Episode 109 - Danzig - Danzig III: How the Gods Kill - Part 2

[00:00:00] Speaker A: Hey, everybody. Welcome back to another episode of Rock Roulette podcast. That's right, the crazy. This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement, and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now onto the rock Roulette podcast, how the gods kill, which I pretty much enjoy. I mean, I think it's straight ahead, just kind of like, I guess you could call it metal, hard rock, metal, you know, nothing fancy, schmancy, whatever. But I think some pretty solid riffs. And you know, Glenn Dadzig, if you know him, you know what he sounds like. And obviously, there's definitely some. Some Morrison comparisons. And there's gonna be a ballad on this side which mark. I don't think Mark really knows his. Glenn's real soft side. [00:01:44] Speaker B: I have no clue. [00:01:45] Speaker A: You're gonna hear it. You're gonna hear it tonight, so that's for sure. You might be a little shocked. It's like, well, I don't know. He rose stuff like this. [00:01:52] Speaker B: I have no idea he had ballads of any kind, so he's a little shot. [00:01:56] Speaker A: Yeah. Typically he has some power ballads, like tired of being alive, going down to die with her, but then he's got stuff like blood and tears that are just really straight up, you know, pretty balanced. So. Yeah. What do you think so far? [00:02:12] Speaker B: It's straight ahead, I guess. I call it metal, sort of. Yeah, it's metal. It's hard rock metal. I mean, it's. I think it's more to the metal side than hard rock side. [00:02:19] Speaker A: Yeah, I mean, you know, I like the production. I think the production's been good. The riffs have been pretty solid. And again, if. If you kind of listen to them, you know, what. What to expect. So just pretty much straight up simple riffs, but, you know, played heavily played. Well, nothing major going on, but, um, you know, still pretty cool. [00:02:42] Speaker B: Yeah, it's. It's a solid. It's a solid album. I mean, like, listen, I've heard stuff from him before, prior. Yeah, I don't follow him very often, but, I mean, I know who he is. I know the bands that he was in before, you know, I knew he was in the misfits. Sam Hayne. I'm not sure if I did or not, but I knew it. Knew he was in the misfits. And, you know, when you say he has battle, I'm like, wow, I wouldn't expect that out of him. Yeah, I'm just curious to see what that's like. [00:03:04] Speaker A: You probably won't expect this kind of ballad, I think, either. So, I mean, we'll see. Okay, we'll see what you think. It's up tonight, so nice. But obviously before we get into that, we'd like to do the new segment, which we call new bets. And Mark, you said you're going to choose tonight. I think I know what you're going to choose. What I'm not going to say. [00:03:24] Speaker B: Okay, well, you probably have an idea. So in a world where new music is not easy to find, welcome to new bats. I didn't want the wheel to not pick this song before it, since it's very controversial right at the moment. So I figure we have to do this now and get it out of the way and get it off the new bets wheel. That way we can continue on our whole situation. So it's Linkin park, the emptiness machine. I've been on a Linkin park like thing, and I don't. I don't have a big, like thing for Linkin park. Like, I remember when they came out, obviously, I know Chester Bennington. To me at the beginning, there was. There was just more of. I don't know, it was the rock rap thing. And that point, I really wasn't into that at that point that much. I do have a. I do have a guilty pleasure limp Bizkit thing that I have going on, but I didn't really listen to Lincoln Park. A lot of me, I knew songs. I've heard songs, I saw videos. I knew stuff. [00:04:33] Speaker A: Yeah, well, I mean, you could avoid them if you listen to rock, right? I mean, they were pretty popular. [00:04:37] Speaker B: He was a great singer, so. But I know there's lots of controversy on whether they should continue with Linkin park name or change it, and I'm of the opinion that they should have kept the Linkin park name. There are other bands that, you know, singers have died or band members have died, and they've continued and some haven't continued. Like we said, led Zeppelin didn't continue. Right? AC DC continued. [00:05:00] Speaker A: Yeah, you got a new segment. [00:05:01] Speaker B: The who continued. Can you think anymore in excess? Sort of continued. Stps continued. Alison chains continued. Doors continued for a little bit, right? Yeah. Queen. [00:05:13] Speaker A: Yeah. They made at least two more albums, I think. [00:05:16] Speaker B: Queen. So it's not unprecedented for that to happen. But I know, you know, if you were a certain age when this came out, if you were a teenager when you just came out, you know, this would be the equivalent of, I don't know, like, Van Halen changing singers, like, when that happened, except no one died. But it's just, just as bad because you went from one guy that everybody loves, right, to another guy. And some Van Halen fans can't handle that. I was always fine with the switch. Um, but I know some, some people can't. So I know there's this part of the fan base from Linkin park doesn't particularly like, um, the new singer. I personally think that they were smart to get a girl. I think it takes a lot of the. I mean, she's gonna get backlash no matter what. [00:05:57] Speaker A: Yeah. No matter who you put in there. [00:05:59] Speaker B: If it was a guy, though, I think it'd been worse. What do you think? [00:06:02] Speaker A: Yeah, I mean, obviously he had a high voice, a very distinct voice. I'm nothing. Again, I'm not opposed to it, so I don't sit there saying, oh, my God. But again, listen, you and I went to go see the, the best of both worlds on, right? Was that it? Or the best of all worlds? [00:06:19] Speaker B: What was the best of all worlds? [00:06:22] Speaker A: Yeah. So, I mean, listen, they put on a great show, but of course people are going to complain and say, well, this isn't Van Halen. I mean, they never came out to say so. And I understand they're saying, well, you know, this is, they are saying is Linkin park. But I'm not sitting there saying, well, they never should have. They never should have done this or me. I'm kind of, like, in the waiting. Like, I've heard this song once. I'm always gonna listen to it. Now, again, I'll try to kind of really focus on it. So. But again, no matter, no matter who it is, no matter what happens, I mean, you and I were even speaking about the u two thing at the sphere, right? Obviously, Larry couldn't play. His drum tech was playing. I didn't really read about it because I was like, okay. Like, he's, he's okay with it. You know, he was at. I don't know if he was at all the shows. I'm pretty sure he was at the last show for sure. But I'm sure if I read into it, people would be, there's, there's going to be complaints about it. Well, you shouldn't do it. If he can't do it, you should wait, so listen, people have a right to their. Their opinion. I think it's. It's a matter of how you voice your opinion and what. What you're saying exactly that that's really what. What matters. I don't. I don't think you have to agree with something, but you also don't have to come out with pitchforks and torches. Hey, listen, people are going to the shows, right? [00:07:44] Speaker B: That's what I was gonna say. A lot of people going to shows. [00:07:47] Speaker A: Yeah. They're getting support. And again, just like we spoke about the kids thing, and, you know, obviously you're a very big fan. You know, I consider myself a fan. Not a massive fan, but still, I mean, to me personally, once the makeup, the people under the makeup changed and it was as if it didn't matter, I'm like, no, I don't know. It just kind of mattered to me. So. I know it mattered to you, but that's how you. You do your thing, right? You don't go see them. [00:08:15] Speaker B: No. [00:08:16] Speaker A: So that's it. If you don't like it, obviously. [00:08:19] Speaker B: I mean, from what I've seen, like, the shows that I've seen online, I mean, looks like they're very well attended. Looks like they're sold out. I think she's doing a good job. Her voice is not the same as his. They've actually had to raise the key of songs because she's a girl. And, you know, no matter how high Chester Bennington's voice is, he's not a woman's voice. So they had to actually raise the key because it was too low for her. I think it's certain things is still too low for her because it's just the way this. I thought she's done a good job again. I don't have a dog in the fight, right? Like, I wasn't a teenager when Lincoln park came out. So if you were a teenager, then, like, this could either be good or either you're, like, really happy. Like, it's seven years. Like, they're celebrating his life, technically, right? I think the new song, like, that's where her. That's where her wheelhouse is gonna be, right? She's trying. She even said she's gonna try to do, you know, do him proud because, you know, she knows there's a lot of eyes on her, you know? And the Linkin park fans are rabid, just like, you know, any big band who's been around. I mean, they've been around for 25 years or almost. So, I mean, I went back and listened to, like, some hybrid theory and a little bit of meteora just to kind of, like, give myself an