Episode 102 - Bush - Razorblade Suitcase (Part 1)

[00:00:05] 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 holder 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 on to the Rock Roulette podcast. [00:01:14] Speaker B: Hey, everybody. Welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1300 albums, stuck them in a list, stuck them in a wheel. And typically every other week we spin the wheel, she picks a record for us and we go through it side by side, track by track, and we talk about the music, lyrics and production, and we rate it out of ten. Again, just a bunch of friends that wanted to do a podcast who love music, just having fun. And again, anybody who takes this trip with us, we want to thank you. Anybody who listens, pass the word on if you like it. Anything you want us to do, change. Whatever it is, man, just drop us a note. We're strong guys. We can take criticism. If there's something we can do better or something we can keep on doing, I mean, we'll absolutely do it. Tonight we have Mark. Oh, hi Mark. And I'm Sav. Ciao, buenasira. So last week we wrapped up a little album called Slippery when wet by a little band called Bon Jovi. It didn't really do much out there, but, you know, we decided to do it anyway. Of course, I'm kidding. It was a massive album. And it's actually funny that the wheel has picked the two biggest albums by that band for us to review. And I mean, listen for what it was in the genre, it was a massive record and it probably opened up even more doors for people behind them. And obviously it opened up massive doors for Bon Jovi as well. So, yeah, I mean, listen, a lot of good songs. There's some hints to the next album, obviously the cowboy theme, the wanted some sense of maturity and things like that. Some songs like social disease. But listen, overall, a good, a good album. That definitely took us back to those days, right, Mark? [00:02:58] Speaker A: Yeah, it was a good album. I mean, obviously, you know, nothing's a perfect record, but, you know, no, sure of a couple songs. I mean, it's a great record, and that's why it's old, you know, 30 million albums worldwide. So, yeah, it was great. It's just weird. You're right that they put the pick, the two biggest ones. So strange. [00:03:16] Speaker B: No, exactly. [00:03:18] Speaker A: And then other artists. It doesn't pick anything from anyone. [00:03:21] Speaker B: Yeah. I mean, last week was kind of a. I'm not going to say an audible. I mean, it was. It was our 100. Well, 100, 100, 100, 101. And we kind of put a little list together of things that we couldn't do at a certain time. Either was too soon or, you know, we just feel like because certain people weren't on and they would have enjoyed kind of doing it. So we did a little bit of a slight audible, but still, we still had a list, and we had the wheel picket. So that's what she picked for us. I mean, I. Like Mark said on the podcast, it was another album on there by a certain band that he may or may not love. Starts with a v that he wanted. He wanted out there, but she picked Bon Jovi, so, you know, we went with it. It was a lot of fun. [00:04:06] Speaker A: So, yeah, I think everybody enjoyed it. It was a good album. [00:04:08] Speaker B: Yeah. Yeah. So we get to spin the wheel again, right? [00:04:12] Speaker A: Yeah. Yep. It's wheel time. Yes, it is. I'm not even gonna try to make any kind of idea about what it's gonna pick. I'm just gonna. [00:04:20] Speaker B: I was thinking something weird, maybe, or. Or something. Something heavy, so I don't know. [00:04:31] Speaker A: Well, let's. Let's see if your ideas work. Because every time I try to pick something doesn't really work. So this time I'm gonna let it do what it does. [00:04:38] Speaker B: Yeah, exactly. Who cares? Just have fun with it. [00:04:41] Speaker A: Yeah. You ready? [00:04:43] Speaker B: I'm ready. [00:04:44] Speaker A: All right, here we go. And. [00:05:07] Speaker B: Oh, wow. Bush razor blade suitcase, their second record, if. Unless I stand corrected. [00:05:14] Speaker A: Is that the big one? [00:05:15] Speaker B: No, the first one was big. First one was massive. Yeah. [00:05:19] Speaker A: So this could suck. Well, I don't know. [00:05:22] Speaker B: I mean, there was definitely one hit that I remember for sure off of there. I didn't buy this one. I bought the first one. And it's at least half good, if not more than that. [00:05:32] Speaker A: There's one on there that I know. [00:05:33] Speaker B: Yeah, there's got to be at least something on here that. That was pretty big. And, um. Hey, we went to go see them. Was it two years ago, three years ago? How long ago was it? [00:05:42] Speaker A: I don't know. I think it was before the pandemic. I think was like, 20, 1928. [00:05:45] Speaker B: God was it before the pandemic. Jesus Christ. [00:05:47] Speaker A: I am pretty positive. [00:05:48] Speaker B: Hey, listen, man, he, he put on a great show. [00:05:51] Speaker A: Yep. [00:05:51] Speaker B: I mean, it was for, for anybody interested. It was. It started off with L 80 P's, then live and then Bush. And they were all great. They sounded great. What's his name? The singer from Bush? Who? I can't remember. Rossdale. Gavin Rossdale. Right. [00:06:06] Speaker A: Yeah. [00:06:07] Speaker B: He went into the crowd and he was inches away from us. I mean, he literally went into every section of the crowd and, I mean, they did a really, really good job. He sounded really, really good. He was great with the crowd and it was great. And, you know, people our age were all jumping and jiving through the whole concert. I mean, nobody really sat down through any of it. So it was, it was great. It was a really, it was a really good experience. I think I had a lot of fun that night. [00:06:34] Speaker A: So this is 1996, supposedly is widely regarded as being the last major grunge album of the nineties. [00:06:41] Speaker B: Oh, wow. [00:06:43] Speaker A: Yeah. And Steve Albini is the producer who just passed away recently. [00:06:47] Speaker B: Oh, yeah, that's right. [00:06:49] Speaker A: And, um. So this was recorded in Abbey Road Studios. [00:06:53] Speaker B: Nice. [00:06:54] Speaker A: Yeah. [00:06:54] Speaker B: Do we have another one that was recorded? [00:06:56] Speaker A: I think so. [00:06:57] Speaker B: I think we did, yeah. I mean, I don't know if this is weird, but I guess it's kind of a. An offshoot. The second record. Yeah. [00:07:05] Speaker A: It doesn't have all the big hits that the other thing does. [00:07:09] Speaker B: Yeah, the first one was massive. I mean, there had to be at least four or five hits on that first record. I mean, to the point where we went to see them live, they played a song that I had even forgotten about how massive it was. I was like, oh, shit, I love this song. [00:07:22] Speaker A: This is a long album. [00:07:24] Speaker B: Is it? [00:07:25] Speaker A: Holy fuck. It's an hour and 1 hour, 1 minute. Nice fucking album. Holy shit. That's kind of crazy. [00:07:32] Speaker B: It's funny because I know you had mentioned it before on the podcast about when people had gone to digital and cd and making everything longer. I forgot what I was watching. But somebody was talking about some nineties album and they're like, yeah, well, once people had more room, they started filling it up with more songs. So albums started, you know, they started going from ten to like 1415 tracks. [00:07:56] Speaker A: So, yeah, well, yeah, once they, once they got the cd, they figured they wanted to do 60, 90 minutes worth of music. And it's not always good. Yeah, it's just one of those things where you're like, maybe you could have cut it down, maybe you didn't have to put everything on here. Yeah. [00:08:11] Speaker B: You could have saved it for the director's cut. [00:08:15] Speaker A: Yeah, pretty much. [00:08:16] Speaker B: Yeah, for the four hour Snyder cut. [00:08:19] Speaker A: So who is the personnel on this? Gavin Rossdale, obviously. Lead vocals, rhythm guitar, and Nigel Pulsford, which I think is still the original guitar player from the last record, I believe. Dave Parsons. Why does that sound familiar for bass? What else? Who would else he play with? Just. Just a couple other things. The partisans, transition vampire. His name sounds very familiar. And then the drummer, Robin Goodrich. I'm not very. Not very familiar with these guys besides Gavin Rossdale, really? [00:08:53] Speaker B: I'm sorry. I was muted, but I was thinking Parsons. You might be thinking of the Ellen Parsons project, maybe. [00:08:58] Speaker A: And that's wearing him. Parsons. Trying to see what the guitar player, Nigel Pulchford. I don't know when he was in the band. Let's see. Was he in there? I'm trying to look at the. Yeah, he was there at the. Yeah, he was there from the other record, too, so. Same guy. I know he's gone now, but, um. Yeah, I'm. This is interesting. I don't know if I've ever listened to this whole album. I know that I know the single, but I don't even know if I heard anything else. [00:09:24] Speaker B: I know that I haven't. I mean, I. It's funny because I like the first one, but when the single came out, this single, the one that's big on this record, I don't think it was a massive, massive fan of it, so. But at this point, I was also listening to a little bit more jazz, a little bit more techno, and, you know, listen, rock has always been there one way or another, but sometimes it's. Okay. Well, do I spend my money on this or that? So this is good because I've. I don't know. I really don't know. [00:09:51] Speaker A: This record, this is discovery. It's not even rediscovery. Oh, yeah. [00:09:54] Speaker B: At this point, yeah. [00:09:55] Speaker A: All right, let's do this. I'm excited. I'm glad I didn't try to pick this out. So, technically, this is grunge. Technically. [00:10:03] Speaker B: Hmm. [00:10:03] Speaker A: I guess I'm just saying it's the last major one. So I guess 96. Although you could. You could kind of say that after 94, really, it all went to shit. But, you know, once he. Once Kirkerbane killed himself, I think it all still be got downhill. I mean, I guess you. This is not really post grunge, right? Because when was the first one? [00:10:25] Speaker B: I've never considered bush grunge personally, but. [00:10:29] Speaker A: Well, supposedly someone is. [00:10:31] Speaker B: Yeah, I guess so. [00:10:32] Speaker A: So 16 stone was 94, so that's technically in the grunge era. [00:10:36] Speaker B: Yeah, in that era. But I don't know. I guess I didn't consider them a grunge band, so. [00:10:43] Speaker A: So supposedly this is strong. Compare. This. Strong, strongly compared to Nirvana's in utero. [00:10:50] Speaker B: Which I don't really like from memory anyway. [00:10:55] Speaker A: It's more raw, supposedly, than the last record. Just like in, um. Uh, the first. [00:11:02] Speaker B: Some raw stuff on the first one, so it's pretty loud record. [00:11:05] Speaker A: All right, so here we go. [00:11:07] Speaker B: Yeah. [00:11:07] Speaker A: So the first one is. What's the first track is personal, Holloway. Yeah, so that, um. That riff is good. I like it. And the sound. The sound is definitely more raw. [00:11:40] Speaker B: I see. I don't think so. [00:11:42] Speaker A: No? [00:11:43] Speaker B: No. I mean. I mean, it's only the very beginning of it, but, I mean, if you think about the first album, even, like, everything Zen, that's a loud song, man. [00:11:52] Speaker A: Yeah, I'm not talking about the loudness. I'm talking about the sound of the guitar. It's a lot of. Not as produced. That's what I think, anyway. I don't know. [00:12:00] Speaker B: I mean, this end song just started, so. [00:12:02] Speaker A: Yeah. All right, let's keep going. Let's see what it does. [00:12:22] Speaker C: Hold the world up all day shooting with the face again paracetamol burning dart is all the way drinking kitchen paint die the winter eyes hope we never see again seven times seven diamond nights on mad my signs mad by signs. [00:13:07] Speaker B: Yeah, I mean, the riff is good. Yeah, the melody sounds a little. [00:13:11] Speaker A: Yeah, I can hear what they say, that there's not a lot of hooks going on here. Not like the last record. [00:13:16] Speaker B: Well, I mean, definitely not in this song. [00:13:19] Speaker A: No, true. [00:13:20] Speaker B: But, I mean, I like the sound of it. I like the production of it. You know what I mean? I like the way the drum sound. I like the way. I like the way everything sounds. And the riff is cool, but, I don't know, it just seems like a last minute thought kind of song for me. [00:13:32] Speaker