Episode 103 - Bush - Razorblade Suitcase (Part 2)

[00:00:04] Speaker A: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement, and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the Rock Roulette podcast. [00:01:14] Speaker B: Everybody. Welcome back to another episode of Rock Roulette podcast. That's right, the craziest podcast that took 1900 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, the lyrics, and the production. Again, like I always say, a bunch of friends who just wanted to do a podcast. We're just here having fun and we want to thank anybody who listens to us, any repeat listeners, anybody who gives us a shout out, whatever it is, any feedback. We'd love it. So we really appreciate it. Tonight we have Mark. Oh, hi Mark. [00:01:47] Speaker A: What's up, guys? [00:01:49] Speaker B: And I'm Sav. Ciao, Buenos Aires. So last week, the wheel picked the second Bush album, Razor Blade Suitcase, which I think Mark and I both agreed kind of sounds a little bit unfinished, almost demoey like. And I guess from a production perspective, some things that may sound like errors, where things are kind of coming in and out and someone hasn't muted their strings or muted the bass or whatever. But again, if this is what they were going for, then hey, it works. But, um. I don't know, not the same kind of, at least not hit wise. The songs that we know from the first one where the, you know, some really, really good songwriting, and this one just seems kind of, kind of thrown together. But I think it came out two years later and who knows? I think they were probably still in throws of the first one, which had five pretty big hits, and obviously tours were going on, so who knows? Exactly. I don't know the whole story, but what do you think, Mark? [00:02:51] Speaker A: Yeah, I mean, I don't know if it feels demoey, but it feels like on purpose to be less polished than the last record. That's just they wanted it to maybe be less polished and maybe that was on purpose. I'm assuming it's on purpose. So I. And besides that, I don't think the songs are as good. I think they just meander around. They don't really get to where they're supposed to be, you know, as opposed to the last album where that really wasn't the case. They were really on the game on the last album. So, you know, damn, side two is going to be better. [00:03:27] Speaker B: Me too. I'm curious to hear what's on the second side. So I guess before we go into that, right, we're going to do our. We didn't do it last week, so I guess this week we're going to do our new bets session and we have a little mini wheel. Right? [00:03:46] Speaker A: We have a mini wheel. But before we do that, we gotta do this first. [00:03:49] Speaker B: In a world where new music is. [00:03:53] Speaker A: Not easy to find, welcome to new bats. [00:04:09] Speaker B: Gotta love the cowbell. [00:04:11] Speaker A: That's pretty funny. [00:04:12] Speaker B: Which originally was just a water bottle. [00:04:14] Speaker A: Yeah. Well, we have a new. We have a little mini wheel for this because I didn't pick anything. You didn't pick anything? [00:04:19] Speaker B: Well, what I picked was actually already on there, so. [00:04:22] Speaker A: Oh, okay. [00:04:23] Speaker B: Because I was thinking about the Pearl jam song. [00:04:26] Speaker A: Mm hmm. Well, let's see if it comes up. We're gonna spin the wheel and let's do it. Here we go. Here we go. [00:04:44] Speaker B: There she goes. And you want Scully. Everyone's on dope. [00:04:50] Speaker A: Yep. You wanted something new. [00:04:53] Speaker B: Definitely have never, ever heard of them. I know Scully from, uh, what do you call it? Mulder and Scully. Never heard of them. [00:05:02] Speaker A: Neither have I. I put it on the list, but I probably only listened to a piece of it just because I wanted to make sure it was something in our genre. [00:05:12] Speaker B: Yeah. [00:05:13] Speaker A: So we're going to see how we like this. [00:05:14] Speaker B: I guess it is. Yeah. Let's check it out. [00:05:17] Speaker A: Check it out. All right, so this is a crossbone Scully. Everyone's on dope now you know what it sounds like. [00:05:39] Speaker B: Yes, I do. I thought you said it was crossbones Scully. [00:05:44] Speaker A: What do you think it is? Ac DC? [00:05:46] Speaker B: Yes. [00:05:47] Speaker A: Yes. [00:05:48] Speaker B: Yeah. [00:05:48] Speaker A: Now the question is, is the vocal gonna match and is it gonna make it be just like that? So I never got to the vocal, so I just heard the beginning and went, okay, I like the way it sounds, but do I like the way it sounds because it's AC DC. [00:06:03] Speaker B: Production is good. [00:06:04] Speaker A: Yeah, yeah. [00:06:05] Speaker B: It's not a bad riff. I mean, the production's fine. Hey, listen, I mean, whatever. We'll see what they do with it. I mean, that's, I think, what it comes down to. [00:06:13] Speaker A: So yeah, we'll see. And if we like it, maybe we throw the album on the list. [00:06:16] Speaker B: Yeah, sounds good. [00:06:17] Speaker A: Okay, here we go. [00:06:32] Speaker C: And I'm the coolest in the city of creeps heavenly down below got no money but flow. I'm the big star of the show dunction. Now, now everyone time. Everyone time down. And we did, we did we take and we take. Cause everyone time down. That's it. I love the train wrecks in the city of creeps critics cut you down the sides we fall, we rise the sleep so clamorize, you're too high now everyone comes out everyone comes out and we need, we need we take and we take. Cause everyone's untouched, you know, it goes. [00:07:50] Speaker A: So before we get to whatever solo. So, what do you think so far? [00:07:53] Speaker B: I mean, it's a fine AC DC song, I think, you know, what's his name? Brian Johnson. Sounds younger than he's ever sounded. I mean, is it a bad song? No, but, I mean, you know, it is what it is. [00:08:06] Speaker A: Yeah. [00:08:07] Speaker B: I mean, 100,000%. [00:08:08] Speaker A: There's some parts that don't exactly sound like AC DC. There's some chord change that they do that reminds me of other stuff, but, yeah, I mean, if we call goodbye, June AC DC, we have to call this out as being the same thing. But the difference is, I think this is more, like you said, brian Johnson, AC DC. And the other one was more bon Scott Ac DC. [00:08:26] Speaker B: Yeah. I mean, there's a little bit of that in there, too. I mean, that's what I was trying. That's what I was trying to hear, really. Like, which era it was. But again, I mean, is there a massive difference between the eras? [00:08:37] Speaker A: Well, a little bit vocal wise, that's all. [00:08:40] Speaker B: Well, yeah, I mean, but this is like, uh. Like a. I'm trying to find out exactly who's in, but this is kind of like a backup musician super group, basically. [00:08:50] Speaker A: I didn't know that. All right, well, you look that up while. While we play the rest. While we play the rest of it out. Yeah, look it up. And then when we get to the end, you can tell me who's in it. [00:08:58] Speaker B: Okay. [00:08:59] Speaker A: Okay, here we go. [00:09:30] Speaker C: Now everyone comes out everyone comes out and we did, we did we take and we take cause everyone comes out. You know, it goes. Come on, come out come on, come out and we need we need we take and we take everyone's on doubt everyone everyone's on cause everyone's everyone shall tell cause everyone's out. [00:10:29] Speaker A: There you go. [00:10:31] Speaker B: Yeah, it's bad. I mean, again, it's a solid act song. I mean, at one part, they were even doing that thing was, like, banana thing behind the solo, I guess, before they went into the solo. [00:10:45] Speaker A: Yeah. [00:10:47] Speaker B: But the story is here. Crossbones Scully is an avenging superhero from outer space, returning to earth to save the world. World, and reconnect with his lost deity, love, Piper and kid, the son he never knew he had. Collaborative team headed by veteran rock session bassist guitarist Tommy Henriksen and Tommy Denander alongside the legendary Mutt Lang, who emerged from retirement to executive produce the project. Isn't executive production in the music studio, isn't that just, like, a title? And when it comes to. [00:11:19] Speaker A: I don't know. I don't. I know it's more, I think, in, like, movies and stuff. I don't. [00:11:23] Speaker B: I think in the movies, it's. Yeah, I mean, because I know that, like, Gene and Paul, I think, executive produced some stuff, and, I mean, this guy's played with everybody. Producer, mixer, arranger, and songwriter for Lady Gaga, Meat Loaf, Lou Reed Hailstrom, Kesha daughtry. His metamorphosis into crossbones Scully started when Alice Cooper's lighting man, who used to work for AC DC, heard him singing like Bon Scott and successor Brian Johnson during a soundcheck and suggested he build a solo project around it. So that, I mean, they basically took. But they took it and they ran with it, right? Yeah, pretty much. So, Jamie. So keyboard is Jamie Muher Barak or Moho barak? Mike. Chemical romance. John Mayer, seal bassist Chris wise. You know him, right? [00:12:08] Speaker A: Mm hmm. [00:12:08] Speaker B: Because he was with ace Fraley. [00:12:10] Speaker A: Yeah. [00:12:10] Speaker B: Drummer Glenn Sobel. Ellis Cooper. Hollywood vampires. So Hollywood vampires was like, that Elvis Cooper kind of offshoot. I think at one point, Pete Wade from UFO was in it before he died. [00:12:21] Speaker A: Oh, wow. [00:12:22] Speaker B: And producer mixer Mike. Plot. Plot Plotnikov. AC DC, Aerosmith. [00:12:28] Speaker A: There you go. Well, that's why it sounds like that. So we're not off. I mean, here's my question. If we heard this back in the day, right, will we have the same. Where we think it's just like AC DC ripoff? Would this. My next question also would be, would this really have been put out back then, or someone would have said, yeah, you, like, sound too much like AC DC? I don't know. I mean, that's a good question, I guess. I don't know. [00:12:52] Speaker B: I think it depends on where they were. Like, I guess it depends on who they were back then. Right. Like, if these were people who had an established kind of name for themselves, maybe it would have been like, oh, you know, yeah, these guys kind of sound like AC DC, but check him out. But, I mean, it sounds like he sounded like them and, like, both. That's. I mean, like I said, I was kind of getting that vibe, too. A little bit of both. Because, again, it's not like AC DC changed massively once Brian Johnson was in. I mean, the music was kind of the same, and the voices are not. They're different, but they're not. They're kind of pretty much doing the same thing. They're kind of like hi range. That kind of. Uh. So, I mean, again, is it a bad song? No, it's actually. I mean, you know, it's okay. Am I necessarily gonna go looking for it? I don't know. [00:13:38] Speaker A: No, it plays it. You know, it's played very well. [00:13:41] Speaker B: Yeah. [00:13:41] Speaker A: So. Yeah. Well, that's cool. [00:13:43] Speaker B: Hey, listen, man, I. If it wasn't for this, for this little thing we're doing, I probably never, ever would have heard of these guys. Unless they popped up on my Amazon. [00:13:51] Speaker A: Yeah, me either. I heard the beginning riff and I said, okay, this could be something. Let me put it on. I didn't listen to it any more than the beginning part, just so I could throw it on the wheel, you know? Interesting. [00:14:01] Speaker B: Yeah. [00:14:01] Speaker A: Again, it's like six or seven songs. It's not very long. Five songs. So it's like an Ep. So I don't know if we may put this on the list, because it's so short. We could get it done in one. [00:14:10] Speaker B: One shot, whatever. Stick it on there. I've been saying, though, if it's five, maybe you could do it in one shot. And, uh, I'd be curious to hear what they do with the rest of it and how much it is and how much it isn't. [00:14:20] Speaker A: Oh, yeah, 100%. [00:14:21] Speaker B: I mean, again, based on their backstory, it sounds gimmicky, right? Only because of the backstory where it's like, hey, you sound like these two guys. You should do something about that. Okay, how about this? You know what I mean? That's like saying, hey, you sound like Bruce Dickinson built something around that. Okay, how about a band that sounds like Iron Maiden? Okay. Yeah, but I mean, again, is it a bad song? No. [00:14:43] Speaker A: Yeah. I don't know what I would have thought of this back in the day, but right now, I just. Like you said, if we called the other guys out, we got a call. We gotta call these guys out. Now, it's only one song, but from what the synopsis of what you said is, it's kinda has to be sounding like that all the way through. So, you know. Well, I guess the same feeling as I did with the other one. So. [00:15:05] Speaker B: Yeah. So is this gonna be 13 and 1301 or is it like 1000? How far over 1300 albums are with you now? [00:15:13] Speaker A: Or do you want to know what? I'm in the list right now. I'm scrolling, scrolling, scrolling. [00:15:17] Speaker B: You know, we stick them on the list. I'd like to know maybe what number. [00:15:20] Speaker A: 1307. [00:15:21] Speaker B: So now this would be 1308. [00:15:22] Speaker A: Mm hmm. [00:15:23] Speaker B: Nice. Okay, let's do it. We got to build to 1400. [00:15:26] Speaker A: Okay, that sounds fine. All right, cool. So that's, uh, that's our new episode. That's our new little segment over there. And I guess we need to play this to close it out. Here we go. [00:15:35] Speaker B: In a world where new music is. [00:15:39] Speaker A: Not easy to find, welcome to new bats. There it is again. Cowbell. All right, cool. So are we ready to continue with our actual thing? [00:16:00] Speaker B: Razorbait suitcase. Yes. [00:16:02] Speaker A: Yes. [00:16:03] Speaker B: I'm curious. Let's see what happens on the second side. [00:16:07] Speaker A: Yes, me too. All right, so the next song on here is mouth. It was a single released in 1997. It peaked at number five on the Billboard modern rock, but they had a mix called the what's. The mix was remixed by Bush under the pseudo name the Stingray. So this is the Stingray mix. It was on the 1997 album an american werewolf in Paris. [00:16:35] Speaker B: Oh, I saw that movie. [00:16:36] Speaker A: Well, did you? [00:16:37] Speaker B: I almost want to say I remember something like that. Yeah, I did. I went to go see it in the theater. I wasn't. I mean, no one is good as the first one, but I had fun. [00:16:44] Speaker A: Yeah. So this is so obviously this was in that out, that movie, and it went to number five. So, you know. [00:16:51] Speaker B: Yeah, I may remember it. It sounds. The whole situation sounds familiar now. Maybe we'll judge up some memories. Let's see. [00:16:57] Speaker A: This is. It was number five, an alternative airplay mainstream rock, 28 radio song 63. And in Canada, number six. So I'm curious to see maybe could this be a little bit more together, maybe. All