idea. But what I've kind of noticed is that the rap. Rap thing went away fairly quick. It seems like, like, first couple records, and then it started to become more rock and more whatever this is right now, because this. There's. There's no rap in this song at all. [00:09:38] Speaker A: Yeah. [00:09:40] Speaker B: No, but I think it's very good. I think it's written well. I think she can sing. I listened to some of her soul, her stuff in dead Sarah. I thought she did good in there. I don't know if you listen to anything that I sent you from that. [00:09:50] Speaker A: I haven't listened to her. Now, the separate. [00:09:53] Speaker B: I think you'd like her. I think you'd like the band, actually. It's a very raw alternative. Grunge. You want to be grungy? And, hey, listen, Chester Bennington had the same problem. He took over an STP, and people weren't happy about that. I thought he did a great job. Now, I don't know if you've seen any of that stuff with him. [00:10:10] Speaker A: I haven't. Okay. I actually forgot about that from what. [00:10:14] Speaker B: I saw, you know, he tried to do the inflections and stuff with Scott Wylanous and stuff, and I know he was a big fan of there, so I know he got a little bit of flack. I remember him getting flak, like, why are they putting him in here? Who's he to be taking over the play? You know, so you're never going to make anyone happy to me since I don't have a dog in the fight for Linkin Park. I think they're doing a great job. I think, you know, there's people in the band that still want to play. Why should they change their name? He wasn't the only guy. Yes, he was a major part, and he wrote and he sang and. But, you know, they're not really replacing him again. What are you gonna do? Just change and make. And make a different name and then start from scratch again? I don't think they would do that, and that's not fair to the other people who were still here. You know, it's different than, you know, the kiss situation where people are still alive. You know, I wouldn't. Would I assume AC DC is gonna change their name? They just started to get big, right? They're gonna change their name because he overdosed or whatever, you know what I mean? And he's dead now, and they have to get a new singer. I mean, should they change their whole name because he's not around anymore? That's not really fair to them, either. [00:11:18] Speaker A: Like I said, if people. If you don't like it, you protest by not going to see it. You protest by not downloading the songs and just say, you know what? I don't want. I don't want. This is not. I don't want to hear this. Or, you know, again, you got. You got your right to complain and you got your right to, you know what? I'm okay with this. So. [00:11:37] Speaker B: Yeah, well, I'm okay with it. I like it. I like it a lot. I've heard the song literally, like, I don't know. Since I went down the rabbit hole, I've listened to the song probably, like, other people's reaction just to see what other Linkin park people say, right? Or people who are familiar more than I am with them. And I think the one thing I've taken away from listening to some stuff and watching some stuff is that they separated themselves because their songwriting is pretty much better than all the other bands that were in their genre at that time. I think that's really what it ends up being. And that's why they've lasted this long. That's why they have such a big, rabid fan base. And let's be realistic, they waited seven years to do this, or six years or whatever it was, right? So they waited a long time. Would AC DC wait? They didn't wait very long. Wouldn't Metallica wait when after their bass player got killed, the Cliff Burton died? They had. They were on playing a show a month later with a new bass player. So they've, I think, held out as long as they can hold out. I mean, they still want to play and the fans still want to hear them. So, you know, you're taking this as 2.0 and you're not going to forget what Chester Bennington did. But, you know, you got to give this girl a chance. I think she can sing. She's. And she's. She's doing good from what I can gather. You know, take your emotion out of it and is she good? And she's good. And again, the girl thing to me is really the good change, because any guy that you put in there, the backlash would have been so much worse because, oh, you know, if they went out like journey did and went to get a Chester Bantin sound alike, that would have been bad. Yeah, I think so. All right, well, let's do this. This is, like, only your second time hearing this. I must have heard this, like, 25 times already. And the only one thing that really bugs me and this is just because I'm a guitar player. No guitar solos in anything. And that's going back to their early stuff. And I saw one guy online, he's a guitar player guy, and he liked the song. He's like, but, you know, if you're gonna change it up, they added guitar solo here or there. Like, they don't really do that at all, at any of their stuff. Really very little. Anyway, from what I've heard, is that it's not part of their thing. Yeah, no, I mean, I, there's one or two, but it's very, it's very, it's very not really what they do. I would, I would like them to add that now. I don't know what's gonna be the rest of the album that's gonna be out in November. So I'm sure they're probably at least. [00:13:53] Speaker A: One or two more songs before then. [00:13:55] Speaker B: So maybe. Or they're gonna just hold it off, man, and get the anticipation and don't release anything until then. [00:14:01] Speaker A: Are they playing any new stuff live other than this one that you've seen? [00:14:03] Speaker B: No. [00:14:04] Speaker A: No. [00:14:05] Speaker B: Okay, so, I mean, they're playing, like, over 2 hours. They're playing a lot of songs. [00:14:09] Speaker A: Yeah, well, they've got a lot of music out there. [00:14:10] Speaker B: Yeah. Yeah. And I didn't realize how many songs I knew until after the fact. Like, oh, yeah, I know this, oh, yeah, I know this song. Oh, yeah, I know. Yeah. [00:14:17] Speaker A: Well, even, like, my wife one time was like, oh, did you? They, um, who was it? Um, the girl from Lizzie Hale. And is it Amy Lee? [00:14:27] Speaker B: The one from Evanescent evidence. Evanescence. [00:14:29] Speaker A: Evanescence. [00:14:30] Speaker B: Yes. [00:14:31] Speaker A: Yes. They did a song and she's like, oh, you gotta hear it. That's why, you know, the song by Lincoln park was like, oh, I don't know this song. She goes, I bet you know this song. I said, I don't know the title. And, like, as soon as she plays like, oh, okay. Forgot what song it was now. But, yeah, that was good, too. [00:14:46] Speaker B: Yeah. Hey, listen, they're talented guys. I mean, I mean, I watched them back behind the scenes stuff and how they wrote and how they did things and, you know, it wouldn't be the way we would do it. I mean, they take it from a totally different angle. Their angle is more put the things together. Right. As opposed to, like, play a song through, he said, I forget what record they were doing, where they. They were showing. They did a little bit of together. And that really doesn't work for them that well. Like, people come with pieces and parts. [00:15:13] Speaker A: Yeah. [00:15:14] Speaker B: And like, put it all together. It's as opposed to someone coming it. Sometimes it comes a complete song, but it's very rare, it seems like. Again, I don't know everything about them. All I know is some of the stuff that I've been watching. Because, you know, you watch one Lincoln park video now you get every Lincoln park video in the world comes on. So I see lots of stuff that I wouldn't have seen. [00:15:29] Speaker A: Yeah, I do enjoy getting some shit. My feed too. [00:15:33] Speaker B: Yeah, of course. All right, so here we go. So this is the emptiness machine. [00:15:44] Speaker A: Your. [00:15:44] Speaker C: Blades are sharpened with precision precision splashing. [00:15:50] Speaker A: Your favorite point of view I know. [00:15:55] Speaker C: You'Re waiting in the distance just like you always do just like you always. [00:16:04] Speaker A: Do already pulling me in already under. [00:16:09] Speaker C: My skin and I know exactly how this ends I. [00:16:14] Speaker B: Before we go any further, what do you think of that? I think the melody's good. I know he doesn't do a lot of that kind of singing. Maybe he's. And I think it was a good choice for him to come off the bat and not her to come off the bat. [00:16:24] Speaker A: Mm hmm. It's fine. [00:16:27] Speaker B: Yeah, I like it. I've heard it enough times now where I have a definite opinion. And I. I generally think I know things are good. When I hear somebody sing, and I get, like, the hairs on my arm stand, I'm like, okay, that's. That's really good. And, yeah, and when I've heard stuff that she's done, the older stuff and hidden the stuff, they're definitely two different voices, and they definitely sing different. They scream different, they sound different. So no one should be worried that, you know, they cut. He's coming in, she's coming in. Trying to do an impression because that's not what she's doing at all. But, yeah, see, this, to me, this is. See, we would never write something like this because we're more of a band kind of thing. And you can hear like, I don't know if that's drum machine. It feels like drum machine at the