A: Yeah. There's not a big, strong melody, so that's an issue. Okay. So the lyrics are. I tune my weaker eye spit white hold the world up all day she's blue in the face again paracetamol sleep in the darkness all the way drinking kitchen paint to die the winter I hope we'll never see again and then I guess this is a chorus. Deaf and dumb with the lights on deaf and dumb with the lights on married by signs married by signs now, I read a bunch of different things what? This could be one thing says that he's married to somebody who, from the point of view of a guy married to a deaf woman. So married by signs, is a communication barrier. I don't know, man. There's some. [00:14:14] Speaker B: It also has to do with a real suicide attempt, though, as well. Right. I read. [00:14:19] Speaker A: I didn't read that. [00:14:20] Speaker B: It's about finding someone pretty close to me who tried to commit suicide. Hence the references to Paraceta. Paracetamol. I remember going to see her, drove there really fast at night, and the ambulance was there. And all she was saying over and over was, don't tell Gavin. Even though it was only me with her and the ambulance people. So personal Holloway would be a personal prison. And because it was female, I thought that Holloway, a women's prison in London, was appropriate. [00:14:45] Speaker A: All right, well, if he's saying that's what it is, then it's what it is. [00:14:48] Speaker B: That's part of it. But, I mean, I also see what you're saying, too, though. There's, like, a whole paragraph on this song. I mean, different things that he's. He's said. [00:14:55] Speaker A: He maybe does that on purpose to try to, like, hide what it really is. Who knows? All right, let's continue it. Here we go. [00:15:09] Speaker C: Personal holloway, six month minute. Safe to say we are alone. Surveillance suicide. Watching night come at around. Stepping down with a lights on. Stepping down with a lights on. Stepping down with a lights on. Marry my signs. Mind my signs. [00:16:15] Speaker A: You don't think we're gonna get a lot of guitar solo stuff in this song? I think it's gonna be pretty solo less. [00:16:22] Speaker B: Yeah, the riffs are strong. It's just a melody. He's not really doing much right. He's not really. And he's keeping it very in the same key. And I'm surprised. [00:16:32] Speaker A: It's just. [00:16:33] Speaker B: It's a strong riff. But, hey, listen. I mean, if this is what he thought the song needed. [00:16:39] Speaker A: Yeah. [00:16:40] Speaker B: I feel like if the melody was better, it could have been a really strong song. [00:16:43] Speaker A: Yeah. Without a good melody, it's just kind of there and kind of doesn't go anywhere. [00:16:47] Speaker B: It's sitting there. Yeah. [00:16:48] Speaker A: Yeah. Even the bridge part is very similar to the other riff. [00:16:52] Speaker B: Yeah. It deviates a little bit, but not enough, because it kind of sort of was like, okay, here. And I was like. But it didn't really go too far. [00:16:59] Speaker A: Well, yeah, the bass was by itself, and then right away the guitar came in, so it didn't even stay for a little bit. [00:17:04] Speaker B: Exactly. Yeah. I would have liked that part. To be a little bit longer, too, because I really liked the way. Again, the production's really good, I think. [00:17:10] Speaker A: Yeah. Steve Albin is good into the general, so. All right, so the second verse is personal. Holloway. Six month linen. It's safe to say we are alone suburban suicide watching night come amber. It's also temporary. And back to the chorus. The deaf and dumb with the lights on and the married by signs and then the bridge is. Move a little way forward. Move a little way now. Move a little way forward move a little way now. So, I mean, it's not a lot of words, either. It's. You know. Yeah, I can see why they. I can see why they say that this. Well, only one song in. I can understand why they say there's not very much as far as hooks go. And even though, like, it sounds really good, there's sometimes it's nothing that makes it memorable. Maybe. I don't know. Yeah, I guess we're gonna have to see as we go along. [00:17:52] Speaker B: Yeah, exactly. See what else he does. [00:17:55] Speaker A: All right, let's. Let's finish this up. We got 45 seconds. Here we go. [00:18:40] Speaker B: Short song. Yeah. How long was that? [00:18:42] Speaker A: Um. 323. [00:18:44] Speaker B: Yeah. Well, pretty short. [00:18:46] Speaker A: Yeah, sure. Yeah. So. I don't know. There's a little bit of change. Bleed life, breed life could be a better plan. So I just. You know, it's just. I don't know. It doesn't really go anywhere for me. Yeah, I like the riff, and it's about where it ends. I mean, the. You know, the drums sound good. The bass sounds okay. I mean. [00:19:02] Speaker B: Yeah, the production's fine. It's nothing. [00:19:04] Speaker A: Yeah. [00:19:04] Speaker B: What's that melody like? Kind of feel like you sing. I mean, the verse isn't terrible. So I think if it. If it deviated from the verse, then it would like. Okay, the verse is cool. Then you kind of gotta. I mean, because, I mean, if you're gonna have a chorus that you're. You are going to repeat, but it's not really going anywhere that it doesn't really. Right. Need to be a chorus. It could just be something else, like verse extension or whatever. [00:19:29] Speaker A: I guess. I'm gonna go first here. Lyrics. Five. Like, I don't know. Me. It's okay. I mean, I. Like, there's this, obviously, of story behind this, but, I don't know, it kind of gets lost in the sameness of the song. And really, song doesn't go anywhere, so it's hard to, like, make the lyrics. I mean, I don't know. I think the music's probably the best part of the song. So I'll probably give it a seven and I give production a seven, but, yeah, I don't know. I mean, since we don't have, like, a melody rating, I mean, I don't know where I have to take it out of the lyric side. I think that's really all I can do. [00:20:04] Speaker B: Yeah. [00:20:05] Speaker A: So, I mean, you know, it's. It's okay. I don't. I don't love it. [00:20:09] Speaker B: Well, apparently he does. Kevin Rothsdale. Yeah. And in the same thing, he says, I love that song. [00:20:14] Speaker A: Well, that's all the counts. I should hope so. He wrote it. [00:20:17] Speaker B: Yeah. Well, yeah, go ahead. Um. I think I'm gonna say a six on the lyrics, just based on everything. And I kind of based on what he said about the song, which, again, is like, this massive paragraph, and it's kind of like a mishmash of two ideas. I'm actually going to say a six on the music. I think there's going to be better. I do think that. I don't dislike it, but taken as a whole, and I'm going to say seven on the production. I mean, I don't think the production is the issue with the song. I like the way it sounds. Even the breakdown with the bass and drums, I really like that. And I think that's a good sign of how the drums sound and the bass sounds, so. And, I mean, listen, the guitar is. I mean, this is. This is a bush song, so if you know the first one, this is not too far removed from something that would have been on the. On the first one, honestly, it may have been a filler track on the first one, but it's not something like. Whoa, wait, who's this? So sorry. [00:21:14] Speaker A: Yeah, he has that similar. Whatever they're doing to his voice is the same thing that happens all the time, you know? So. All right, so next thing is greedy fly. Sounds familiar. So I might know this. The name sounds familiar. [00:21:27] Speaker B: I don't know if I remember. This was a single, right? [00:21:30] Speaker A: It was definitely a single. Um. Where did it end up? Here. We got to five on the mainstream. [00:21:38] Speaker B: Wow. [00:21:38] Speaker A: Rock three on alternative airplay, 41 on radio songs. So where did this thing sell, anyway? I don't even know what this album sold. [00:21:48] Speaker B: Oh, the album. Yeah. We didn't talk about that. [00:21:50] Speaker A: Three times platinum in United States. Hey, five times in Canada. [00:21:54] Speaker B: Nice. [00:21:55] Speaker A: Although, cat. Although Canada's only 500,000 for platinum, so. [00:21:58] Speaker B: Okay. [00:22:00] Speaker A: Yeah. So. So let's just say three times platinum. That's kind of what it is. [00:22:04] Speaker B: Yeah. I mean, the fruit. I don't know how much the first one sold, but, I mean, I'd have to think it sold pretty well because that. [00:22:11] Speaker A: Hold on, we look right now, so we don't. Six in the United States. Yeah, so. But that had come down. Machine head, glycerin. [00:22:20] Speaker B: Oh, that was big. Yeah. There was at least five singles from that record. Like I said, I'd forgotten until we went to see him. And when he played, um. Oh, God, what song was it? Oh, little things. Little things that kill. Little thing. I even forgotten about that song. And I was like, oh, my God, so many fucking songs from this first album. [00:22:38] Speaker A: And, um, everything zen two is on this album, so it's 123455 singles. [00:22:44] Speaker B: Oh, the first one, you mean. [00:22:45] Speaker A: Yeah, that's what I'm saying. Yeah, yeah, the first one. You're the first one. [00:22:48] Speaker B: Yeah, it was big. Yeah, I remember. Such a big deal because he said, my asshole brother on everything's end. [00:22:53] Speaker A: Yeah. [00:22:54] Speaker B: So. [00:22:57] Speaker A: So controversial. [00:22:59] Speaker B: That was a big deal. [00:23:00] Speaker A: So here we go. [00:23:01] Speaker C: Greedy flyvere. Do you feel the way you hate do you hate the way you feel? Always closer to the flame ever closer to the flame. [00:23:53] Speaker A: Now, before we go farther, I don't know, like, I like that little clean riff at the beginning. I just kind of feel that I would have liked that to go through the verse somehow. I don't know. [00:24:05] Speaker B: I'm the opposite. [00:24:07] Speaker A: Really? [00:24:08] Speaker B: Yeah. So I feel like the beginning is a little. Kind of like he's playing whatever, and then once it comes into the verse, he kind of. Then I like what he's doing. I don't dislike what he's doing in the beginning, but it's a little all over the place. It's just like a. But I feel like. Man, you know what I mean? But I'm liking his verse. I think there's a melody here. [00:24:26] Speaker A: So I do like the verse melody. I say that. [00:24:29] Speaker B: Yeah, I feel like there is a melody here, right, as opposed to the first one. But I do also hear the albini. I do hear the albini in utero comparison now. I mean, in terms of production, like, I can kind of hear a little bit of the. Whatever that's. Hey, Wayne. [00:24:47] Speaker A: Yeah. [00:24:47] Speaker B: I figure what it's called, but all of a sudden, I'm like, oh, now we hear it a little bit because the first one just kind of sound like bush to me. [00:24:54] Speaker A: It's in the drums, too. [00:24:56] Speaker B: Mm hmm. Yep. [00:24:57] Speaker A: A lot in the drums. Yeah. I'm of the opposite thing. I would. I like that little clean riff. I would like that to happen in the verse. I don't hate what he's doing in the verse, but I think. I don't know. I don't. Just like that. It stops unless he's gonna use it in the chorus. Well, I guess we'll find that out, but since we didn't get to the chorus yet. [00:25:13] Speaker B: Yeah. [00:25:14] Speaker A: So the first verse is, do you feel the way you hate do you hate the way you feel? Always closest to the flame ever closer to the blade yeah. So I'm curious to see where the rest of the song goes, but, yeah, I don't know. I mean, right now, I feel. I feel like I'd like that guitar part to continue, but. [00:25:29] Speaker B: Yeah, let's see. I don't know if he just uses, like, a musical things in between. [00:25:34] Speaker A: Break. Yeah, maybe. [00:25:35] Speaker B: Yeah. [00:25:36] Speaker A: All right, here we go. [00:25:45] Speaker C: Servants of our formula waste I'm screaming daisies from 14 miles away I got my own time got it all today out of your mind needs some help. [00:26:26] Speaker A: Yeah. Now I know the song. [00:26:27] Speaker B: Yeah, I think I remember it, too. I don't know, man. The chorus just sounds like. Just like doing the same thing, right. Just singing one line across. I feel like the verse is interesting, and the. The pre chorus was a little bit less interesting, and then the chorus was playing this melody. Right. But he's not singing to it, so it doesn't. I feel like that's what he did in the first one, too. I don't know if you're making up a melody, sing to it. [00:26:52] Speaker A: Yeah, well, like I said, I