right, well, here we go. Let's get it going. This is a mouth enough or nothing. That is so nirvana esque to me. Isn't it, like, just a chord progression in just the way it sounds? Yeah, yeah. [00:17:46] Speaker B: I mean, it rhymes. You have, what do you call it? A little bit, too. Um. Hey, wait, uh, what's that song called? You know what I'm talking about. [00:17:55] Speaker A: Yes, I know what song you're talking about. Isn't. Isn't that on utero? [00:18:01] Speaker B: Uh huh. [00:18:02] Speaker A: Uh huh. So the sound is very similar. All right, let's continue it. Here we go. [00:18:06] Speaker B: But it also reminds me of something on the first side. [00:18:34] Speaker C: Your silver grin still sticking in. You have sound machine the longest kiss peeling furniture days drift night let you pollute my heart drain you have bargaining me broken me all your mental armor drags me down nothing hurts like your mouth, mouth, mouth. [00:19:52] Speaker B: I don't know if I specifically remember this, but, I mean, I like the production. I think the drums sound really good. I kind of remember a bush song in the movie, but not 100%. I mean, I think I've only seen it once in the theater, so I could even tell you where it was. [00:20:16] Speaker A: Yeah, well, um, now I know the song. As soon as the chorus came in, I was like, oh, I know this song. 100% know the song. This is not. I have to say, though, at least it sort of, kind of has some structure. So I'm actually liking this so far. Almost. Almost more than anything. On the first side beside maybe swallowed and the contagious song. [00:20:42] Speaker B: It's okay. I mean, it's nothing bad. I mean, I'm like. I'm like, let me. Let me keep listening. Maybe it'll kind of grow on me. So. [00:20:53] Speaker A: Do you want to hear lyrics? [00:20:55] Speaker B: Yeah. There's not much, right? [00:20:57] Speaker A: Well, no, but there's. I mean, I think it's a drug song. That's what it sounds like, so. You gave me this, you made me give your silver grin still sticking it in. You have the soul machine. Soul machine. Then verse two is the longest kiss peeling furniture days driftly mad at you or drift madly at you pollute my heart drain you've broken at me, broken me all your mental armor drags me down nothing hurts like your mouth, mouth, mouth now as soon as I heard that line, I'm like, oh, yeah, now I know this song. I haven't thought about the song or remembered this song in at least almost 30 years. Probably close, anyway. 3rd, 40. What is it, 28 years, whatever it is. So. Yeah. [00:21:53] Speaker B: Yeah. 96, right? This album. [00:21:55] Speaker A: Yeah. So it's. I like it so far. I like the little drum parts. It's very sparse. I like the little guitar parts that come in and out. See, that's where it doesn't feel. It doesn't feel fake. Like that feels like that should be there, the way they're doing it. So I kind of like it so far. [00:22:14] Speaker B: It's okay. Well, let me kind of. It's not bad, though. So I'm like, let me kind of, you know, feel it out. Let it keep going. Because, again, even some of the stuff on the far side was. Sounded very sloppy to me. But I'm like, who knows? Maybe after a few listens, this could kind of start, you know, kind of making sense and growing on me, but I'm not sure. [00:22:38] Speaker A: Okay. All right, let's continue. Here we go. Verse three. [00:23:00] Speaker C: Pretty. Just dessert. I wish it all for you so much it never hurts? You have some machine start at me all your mental arm drags me down we come free when you come around on your mantle armor drags me down nothing hurts like your mouth, mouth, mouth? Your mouth, mouth, mouth? Your mouth, mouth, mouth we've been missing long before never found our way home we been missing long before. [00:24:37] Speaker B: The other part. I don't know. I mean, it's okay. I think in the context of a movie, it'd be a song like. Yeah, it's kind of a good song. Taking away. I don't know. I feel just kind of more what was going on on the first side, honestly, even this part coming in this bridge or whatever this is, I just feels like it comes out of nowhere. Not that it's too far. Driven, you know, removed from the. The first, you know, from what's been going on, but it just feels like, okay, we're gonna stop and you do something. Okay, I'm gonna do this. Okay, I'm gonna sing this. [00:25:14] Speaker A: Well. Yeah, I'm not a big fan of the bridge, which is that part. I don't think there's any solo in this thing. I mean, at least not the moment, anyway. I don't. I mean, I still think it's better than some of the other stuff that's on side one, besides the two songs that I like, which is swallowed and cold contagious. No, besides that, you know that to me, those things are just. They're better than the other stuff on the first side, so I like this better than stuff on the first side. [00:25:50] Speaker B: Yeah. Hey, listen, I'm glad you do, because remember you said. I mean, we were talking this week and he said, listen, if this album goes like this, I'm gonna slam this shit. So it's got a pretty good start for you. [00:26:00] Speaker A: I mean, is it the greatest song in the world? No, I think the beginning is super nirvana sounding. I think in general, it's very nirvana sounding. Obviously, his voice is. His voice is not the same, obviously, but it has a little bit of that at the end of his phrases. It does sort of sound like core crime a little bit. And I don't know if it's just because the producer here is the same producers in utero and he's using the same, you know, as maybe his style of producing. The way this hat comes out, I do like the production. I mean, the drums are a little. The only I can say about the drums that I don't really like too much. It feels like they're too far away. Feels like there's, like, just room mics. It doesn't feel like they're really mic close enough. I don't. I don't know if that's true or not true, but to me, it sounds like the drums could be a little more upfront. It feels like there's either a lot of. He mixed in a lot of room mic. That's what it feels like. And it just. It doesn't have as much of a, like, in your face kind of drum thing. And maybe that's not the way we're going for. I just don't particularly like that. [00:27:01] Speaker B: I mean, I actually kind of like the drum sound. I feel it's there. I don't know. I kind of. I kind of like the way they sound, actually. They sound real. I think that's a lot of what I'm kind of looking for today. You know what I mean? It doesn't sound like. I mean, no matter how he recorded them. So I'm not negating what you're saying, but just the actual sound of it, I like. [00:27:22] Speaker A: They sound better. No, they sound like drums. I'm not saying they don't sound like drums. I just feels like they're too far away from me. And that's. That's the part I don't particularly like too much. [00:27:28] Speaker B: Hey, listen, I can always go for louder drums. [00:27:32] Speaker A: Oh, yeah. No, I just feels like. I said, like they have a mic. I mean, I know he did do this because I was. It's kind of funny, I was watching some of his, like, stuff before he passed away, and he was doing some, like, studio things. He used to put a mic, like, really far in the room and he would mix that in. So it sounds like this thing's. It sounds like that's, like, almost the main mic. And whatever else is going on is not as much mixed in. I don't. I don't know that. But just from the way I saw him do some stuff, it kind of. Kind of puts me in that note. That's what this is. [00:27:59] Speaker B: So, like an ambient type mic where it kind of just picks up, like a room mic. Kind of where. [00:28:03] Speaker A: Yeah, just like the room sound and not as much the closed mic, right on the drum. Things. Not even like an overhead, but like something farther away, like 5ft away, like on the floor. Like he would find the best spot and he would leave that mic there and then he would mix that in because it gives you. Gives you a little bit more life in the drums because you're getting that little reverby, you know, because it's a little farther away. To me it feels like that's a lot of this and maybe not as much a close mic. I don't know. I think it needs to be the other way around, personally, but, you know, teach their own. [00:28:33] Speaker B: I'll listen out for it. [00:28:34] Speaker A: Yeah, he's a. He's a good producer. So, I mean, I. In general, I like what he does. So I just think in this song here, I mean, maybe they were going for that farther away sound. Maybe that's what they wanted to do. And if that's the case, it's fine. But, I mean, I don't particularly like it as much. Whatever. All right, so this is a long song. This is like 545. So we still have a minute and a half ago. Almost two minutes, actually. [00:28:54] Speaker B: Wow. [00:28:55] Speaker A: Yeah, it's a long song. [00:28:56] Speaker B: Maybe they will do something musical. [00:28:58] Speaker A: Amen. I don't think so. Yeah, but I don't know. Well, then let me read lyrics before we get too far. [00:29:03] Speaker B: Oh, yeah, yeah. Let's do lyrics. [00:29:05] Speaker A: So verse three, is your loaded smiles pretty? Just desserts. Wish it all for you so much it never hurts. You have soul machine stolen me since this feel like it's about drugs taking you. You know what I mean? Taking your soul. And then the chorus is very similar. All your mental armor drags me down we can't breathe when you come around. All your mental armor drags me down. Nothing hurts like your mouth, your mouth, mouth, mouth, your mouth. A lot of mouth. A lot of mouth. Yeah, a lot of. [00:29:38] Speaker B: Well, we were talking about that. We had a lot of repetition of words and lines and stuff like that. [00:29:43] Speaker A: Yeah, it's a. One of the things for me that I don't like as much about bush. He does this a lot. Like he just repeats repeats. I mean, yes, it bangs into your head, but also after a while it's like, dude, this is. It's very lazy. It feels super lazy. Or unless he wants that to be his style. And then you gotta. Like that. Yeah, so. But it's just a lot like he says, mouth 1234-5678 times in the course. [00:30:07] Speaker B: Yeah, there you go. [00:30:10] Speaker A: And then usually when he gets mouse. And then when he gets to the end of things, he tends to scream, like, just keep saying it over and over. He did on the first side a lot. Like, over and over and over and over and over. So is it because you're having a hard time writing and this is, you know, I'm trying to think. So the singles that were on the first album, did they do that a lot? They do, right. [00:30:32] Speaker B: I don't know. See, that's the thing, right? You know how, like, oh, you've heard songs millions of times, but then you start trying to make comparisons, but not necessarily comparisons, but detailed comparisons. Right. We're like, well, I don't remember. You'd have to kind of start singing them in your head. [00:30:45] Speaker A: Mm hmm. Yeah. Well, I'm thinking glycerine. He does it a whole bunch of times. Yeah, glycerine, glycerine, glycerine. Everything Zen. I think he does it there, too. Right. I'm gonna have to go look back at the other songs to see what they are. I bet you this is his style of writing. But, you know, after a certain time, it starts to get monotonous on me. [00:31:04] Speaker B: Well, I mean, even the song we did right was like, breathe in, breathe out breathe in, breathe out. He's like, breathe in, breathe in, breathe out. [00:31:12] Speaker A: He does do a lot, so maybe. [00:31:14] Speaker B: It does kind of a thing. [00:31:15] Speaker A: Oh, and so I want to read the bridge before we go. We've been missing long before never found our way home we've been missing long before where we'll find our way so is it kind of like getting back, like, trying to drop the. Get out of the drugs, be sober, and, like, find your way back? Oh, no. [00:31:32] Speaker B: I mean, that's what it sounds like. [00:31:33] Speaker A: I mean, his lyrics are pretty decent. [00:31:35] Speaker B: Yeah, it's. I mean, like I said, I may have mentioned it in the last episode where I was like, whatever. And then I kind of started reading going back, like, after we had seen them live, I went back to listen to some of the stuff and just watching people's interpretations of the songs and what he's saying. I was like, oh, I mean, if that's it, that's actually pretty cool. It's like this way of saying it, almost like a David Lee Rothy way of saying things. You know what I mean? Where it's like, wait, what? But then people like, well, this is kind of what he means. They're like, oh, okay. Yeah, I guess that's a cool way of saying it. [00:32:06] Speaker A: Yeah. [00:32:07] Speaker B: So. [00:32:07] Speaker A: So I thought, um. I think he's. He's good. It's just sometimes the melodies aren't very great. Very good. [00:32:12] Speaker B: Yeah. I mean, not on this. I mean, I. Yeah, on this album. [00:32:17] Speaker A: Specifically on the first album, I think. I think it's a little bit better. [00:32:19] Speaker B: Yeah. Oh, absolutely. [00:32:21] Speaker A: But like you said, during the week, you have your whole life to write your first record. Right? And a year to write the next one. [00:32:26] Speaker B: Yeah. [00:32:26] Speaker A: Basically, this is. This is sophomore jinx, even though, listen, number one, right? Number one album. [00:32:31] Speaker B: Yeah. 3 million copies. I mean. Hey. [00:32:35] Speaker A: Yeah. All right. [00:32:36] Speaker B: Good for them. [00:32:37] Speaker A: Yeah, good for them. Here we go. [00:32:53] Speaker C: Make me give you have some machine broken free? All your mental armor drags me down? We come breathe, come around? All your mental armor drags me down? Nothing hurts like your mouth? Mouth, mouth? Your mouth? Mouth, mouth? Your mouth? Mouth, mouth, mouth, mouth, mouth, mouth, mouth, mouth, mouth, mouth, mouth. [00:34:27] Speaker B: It'd be cool if the song was called, like, tongue. What's the name of the song? Tongue. Wait, but he says mouth over and over. Yeah, that's the point. [00:34:36] Speaker A: Yeah, it's a lot, man. Even that last part. [00:34:38] Speaker B: Yeah. [00:34:39] Speaker A: 1234-5678 910 1112 13 1415 so, before you get into any more ranting, I'll just read the last verse, and you can. You can rant a little bit. Um. You gave me this. You made me give. Okay. I mean, I can understand, like, thinking what this is as far as, like, a drug song. I understand that. Like, I understand what that lines about. You have soul machine broken free. So it definitely feels like a heroine song, like, of the time. Like, there's lots of songs in this timeframe that are about drugs, so. So why don't you go first? There's a long song. [00:35:17] Speaker B: Let me see. I'm gonna say six on the lyrics. I mean, they're not bad. I do like the way. I mean, overall, I mean, I think lyrics are getting the best scores. Music isn't. I mean, it's. It's not terrible. I'm gonna say six on the music. I'm gonna say seven on production. I mean, again, I do like