night. [00:38:44] Speaker C: Yep. [00:38:46] Speaker D: Fucking Frank. Pull something out. Fucking 40 years later, no one heard. [00:38:51] Speaker C: That's one of my favorite albums by Ace Braley. [00:38:54] Speaker D: No, I know. I'm just saying. I never even put those two. Put those two things together. But. Yeah, so there's an interesting. There's an interesting lyric in here. So, Steve, read some lyrics. [00:39:04] Speaker B: All right, we're going back to. Whoa, whoa. We go down to Broadway where everyone goes to get up on the rocking horse last night radio. Yeah, I saw Roxy on the table her girlfriend down below they'll give it up to the king of swing before it's time to go it's all right, all right if you know you have a good time it's all right if you want to cross that line break on through to the other side let it rock, let it go you can't stop a fire burning out of control yeah let it rock, let it go you can't stop a furniture fire burning out of control let it rock, let it go with the night we're on the loose we're gonna let it rock, yeah. [00:39:59] Speaker D: I never even caught this line before. I saw Roxy on the table with her girlfriend down below they'll give it up to the king of swing before it's time to go who is the king of swing? Number one? I don't know who that is. And Roxy and her girlfriend. I didn't. I never caught that at all. All the times I've heard this. [00:40:20] Speaker A: Well, I. I don't. I don't know a single lyric of this. I'm gonna be other than let it rock and let it go. So I didn't know any. Yeah, I didn't know any of these lyrics. I mean, I don't know. Chino was in here, captain kid, Roxy and her girlfriend, king swing. [00:40:36] Speaker D: To Roxy and her girlfriend, Jim Morrison. [00:40:40] Speaker A: I mean, you know, break on through to the other side is in here. [00:40:47] Speaker D: It's a door. It's a doors reference. I mean, this is. This is just a typical 80 song. It's full of fun stuff. You know what I mean? This. I don't think there's any, like, deep meaning in this at all. [00:41:00] Speaker A: No, but again, this is something of his. You know, he has done this before, right? You know, naming names and characters and people trying to kind of paint a story. [00:41:14] Speaker D: Well, I think it's a good thing to do. I think it kind of kind of engages the part, the listener, to know that he's using names and not just, like, you know, random girl guy, you know? I mean, him. Her. [00:41:27] Speaker A: Yeah. And, I mean, I guess you can say, oh, yeah, man, that's me. I'm captain kid, or whatever. I mean. [00:41:33] Speaker D: Mm hmm. I'm the king swing. Yeah, maybe. I mean, I guess it couldn't be bad to be the king of swing in this situation. So. Good for the king of swing. All right, so let's do. Let's do solo. [00:42:45] Speaker E: Control. Let it go. [00:43:27] Speaker A: Marcos is pregnant. Stop. After the solo. [00:43:31] Speaker D: We kind of stopped enough. I figured I'd let it go through. I mean, generally, I think he's a very underrated guitar player. I do like his playing more in New Jersey than I like here. I mean, he has all of the things. Whammy bar and. And natural harmonics and all that kind of stuff, but I generally like his guitar playing. Generally on this record, specifically, there's points where it's just very hair metal guitar playing. So, I mean, again, it's the Van Halen effect, like we said before, like I've said how many episodes already, you know, after that stuff came out, like, everyone had to do this, so he was doing the same kind of stuff, so. But, I mean, I think in general, he's better than a lot of the other people doing it, because he's. He seems to at least compose his solos, and there's a beginning and middle and end. Doesn't feel like it's just wankery so I kind of. I kind of like his guitar playing generally, so. But. But it is an eighties guitar song, so. [00:44:34] Speaker A: Mm hmm. [00:44:35] Speaker D: So why would it, Steve, go first? [00:44:38] Speaker A: Yeah, Steve. [00:44:39] Speaker D: Oh, and by the way, before Steve goes, I wasn't paying attention to the bass. The bass was okay, actually. Okay. It was locked into the drums pretty well. And if it is Hugh McDonald is playing, he was doing a pretty good job. I mean, he didn't get in the way of anything. And the keyboard player was David Bryan. Right. You can't actually hear him in the song more than some other stuff. Yeah, it kind of. Kind of filled the sound out a little bit. I generally enjoy this song, though, so. [00:45:06] Speaker B: I. Steve, you want me to finish the lyrics? I mean, they're just repeat. [00:45:11] Speaker D: No, no. Yeah, no, it's just the same stuff over and over. We're good. [00:45:20] Speaker B: Lyrics. I don't know. I'm gonna give them a kind of five. A kind of just cheesy. I don't know, let it rock and too much rocking going on there. So we're gonna say five on that music. I don't know. I'm gonna say seven. It was typical kind of eighties kind of thing, but, you know, still had its parts here and there in production. I'll say seven two. You know, everything was pretty clear in there and sounded all right, so. Yeah, we'll see seven for that. Yeah, work. [00:46:10] Speaker D: I'm probably. Me and Frank are probably gonna like this one when everybody. So I. The lyrics are fun. I don't do. I think they're great lyrics. No, but they're fun. So I'm gonna give them a six for just a fun factor of it. I mean, musician wise, I think it's played very well. I mean, it isn't. I like his guitar playing. I like his soloing. I think that intro keyboard thing is pretty cool. So let me give that a seven and a production. Yeah, seven is good. Like I said, I'm not a super gigantic fan of the eighties drum sound, but. But, I mean, at least it's done decently, so I'm okay with that. Frank. [00:46:50] Speaker C: Mark, you know very well, I have to say. I'm right there with you. The lyrics, they, you know, they're fun. They're kind of like, you know, popcorn lyrics or bottles and James and Zima kind of party lyrics. So give those a six. And the music, I like it a lot. The musicianship, I give that a seven production as well. So definitely, you know me very well. What's that? [00:47:15] Speaker D: I had a feeling you and I were gonna like this song. Alright, sav, go. [00:47:21] Speaker A: Let's see. Yeah, I'm probably gonna say five on the lyrics. Music. [00:47:27] Speaker D: I don't know, I just. [00:47:28] Speaker A: I was never a fan of this song. I don't think it's played badly. But I think in comparison to some of the stuff that's coming. Listen, it is a very good opener. It's loud, it is a good opener. But just like I wasn't crazy about. Raise your hand, lay your hands on me like last time. All right, production, I'm gonna give a seven. Music. I want to say five, but maybe I'll do six. I mean, it's played well. I liked well, so it was okay. I mean, I like the keyboard playing, but. Yeah, I guess five, six, seven. But again, it's just one. Never. [00:48:11] Speaker D: I don't know. [00:48:12] Speaker A: Never. Never really stuck with me like it. If I ever played the album, I wouldn't. Me personally, I would always kind of skip this one. [00:48:22] Speaker D: That's not as bad as I thought it was gonna be. [00:48:24] Speaker A: Well, I mean, I was gonna say five, five, seven, honestly, which I probably could. 557. Let's change it. I think it's a lot better that's coming up. And, I mean, my favorite song on this album, as far as I know, wasn't a single or a hit. So two of them. [00:48:49] Speaker D: My two favorites. Speaking of hits, the next song you get to love a bad name was number one. And there's something in here that I didn't know. Did you know this? The chorus of this song was recorded by Bonnie Tyler under the title if you were a woman and I was a man with different lyrics and. And they were dissatisfied with the success of the song. So Desmond child rewrote the song with Bon Jovi and Richie Sambora. I have no clue that was true. True. [00:49:21] Speaker A: Well, the other thing too is that on their first album, right, they have a song called shout through the heart. Shout through the heart. It's all part of this game that we coded of. [00:49:36] Speaker D: Oh, yeah, they reused it. But I mean, this was Matt, this was master single, billboard hot 100. [00:49:40] Speaker A: Was that you laughing? [00:49:42] Speaker D: Maybe. So we shall. We shall see. So I'm. Raise your hands. Was the b side of this. Of this single. It's kind of funny. [00:49:59] Speaker A: Oh, boy. [00:50:00] Speaker D: Yeah, yeah, makes sense. Again, again. When you have a. When you have a very upbeat song like that, that's what's gonna happen. All right, so we ready for this one? Here we go. [00:50:14] Speaker E: Shout to the heart and you're too late darling, you give love a bad name. [00:50:47] Speaker D: I mean, that is such a classic intro. It's just, you understand why this is. [00:50:53] Speaker C: A number one song, iconic eighties metal hit. [00:50:58] Speaker D: Oh, yeah. You couldn't get away from this thing. [00:51:01] Speaker A: It's funny, my. My son and I were listening to a song the other day, maybe even yesterday, and even he agreed the baseline. I don't ask you what it was. I couldn't. I can't for the life of me remember what it is. It could have been Weezer. But when I heard the bass on, I'm like, does that sound like you love a bit? He was like, yeah, that actually does really sound like that. I can't remember what the hell. I'll have to ask him maybe for the next episode if he remembers what song, because then maybe we can. We can play it baseline. Was that. I think that. That. I mean, to me, that. Bum bum bum bum bum bum bum. Right? That's. That sticks out so much in this song. [00:51:44] Speaker D: Yeah, but it was a hash pipe. Is that the song? [00:51:48] Speaker A: I don't think it was hash pipe. I hear what you're saying, cuz it's got that muted little thing, but I want to say it wasn't even like a heavy song. [00:51:57] Speaker D: Okay. That's the only one I could think of. [00:52:00] Speaker A: Yeah. [00:52:01] Speaker D: It may not have been Weezer, but, yeah, you couldn't. You couldn't get away from this thing. This was. [00:52:06] Speaker A: Even Steve knew this at four years old. [00:52:08] Speaker D: He was asking, he probably was dancing. [00:52:10] Speaker A: Around, he was angry with his mom. And he said to his mom, mom, you give love a bad name. Where do you hear that, Steve? [00:52:23] Speaker D: Let's continue. [00:52:24] Speaker E: Just smile is what you say. You promised me heaven, put me through hell? Chains of love, gotta hold on me when passions of prison, you can't break free. Oh, you're not a gun, yeah. Oh, there's nowhere to run? No one can save me the damage you've done? Shout me high and you want to blame you. Give up. [00:53:24] Speaker A: You know, don't think I ever realized it was that little. [00:53:26] Speaker D: Wow, that. But I didn't. I didn't realize that the keyboard was so loud. I always, always, for whatever reason, I always feel like his keyboard is really low. But here you can hear a lot of it. [00:53:37] Speaker A: That's a different album. Right, then. Then the next one. I mean. [00:53:43] Speaker D: Yeah. [00:53:45] Speaker A: This isn't also in the time of Europe, right? Europe, I think, was like 86. Final countdown. [00:53:51] Speaker D: Yeah. I'm not sure what year, but. Yeah. All right, Steve, read us some lyrics, and then we'll. We'll talk a little bit more about this. [00:54:01] Speaker B: You're right. Step through the heart and your true glam, darling. You gave love a bad name? An angel smiles what you sell? You promise me heaven, then put me through hell? Chains of love got a hold on me? When passions prison you can't break free? Whoa, your loaded gun? Yeah? Oh, there's nowhere to run? Nowhere can save me? The damage you've done? Shot through the heart and you're to blame? You gave love a bad name? I play my part and you pay your game? You gave love a bad name? Yeah, you gave love a bad name. [00:54:46] Speaker C: You know, I just gotta say, hearing Steve read this, I was, like, listening to Randy macho man savage talk. Oh, yeah. [00:54:54] Speaker A: You get murdered, bro. [00:54:55] Speaker D: Yeah. [00:54:56] Speaker A: Bad name, brother. [00:54:57] Speaker D: Oh, yeah. [00:55:02] Speaker A: Anytime I hear chains of love, I think a Gene Simmons. [00:55:06] Speaker D: Why? [00:55:07] Speaker A: I don't know. He's got that prison in chains and I associate a lot of that with him. There were a lot of metal bands that were in prisons of love in the eighties, that's for sure. Yeah, that was definitely a common, common theme. Prisoners of love. Well, they were right. I mean, think about it. There's this. I mean, them, they're ducking. [00:55:34] Speaker D: Yeah, I think it was a trope of the time, I think. [00:55:39] Speaker A: Yeah. [00:55:40] Speaker D: But you know, the funny part, the part I always remember for this song is the. Is the bad name part. Bad name. The way it's sung, like, it always gets stuck in my head. I mean, I guess. I guess that's the. That's the mark of a good