think that they did say that there's not a lot of hooks, so this is 100%. And I can even more hear the in utero thing in that chorus. Oh, my God. [00:27:03] Speaker B: Yeah, I can hear that, too. [00:27:05] Speaker A: It's so in utero right there. [00:27:07] Speaker B: I can hear that. I mean, if anything, this is. I would say this is a little bit louder, I think. In utero. I don't really know. In utero, again, that's going to be one of those albums that's going to be discarded for me because I was okay with nevermind. I didn't really hear bleach. And then once the singles came out for neuter, I'm like, I'm not digging this. So I didn't buy it, so. [00:27:25] Speaker A: Well, I can say that I'm even more of the fact that I rather have that little part that they're doing. I would like that they're in the verse. Now that I heard the whole part, the pre chorus and chorus, I'm even more of the same mind that that guitar part need to go through the verse. That's just my opinion. So, I mean, I don't know. It's just the way I hear. So the verse is, I'm a poison crazy lush built these hands to lift me up. We are servants of our formulaic ways and the pre chorus is I'm screaming daisies from 14 miles away I've got my own time got it all today and then choruses make up your mind I need some help to find this mind mind. But he also does the thing where the first verse is double. The length of the next verse is coming up. So the first verse is long and the second two verses are short. [00:28:15] Speaker B: Yeah. [00:28:16] Speaker A: So that's a thing that a lot of people do. I think generally I like this song better than the other song. [00:28:22] Speaker B: Yeah, I like the verse. I mean, I think there's a melody in the verse, right? There's something to kind of hold on into that verse to kind of sing along to, but then it just. It kind of slips further in front of them. I mean, by the time the chorus comes, right, it's just. It's. It's a riff, but. And again, it's not even about the hook, but if you're playing something, you know what I mean? If you're playing a melody, but you're not even singing anything, really over it, when you're just kind of singing monotone over it, then, I don't know, just be playing anything. [00:28:52] Speaker A: Mm hmm. All right, let's continue. [00:29:05] Speaker C: Limbo this, limbo that. You were this and you were that ever now that what you fear is what you find this in the light away I don't mind me some help find this mind I be on mine need some help find this mind. [00:30:30] Speaker A: Now before we go into wherever part this is. [00:30:33] Speaker B: I was like, that was quick. And he came back in. I was like, oh, sorry. [00:30:39] Speaker A: Yeah, no, it's not over. It's like there's another. There's another minute ten of this. I don't know what they're doing. So. So here. Here's what I could say. This song needed to be over at the end of that. Whatever's gonna happen after this now is just. This is why this album is an hour and a minute. Someone did. I'm surprised. I mean, I don't know what kind of producer Steve Albini is, if he's very hands on or if he helps do things, but I think this needed to be stopped. Need to be stopped. It's 318. It could have gone. It could go a little bit longer, but it's not another minute. And something. What's it gonna do? [00:31:12] Speaker B: Yeah, I mean, they did that cool little thing in the middle, right, where they kind of went back to the beginning riff, his little bass and drum thing going. I think there's interesting parts, and I like the verse. [00:31:22] Speaker A: It's a little scattered for me. [00:31:24] Speaker B: Yeah, it's a little. [00:31:25] Speaker A: There are pieces of it that sound like the other record. Right. I mean, again, he doesn't have to write the same record again. I'm not saying that. [00:31:32] Speaker B: No. [00:31:33] Speaker A: The bottom line is the songs on that first record are better than these songs. [00:31:37] Speaker B: I mean, so far. [00:31:38] Speaker A: So far, from what I can gather, I don't. And then that little break with the little part he did, and then he went back into that. Didn't even need to be there. Yeah, I don't even. I don't even know. Well, I'm gonna read whatever lyrics are left because there's really no other lyrics here to this. Limbo this and limbo that. You were this and you were that. Ever know what your fear is? What you find this indian summer I sign my life away there's a greedy. There's a greedy fly in here. And I fly away and then back to the chorus. I mean, I don't hate the pre chorus, actually. I don't hate it. [00:32:11] Speaker B: No, I don't mind the verse, either. I just. It just. But when it dulls into. But it builds up into this heavy chorus, that just doesn't go anywhere. But I like, again, when they go back to that beginning part and they do that little. It quiets down. Just kind of like the bass and drums. Like, I think that part's really interesting. [00:32:28] Speaker A: Yeah. I mean. I mean, there's a little bit more hook here, but not very much. [00:32:33] Speaker B: Well, I mean, that's the thing, though. The hooks are in the verses as. [00:32:35] Speaker A: Opposed to in the chorus. [00:32:37] Speaker B: Chorus, yeah. Yeah. [00:32:39] Speaker A: I mean, maybe that was on purpose. [00:32:40] Speaker B: Yeah. [00:32:41] Speaker A: I don't know. All right, we got a minute in ten. I don't know what's gonna happen. [00:32:44] Speaker B: Let's see what they do. [00:33:29] Speaker C: Make all your mind need some help find this fight find. [00:33:53] Speaker B: Is it over now? [00:33:54] Speaker A: Yes, it's over now. [00:33:56] Speaker B: Okay. All right. I don't want to interject like I did last time. [00:33:59] Speaker A: That big fuzzed out part needed to be moved to the middle of the fucking song. And this is my opinion. [00:34:05] Speaker B: Yeah. It actually reminded me of every. The beginning of everything. Zen, honestly. [00:34:08] Speaker A: Uh huh. Well, I don't know if I'm a super fan of that. Sound. But if you were gonna do that, to me, it needed to be in the middle, and then it could have came in with those stops and stuff. I think that would have been better. It's a weird produce song, even that. [00:34:25] Speaker B: Right? Just that kind of progression you can associate with a lot of other things. And it's actually funny, too, right? I mean, obviously it was done on purpose, but when they stop, you still hear the instruments going, right? Like, clearly they didn't put their hands all the way on whatever it was. So, I mean, again, that's a choice because that's something you can easily fix. Like, no, no, no. We can hear the feedback. We could hear the bass, because they do it twice, and they do not completely sigh. It's not completely silent either time. So, I mean, obviously, again, that's a. [00:34:56] Speaker A: Choice that doesn't bother me too much. [00:34:58] Speaker B: No, I mean, that's fine. I just. I, like, kind of like that piece, too. But, yeah, maybe, like you said, if. [00:35:04] Speaker A: It was in the middle, but then. [00:35:05] Speaker B: It goes back into the chorus, which is so uninteresting to me. And then he starts kind of doing that. [00:35:11] Speaker A: So now you could go first. Go ahead. [00:35:13] Speaker B: Um, the lyrics aren't bad. Not exactly sure what I'm trying to figure out, but I'm gonna say six in the lyrics again. I mean, they're not bad music. I'm gonna say six again in the music. I mean, technically, I think it's better than the last one. What did you do last time? Six. [00:35:29] Speaker A: All right. [00:35:30] Speaker B: You know, um. I can't give it a seven, though. I'm gonna say six again. I don't feel it kind of deserves a seven. Production is seven. I'm gonna give it the same. Although I do think this one is better. It's just kind of hard for me to rate it because I don't think it's worth the seven, even though it's better than the last one, if that makes any sense. So, what do you think? [00:35:54] Speaker A: Yeah, 667. I think the lyrics a little bit better. I mean, I don't mind the production. There's just some choices that I just don't understand. And I don't know. It's not. It's not that the chorus is super duper uncatchy, but it's. I don't know. I can't put my finger. It's. It's just not a great song, comparatively to what I'm used to them. You know what I mean? [00:36:20] Speaker B: Here's the deal. I like the first record. [00:36:23] Speaker A: So do I. [00:36:24] Speaker B: The fact that I did not buy this one and intentionally remember not buying this one. There must be a reason. So my. My guess is that I may have heard this song and the next one for sure, which was a pretty decent hit. [00:36:38] Speaker A: Yeah. [00:36:38] Speaker B: So I don't remember how well this song grabbed me, but I didn't buy. I never wound up buying the second one, so I could have been like, I'm not too proud about the singles. And maybe at that. By that point in 96, I'm like, how many fucking cassettes have you bought based on one song? And the rest of it sucks. [00:36:58] Speaker A: Yeah, a lot. [00:36:59] Speaker B: So maybe. Maybe there's a time when you stop. And like I said, at this point, I started to like listening to a lot of jazz, a lot of techno and stuff like that. So I started cut. I mean, again, like I said, rock was always there, but I'm like, okay, I need to really pick and choose my battles here. [00:37:15] Speaker A: Wow. The next song, which is swallowed, which I. Which I think I remember liking. [00:37:21] Speaker B: I think so, too. [00:37:22] Speaker A: Two on mainstream rock, one on alternative airplay, and 27 on radio songs. So it did pretty decent. [00:37:31] Speaker B: Mm hmm. [00:37:31] Speaker A: And I remember this being around. [00:37:33] Speaker B: Yeah. [00:37:33] Speaker A: So, yeah, I think I like this one better. So let's. Let's do it. Swallowed. [00:37:49] Speaker C: Know then for a change and I slip some boil away swallowed followed heavy by everything my love swallowed so I'm with everyone. I'm with everyone. [00:38:30] Speaker B: Again. [00:38:34] Speaker A: I do like this one better. I think it has. That chorus is definitely better. [00:38:37] Speaker B: Yeah, it's definitely a mainstream, catchy chorus. Yeah, for sure. [00:38:42] Speaker A: Yeah. Um, I don't hate the verses either. [00:38:46] Speaker B: It's not bad. No, it's not bad. I mean, it's definitely more cohesive. [00:38:51] Speaker A: What is this similar to in the first record where he plays without glycerin? Right. The verses are very glycerin. Yeah. [00:38:59] Speaker B: Because it was kind of like a with or without you. Not rip off, but similar to with or without you. [00:39:06] Speaker A: Oh, you think so? [00:39:06] Speaker B: Yeah, if you kind of put them neck and neck a little bit. [00:39:09] Speaker A: Yeah. [00:39:09] Speaker B: I actually saw him. It's actually funny. I just thought about it, too, because I went to the first ever z 100 jingle ball concert, and he wasn't scheduled. He was a special guest, and he just played glycerine, him and the guitar, so. [00:39:25] Speaker A: Hmm. Yeah. All right, so. Versus warmth sun feed me up I'm leery loaded up loathing for a change I slip some boil away and then choruses swallowed followed heavy about everything but my love swallowed, sorrowed I'm with everyone and yet not I'm with everyone and yet not. I'm with everyone and yet. [00:39:48] Speaker B: So this is about, like, you're saying his success and, like, how great it was, but also not necessarily knowing how to. It's actually. That's a really. I mean, I'm with everyone and yet not. I mean, that's actually a really, really good line. [00:40:00] Speaker A: Yeah, I like that a lot, actually. Actually, yeah, he's. [00:40:02] Speaker B: He's done some. He's got some. Some lyrics here and there where you're like, oh, you know what I mean? Like, some of them are some kind of simple at face value, but then you kind of learn about what he's trying to say. Oh, shit. That's, like, a cool way of putting stuff like that. So. [00:40:16] Speaker A: Yeah, there's a couple of lines coming up in the next verse are pretty good, too, so. All right, here we go. [00:40:29] Speaker C: Just wanted to be myself. [00:40:36] Speaker A: Here. [00:40:36] Speaker C: You said you would love to try some here. You said you would love to die some in women the other way, the other way, the other way fallout heavy by everything with my love swallow hollow stumble about everyone yourself it's what I wanna do I know I'm with everyone I with everyone I'm with everyone in your dark I'm with everything one of