beginning. [00:17:05] Speaker A: Yeah, it does. Unless it's like, drums with some heavy effects on it. That's definitely what it sounds like. [00:17:10] Speaker B: Yeah. I just. [00:17:12] Speaker A: My only complaint is that he's very monotonous. That would be. And so it's not a bad melody, but it's very, like, I don't know. I feel like he's holding back. [00:17:20] Speaker B: He's not that much of a singer. [00:17:21] Speaker A: All of a sudden. He's not. It's not like he's off key or anything. [00:17:23] Speaker B: No, he's good. He's good. Yeah. I mean, you know, I think at the beginning, his stuff was more the rap stuff. Right. And that's kind of what he like. His raps are very eighties inspired rap to me, from what I heard it. And, and it was very similar to lots of other stuff that was out at that time. I don't know if they were the first, but they were. They were one of the guys that, you know, took the new metal stuff and do detune stuff and put rat some rap stuff in it. So, you know, I mean, I think that's really more his wheelhouse, for what it's worth, man. [00:17:52] Speaker A: I think we grew up with some, some people around their old neighborhood with one of the first. [00:17:56] Speaker B: Ah, yep. And that's on our list too, by the way. [00:17:59] Speaker A: Yeah. May not mention names until it comes up, but that was way before they were ahead of their time. We were like, what the hell is this rapid rock? [00:18:09] Speaker B: I remember when it came, I'm like, what the hell is going on here? [00:18:11] Speaker A: Yeah, that's cool. [00:18:13] Speaker B: It was after the Aerosmith and run DMC stuff, so there was precedent prior. [00:18:18] Speaker A: Yeah, but that's. [00:18:19] Speaker B: Their stuff was heavier, though. [00:18:21] Speaker A: Oh, yeah. I mean, listen, anthrax, you could say too, right? I mean, I'm the man, so, you know, they also did the public enemy song of public enemy, but I think that may have been after that, at that point. [00:18:32] Speaker B: Yeah. And I kind of think that, um. I think they said that that was some, some of that stuff was the, the anthrax stuff. And the public enemy stuff was really. That was part of inspiration for Lincoln park, too, just because, you know, it's a time frame. Right. So. All right, let's continue. Here we go. [00:18:49] Speaker C: Let you cut me open just to watch me bleed gave up who I am for who you wanted me to be don't know why I'm hoping for what I won't receive falling for the promise of the emptiness machine. [00:19:22] Speaker B: Right before she comes into one another thing. Since, like, I'm kind of like, just discovering a bunch of this stuff that's stuff they do all the time. Like the. Cause I know it's down tune, drop, d. And then they like, do those. The guitar part there is the octave. So they're doing the oct, following the chords. And they do that a lot. And that's similar to a lot of. A bunch of new metal stuff does that, too. So I like it. [00:19:45] Speaker A: Well, I mean, this. I mean, this completely fits in with what's going on now. I mean. [00:19:50] Speaker B: Mm hmm. Well, no, yeah, but the tone is better, though. See, it's not as some of the. Some of the. Some of the new guitar tone is not as good as this. This is more of an older, school style guitar tone. It's not as. It's not as scooped out. It's not as Sammy Samey as all the stuff that's happening right now. If you really listen to it, it's not. There's a little more mid range in it. It's. It's a little different. [00:20:12] Speaker A: I mean, listen, I'm not trying to knock it, because I do like some of the stuff out there. My only complaint most of the times is with some of the production. [00:20:20] Speaker B: Yeah. [00:20:20] Speaker A: I mean, it's not even the songwriting. It's just a production. So, yeah, this sounds. I mean, this sounds a little bit. A little bit clearer, I think. [00:20:28] Speaker B: And what he does is he. He gave you a little bit. The beginning. They don't really. They start building it. They start adding pieces to it. So the drums are like that, either that, you know, really eq thing where it's really, you know, small, and then they just keep adding things so it keeps getting bigger, which is. Which is a good thing. They don't come right out of the gate and hit you right out in the face. Right out the gate. [00:20:49] Speaker A: Yeah, but they've. They've. They've always been very good at doing that head building. I mean, when you think about songs. I mean, one of my favorite songs of all time is shadow of the day by them. I mean, like, all time. Not just, like, in part, but just, like, all time. And, I mean, that song just builds and builds and builds. I mean. I mean, it's just, like, such an incredible song, and it's so simple in a sense, but it's just a really, really good. [00:21:10] Speaker B: Yeah. I don't think their stuff's very complicated. Guitar parts are definitely not. It is what it is. But I do like the octave thing. I like how they use the two guitar thing to do that. So instead of just playing the chord, playing that octave thing gives it a little more. Gives a little more space, I think, as opposed to just playing the chord. You know what I mean? Yeah. Just playing the heavy guitar. All right, here we go. Let's finish it up. [00:21:35] Speaker C: We lose. Cause there's a fire under the altar I keep on lying too I keep on lying too already pulling me in already under my skin and I know exactly how this ends I let you cut me open just to watch me play gave up who I am for who you wanted me to be don't know why I open what I always say falling for the promise of the emptiness machine. [00:22:23] Speaker A: I only wanted to be part of something I only wanted to. [00:22:30] Speaker B: Be part of part of I only. [00:22:35] Speaker C: Wanted to be part of something I only wanted to be part of part of I only wanted to be part of something I only wanted to be part of that y'all got me open just to watch me play gave up who I am for who you wanted me to be don't know why I'm so fucking I am falling for the promise of the emptiness machine the emptiness machine I only wanted to be empty I only wanted the emptiness for ten. [00:23:30] Speaker B: A little bit better this time it's okay. [00:23:35] Speaker A: I mean, I don't know. I just have to say. And again, this has nothing to do with. Because, believe you me, I really don't. I mean, I hear, I hear. What's the word I'm looking for? I'm trying to end up shadows, maybe shadows of them. So it isn't something that's far fetched or, you know, I mean, I was like, oh, wow, this doesn't sound anything. Which is. But I just think it's okay. I don't think it's bad. I'm not sitting here going, oh, my God. What the hell? Linkin park. What the. But it just. It doesn't have that oomph for me. [00:24:08] Speaker B: I could use a. I think her voice does fit. It does fit. [00:24:12] Speaker A: Oh, yeah. It fits with the song, I mean, well. [00:24:14] Speaker B: And I think the more you hear the new stuff, maybe it'll be easier for everyone to kind of, like, do that. I mean, this. Listen, they're gonna be the people who don't want it, right? And. And this. This is maybe not for them. So, you know, I mean, I could say that it's brought me a little bit around, right? Like, I'm not a big, gigantic linkin park fan, but I'll go listen to new stuff now. I'll go listen to older stuff now just because of this. [00:24:35] Speaker A: I think it. To me, it's one of those things where, oh, Lincoln park has a new song out there. When you sing, I'm like, okay, let me listen to it. I'm like, okay. Like, okay. I don't know. Like, I don't know if I'm expecting more. And again, it's not a bad song. It just doesn't bowl me over, you know? It doesn't. I don't know. It just. I mean, listen, I think the drums sound better than a lot of the stuff, that's for sure. I definitely. I'll give them credit for that. I mean, overall, the production is pretty decent. I mean, actually, I think it would. I think I'd like it better if it was a little bit heavier, if there was a little bit more lower end to the song. I think it. To me, it needs a little bit more of that. But again, I don't dislike it. I'm just. It still hasn't hit me, you know what I mean? Where it's like, oh, yeah. And who knows? I mean, you know, I'm sure I'll listen to it again and maybe more listeners will be like, all right. Yeah, it's kind of grown on me more and more. That's. I can imagine that happening. [00:25:31] Speaker B: Yeah. [00:25:32] Speaker A: But. [00:25:32] Speaker B: Well, the more I listen to it, the more I like it, the more I think. I think is written very well. [00:25:36] Speaker A: Listen, it's bringing you into a band that you probably you of what you weren't familiar with, and maybe it's kind of opening you up to, you know, going back. I do like some of this stuff. And who knows? Maybe when they album comes out, I mean, obviously it's gonna be in our list. Who knows? Maybe if we can get everybody together when it comes out, we can run an audible and just go straight through it. [00:25:57] Speaker B: That's a good idea, too. You know, I don't want to go over lyrics in this thing. I mean, I have my ideas about what the lyrics are in this thing or what they're trying to say. [00:26:04] Speaker A: I'm trying to listen. [00:26:06] Speaker B: Yeah. I mean, you can take it a lot of different ways. Right? I have a couple ideas of my own about what I