what he's doing. I like the loudness of it. I like the rawness of it. So, I mean, overall, it's. It's definitely not. Not a bad song. I mean, I think I like the heavier parts. Like, I think those are. Those are done really well. Those are parts that are sticking with me. The quiet part, not as much. So. But, yeah, I mean, not bad. I do want to say that I remember this in the movie, especially if it's a prominent. If it was, you know, a prominent song. But again, I haven't seen that movie. I think I've seen it once. I didn't think it was that bad. Everybody's like, oh, my God. I was like, don't compare it to the first. That's all. Just have fun with it because it's more comedic than whatever, but, like, straight up comedic. So what do you think? [00:36:16] Speaker A: Well, it's not as bad as I thought it could be. I think I'm gonna give it straight. Sixes across. Lyrics are decent. It's just, you know, I think the melodies pull the lyrics down for me. And since we don't have a melody section, I'll take it off the lyric side. Musicianship is fine. Six. You know, they're not winning any kind of playing gymnastics awards for anything they do here. And then again, the drum thing for me is just a little too far away. It just feels very. It feels like it's just in the middle of a room, and maybe that's good for certain things, but I just feel like that room mic is mixed way too much, and I don't know, maybe that was what they were going for. I just don't particularly like that sound that much. So, yes, I'm gonna give that a six. So triple sixes. I don't have a sound for triple sixes, but, yeah. [00:37:10] Speaker B: You know what you could use for 666? [00:37:13] Speaker A: I know. I should get that. I should get that clip. [00:37:16] Speaker B: Yeah. [00:37:18] Speaker A: So I think that, for me, it's better than lots of stuff on the first side. So I'm. I'm good right now. I'm hoping continues in the way it's continuing. So the next song is straight, no chaser. [00:37:32] Speaker B: I remember this title, but I don't know if it's because of this or because of a jazz song. [00:37:36] Speaker A: Oh, I don't know. [00:37:38] Speaker B: Yeah, I got. I gotta see where. Why this sounds familiar. I mean, unless the song plays, I'm like, oh, I think I remember this. For whatever reason. [00:37:45] Speaker A: I don't know. Well, let's see. Let's see if. Let's see if they can keep, like, at least a song. Least other song was, like, in some kind of format and just wasn't all over the place, like a run on sentence. So let's hope they can get with this. [00:37:55] Speaker B: Yeah. [00:37:56] Speaker A: All right, here we go. [00:38:24] Speaker C: Always be there, face a little. [00:38:29] Speaker A: Will. [00:38:32] Speaker C: Always be there, face I live. [00:38:38] Speaker B: With. [00:38:40] Speaker C: Abscess Marie with broken fingers all the fallen down angels have it all so satellites of pain can always be what? War on our sights war on our sights. [00:39:22] Speaker B: It'S not bad. Where's your little pearl jam? Actually, the beginning, the riff, I can hear that. I don't. Not crazy about the way that, um. Um. Kind of like the second part of whatever this is now. I don't think. I don't think there's a second verse. It sounds more like a bridge. Kind of goes into a note that I'm like, uh, I wish you'd taken it somewhere else. I like the verse, though. I mean, I think so far, that could be one of my favorite verses in riff, honestly. [00:39:46] Speaker A: Yeah, well, supposedly it's about alcohol, alcoholism, so, you know. [00:39:51] Speaker B: Yeah. [00:39:51] Speaker A: Reading. I'll read a little bit of it. Uh. Always be there face I live with always be there face I live with abscess memory with broken fingers all the fallen down angels raw pain, distress it's all in the way we know that we could have it all some satellites of pain can't always be ignored war on all sides war on all sides so it's definitely not the course, because, of course, it does come later of some sort. I think. I think it might be coming soon. This is definitely a different kind of arrangement, but, yeah, I don't hate it. I mean, again, I think the more I listen to them, the more I hear the. At least on this album, the more I hear the nirvana thing. To me, I mean, I don't know if that's on purpose. I don't know if it's just because his production. Again, I said that before, I think, not to repeat myself, but every time I hear things, I'm just like, yeah, that could be. That could be nirana. It's very nirvana ish. At least. At least the stuff that's on in utero anyway, so that's what it sounds like to me. It's definitely not a nevermind kind of no sound. No, it's more raw. [00:41:02] Speaker B: Yeah. [00:41:03] Speaker A: But, yeah, I mean, I don't hate this so far. Let's see where they take it. Yeah, it is four minutes, so shorter than the last one. [00:41:12] Speaker B: Okay, that's good. [00:41:14] Speaker A: All right, let's continue. Here we go. [00:41:33] Speaker C: Drink. Life as it comes straight no chaser life as it comes straight, no chaser flying inside you away from strangers building your system have it all satellites of pain that always be gone in the face of what we thought we did before war on our sides. [00:43:04] Speaker B: I was like, dude, I want violin. All right, give a violin to that drunk guy. Are you sure? Yeah, yeah. Do it, do it. Okay. And then as he's playing, push him down the steps. [00:43:20] Speaker A: I understand in jazz, is a lot of out notes and out stuff that just sound. Sounded like fucking out of tune to. [00:43:28] Speaker B: Yeah, I mean, it had nothing to do with the song. [00:43:31] Speaker A: And I just hear. [00:43:35] Speaker B: I don't know. Again, this is kind of a song that's not really going anywhere. It's like a bad glycerine, basically. That's what it reminds me of. [00:43:43] Speaker A: I was just like. [00:43:44] Speaker B: Glycerin was catchy. [00:43:45] Speaker A: Yeah, it's a. Yeah, it's a bad glycerine. Hey, we got to do a song just like glycerine. Let's do it worse. [00:43:54] Speaker B: Yeah. I mean, it started out okay, and I guess I. The straight note chaser, he says in a verse form that that part, right, was back kind of back to the verse melody. And then I guess what's supposed to be the chorus? I'm not really liking the. It's like, from a different song. [00:44:13] Speaker A: Well, but this is what happened to us. You know what happened. This is it. We thought we were gonna have a good song, and this is what happened. [00:44:19] Speaker B: Hey, come on. I like that. I like that song. Yeah, we got. We got, uh. What's his name? Oh, my God. Gavin. Right? We got Gavin. Rolled. Gavin. Gavin. [00:44:42] Speaker A: Now go home and get your fucking shine box. I've never used so many clips ever so far. [00:44:49] Speaker B: Nice. [00:44:50] Speaker A: I have a more. I have more clips for this, and I wish I could do this. [00:44:59] Speaker B: Yeah. [00:45:00] Speaker A: Oh, man. It's just. We have to finish this before we can talk anymore. There's just a way hold. I have to read lyrics now, just because. And I don't hate the lyrics, but no. Okay. Okay, so here it is. Let's see. What did I get? Okay, so drink. Life as it comes straight no chaser life as it comes straight no chaser climb inside you away from strangers building a system of alleys and motor motorways okay, then. It's all the way we know that we can have it all some satellites of pain can't always be ignored it's all in the face of what we thought we knew before war on all sides war on all sides war on all sides the idea of putting the. Putting the name of the song in a verse, I like that idea. I think that's pretty cool. It's just. It's just a song sucks now. I thought it was gonna be better, and I just. And then that violin part came. It's like, holy crap. And the guy playing the violin, because I was looking it up is Gavin Wright. I don't try to figure out who he's played with. He's a british violinist and orchestra leader of the London cession Orchestra. [00:46:05] Speaker B: Yeah, but you could tell anybody to play anything, right? [00:46:08] Speaker A: He is best known for orchestra orchestral arrangements on pop production, Elton John, simply Red Bush Oasis, Tina Turner, Van Morrison, as well as numerous tv soundtracks. Shrek one and two, Stuart Little, Batman begins, Black Dahlia, Shakespeare in Love, twelve Monkeys. So he obviously knows what he's doing. Then you just tell him, hey, play something that's really use a lot of out notes from what. Here's the key we're in. Play something that's not in this key. [00:46:36] Speaker B: Yeah. [00:46:37] Speaker A: And just play. And is that just a way to say, look how cool we are? Look, we're putting off note, jazz notes. [00:46:43] Speaker B: I mean, like I said, I think he. I don't know. Here's the deal. It's hard for me to pass judgment on this because I don't know anything about their state of mind or what's going on. If this is something where they're like, listen, the first one we felt like was so polished and so not polished. I mean, it was so loud, but there were melodies and there were, you know, whatever. And this is kind of like, listen, I don't want to do that. This is. I don't know, this just sounds to me bad. [00:47:12] Speaker A: Say it. It sounds bad. Bad. Bad. [00:47:16] Speaker B: Yeah, it sounds so off. It's just like, listen, I just want something purposely off key. Like, that's. That's my vision. Which is fine. I mean, listen, if this is what he wanted, that's cool. [00:47:27] Speaker A: Okay, well, as the person listening to it, fuck him. [00:47:31] Speaker B: That's what I'm saying, though. Either you like it or you don't. Right? That's. That's ultimately the thing. Either you like it or you don't. [00:47:38] Speaker A: Again, this is not. This is not a jazz thing where they putting out notes of things and the notes don't fit in the key, but somehow it kind of works and they get back into something. This was just, hey, play something that's not in the key you're in. I don't know. Why would you do that? [00:47:50] Speaker B: I mean, I think ultimately, if the song kind of went where it started and it kind of built on that and. Well, I guess you look at it two ways, right? If the song kind of built upon where it started and you were really getting into it, then you can say, then this part would really stand out and make you angry. Or you could be like, well, listen, all right, whatever. He's trying to do something different here, but the rest of the song is just. But I mean, again, the verses are cool, and I think there's a good melody there, but I think, I guess what's supposed to be the chorus with the war on all sides, it just. It starts off okay, but then it feels like it's. It's part of another song, and then it gets. [00:48:23] Speaker A: And then he gets to the end and he just repeats himself, because, again, it's just. That's what he does. [00:48:27] Speaker B: Yeah. [00:48:28] Speaker A: All right, we only have 50 seconds left. Let's finish it out. [00:48:31] Speaker B: Okay. [00:48:36] Speaker C: Keep on driving. Hell. Morning wet there's nothing like losing you there's nothing like losing you there's nothing like losing you there's nothing like losing you. [00:49:16] Speaker B: That was quick. I thought 50 seconds was gonna be longer than that. [00:49:19] Speaker A: Thank God. I'm gonna read the last bunch of lines because it's not very much. Keep on driving. Hair left. Morning wet there's nothing like losing you over and over and over and over all right, well, I'm going first. [00:49:31] Speaker B: Okay. [00:49:31] Speaker A: I said what I was gonna do, and I'm gonna do what I said I was gonna do. [00:49:34] Speaker B: Yeah. [00:49:35] Speaker A: I don't hate the lyrics, but. And some of the ideas are okay. I mean, I understand what it's about, but I just. That part in the middle just, like, soured me on the whole thing. I just. I don't understand why you would do that, but it makes no sense to me. And as a listener of the song, I'm pissed off that you would just do that and just go, hey, you go, I might be liking this song, which I did at the beginning, and now what the fuck am I doing? I don't understand. So I'm gonna say the lyrics aren't horrible, but I'm still giving them a five just because musicianship. Three. I don't think I've ever given a three to anything ever in this podcast yet. But I'm now fucking pissed off. I'm like, I don't understand. And production for letting him do that three just for letting anyone go. It's someone not going, what the fuck is this? We can't do this. We can't. You want to do glycerin, but you're not doing glycerin, you're doing. You're doing. I can't even say the word. I want to do version of grocerin, so I'm trying to be politically correct, but you understand what I'm trying to say. It's just. Yeah, I don't think I've ever given a song this lower score anywhere. And just. I don't understand. But this is. Again, this is why, I guess, a lot of reviews said that they missed the mark because, like you said, they want to sound different. Even though it. Even though 16 stones a loud record is still a very produced record. Just like never mind is a loud record, but it's a very produced record. And they both went in the same way. Nirvana went more stripped down, except their songs were still good. And here he went, stripped down and said, put a big middle finger up to. Everyone said, fuck you. This is what we're gonna do if you don't like it. And again, number one record, 3 million copies. I get it. Yeah, but there's a reason why you don't have this. The reason why you don't have this because you heard a couple of songs, and you know what? You weren't missing very much short of a couple of songs. And it was starting out okay. Mouth was all right. It was okay. They could have built on that. And then they just threw this in. [00:51:31] Speaker B: Yeah. [00:51:31] Speaker A: And I'm not. And I'm not mad about the violin because I thought he was playing okay at the beginning. Like, that stuff was on key and whatever, and then the middle just went. Went to all shit. So. Five, three, three. Go ahead. [00:51:45] Speaker B: I'm trying to think what I want to do here on the lyrics. I mean, the lyrics are. I'm going to say six on the lyrics. Again, I like some of the stuff he uses. I'm not gonna go three. I'm not gonna go that low. But because I really like the verses, I'm gonna say five, six. So, again, not necessarily something I'd go back to, but again, listen, I know what the Joshua tree. I said, oh, you know, I'm not gonna compare everything to itself. And again, maybe because I'm a YouTube fan and I can kind of really take things individually when it comes to them, or maybe I'm biased, whatever you want to call it. But here it's. I think in an album like this, you draw comparisons. And comparing it to some of the other stuff, I don't know. Again, it started off so well. I was excited in the beginning. I was like, oh, this is a pretty melody. Like, the riff is nice. The