the. [00:42:15] Speaker B: This song is so nineties, right? [00:42:18] Speaker A: Yeah. [00:42:20] Speaker B: So, I mean, which is fine. There's nothing wrong with it, but it's just, you know, we talk about stuff. It's, like, hot. So eighties or so sixties, and this is just so nineties. [00:42:29] Speaker A: Yeah, it has nineties written all over it. Well, guitar solo wise, like, the stuff that they did then was very. [00:42:36] Speaker B: Mm hmm. [00:42:37] Speaker A: Ante being any kind of proficient. [00:42:42] Speaker B: Yeah. [00:42:43] Speaker A: Not. [00:42:44] Speaker B: Who knows? Yeah. But who knows, honestly, who they could have. I mean, you listen to a band like Pearl jam, right, where the solos are great solos, because they're just great guitar players. I mean, this could just be. People just say, listen, I don't know how to do a solo. I think the first is weird, though. I. [00:43:00] Speaker A: Why? [00:43:01] Speaker B: I'm not crazy. You know what I mean? Just the melody is there, but what's going on underneath where it's, like, the bass and the guitar kind of comes in, but it doesn't come in to me. It's a little sloppy. And clearly it's a choice. It's done on purpose, but. [00:43:16] Speaker A: Yeah, I was gonna say that they're doing that on purpose. [00:43:19] Speaker B: Yeah. Because the melody is fine, but I don't know. Just seems like, oh, I'm gonna make. [00:43:23] Speaker A: They're trying to make space is what they're trying to do. [00:43:26] Speaker B: Yeah. But it's not. Just leave it with the. You know, leave it with the bass and drums. It's fine with the base. [00:43:32] Speaker A: Yeah, I don't. It's a choice of some kind. Um, so the second verse is just. Want to be myself hey, you said you would love to try some hey, you would love hey, you said you would love to die some this is the part I like in the middle of a world on a fish hook you're the wave you're the wave you're the wave that's a pretty good line. And then. And then the course changes a little bit. So the part that changes that I heard was in these lyrics are wrong. I think I'm with everyone and yet not I'm with everyone, yet not I think the third one's I'm with everyone and you're not. [00:44:08] Speaker B: That's what I thought I heard, too. [00:44:10] Speaker A: Yeah, and then I'm with everyone and yet. So you changed that on purp? Well, it's a little longer than the first ones. One more everyone. So, you know, solo wise. You know, it is. It is what it is. It's nothing. It's. It's what? A nineties solo short of, like, pearl jam and. And Alison chains. You know, those guys did a little different. A lot of so called grunge thing. Even nirvana, you know, it's a lot of melody and. Which is fine. It doesn't have to be, like, super duper, like, technical, but I think, you know, guitar playing wise, it took a little bit of a bat. It took a little bit of a backseat. I think after the eighties was so overblown. I think. I think that was the. You know, this is. We're not going to do what they did. [00:44:52] Speaker B: Yeah. [00:44:52] Speaker A: Thing we're gonna do. We're gonna make it. We don't care. So. Which, I don't know if it's always better, but, I mean, it's a choice, too. Like you said, pearl jam, they had guitar players, and then they play guitar. Jerry Cantrell's a good guitar player. It's out from Alison chains, I guess. Even Kim Thale from Soundgarden. I mean, he still played a little bit of solo stuff. [00:45:13] Speaker B: Yeah. [00:45:15] Speaker A: Even though his stuff's really weird. [00:45:17] Speaker B: Yeah. So, actually, the bass player was in a band called Transvision Vamp, which I didn't know. And I actually have the first three albums for them. I guess I never really looked at who was in the band. I just looked it up as, like. As what? I was like, oh, shit. Yeah. [00:45:29] Speaker A: What is it, punk? [00:45:30] Speaker B: No, it's pop. I mean, it's. I would call it pop. Yeah, it's. It's pretty slick. But there's some good, catchy songs. But they kind of had a punky, gothy look, in a sense. Kind of like Wendy James was a singer. But, I mean, the music were pretty. Again, it was simple, kind of catchy stuff. I would call it pop, so. [00:45:52] Speaker A: Okay. All right, let's continue. [00:46:11] Speaker C: Blackened lungs I'm simple selfish song swallowed fallout everybody swallowed I know I with. [00:46:37] Speaker A: Everyone. [00:46:42] Speaker C: I with everyone I with everyone gotta get away from here gotta get away from here gotta get away from here gotta get away from here miss the one that I love a lot I miss the one that I love a lot I miss the one I love a lot I love. [00:47:52] Speaker B: For your little coda. I mean, it's. It's. Listen, I think it's the most cohesive song so far. [00:48:00] Speaker A: Yes, but there are parts that just like, the outro things. Yeah, he loves just to repeat lines over and over and over and over and over. [00:48:08] Speaker B: Yeah. [00:48:08] Speaker A: That's his thing. At least on this record, anyway. Jesus Christ. So we do verse versus piss on self esteem forward busted knee sick head blackened lungs and I'm a simple selfish son and then, you know, gotta get away from here and I miss the one that I love a lot I don't know. It just gets a little bit lost at the end, I think. Yeah, for as good as the chorus and stuff is it just. It kind of gets lost at the end. I don't know. I mean, it is the most cohesive thing so far. [00:48:41] Speaker B: I mean, I don't know what order they wrote these things in. [00:48:43] Speaker A: I have no idea. Well, I'm just gonna throw sevens across because I think. I'm assuming this may be one of the better songs on the album. So I'm gonna say sevens for me. And. And I have part and I have things about it that I don't like either. But. Hold on. Let me play my little thing now since I do it. Here we go. [00:49:01] Speaker B: Nikki Titty, baby 777. [00:49:03] Speaker A: I don't know. You know, guitar wise is not. You know, for me, it's just like, okay, whatever. I mean, it's the nineties sound. It is totally nineties. [00:49:12] Speaker B: Yeah, absolutely. [00:49:14] Speaker A: So, I mean, I'm gonna throw sevens across because I think. I mean, production's fine. Albino is doing a good job of production. It's just we. I mean, you know, I get it. [00:49:24] Speaker B: They're. [00:49:24] Speaker A: They're changing up. The first one has guitar and the second one has the bass. And the third one rolls around this guitar again, which I think sounds better, but it does sound like glycerin when he does that, which is not the. I mean, you know, you can steal from yourself, it's fine. Oh, yeah, I just. You know, I find it to be. I don't know. Even though. Even though it's the best one so far, I still find it to be a little. Not very. Unless it was on purpose to do. It's just not very together. I don't know. [00:49:52] Speaker B: Yeah, there's a. There's an almost, like, demoey feel to it, to me, you know what I mean? Where it's like this wasn't the final product. It was almost like they were kind of still working on it. And that's why when the bass is going, you kind of hear the guitar still kind of come in at weird times and. Yeah, I mean, again, like I said, I do remember the song specifically, but there was a reason that I didn't really buy it. Didn't. It didn't grab me. Like, I think it. Like I said, at that point, I was like, all right, I really got to make some choices on what to get and not to get it. I mean, you know, generally I liked the first one, so, I mean, honestly, I was thinking the same thing. By the way, triple sevens. I mean, the sentiment is there. You can understand what he's saying. I think he definitely uses some interesting lines. The cohesiveness of the music is there and, I mean, the production is good. I mean, it's. You know, it's loud, but it's. You can still hear things, so. Yeah, I'd say triple seven s as well. [00:50:50] Speaker A: There you go. Nikki Tibby, baby. 777. Okey doke. Well, so far, so. A little bit underwhelming so far. So now this one's called insect skin. I know. Do not know this song at all. It's like I said, I didn't have this album, so I have no idea what this is. All right, here we go. I mean, as far as I can tell, this album is meant to sound like it's not finished. [00:51:37] Speaker B: Yeah, that sounds. [00:51:38] Speaker A: I mean, he's rubbing the string things and making the noises and then you can hear guitar when he puts his hicks. His hand off of it. Maybe that's on purpose. No, but I'm saying. But maybe they did this because the other one was so polished, like, nevermind. You know what I mean? That they did the same thing that Nirvana did. They came to a guy like Steve Albini to have something that's a little more raw. It's raw. I mean, you got to like that. And, I mean, this is a choice. This is not. At this point. This is three songs in, and this is a choice. Four songs. This is a choice. [00:52:05] Speaker B: Yeah. It's funny because it's, like, raw, but it's polished raw in a way. You know what I mean? It's like. Because when they get going, it sounds good. It doesn't. It's. To me, it's not even about the producer. It's about, hey, let's make it sound like we may or may not have known exactly what everybody was doing. To me, that's what it sounds. You know what I mean? It's not even about Albini. It's about them almost intentionally making mistakes to make it sound a certain way. [00:52:30] Speaker A: Or they did it make it sound like, oh, we just did this once. We just. We just came and played it. We didn't even. We don't care. [00:52:35] Speaker B: Yeah, I mean, which is fine. I kind of get that sentiment, too, though. It's like, oh, we have to make this record. So far. I don't know. I mean, no, it could be sophomore slump. I mean, listen, there's, like, 95 songs still left on this record, right? So let's see where it goes. [00:52:54] Speaker A: The last one was almost five minutes. This is four and a half. So. [00:52:57] Speaker C: Yeah. [00:52:57] Speaker B: So let's say. [00:52:58] Speaker A: Here we go. [00:53:07] Speaker C: Trail moon burns red stripe like a. Damn. You are the only one you want to be with me I'm not the best left in the afternoon you would have said no when all I need was better take cover, better take cover. [00:54:00] Speaker A: So what are you thinking of that. [00:54:02] Speaker B: About that so far, so, okay, so there's, like, three completely different parts, right? The first part, he uses that a lot. The double, you know, because there's another song they had which I'd never heard of until we went to see them at concert, which is sound of winter, which has, like, been on my playlist ever since that we went to go see them, but he uses that kind of thing where it's like, da da da da da da. And then the first, like, when they were kind of building up, I'm like, okay, this is cool. Like, I was kind of getting into it, but then whatever it goes into, just. It just stops. It's another wall. I feel like it's building. You know, it kind of builds up, but it doesn't. Again. Doesn't really go where it should. Like, it just needs something bigger. And it's loud again, but again, I think it's a problem with the melody. And, I mean, part of it's okay, but whatever that last part was, which you'll probably read like, wait, why did you go here with it? [00:54:59] Speaker A: Yeah. And there was that little bit of the. I don't know. When I hear a line like that, it just reminds me of nirvana, even though I'm sure they're not the first nor the last who've done that kind of thing. But this is so close to that that I don't know. Well, I'll read your lyrics. Iron lung, I know you well deal with you like a bad spell see the trail, moon burns red strip and Vicodin, you were the only one, you're the censor you'll never people me I'm not defenseless in the afternoon as the light dims build a life out of all the Semtex you're the brightest one, you are the center the perfect opposite of what you asked for I'm not just one way a negative factor with all these wasps out. I better take cover. I better take cover. I mean, there's some good lines in here. [00:55:45] Speaker B: Yeah, no, absolutely. I think he said red stripe and Vicodin, by the way. [00:55:50] Speaker A: Is that what it is? Yeah, stripe and viking. I just. I just find that the melodies are lacking a little bit more than the last album. And maybe on purpose, like I said, there's. There's sounds and things that they're letting go through on purpose to make this sound. Like, this is a quick album or this is. It's not as produced. Right. This is not as produced. So this is. We did it one time where we left whatever was in. We don't care, I guess. I mean, that's the only thing I can take out of that. [00:56:17] Speaker B: Yeah. I mean, clearly it's a. It's a decision. I mean, again, I don't think the music. I don't think it's produced badly. I think it's not played greatly. There's. To me, there's a difference there. And not because Bush is not a talented band or he's not a talented guy. You know what I mean? He can definitely write a song, but I don't know, it's. It's very sloppy, which, again, is fine. Listen, the punk rock is sloppy, too. And, you know, I mean, I obviously love some punk rock, but I guess maybe that just feels more natural. That's. That's what it is. Like, this doesn't feel as natural. [00:56:51] Speaker A: Yeah. [00:56:52] Speaker B: It's almost like he's kind of purposely doing it where, you know, I don't really want a melody. And listen, if you touch the drums or you touch the guitar while it's supposed to be quiet, it's fine. Like, who gives a shit? Just fine. I fucking just go with it again. If you're gonna put a song. An album out with how many. How many tracks are on this album? 