song. Even if you don't like the song, it gets stuck in your head and you can't get it out of your head. Steve has it stuck in his head now and he's not gonna get out for a while. [00:56:04] Speaker B: Yes. [00:56:05] Speaker D: He doesn't even like this. [00:56:06] Speaker A: No, the bass is really good in this song. There's a lot of good little things. It's not just a duke do. I mean, it's doing some cool things. [00:56:19] Speaker D: I can. Yeah, I get caught up in. I get caught up in all the other stuff, so I might listen to that. Okay, here we go. Verse two. [00:56:40] Speaker E: Your first kiss goodbye. Oh, you're loading. Whoa, there's nowhere to run no one could save me the damage is done. Shout through the heart and you're to blame? You give love a bad name? Play my part and you play your game? You give love. [00:57:19] Speaker A: I do like that bad name, I do. I mean, it's like Carol Channing. You give love a bad name, it. [00:57:28] Speaker D: Gets stuck in your head. It's stuck in your head. The one thing I always remember about this song, too, is I always had to. Back in the day, I had a cheesy little harmonizer pedal I had to use because of that stupid beginning. And the solos all freaking harmonized is a pain in the ass. Especially back in the day when. When that shit didn't work as well as it works now. Yeah, that was no fun since I was generally the only guitar player, so I had to cover all that stuff. I was like, oh, what am I gonna do here? [00:57:54] Speaker A: Yeah. [00:57:55] Speaker D: Fuck. I gotta use a fucking pedal for this. Just because that's a weird fucking. That. And the next song, because you have to use the fucking talk box. That a pain in the ass thing? [00:58:05] Speaker A: Yes, the infamous talk box. [00:58:09] Speaker D: Famous talk box. But, um, yeah, I mean, it's a catchy song. I mean, obviously, you know what? [00:58:13] Speaker A: Yeah, of course. [00:58:16] Speaker D: I'm curious now about the other song that it was. Did you ever hear anyone ever heard the other song? If you're a woman and I was a mandev? Have you ever heard that? [00:58:24] Speaker A: No. [00:58:26] Speaker D: We may have to pull that up for a second just to hear the chorus. All right, Steve. [00:58:34] Speaker B: All right. [00:58:35] Speaker D: But. But do it as right as Randy macho man savage if you have to do it. [00:58:42] Speaker B: Can we trim your smile on your lips? I can't do. That's too much of my voice. Blood red nails on your fingertips, a schoolboy's dream you act so shy. Your very first kiss. What's your first kiss? Goodbye? Whoa, your loaded gun? Oh, there's nowhere to run no one can save me the damage you've done? Shot through the heart and you were to blame? You gave love a bad night? I play my part, you play your game? You gave love a bad name? You gave love a cuts off just like that. [00:59:27] Speaker A: Well, because it goes into the soul and. All right. He's like, you give love. [00:59:59] Speaker D: Yeah. So I like that solo. It was really short. It's definitely a solo for a single, right? It's so short. Like, for bars. Super, super short. But, you know, I always ended up liking his stuff because it ended up being more. He had a little more melody in his stuff. It just wasn't a wankfest, generally. So. Yeah, I think he's. I think he's very underrated guitar. And especially in the next record, which we've already done, I think his playing was even better on that than it does on this. So I like it. [01:00:32] Speaker A: I always like the solo, too. [01:00:34] Speaker D: Yeah, let's go. That harmonizer, it's got that harmonizer. Or double track, though. He. I don't know if had harmonizer then, or he double tracked it. I don't know what it was. It could have been either, so. But it was just a, I mean, I think we played this song live too, right? [01:00:52] Speaker A: I don't remember doing this. Oh, this one? Yes. Yes. I'm sorry. We recently, like in the last. It was one of the late editions when we were doing cover songs. [01:01:03] Speaker D: Mm hmm. Yeah. [01:01:04] Speaker A: So. Yes. Mm hmm. [01:01:06] Speaker D: We've done like three. Three songs on this side. We've done. [01:01:12] Speaker A: I'd wait, and I don't remember doing the next one. [01:01:15] Speaker D: Oh, yeah, that's when you're talking 100%. Because I had the talk box 100%. We've done this song back in the day, probably. We've definitely done this. I would never have the talk box for any of the song. [01:01:28] Speaker A: Yeah, I guess so. Yeah. I don't remember ever doing it live, though. Maybe we practice it. [01:01:35] Speaker D: Maybe. But I think back in the day, we tried doing it live, though. [01:01:38] Speaker A: Maybe. [01:01:41] Speaker D: Somewhere. Anyway, Stephen Frank are like, all right. [01:01:44] Speaker A: Shut the fuck up. We weren't sure. [01:01:45] Speaker D: Fuck up. I was gonna say the next thing that, that comes up that, I don't know if people did it before this, but the part that's come up after this, just the acapella thing that was done so much. Right. The eighties, that's another with the drum. [01:02:00] Speaker A: The doom. Doom. [01:02:02] Speaker D: Doom. [01:02:03] Speaker A: Yeah, that was definitely another. [01:02:04] Speaker D: But maybe not, maybe not done as well, though. Or maybe after this. This single. Other people did it, but it just wasn't as good. I don't know. All right, let's continue. [01:02:18] Speaker E: Through the heart and you're to blame? You give up their name? I play my part and you play your game? You give love a family? Give me in our heart and you play your game? You give love? You give up? You give up? Let me give up? [01:03:19] Speaker A: You give love a bad name. [01:03:21] Speaker D: It's catchy. It is catchy. [01:03:23] Speaker A: Yeah. I mean, it is. Listen, especially in the era and the genre, I mean, it's a very well written song. Yeah, the production is great. I mean, even just the way the drums sound out of the a capella part, it. I mean, yeah. Again, I just, I'll take that drunk sound over a lot of stuff that I hear. Just as it feels. It's. It's produced well. And again, not to sound like an old fart, but I know there's just, there's just a nice sound to it. They're recorded very well. [01:03:58] Speaker D: No, 100%. I mean, I'll take this drum sound over stuff that's being done right now, so. And you like him as a drummer generally, right? [01:04:07] Speaker A: Yeah, he's. He's fine. You know, again, he's. He's. He isn't like, oh, my God. Right? Oh, my God. Chico tours. But I mean, listen, he's in the pocket. He plays the groove and he plays exactly what is needed for this song. He's not flashy, but, yeah, I think, you know, I think he's a good drummer, so. [01:04:28] Speaker D: Yeah. So who wants to go first on this one? I mean, Steve, go first last time. [01:04:33] Speaker A: Yeah. [01:04:34] Speaker D: Frank, you go first. [01:04:38] Speaker C: I like to, you know. Hey, listen, it's one of those iconic 80 songs from the opening line all the way down to the end. Like, if you did not hear this song, you live on a different planet and than most people. So. I love the song a lot. Lyrics. I'm gonna give the lyrics a seven here. [01:05:01] Speaker A: Just. [01:05:01] Speaker C: Just overall, I love them. They flow well and great. [01:05:06] Speaker A: It was great. [01:05:06] Speaker C: It was great lyrics for the time. So definitely gonna give that there. And the music itself. Love it. Classic eighties. Gonna give that an eight. And overall, the composition, I'm gonna give that an eight because I just think that everything pops. Everything is very clear, isolated. The sounds, all the instruments are there, but it's great. Sounds great. So gonna give that an eight as well. Steve? [01:05:33] Speaker B: You know what? I think I'm gonna actually mirror what she says. Lyrics were better than the first one, for sure. So I'm gonna say seven music, you know, catchy eighties, you know, kind of everything going on in there. So I'm gonna give that an eight. And, you know, production was. It was good, too. I mean, you know, for a hit song, it's solid. So we'll say. [01:06:06] Speaker A: I'm going to say a six on the lyrics. I think they are better than the one before. I'm going to say a seven on the music and an eight on the production. And, Mark, one of the things I thought you were going to mention before, because I know it's been mentioned by Paul Stanley about how he kind of hooked them up together. Right. Jon Bon Jovi and Desmond child. So I even see a little thing that he called them up and they. I guess they wound up writing this. Richie Sambora's parents house, so. In New Jersey. [01:06:45] Speaker D: Yeah. [01:06:46] Speaker A: What do you think, Mark? [01:06:49] Speaker D: I think. I think Desmond child had had more. More bigger hits with Bon Jovi, obviously the end to a kiss, but he had one by. Big one with kiss, but I don't know if it was as big as this, but it was big. [01:07:01] Speaker A: No? [01:07:02] Speaker D: Yeah, yeah. I'm gonna do what Steve and Frank did. 788. I think the lyrics are better than the first one. Musicianship is good. I mean, again, it's very. It's very planned out. Like, there's no surprise here what's gonna happen? You know exactly what's gonna happen. If you were alive at this point and you were any however old you were, you were a teenager or whatever, you couldn't get away from the song. It's impossible. And the production is good. I think, obviously, they knew this was gonna be a single because the production does pop pretty good. So he did a good job with the production. Like you said, the drums sound really good coming out of the break, so obviously that's the production through the whole thing. But you really hear how good the. [01:07:43] Speaker A: Drum sound on maybe trivia that to Bob Rock. [01:07:49] Speaker D: Yeah. [01:07:52] Speaker A: Because Bob Rock also produced St. Anger. [01:07:56] Speaker D: This is true. It gets better. [01:07:58] Speaker A: Is. [01:07:58] Speaker D: It goes on. All right, so, obviously, the next song. [01:08:03] Speaker C: You know what, Mark? I was just thinking about. Are you able to hear me, Mark? [01:08:10] Speaker D: Yeah, I can hear you. [01:08:12] Speaker C: Oh, my. Choppy. Okay. You know, I was thinking about, like. I think it was during poison that there was a period of time that we said how the singer was putting into who, into the lyrics, into the songs. There was, like, between 86 and 88. There was this period where the drummer was just doing the bass drum and the crowd was, like, shouting back kind of a thing. So you heard it here? You heard it in youth gone wild. You heard it. I believe it was Duncan dream warriors. It was just a bass drum and the crowd shouting back. So, like, it's funny how you hear these little periods and sound breaks during the time. [01:08:51] Speaker D: Well, I think once something works, the record company kind of, like, makes that happen. I don't think that's by accident. So they knew it worked here, and they said, well, we got to get. We got to do that every place. But then it kind of, like, loses its. It loses its sheen, you know what I mean? Because they use it everywhere, just like, every record company thing. They play it to death. And then that's why you get late eighties hair metal, where it's all the same, because they just keep copying over and over and over and over. Not that there wasn't good stuff in the late eighties, but it was. There was a lot more crap than it was good. And I just. They took this formula, right, and they just, like, copied and pasted it into every band that they signed. [01:09:34] Speaker A: So, unfortunately, when something's a hit. [01:09:39] Speaker D: Yeah. So the next thing is another. The second number one single living on a prayer. I think to me, this song is the most Bruce Springsteeny and his lyrics, it's very storytelling more than anything else so far, I think, on this album. [01:09:58] Speaker A: Yeah, well, I mean, like I said, the first one kind of had those characters and the, you know, the captain kid and the Chino and the. I mean, again, Springsteen has named some. Some characters in his time with some odd names, so. [01:10:15] Speaker D: Yeah, so, yeah, so this is living on a prayer. Obviously, it's another one of those songs where it's pretty much an iconic song from the time, so. [01:10:24] Speaker A: Oh, yeah. [01:10:27] Speaker D: Besides the pot, as far as the rock stuff goes, this was a j. This again, you couldn't. You could not get away with this. Here we go. Living on a prayer. Now we have to stop to talk about that. Even as a bass player. I mean, Steve doesn't like this music, but you. I think you got to fucking recognize that stupid look, that little riff. [01:11:07] Speaker B: Yeah, for sure. It's catchy, though. [01:11:11] Speaker D: It's super catchy, actually, from what I was reading here, they. John Bon Jovi didn't like this song. And then Hugh McDonald wrote that bass line and it changed all. Pretty much changed the whole song. [01:11:23] Speaker A: Yeah, but he didn't want to. He didn't want to have this on the record. [01:11:26] Speaker D: Nope. Imagine that. [01:11:29] Speaker A: But you know what, too, though? I mean, there could have been a version of this song that wasn't as good as the one that went up on the record. [01:11:35] Speaker D: There is sometimes. [01:11:36] Speaker A: I mean, you know, so, I mean, obviously, we've. We've done songs, too. We're just. They. Sometimes they just don't come together. They're kind of like. It's like, missing something. You know what I mean? Like, there's just something missing. So maybe it's just something they had to work through. But, you know, you imagine this not being. [01:11:56] Speaker D: You can hear the original. It's on the 100,000. 