melody is nice. But then once it got to that second part, I'm like, okay. And then it went back. I'm like, okay. And then I went back. I'm like, okay. And then that violin part, that just. And again, I hate to say it, because ultimately, listen, as a songwriter and as a band and as whatever, especially Bush, because I mean, they're coming off massive success. Do what you want to do. I mean, I think that that's, you know, that that's what keeps you going, doing what you want to do. And I know. I mean, you don't always have to agree with, you know, with Larry when. And again, I sympathize here, because, again, we saw them live. He was great. They were great. But just this record. I don't know, man, so far. And I. And I said, when it came up, I'm like, ah, I got a bad taste in my mouth about this one, for some reason. I guess this is it. I mean, this. There's not a lot to hold on to. I mean, how many songs have we done so far? [00:53:30] Speaker A: This would be nine or eight songs out of 13. [00:53:33] Speaker B: So eight songs. So I think if you combine some bits and pieces, right, what would you say? Maybe you got a strong four songs, right. If you kind of throw the bits and pieces together of what's going on. [00:53:45] Speaker A: Maybe for me, greedy flies. Okay. Swallowed is okay, cold contagious is okay and mouth is okay. So that's four. You're right. Brought in the money from me. Four. [00:53:57] Speaker B: Yeah. And maybe if. Again, if you kind of take bits and pieces from whatever with other stuff that was like, okay. And. Okay. Hey, Mandev, again, I don't know. I mean, I. This album makes me super curious because now I want to read about it. I just want to see what mindset they were in. What was. You said he was going through a divorce, right? At this point. [00:54:17] Speaker A: Yeah. Or a breakup. Not a divorce breakup. [00:54:20] Speaker B: But again, it's not. It's not the lyrics. I don't have any issues with the lyrics. I think he phrases things well. He kind of. You know, he doesn't. He's not always on the mark, but you kind of get what he's talking about, which is cool. But I don't know, man. The music, it just. I just. Yeah. Just, again, I feel like there's. The songs were written very quickly. That's what it feels like to me. So. And there's bits and pieces and there's rush pieces and. Hey, we need a. We need another. The next piece and the next piece. And. Or take the piece from this. And so. And listen, I'm a jazz fan. Am I a free form jazz fan? Not necessarily, and maybe for the same reasons, but. [00:55:00] Speaker A: Yeah. Well, I can tell you right now that regardless, you can do whatever you want, but it doesn't mean anyone's gonna listen to it. And, you know, if you throw, like, obviously, he wanted this to be one. This be like glycerin, just not as good. It just ended up being what it is. Listen, one of my favorite bands in the world is an album that. The same problem happened. Right. You know what album I'm talking about? We haven't went over it yet, but you want to go over it. I hope we never get to that, because I just don't even want to hear that thing. But I understand. [00:55:30] Speaker B: It could be fun. [00:55:33] Speaker A: You know, it would be like this. I mean, I always can take pieces out of his stuff, the person I'm talking about, and say, okay, I can take that. But here, the. The redeeming qualities, to me, don't make up for the innovation that he's trying to do. And on that record, the same thing, too. It just doesn't make up for it. I mean, it's a fairly. A fairly good thing to compare it to, because there are. There are two or three songs I really do like on that other record, and then the rest of you just scratch your head and go, I don't. Someone let you do this? Someone didn't have whatever it was to say, hey, you can't do this. It just. It sounds like shit. Like, I understand what you're trying to do, trying to push the envelope, but if you shit the song, you take the song, you shit it away, then what did you. Who's gonna listen to it? [00:56:20] Speaker B: Yeah, well, I mean, listen, the album's still. I mean, obviously not as well as the first one, but I mean, I. My feeling is there's a story behind this. I could be wrong. I don't know what I feel as if it was. You guys need to make another record. You need to write this out. And who knows? Maybe. I mean, because by 96, right again, grunt was kind of dying already. And, you know, like, you read that this was considered one of the last grunt drug. I didn't. I never considered bush grunge, me, personally, and it isn't because they're not from Seattle. I mean, just because I just felt it wasn't that. But then again, grunge, whatever is alternative anyway, but I feel like that could be the story behind it. Like, listen, you guys need to. You need to ride this out. You need to make a record. Because again, if 94 to 96, when you start considering the tour and the release of the. Of the single, and then again, you might talk to Gavin. He's like, this is my. He could say, this is my favorite record. I mean, he said, personal holloway, I think, was one of his favorite songs of all time, like that he's ever written. But even that's what sounded a little bit PC. [00:57:27] Speaker A: Well, so a tendency to start fires, which is the song in the last episode we did that wasn't on the lp, could do the time constraint. This song, not on the lp, do the time constraint. So they're pulling the songs off. You know that. They know that. You know that one wouldn't fit on an actual record. Record like an lp, right? Because it's too. Even though they were still not making a lot of those back then, they were still doing it. So obviously there's, like, three songs, two on this side where they said, fuck it, these songs suck. Pull them off. [00:58:00] Speaker B: And that's the thing, right? You buy the album, you buy the vinyl, right? And someone's like, oh, hey, I. My favorite song is a tendency to star fires and straight, no chaser. I'm like, what? And they're like, let me listen to it. And you're like, uh, okay, I'm glad I bought the final. Yeah. [00:58:15] Speaker A: Because I'm not on here. All right, well, let's get to the next. [00:58:19] Speaker B: Yeah, let's progress here. [00:58:20] Speaker A: The next thing is called history. So here we go. [00:58:49] Speaker B: So, yeah, I'm gonna say that I'm actually. What you were saying about the drums in that other song. I'm hearing it. I'm really hearing it now. So I don't dislike the way the drums sound, but I can hear the fact that they're not as up in the mix. I think the recording. The sound of them is good, but into the production, I wish they were a little bit louder, and I think that they would help contribute to it and. But, I mean, what do you think so far? This intro? [00:59:19] Speaker A: I don't hate it. I think it could possibly be something. Okay, the question is, is he gonna fucking shank this? Too fucking. For the fucking fuck of it. Just. We're gonna shank this. We're just gonna. We're gonna throw this into the fire because we need to make it different, because we need to. And even if it's a good thing, we're just gonna throw it away. I don't know. Yes. The drums. The sound of the drums. Okay. But again, you hear how far away it sounds. [00:59:43] Speaker B: Yeah. I mean, I really hear it in this one. [00:59:45] Speaker A: It's not that it's not high in the mix. That's not what it is, is that there's a lot of room mic. There's a lot of room mic. So that mic is whatever. How far away it is in the room, right. Picking up all the, you know, distance. And generally, you know, you put mics on you. You mic them close, and then you have that far away mic and you mix that far away Mike in because it gives you a little bit of room space. Right. Makes the mix sound bigger. That's why, like, they took Jon Bonham and stuck him in a fucking stairwell. [01:00:13] Speaker B: Yeah. [01:00:14] Speaker A: Right. Because you get all that reverb and you have the close mics, and then you get the reverb and you get a big, gigantic sound. This kind of almost is the opposite. It makes it sound smaller. Yeah, because there's so much of it. Just too much of it. That's what it sounds like. But who knows? [01:00:29] Speaker B: Yeah. I mean, this, I was gonna say it doesn't sound as much as a riff to me, is like a bridge, a musical bridge. So I am curious to see where he's gonna take this melody and if he's just gonna follow what he's doing or if it's just gonna go into something completely different. [01:00:44] Speaker A: I don't know. But I'm hoping. I'm hoping. Listen, I don't want to hate. I don't want to hate this record. I don't want to have to give the next song the same thing that I did. That one. [01:00:55] Speaker B: Yeah. I don't want to hate any record. I mean, especially being musicians and the fact that, I mean, you know, we've. We've never sold a record. You always want to especially give respect to whatever, because, I mean, at the end of the day, right, no matter who you are and no matter how great we thought our songs were, right, we could have been on a podcast. Like, what the fuck? These guys suck. So it's like, ultimately, yeah, at the end of the day, it's really. It's a matter of opinion. But again, I mean, we're also coming from a place of, hey, you know, these guys have written some really good songs. But I don't know. This just. And it happens to everybody. Not everybody likes every album by every band or every song by every band. [01:01:34] Speaker A: This is almost doing it on purpose to say, fuck you, everybody. But I'm not sure. I mean, maybe you're right. Maybe it's because they didn't have a lot of time or I. Whatever. The kid or his. Her whole personal thing is messing up what's going on. I don't know, but. Well, let's see what he does. I'm. [01:01:49] Speaker B: There's a story behind this for sure. I'm sure. [01:01:52] Speaker A: I'm sure all right. Well, here we go. [01:02:07] Speaker C: Always a little late probably will. Probably won't get this disease cut out of my throat all of sudden come my way, baby believer I won't be saved by morning after history mountain mouth of our father history mountainous. Mouth of my father mouth of my father edge of my bed. [01:03:18] Speaker B: I like that music break, but honestly, I probably would never have gone to that part because I would have skipped this song already. Yeah, there's nothing there, man. I just think, honestly, I'd almost rather be an instrumental because I kind of like the music going on in the background. I do like the way the drums sound. But once he puts these melodies to it, man, there's just. There's nothing there. [01:03:44] Speaker A: The melodies aren't good. [01:03:45] Speaker B: No. And if you hear that noise that was me banging my fist on the table, there's nothing to hold on to. [01:03:52] Speaker A: You. The melodies aren't good. And that's really what the problem is. The melodies aren't good. And he's obviously capable of writing better. Absolutely. And whether this was rushed or whatever the reason was or, you know, again, I don't know what kind of producer Steve Albini is. I don't think he's like a take control kind of like, you can't do. He's not like Bob Edram would tell you, this thing sucks. Do it again. That's not him. I don't think. I don't think that's kind of producer. He is. Seemed like a super nice guy, and he. And like I said, the drums sound actually, these drums are better than the other one where they were really far away. So there's a little more. It's a little less room mic in this. It's. It still sounds a little, you know, it is. They're very dry, but, like, it's the. Of the time, they're super duper, duper dry. Like, I don't need, like gigantic, like, reverse reverb on the snares and stuff, but I'd like a little more. I'd like a little more reverb or something on it. Just that, like, make it a little more, like, peppy and not so super dry. Like, I can think. Like, what do I want to think of? Like, Eddie Kramer. I like the way he produces drums, but everything I've heard that he produces drum wise, I like. So his stuff is not super wet, but it's not super dry either. There's a little bit there. This is like, so dry. Like, like, so, so dry. It's just almost nothing. [01:05:21] Speaker B: I mean, again, I like. I do like the way they sound, but listen, they could sound like the best drums in the world. But it's not gonna help the song. I just. I feel like I've. I mean, what is this number eight, right. Nine. So I feel like I've heard this song. Maybe. I'm not gonna say nine times, but I probably heard at least five or six times already on this record. [01:05:46] Speaker A: The melody's the same and. No, I can tell you where it is. He seems to do this with his melodies. Nothing is wrong. I'm always a little late. That little. The way he breaks those things up. He does it a lot and he's done a lot on this record. Just too much. And again, you might be able to get away with that when your songs are a little bit better, because I'm sure he's done that on the other songs that we like from the first record that we. That we've played and that we saw him live and he was really good. You probably didn't hear very much from this record. Pretty positive. [01:06:26] Speaker B: I know. I'm wondering what we hear. I mean, swallow. I'm sure he played swallow. There's no way in hell he didn't place that song. I know he does a lot of coupling. Right? That's. He does a lot of that two line things. Even. Even in the first album, like when you start listening to the stuff that he's done, which is fun. I mean, again, listen, having a style. There's nothing wrong with having a style. But I mean, listen, I'm sure there's people out there who are like, my God, this album is great. It's. The first one is too. It's too polished, it's too poppy, it's too whatever this is like. And again, that's fine. I mean, if this is your sort of deal, that's cool. But again, I feel like if I want to go back and listen to this and I say to myself, well, I don't know, where do I go? Because if you're putting melodies in a song and they don't grab you, they may as well be instrumentals. [01:07:23] Speaker A: Yeah, well, let me read lyrics. Gave my love 2000 yesterdays nothing is wrong I am always a little late probably will probably won't get the. Get this disease cut out of my throat all of a sudden you come my way baby believer I won't be saved by the morning after struggling my name slave turned to master I like that line. History moans mouth of our father history moans mouth of my father mouth of my father so I think he's saying that, like, history repeats itself over and over. That's what supposedly this is about. The mouth of my father. History moans. Whatever. I mean, like I said, his lyrics are not bad. It's just his melodies on this record are just not really good and they're there. You're right. It could be the same song over and over and over and over and over. And that's okay. And a lot of bands get away with that. Like AC DC kind of gets away with that. But