18. [00:57:09] Speaker A: No, not 18. No. 1813. [00:57:13] Speaker B: I'm looking at some extended version. [00:57:15] Speaker A: Yeah, there's an extended. [00:57:16] Speaker B: Hey, you just. You just made me happier. Unless the fucking. Whatever. Eight through five songs I'm looking at are, like, the better ones. And I hate saying this about them, because, again, I mean, the first album is good, and they were great live. And, I mean, he's a great. He's so good with the damn crowd. So, I mean, you know, this is. This is speaking from somebody, just from disappointment, who kind of wanted this to be. Be better. But again, like I said, I really liked the first one and didn't buy this one, so who know? You know what? I may have even. I may have heard this because somebody in our circle probably bought this at some point. [00:57:53] Speaker A: So I've never heard this ever. Besides the songs that were on the radio that I know. [00:57:57] Speaker B: I don't remember hearing any of this, but who knows? [00:57:59] Speaker A: Alrighty, let's continue. Let's see where they go. [00:58:19] Speaker C: Another thing. You got a lot. Again, in a fucking way. Up next, I can tell factor, with all of these wasps out, I felt. [00:58:54] Speaker B: Like. [00:59:51] Speaker A: Okay, I don't know what the fuck just happened. [00:59:54] Speaker B: There's parts of this that I really like. I mean, I like the verse, and. But I honestly, if this song had no chorus and they kind of went into the direction where I think the verse is going, which is. I think it would be a much better song. And this is the kind of song, if you try to do a cover of it, like, if you try to be pretty true to it, it's kind of hard. It's like, wait, no, no. You got to do that one little thing. He does. You know? Do you kind of hear that little. [01:00:20] Speaker A: Yeah, they. They weren't. Again, it's 100% a choice to do this, to make it sound this way. Yeah, but see that part where they. [01:00:30] Speaker B: Were just like, this is what we got. Fuck it. We got it. Next. Next song. [01:00:35] Speaker A: It could be of dunk. I don't know. I. I'd have to look to see when it was recorded. How long, um. Is it saying when it was recorded? It doesn't. Um. I don't know. It's not saying how long it took it's not saying how long it took, so. I don't know. Um. All right, let me. Let me read lyrics. This is a lot of words here. Copper tongue, be me up lonely without my impediments start to save what we used to steal? Walking on gelatin, I never noticed? You were the brightest one? You were wide of me like an english sun? You caught the light again in a perfect way? The biggest threat of all is in the alleyway? You're the demon seed, you're the factor? Feel better with a little bit of plaster? It's not just one way? A negative factor? With all the wasps out? I better take cover, I better take cover, I better take cover? So, like I said, there's this interesting things and interesting things in the verses. I don't know, this weird. The part that's happening now, it just feels like it wants to be like, fuck it, we're just recording this, but it doesn't. It feels fake. I don't know why it feels that way. Maybe it's not, but to me, when I hear it, it's like, yeah, maybe because I'm used to the other album, possibly, and I'm listening to this going, okay, so this is a change. [01:01:53] Speaker B: Yeah, but I think if you heard anybody doing this, you'd be like, wait a second. Was that supposed to be there or not supposed to be there? Or you purposely doing this because some of the things that sound like mistakes are hard to do on purpose. You know what I mean? It's like. I don't know. [01:02:11] Speaker A: Wow. This feedback and things that they do, it's on purpose. And the chorus, which I don't. The chorus. The problem with, for me is it's too nirvana. [01:02:20] Speaker B: I think his whiny voice sounds a lot like Kurt Cobain. [01:02:25] Speaker A: The rift thing, though. [01:02:26] Speaker B: Yeah. [01:02:27] Speaker A: That point. [01:02:28] Speaker B: Even his voice. So he's kind of going into that. That thing that reminds you of Kurt Cobain as well. [01:02:33] Speaker A: I never know. [01:02:34] Speaker B: I mean, I haven't read anything. I don't know if he's like, hey, you know, I'm gonna do a little tribute to him or. Because, I mean, you know, unless albini is there. Hey, you know, Kurt did this. Why don't you do it like, well, no, I'm gonna sound exactly like him. [01:02:45] Speaker A: Well, I don't think you would have done that. [01:02:48] Speaker B: That's what I'm saying. So. [01:02:49] Speaker A: No. All right, I'm gonna back this up a little bit, because obviously this part's changing, so I want to see what happens. Here we go. [01:03:12] Speaker C: She talks when she walks away. [01:04:09] Speaker B: Was that the song doing that or was that just. [01:04:11] Speaker A: What do you mean? [01:04:12] Speaker B: It sounded like it was cutting in and out. [01:04:13] Speaker A: Yeah, that was a tremolo, but not at the end. [01:04:16] Speaker B: Right before it got to the end, I was like. [01:04:20] Speaker A: Yeah. [01:04:21] Speaker B: Was that just me? Did they do that on purpose? [01:04:23] Speaker A: I think that's on purpose. I'm gonna read that part. [01:04:25] Speaker B: I like that part. [01:04:26] Speaker A: Yeah, that's my favorite part of the song. [01:04:28] Speaker B: I don't mind some of this stuff. Again, I think this song, to me, it didn't need the chorus. I think the chorus is there just to have a chorus and it doesn't. When. When it's building up to that. If they would have just done a musical crescendo and kind of made a loud, louder version of the playing in the verse, I think this could be one of my favorites. I think there's something kind of good. [01:04:51] Speaker A: Here, but too scattered for me. [01:04:53] Speaker B: And that end part, I mean, sounded like it was, hey, we got this other song that we didn't finish, so let's just put this here because we kind of like part. [01:05:01] Speaker A: I like that part. [01:05:02] Speaker B: Yeah, that could have. They should have started a song with that. [01:05:05] Speaker A: Uh huh. There's all the pain in the way she talks all the pain in the way she walks all the pain in her wave goodbye all the pain in the way she smiles all the pain in her fatal charm all the pain in her arms in her arms in her arms supposedly this album was written when he was breaking up with his longtime girlfriend. [01:05:24] Speaker B: I guess Juan Stefani. [01:05:25] Speaker A: No, before grand Stefani. [01:05:27] Speaker B: Oh, really? [01:05:27] Speaker A: It's gotta be. Yep. [01:05:30] Speaker B: I'm not up on the guns. [01:05:31] Speaker A: I'm pretty positive. Yeah, before. So I don't know. There's parts of it I like, and there's parts of it that I'm just like. I don't understand. And then there's the. Let's be sloppy on the purpose of being sloppy to make it sound like this is super punk rock. I don't know. I mean, it could take that lots of different ways. I like the end part, I like the ver. I kind of like the verses, I think. I don't know, it's too. It's too scattered around for me. I like the lyrics, I think. I think there's some good lyrics in there. So I'm gonna say seven on the lyrics. Yeah, I'm gonna say. I don't. It's not played badly, but I'm questioning the choices of let's make this sound as unprofessional as possible. Just because we can. So I'm gonna give that a five. Just because I don't particular like that too much. It's fine when it comes, when it's. When it's natural and that's what you do. But to make it do that on purpose and then say, oh, we're gonna leave all the noises in. We're gonna. We're gonna make it sound. We don't care if we stop things and don't totally mute stuff when we should. And we're just gonna leave it in there because, fuck it, who cares? Production, I'm still gonna say seven because he's. He was producing very well. I mean, he only can do so much what he has. You know what I mean? [01:06:38] Speaker B: So, yeah, we think, yeah, I'm gonna say someone on the lyrics. I gotta say six on the music. There's parts of it that I like better than the first two. Even though I give both of those sixes again, I think that there's something here that they. They add too much to. And that's, to me, what ruins like, to me, this song doesn't need the chorus and building up to me, more of a musical crescendo. And I really like that last part production. So I think it sounds fine for what it is. It sounds good. So I'm going to say a seven on that. But from a producer standpoint, where as people who have recorded. Right, there's things here that I'm sure you feel, and I feel are mistakes that they left in, which is not a bad thing. It's fine, but it's kind of. It kind of keeps happening over and over. So obviously it's a choice. And it's just weird. Some of it's just weird, kind of the way it's done. And I don't think it takes away from it too, sometimes, because it doesn't feel punk rock, it feels mistake y. Right. And I know you said fake. I'm trying not to use the word fake. It's just for the sake of it being there. And not that it's fake per se, but it's like, I don't give a shit. So it's just weird. Listen, I bet you live they didn't do this. I'm sure that all these little bits and pieces that. Where there's kind of here a string here and something going there, I'm sure that by the time, if they played it, I could be wrong. I mean, because I've, you know, other than that other time, I'd never seen them, which is odd too, because again, the big outlet, the album was a big in our circle and we, you know, this was a time we went to go see a lot of bands live. [01:08:21] Speaker A: Yeah, I think that it's the. Our other album was very polished. So we're gonna do the opposite of what that is. That's what I. That's what I feel. [01:08:32] Speaker B: I mean it was. [01:08:33] Speaker A: Yeah, it was very polished. I mean it was. [01:08:35] Speaker B: Yeah, it was. Well, I mean. But it was well done. I mean we're what, five, four songs in and there's nothing. Nothing as good as anything. Well, I'm not gonna say that because there are songs that I don't like on the first one. But I mean, if you look at the hits, which is like five, which is pretty good on a day on an album, right. I mean, there's nothing for me, there's probably people who are like, oh, I like this better, which is fine, but to me there's nothing as good as what was big on the first album. And listen, it's their sophomore. A lot of people have that sophomore something and they have that. They got that 1st 1 second one comes around and it's almost like they're out of ideas. [01:09:15] Speaker A: For me, I think it's a very common thing to say, especially during this time, to have an album that's very well produced and very slick sounding. And then the next one, you go, fuck it, we don't have to do this anymore. We're gonna do. We're gonna make it sloppier. We don't care as much. We're not making it as produced as that one is because that's not what we do. You know what I mean? That's what it feels like. It's like. It's like when the hair metal bands try to get heavy. That's what it feels like to me. It feels disingenuous. It doesn't feel like this is exactly what we're doing. I can be totally wrong. That's the feeling I get. I'm sure there are people who love this album, which is fine. I just haven't found. [01:09:53] Speaker B: Yeah, probably for that