100 million Bon Jovi fans. Can't be wrong. It's a hidden track. Maybe we might have to grab that at the end of the record. At the end of that. [01:12:08] Speaker A: I'd be curious if it's. If it's kind of different. [01:12:11] Speaker D: I'm sure it probably is, but, yeah, I mean. I mean, this is an iconic baseline. [01:12:17] Speaker A: Yeah. [01:12:18] Speaker D: Then. And then you put the talk box on top of it, right? [01:12:20] Speaker A: Mm hmm. [01:12:22] Speaker D: Although, you know, that didn't. I mean, how many other songs did have talk box, even though this was a big song with talk box, I don't remember being a lot of talk box, like, after this. I mean, there was some, but not as much as you would think. After a gigantic song, you figure every player, everybody would use talk box. At least I don't remember it that way anyway. So maybe it was just, you know, people would associated in this era. Associated so much of Bon Jovi. They didn't do it. I don't know. That's just usually not the record company way. Hey, that's talk box. But talk box everywhere isn't a bit. [01:12:56] Speaker A: Of pain in the ass to use to, though. You gotta shove that tube in your. [01:12:58] Speaker D: Oh, my. I don't even want to talk about. [01:13:02] Speaker A: I remember the talks. And, like, that shit was like, yeah. I was like, spit all over. I remember. [01:13:13] Speaker D: And because the way it works is when you hit the button, right, it interrupts the guitar signal. So the guitar signal goes through into the talk box, up into the hose. Then you make vowels, and it comes back out. But when it comes, so you need a separate microphone to pick up the talk boxes. It doesn't go to your amp anymore. Now goes to the padditive. [01:13:36] Speaker A: Mm hmm. [01:13:37] Speaker D: So it was always yet that fucking thick fucking hose. And nasty always got nasty. And they clean that shit all the time. Sucking on that thing off for a whole fucking song. It was not great. Some people just use the wawa pedal because they didn't want to use the talk, but the wawa doesn't. [01:13:54] Speaker C: The only other song I can think of. [01:13:59] Speaker D: Is what? [01:14:00] Speaker C: The only other sign I can think of during this time with the. With the talk box was anything goes by GNR on appetite. That's around 86, right? [01:14:10] Speaker D: Yeah, yeah, yeah, there is another. Yeah, there. Yeah, yeah, yeah. But it's not as. It's not as it's there, but it's not to me, it's not as, like, forward as this thing is. [01:14:20] Speaker C: Front and center. [01:14:21] Speaker D: Yeah, this is way front and center. Yeah, 100% way front and center. Yep. [01:14:25] Speaker A: Oh, yeah. [01:14:26] Speaker D: All right, I'm gonna back it up a little bit before the thing happens. And even the. Even the snare hits on. This is kind of iconic on this thing too. [01:14:34] Speaker A: Yeah. [01:14:35] Speaker D: Much of snare, like, right before the, like the. [01:14:38] Speaker A: What do you call me? Is it the cussing? It is a dingy dinga ding ding. It sounds like he's doing, like, his fingers. [01:14:48] Speaker D: Oh, wait a second. They say who plays that? Hold on. Is that Tico Torres? It is. Finger symbols is tikritor. [01:14:55] Speaker A: There you go. Yeah. [01:14:58] Speaker D: All right, here we go. Out. [01:15:27] Speaker E: Tell me you work on the dark union. Been on track. It's down on his lucky. Working for a man she brings homework, baby. She says, we gotta hold on to what we've got. It doesn't make a difference if we make it or not. We got each other and that's a lot for love. We'll give it a shot. Halfway there. [01:16:33] Speaker D: Yeah. That talkbox thing is so iconic, it's ridiculous. [01:16:37] Speaker A: And actually, I mean, the verse is really keyboard. There's no, like, dungeons. And I thought it was more. But it's not just him doing, like, those gorilla noises on the. The talk. [01:16:49] Speaker D: Ya know, it's. It's. It's really. It's really a lot more. There's a lot of keyboard that. I don't always remember that being like that, but 100% is. Yeah, but. And I think these lyrics are better than the last one, too. I think he does a really good job of painting a picture with this. And I think that's why this song was so big. That's one of the reasons, I think, because the lyrics are just very much better. And this is kind of like where he's going on New Jersey, right? New Jersey has more of this. [01:17:22] Speaker A: Yeah, well, he's a little bit more slice of everyday life. It's like blue collar and kind of given. [01:17:29] Speaker D: Another thing I just learned that the lead vocalist of Lover Boyd says that he's doing background, background vocals on this song just recently, in 2022. He said he was doing it, so I'm surprised. Right, Steve, speaking of lyrics, do the lyrics. [01:17:49] Speaker B: Once upon a time, not so long ago Tommy used to work on the docks union's been on strike he's down on his luck it's tough so tough Gina works the diner all day working for her man she brings home her pay for love for love. [01:18:11] Speaker D: She says. [01:18:12] Speaker B: We gotta hold on to what we got it doesn't make a difference if we make it or not we got each other and that's a lot for love we'll give it a shot whoa, we're halfway there whoa, living on a prayer take my hand we'll make it, I swear whoa, living on a prayer I don't. [01:18:38] Speaker D: Yeah, you can't. Even if you don't like. Even if you don't like this song, like it. It gets stuck in your brain, too. It's not one those getting stuck in your brain songs. [01:18:50] Speaker B: Yes. [01:18:51] Speaker A: Listen, I've always said there's nothing wrong with a well written pop song, right? I mean, this is pretty much like pop metal. I mean, a good hulk, a good melody line. I mean, if you don't like the song, you don't like it, but I mean, if you're sitting there going, well, I can't like this song because it's this or it's that, then I mean, just, you know, just be like, yeah, I like this song. Yeah, well, it's a well written, catchy song. [01:19:20] Speaker D: Yeah. And. And the chorus and the melodies, like, burn themselves into your brain, which basically is what you want from a pop. So it's. This is a pop song. [01:19:31] Speaker A: Yeah. So pop, metal. [01:19:33] Speaker D: Yeah. No, but it's pop song. You can take the metal, the rock out of. It's a pop song very well. [01:19:43] Speaker A: I knew there was something I wanted to mention. The video, right. Was just. Was it just kind of them live, right? [01:19:50] Speaker D: I believe so. I mean. [01:19:54] Speaker A: I don't remember because I'm saying. Right, this is. [01:19:57] Speaker C: This is such part. Yeah. Part of it is live because I remember. I believe it's like that flare, those kind of sparkles are dropping down in the background of him singing. Yeah, I think that's the opening part of it. [01:20:11] Speaker A: That's what I'm saying, though. I think it's just really them live. Right. Just like shot through the heart. I mean, like we were talking. We did living in sin. Living in sin was more of what was going on in the song. I mean, they could have painted a good picture video with this, but I don't think they did anything in relation to the. The story. [01:20:35] Speaker D: I don't remember just them live. [01:20:39] Speaker A: And I think the one before was them live as well. Well, wanted to write one. It was just them live as well, wasn't it? I don't think they did anything with that either. [01:20:50] Speaker D: Yeah, he did. Bon Jovi does, like the. Like the jump video thing with the harness in this song. In this. In this thing, too, so. Yeah, this is basically. I believe it's basically a. A live. A concert video, pretty much, yeah. [01:21:07] Speaker A: But so was you give love a bad name and wanted dead or alive. Right. I mean, there's no considering some of the. But you think about them, the kind of pictures he's painting, right. To bleed. Not blatant, but two main characters in this, where you could picture a video, a movie in a sense. Right. They kind of just, like, surprised, but even wanted. Right. They could have done something, but they really. I don't know, I guess they chose not to go down that route. But then again, born to be my baby was just them in the studio. Right? [01:21:44] Speaker D: Yeah, yeah. So. [01:21:45] Speaker A: Yeah, but living in sin, I mean, at least they kind of painted the picture, you know, with that video, from what I remember. [01:21:54] Speaker D: Really surprised also. But that was also more. I mean, that. That video barely did. It almost didn't get played right, because it was just. Because the subject matter. [01:22:04] Speaker A: Yeah, but I mean, that the video matched the song. It wasn't as if the video was controversial, whereas, you know what I mean? It wasn't going with the. The theme of the song. It totally was surprising. [01:22:18] Speaker D: What I think it is. Think it is because they didn't have a lot of money. They, you know, they came off the last record. They weren't big stars yet, so maybe they didn't have the money to make those kind of things. So they figured, why don't we just put our live thing, like, on the screen? Is to get people to know who they are. Maybe that's. Maybe that's what was all about. [01:22:39] Speaker C: You gotta also remember during that time, people love going to concerts, too. It was time, if you really think about it, there was a. The concert. Things was happening during that time. [01:22:51] Speaker A: Yeah, yeah. [01:22:54] Speaker C: But the bosses of rock tour. Right. Was around that time where you had. Was not. I thought it was around 86. Could be wrong. 86? 87. Around that time. When was. When was the one where it was. It happened in Moscow. What was that called, that tour? [01:23:17] Speaker D: That was Monsters of rock. But that was 1991. [01:23:19] Speaker C: I think that was a rock. [01:23:23] Speaker D: There wasn't. Well, there's tons of monsters. Iraq. [01:23:28] Speaker C: No, but I think the big one in Moscow, though. The big one in Moscow. [01:23:31] Speaker A: Yeah, that was something else. That was after new Jersey, right? Or. [01:23:34] Speaker C: No, it wasn't after New Jersey. [01:23:36] Speaker A: I thought it was before. [01:23:38] Speaker C: I thought it was right around this album. I think crew was in it. [01:23:43] Speaker D: Yeah, it started in 1980. Started in 1980. [01:23:47] Speaker A: Wow, really? [01:23:50] Speaker D: The big one was. [01:23:51] Speaker C: Scorpion was in this one. [01:23:54] Speaker A: Yeah. The Moscow. The Moscow Peace Festival. Wasn't that it, what it was called? [01:23:59] Speaker C: I don't remember. [01:24:00] Speaker D: Yeah, that. Yeah, that was different. [01:24:01] Speaker C: Was a USA to Russia. [01:24:04] Speaker A: No, I think you're thinking of USA for Africa. [01:24:08] Speaker C: Oh, sorry. I'm just kidding. Maybe, but that was a big one. That was a really big festival. [01:24:15] Speaker A: I think it was a Moscow peace festival. I think. [01:24:19] Speaker C: I think the point is during that time, that the thing was going to the concert and being at the concert. So for those who were not able to go to the concert, they were trying to bring that experience on the video, baby. [01:24:33] Speaker D: I agree. Yeah. All right, let's continue it. Here we go. [01:25:20] Speaker E: We got each other and that's all. I give it a shot. Living over pray, take my hand we'll make it, I swear. [01:25:51] Speaker A: They got the poison bridge going. That was just a mini bridge, though. [01:25:55] Speaker D: Yeah. Just a mini bridge. [01:25:57] Speaker A: Yeah. This is, like, one line. [01:26:00] Speaker D: Yeah. It's such a. It's a very well written song. [01:26:03] Speaker A: Yeah. [01:26:04] Speaker D: If this comes on on the radio, I'll probably not turn it off. [01:26:08] Speaker A: It's. I mean, it's reminiscent, too, right? I mean, it puts you back in a different day. And so, I mean, it's nice. Kind of revisiting those days sometimes of what was going on. And, I mean, again, this was. We were graduating from grammar school, so this was kind of a big. A big point. It came out at a big point in our lives. So. [01:26:35] Speaker D: Steve was doing poopy in his pants. [01:26:38] Speaker A: Yeah, basically. See, she was potty training. [01:26:46] Speaker D: All right. All right. Potty training. Boy, why don't you read us some lyrics? [01:26:50] Speaker B: All right. Tommy's got his 