I don't know. I think the songs are just still better. The songs are just not good. [01:08:26] Speaker B: But that's what I'm saying. Like, in this case, like, they. They sound the same because they're. They all sound kind of incoherent. And again, listen, that's cool because I'm sure there's stuff that we listen to where people like, wait, there's nothing to really. There's no melody. There's no. But we kind of pick a melody. But here I really feel that he's just kind of singing. And I'll be honest with you, obviously, when they record it, they listen to it and go back. But I say to myself, it must be hard for you to kind of go back and sing what you just sang, because it's almost. You were just kind of winging it. It felt like. Right. So it's almost hard for me to even go back and say, how do you know what you just sang? Because it was like all over the place. So I don't know. [01:09:18] Speaker A: This is 437, so let's continue. [01:09:36] Speaker C: Morning fossil liars grinning shape from the shit we're in I leave you I found the perfect way to bring me down I won't be saved by all your yesterdays saw me on the lane history bones mouth of our father history moans mouth of our father mouth of our father mouth of our father mouth of our father mouth of my father mouth of my father. [01:11:11] Speaker B: I think there's some interesting stuff going on. Like even the second verse, like when you went back into it. I mean, musically, I'm finding this one now a little bit more interesting. But that's the thing. I think it's the music that's interesting, but not what he's singing. So I kind of give her. I assuming he probably wrote all this and whatever. So it is a little bit more interesting to me, I think. I don't know what you think. If you still. [01:11:37] Speaker A: I like that part over there. That part right where the. After the solo. I kind of like that. [01:11:42] Speaker B: Yeah. I mean, but even, like during the verse, when he was singing, I was. I like. I kind of stopped paying attention to the melody, and I was thinking, listen to the music that was going on. So I kind of. It is a little bit more interesting, but again, it's more in the music space than I feel as if the. The sloppiness of what was going on on the first side where people just coming in and out without any. Whatever. This kind of is fixing that. It sounds like planned, but well planned. And. Yeah, that last part too, I liked as well. [01:12:18] Speaker A: I don't know if it saves the song for me. [01:12:20] Speaker B: I don't know about saving this song. No, but I. If I listen to the song, I'd probably skip and go to the second version. You know what I mean? I wouldn't go to the beginning, but I might go to this verse and then whatever just happened now, well, here are. [01:12:35] Speaker A: Here are some lyrics. Edge of my bed benzedrine telephone struggling to speak sicker than the sickest dog falling faster than a liar's grin we need to be saved from the shit we're in I believe in you I have found the perfect way to bring me down and I guess this is chorus. I won't be saved by all of your yesterday's piss on my grave piss on the underlay history moans, mouth of our father history moans, mouth of our father mouth of our father mouth of our father mouth of my father mouth of my father and interspersed within all that is. It's the movement we're after. So whatever. [01:13:14] Speaker B: Benzodrine is a treatment for narcolepsy, mild depression. [01:13:18] Speaker A: You know why you need that? You know why you need benzene? Fucking sleep when you listen to this. So. So. So you don't fall asleep. You have some fucking benzodrine wakes you up. So you can try to figure out, am I in the first side or the second side? I don't know. All signs the fucking same. All the same melody, all the same. And again, he's. Maybe he needs that. [01:13:41] Speaker B: Yeah, I'm gonna buy this. [01:13:44] Speaker A: The problem is he. He's obviously capable of writing better, and he's good live, and they were good life. So, you know, I'm not slagging on them whatsoever. This is just not a good. [01:13:53] Speaker B: Oh, I want a good listen. I want every record we listen to to be a good record. Right. No matter who it is, man, from whatever you consider the cheat, let's say winger. If you consider. Oh, my God, winger. Cheese. Cheese. Cheat. Whatever the hell it is, man. Part of why we're doing this is again, like I always say, discovery and rediscovery. So I don't think any of us ever go into something. Well, I mean, yeah, if you've heard it a lot of times and, you know, you don't like it. I mean, obviously, I've said a few times songs that I've heard here. I mean, even on the Bon Jovi one run, where I'm like, I've never liked this song. Like, it's just something that hasn't. But especially when you don't know something, you kind of know the group and you're like, oh, well, I like this stuff. Hopefully this is good. You're like, wait, what? [01:14:41] Speaker A: Alrighty, so we still have a minute on this thing. Let's continue maybe to be a quick minute. Here we go. [01:15:43] Speaker B: Oh, my God. I was looking around the room. I was like, is somebody behind me? Is Mary beets here? [01:15:51] Speaker A: What the fuck? I just don't understand. I'm really. Seriously, I really. I really. I really. I don't know what I'm supposed to take out of that. Why? [01:16:02] Speaker B: Well, I told you they pushed him down the steps in the other song, right? And then Steve Albini's like, oh, shit, this guy's still on the fucking steps. Hold on, let me put a microphone as he coming. He's coming back up the steps. I'm just going to record it. [01:16:16] Speaker A: It's just. I. Was that really necessary? I'm just saying. Was it? [01:16:21] Speaker B: I was like, should I speak? Is he doing. Is Mark just throwing in, like, some. He found this violin thing and just. Is throwing it in there? Because when you said there's, like a minute left, I'm like, I don't think that was a minute. I was about to speak, and all of a sudden I heard that violin. I'm like. Like, my daughter played better than that the first day. [01:16:41] Speaker A: Well, obviously he can play. It's. It's just obviously, look at what he's done. Yeah, I just don't. I don't really. I don't know. Right. I mean, seriously, let me ask you. [01:16:54] Speaker B: This out of curiosity. Curiosity based on what we've heard so far, do you think that you could. That this ever could be an album where you're like, if I go back and listen to it two or three times, I'm gonna put this on and fucking listen to it? Do you ever think that you could. Anything would grow on you, or do you think it'd get worse? [01:17:14] Speaker A: I don't know if it would get worse. I would never put this on. I can listen to three or four songs. Literally three or four songs. They were in a mix. If this came on, is like, just this whole album came on as some kind of random thing. No. Fuck way. I just. It's just. And again, I want it to be good because I do like the first out. I like the first album. I just do not understand where or why it has to be pushed in this direction. I just don't understand that. And I don't. I just don't know what to. I don't know what to say. And, like, was, after what was going on, like, this song is better than straight no chaser, right? To me. [01:17:47] Speaker B: Yes. [01:17:48] Speaker A: But they fuck it up. Like, was that necessary? Did you need to put that, um. Did you need to put that thing in there? I don't really know why that need to be there. And why does it need to be so out? Why. Why can't he just be played? Well, see, here's where people who enjoyed eighties music, right when the nineties came in, they felt that the musicianship fell off, right? And I think in some ways they're correct. Now, the musicianship did go over the top, and there were some things that, you know, I didn't particularly like. Toward the end of the eighties, I was like, I'm glad this is changing, because I do like the nine these a lot. It's when it's like this. It's when. It's when this is what it is. I just. And there's good parts of this song, too. So I don't even know. I don't even know what I'm gonna do here. I'm gonna say five in the lyrics because I just don't know what to do. Musicianship, it's not a three, okay? But just for the fact that they stuck that fucking violin at the end of it, five. And then production, I like the way it sounds, but I'm gonna give it a six just because Steve Obi need to let him put the fucking violin there. And he didn't do his job to try to make this the best thing. He can make it, obviously. Again, I don't know what he. I'm going to say it again. I don't know what kind of producer he is, but what if he told. [01:19:01] Speaker B: Them to do it? Would you give the production at three? [01:19:05] Speaker A: What if Steve suggested I give it a fucking zero? Because there's no way you could say you're doing the right thing for them. And listen, maybe they're big enough. They were big enough at this point where he couldn't say anything like, you know, there are times when the artist is so big that you really can't tell them what to do, and you have to let them fall on their own sword. Right. Like you said, we talked during the week, people say that this is the way they wanted it. I'm gonna let them do the way they wanted it. But I think a good producer, and listen, I don't. Doesn't always have to be heavy handed. Listen, sometimes the heavy hand goes too far. Like Bob rock on the stuff after the black album. Right. It's too much. His hand is too heavy. And I think you can say that for. And you say that for Bob Ezrin, too, probably his hand can be a little bit too heavy, but sometimes when it. But sometimes when it works, the heavy handedness is necessary. Like, I think here you have how many songs? We said this is. This is 13 songs. Not much different than, you know, the user illusion. Things where you can probably get one good record out of those two albums put together. Right. I think you could combine these down, and maybe if you had a producer who was a little more hands on, trying to guide them in a direction to try to make this what it is. And again, my opinion is that they wanted this to be this way. They wanted it to be more raw. But in that way of doing that, their song suffered somehow because the songs. This could be raw, but the songs just aren't good. They're. They just. They seem to meander around. They seem to not get to the point, this is a little bit better. I would not listen. I mean, I'm not putting this on. I'm not picking this song out. I mean, there are a couple of musical things that I like in here, but as an overall song, is this something I'm gonna put in? Put on? No. Nope, nope. All right. You can go rant over, I hope, for the rest of the album, but I doubt. Go ahead. [01:20:55] Speaker B: Yeah, I know. At this point, I mean, lyrically, I'm gonna say five, I guess. I don't think it's as good as the other ones. What, do I get the last one? A five on music? [01:21:06] Speaker A: Yes, you did. [01:21:08] Speaker B: We got to start doing halves, man. It's like, when you go to rate movies on, like, IMDb or whatever, there's no half. Like, when you look at the scores, it's like 7.17.2. But you can't. You know what I mean? They started dividing, like, just give us a half. Sometimes you don't want that next number, and you don't want the below number, right? You just want that middle thing. I'm going to say six on the music, only based on the fact that I think, like I said, there was something interesting going on. Second verse. That chorus thing was kind of cool. I know that there's that stupid piece at the end, but I bet you at that point, people probably skipped to the next song and didn't even hear that. I mean, if you like the song, it's not gonna bother you. If you don't like the song, it's gonna make it even worse, I think. And the production, I'll say is six. I mean, I do like the way the drums sound. And again, I don't think it's badly produced, and I don't think the lyrics are bad. I just think, again, there's not much melody to hold on to, to any of these songs. I mean, that's it. That's it. They're almost not songs. They're like pieces and bits that were all thrown together. Again, it could be, I mean, you know, fly on the wall. Well, I can't. Obviously, we're not a fly. Would love to be a fly on the wall in this thing. Just see what. What was going on. But this is either so purposely done this way where it's like, I don't want. I don't want those catchy things, and I don't want this. I don't want that. Or it's just like, you got to put the shit together. You know, you need. You need another, you know, another 16 stone. He's like, but I need time. You know, I need time to write stuff like that. No, no, no. You got to do it. You got to do it. All right, well, here, maybe here's swallowed. Okay. Yeah, that's catchy. Great. And, you know, as long as, you know, maybe you got one hit, you start kind of building from that. So. But, yeah, I'm. This is actually one of the albums I'm most curious about, to know what happened behind the scenes, to see what happened here. [01:23:07] Speaker A: All right, well, here's another song that was left off the vinyl, so I can't. I don't have much. [01:23:11] Speaker B: Wow. [01:23:12] Speaker A: Fate that this thing is going to be any good just because. Why would they. If it was a good song, they wouldn't. They would have taken one of the other ones off that suck and put this one on. [01:23:21] Speaker B: So vinyl was only ten songs? [01:23:23] Speaker A: Yes. [01:23:23] Speaker B: There wasn't, like, something. Okay. Where they kind of substituted or. [01:23:27] Speaker A: No, they ran out of space because the vinyl can't hold that much and they weren't going to put a double album out because no one was buying vinyl then, right? So they weren't going to do that. So here we go. Synapse. [01:23:56] Speaker C: I don't mind this barefoot just a skin full what we choose to forget all signs crossing from your hand yeah, right outside nothing more I can do I haven't done again I've been wanting nothing taking a cue from seven days I bet you never listen burning, holding all your clothes. [01:25:40] Speaker B: I like the chorus. [01:25:43] Speaker A: Is that the chorus? That's not the chorus. I don't know what the fuck that is. [01:25:46] Speaker B: Hell is where the heart is oh, that part. I mean, it's got something memorable underneath it. I'm not crazy about the verse, but I do like the chorus. I mean, I think there's a memorable riff there, at least. There's like, banana. [01:26:03] Speaker A: If I brought a song that was two chords like that to you, you would go, what is that? No, that's like when you first learn how to play guitar. That's what you do. You write two chords. Oh, yeah, we can write a song like that. And again, another one of the criticisms of nineties or grunge movement is the lack of musicianship. And again, it doesn't have to be. Nothing has to be complicated to be