reason. Probably for exactly that reason. [01:09:56] Speaker A: Yeah. The Tamia though, it's. [01:09:57] Speaker B: I just feel like they've run out of ideas at this point. Like there's. And again, that song doesn't have to be whatever, it doesn't have to be hooky, doesn't have to be catchy, but there's. There's kind of a basis there, but it's not built upon and it goes in directions where? Well, you purposely kind of went into this direction, but you kind of went away from something you were building on and weird. [01:10:19] Speaker A: Well, what it ends up being is the songs are just not as good, and that's really the bottom line. [01:10:23] Speaker B: Yeah, I mean, there's absolutely. You know what I mean? When you think about the hits on the first one, as of now, for the first four songs, you know, these. These all, to me would have been filler tracks on the first record, and there are filler tracks on the first record. Not every single song is great, but still, you got half an album, give or take. That's pretty. That's good. Especially back then, like I said, because I spent so much money on one hit things where I really like the one song and the rest of it was either something different or it just wasn't. The level of songwriting wasn't there. So when you get an album like the first one, you're like, oh, shit, like. Like a handful of songs, man, it's pretty damn good. [01:11:00] Speaker A: Yeah, well, that's definitely not happening here. There's pieces of songs that are good, but they just go into weird directions that they're not very cohesive. Now, maybe it's because he was breaking up with his girlfriend and he couldn't. He couldn't concentrate and he couldn't write songs while that was going on and blah, blah, whatever. Whatever the case may be, it's just. It's just not as good of a record. I mean, not taking anything away from their last record and what that did. And, you know, it doesn't mean you're going to ever have a kind of record like they had. You know what I mean? So this just. This is just the way it goes. All right, so the next one is cold, contagious. This was a single two. This didn't do as well. 18 on mainstream, 23 on alternative airplay. I didn't look like this made the regular chart. [01:11:47] Speaker B: I don't remember by the title either. [01:11:49] Speaker A: But maybe I'll, you know, remember it when I hear it. [01:11:51] Speaker B: So good. [01:11:52] Speaker A: Here we go. Those drums sound different now. Or is it just me? [01:12:08] Speaker B: Yeah, a little bit. It kind of sounds like it's one of those where the mic is not positioned. You know what I mean? It's almost like a room mic as opposed to kind of like the overheads, you know, where the actual drum mics. It's more atmospheric room kind of. You know what I mean? But they still sound good. [01:12:25] Speaker A: You know, it sounds good. Snare's not as poppy. I like the bass part. I like that if they can continue with this and don't fuck this up, this could be okay. [01:12:32] Speaker B: Yeah, well, see where it goes. [01:12:35] Speaker A: I guess we'll see. All right. [01:12:55] Speaker C: Wherever you are? You will carry always to the scars? The darkness of your face slowly move on. How did we get to here? I went wrong. Gravity claiming all your tears. Everything looks so much better now. Looks so much better now. You will get yours. You will get yours, you will get yours. You have no right to us right now. You will never let around. [01:14:31] Speaker B: That's a little bit more cohesive, I think. I don't like the last chord in the. In. I don't know if that's the chords. I don't like where it ended, but, I mean, again, it's not about weird shit going on or whatever. It feels more like a song. Yeah, to me. [01:14:44] Speaker A: Well, yeah, it's the most cohesive. It's closer to swallow than some of the other stuff is, I think. I'm not sure I like. I mean, obviously, this is about his ex girlfriend. He's obviously very upset. Here. You will get yours, you will get yours, you will get yours. [01:14:59] Speaker B: Yeah. [01:15:00] Speaker A: I think the chorus could be better. Like, there's some interesting parts. It just. It has no hook. [01:15:05] Speaker B: Mm hmm. [01:15:05] Speaker A: There's no hook. I think that. I think that's what's gonna kill this song right there. And that's what's gonna kill the song. He couldn't come up with a hook for this? [01:15:11] Speaker B: Yeah, I mean, like I said, I kind of like. I like the way it started, but then that chord he went through at. [01:15:16] Speaker A: The end, I'm like, I didn't notice that. [01:15:18] Speaker B: We should gone a different one. [01:15:20] Speaker A: I gotta listen to it. [01:15:21] Speaker B: Yeah. The way it ends, it kind of starts off better to me than it kind of ends. [01:15:26] Speaker A: Yeah. Wow. I like the verses. I like the verse with the bassist. I mean, I don't hate that. Um, so here are the lyrics. Wherever you are, you will carry always. Truth of the scars, darkness of your fate slowly move on. How do we get to here? It all went wrong. Gravity claiming all your tears. Everything looks so much better now. Looks so much better now. Skinful. You will get yours, you will get yours, you will get yours. And I guess this is chorus. You have no right to ask me now. You were never that around. And I have this, so I don't know. [01:15:56] Speaker B: Again, it's that part that you will have this kind of. Like, once it goes into that last line, it goes into. I mean, again, it's. It's fine. But I kind of wanted it to go somewhere else. But the other thing too, right? There's not as many quote unquote mistakes here, right? You don't hear, like, the guitar kind of coming in out of nowhere or where. It just sounds like you hear him put, like, the hand on there. Like, I don't know what the fuck you doing, man. I heard that. [01:16:18] Speaker A: Yeah. So to you. [01:16:26] Speaker C: Mis soothe me ways. Turn out the light switch. We've been awake for days and no one's coming around here no more. No one's coming round here. You will get yours, you will get yours, you will get yours, you will get yours, you will get yours. You have no right to come and down, never bat around. I have missed, I have been Satan all the mighty, mighty man. What you saving out in the end? Come change us, come change us. Paint your perfect. [01:18:25] Speaker B: Yeah, I can see that chorus. It's just unnecessary because it doesn't go anywhere. I mean, you hear what I said about that? Like, the last line, I like the way that starts, but then that end of it. And then, honestly, I wasn't really expecting a chorus, but then once I heard cold contagious, I'm like, but again, you're just. You're not going anywhere with it. I don't know if you're gonna put a chorus in. Just change it up, right? I mean, I like that the music got louder. I mean, I think, again, cohesively, this is a little bit better than the first couple ones, but I don't know, match. I feel like it's almost like writing without care, in a sense. Like, fuck, we gotta make an album. [01:19:02] Speaker A: That could have been what it was, too. [01:19:03] Speaker B: And I hate saying that. Well, because clearly they're a talented band. The guy can write a song. I just. I feel here, it's. And this is very emotional. I mean, the lyrics are very heavy and I think some of the music is good. It's just, again, when you kind of get to that chorus, it's like, oh, whatever, it's gonna sing the same thing. [01:19:19] Speaker A: No, it just. It feels like it should go somewhere, but it doesn't really get to the place it needs to go to. [01:19:24] Speaker B: Yeah, why bother even putting a chorus in? [01:19:26] Speaker A: I just think that the songs are just not as good. And I think that's really the bottom line. There are pieces of songs that are good, but it's like the whole song and. And being very, like, worked out and do it. Getting to a high point, then doing whatever. Like, the songs on the first album were much more like that. And again, this could be 100% a choice. But I don't think it was. I mean, it sold through a million albums. Right. So I guess what are we saying? But it's just on the strength of. What is my question on the strength of maybe the last album, it sold 3 million. [01:19:56] Speaker B: Yeah. I mean, it had to generate interest. I mean, I guess they got enough airplay because, again, it was still time of, hey, what is the radio going to play and what is MTV going to play? You know, these things were still factors. So, yeah, I mean, this album came out two years later, right. I think, I bet you there's some of their stuff was still getting played on the radio. Maybe some people, and let me tell you, some people that probably weren't even close to whatever may have even thought, like, oh, swallow, that's a new single. Hey, wait, this isn't on the first record. [01:20:24] Speaker A: Maybe nothing. All right, well, here's some lyrics. Reality day trips and you suit me, suit me ways turn out the light switch we've been awake for days and no one's coming round here no more. No one's coming around here and then you will get yours part. And then that non chorus chorus. And then the chorus. Cold contagious all the mighty, mighty men what you save is what you lose out in the end cold contagious cold contagious I mean, the lyrics are. [01:20:55] Speaker B: I mean, again, none of the lyrics are that bad. Right. They sound very personal and they're. They're not completely direct. Right. He kind of goes around a little bit, too, which, again, is. I've never really paid attention a lot to his lyrics until, like, we went to go see him and I started. I mean, I knew what the lyrics were like. Ah. But then people like, well, this means this and this means that. It's like, oh, I didn't pick up on everything. I wasn't really paying attention to it. [01:21:18] Speaker A: Yeah, well, it just feels like this is just very all over the place. And there are parts of it that I like, and then, obviously the solo parts, or whatever they are, they're not even as good as the last one. The last one was better. The last album. Even that stuff wasn't great, but it was better than this. [01:21:34] Speaker B: Yeah. [01:21:35] Speaker A: So. All right, let's continue. [01:21:40] Speaker C: Paint your perfect day. I don't mind this. I'm better off, by the way. I'm deeply grounded. You will get yours, you will get yours. You will get yours. You will get yours. You will get yours, you will get yours. All might differ what you say, what you lose out in the end. Come take us come take us cold container, cold take down. [01:23:31] Speaker B: I mean, they did some of that weird shit in the end, too, where it just feels like maybe they're not playing on the same page, but I think the chorus was kind of better on the fade out, so it's not a bad song. I mean, I think it's one of the better ones so far. Honestly, overall? [01:23:46] Speaker A: Yeah. I mean, yeah, there's parts of it that I like better. It's just very. So disjointed to me. Why don't you go first? Because I don't know what to do here. [01:23:55] Speaker B: Yeah, honestly, I think I go triple sevens on this one. There's parts of it that I like even better than swallowed. I think that, again, like, when he. When he first hit the chorus, it just. Again, it felt like it's kind of brick wall. But towards the end, I think it was blended in better, and maybe the song was just sinking in. I think it's a song that I could like better on multiple listen, and I think overall, this is probably an album that could get better the more you listen or it could get worse. Right. It's one of those things where you kind of start losing some of the things you criticize or just the things that you criticize become even more blatant the more you hear them. But, yeah, I mean, again, lyrically, all this stuff has been pretty good. Production has been good. But if I have to really compare it to the other ones, I mean, I think it's one of the better ones. And overall, I made, like, it even better than swallowed. Even I gave it the same score. It's. I think it's a little bit more interesting than swallowed. What do you think? [01:24:54] Speaker A: Uh, yeah, I. I'm probably gonna do triple seven s too. Oh, wait, so I have to give you this first because I didn't do your triple seven s. Yeah, forgot. [01:25:02] Speaker B: Yeah, forgot. [01:25:03] Speaker A: Nikki gave me seven seven seven. So, um. Yeah, I'm gonna triple seven this too, so let me get this out of the way. Nikki did the baby 777. Um, yeah. I mean, there are parts of it that I like. I just think that it just runs into itself