16 and Hawk. What the hell is Hawk? [01:26:55] Speaker D: And Hawk like to sell it. Yeah. [01:27:01] Speaker B: Got it. Now he's holding in when he used to make it talk so tough oh, it's tough. Jeannie dreams of running away when she cries in the night Tommy whispers, baby, it's okay someday we've got to hold on to what we've got it doesn't make a difference if we make it or not we've got each other and that's a lot for love we'll give it a shot whoa, we're halfway down whoa, living on a prayer take my hand and we'll make it, I swear whoa, whoa, living on a prayer. [01:27:41] Speaker A: So that verse I've. So I always knew that Tommy had a six string somewhere. I didn't know where it was. I didn't know. He said, in hawk, I think, like, eventually I found out it was because I was like, what the hell is he saying? It's like, tommy's got his six string high, and then he thought it was. Yeah, but then when he goes, yeah, but then he's like, he nominated. I was like, wait, what he. Now he's holding in? That's what he's saying. I was like. I said, what the fuck is he saying? He. [01:28:14] Speaker D: I always knew it was he holding in and talk so tough. But the first part I didn't know was in hawk. For a long time, I thought it was in high six string. In high. Like, it was turned up all the way. [01:28:27] Speaker A: Tommy's got a six string high. Now he humming. [01:28:33] Speaker D: Off. I have no idea what the fuck. [01:28:35] Speaker A: He was saying, but honestly, now he's holding in when he used to make it talk so tough. That doesn't really make sense either, because, I mean, he's still saying it does, but he's the Mason guitar talk. Yeah. Yeah. [01:28:52] Speaker D: Basically, he said he used to play it a certain way, but now he's not really playing it like that anymore. [01:28:57] Speaker A: No, but he's not playing at all. No, I think. I think what he's saying is he's holding in what he used to say through his guitar. That's how I read it. [01:29:08] Speaker D: Is that how you read that? [01:29:09] Speaker A: Yeah. Well, Tommy's got a six string in hawk now. He's holding in. When he used to make it talk so tough, he didn't say he talk so tough. That's how I kind of read it. Now he's holding in. When he used to make it talk so tough. So it's kind of like, I feel like he expressed himself through the guitar. [01:29:30] Speaker D: But he can't use it. [01:29:32] Speaker A: That's how. Yeah. Reading it now that I actually know what the hell he's saying. You know, he's not high and he's not hominin. [01:29:41] Speaker D: Do you like the lyrics more now that you know what he's saying? [01:29:44] Speaker A: They're okay. I mean, again, I think they're fine lyrics. They're. They're simple, but they, you know, again, it's. It's a. It's a blue collar story, right. So I think anybody who, you know, the working or whatever you mean, you can understand, right? They're a young couple. You assume that, and they love each other, so they're trying to make the best of everything. I mean, that's really the thing, right? It's. [01:30:14] Speaker D: I think that's why it's so popular, because it every. A lot of people can relate to this whole thing struggling and. You know what I mean? Trying to. Trying to live your life, but living paycheck to paycheck or whatever, you know what I mean? So. [01:30:29] Speaker A: Yeah. And, I mean, they're staying together. This isn't even about them not wanting to be together or. It's a lot of hope. It's basically, listen, we're gonna make it through. [01:30:44] Speaker D: Yeah. No, I think. I think he did a really good. They did a really good job of painting the picture, and I think that's why it's such popular song. All right, let's continue. We go? Yeah. So it's. It's perfect for the song. [01:31:24] Speaker A: Yeah. [01:31:26] Speaker D: You wouldn't want any more than that or any less than that. It's very welcome pose is very. I'm sure. I'm sure he sat down and figured this thing out and, like, the last song in this song, nice. Shortened to the point you don't need anymore. And it's. It's almost like it's a good solo because it's almost like a song in itself. Right. You almost can sing the parts. If you can sing the parts. It's a good solo. [01:31:50] Speaker A: Yeah. [01:31:52] Speaker D: So it's so funny. [01:31:55] Speaker A: Like, I never really noticed it, but it reminds me very much of Brian Adams. The sound in it could be heaven. The sound of the guitar and what he's doing. So I was curious to see who produced it. Now wasn't it wasn't him. Well, it means Canadian. Bruce Fareberg. Canadian. It was a canadian guitar thing. [01:32:17] Speaker D: Eight. [01:32:17] Speaker A: The actual sound of it sounded like very much like that. It reminded me. [01:32:25] Speaker D: Yeah, I can see that. [01:32:27] Speaker A: Right. [01:32:28] Speaker D: So now we get up to the part that everyone copied in the eighties after this. And again, I don't know if Bon Jovi was one of the first ones to do it, but this thing does come up on a lot of songs, folks. So here we go. [01:32:44] Speaker E: Ready? All night you live on the fight when I fall out the skyd. [01:33:08] Speaker D: Did you hear that little bassline? [01:33:10] Speaker A: Bass is really good in this song. [01:33:13] Speaker B: It's really strong. [01:33:14] Speaker A: Yeah. [01:33:16] Speaker D: I have to go back and hit a little bass line again. It was really good. [01:33:18] Speaker A: Yeah, he gave that little. [01:33:20] Speaker D: Yeah, I know. I never heard that before. All right, here we go. Yeah, I never heard that ever before. [01:33:39] Speaker A: Yeah, it's really good. He's doing a good job. Little things. [01:33:46] Speaker D: I mean, between that little part there and the beginning riff, that's, like, super strong. Yeah. [01:33:53] Speaker A: But even in the last one, he was doing some cool stuff on the base. [01:33:57] Speaker D: Hugh MacDonald, from all intents and purposes, I think, on the whole thing, as far as we know now that it's come out, so very good job. And then obviously, the one step up vocal thing. [01:34:13] Speaker A: Yeah, boy. Yes. [01:34:15] Speaker D: That was used everywhere. I mean, can you think of a time we was used before this? I'm trying to think. [01:34:21] Speaker A: I'm sure it was there. Like, we'd have to think about it. But, I mean, I be completely associated with this genre. [01:34:30] Speaker D: Like, without a doubt with the song. I associated with this song. [01:34:36] Speaker A: Yeah. But then we talked. It was one of the songs of winger. I think he did it. [01:34:41] Speaker D: Oh, yeah. [01:34:41] Speaker A: That was after we had talked about, listen, it's got to be there before this. I mean, but it was a big. Yeah, I mean, it was a big. [01:34:53] Speaker D: It's another. It's not trope. [01:34:57] Speaker A: Yeah, absolutely. [01:34:58] Speaker D: Yeah. All right, let's finish it up. [01:35:25] Speaker A: Mark, are you happy they faded instead of. [01:35:28] Speaker D: I do fade. You don't hear any fades anymore, so anytime I hear faze now, I'm, like, super happy about that. Nothing fades anymore, because generally, not in this song, but in a lot of songs, the best. The best stuff is in the fade. [01:35:41] Speaker A: Yeah. This is a quick fade, though. Holy shit. [01:35:44] Speaker D: I know. [01:35:45] Speaker A: That was really quick. Yeah. [01:35:49] Speaker D: Make it short for I think I'll go first because I haven't gone first yet. Yeah, yeah. I think these lyrics, to me are better or better than ones before them. So I'm gonna give them an eight. Music wise, I'm giving it an eight. I'm giving production eight. Like, it's a super strong song. Bass parts, really cool. I never heard that other little bass part ever. I've never really sat down. Maybe I haven't heard him enough times with headphones on, but I heard that little bass thing. That's pretty cool. I mean, I think I like everything about the song. So, I mean, the sentiment and lyrics like the melodies. Like, I like the musicianship talk box. You got. You got good solos. I mean, I don't know much which else you would want from a hit single. Obviously, Wyatt was number one, Frank. [01:36:39] Speaker C: Well, as you fellas know, and anybody who listens to this podcast knows, I love a song that tells a good story. And when you take that song, happens to be one of the most defining songs of a genre for its generation. I got no choice but give it triple ten s. I think the lyrics are great. The music is great. The production is great. That bass opening bass line, I mean, you take that baseline. If any other group tries to use that baseline, people are going to call you out on it. It's kind of like trying to use Van Halen's hot fatigue drum opening. Like, you do that anywhere else, people are gonna call you out on it. So, for me, this is. Song is triple ten across the board. Love it. [01:37:20] Speaker A: Triple tens, Mark. We gotta get a. We gotta get a triple ten thing, too, because that is. That is a big thing. [01:37:26] Speaker D: He's making me. He's making me feel like I have to readjust my actual ratings. [01:37:32] Speaker A: I'll make you feel better. [01:37:33] Speaker D: No, no, no. Don't you feel bad, okay? [01:37:36] Speaker C: I mean, just think about it. I mean, just think about. I mean, that music part is great. [01:37:40] Speaker D: He is right. I don't know if I can do tens because I would have other artists I would do more tens for, but I really. You know what? I'm changing mines to nines. I. He's right. I mean, you can't use that. You can't use that thing anywhere. You can't. You if you're in a talk box, if you're younger, if you're older, you remember, like, Peter Frampton using talk box. Right. That was the big. Yeah, but this is just as big as that. Like, this is just as big as that, though. You hear anyone using a talk box or if they use a talk box in another song later on, which they've done. Right. It always references back to this song. So. Yeah, I think I'm changing it up. Frank made me change. I'm triple nine in that because. Yeah, so it is probably the most iconic song in the genre of hair metal, pop metal, whatever you want to call it. And it was a number one song for. I don't know how long it was number one for, but it was number one for a while. I'm pretty positive. [01:38:38] Speaker C: Was this their biggest hit? [01:38:41] Speaker D: Well, no, this was. This was the number one. The one prior was number one, but. [01:38:46] Speaker C: What was their training like? Like, their biggest, like, bon Jovi hit? [01:38:52] Speaker D: It's gotta be this, right? [01:38:55] Speaker C: I thought it was a big. I thought it was shot through the heart. [01:39:01] Speaker D: No, it's gotta be this. [01:39:02] Speaker C: You give them a bad name. I thought. [01:39:04] Speaker D: No, so, I mean, that was number one, too. They were both number one. [01:39:07] Speaker C: Yeah, but. So, yeah, but I wonder which one. I mean, they have so many number ones, but which one was, like, the one that they're gonna be remembered by. Tough to call. [01:39:17] Speaker D: Yeah, it's tough. [01:39:17] Speaker C: Yeah. Right? [01:39:18] Speaker D: Yeah, yeah, tough to call. I mean, it is what it was. All right, who's. Who's up next? Sam, go ahead. [01:39:26] Speaker A: I'm going to say. Well, I gave the other lyrics lower, so I'm going to say seven on the lyrics. I'm going to say an eight on the music and an eight on the production. It's a great song. Absolutely. It is probably genre defining. So give me one sec. I'm trying to see. I'm trying to answer Frankie's question. [01:39:54] Speaker D: Which is the number one song, right? Will you look that up, Steve? Go. [01:39:58] Speaker A: Yeah, exactly. Go, Steve. [01:40:02] Speaker B: I think I'm gonna go with the triple eight. Lyrics were strong, and so it's a good story. And the music was great. The bass was really super strong throughout his song, which was, you know, enjoyable for me. And production, you know, solid, actually. I'm a gold nine production for it because it's just. Because it was such a well produced hit made for the radio. So. Yeah. [01:40:40] Speaker D: Even Steve, who doesn't like this kind of music, like, you can't even deny, like, that bass stuff. Like, it's just. It makes the whole song. Without that part, there is no song. [01:40:49] Speaker B: Mm hmm. [01:40:53] Speaker A: So this says you give love a name. Well, there's all different ones. One of them said it was always. But this one says that you give love a bad name. Spent 24 weeks on the chart. [01:41:09] Speaker D: That's a lot. [01:41:12] Speaker A: I'll be there for you was 22 weeks on the chart charts? [01:41:17] Speaker C: Yep. That was a big one. [01:41:18] Speaker A: Living on a prayer was 22 weeks. Bad medicine was 20. Born to be my baby was. Doesn't say, but it's supposedly after that. [01:41:34] Speaker C: How about living in sin? Which I think is. This song's like, cousin first. [01:41:41] Speaker A: According to that. It's not. It's not in the top seven. This is given the top seven. So then after that, it was after always is wanted dead or alive. [01:41:49] Speaker D: Yeah. [01:41:52] Speaker C: I mean, I. [01:41:53] Speaker A: Based on weeks on the trial of. [01:41:55] Speaker C: Living in sin, I think living in such a. It's such a great song. [01:42:00] Speaker A: Mm hmm. [01:42:03] Speaker C: And I think it's just like I said, I think this. I think that's. That song is most closely related to this one. [01:42:09] Speaker D: I think so too. [01:42:10] Speaker A: Well, that also has a theme, I think, of, like, the. The young couple. And, I mean, that one's a. It's. It's. I think it's a more. It deals with more serious topic. Yeah, I think in general. [01:42:24] Speaker D: We'D like that. [01:42:24] Speaker A: So I would think that they were younger as well. Yeah. [01:42:28] Speaker C: Just a great, great song. [01:42:31] Speaker D: Well, we go from a really great song to. [01:42:34] Speaker A: Oh, my. [01:42:34] Speaker D: This next song is very much filler for me of the time. Kind of filler. [01:42:39] Speaker A: Awful. [01:42:41] Speaker D: Steve's gonna get a kick out of it. [01:42:45] Speaker A: Just from the beginning. [01:42:47] Speaker D: Yeah, just from the beginning. Listen. [01:43:07] Speaker B: It'S not very Bon Jovi like. [01:43:11] Speaker A: It's funny, but it's. It almost sounds like the beginning of, like, purple haze by winger. [01:43:17] Speaker D: Oh, my God. So bad. [01:43:20] Speaker A: Oh, Mark. A shout out to who complimented us on a couple of jokes we made on winger. [01:43:26] Speaker D: See, now I forgot. I have to. I'd have to look it up. [01:43:29] Speaker A: But a shout out to appreciating some of the humor that we do on this show. We do try to be as funny as possible. We also try to be kind, respectful, if nothing else. So. But sometimes we nail it with the humor, I think. [01:43:46] Speaker D: Sometimes. [01:43:48] Speaker A: Yeah. [01:43:50] Speaker D: I think I have a sound effect for this. You ready? Let's see if this works more than this. Oh, yeah. Hold on. Baby's a look like she can suck the chrome off a trailer hitchenshe. I think I might. Oh, I might even have this. Like, wait, this might even be better. Do I have it? Here, here we go. [01:44:10] Speaker A: Oh, yeah, that sounded like Frank. [01:44:19] Speaker D: Maybe it was. It's possible. [01:44:23] Speaker A: Some extra money and he did a little voiceover. [01:44:26] Speaker C: Money and voiceovers. I heard. [01:44:28] Speaker D: All right, here we go. Let's continue. [01:44:52] Speaker E: In some places it comes invited to flavors. But you wouldn't tell no one your favorite if you could. From the White House to the Alice from a present dead down. Yes, you would. Senoritas in the kitchen, she's a fist all about mine. You don't have one but you can't stop tonight. It's alright. You can't start a fight without a spark with the song. You can't hide when affection stops. Because love is a social disease. [01:45:57] Speaker A: This song is a social disease. Oh my God, this is so bad. In my opinion. And Jesus Christ. You can't start a fire without a spark. I mean, you know, I mean, break on through to the other side and the other one. And. And they went from this. I mean, a bad medicine is like the better version of this theme, right? When you think about it, pretty much. I mean, bad medicine is cheesy too, but I just think it's a better song overall. [01:46:28] Speaker D: You want to know the funny part about it though? This is a fun guitar song to play. As easy as this, as cheesy as this is. And hey, listen, there's actual saxophone on here. [01:46:41] Speaker A: Is there really? [01:46:42] Speaker D: I suppose Tom keenly slide, keenly slide, keenly side. I don't know who he is. He's a canadian saxophonist and flew a flautist. [01:46:55] Speaker A: Nice. [01:46:56] Speaker D: From Canada. So obviously it's probably someone that burned. Yeah, but I mean, again, like I said, it's a fun guitar song. Playing guitar, though. Regardless of that, the theme is what it is. And I mean, this is still a better version of crap that would happen later on. Like it got way worse than this later. But yeah, this is definitely filler on comparatively to every. Even to let it rock. This is filler, right? [01:47:26] Speaker A: Oh, this is worse than literally. [01:47:29] Speaker D: So, Steve. [01:47:32] Speaker B: These fucking lyrics. [01:47:34] Speaker A: Yeah. [01:47:37] Speaker B: All right. You can read it in the paper in some places. It comes in 32 flavors, but wouldn't tell no one your favorite if you could. From the White House to the alleys, from the president down to the tall Sally. Can't live without it but you die without it. Yes, you would send your readers in the kitchen. She's fistful of dynamite. Call 911. But you can't stop the fun tonight. It's alright, you can't stick start a fire without a spark. But there's something that I guarantee you can't hide when infection starts because love is a social disease love is a social disease. [01:48:30] Speaker A: Who wrote this one? [01:48:32] Speaker D: Um. [01:48:33] Speaker A: Did he have help with this? [01:48:36] Speaker D: This is Bon Jovi and Sambar. There was no Desmond child on this. Well, but, you know, I mean, just Steve reading back some of those lyrics, I'm gonna have to go back to some lyrics. Some of them are not as bad as you think. [01:48:49] Speaker A: No, they're worse. [01:48:51] Speaker D: No, seriously, like. Like, maybe the theme. The theme is what the theme is, right? But. But even, like, a line, like, from the White House to the alleys, from the president down to long tall Sally, can't live without it, but you die without it. I mean, it makes some kind of a, like, social commentary about doesn't matter who you are, right? Like, you need this thing no matter who you are. So. Yeah, I. Yeah. Is. Is it silly? It's kind of silly, but I'm trying to find, like, at least some kind of, like, smart thing going on right there. Maybe a little bit. I'm not saying it's gonna be great lyrics, I say, but at least he's trying a little bit in some places. [01:49:35] Speaker A: I mean, listen, I mean, I don't think between. I mean, the. The song before this and even a lot of stuff in New Jersey. I mean, I think we found some, you know, some good depth in his lyrics. I mean, living in sin was, lyrically, is, to me, probably one of his best songs. I mean, he can write a lyric when. When he needs to, I mean, even in simplicity and some of this stuff. But, I mean, this is just. It's that. I mean, you want to talk about it? I mean, to me, you want to talk about a throwaway track? [01:50:09] Speaker D: This is a little feller. It's a little. [01:50:13] Speaker A: And it comes so early, right? And it comes after the two big hits, when you're like, oh, yeah, this is like. And listen, there's people who definitely like this song, but, I mean, you think about this being sandwiched between those songs and wanted dead or alive. Damn. Really couldn't fucking put this. [01:50:35] Speaker D: Again. I'm trying to find some positive in this little bit. A little bit of positives. I'm trying to take some of the, like, lyrics. They saying that he's trying to make a smart. Trying to make an interesting, like, correlation between things, even though it's. It's. It is, to me, is. It is a fillers. It is a filler track. [01:50:52] Speaker A: But again, the positive is forcing Steve to read the lyrics out loud out. That's making this all the better. [01:51:01] Speaker D: This is very true. All right. Let's continue. Here we go. [01:51:21] Speaker E: They hate that you had to mother rant up well there, so you won't. So you telephone your doctor just to see what build it take. You know there's no prescription, there's one away you can't stop by out of spark with the something that I guarantee you can't hide when infection stops love is a social disease love is a social disease love is a soul. [01:52:17] Speaker A: The boys show you, baby. [01:52:20] Speaker D: I'm trying to find the positives in this song. [01:52:23] Speaker A: If I can, I listen. I try to do that, too. I do. Because again, I mean, listen this songs. Sometimes I listen to old stuff that we've done and I'm like, oh, you know, yeah, I probably could have skipped this one. [01:52:39] Speaker D: Well, one of the lyrics, I didn't realize what Steve's gonna read. I didn't even know it said that. I'm like, oh, that's what he says there. Okay. All right, Steve, go do it. [01:52:53] Speaker B: Where you look, you can find it, try to run, but you're always behind it. So you play hide and seek like a blind kid. So you're caught. I. Yeah, you're caught. So you'll say, hey, that had some, but it took it and held it for ransom. Were they tall, dark, skinny or handsome? You won't talk? Nah, he's fucking Linux. So. So you telephone your doctor just to see what to take. You know there's no prescription gonna wipe this one away oh, you can't start a fire without a spark but there's something that I can't guarantee you can't hide when the infection starts because love is a social disease love is a social disease love is a social disease let the boy show you, baby, baby. These are awful. [01:54:04] Speaker D: I like, I don't know, I don't hate the pre chorus part. I mean, that's an interesting way, like, to say. So you telephone your doctors to see what the pill take. But you know there's no prescription gonna wipe this one away. Like it's. It's social disease, right? So it's an Stdin. So love is a social is. Yet. I mean, there are some interesting ideas, but it is a filler song. It is a song again, but fun to play, though. Very fun to play regardless of its filler or not. And the words do get a little worse on the next verse. Samina's gonna like those two. But the one I didn't realize, the one when you play hide and seek like a blind kid, I don't know what the fuck I thought he was saying there. But it wasn't that. [01:54:53] Speaker A: I'll be honest with you, I never made it that far into the song. [01:54:57] Speaker D: Oh, really? [01:54:57] Speaker A: I. As far. I'm not gonna. I'm not lying to you. I knew about the 32 flavors, and you wouldn't tell no one your favorite if you could. I remember that. I do remember the chorus now. I do remember him saying he can't start a fire without a spark. And I remember love is a social. But I mean, the stuff in between, I don't think I ever. You know what I mean? Like, in the last one, I said, you know, with the six string high. [01:55:24] Speaker D: Yeah. I have listened to this all the way through, multiple times. Again, I. For me, it is just a filler, so it's not as good as the other stuff. [01:55:34] Speaker C: So, Mark, did you say you play. You play hide and go seek like a blind kidde? [01:55:40] Speaker D: That's what it said. Hiding. You play hide and seek like a blind kid till you're caught. [01:55:47] Speaker C: Oh, that's not nice. That's not. Open your eyes. Just can't see shit anyway. That's what they're saying. That's not nice. I don't know. [01:56:01] Speaker A: Oh, man. I'm not picturing this video. [01:56:05] Speaker D: I'm picturing the video and I'm surprised it wasn't. [01:56:08] Speaker A: I can't. Yeah, because, I mean. I mean, you want to talk about it, making a funny video, you should give this to what's his name. David Lee Roth would have ran with this one. [01:56:17] Speaker D: Yeah, him or Dave Grohl. But one of them would have figured out a good video for this. And did anyone just, like, go over the part where they. Paging Doctor Bon Jovi? Yeah, about that. [01:56:31] Speaker A: I think about the Three Stooges. Paging doctor Howard. Paging doctor Howard. [01:56:36] Speaker D: Yeah, right now I forgot. I forget what the solo is here, but I'm sure as soon as it starts, I'll remember. Here we go. Solo time. It's not bad. I like the solo. Yeah. Again, he's very. He's very underrated in what he does now. He kind of got overshadowed by, like, a lot of the shreddy guitar plays at the time. But, you know, even a song like this, which, you know, may not be my favorite song on the albumen he does a pretty good job. Like, his guitar parts are good. Like, he's doing. I think his guitar parts are the saving grace. I mean, drums are. I mean, musician wise. It's not bad. [01:57:33] Speaker A: The production is good. I mean, I think very well. The drums sound good. I mean, again, it's it's. It's not played badly for what it is. I mean, we say that all the time, right? So it's not played badly for what it is. I mean, for what it is. It's played perfectly. And I think the production is very good on it. You know, I mean, the little horns things. I mean, that also became kind of a thing as well. [01:57:57] Speaker D: Oh, yeah. [01:57:58] Speaker A: But. [01:57:59] Speaker D: Well, there's a mixture of keyboard, I think, and real. So it. [01:58:04] Speaker A: I mean, it does fit the song for what it's worth. It's not like, oh, where did that come from? [01:58:09] Speaker D: Do you think? You think he's trying to do a little bit of a Bruce Springsteeny thing? Because I can hear a little bit of that in this. A little bit. Trying to cop some kind of vibe from something else? [01:58:19] Speaker A: Yeah, I mean, I've heard him do it before, so I don't know