great. But that's just kind of like. I don't know, I have issue with just the two chord thing like that the melody is the same again. [01:26:40] Speaker B: Yeah, that's what I was gonna say. I think that's that. I mean, listen, no matter how simple the riff is or how complicated the riff is, it's just. I mean, the verses are so forgettable. I mean, I, like I said, I do like the chorus. I like the way the chorus is produced. It comes in pretty well. And I like that little. But, you know, getting to there. [01:27:03] Speaker A: Yeah. Well, verse one is. I don't mind this barefoot again. Just a skinful. What we choose to forget thinking, you know, thinking, you see all sides casting a stone from your hand. Yeah, right. Now, come on. That's kind of lazy, don't you think? And that lazy writing right there. [01:27:26] Speaker B: Yeah. [01:27:27] Speaker A: You couldn't figure out something to come out that. Yeah, right. That's what you use. Come on. He writes better lyrics than this. Again. And then this, I guess, is the chorus. Hell is where the heart is. Synapse again. Nothing more I can do, I haven't done. Again. And then they go into. I guess that. Are they going back into the verse? But it's heavy this time. Only worded, nothing wrong. Taking a cue from seven days, I bet you listen. Burning holes in all your clothes yeah. [01:27:54] Speaker B: I don't know what that. Because it doesn't really sound. It's. It's. I think it's better than the other verses. And maybe only because it's kind of keeping the little bit of the heaviness. [01:28:03] Speaker A: Underneath it, I guess. I don't know. Again, you know, some of this is a little bit lazy. I mean, at least he hasn't been doing a lot of repeating of words of lines over and over time. [01:28:18] Speaker B: I mean, you know, mouth of our fathers. Mouth and mouth of our fathers. Right. I mean, there's two, like, there's a lot of mouth on this side. [01:28:27] Speaker A: And all the wrong ways, too. [01:28:29] Speaker B: Yeah. [01:28:30] Speaker A: All right, here we go. [01:28:56] Speaker C: Favorite ways you can hate hell is where the heart is nothing more I could do I haven't done again I haven't done again I've never wanted nothing taking a cute better day I bet you never glisten burning, holding on your clothes burning, holding all your. [01:30:08] Speaker B: Again I do like the chorus. I really like that. I mean, that's like a good riff, right? And just the song around it, though, I'm just waiting for that part and I don't really want to hear. And then again, some of that stuff that's like that one guitar thing. Like, I'm thinking to myself, let's say you and I. Let's say we're in the studio, right? And I'm playing a rhythm track, let's just say. And all of a sudden, like, you're playing a rhythm track. And I started doing some of this shit and like, what the fuck you doing? Stop. What are you doing there? Right? I mean, it's. But it's there. It's. It's. It's on purpose. I mean, clearly these cannot all. We've commented on this so much at this point that that's got to be hard to remember, too, though, if you're trying to play this shit live. Oh, wait, what did I do? I remember doing that. Yeah, basically. [01:31:01] Speaker A: Yeah. Well, I mean. And it has to be all out of tune and out of key and just for. Just for shits, just because. [01:31:09] Speaker B: I guess I do really like this chorus, honestly, this is probably my favorite. [01:31:13] Speaker A: I agree. [01:31:13] Speaker B: Chorus, at least on this side. And honestly, at this point, it could be the whole album, because I really don't remember a lot from the first side. [01:31:21] Speaker A: Swallowed. [01:31:22] Speaker B: Yeah, I mean, that's catchy. But I think this one is more interesting, right? Because it's just. It's an actual riff. Swallowed is just kind of a melody. Yeah, this is more like Bangdan, you know, something to kind of. Oh, that's cool. Sounding like you can build a song around that. [01:31:37] Speaker A: Yeah. And then there's that part that's after the chorus. That's. I don't know what that pope's chorus, I guess you call it. Or pre verse or whatever it is. [01:31:44] Speaker B: Yeah. [01:31:44] Speaker A: So, okay, so here is the. I guess that's the bridge. Or I will post. Pre court, postcore. I don't know what this is. Razor blade suitcase. And there's the title of the album. [01:31:56] Speaker B: Yeah, they said it came from one of the songs. [01:31:58] Speaker A: Of all the tricks of the trade favorite ways you can lose favorite ways you can hate and then chorus and then that part, I guess that's, again, the post chorus. Only worded nothing wrong taking a cue for better days I bet you'd never glisten burning holes in all your clothes burning holes in all your clothes hey, listen, at least he only says it twice. [01:32:19] Speaker B: I was waiting for him to keep going. Yeah, it really was. I was like, he's going to keep going. [01:32:26] Speaker A: You have a minute and 15 seconds. So let's see. Here we go. I backed it up a little bit. [01:33:44] Speaker B: Can I speak or is there gonna be a violin? [01:33:49] Speaker A: Thank God there's no violin in this one. The chorus. [01:33:52] Speaker B: I'm glad they ended with the chorus. Yeah, it's a very good chorus. It's probably my favorite chorus on the record, I think, from what I remember, again, I mean, obviously swallowed. I remembered. I don't remember anything else. [01:34:04] Speaker A: I mean, this is a long fucking record where we still got three more songs to go. [01:34:08] Speaker B: Ah. I'm gonna say a five on the lyrics. See, music is hard because I think the chorus is great. I don't think the rest of the song is great. So again, to throw a bone, I'll say a six on the music. But honestly, that six is pretty much four for the chorus or maybe five for the chorus and one for the song. But at this point, I just wanna, you know, give him something. Production is fine. I don't think it's great, honestly, I don't. There's nothing distinguishing, but I'll stay. Sex on production. What do you think? [01:34:43] Speaker A: Yeah, I mean, I think they should have cut a different song and not. And not this song. They should have cut straight notes. What they did, they did cut straight. No chaser. They could get rid of history. Really. Technically, yeah. So five on lyrics. Not that bad musicianship. Again, I agree with you, six, but it's mostly the chorus that's making it six and then production six. [01:35:05] Speaker C: Yeah. [01:35:05] Speaker A: You know, it's okay. I think he's produced better stuff on this. I think on the first side, we get way better production numbers. This side is kind of slipping into the sixes where it was sevens last time, so. Okay. So in the effort to move this along, the next song is called communicator. [01:35:56] Speaker C: Somewhere, sometime all things will be fine and never seems to start. [01:37:04] Speaker B: I mean, again, there could be something interesting. It's obviously repetitive. I kind of like what the guitar was doing in the beginning, playing over it, but as of right now, it's not going anywhere. So I'm kind of waiting. I'm not going to be completely judgmental until it develops. I mean, it seems like pretty much that one that we said was glycerin was really the one that really went nowhere. The other ones at least kind of go somewhere, whether or not we like where they go. So I'm holding back right now. What do you think? [01:37:41] Speaker A: Yeah, I mean, I don't have a problem with what they're trying to do. I did like the guitar part over his little guitar riff. It's just very repetitive, which is not always a bad thing. But I kind of think that we really. I would like the chorus of them in stronger, of course. Not very strong. [01:37:59] Speaker B: Yeah. Is it that wife thing? [01:38:01] Speaker A: Yeah, that's the chorus. It's not strong at all. I was hoping we, like, build into something and then come back down. See, I think that's really what the problem is, the dynamics. Not great that it should go in. If you're gonna do a verse like this, which, the way this is, it has to go to somewhere and then come back, and that's not happening. [01:38:21] Speaker B: I mean, if this song stays this way, some little scores here, it's gonna. [01:38:27] Speaker A: Be a long 23 seconds. [01:38:30] Speaker B: Oh, my God. Is it really for. Well, you know, again, I'm not. Like I said, I'm holding back judgment, because they do seem to take songs somewhere again, whether or not we like where they go, they do kind of go somewhere, so I won't really pass big judgment. [01:38:47] Speaker A: Well, here. Lyrics. Somewhere, sometime all things will be fine and it never seems to stop and then choruses. Wonder if I've met my wife okay. [01:38:58] Speaker B: At least you don't have to do a lot for lyrics, eh? [01:39:01] Speaker A: No, it's pretty much the same thing over and over. But here we go. Here's the rest. [01:39:07] Speaker C: Somewhere sometimes and it never seems enough splinter left, focus right, focus right, never drown. [01:40:40] Speaker B: I had a feeling if there. [01:40:43] Speaker A: Was a big chorus there, that part where it stopped, then the big chorus would come in. [01:40:48] Speaker B: But I had a feeling, though. I mean, here's the deal. You know what I hear when I hear a song like this? Imagine the doors doing a song like this, right? And keeping it kind of in this mellow thing, but just hearing Jim Morrison's voice and probably hearing some cool things going on on the keyboard or guitar. Right? That's who I envision, kind of having a song like this, but just where we be like, oh, this is fucking great. As opposed to. [01:41:19] Speaker A: Yeah, it would be a better song, though. That's the difference. [01:41:22] Speaker B: Yeah, but again, whatever, write what you want, you know? We're just a bunch of fucking knuckleheads who, uh. So I bet you they never played this online. Probably. [01:41:33] Speaker A: No. [01:41:34] Speaker B: Unless, like, listen, if anybody needs to go to the bathroom, now is the time we're gonna play communicator. [01:41:40] Speaker A: Yeah, go, um. Go get some beer. [01:41:42] Speaker B: Yeah, exactly. [01:41:43] Speaker A: Come back. Um. All right. So somewhere, sometime, all things will be fine and it never seems enough wonder if I've met my wife splinter left. Focus right. Focus right. And then this really weird bridge thing. The mortal soils around me mortal feeling I have found surrounded by your glory hold me now so that I never drown I mean, there's some interesting lyrics, but it's just. They're surrounded in shitty melodies and shitty songs. [01:42:12] Speaker B: I mean, that's very boring. There's just no change. [01:42:17] Speaker A: Well, that's the problem. Yes. Well, there is a change in the chorus, but it's just not great. [01:42:21] Speaker B: Oh, is there? Yeah, I guess so. [01:42:22] Speaker A: Yeah, that's the only place. And that little bridge thing. But, I mean, that only happens one time. All right, let's continue. Here we go. [01:42:53] Speaker C: Man. And my wife. Splinter left. Focus right, focus right. [01:43:39] Speaker B: I was waiting for a ten. I was like, please don't tell me the song is, like, six minutes. And all of a sudden, they get into this crescendo at the end. I'm like, it's not gonna happen. [01:43:48] Speaker A: The end part there. I like that little guitar thing. I wish that would have kept going and that they could have done and expanded on that, but they just cut it off, and it's just. It's a very boring song. There could be better pieces to it, I guess. I'm gonna go first. [01:44:04] Speaker B: Okay. [01:44:05] Speaker A: I mean, there's some. There's some interesting lyrics there for musicianship, for. I mean, there's some parts I like, but nothing that saves the song for me. And production, I don't think production is bad. Five I guess, again, if you're just a glorified engineer and you're not putting any input into this, then I guess that's what it is. But, you know, you would hope that someone would have said that these things are just not good and that, you know, maybe we need to revisit this or change them around or try to make them a little bit better, because there are some pieces that could be good. There are parts of that song that could be okay, but they just. They just mired in just a boring thing and. Or they're slapped together and they don't exactly fit together or whatever. All right, go ahead. [01:44:51] Speaker B: I mean, I like that line about the mortal soil, but the rest of it is just, you know, I'm sure there's meaning there. But, I mean, I give in his other stuff. So in comparison, I'm gonna say three on the lyrics, four on the music. And, yeah, production's fine. I'm gonna say six in the production. I mean, there's nothing wrong with it. And again, I mean, listen, this song is probably where it should be as far as track listing. So it just, again, it's. These things aren't going anywhere there. And even when they do, they go into kind of, like, these weird places. And that song, well, maybe it doesn't. [01:45:27] Speaker A: Get worse than that. So the next song is bone driven. Here we go. [01:45:49] Speaker C: With just a wish away. 27th lesson, match my line. Be clever, say you will. Never mind. Up and up, up and wide bound driven, bound driven. See, we're taking our life. [01:46:46] Speaker B: I like that violin. [01:46:48] Speaker A: Oh, wow. Because it was in key. The cello was in key. [01:46:51] Speaker B: Whatever the fuck. Yeah, I mean. I mean, again, it kind of reminds me of, like, a glycerin, but it's a mix of, like, the song before and glycerin kind of. And I'm kind of curious to see where it goes. But to put something so similar to the one before, that's another thing to track listing. It's like, wait, didn't I. Didn't you just play this song? [01:47:14] Speaker A: I know. Well, I mean, some of the words are okay. Like, I like some of this stuff, so. [01:47:19] Speaker B: Yeah, I mean, listen, lyrically, I think lyrics are the best part so far. And the product, again, like we've said, the production is not bad. It's not a bad sounding record. [01:47:30] Speaker A: No, I agree. Well, here are the verses. We're just a wish away. 27th letter. Well, obviously there is no 27th letter, so whatever you're wishing for, you can't have because there is no 27th letter. Much maligned beat me. Clever. Say you will. Never mind. Open up, open wide bone driven bone driven see, we're taking all the life. Now, I'm curious if they get into the next chorus, if they distort it, or they just going to continue with the clean guitar. I mean, he does that a lot, and it starts to get a little repetitive just because he does that all the time. Like, it feels like all the songs start the same way. [01:48:13] Speaker B: Yeah, yeah. They start the same way and then the same. Maybe not the same key, but the same area of the guitar. Right. It's kind of like that higher, kind of middle higher part. You know what I mean? So, yeah. [01:48:31] Speaker A: All