think he's saying about him, about her, about chest, about everything. So, I mean, it kind of makes a lot of sense. It almost makes a lot of sense that it's the first single, actually, if you think about the lyrics. So maybe that was on purpose, I'm sure, but I thought it was good. All right, let's play our outro, and then let's get into the meat of this episode. [00:26:30] Speaker A: In a world where new music is. [00:26:34] Speaker B: Not easy to find, welcome to new bands. Well, that song was easy to find. You didn't have to go very far. It's everywhere. It's in your face all the time. [00:26:51] Speaker A: Oh, yeah. Well, it's a big deal. [00:26:53] Speaker B: I mean, yeah, seven years, man. It's a long time. That's an eternity in the music business. You might as well just never have. [00:26:59] Speaker A: Came out making noise. So, you know, good for them in that regard. [00:27:02] Speaker B: They're selling out, man. Good for them. [00:27:03] Speaker A: Yeah, absolutely. Like I said, man, if you don't like what's going on, you don't like the music. I mean, if you don't like them, then you shouldn't care at all anyway. Like, what's the difference, really? But, I mean, if you did like them and you're like, hey, you know, check it out. [00:27:16] Speaker B: The one thing I say is that, you know, I'm not a big fan of tracks live, right. But I'm pretty positive has to be something going on here because that, it's kind of part of that thing. I think it's a lot less than some other bands, tell you the truth. I mean. I mean, I think there is some stuff, but, you know, they do have a dj, so he does a bunch of stuff, too. So it's not only. It's not only that kind of stuff. Like, he plays some of the melody stuff on, like, sample stuff. You watch him play now, again, can some that be faked? I guess. I mean, I didn't take. I. It felt a lot more raw than I thought it was gonna feel. [00:27:46] Speaker A: Well, maybe they want to do that too, right? They don't want to come out, especially all the flak that's been going on lately. Right? Yeah, maybe they want to come out strong. Like, hey, listen, here's what we can do. Yeah. [00:27:58] Speaker B: Anyway. Okay, so let's continue. So we're on side two, and this is a left hand black. I assume you know this song. I have no clue what this is. [00:28:07] Speaker A: It's pretty straight up. I mean, it's nothing where like, oh, this is completely different. No, it's kind of like that same kind of low end riff, rock riff. So. [00:28:17] Speaker B: Well, besides that, I end up with a rabbit hole with Linkin park lately. I hit a little rabbit hole with John Christ. Somehow I looked one thing up and now I'm getting hit with John Christ. Like, guitar stuff. Did you know he had, like, a big gigantic accident and he couldn't play guitar? [00:28:34] Speaker A: I did. [00:28:35] Speaker B: Uh huh. Like, I, like, 2007 or something. And he had to relearn how to play. He couldn't even. He couldn't even move, like, other fingers on his hand. He had, like, pins and stuff put in. He still doesn't have feeling, I think, on the left, two fingers. He's playing pretty good, though, from what I saw some recent. [00:28:50] Speaker A: Yeah. [00:28:51] Speaker B: So, I mean, Danzig is. Are they even touring? I don't think so. Right? [00:28:54] Speaker A: Uh, no, I think the misfits were touring. [00:28:57] Speaker B: Okay. [00:28:58] Speaker A: Unless I'm mistaken. [00:29:00] Speaker B: Okay. [00:29:00] Speaker A: I don't know what's going on now. [00:29:01] Speaker B: Which makes sense to. [00:29:02] Speaker A: Bands don't last a lot. Even when they go back. [00:29:07] Speaker B: We say it all the time, man. Bands didn't last this long back in the day. You never had a band that lasted for. None of these bands thought they were gonna be playing 40 years from now. [00:29:13] Speaker A: Yeah. [00:29:14] Speaker B: So whatever they did and songs that they did and keys that they did him in, even Sammy Hagar said the same thing. Right? [00:29:19] Speaker A: Yeah. [00:29:19] Speaker B: Like he wasn't expecting to be playing any of these songs, you know, 30 years later. [00:29:23] Speaker A: No good for them now. [00:29:25] Speaker B: Yeah, I know. You know, bands had ten years, like, what, Led Zeppelin have ten years? Ten years, maybe. And then they were done. [00:29:30] Speaker A: Yeah. 69 to bottom. Died in 80, I think. [00:29:35] Speaker B: Yeah. Here we go. So this is left hand black. I'm surprised that this is being put out in 92. It's so old school sounding to me. [00:30:28] Speaker A: But that's, you know, that's. That's what it was. And, I mean, you go to. He's had. Listen, he's had variations on things. I mean, I wasn't crazy about the next record, honestly. But even though it was a slight departure, I guess you could say part four, but, I mean, obviously he's done like, uh, like Aries. I think he's done kind of like. I don't know if it's orchestral music. He's. He's got a pretty wide range. But when it comes to kind of like Danzig, this is, this is what it is. I mean, they're simple. You know, it's head banging music, and either you kind of sit there and bang your head with it, or. [00:31:05] Speaker B: Yeah, no, I. I'm totally. I'm totally fine. It's. It's old school. It's old school metal, to me is what it is. And again, I think that, um. I think that they got taken, you know, like this, and they got Rick Rubin to do this because, you know, the music thing has changed from being really slick to be more pared down. So, you know, it's not exactly the grunge stuff that was happening right at this point, but it was at least very pared down and nothing, you know, super produced. So it sounds, you know, sounds really raw and live. And I think that's really where one of the reasons I ended up, you know, getting him to produce this thing, because you know, he was pretty big, so they're not getting some, you know, second rate guy to do this. All right, let's continue. [00:32:01] Speaker A: Kind of like a dog myself. [00:32:13] Speaker C: Kind of like everything you want just within your grass. Kind of like how I bet you will dangers on a living hope. I'm not a fan of the top of the world. Wanna bring you go wanna bring you gonna power mama left hand black gonna bring you. [00:32:56] Speaker B: Very, um, mystical kind of lyric stuff here. Right? [00:32:59] Speaker A: Yeah, I mean, it seems, um, it's supposed to be like complicated, like wars and conflicts. [00:33:04] Speaker B: Yeah. From what I'm looking, um, there's some stuff here about irish myths in the first thing, and then left hand black is a term for black magic. [00:33:12] Speaker A: Yeah, that's one of the things I've heard too in my explorations of the occult. Some of this stuff is really good, really funny. Good, unfortunately, like, you know what I mean? Yeah, you get the naysayers, you know? Not that I'm whatever saying, but when you get the extremists and you kind of hear interpretations and what is and what isn't, that's pretty amusing at times. [00:33:37] Speaker B: It can be amusing. All right, so the lyrics are kind of like a dog with seven pupils in its eye. Kind of like a madness that refuses to subside. Kind of like everything you want just within your grasp. Kind of like how a banshee whale dances on a living heart. He doesn't really rhyme very much, does he? No, not much rhyme going on here, but it flows. [00:33:57] Speaker A: I think ultimately that's what it does, flow. Because, you know, we've done stuff right where, where bands especially, I guess kind of like the hair metal stuff and whatever, it rhymes. And then when it doesn't rhyme, all of a sudden it kind of hits you like, whoa, wait a second. That, that didn't sound right. [00:34:12] Speaker B: Mm hmm. Yeah, he does this right from the get go. So then the chorus is, I'm going to stand at the top of the world and challenge the heavens. Gonna bring you God gonna bring you God. In the palm of the left hand black. Gonna bring you God. Repetitive. He does a lot of repetitive. [00:34:26] Speaker A: Yeah, there is a lot of. We noticed that from the far side too. [00:34:29] Speaker B: Well, it's like Bush. Bush. Repetitive too. [00:34:31] Speaker A: Yeah yeah. [00:34:32] Speaker B: More than, more than normal. Even more than this. [00:34:35] Speaker A: Yeah, I think so. [00:34:36] Speaker B: All right, let's continue. Second verse. [00:34:51] Speaker C: Kind of lock in your river hay feed it to the left hand blind I know I can take that power stand it back at stranded I'm gonna stand at the top of a whirlwind shout out to heaven I'm gonna bring you guys, gonna bring you go send the palm of the left hand black girl I will see the world's demise it's last and final guess how. A fever into another kind of lover I'm gonna stand on the top of a world shout into heaven wanna bring you, gonna bring you go in the palm of a left hand black girl I wanna bring you down gotta bring you down gonna bring you go in the palm of a lip and bring you up. [00:37:16] Speaker B: That one is 429. It feels shorter, though. No guitar solo. That's weird. [00:37:23] Speaker A: The little kind of break thing. [00:37:25] Speaker B: Yeah. I was expecting more guitar solo stuff, and I noticed one thing that he does, like, on the bridge, he reads, like, three lines, and the fourth line, he always, like, tries to scream it out. [00:37:35] Speaker A: Yeah. He tries to build it back up into the music. Right. Kind of build