if it's like. Kind of like just being in that scene started in the early eighties, right? I mean. I mean, I know Springsteen was early seventies and I mean, at that point, I've never really read what he says about him or what they say about each other. [01:58:45] Speaker D: I mean. [01:58:45] Speaker A: I mean, being both massive people from. From New Jersey. [01:58:50] Speaker D: I mean, there has to. I mean, you would have to think that he took some. Some inspiration from Springsteen, right? Because this. There is a little bit of that in here. Even if, you know, even. It's just not as good. You can hear some of the things that he's trying to do. I mean, lyrics are not as good, obviously, but. And Steve gets to read some good moral lyrics after this. He should be happy about this. We're putting him through torture. All right, here we go. Let's finish it up. Here we go. Before we finish that, Steve's gonna read that cuz he doesn't have to read the rest of the thing because it's all the same. I read that verse. [01:59:49] Speaker C: Did he fall asleep? [01:59:52] Speaker A: He might be muted. [01:59:54] Speaker C: I don't see him on the call. [01:59:56] Speaker D: I think we lost him. [01:59:58] Speaker C: I don't see him. [02:00:00] Speaker D: Oh man, he dropped out. All right, well, I'll finish the lyrics then, since he's not here. [02:00:07] Speaker A: You know what, though? Last couple of weeks I got disconnected as well. So maybe it could just be that maybe she's trying to get back in. So. [02:00:13] Speaker D: All right, well, I'll read the lyrics anyway. So. She's so full of high grade octane she could run the bullet train on 38 double D's. Now you know for sure she knows the cure to make any blind man see. Now do you know what I thought? I don't know. I never knew about. She could run the bullet train on 38 double D's. Like, I know the double D's part, but I know the bullet train. And then now you know for sure she knows the cure. You know what I thought it say? You know what I thought it said? Which makes. Which makes sense to. To make it in my backyard. That's what I thought she. That's what I thought he said. Not to make any blind man. [02:00:53] Speaker A: At which part? [02:00:55] Speaker D: So it goes. You know, now you know for sure she knows the cure to make any blind man see. I thought it was to make. To make it in my backseat. It shows that I was. [02:01:10] Speaker A: No, go ahead. [02:01:11] Speaker D: Go ahead. It shows that you. I've been singing these lyrics wrong for, like, 40 fucking years, and I didn't even know that that's what they said. [02:01:20] Speaker A: Well, I was gonna say, you know, if she can make any blind man see, she could help that poor kid. Like playing hindsight. [02:01:28] Speaker D: See? [02:01:28] Speaker A: You know? [02:01:30] Speaker D: Oh, Steve is back. [02:01:31] Speaker A: There you go. Yes. [02:01:32] Speaker B: I'm back. [02:01:33] Speaker D: Okay, I'm gonna have you read the lyric anyway, even though I just did it. Go ahead. Verse three. [02:01:37] Speaker B: Verse three. Oh, boyden. So she's so full of high grade octane, she can run the bullet train on 38 double bees? No. You know for sure she knows the cure to make any blind man see. [02:01:59] Speaker D: So, did you hear. Did you hear what I said? What? I thought it was for, like, four years. [02:02:04] Speaker B: Oh, would you think it was so. [02:02:06] Speaker D: That to make any blind man see? I thought it was to make it in my back seat, which does. Which it does still work in the song. I just rewrote the lyric in my head for the last 40 years. [02:02:21] Speaker B: Nice. [02:02:23] Speaker C: Yeah. You know how we have. You know how we have Taylor's version? You have Mark's version. [02:02:30] Speaker D: I mean, now, here's something. No. So, is this song worse than this? Ready? Ready? Go. Here we go. Now, very much like I'm really influenced by Mozart's art and bachelor. [02:02:40] Speaker B: Sort of in between those, really. It's like a mark piece, really. [02:02:43] Speaker D: What do you call us? Well, this piece is called I lick my love pump. [02:02:47] Speaker A: I don't know. Could be. [02:02:49] Speaker D: Is lick my love pump better or worse than this? Is the question that. You know what we should do that we should call an auto one time? We should do the spinal tap out. [02:03:00] Speaker A: Yeah. The black one. [02:03:02] Speaker D: Or is that the one so black? [02:03:05] Speaker A: Yeah. [02:03:06] Speaker D: Oh, I think I. Oh, wait a second. I think. I think I had that here. Is it this. Here we go. [02:03:10] Speaker A: How much more black could this be? [02:03:12] Speaker B: The answer is none. [02:03:14] Speaker D: None black. [02:03:18] Speaker A: We keep referring back to that movie, but, I mean, it's. [02:03:22] Speaker D: It's. [02:03:23] Speaker A: It's in silliness. It's so real. [02:03:26] Speaker D: Oh, it's a hundred percent. There's definitely things that happened. [02:03:29] Speaker A: Oh, the same way. [02:03:31] Speaker D: All right, let's. Let's finish this up so we can get to the letter to the last song. So here we go. Let's finish it up. [02:03:48] Speaker E: There's a soul took advantage? You can't stop without a spot with a soul? Then I guarantee you can't hide when infection stop? Love is a social disease? Love is a social disease, baby, life is a social. [02:04:28] Speaker D: Yeah, and. And he's got to do the. The trill on and then the dive bomb, because that's got to happen in eighties rock after Van Halen. So everyone's got a copy of. So Savino loves this song so much, he's gonna go first. [02:04:45] Speaker A: Yeah, I'm. [02:04:47] Speaker D: I'm sure his will be the lowest, probably, or Frank and Steve's will be the lowest. I think me and Frank are gonna be somewhere in the middle somehow, but we'll see. Go ahead. [02:04:57] Speaker A: I mean, lyrically, I'm gonna say. I'm trying to think, because I've given my lowest scores to the songs about Stephen statutory rape. And, I mean, this is not about that, but, I mean. Oh, I don't know. I was gonna say three. I don't know if it's a two or three. I'll say three music, I'm gonna say four. And production is good. I mean, it's a really well produced song, so I'm gonna say seven on production, if that elevates it. But, I mean, in general, I just think this is one of their worst songs, period. I mean, from what I've heard, obviously, I haven't heard a lot of the stuff, but I don't know, it just especially squeezed into these things in between the songs that they're squeezed in between. It's just. Just stands out. I don't know which. All right, Steve, you go next. [02:05:54] Speaker B: Jeeze. Yeah. Lyrics? Yeah, you know, I think these are worse than the first one, so. Yeah, I think I'm gonna go with it. Three on them, too. Music was not doing it for me. I don't know. Yeah, it's that. You know, what we'll go for also. [02:06:25] Speaker A: There we go. [02:06:27] Speaker D: Yeah. [02:06:28] Speaker B: You know, I'm gonna say seven with production, because the production, you know, it's been pretty, you know, solid throughout the whole album. You know, despite the song being awful, the production was still good. So. [02:06:42] Speaker A: Yeah, frankenous triple ten s, you know. No, I'm just kidding. [02:06:56] Speaker C: You know, it's. It's. Listen, it's. It's a little bit of fun lyrics. You know, they're doing a little bit of play here. You know, love is a social disease. But, you know, I don't know, I. I think that if you take the. I like the music. The music itself is very fun to listen to the guitar part of it. I think if you take the music, you just put it with some different kind of lyrics, it'll make a better song. But unfortunately, it is where it's at. So I'm going to give the lyrics like a five, you know, because, again, I just like to play on the song. I think the guitar was great along the way. Mark highlighted that the music itself was really good. So I'm going to give that a six in production of seven. Mark. [02:07:37] Speaker D: Hmm. I mean, I find there's some interesting things in the lyrics. They're not great. Okay. I'm not trying to make this out like they're better than anything there. So if I gave let it rock a six, I'll probably give this a four, because it is definitely worse than that. I like the music wise. I mean, I'm not saying it's a great song. And that keyboard horn thing, you know, that. That kind of got really overused later on. I'm gonna say six on the music and I'm gonna echo pretty much everyone else. Seven. The product is produced very well. You may not like the song, but they did a good job producing it regardless, so. Alrighty. Well, now we come to the end of the first side, and this is probably a song we've. We played so many times. I can't even count the amount of times we've played this song. [02:08:32] Speaker A: We. We've played this song so much that if I hear it on the radio, I'm like, jesus Christ. And I'm not saying it's a bad song. I just can't listen to it. Like, if it's on the radio, I'm like, oh, my God. [02:08:47] Speaker D: We've been basically playing this song since we've been trying to learn how to play songs, basically, pretty much. It was released in 87, so that's kinda when we started playing and no one knew what the hell they were doing. And this is one of the son I. If we ever had a tape of that old, old, old first rehearsal stuff, this song was probably there. [02:09:11] Speaker A: Oh, yeah. We've been playing this for years, we've. [02:09:13] Speaker D: Been playing the song since it was brand fucking new. [02:09:17] Speaker A: Yeah, basically, pretty much. [02:09:19] Speaker D: And we've continued to play the song. [02:09:21] Speaker A: Mm hmm. [02:09:22] Speaker D: Well, paste the time that it was brand new. [02:09:26] Speaker A: Yeah. [02:09:30] Speaker D: It is probably maybe the best song on the record. Maybe there's a couple. There's something else maybe on the other side that's just as good, but as far as, like, a song goes. And it's. It's definitely not super hair metal to me. So it has. It has some other things in it, too, which. Which make it what it is. This was four times, this whole 4 million copies, you know, but. But funny, it only peaked at number seven. Wouldn't you think it was bigger than that? Yeah, I mean, like, it was on the MTV fucking everywhere. Another console, another. [02:10:15] Speaker A: Like you said before, right. Just another kind of live video. Like, there's no. [02:10:19] Speaker D: Yeah, well, like I said, do you think that they didn't have the money when they were putting these videos together? They just saw. [02:10:25] Speaker A: Yeah, I mean, I guess I didn't think about it, but I'm saying, like, again, some of these. Some of these songs do paint these vivid pictures, and you would think that they would kind of go along with. Because, I mean, there were other bands that were doing some big videos at that time. [02:10:42] Speaker D: Do you think that the. Is the precursor to every rose? No, I think so. It has a little bit of that country rock kind of thing going on. [02:10:54] Speaker A: Yeah. Who knows? I mean, it could have been, like, the influence, I think someone's walking through mud. [02:11:07] Speaker D: Mm hmm. [02:11:12] Speaker A: So, yeah, I think that every rose has its thorn is a little bit more straight up ballad. Right. This one, I think, is a little bit more dynamic in what it does. [02:11:25] Speaker D: Yeah, well, we're also a little biased on this song, I think, too. [02:11:30] Speaker A: No, but I mean, think about it. I mean. Yeah, but I mean, if you think about it too, kind of the way it builds up, you know, and then it kind of slowly builds up, and then it kind of. By the time the solo comes in. [02:11:45] Speaker D: My biggest memories of this song is having to play it live and not always fucking being paranoid that I was never gonna get the beginning part right and fuck it up and everyone's just gonna fucking. Ah, fuck. Cuz if you fuck this up, you fuck this up. There's no. There's no way around this. Like, if you're playing the song, like, if you fuck this up, the whole. [02:12:04] Speaker A: Song is shot all the time. The timing of it. [02:12:07] Speaker D: Yeah, just the timing and just the sounds to the actual stuff. Yeah, it'll sound stupid if it's not done right. [02:12:13] Speaker A: So I don't know if you remember this, but I remember this. When we played this at the feast the last time, when we actually had our lead singer, we all said, who's gonna do wanted? Who's gonna do wanted? And then when it came time, you. You said wanted, and we all looked at you like, yeah. You said wanted, like, oh, shit, mark. [02:12:33] Speaker D: I don't. I don't even remember that. [02:12:35] Speaker A: I'm not kidding. Yeah, we kind of. [02:12:38] Speaker D: Nick always did it. [02:12:39] Speaker A: I think. I think Nick and I kind of exchanged in terms of. And sometimes he did it better. I may have kind of nailed it, but. Dirt at the feast, you just said it. And I remember all of us looking at. He was like, oh, yeah, yeah. I'm telling you, if that tape. That's another fucking tape, right? God knows where that is. Like, all the stuff we played there. I mean, it's been recorded on video. [02:13:03] Speaker D: Yeah. I have no clue what that thing is telling you. [02:13:06] Speaker A: We're worse than cataloging our stuff than. [02:13:08] Speaker C: If you can. If you could just. The two of you share. The two of you can share the feast. [02:13:14] Speaker D: Share the feast. [02:13:15] Speaker C: The two of you can share what the feast was. For those who don't know listening in. What was a feast? You two of you talking about the feast? [02:13:22] Speaker D: And why don't you share what the feast is? Go ahead, do it. [02:13:27] Speaker C: Oh, hell, no. No, you guys, this is all you. [02:13:31] Speaker A: Well, the feast was a feast in the Bronx that went on every summer, and usually the local bands would play. So we did our first gig, I guess, in 87, I would assume. [02:13:44] Speaker D: Yeah. [02:13:46] Speaker A: I never remember the timing, but. And then we played Anthony's fees. [02:13:56] Speaker C: Yes, Anthony's fees. That we had to do the procession through the whole neighborhood. [02:14:01] Speaker A: Yeah, well, recessions and Catholicism go hand in hand, so. So wait, Mark, I'm trying to think, though, because when was the last year we did it with the. With the singer? Was that 90 or was it 89? [02:14:16] Speaker D: No, 90. 