or it runs into walls. I do think the chorus was better the second time around, but, I don't know, a lot of this. It feels like he's reusing lots of stuff from all the songs and everywhere here, and it's not very. It's not very different. I don't know, maybe. Maybe it's just me. I'm just not. I'm not super vibrant with this album that much. I mean, there are parts of it that I like. It's just. I don't know. [01:25:42] Speaker B: Yeah. [01:25:43] Speaker A: And that's not to say that I don't like them, because I do like to. I do like the first record a lot, and they were good live. It's just. Yeah, I just feel like the songs are just not put together very well, even though there are parts I like. So this is probably just, you know, to me, as good as swallowed. Probably maybe a little bit better. [01:25:58] Speaker B: But I think it's more interesting, kind of. You know what I mean? [01:26:01] Speaker C: There's. [01:26:01] Speaker B: There's better parts, and it's a little bit more dynamic in what they've done, and it's still kind of got that sloppy thing going about it. But, I mean, nothing as much. But again, who knows how they play this stuff? [01:26:13] Speaker A: Did I read the last verse? I didn't write. All right, so verse three is paint your perfect day. I don't mind this. I'm better off, by the way. I'm deeply grounded, and then the rest is the same. All right, so the next song is a tendency to start fires. It's a long name. [01:26:29] Speaker B: That was me at four years old. [01:26:31] Speaker A: This didn't come. This wasn't on the lp. Because of time constraint. Yeah, because you couldn't put this on album. There's three songs here that are not on the. Not on the album. The lp version, final. So. So I don't know what this sounds like. It's a long name. So, yeah, let's. Let's play it, see what it does. [01:27:19] Speaker C: Strange to strange. Blaze, douse my headlights. Coming through. Gotta get down. Having a bathtub for steps kitchen tools, deconstruct your every move you better when you're here. Guillotine just got here. [01:27:56] Speaker A: So what do you think about that? I. I think that's all right. [01:27:59] Speaker B: It's not bad. But he. Again, he does that. I mean, if we. If. If you hear, like, sound of winter, it's really the same. I mean, again, if you copy yourself, whatever. Right. But, yeah, it's not bad. [01:28:14] Speaker A: There's that one line, though, that sounds like. It sounds like a nirvana melody. Did you notice that? So we'll go. Strange juice, strange blaze, douse my head in flames. That part right there. He's probably gonna do it again, I think. The third line. Listen to it. It sounds like something Nirvana did. [01:28:31] Speaker B: Yeah. [01:28:32] Speaker A: Coming through. Got to get some happiness is a bad son forceps. Kitchen tools, deconstruct your every move. Feels better when you're here. Guillotine just got here. So this is definitely still more about his ex girlfriend. Yeah, sounds like I'm just gonna back this up a little bit. [01:28:52] Speaker C: Back break please yourself to make it rain let it all out so many just got lost. Leading to fire, leading to fire. Leading to fire. Here to my battle, best of my ability. Chasing what I can't instinct, bad bomb light it up, take it home you will be all things, you'll get what you bring. Leading to fire, leading to fire, leading to fire. Can't do my mouth that's a possibility chasing what I can chill my mouth that's what my ability chasing water counts. [01:30:40] Speaker A: Now before this changes again. [01:30:43] Speaker B: Well, so I like the verses, but again, it just goes into this place. [01:30:46] Speaker A: Where I'm like, yeah, it gets lost. [01:30:49] Speaker B: Like once you start talking about the. [01:30:50] Speaker A: Fires, he doesn't know where he's going and he just. It feels like a big run on sentence. [01:30:55] Speaker B: Yeah, he's just playing chords. [01:30:57] Speaker A: I know. [01:30:58] Speaker B: I don't know, it just sounds so rushed and so demoey, you know what I mean? It sounds like these songs are still to me like they're still being worked on and they're like, all right, here's. I mean, again, I don't know enough about maybe was rushed, but I mean, obviously we know it's not as bad as it was back in the day where, you know, bands used to make one or two albums a year, sometimes three. But I'm sure that they want to jump on and I bet you, I mean, if this came out two years later, right, the tour was probably a year, year and a half, and especially if you're dealing with things. But again, it sold 3 million albums. Yeah, it's like you can complete about as much as you want. But I think it sold it on the strength of probably the first one. And the fact that, again, swallowed was a pretty big, you know, a decent hit for them. So, yeah, it just doesn't have the cohesive, it doesn't have the, uh. [01:31:44] Speaker A: Yeah, it's just. [01:31:45] Speaker B: And again, it doesn't have to be hokey, but I just. There's parts there where, like you said, it's like you're going and then you hit this brick wall and instead of just like slamming once, they keep slamming you into it. You know what I mean? It's like, all right, well, we're going to keep this going and repeat this line over and over. And what I'm like, all right, well. [01:32:03] Speaker A: He likes to do that. I think he did that in the first record too. He likes to repeat. Repeat repeat, repeat. And when the song is good, right? And when the chorus is good, that makes a lot of sense. Here is. You're right. It's like you keep backing up and then running into the wall. You like that little kid in. What's the name of the Steve Martin movie? The one with Rick Moranis in it, too. With the little kid. With. The little kid has the pot on his head and he runs into the wall all the time. That's what this is. You're the little kid who has the pot on his head and you keep banging your fucking head into the wall over and over and over and not getting anywhere. Because I think the verses are good. It just. It just runs into itself. And then when he doesn't have anything to do, I mean, just skip the course. When he doesn't have anything to do, he just repeats lines. That's what I noticed. When he can't figure out what. Where to do, he'll just repeat the line over and over and over and over, so. Well, let me read. So back, bend back, break. Please yourself to make it right. That part right there. What song am I thinking of? Oh, crap, it's nirvana. I just can't think of it off the top of my head right now, but it's just. It reminds me so much of that. Live it all at your own cost. So many just got lost learning. Leaning for fire, leaning for fire. Leaning for fire leaning to fire leaning for fire leaning to fire leaning to fire here's tomorrow man best of my ability chasing what I can. Here's tomorrow man instinct, bare bone light it up take it home you will be all things, you will get what you bring and I think we did this part already. Well, I'm going to read it anyway. Lean to fire leaning to fire leaning to fire here's tomorrow's man best of my ability chasing what I can. Here's tomorrow man best of my ability chasing what I can here's tomorrow man. So it's just. I don't know, it's just. Yeah, maybe it is rushed. Maybe these things are not fully fleshed out. Because I think you can, you know, if you worked on these songs, it could be way better. [01:33:53] Speaker B: Yeah. And again, I'm not saying if. Listen, if the chorus isn't there, just get rid of it. I don't go into something else. I'll make this song shorter. [01:34:00] Speaker A: Yeah. All right. Let's continue. [01:34:11] Speaker C: With our own time. With our own time here. To my mouth that's a viability chasing what I count here's to my mouth and I'm centering, chasing what I can. [01:35:13] Speaker A: It's just forgettable. It's forgettable. [01:35:16] Speaker B: It's forgettable because they put it somewhere forgettable. Right. Because even you were saying, like, the beginning was kind of cool, that it. [01:35:21] Speaker A: Was getting you somewhere, and then, yeah, it turns forgettable. You know? I mean. I mean, some people really pan this thing. One guy goes, they get a one over ten because they spelled the name right on the front. On the front of the album. It's very bad, you know. You know, two stars, three stars. I mean, it's all. It probably sold the 3 million on the strength of the prior album. And then maybe swallow probably. And then it's just. They start off good. He does some cool stuff, and then he just. It just runs into, like I said, runs into a wall over and over and over, and he can't get out of it. [01:35:56] Speaker B: Yeah. [01:35:57] Speaker A: So let's see. I mean, I don't think the words are bad. See, that's so lyric wise, I have to at least. I'll give it a six. But I can't really say the music. There's really nothing so horrible. It's just the songs. I'm not written very well, I guess. Six on the music and seven production still sounds good. Steve Albini is doing a good job. It's just he doesn't have a lot to work with here. And I don't think he's the kind of guy that rewrites things for people. He's not Bob Ezrin. Who would have told you, this sucks. Do something else. What is this? Why is this here? I mean, I think in this situation, they needed that kind of guy. They didn't need Steve Albini. They need somebody who's gonna say, yeah, what are you doing here? We need to work on these songs that they're not right, but they didn't have that here. [01:36:43] Speaker B: But again, then you're like, it's sold 3 million. It's like, who do you. What would you say? What do you say? [01:36:49] Speaker A: But it's probably. You're right. They probably still had stuff from the old album in the charts are still. And it was probably on the strength of other stuff. More than what? I mean, come on. Yeah, listen. [01:36:59] Speaker B: I mean, they had five singles on the first record. That's a lot. [01:37:02] Speaker A: Five year two, I think, 12345. They had five. They just. They're not the same kind of five, though. [01:37:09] Speaker B: Oh, did they really? I thought. I only saw three. I thought, oh, no, no. Plus, I mean, he was a big deal. Too, right? Like, Gavin Rossdale, he was pretty popular, and, I mean, he was a big deal. Kind of like in that era. [01:37:20] Speaker A: If we're going to try to compare this. And in utero. In utero destroys this, destroys this. [01:37:26] Speaker B: I don't really know. In utero, I never bought that record. I never fully listened to it. [01:37:31] Speaker A: The production is very similar. Obviously, it's the same guy. Right. But it's just that the songs. Not every song, but the songs are better. There's more songs that are better, and that's, you know, I mean, listen, are we comparing. Comparing Kurt Cobain to Gavin Raza? I don't think he can do that, but, I mean, you know, he has the ability to write better songs. It's just. Maybe he was just in a place with his girlfriend breaking up and his band getting really big, and he's just. He couldn't handle the pressure. And this is what happened. And this, to me, is pretty much sophomore jinx or sophomore slump. Yeah, I mean. I mean, I'm not saying I'm giving this a one out of ten, but I could see why someone would not go back to this. [01:38:07] Speaker B: No, there's not a lot of. And again, it's not even about hooks. I think they. Some of the most. A lot of these songs have these cool parts in them, and. But it's almost like if you make them three minute songs and you kind of get rid of. I mean, don't go to a chorus if it's not gonna stand out from anything else. I think there's nothing wrong with a song and not having a chorus. And if you don't want to call them choruses, okay, fine, they'll call it a chorus. But, I mean, when the same words repeat in the same pattern after reverse. You're gonna call it a chorus? [01:38:36] Speaker A: Yeah. What are you gonna. What are you gonna do? [01:38:38] Speaker B: I don't know what to do. I'm gonna. I'll probably say six on the. On the lyrics. Um, I mean, again, there's some good lines, but this has a little bit too much of that leaning for fire thing and the. The man stuff, I think it repeats a little bit more than the other ones. And those are the lines that I'm not crazy about. Like, I think the verses are pretty good. I'll probably say six on the music, too. I mean, you know, I want to. I want to say six. I mean, I could probably do five. Only because I'm kind of upset because when. When the good stuff goes to someplace bad and, I mean, what are you going to do? Put on half the song and then stop