right, let's continue. Let's hope it's possibly could get better. It's not horrible right the moment. So you'll see he's already had a bad track record of not making it better. So. [01:48:41] Speaker B: Yeah. [01:48:42] Speaker A: All right, here we go. [01:48:51] Speaker C: Where all confusion where all the rage isolated, crowded out all that's left inside. [01:49:13] Speaker A: Out. [01:49:19] Speaker C: Heaven knows and walks away heaven knows and walks walks by driven, bond driven see, we're taking a look bound driven bound driven I was wrong and I will wait I was wrong and I will wait I was wrong and I will I will wait. [01:50:14] Speaker B: Well, it's nice if they gave the drummer some time off. It's like, wait, do I come in for bone driven? No, no, no. What about that other one? A communicator? No, no. Okay, okay. [01:50:30] Speaker A: Only in the chorus. You come in the chorus, then you're never playing the rest. The song. Oh, okay. [01:50:36] Speaker B: Well, yeah, I guess he was doing some. Some. What do you call it? In that one? But I mean, this one is more of an attempt at glycerin than the other one was, that's for sure. [01:50:46] Speaker A: Well, here's my problem with this, is that I could hear what I wanted to do, and it doesn't do it. Like, the first two lines should have been clean, then it should have gotten dirty, the band should have came in, and the chorus should have been heavy, and then it should have came back. The problem is there's no dynamic. It's just very. Again, it's not as good as glycerin. So that's a problem. And it just doesn't. And not that the cello and the violet are bad, just. They're not really adding anything to this, short of just being there to make it different than two of the three of the other songs on this record that start. That are just like this. [01:51:24] Speaker B: Yeah. I mean, I do like what they're doing, but again, not enough to. [01:51:30] Speaker A: Save it. [01:51:31] Speaker B: Like. Yeah, I'll go back to it. [01:51:34] Speaker A: Yeah. [01:51:35] Speaker B: I mean, you have that other song that went nowhere and you got this one. I mean, again, I like the strings and stuff, but just like. [01:51:46] Speaker A: Yeah, but still not going anywhere, though. [01:51:50] Speaker B: Bone driven sounds like a rocking title. Doesn't it, though? Like, that's what I was expecting, especially after communicator. And I was just thinking, like, bone driven? [01:52:01] Speaker A: Yeah. You know, they're not really using what they could use to make this more dynamic. And there's no drums and it just doesn't. There's nowhere for it to go. It's just meanders in the middle and, you know, I'm not a big fan of this. Like, at least I can say, at least the cello and the violin are in key this time, so that's good. [01:52:25] Speaker B: Yeah. I mean, I think the melody overall is better, but as a song, the. [01:52:31] Speaker A: Little guitar riff is good. That he's playing over the verses is good. It's just. But it doesn't lead to anything. [01:52:37] Speaker B: Yeah. [01:52:39] Speaker A: So here are lyrics to all pollutants shave your face we're all confusion we're all the rage isolate crowded out all that's left inside out pre chorus heaven knows who walks away heaven known who walks bone driven bone driven see, we're taking all the light bone driven bone driven see, we're taking all the light and then there's a bridge I was, I was wrong and I will wait I was wrong and I will wait I was wrong and I will, I will I will wait now he's back to his repeating things. [01:53:10] Speaker B: Yeah, he definitely does a lot of that. [01:53:14] Speaker A: Okay, here we go. [01:53:15] Speaker C: Verse 3000 lamps wildlife dark. [01:54:01] Speaker A: Rest of. [01:54:02] Speaker C: Our lives might have already passed Rivenenhouse bound driven we're taking our life we're taking our life. [01:55:02] Speaker B: Another odd ending. But I'm telling you what, though, like, if. Yeah, that was another weird ending. And when I heard that part at the end, I'm like, oh, man, is there more to this song? Are they gonna do it now? Because, I mean, whatever it is, I'm glad that it's. Oh, I mean, listen, if I had to rank the songs, this would probably be in the top five because I do like the string arrangement and whatever. But again, it's just not as memorable as seven. And not that glycerin is necessarily my favorite song. You know what I mean? From that record, I do think that it bears a lot of similarities to with or without you, for me personally. But it's still a solid song. You know what I mean, kind of straight through. [01:55:52] Speaker A: Yeah. [01:55:53] Speaker B: This one, I think if it wasn't for the strings, it wouldn't be. [01:55:57] Speaker A: Oh, no. I mean, listen, it could have been much better. And I just. I mean, it's not my favorite strings are nice. I was surprised there was some kind of string break in the middle. I was. Didn't expect that to happen. Well, I'm gonna read you verse three, and then we can rate it. So a thousand lamps won't lift the dark rest of our lives might have already passed and then back to the bone driven thing again. It just. It feels just like it could be a better song. There's a good song in here. It's just not realized. Okay, I'm gonna say. I mean, there are some interesting lyrics and stuff here, so I'm going to give that a five. Musicianship. I mean, obviously the strings in the cello are good. I mean, there's a good riff there, but there's something just missing. So where do. I'm going to have to push it onto production, because that's a production choice. However they decide to do this, even though it sounds fine, if I'm going to have to knock it down somewhere, it's going to have to be in production, because, you know, musicianship, I think they did a good job. It's just. Doesn't go anywhere. It's just. Maybe we need, like, another rating for song structure, and we need to add another column in here. [01:57:14] Speaker B: Arrangement. [01:57:16] Speaker A: Yeah, arrangement or something. Whatever. But it's just not really. Whatever I'm gonna say. I'm gonna say six on the music, because I think it's played well. Just. There's a better song here that can't be. That's not pulled out of this. And production, this is where I have to, like, I guess, knock it just because of where it goes and how it goes. So I'm gonna give it a four. Not because it sounds bad, but because I have no other place to knock it. Because really, they could have made this much better song if someone would have sat down and tried to figure out where the parts are and maybe put some drums in it, I don't know, and bass and something else besides cello and violin. And, I mean, not that that's bad, but that could been. That could have been done a little bit better, too, and mixed in a little bit better. And because it almost overwhelms the chorus so much. [01:58:02] Speaker B: Mmm. [01:58:03] Speaker A: Because there's nothing else going on. It's like. It's overpowering. It's played well, but it's overpowering what do you think? [01:58:10] Speaker B: Yeah, I'll say five on the lyrics. Probably say five on the music. I mean, I do like the. The strings and stuff, but again, I. Once the song was over, I didn't. It didn't leave an impact. I said, oh, you know, this is nice. But again, when it was over, I'm like, okay, cool. Next song production, I'll see six. I mean, it's. It's fine. I mean, for what it is, I think it sounds. Well, you know, there's. It sounds good, but again, I don't. You know, I don't know. I mean, is this side worse than the first? I guess. Is it getting lower ratings? Yeah. [01:58:47] Speaker A: Yes, yes. [01:58:49] Speaker B: But not by much though, right? It's not. [01:58:51] Speaker A: The first side didn't get great ratings. So this is even worse than the first side of it is worse. Alright, so the last one is distant voices. Now, after 516, there's a hidden track called whatever history. Reprise. Remember history? There's a reprise. So this is a six minute and 39 2nd song. But 516 is distant voices. So I'll try to stop it around there so then we can like, you know, get ready for the second part. I don't think we should rate. We're not gonna really. I mean, we could rate that part if you want. It's up to you. Let's see what it is before we decide what we're gonna do. All right, here we go. Distant voices. [02:00:12] Speaker C: Get away cause all there is is fading fast today maybe you sleep well in your head bring on the night and the cold moon but instead. Cause I'm gonna find my way to the sun if I destroy myself. [02:01:04] Speaker B: There'S like a little bit. You too? Ii I think I hear in there, but again, the melody is. I mean, the verse wasn't that bad, but I guess one of that comes into the other part. I don't know if it's considered a chorus or not. [02:01:15] Speaker A: I don't know. [02:01:16] Speaker B: It's just. [02:01:18] Speaker A: I mean, again, I think there is possibly a good song here. Yeah, it's just needed a little work. Needs more time to figure out what's going on. [02:01:27] Speaker B: Yep. [02:01:29] Speaker A: So I guess this is verse. I never thought I'd get away because all there is is fading fast today maybe you sleep well in your head bring on the night let the cold moon burn instead I mean, I don't think those are bad words. [02:01:44] Speaker B: No, I mean, again, I think lyrically the lyrics are definitely better than the music. And I think that's been, you know, if you got shitty lyrics and crappy music. Like, whatever. But then when you get stuff that's like, oh, some of this is deep. And the way he presents things are cool, but the stuff around it isn't felt. It just kind of makes it worse. [02:02:05] Speaker A: I know. And then next part is. Cause I'm gonna find my way to the sun if I destroy myself. So he's gonna elaborate on this a little bit, but here's, I guess, the next verse. Here we go. [02:02:28] Speaker C: Swallowing heaven die real hard and the cups you walk cannot conceal the scars beneath the magic of her lace are a thousand lonely faces she completes cause I'm gonna find my way to the sun destroy myself I can't shine I gotta fight my way to the sun when I destroy myself I can shine on destiny shine, shine. [02:04:06] Speaker B: What do you think of that? [02:04:07] Speaker A: Um, I thought the chorus was better. I mean, it's a little more. Like I said, it's a little more like a real song. I don't know. There was that big, gigantic break between the verse and the chorus, like, extra long. I mean, I don't know if that needed to be there. I don't think it. I don't think it made the impact the way he thought the impact was going to make it. I just don't. I don't think it made the impact. I think it would have been better if it came in faster. It's just too long of a break. And it just felt a little weird. I don't know. My brain is hearing certain things that it's not coming out with, so. [02:04:44] Speaker B: Yeah, they got that loud fuzz guitar going on in the back. [02:04:47] Speaker A: Right. [02:04:47] Speaker B: I'm like. I'm wondering if that's gonna kind of, like, come in heavier, but it doesn't. [02:04:51] Speaker A: Yeah, I mean, the idea is almost right. The idea is almost right. [02:04:56] Speaker B: Yeah. I mean, overall, it's not bad. [02:04:59] Speaker A: I like the drum sound. I think it's the. I think it's the best drum sound of the whole thing, personally. [02:05:04] Speaker B: Yeah. I mean. I mean, honestly, I've been. I've been digging the drums, so, again, production, to me, is not an issue. I don't think it's that. It's just the writing itself. [02:05:14] Speaker A: Well, do you know, it just seems. [02:05:15] Speaker B: Like he's running out of ideas. [02:05:17] Speaker A: Do you want to hear lyrics? [02:05:19] Speaker B: Sure. [02:05:21] Speaker A: So. Swallowing habits die real hard and the coat she wore could not conceal the scars beneath the magic of her lace are a thousand lonely faces she can't place so that's really good. I think that's really good. And then the chorus is. Because I'm gonna find my way to the sun if I destroy myself I can shine on I'm gonna find my way to the sun when I destroy myself I can shine on shine, shine, shine so again, I think there is a good song here. I think it's just. It's hampered by either not enough time to work on it or wanting it to be less than what the other thing was. I don't know what the. Like I said, I wonder what the backstory is. Is it just time? Is it just time that he couldn't do it? Oh, is it part of the breakup he didn't want to do it? Is it because, you know, they were pushing him to do it? Like. I don't know. We're at 307, so we have about two minutes and 15 seconds before the hidden track. So here we go. [02:06:43] Speaker C: Stationary westway, running from you true self destructive things we found a way to keep the gift that mains. [02:07:08] Speaker B: Cause I'm. [02:07:08] Speaker C: Gonna find my way to the side of me if I destroy myself I can't move on I'm gonna find my way right now I'm gonna find my way to the sun if I destroy myself I can't shine on shin. [02:08:26] Speaker B: That's one, right? [02:08:28] Speaker A: Yeah, that's the end of that. So I think we need to go over this before we hit the extra track, which we'll probably read, I guess. So what do you think about that? [02:08:43] Speaker B: I mean, I guess it's more interesting, but again, it just doesn't really do anything for me. Kind of. It's not necessarily a song that I'll go back to, but I think it is a little bit more interesting sonically. I know it's hard, right? Because it's like, again, there's some good stuff here and there, and there's probably a good ep in here. That's what I think to myself. Not necessarily a full album, but. But an ep, I think maybe, like, bringing together some of the ideas where it's cohesive and some of the parts that don't make sense would. One song might make sense with some other songs. And so, I don't know. What do you think? [02:09:29] Speaker A: Well, you gotta give him numbers. [02:09:31] Speaker B: Oh, I'm giving numbers. Yeah. I was like, is he asking for numbers or we're gonna do it all? I mean, lyrics are fine. I'll say five on the lyrics. Music. I want to say six, but I don't know that I can. I'm gonna say five and production is six. What do you think? [02:09:52] Speaker A: I think if they use the third chorus as all the choruses, that would have been better. I like the little guitar part that has a little tremolo on it. You hear, like, little tremolo shimmery thing that's going on. So some of that is actually good. I think there's a song here. If someone could have just tightened it up, it's my opinion. So, yeah, I'm gonna give. I think I like the lyrics better than the last song, so I'm gonna give it six. I think there's some interesting stuff here. Melodies are a little bit better. I mean, good for them for ending it a little bit stronger. It could have been way worse. Six on the music and. Yeah, I'm say seven on the production. Like I said, I think that this is the one