that dynamic and. [00:37:42] Speaker B: Yeah, no, it's a good straight ahead song. [00:37:44] Speaker A: Yeah. [00:37:45] Speaker B: Okay, so let me read some lyrics. Kind of like when the sun goes down and darkness makes its climb kind of like all your muscle tissue starting to unwind kind of like if you brave the hate feed it to the left hand black how I know I can take their power send it back at triple time strength and then chorus and then the bridge, which I thought there was gonna be a solo after, but there's not. How I see the battle and the bleeding human race how I miss the taste of it and its sweet warm embrace ooh, we got a rhyme. How we see the world's demise and its last final gasp how I see reality explode into another kind of life and then chorus. About guessing. Top of the world, left hand black, all that stuff. It's a straight. It's a good, straightforward song. Yeah, yeah, I liked it. I guess I'll go first. Um, what did I give to? I gave dirty black summer seven on lyrics. Um, I think I'm gonna give this. I think I like that better. So I'm gonna give a six. It's not bad by any stretch of imagination. The melody's okay. I don't. I don't really feel like he generally has that strong melodies, like, on songs like this. I think it's more of a stream of consciousness kind of thing, and they tend to sound a little bit the same to me. So I'm gonna give that one a five. Musicianship. I'm gonna give that a six. I liked it. The arrangement was good. I'm gonna give that a seven in production. I'm gonna give it what I give the other one. I'm gonna give it a seven. I think it's well produced. It's very under produced, which I think is exactly what they want, so I like that. What do you think? [00:39:21] Speaker A: I think I'm just gonna sevens across, make it easy. I think it's a really, you know, it's a pretty good song. I mean, I remember it. And, I mean, again, I used to listen when I had this on cassette, so I used to listen to. I used to listen to this during college, so I definitely remember most a couple of ones towards the end when I was looking at the titles, I didn't remember. So maybe when I hear them. Plus, it's also been a while. It hasn't been that long. I mean, I think at one point I listened to so many songs while traveling on my commute, I don't think I heard the whole thing, so. But, yeah, sevens. [00:39:56] Speaker B: Yeah. And then you gave it sevens. You don't have to remember all the categories either. [00:39:58] Speaker A: Yeah, just easy. Well, I was thinking about. I'm like, you know what? Let's go. Let's go straight across. I mean, I do. I mean, I think it's a. It's a solid song. Straight through. [00:40:07] Speaker B: Mm hmm. Well, that means you have to have one of these. Here we go. [00:40:09] Speaker A: Nikki titty baby darling. It's quintuple seven. Was that a Freddie Mercury? [00:40:14] Speaker B: Yes, it was. Well, you didn't catch the darling. [00:40:17] Speaker A: Oh, well, yeah. [00:40:20] Speaker B: All right, so now, heart of the devil. Is this the ballad? [00:40:23] Speaker A: No, the one after the music of the ballad. [00:40:26] Speaker B: Okay. Yeah, I'm getting to it. All right, so here we go. Heart of the devil. [00:40:45] Speaker A: Hold of the devil. [00:41:13] Speaker B: I gave him credit for doing that. [00:41:14] Speaker A: I mean, listen, he's always done his thing. Always done his thing. This is not something where it's like, as he got older. Yeah, you listen to the first Danzig, second, there's parts where he does it. Yeah, he goes deep. [00:41:26] Speaker B: That's kind of funny. When I hear something like that, I'm like, wow, that's just. He's just. He's going for it. [00:41:32] Speaker A: Yeah, that's it. You either. You either sit there and then you could mock it or you just like, fuck it. [00:41:37] Speaker B: Well, it is kind of. It's kind of funny to me, but, you know, I mean, the rest of the stuff is sounding very metal, but, yeah, that's pretty funny. It's. It's like. It's. It's weird because his voice is not typical metal. Right. So he goes right into. They go right into the metal riff, but, like, his voice is so, so Morrison y and so Elvis y that, you know, it's almost like this doesn't fit here. [00:41:57] Speaker A: Yeah, he does it in, um. They got a song on the next one called going down to die, which is, uh, my favorite song on the next one. But he does the same thing. I mean, if you hear it, you'll. You'll hear exactly this. Like, he kind of uses that same exact voice. Yeah, I do like the fact, too, that this is kind of like that. Typical. But the riff isn't right. They're doing kind of, like, a little bit of an evil kind of. [00:42:24] Speaker B: And I forgot to say on the last song, I told the drums and bass were really good in that song. I forgot to say that if I didn't say that, but I thought that was maybe the best drums. And based on the album so far. [00:42:34] Speaker A: Yeah. I mean, again, nothing. Nothing. Where you sitting? There? Go home. I got. But, I mean, it's not boring either, right? Which is, I think, as cool as driving. I mean, most of the album is driving. [00:42:44] Speaker B: All right, let's continue. [00:43:07] Speaker C: I can make a man how come? Like a girl. [00:43:18] Speaker A: So eager to please. [00:43:21] Speaker C: I can make a young girl let out for me because I'm evil I can make a sky filter in shade I can make a world triple and quake I come back a post. [00:44:01] Speaker B: Pound. [00:44:01] Speaker C: In your vein I could make a hulk stop and stop again because I'm evil let us go. [00:44:33] Speaker B: All right, before we get to guitar or solo, leave me some lyrics, then we can talk about it. So the intro is I am heart of the devil I am heart of the devil I have a heart of the devil I am heart of the devil I have heart of the devil I can make a mandez freezing his tracks I can make a man fall to his death I can make a girl so eager to please I can make a young girl lay down for me choruses. Because I'm evil and love is gone second verse. I can make the skies thunder and shake I can make the world treble and quake ooh, another rhyme. I can make your pulse pound in your veins yeah I can make your heart stop and start again because I'm evil and the love is gone because I'm evil and then because I'm evil and the love is gone he has a very interesting way to deliver lyrics. It's just so unique to his, like, singing style. Like you, you would know exactly who this is by just the vocal. [00:45:25] Speaker A: Yeah. [00:45:26] Speaker B: The music could be anything. [00:45:27] Speaker A: Yeah. He's got a unique voice. I think. [00:45:29] Speaker B: I think that it's um, I think that he, again, his voice makes the song. I think the music and stuff underneath could be anything, could be anybody. It's super. Some of it's a little bit generic, you know what I mean? So it's not like it's. You're going, oh, look at the riff they're doing here. Look. Or whatever. I mean, it's a very. To me, that's not the part that makes or breaks the song. It's either. It's his melody and his vocal that really makes or breaks it. [00:45:52] Speaker A: But I mean, you think about a song like mother, too, right? I mean, it's just. I mean, it's a simple riff. Right. But then once he starts going into, you know, the chorus and everything, we kind of opens up his voice. [00:46:05] Speaker B: Yeah. All right, so let's see. Let's hear some John Christ guitar solo. You're gonna back it up. Here we go. Basic. [00:46:46] Speaker A: That's fine for the song. [00:46:48] Speaker B: Yeah, it's fine for the song. It's just. It's nothing that goes, oh, my God. Did you hear that guitar soul by John Christ? No, not really. [00:46:54] Speaker A: You know, even people who like them, I mean, they like them. I mean, I think it really was. His voice is kind of the takeaway from. But again, it is what it is. This is not something where you're not going to put on another one of their records and say, holy shit, this sounds nothing like. You know what I mean? I mean, which I appreciate because I've got even some of the later stuff. And it's just kind of riffs like this. Just simple production is still similar, but a lot of Zenza, which I always like. [00:47:22] Speaker B: Yeah, it's good. Straight ahead rock music. [00:47:24] Speaker A: He's a big horror fan, too, which I like. He's gone into that stuff, so I appreciate. [00:47:29] Speaker B: Well, this is definitely about the devil. [00:47:31] Speaker A: Yeah, it's about evil. Evil and man. Really? [00:47:34] Speaker B: Was that what it's about? [00:47:35] Speaker A: Yeah, I think so. It's kind of representative of the devil and man. [00:47:39] Speaker B: Mmm. Gotcha. Yeah, I mean. I mean, he takes some interesting, um. Take some interesting subjects, too. All right, let's finish it up. Well, we actually got a lot more. It's a long song. [00:47:48] Speaker A: Oh, is it a. [00:47:49] Speaker B: It's 437, but it's feeling long. It's feeling longer than the other song, though. I mean, it's the pace. The pace is a little slower. [00:47:55] Speaker A: I mean, listen, that's a tune to that stuff. There's always a little. [00:47:59] Speaker B: Yeah. All right, here we go. [00:48:16] Speaker C: I can make a world tremble and shake I can make a sky like, in my way kids. I can make a girl so eager to be I can make a girl my lamb is great. [00:49:47] Speaker A: I mean, considering it was another verse in there, didn't