it and production's fine. I mean, I'll say seven on production again. [01:39:13] Speaker A: Yeah, he's doing a good job again. He's. He's not giving a lot here. [01:39:16] Speaker B: Yeah, I'm. I didn't know what I was going into, honestly, on this. [01:39:19] Speaker A: Well, me neither. Yeah, I have no idea. I had no idea what we were going to be like. So it just ends up being just not as good of a record. That's really what the down downside is. What are we supposed to do? I mean, you're right. What am I going to play first for the first part of the song? Stop it. Skip to the verse, play the verse again and then shut it off. I mean, because that's basically what's happening. It's happening on almost every song. It's nothing structured enough where it's something you want to listen to over and over. And that's the problem. Like, it's not structured. I'm not saying you have to be right. Formulaic songs, but, you know, you have to have something to grab onto the one. Listen to it again. [01:39:54] Speaker B: Yeah, but they are formulaic, though, right? Because, I mean, these songs do have verses and choruses, so it isn't as if we're saying, well, you know, the verse is good, but then it kind of doesn't really do anything or goes an instrumental part. No, I mean, they have verses and gorises and it seems like the verses are pretty decent. But then when it gets to this other part, it's like, all right, well, fuck it. Just pay whatever. [01:40:16] Speaker A: Yeah, well, that's what I mean. It's just. You can't. You can't have a song. I mean, you know, not that something someone's gonna listen to over and over. You know, you can say whatever you want that, you know, people write songs a certain way and they have to have a hook and they have to have this. Yes, because that's what people want to hear. Doesn't mean it has to be the same formula over and over, but at least has to have some parts of it. I feel like a lot of these songs are run on sentence, that they're not different enough for it to be different. They're a little bit different. But sometimes I think he even, you know, repeats the melody and things that are supposed to be different parts from the verses. [01:40:53] Speaker B: Yeah, I totally agree with that. It kind of sounds, again, like, vocally, he's kind of doing the same thing even though the music underneath is changing. So that's just. It's. I don't know. It's. [01:41:06] Speaker A: Well, like they said, they spelled their name right on the front, so there we go. That's pretty rough. [01:41:10] Speaker B: I mean, listen, it doesn't suck. It doesn't suck, but it's. [01:41:15] Speaker A: It doesn't suck in the fact that it's not horribly played, but the song structure sucks. It's not very. It's just not very good. Swallowed being, you know, maybe contagious. Okay, those are better, but. But they're not good enough, you know, I mean, I have a higher expectation after you do something like the first album, I have more of an expectation that at least gonna have something. Listen, you want to try some things, okay, but. But this is. This wasn't ready for. To be released or this need to be worked on a little bit more. And again, probably because what's going on? You know, I mean, it. It's hard to have a record. Someone's gonna remember if you can't remember the song. I can't remember any song that we listened to besides swallowed. And maybe cold contagious a little bit. Everything else just blurs together, maybe. And that's a problem because, you know. Yeah, the part. There are some parts that are good, but they just. You can't. They can't. They can't string it together in a whole song. And that's the problem. I'm not saying it's easy to do. It's hard to do. [01:42:15] Speaker B: But, I mean, you think about the five singles in the first song. There's nothing close to the worst of those things on this so far. Liquid out well, so it just feels rushed. [01:42:28] Speaker A: I think we're stopping here. And then next week, well, we'll finish up the last seven. You know, his songs are long here, too. With a four or five. There's a six minute song, six and a half minutes next. On the next side. There was a six minute song on this side, and I don't mind about a six minute song. When a song is good, it could be six minutes. It goes really quick through. [01:42:45] Speaker B: It's just. [01:42:46] Speaker A: These are just tough, man. There's not enough for you to grab onto that. You want to come back. And I think the best chorus is probably swallowed. [01:42:53] Speaker B: Yeah, it is. I mean, from a chorus, catchy standpoint. It is. And again, my thing is you don't. A song doesn't need a chorus. And I think some of these verses build. That's the problem. They're kind of building up to something where you're like, okay, this is cool. And then like, but wait, why did you go there? [01:43:13] Speaker A: Yeah, I know. [01:43:15] Speaker B: Again, I think this is the kind of album that either gets better or worse the more you listen to it. You know what I mean? It doesn't say it's not what it was really like. I was great then, it's great now, or it sucks then. It's like, it's either better or it's worse. [01:43:29] Speaker A: I mean, I don't know if I could go back to this and try to listen through this again. That's what the problem is, to try to make parts of it that are going to be better. I mean, listen, like, even contagious, cold contagious, you know, the chorus got better at the second time around, but, you know, I mean, it's just. It's a hard record. It's a hard record. Listen to it again. I don't think they were in the right place to write this, so. And I think, again, my opinion is that they were trying to make this thing be not as slick. That's my opinion. That seems like it's part of it, but whatever. Anyway, interesting spin. Something I wouldn't listen to unless it was something I, you know, I wanted to go and listen to their discography or whatever. I probably wouldn't put this on because I don't know enough stuff from here to probably do that, but. And I definitely didn't have it back in the day, so. And I'm. I probably only know the one song. [01:44:20] Speaker B: I already had a negative connotation going into this, so I already kind of had that in my head, like, but I was curious. Like, it's one of those albums where, like, you know what? I'm glad it came up because I. I don't really think I ever listened to it completely. Or maybe I did and that's why. And just the fact that I listened to it once and there was nothing, so I never went back to it, which is possible, but again, I was never a massive fan of swallowed. And that other song, that, um, greedy fly, I mean, that did sound familiar, but I wasn't crazy about it now, so I'm assuming I wasn't crazy about it then. [01:44:55] Speaker A: Well, this thing debuted at number one on the US Billboard 200, again, 100% on the. On the tales of the other record and anticipation that it was going to be just as good. Right. [01:45:06] Speaker B: Which is great because some bands, some artists and bands, right, they put up that massive album and then the next one comes and they get zero push and you're like, what happened? And, you know, yeah, maybe sometimes it's the strength of the songs, but sometimes it isn't. There's a good. But I. I don't know. I mean, I know we had this discussion with, like, stp where I said, well, I kind of feel like to me personally, they hit their slump on their third album, right. Well, we did vitality. Right. So when Vitality came, I was like, ah, this is kind of, like, to me, their slump record. But it wasn't as bad as I remember. Definitely better than this, I think. [01:45:40] Speaker A: Why? Vitality? Yeah. Million. [01:45:43] Speaker B: Yeah. Yeah. So, I mean, it definitely wasn't as bad as I thought, but I was like, oh, they had more. Two really solid albums, but to me, live was the same way. Their first two albums were really strong, and then the third one wasn't that great for me, personally. STP first two albums, really strong, but that was like Sponge. Like, I love Sponge's first album, running Pinata. But then the second one came along, I'm like, what is this? You know? I was like, what happened? I don't. You know what I mean? It just. It sounded completely different. And it's, like, experimental, which is fine. Experiment as much as you want, but some of it's gotta be there. Like you. You know what I mean? And listen, these are the albums that people praise too, right? Somebody's gonna say, the first one is too clean, not too clean, but too catchy to whatever. This just feels like somebody got together. I mean, to me, they sound like demos. Like they're still being worked. [01:46:35] Speaker A: Oh, yeah. Cause a lot of them don't go anywhere and not even from the sound. Like, I don't care about the sound. I don't care about the feedback thing. I don't care. That's. That's a product. That's a choice to do. It's just that the songs don't go anywhere. They don't have enough structure for you to want to go back to listen to them. And that's really what the problem is. It's not that it couldn't be better, I think, if they were worked on for a little bit, and I think if whoever the producer was, wasn't him, and it was someone who took more control over the. Over the session, that it wouldn't come out this way. They need someone to help them out in this situation right now, the way. The way everything was probably going on with them, you know what I mean? They needed someone to help them out to write. [01:47:13] Speaker B: Yeah. [01:47:14] Speaker A: They even. [01:47:15] Speaker B: But again, bliss them. It sold well. [01:47:17] Speaker A: Yeah. [01:47:18] Speaker B: I mean, it wasn't 3,000,002 copies. [01:47:22] Speaker A: And basically, he writes all the, all the stuff himself, so he doesn't. [01:47:27] Speaker B: Yeah, that's what I'd seen, which in. [01:47:29] Speaker A: Some ways is good, but in this situation, nothing good. You know what I mean? It's just. It's just not good for him. [01:47:34] Speaker B: Yeah. Anyway, I think it was a lot of pressure. [01:47:37] Speaker A: Yeah, I'm sure. All right, Sabrina, do your thing. [01:47:40] Speaker B: So we are part of the Deep Dive podcast network again. Like I always say, a great bunch of guys took us in right away. If you want more individualized podcasts about bands, and they're the ones to check out, there's no bush, but there is rush, there's Judas Priest, there's. I mean, you're. I. Heap Tom Petty, you name it, the big name bands, they're. They're there, so please check them out. And, Mark, where can they find this on the interwebs? [01:48:03] Speaker A: Well, if there was a bush podcast, they'd have one album, and then I don't know if you're. [01:48:07] Speaker B: Well, no, I don't. Well, they have other ones. I mean, I haven't listened to the other ones, so. [01:48:11] Speaker A: Yeah, I don't know what the other. I'm just making fun. I just don't know what the other stuff is like. [01:48:14] Speaker B: No, I know. Well, listen, if it was two albums, and I would say there'd only be about one at this point. So maybe the second side is where they come. [01:48:21] Speaker A: Come through, say. So we're rock roulette pod on all of the social media. Rock roulette podcast.com is the website. You know, we didn't do this week, though. We didn't do our new bet set. [01:48:33] Speaker B: I know. [01:48:34] Speaker A: Segment. Are we waiting for Frankie to come back? [01:48:37] Speaker B: We can. We can hold it for. Okay, but speaking of news, though, I don't know if you saw this. Paul's news posted 7 hours ago. Aerosmith has officially retired. [01:48:46] Speaker A: Yes, I heard about that. [01:48:47] Speaker B: Yeah, they're saying that he, Steven, just cannot do it anymore, and that is it. They reach there to retire from the touring stage. [01:48:54] Speaker A: That makes sense. [01:48:55] Speaker B: So I don't know if they're still going to try to do anything in the studio, but. [01:48:59] Speaker A: Yeah, well, we'll hold on. New bets thing off for Frank the next time. When he's back. If he's back next week, we'll put him. If he's not back next week, we'll do it anyway. [01:49:07] Speaker B: Yeah, I think he's very excited by that segment, so I think it's okay to wait. [01:49:11] Speaker A: Yeah, we can hold off for him. All right. Well, remember to put us on auto download on whatever app you listen to. And please rate us on whatever app you listen to. Give us five stars. It's awesome. It helps. It helps the algorithm get us more people to listen. So I guess we'll see you next week. [01:49:27] Speaker B: Yeah. Chill. Ciao. Later.