1990, I think. [02:14:19] Speaker A: So. Maybe we did 88, 89 and 90. [02:14:22] Speaker D: Yeah, maybe we didn't do 87. Maybe we did do 88. [02:14:25] Speaker A: Maybe we did do 88. [02:14:27] Speaker D: I mean, we might have played this song three times in a row, too. [02:14:30] Speaker A: Yeah, we made possible. [02:14:33] Speaker D: We played song for a long time. [02:14:34] Speaker A: We did. [02:14:36] Speaker D: I don't think there's ever been a time we've not played this song. [02:14:39] Speaker A: Yeah. [02:14:40] Speaker D: So. Yeah, but again, I was always paranoid about not getting the beginning right. Fuck. It's a very. It's very. A lot of stress, man, because you're the only one playing it. [02:14:54] Speaker A: It is timed well, though. You know what I mean? It's not some odd time. You can hear it when it should come in and. Yeah, I mean, I agree with you because we have to come in together, else it sounds stupid, but. [02:15:11] Speaker D: Yeah, no, I know. Well, enough of us yapping about this. [02:15:14] Speaker A: Let's. [02:15:16] Speaker D: So this is wanted dead or alive. Now, that thing is very. That's super iconic, too. [02:15:52] Speaker A: Yeah. And you know what I just realized? I think we always played this slower. I don't remember ever playing it this fast. [02:15:59] Speaker D: No, you might be right. I was thinking the same thing. [02:16:01] Speaker A: I was like, damn, that sounds fast. [02:16:04] Speaker D: Well, maybe we didn't want to fuck it up, so we had to play. [02:16:07] Speaker A: Yeah, maybe, like, just take it easy. Take it easy. [02:16:09] Speaker D: Take it easy. Don't go too quick. [02:16:11] Speaker A: You might play too fast, that's for sure. [02:16:15] Speaker D: Yeah, well, you know, that adrenaline gets going. [02:16:17] Speaker A: Oh, yeah. [02:16:19] Speaker D: Let's continue. [02:16:34] Speaker E: It's all the same only the name will change every day we're wasting away from all the place where the faces are so cold I drive all night just to get back home I'm a cowboy on a steel horse I ride I want it. [02:17:35] Speaker D: Another thing I remember. [02:17:36] Speaker A: I never knew he said, I'm sorry I'd drive all night just to get back home. I thought he just said, I drive all night just to get back home. [02:17:47] Speaker D: You know what? Me, too. [02:17:50] Speaker A: But the funny thing is, is that I drive all night just to get back home. Which makes way more sense in the context of the song, and I never picked up on that. [02:18:00] Speaker D: Well, maybe we sang it wrong all this time. [02:18:03] Speaker A: Yeah, well, we didn't sing it, so. I mean, whatever. Yeah. [02:18:08] Speaker D: And, no, another thing I always remember about this is that I never got to play any of those lead parts because I was the only guitar player, so I had to. Generally, until we had the last band, I was actually able to play those parts, which I never was able to play before. So I was. I was always, like, missing all those lead things that were there. I never was able to do it because I was just playing the rhythm part. But, yeah, I mean, there's not. There's not much. I mean, there's only good things to say about this. I like the guitar part. I like the rhythm. I like the melody. I mean, again, it does have a little bit of nostalgic for us. A little bit. So it's probably. That's weighing in on, like, it, maybe. So, Steve, why don't you read lyrics? [02:18:51] Speaker B: It's all the same, only the names will change every day. It seems we're wasting away another place where the faces are so cold I drive all night just to get back home I'm a cowboy I'm a steel horse I ride I'm wanted dead or alive wanted dead or alive. [02:19:18] Speaker D: See the lyrics? Even a little bit better, Steve. Than the last one for sure. Now, I assume you've heard the song, right, Steve, like, you can't even. You can't get away from this. [02:19:28] Speaker B: No, I can't definitely not get away from this. [02:19:31] Speaker D: It's impossible. [02:19:33] Speaker B: No. [02:19:34] Speaker D: So what do you think about it so far? You like this one at all? [02:19:39] Speaker B: Yeah, I dig it. It's not bad. [02:19:44] Speaker D: Frank, what is it? What are your, what are your memories of this? Do we lose him too? Oh, he's still muted. That's why he doesn't realize he's muted. There he goes. [02:19:56] Speaker A: Yeah. [02:19:57] Speaker C: What? [02:19:57] Speaker A: What? [02:19:57] Speaker C: Me? [02:19:58] Speaker A: No. [02:19:58] Speaker D: Yeah, you. [02:19:59] Speaker C: What happened? What were you saying? I thought you said Steve. [02:20:01] Speaker D: No, I said, what about. [02:20:03] Speaker C: What about me? I didn't hear the question. What was it? The question you want to fight? I missed something. What was the question? I missed that. [02:20:15] Speaker D: What do you remember about the song when it was new? [02:20:19] Speaker C: Oh, I mean, you know, another. I thought it was a much bigger hit than when you said it was seven. That's surprising to hear. Um, I think if I remember the video, I think this is another live video that they made, right? [02:20:33] Speaker A: I think so. Yeah, I think so too. [02:20:36] Speaker C: I think there's another. And I just remember it's him with the bandana off to the side. [02:20:42] Speaker A: And I think it's kind of like the two of them sitting down. Mm hmm. [02:20:47] Speaker C: And, you know, so I just, what I remember from the song was it was just one of those interactive crowd things where he's singing it out and the crowd is singing back. And there's that part where he says, we've seen a million faces, and that's when the lights on the stage shine on the crowd. And, you know, he was saying, rock them all. Like, that's what I remember from that whole song personally, whatever it is worth. [02:21:13] Speaker D: So do you, do you remember us doing this song? I'm sure you do. I'm sure you've seen us do this. Course. [02:21:18] Speaker C: Of course. It was. It was how you ended show. [02:21:24] Speaker A: You guys fuck this shit up in the beginning. [02:21:28] Speaker C: So it's how you guys ended the show. Yeah, it was this song. And then, and then, and then later on in life, there was another one. Another song by the muse that I remember the two that the group played. I forgot what it was called. [02:21:40] Speaker A: That muse song uprising. [02:21:43] Speaker C: Uprising. Yep. So these are the two songs I'll remember. You guys always find yourselves. [02:21:50] Speaker D: There you go. All right, let's continue on. Continue on. [02:21:59] Speaker E: Sometimes it's not for days. The people I meet always go in certain ways. Sometimes you tell me about a bottle that you drink sometimes when you're alone all you do is think, I'm a cowboy on a steel horse I ride I want it. Wanted head of the line, wanted head of life. [02:22:55] Speaker A: I was gonna say, when I saw him first came out, I thought he wrote on a stale horse, not a steel horse. What the fuck is a stale horse? Well, I mean, the way he says, I ride the fuck. It's a stale horse. [02:23:09] Speaker D: It's great when you don't have lyrics or stuff and you just make that shit up. Going wrong. Now, I don't remember if the lyrics were in this album or not. They may have been. [02:23:18] Speaker A: I think so I could be wrong. I want to say yes, but I could. [02:23:22] Speaker D: It's kind of early, though. Yeah, I don't. Again, every time that stupid part came up, it was always stress. That's all I remember about this song, that things come here comes, don't get, don't mess it up. And it happens to three times, four times. Right? [02:23:40] Speaker A: Yep. [02:23:41] Speaker D: Beginning between the two verses. Right. And at the end. [02:23:45] Speaker A: Yeah. [02:23:45] Speaker D: So, yeah, it's just. It's. It's one of those. It's one of those things. But, um. Chorus is good. Like, it's a good song. [02:23:54] Speaker A: It is a good song. It's definitely a good song. [02:23:59] Speaker D: Well, Steve. [02:24:02] Speaker B: Let'S do. [02:24:03] Speaker D: Let's do. Let's do more lyrics. [02:24:07] Speaker B: Sometimes I sleep sometimes not for days the people I meet always go their separate ways sometimes you tell the day about the bottle you drink and times when you're alone well, all you do is think I'm a cowboy on my steel horse I ride I'm wanted and dead or alive wanted dinner alive oh, and I ride yeah. [02:24:38] Speaker A: This part was always fun to play. [02:24:40] Speaker D: The wanted part is almost more iconic than anything. That background vocal by Richie Sambura. The wanted part is almost more iconic than the actual rest of the song. [02:24:52] Speaker A: Yeah, I think he really shines on this one. The two of them together. Some really good background vocals. [02:24:59] Speaker D: Yeah, I think, again, this is where they were more headed, right. In the next album, a little bit more. There's more. This style of song, I think this song is. [02:25:10] Speaker A: It's pretty mature for them, I feel. You know what I mean? It's. [02:25:15] Speaker D: Especially coming after social disease. [02:25:18] Speaker A: Yeah. But in general, because even. All right. Like, shot through the heart is. I mean, you give love a bad name is. It's a good song, but, I mean, it's not whatever. And even. I mean, living on a prayer is kind of a little bit more serious. And, you know, they have some of that, too, on. But I just feel like this one is kind of stands out in terms of their ability to write a song. So. Yeah, I think you kind of hear this one. He's like, oh, okay. You know what I mean? Like, it's. It's a good song. Like, I mean, not that the other ones aren't good, but I just feel there's more a sense of maturity in this one and in the. In the complexity of it. And, like, they take on edits a new kind of style for them, too, and they're still able to do it pretty well. [02:26:03] Speaker D: So, you know, I mean, it is a standout. It's a standout track. And there's a reason why we played this song so much, because it was a good song. Yeah. [02:26:13] Speaker A: And it always went over well, too, right? I mean, yeah. For years and years of playing it, I mean, it's just. It stuck in because it always got a good response. [02:26:22] Speaker D: It still goes over well when. Yeah, if you go to out and hear a band play this, it's still gonna go over. [02:26:28] Speaker A: Absolutely. [02:26:30] Speaker D: Yeah. All right, let's do the solo. Here we go. Yeah. I can emphasize how much I like that solo and how much fun it is to play that solo. And when you get it right, it's a very satisfying thing. I just like all the, like, harmonics. I like the position changes. I like. He doesn't really do any of the. I have to do dive bomb, hair metal stuff in here, I think. And I think that's where his style started to change on the next album a little bit more. That's what it reminds me of. So I've always enjoyed this, the song and the solo in general to play. It's always. It was always good. I liked it. [02:27:44] Speaker A: There's no slide in this song, right. [02:27:46] Speaker D: No. [02:27:47] Speaker A: It's funny. Like. I mean, you'd always think like a song like this, right? [02:27:52] Speaker D: Well, you know what I mean. [02:27:55] Speaker A: Yeah. Not that it's needed. I mean, maybe I'm just being. What do you call it? Uh. Oh, it's a cowboy song, so you gotta have. I mean, you don't. Right. I mean, it gets a message across. [02:28:06] Speaker D: Yeah. But I think sometimes you get it confused. I mean, you kind of put this and the young gun stuff together. That's a lot of slide in it, obviously, so sometimes that kind of gets a little, like, together, I think. [02:28:17] Speaker A: But that's only him, right? [02:28:19] Speaker