feel as though. [00:49:50] Speaker B: Yeah, I mean, straight ahead. Let me finish lyrics, and then we can. You can go first. So verse three is I can make the world tremble and shake I can make the sky black in my wake yeah. I can make a girl so eager to please I can make a young girl lay down for me and then, you know, back to the. Because I'm evil. So what do you think about that one? [00:50:08] Speaker A: Um, it's okay. I mean, it's not terrible, but it could be my least favorite so far. I mean, I do like the power in it. It's a little bit hard. I mean, the arrangement is pretty good. I'll say six on the arrangement, seven on the production. I mean, that works. Okay. I'm gonna see a five on the lyrics, hopefully. Young girl is, like, you know, not too young. [00:50:30] Speaker B: Well, he doesn't give an age on this one, so that's good. [00:50:33] Speaker A: Yeah. I mean, if he's saying younger than him, I don't know how old he was at this point, but I don't know if I want to give it six, because I may have given six. The stuff on the other side that I like better. I'll say five. I mean, what I see in the arrangement, six. Yeah. I mean, it's. It's very, you know, again, a lot of. A lot of these songs that have that beat and stuff, even kind of like the blues, you want ones that are straight up, they don't tend to go a lot of places. I may do, like, the build up, but it's okay. What am I missing? [00:50:59] Speaker B: Melody. [00:50:59] Speaker A: Oh, yeah, nobody's fine. I'll say a five. I mean, again, it's not a terrible song, but I think. I think it's my least favorite at this point. [00:51:08] Speaker B: Yeah, I think my stuff's gonna be pretty cool. Is it the same as yours? I think it's the exact same. [00:51:13] Speaker A: Oh, there you go. [00:51:15] Speaker B: Yeah. Five one lyrics, five on the melody, five on the music, six on the arrangement, and seven on the production. Production has been pretty good throughout. [00:51:23] Speaker A: Yeah. And again, I don't think it's a terrible song. [00:51:26] Speaker B: It doesn't really go anywhere. [00:51:27] Speaker A: Yeah, I don't think it's a terrible song. I mean, it's got some power behind it, but I just kind of like the other stuff better. [00:51:33] Speaker B: Okay, so is the next one the ballad? Sistinas? [00:51:37] Speaker A: What am I thinking of something else. [00:51:39] Speaker B: Yes, this is the. Okay, I'm very curious about. About this is. I've never really heard of Danzig ballad ever, so. Okay, so here we go. This is Sestinas. [00:52:09] Speaker A: White light. [00:52:13] Speaker C: If you look, you see that I. [00:52:23] Speaker A: Lost my soul deep inside. Oh, and. [00:52:47] Speaker B: It'S weird, cuz it's like he's a crooner singing my ballad. It's just strange. The guitar has like a little tremolo thing going on. There's that. There's the ding ding ding ding. Feels like. Reminds me of a clock. I don't know. I'm not digging this so far, but. [00:53:03] Speaker A: I mean, you can hear how it's derivative, rough of like some older sounding songs. Right? I mean, like you said, you can hear the crooning going on. I just. I think he has a really good voice. I think he has. Even in this whispering thing, I think he's still. You know what I mean? He has a good voice. And I mean, I don't. I don't think it's. I don't think it's bad, but again, right, this is very ballady. It's not even. Even power ballady. [00:53:27] Speaker B: No. [00:53:27] Speaker A: So it's. And he's just like, I don't give a shit. Like, this is the song I want to do. This is the song I'm going to do. [00:53:32] Speaker B: Yeah. No, I mean, I give him credit for doing. He wants to do it. I don't know if I like this yet, but we'll see. But I'm gonna read some lyrics. I guess I might as well do that. Take my hand? You'll never find another quite like mine? If you look you see that I'm a lonely one? I lost my soul deep inside? And it's so black and cold deep inside. So he's like. He's like baring his, like, soul a little bit here. I get it. I don't know, I just. It's very weird. Like, I might. I think I would like the song better without the dink dink ding ding ding ding. I think that's what's throwing me off. I don't care about the chords that, like, just ring out with the tremolo on them. I think that's okay. I don't know about the dink, dink, dink part. I think that's really what's making it like. It's not his voice either. It's just that part I just don't particularly like. Well, can't like everything, I guess. But let's see what, um. Let's see what he does with this. Here we go. [00:54:47] Speaker C: You never look into it? [00:54:55] Speaker A: Lost my soul deep inside. [00:55:03] Speaker C: Oh, and. [00:55:04] Speaker A: It'S all black and cold? Deep in the skyd. [00:55:27] Speaker C: Blue and won't blow when you go high? [00:56:01] Speaker B: I don't want to go too far without reading some lyrics. So sistine smile, you'll never know the trap it's set. And if you did, you'd never look into its eyes and back to the chorus again. The one thing I have did notice, like, in this song is there I hear more of the Elvis Morrison. So obviously that's where he's taking in his vocal style from a little bit. Yeah, I think it's just that one guitar part that's throwing me off. [00:56:28] Speaker A: Got the crooning going. I mean, there's some of that. I don't know if I want to say do what? Ballad. But maybe kind of like that early sixties ballad stuff going on. [00:56:37] Speaker B: I can hear that kind of thing. [00:56:39] Speaker A: I mean, like, you know, we've said it before. I mean, he wears his influences, honestly. Right. He's like, this is who I like, and this is who I like, and this is. You don't come to this album if you know them. You don't come to this album saying, oh, my God, what are these? Like? He sold out, like, no, he's done this before. [00:56:56] Speaker B: I like the melody, though. [00:56:58] Speaker A: Yeah. But, like, blood and tears, which is on the second one, which is kind of similar in a sense. It's kind of like the. The equivalent, I think, overall, is a better. Is a better song, but even that one's reminiscent of kind of the crooning. [00:57:12] Speaker B: Yeah, I don't particularly. I don't particularly like the production on this. Tell you truth, there was some stuff going on behind with guitar. Stuff that you couldn't really hear. Was so buried, so back behind. I think his voice needs a little these. A little more stuff on it. Reverb something. I'm not sure. I'm not digging the production too much. [00:57:30] Speaker A: Yeah, it's not as good. I feel noisy, too. Like, it feels. Maybe it was done live. I don't know if that's the thing, because the guitar doesn't sound as produced. Right. It sounds kind of. [00:57:41] Speaker B: No. [00:57:42] Speaker A: Underproduced, and there's almost, like, ambient noise. I feel kind of going on, like, stuff that gets picked up by the microphones could be. [00:57:50] Speaker B: I think that repeating. That's really. I don't particularly like that. I think the song would be better without that part on there. Or at least limit it to certain parts and don't play it through the whole song. I just don't particularly like that. It's kind of throwing me off. All right, let's. Let's continue it. Here we go. [00:58:07] Speaker C: You never find. [00:58:13] Speaker A: Quite like it. [00:58:15] Speaker C: And if you did, what's my song? Deep inside fun inside black and cold within sun hail some don't shine oh, it won't blow when you go high hey, about your love deep inside. [00:59:42] Speaker A: I like how they kept the feet up for that one for you. [00:59:46] Speaker B: Yeah, thanks. Let me read vocal lyrics and then we'll come back. So the sun don't shine the wind won't blow when you go without your love I'm only I'm lonely deep inside take my hand, you know we'll find another quite like it and if you did, you'll see that I'm a lonely one and of course, and then back to that. The sun don't shine again I like the melody, actually, a lot. So I'm gonna start this off. I'm gonna say I like the melody. I'm gonna give it a. I'd like the melody. It's a very sixties melody. I like it. Seven. Seven for the melody, five for lyrics. Musicianship. I'm gonna give a five again. Cuz I. That one guitar part stormed me off. They did some little, like, like keyboardy kind of like moog thing, whatever at the end, which I kind of liked. Arrangement arrangements. Fine, I'm gonna give it a six. And production, I'm gonna give it a five. I don't like the production on this. I think it could have been better. I think they could have made some better choices, like not having that riff play all the way through and using just in sporadic places. It just got so monotonous, repetitive that it kind of throw. Threw off for me, like, whatever he was doing, vocal wise. And obviously he has a good voice. It's just I'm not used to hearing him do ballads, so kind of. It's kind of a little off putting for me. But regardless, I think that the guitar thing is really what throws me off. I don't really like that that much. So, yeah, that's where I'm at. [01:01:06] Speaker A: Yeah, the melody's not bad. I'm gonna say six in the melody, and honestly, I might just go five on everything else. I mean, again, I don't have think it's a bad song. And I think there's almost a prettiness to it. And I do like the way he sings, but, you know, overall, it's. It's okay. [01:01:23] Speaker B: I know maybe well, that's the best part of his. The whole song is his singing, I think. [01:01:27] Speaker A: Yeah. Yeah. I mean, listen, I've always said I think he's got a good voice. I know sometimes he does go into that whole. You know what I mean? Which I'm not crazy about, but, I mean, in general, he's got a very powerful voice. You know, I'm drawn to deeper voices. I like that, too, you know, especially in an era where everybody was going high. He was going low in a good way, so. [01:01:51] Speaker B: All right, so, obviously, this is a. Do you wear the mark? Obviously. 