of the most cohesive on the side. It could have been better if it was tightened up a little bit. It could have been way better. I understand they're trying to do. The first chorus had no distortion. The second course had a little bit of distortion. The third one, they built it up. I think that lessened the impact of the chorus. And that they should have came in full bore with the way it was in the third one right after. Because then it would. It would. Then when they would have had something really heavy and something really hard, and then they would have dropped it out. Right. And came back to the verse. Yeah, but, you know, they were trying to build it, but I don't think it did what their intention was. I think it just. It didn't make it as good as it could have been, so there is a good song here. It just needed some tender loving care to bring out. And again, I want it to be good. I don't want to slag things, you know? But, you know, I. I'm also not gonna say I like it when I don't like it, so. All right, so here is the hidden track. Here we go. This is whatever. Reprise. Whatever history. Reprise. Sorry. Here we go. Well, there you go. [02:12:10] Speaker B: That was it. [02:12:11] Speaker A: That was it. We're not gonna do anything? [02:12:14] Speaker B: I was liking that. [02:12:16] Speaker A: I was gonna say that was one of the better things on the record. How scary is that? [02:12:21] Speaker B: Oh, my God. I was actually. I was like, wait, what's the beginning? I was like, okay, where's this going? I was like, okay, I'm liking this. I was like, if he doesn't fuck it up, you know, nice, good melody and whatever. [02:12:30] Speaker A: Yeah. Wow. [02:12:32] Speaker B: No, you can't even rate that right? What are you gonna rate on that? [02:12:34] Speaker A: No, I'm not gonna rate that. We're not going to anyway. [02:12:37] Speaker B: Triple tens. [02:12:38] Speaker A: Triple tens. [02:12:40] Speaker B: That'll be the song that makes it to our playlist. [02:12:44] Speaker A: Obviously, this is a reason why I didn't have this album, luckily. I mean, it is discovery and sort of rediscovery because I know some of the songs of. But first side definitely was better than the second side. Generally, they got sixes and sevens, and on the second side, there were fives and sixes and four. So second side wasn't as good as the first. We didn't like it as much, and we didn't like the first side that much. [02:13:12] Speaker B: Yeah, it's a little disappoint. Like I said, I had a bad going into this. I'm like, hmm. But you know what? It could be one of those records. I mean, like I said, my son's gotten into Weezer lately. And when the second album came out, I'm like, eh. But I never really, really give it a chance. I'm, like, going back and listening to it now. I'm like, oh, you know what? The songs aren't as bad. I mean, the production's pretty cool. The drums are just so loud and up in your face. And so I was like, all right, you know, just see how this goes. [02:13:41] Speaker A: And it goes wrong places. I don't think it's as bad as some of the reviewers saying, you know, like we said, beginning. Oh, they get one because they spelled their name right on the album. I think it's probably a three or four. There's a couple of good songs on the first side. [02:13:56] Speaker B: The reviews are so mixed, though. I was reading, too, like, as you were going through, like, on Reddit, I mean, somebody's like, this is better than the first one. This is one of their best albums. Other People like, you know, Sophomore Slump. [02:14:08] Speaker A: And, well, that first guy, whatever, he's smoking, I want some. Cause there's no way this is better than the other. I'm sorry. You could. You may. Maybe you're a Bush fan and maybe you. You know, again, if we ever get kissed, there are probably people going to be saying I'm fucking crazy because I like certain things and I think it's really good. But even the worst Kiss stuff is, I'm sorry to say, it's not as bad as this. This is just. There's some bad things, and I don't hate it, and I want it to be good. And there are places where if someone worked on the songs, I think they could have been way better. They needed to be less. Songs didn't need to be this long. [02:14:47] Speaker B: Yeah. [02:14:48] Speaker A: And it needed to be tightened up a little bit. Maybe you could have had, like, a decent side. Right? And maybe second side could have a couple things on it. And it just. It was. It was probably on purposely. If it was on purpose, it was stupid to do that. If it was, you know, if you would take. If you were following the nirvana thing. Oh, like, we like the way in utero sounded, so we got Steve Albini to record this because we liked the way it sounded. We're gonna do what they did. Like, our first one was more polished. Now we're gonna do this. Unfortunately, the songs are just not good. And doesn't matter what the production is and what you were trying to do, either you didn't have enough time or you were pushed into it, or the breakup with your girlfriend caused you not to be able to do this, or whatever the case may be. It just is not a very good record. Is it a one? No, it's not a one. But I could see where you would say it's a three or four because it has pieces that you would like, but it just can't get to where it needs to be. [02:15:42] Speaker B: Yeah. I mean, I don't know that I give it. Yeah. Not a one, but, yeah, maybe three or four. [02:15:47] Speaker A: I mean, what did our totals come out to? Let's see. [02:15:50] Speaker B: I was gonna say how many songs made the list on this? [02:15:54] Speaker A: Three. [02:15:55] Speaker B: Yeah. [02:15:56] Speaker A: Yeah. [02:15:57] Speaker B: It's, like, one of the worst ones since, like, the Eagles, which was shocking as well. I never expected that one to go. Maybe more than this. I mean, again, like, we talked about it when we did the CCR record, right. And then finding the gems, and we didn't know we found it on them, but not on that one. [02:16:15] Speaker A: I mean, we rated this a six overall. [02:16:18] Speaker B: Did we really? Wow. [02:16:20] Speaker A: I think it's very generous, though. [02:16:22] Speaker B: Well, I think a lot of the lyrics and production had to do with it. Right. That's really. I bet you if you take that out of the mix, it probably won't be. It'll be. Yeah. [02:16:33] Speaker A: And listen, I don't want to talk ill the dead, obviously still that Steve Albini's not with us anymore. But, you know, unfortunately, some of this falls on him as the producer, because if you're not trying to help the songs become better, maybe he did. If they. He did. God knows what they sounded like before, but if they didn't, you know, then you're just a glorified engineer. Right, at that point, because if you're not, you know, trying to put your foot down a little bit. And saying, this is really not that good. Maybe he didn't. They said, fuck you. It's our record. We're gonna do what we want. He's like, okay, I don't know the backstory, but whatever it is, it didn't really. I don't think it came out the way anyone wanted it to come out. But again, number one, right? So who are we? And 3 million copies. But like we did say before, I think it had to do. I think it rode on the coattails of the other album. Did you ever look to see if any of those songs were in billboard? No, I forgot to do that in 1996. [02:17:28] Speaker B: Let me see. So I'm trying to think of it because I think everything. Zen was the first big one because like I said, everyone's like, oh, my God. He says, asshole, brother. That's so cool. I just remember that. [02:17:41] Speaker A: Yeah, I don't think so. From what I can say. I don't think it was. But. But it still could be riding on that anyway. [02:17:46] Speaker B: Yeah, I mean, think about it, right? I mean, I think it said, too that they, they didn't start the tour for that album until 97. Yeah, I think that's what I had read. So, I mean, if that was the case, again, they were still flying high on. So machine head. Yeah. According to this, machine head was released February of 96. Swallowed was November of 96. [02:18:12] Speaker A: Well, but it says machine head from fear. So was it in a movie? Maybe? [02:18:18] Speaker B: I don't know. I mean, not the list that I'm looking at. [02:18:20] Speaker A: Yeah, maybe that's what it was. Hold on. I'll tell you right now. Hold on, everybody, please, um, for a second while I look at what's going on. Hold on. [02:18:32] Speaker B: Yeah, but I. Listen, I've got glycerin, November of 95. Right? [02:18:36] Speaker A: Which makes sense. [02:18:37] Speaker B: Yeah, but I'm saying that's a year, right? A year before swallowed comes out. [02:18:42] Speaker A: Well, but look at this. It reached number 43 on the Hot 100 in May 4 of 96. It reached number four on both Billboard modern rock and mainstream rock. And then it was nominated for best video from a film from the 1996 MTV Video Musical Music Awards, but lost. And best song for. But it did win best song from a movie at the 1996 MTV. So they were riding on 16 stone styles. That's why it was number one. And that's why I throw. Sold 3 million copies. [02:19:13] Speaker B: Well, I think the next one sold a million copies too, though. I think that one went platinum as well. The one after this. [02:19:20] Speaker A: I have no idea what that sounds like. I don't know anything from that, I don't think. [02:19:23] Speaker B: No. I don't know why the chemicals between us was a big hit, but I don't remember specifically. They probably played it live when we went to go see them. [02:19:31] Speaker A: It's kind of funny. They said that there was purported similarities between the Bandstand and Nirvana's, which I agree, there is something. There is some overlap there, so I agree, too. Yeah. So obviously we were right. There were some singles still in the charts. [02:19:45] Speaker B: Yep. [02:19:46] Speaker A: And then maybe the record was pushed. You got to get this out. I mean, it's kind of crazy, though, if you still have 16 stone stuff in the charts and you're trying to get these things out right away. Maybe, you know, maybe it's all those things altogether. You know, they just made this not become a really great record, but again, it was still number one and still stole 3 million. [02:20:05] Speaker B: But because, I mean, at that point, they still had to be on tour. Right. I mean, I guess this sounds to me like it was written on the tour or like the ideas were started on the tour, and then it kind of never got. Because. Again, because. Yeah, because they got this big, you know, you got massive hit. Rock hit. Machina was a. Was a. Was a big hit. [02:20:24] Speaker A: Yeah. [02:20:24] Speaker B: And again, they're touring and all of a sudden, because I almost want to say, when swallowed came out, I was like, wait, what the hell is this? You know what I mean? I was like, is this new? Is this. [02:20:35] Speaker A: Yep. Well, anyway, that's the end of that. So next week, we are going to be doing our two year anniversary. [02:20:44] Speaker B: Yes. [02:20:45] Speaker A: Can you believe that? Two years. That's crazy. [02:20:47] Speaker B: How much has changed in two years? Not much. [02:20:51] Speaker A: Well, no, I think we're a little bit better than we were at the beginning, so that's good. [02:20:55] Speaker B: Yeah. Yeah, hopefully memorials, you guys. Fuck the fight, guys. You suck here. I like you. Back in the old days, we liked your. Bring back Steve. [02:21:05] Speaker A: Bring back Steve. Oh, and before we go. [02:21:08] Speaker B: Yes, yes. [02:21:09] Speaker A: Steve got a shout out from Kyle Anderson on Twitter. He said that one positive of this is hearing Steve read the lyrics to social disease from the. From the first Bon Jovi. [02:21:21] Speaker B: Yeah, I absolutely agree with you. I absolutely agree. [02:21:25] Speaker A: Yeah, that was. That was a highlight of stem cells disease. So shout out to Kyle Anderson, who obviously, he's. He's a big Steve fan. [02:21:34] Speaker B: Yeah, hopefully. Hopefully we can get a. We can get the whole band back together for. For the two year. [02:21:39] Speaker A: Yeah, well, we'll see. We see what we can do. But here's for Steve since he's not here. [02:21:43] Speaker C: Stephen behave yourself, Stephen. [02:21:46] Speaker A: Behave yourself. There you go, Steve. All right, sav, do your thing. [02:21:51] Speaker B: So, we are part of the deep dive podcast network again. Like I always say, great bunch of guys who took us in right away. If you want more individualized podcasts about bands that you love, rock bands like Rush again, shout out to our boys at Rush Rest, Judas Priest podcast, and you name it. Your I, heap, Tom Petty, Zeppelin, Queen. It's gonna be on there, so check them out. And, Mark, where can they find us on the interwebs? [02:22:16] Speaker A: Rock roulette pod on all the social media. Rock roulettepodcast.com dot. We have our new bets form up on the website. If you want to submit something for the wheel, please do it over there. And then, you know, if. If one of the guys doesn't have a song already, we're gonna spin the wheel like we did this week. And when we got. So, what did we get again? Crossbone, Scully. Check them out. They're very AC DC ish sounding. The drummer looks like he wears makeup. Like, kiss makeup, white face with, like, stuff. [02:22:50] Speaker B: Yes. [02:22:51] Speaker A: Interesting. So I'm curious to. I think we're gonna throw this ep on here just so we can hear the rest of it. So. Because, like I said, I mean, it is very AC DC, but it was played very well. Maybe the rest of it doesn't sound exactly like that, but we won't know that until if it comes up. So it's gonna go on the list. [02:23:09] Speaker B: Yeah, definitely. So, anyway, another one in the book. So what is this episode 104. [02:23:17] Speaker A: 103. 103. Oh, and please give us ratings wherever you rate your podcast, please. And put us on auto download, because that helps us move up in the rankings. So we appreciate everyone who's listening. [02:23:32] Speaker B: So anybody who likes this album better, I mean, anyone who, you know, is like, hey, this album is great. You guys are stupid, or you just. You didn't get the point. Shout it out. Maybe. Maybe we're missing something. Maybe. Again, like I always say, sometimes when you listen in this format, it's better and it's worse. Right? Sometimes if you don't digest a song from beginning to end, it doesn't have the same impact. And sometimes, you know, there's the. The parts are greater than the song. So give it a shout out. Tell us why it's good and why we, uh. We missed the boat. [02:24:02] Speaker A: So, yeah, I mean, I'm sure there are people who like this. [02:24:04] Speaker B: Absolutely. [02:24:05] Speaker A: I wouldn't. I wouldn't doubt that. I mean, it's not really. It really wasn't like, I said I want to like it. And I wanted it to be better. It just for me. Wasn't that great? All right. We will see you next week. [02:24:17] Speaker B: Yeah. Ciao. Ciao. Later.