D: Yeah. Well, Jeff Beck is the guy playing guitar on that, so that's why it's so good. So. But, yeah, I mean, it's a fun song to play. I don't know. Are there any. Are there any other lyrics? Not yet. There'll be some more lyrics in a. [02:28:37] Speaker E: Little bit for Steve Yayden. I play for keys. Cause I might not make it back I've been everywhere I am standing down I seen a million faces and I rock them all cause I'm a cowboy on a steel boy I got the knot on my side wanna little alive, little alive I feel just alive, little alive middle alive, little alive, little alive. [02:30:34] Speaker A: That outro is longer than I remember as well. [02:30:37] Speaker D: Yeah. I do like the. The interplay. The vocal interplay at the end part is very good. It makes. [02:30:44] Speaker A: I also like how they do that little chorus and they kind of build up back into another verse. [02:30:50] Speaker D: Mm hmm. [02:30:50] Speaker A: You know, and it's a little bit more emphatic. It's. There's a lot more powder. It, you know, it's. [02:31:00] Speaker D: It's. It's a very good. It's a very good song. Again, there's a reason why it stays in. It stays in cover bands. Um, Rep. Because it's just so good. Right, Steve? Really, you don't have to read the choruses and stuff. Just read the last verse. [02:31:18] Speaker B: But I walk these streets a load of six string on my back I pay for keeps I might not take it back I've been everywhere still I'm standing tall I've seen a million faces and I've rocked them all. [02:31:40] Speaker D: The stuff dead or live pretty much, yeah. The vocal. The vocal stuff is really good at the end. I really like that, that. I think, unfortunately, that's kind of what they're missing nowadays, so I've listened to a couple of the last Bon Jovi things, and we've listened some stuff on our own. Right. It hasn't been. It's missing. It's missing that he doesn't really have that anymore. I mean, obviously, he has vocal issues right at the moment, too, but he is missing. He is missing the other voice, really, you know, for the last, what, ten years or so? Seven years, something like that. [02:32:17] Speaker A: So, I mean, their voices went really well. I mean, they, um. They're another one in general that have pretty good background vocals. [02:32:25] Speaker D: Oh, yeah. [02:32:26] Speaker A: I mean, hey, he and Richard Zambor definitely do some good interplay. I mean, especially here. [02:32:35] Speaker D: Yeah, there's not as much of the gang vocal thing here. This is more of a. Just, like, playing off each other's voice, where some of the other songs, it's more gang vocal. Gang vocal stuff, but, yeah, I mean, it's a. It's a strong way to end the side. [02:32:50] Speaker A: Yep. [02:32:51] Speaker D: Yeah, I mean, I don't think you could end the side stronger than that. [02:32:55] Speaker A: No. [02:32:56] Speaker D: Who wants to go first? [02:32:58] Speaker A: You go first, Mark. [02:32:59] Speaker D: Me? Okay. [02:33:00] Speaker A: Yeah. [02:33:01] Speaker D: Yeah. Lyric wise, I'm gonna give it a nine. I always liked lyrics. I like the melody. I've always enjoyed playing this song. I think I'm gonna do triple nines across again. This is one of my favorite songs on the album. Obviously, we've liked the song enough to play it since it was new, so. Yeah, I can't. There's not enough good things to say. This is where I think their style was starting to change into New Jersey ish. So this seems like, to me, feels like the catalyst of where New Jersey ended up being, starting here and then maybe, you know, changing up a little bit. But this is kind of like the basis to where they wanted to go, as opposed to, you know, stuff like social disease and let it rock, which, to me, kind of like more goes toward 7800 fahrenheit territory. So I. I think this is kind of, to me, this is where the change is starting to happen. So, yeah, I always enjoyed this song, frank. [02:34:04] Speaker C: I, um. Yeah, I love this song, too. I'm gonna go ahead and give a triple nine s as well. Mark. The lyrics are great. The music is just right there in production. Everything about the song is great, and it's just a great way to wrap up side a of this. Of the Cd or this album. Although I don't think this is so much as a precursor to New Jersey. I think it's more of a precursor to Bon Jovi solo album, to John solo album, which is young guns. I think this is more of that than anything else, but. But overall, love the song. So, triple nines for me. See. [02:34:44] Speaker B: I think I'm gonna go triple eight something. This one again, um, lyrics were, you know, they're good. I like the, you know, again, it's a story, and it's not stupid lyrics, as in other songs that we've heard. So we're gonna give those an eight. Um, music, um, solid, um, you know, the guitar and everything's really just catchy on it. So eight for music. And then, you know, production just, you know, that's one constant thing throughout this whole album. It's been really good. So what's the eight on that, too, sadh? [02:35:29] Speaker A: Yeah, I think I'm gonna go triple eight s as well. It's just. I mean, it is a really good song. It's written well. I mean, I think it's. I don't. I mean, it could be there kind of. It's kind of an opus at this point for them, I think. Really? So it is a great way. And it's probably the most mature song, and I've said that before, but on the. On the album, I think it just. They kind of kicked it off a notch when they. When they wrote this, so. Yeah, it's good. Way to end the side. [02:36:13] Speaker D: Well, before we. Before we wrap up, you wanted to hear the Bonnie Tyler version of you or woman hours a man. So you can hear what that thing sounds like. [02:36:23] Speaker A: Yes. The chorus, right? [02:36:24] Speaker D: They said supposedly. Yes. Well, let's play a little bit and let's see. Here we go. [02:36:30] Speaker E: If you were a woman and I was a man would it be so hard to understand that our hearts are hot and we do what we can? If you were a woman and I was a man I was a mandev. [02:36:56] Speaker D: I never. [02:36:57] Speaker A: That takes a turn. [02:36:59] Speaker D: Wow. Holy shit. They just. He just basically said, this could be a better song. I'm just gonna rewrite the lyrics. I'm gonna use the same melody. Now, I'm curious. Do we think the verses are similar? I'm just curious now. [02:37:14] Speaker A: I don't know. The music sounds so different. [02:37:18] Speaker D: Wow. Okay, we gotta play a little bit more right here. Let's see. Yeah, so the. So the verses are definitely not the. [02:37:45] Speaker A: Same, but the baseline. You keep that. I mean, you get a tune, tune, tune, tune, tune. I mean, it's still a variation of that, but the melody is different. [02:37:56] Speaker D: Yeah. Wow. [02:38:00] Speaker A: I mean, he wrote the song, right? [02:38:03] Speaker D: You know, but it's just weird. All right, let me see if I can find the living our prayer different thing. Oh, here it is. So it's called nobody's hero living on a prayer demo. I want to. I'm curious if the bass parts line there, how different this sounds, because I've never. I don't think I've ever really heard this. I don't. I mean, I know this album existed. I just never really listened to it. Let's hear. Here we go. [02:39:06] Speaker E: Tell me you still go down union little shack. It's down on this. Look, Gina works a diner all day working for her man. She brings all her people. She says, we got to roll on to what we've got. Cause it doesn't make a difference if we make it or not. We've got each other, and that's a lot for us. We'll give it a shot. We're halfway there. Oh, make it out of breath. [02:40:11] Speaker D: If that's not even more evidence that that bass line makes that song. [02:40:15] Speaker A: Yeah, there's no talk box in that, either. [02:40:18] Speaker D: No. Yeah, he came up with that part that makes the whole fucking song. It's great. I mean, they had choices parts. Right. They made more hit. Had most of the parts, but without that piece, it just doesn't. It doesn't hit the same way. [02:40:31] Speaker A: It doesn't sound as complete without it. [02:40:34] Speaker D: No. I mean, they had a little bit of that. They had a little bit of the ref, but not the whole thing, so. That's weird. [02:40:41] Speaker A: Yeah. He sounded good, though, because a lot of times when you hear, like, demos and stuff, especially if the singer doesn't have the lyrics and they're just kind of scouting melodies. [02:40:51] Speaker D: Yeah. [02:40:52] Speaker A: Doesn't always sound that great. [02:40:53] Speaker D: He had the lyrics, so. And there was a little bit of a change on one of the lines that he. The whole. He goes through it a little quicker here than he did on the original, so. But that's interesting to hear. Like, I've never heard that. [02:41:07] Speaker A: Me neither. [02:41:09] Speaker D: Oh, listen, that. Like, one stupid little thing, like, a guy comes up with this baseball art. Right. And it changes the whole song. [02:41:16] Speaker A: Yeah. Becomes one of their biggest hits. [02:41:20] Speaker D: Yeah. Well, there we go. So episode 100 in the books, and next week, we get to finish this. Yeah. And 101. We get to finish this. [02:41:31] Speaker A: Or 100. A. [02:41:32] Speaker D: 100 a. M. Yeah. I mean, there's a bunch of good songs on the next side. [02:41:39] Speaker B: Yeah. [02:41:40] Speaker A: I mean, I think my favorite song is on the second side. [02:41:42] Speaker D: Oh, yeah. Is it? I mean, second to the second to last. [02:41:46] Speaker A: Oh, no, no. I don't like that song. [02:41:49] Speaker D: Number five. Number three, then. [02:41:53] Speaker A: No. Number two. And number ten. [02:41:56] Speaker D: Oh. [02:41:57] Speaker A: Believe it or not. [02:41:59] Speaker D: Okay. [02:42:01] Speaker A: Yeah. [02:42:01] Speaker D: Really? [02:42:02] Speaker A: Mm hmm. [02:42:03] Speaker D: I'm surprised about the last one, though. I didn't think. I wouldn't think so. [02:42:05] Speaker A: Yeah. Oh, that was straight up Springsteen, though. That could be a. Yeah, that's why. But I always liked it. I always thought it was, uh. It had a vibe about it. [02:42:15] Speaker D: Let's not. Let's not talk too much about it. [02:42:17] Speaker A: I know. Honestly, we talked enough. We talked it over the first line. [02:42:21] Speaker D: I know. Seriously, why don't you, uh, do your thing? [02:42:25] Speaker A: Yes. We are part of the deep Dive podcast network. Like I always say. Great bunch of guys took us right in. If you want more individualized podcasts about specific bandst like Rush, Judas, Priests, Tom Petty, Uriah, heap, Zeppelin. You name it, it's on there. So if you want to hear about your favorite bands and knowledge instead of hearing us ramble on about whatever, check them out. And, Mark, where can they find us on the interwebs? [02:42:54] Speaker D: Rock roulette pod. On all the social media. On Twitter. Oh, I mean, XDev, Facebook and Instagram and threads and all those places. Rock related podcast. Calm. And now that we have our new segment, throw us some songs out that you want us to, like, go over. Like I said, they could be your song. They could be another band song that we don't know. You know, a band that we don't know. We're gonna try to pull a bunch of that out. Bunch of songs out and go over them every. Every week. One song. I think we had. I think we had a good, good one this time, right? The striper song was good. [02:43:27] Speaker A: Yeah. [02:43:28] Speaker D: Curious to see. I'm curious. See what else everyone else picks for the segment coming up. What are we calling this segment again? [02:43:35] Speaker A: New bets. [02:43:37] Speaker D: New bets. All right, there we go. And. Yeah, well, this was a iconic album for a big episode, so even though it's not the one I wanted to do. Yeah, maybe it'll come up next. Maybe I should come up on a spinous. So we'll see. [02:43:53] Speaker A: Yeah. So there you go. You can actually. Either that or maybe a better one. [02:43:57] Speaker D: Maybe. [02:43:58] Speaker A: Yeah. [02:43:59] Speaker D: Or it could be the worst one that would. [02:44:01] Speaker A: You know what? That's the one that I want. [02:44:03] Speaker D: I know. [02:44:04] Speaker A: I say that because I've only heard it once. I've never, ever gone back to that album. So breaking it apart piece by piece and headphones would probably the best way to do it. [02:44:16] Speaker D: Oh, yeah. It's gonna be. I'd be fun. Not really, but, yes, it'll probably make. It'll probably make for a good episode, though, so. Yeah. Anyway. All right, guys, I know we were rambled on for a long time on this episode, but this is a big album for pretty much all of us, except for Steve, who is pooping his pants at this point. [02:44:36] Speaker A: Seems like I was four years old, damn it. I wasn't shitting in my pants. [02:44:42] Speaker D: The diapers. You don't know. Know. [02:44:44] Speaker A: Next time I see his mom, I'll ask her. [02:44:49] Speaker D: We'll see you guys next week. [02:44:51] Speaker A: Ciao. Ciao. [02:44:52] Speaker C: All right, have a good night. [02:44:54] Speaker B: Later, guys.