666 number the beast. So I'm sure it has something to do with that. So, yeah, I'm assuming this. It's gonna be a very evil sounding riff guitar at the thing in this. I'd be disappointed if it wasn't. Yeah. All right, here we go. Do you wear the mark? [01:03:00] Speaker C: Devil on the left pan? Angel on the right. There's no mistake who I'll be with tonight been over in the fall the lamp said all my life dang. Pass like we swim fire comes the fury of the love of man comes the fury of the love of. [01:03:47] Speaker A: Is that what you were expecting? [01:03:49] Speaker B: Oh, no. I thought it was gonna be a little more plotty. I thought it was gonna be a little more, you know, devil's interval, kind of black savage. Yeah, but I could hear when. That's the stuff you don't like as much. Right. When he does that at the beginning of the choruses. [01:04:04] Speaker A: Yeah, a little I can kind of do. But he doesn't do it a ton. [01:04:09] Speaker B: He does a lot. [01:04:10] Speaker A: Yeah. [01:04:11] Speaker B: As far as I can tell. It's his style, though. It's unique to him. So I don't think it's. I don't think it's bad. I don't know. Through this whole album, not a big fan of the guitar tone. I think it. I think it's a little bit under produced, too under produced for me, like, especially in the nineties here. Like, I think you could have. You could have beefed it up a little bit. I think the production could be a little bit better. I mean, less. This is what he wanted, and Rick Rubin did exactly what he wanted, which I guess it's fine, too, because he. He was a co producer, so obviously he had say so. I don't know. I mean, I. I would. I would like the guitars to sound a little bit bigger. I mean, I don't. Like I said, they don't need to be over produced, but I like them. I like to be a little bit bigger than they are. So here's the. Here's the verse. Devil on the left, an angel on the right. There's no mistake who I'll be with tonight I kind of like that. Yeah, I like the lyrics so far. And over in the four, a lamb's head on my LAPD days pass like weeks without the sight then comes the fury of the lullaby then comes the fury the lullaby. That big gong. Yeah. I wish it was a little more black sabbathy, that's all. Especially with the name. [01:05:23] Speaker A: Well, it's definitely more dangerous than Black Sabbath. [01:05:26] Speaker B: Oh, yeah. [01:05:27] Speaker A: I like it, though. I mean, I think there's some cool things going on. I mean. Yeah, the guitar tone is a little. It is a little odd, right? [01:05:33] Speaker B: It's weak. So weak. [01:05:36] Speaker A: Yeah, I mean, a little bit more. The bass in at the low end, I think, would have been. It's right. It's. It's kind of mid, I guess. You know, not to quote this, you know, my. Because my kids say get angry if I say mid, but I mean mid level. [01:05:49] Speaker B: It is mid. Yeah, it could be. It could be so much better. I think if they beef the guitar tone up a little bit. [01:05:55] Speaker A: Yeah, it would sound. I mean, you know, it's. It's heavy. I mean, the riffs are quite. I like the little thing that's going on. There's some voices going on back there, too, but. Yeah, I mean, I would like a little bit too. If it was a little bit deeper, low end on the guitar, it'd make it all that much heavier. [01:06:10] Speaker B: Yeah. Okay, let's continue. Here we go. [01:06:25] Speaker C: Memories out upon the open town and over to the left there set the lava swarm crying slowly and sucking on the go sand comes the fury of a lullaby. [01:07:53] Speaker B: Before whatever's gonna happen there. I like that little part right there. The bridge. I like. I just. Like I said, I just think it lacks a little power. [01:08:02] Speaker A: Yeah, it does like a little bit of that. [01:08:05] Speaker B: Okay, so here's verse. A heartbeat in a hole an eyeball loose and wild dropping memories out upon the open tiles and over to the left there sit the loveless ones crying slowly and sucking on a gun and in the chorus again and then bridges do you wear the mark? Do you wear the mark, darling darling do you wear the mark, darling? Do you wear the mark, darling? Do you wear the mark, darling darling do you wear the mark? Repeat, repeat. But I do like the riff underneath. I'd like that they changed it up. [01:08:34] Speaker A: I always like that pound, so I. [01:08:38] Speaker B: Don'T know what's gonna happen. Here. I heard the big gong bong coming, so I assume there's gonna be a solo in this. I would assume. [01:08:43] Speaker A: It sounds like it's coming. [01:08:44] Speaker B: Hey, I don't know. I think so. Here we go. [01:10:22] Speaker A: Sound like you could have gone back maybe, right? [01:10:24] Speaker B: I thought for me, I'd like how I. I liked it. They did those little, like, voice things. I think they should have just played the guitar solo out and had those voice things go on, not go back to whatever the hell they happened at the end. I didn't like the ending at all. They came up with a good idea and then they just gave it. Gave up on it. That's my opinion. [01:10:42] Speaker A: Yeah. And then they kind of went into that tempo that was like unchained. I mean, which is fine, but, you know, it's almost like someone was just like, you know, you do that thing at your neck, like, cut it off. Like, stop. That's what that felt like. It's like, all right, just stop it here. Stop it here. [01:10:57] Speaker B: I didn't like the end at all. Um, lyrics. I do like the lyrics. I'm gonna get lyrics. A six. I like it. I like the melody, too. I'm gonna give that a six. I think I'm gonna do six as a cross. I think that there's a better song here. I. I wish they would have came and used those vocal things more at the end because it was a cool effect. I liked them. I think they could have faded out on the guitar solo, I think would have been better. It could have saved a good 15, 20 seconds of the other thing. [01:11:23] Speaker A: Did you. What did you think of the solo? [01:11:25] Speaker B: I mean, all the solos here, to me, are, just, to quote the kids, mid. They're mid, they're not bad, and they're not exceptional. They're middle, they're, you know, they do fit the song, but again, they're very. They're just middle of the road. I don't hate them, but I don't go, oh, my God, I want to listen to this for the guitar. And again, I think that also has to do with, you know, that the guitar tone to me, is not great. [01:11:51] Speaker A: I like the tone in the solo in this one. I think it was pretty good and kind of, you know, it was loud and. But you know what I mean, I was thinking, honestly, I was probably going to do six as a cross as well. So we'll just keep it simple. Just do it that way. [01:12:03] Speaker B: Yeah, that's fine. I think it's. I think sixes across is the right number or the right thing for this. Alrighty. We're at the end. When the dying calls, another one, I think, hopefully, is gonna be a little more evil sounding. [01:12:16] Speaker A: Yeah. [01:12:16] Speaker B: So I think I'm gonna get, like, a heavy metal riff. [01:12:18] Speaker A: Yeah. Let's see. I don't remember. [01:12:21] Speaker B: Okay, well, let's see. Here we go. When the dying calls. [01:12:39] Speaker C: Out overnight comes the timeless thing, calm and simplicity? Whisper song. [01:12:48] Speaker B: The pupils. [01:12:49] Speaker C: Man for the human ear? Down, down, I'm gonna take you down? That's when the dying call? If I love in the dark of the world? If I lose, I don't mind? That's when the die. [01:13:26] Speaker A: I mean, I like the riff. [01:13:27] Speaker B: Mm hmm. Yeah, I do. But I think it suffers again, like, the last song where the guitar tone, to me, is not great, and it looks. It's missing beef. [01:13:36] Speaker A: Yeah, it's definitely missing. [01:13:37] Speaker B: Whether that's the bass doing it or whatever, it's a production thing. It's so stripped down, like, the whole record is. No. And some of the other stuff I liked a little bit better, but it's starting to become samey same to me as it goes on a little bit longer. You know, I think sometimes his melodies aren't great, and it's his voice that's just, like, dragging it out of the gutter. That's just my. That's my opinion. I mean, I don't think the songs are super duper great. Like. Like, to me, mother is an exceptionally good song. Everything about that song is good. The vocals are good. His voice. His voice in that song is good. The riffs are good. You know what I mean? [01:14:10] Speaker A: Yeah. [01:14:10] Speaker B: It's a step above this. To me, it's a step above this. So, again, not knowing a lot about his discography and whatever stuff he's done in, you know, solo work besides mother and maybe the other song that was on here, dirty black summer, I think that's still above this. [01:14:25] Speaker A: Yeah, I mean, this is. Okay. This sounds like. It doesn't sound like an. I mean, at least not so far. And again, I don't remember if it goes anywhere, but even the song before this sounds like it would have been a better closer. For what it's worth, this one's kind of, like, could have been earlier on in the. It sounds like. I do remember it. I just don't remember if it goes anywhere or. [01:14:45] Speaker B: I don't know. Well, let me read some lyrics, and then we can see where it goes. Out of the night comes a timeless thing calm and simplicity whispers soft a seductive voice meant for the human ear. Down, down. I'm gonna take you down that's when the dying calls if I look in the dark of the world if I lose, I don't mind that's when the dying calls so there. You know, there are good, decent lyrics here, and there's melodies that could be a little bit better, I thought. I think the down down thing, they could have done something better with that a little bit. It just sometimes seems like it's at one level. And the better songs from him, see, they go. They go above and beyond. And the ones that are just kind of like middle songs. Mid again. Right. Just kind of do this. [01:15:23] Speaker A: Yeah, it's not, it's not. I mean, that riff is. I mean, I think it's a good riff, but it's kind of overused a bit. It's not really going anywhere. [01:15:30] Speaker B: Yeah, I agree. All right, so here we go. Verse two. [01:15:40] Speaker C: Down through the edges from the donut child rolling through the world of dreams up from a black or the Mississippi mud cone out to everything down, down, I'm gonna bring you down that's where the dying call if I'm way in the dark of the world if I load, I don't mind where the diet goes when the diamond way in the dark of this world and if I lose I don't mind that's where the. [01:16:59] Speaker B: Dying go digging the solo, that was a better solo. Yeah, it was a better song. [01:17:04] Speaker A: Yeah, it was pretty good. [01:17:05] Speaker B: Yeah, I liked that one better. I like the stop when the dying calls. I think that's good. Yeah, I think overall, it's a better song than the last one. Let me read. Verse is dawn through the ages from the dawn of time roam through the world of dreams from the black of the Mississippi mud calling out to everything and then everything's the same after that. Um. Yeah, I think. I think it's a better song. I mean, I wish the production was a little bit better, but I could see why. I guess they're putting this as the ending song. [01:17:33] Speaker A: You think so? [01:17:34] Speaker B: Yeah, yeah, I think it's better than. Do you wear the mark? [01:17:36] Speaker A: I just think the other one was. I mean, honestly, at this point, I'm thinking this same scores as the last. [01:17:41] Speaker B: One, but it's close. [01:17:42] Speaker A: Yeah, I mean, I just think the other one was. I guess they kind of took it into different places, more like. I would think they would do with, like, a closing song. This is kind of, like, more straightforward. And again, it's not bad. I mean, it's a good riff. I mean, I think that's the other thing, too. That I'm not. They kind of use the riff a lot. One of those where you kind of feel it's the same riff in the chorus and the verse. Right. Kind of thing. [01:18:03] Speaker B: Yeah. [01:18:03] Speaker A: But again, I don't. It's not a bad. I mean, I don't think any of the songs are very bad overall. You know, it's not. I mean, I don't want to. [01:18:10] Speaker B: But they could be better, though. [01:18:11] Speaker A: Yeah, I mean, some of the stuff for. Some of the stuff is. Yeah. A little bit more bottom end, you know, that you kind of hear sometimes when it's really heavy. That would be cool. [01:18:22] Speaker B: I just think it's more of a production thing. It's just. This is the way it sounds, and maybe this is the way he wanted to sound. [01:18:26] Speaker A: Yeah. [01:18:27] Speaker B: It's up to him. [01:18:28] Speaker A: I would think at this point, he has enough say, even with Rick Rubin. [01:18:31] Speaker B: Yeah, and he's a producer on this. It's not like Rick Rubin's producing. It's. They're both producing it, so he has a big say. [01:18:35] Speaker A: Oh, sure. [01:18:36] Speaker B: The way things go. All right, let's finish this up. Here we go. [01:18:39] Speaker C: Where the Diane goes from the dance roll to the diet from the black of night with the giant gold down through the dark sound when the die is cold if I play in the dark of the world and if I lose I don't mind that's where the die has gone. [01:19:39] Speaker A: He's like, I'm gonna wait long enough so they get up the stop, but then once they get to the stop, I'm gonna go. [01:19:45] Speaker B: Yeah, I know. And I thought you were gonna come in. [01:19:48] Speaker A: No, no, because I think I remembered the fact that he came back in, so that's why I didn't say anything. [01:19:54] Speaker B: Oh, is he coming back in? [01:19:55] Speaker A: Yeah. No, I was like, I think he comes back. [01:20:00] Speaker B: I don't know if I'm gonna give it the same thing as the last one. I mean, I guess I'm trying to think if there's anything here that I like better, I think I'm gonna do sixes across. I'm gonna give the musicianship a seven and everything else sixes. Cause I think I like the solo better, so I have to give. I gotta give him a little bit of props. I like the solo better, so I'm gonna do that. [01:20:16] Speaker A: I mean, I think I'm just gonna go straight six across again. [01:20:19] Speaker B: Okay. Like I said, when. When he has some strong stuff, it's really strong. But I think. I think in majority, I'm just kind of looking at, I think, side one is a better side. [01:20:28] Speaker A: Yeah. [01:20:28] Speaker B: Side two has a little more, like you said, the kids say mid. Just a lot of middle of the road stuff, and I think most of the stuff that I like on this is on the first side. [01:20:37] Speaker A: Yeah. I mean, again, to me, I don't. Up until this album, there wasn't. Well, I mean, yeah, I'm trying to think of, like, what I'm trying to say. I mean, I think even kind of the stuff that, you know, we said was Millis, so was it. It wasn't terrible, you know, I mean, like, overall, it's a pretty decent record, right. It's a pretty decent metal record. So, like, I've definitely listened to it straight through a couple of times, and, like, it's pretty good. Some good stuff. And so. But, yeah, I mean, now listening to a lot of stuff, you know, listening to production, maybe back in the day, not that we didn't care as much, or maybe weren't paying attention to it as much, but now hearing more, and especially here, like, really paying attention to things and saying, well, you know, if only this. And it's not even about. It's not. It's almost not a negative. It's kind of like, wow, if it had this, it'd be an even better song. So I don't think something like that is a put down. I'm saying, you know, it's one thing to say if a song sucks. You think a song sucks. That sucks. It doesn't matter how good the production is. I mean, you're not gonna. You may say, oh, my God, the lyrics are so good to the song, but the music and the production. Or you could say, I mean, we've had songs, right, that sounded, production wise, were pretty good. And we're like, oh, yeah, it does. I mean, I think it's, like I said, it's a decent metal album, came out in 92. [01:21:50] Speaker B: And, yeah, it's pretty ballsy for 92, I say. I mean, to put an album like this time on a big app, but on a big label, though, this is a big label. [01:21:56] Speaker A: Yeah. I mean, go further down the pipe with his stuff, and you're gonna hear pretty similar stuff. [01:22:01] Speaker B: Maybe we'll get some more stuff. We'll see. All right. Why don't you do your thing? [01:22:04] Speaker A: Yeah. So we are part of the Deep Dive podcast network again. Like I always say, great bunch of guys took us right in. And if you want to hear more individualized podcasts, web bands like Rush, Judas Priest, again, shout out to all our buddies. John Petty, Zeppelin, Queen, you name it. It's probably on there. Fitzrock Maiden. So check it out. And Mark, where can they find us on the intro with can find us. [01:22:25] Speaker B: At Rockrullett podcast on all the socials and rockrulletpodcast.com. submit your new bets songs for us to put on the little mini wheel. Make sure you review us wherever you listen to your podcasts. Give us some five star reviews, moves us up and set your automatic download to download us every week because we put out an episode every week. So next week we get the spin, which is nice again. We spun a lot lately. [01:22:50] Speaker A: Yeah. Did you see who just died? If I was today, yesterday. JD. JD Souther. Is that his name? The guy who wrote a lot of songs for the Eagles. [01:22:58] Speaker B: Oh, really? [01:22:59] Speaker A: Yeah. [01:22:59] Speaker B: That's a bummer. [01:23:00] Speaker A: Yeah. It's not today. I don't know if it was yesterday. [01:23:02] Speaker B: Or today, but yeah, I didn't see that. [01:23:04] Speaker A: So it may have been today, but yeah, I know that we talked about him a lot and we came, came to that and so rest in peace to him. He had his hand in some really. [01:23:15] Speaker B: Good songs, so it's going to continue to happen. [01:23:17] Speaker A: Sorry to end on a bad note, but I just want to, you know what I mean? I want to give a shout out, obviously, just some respect to the guy. So. [01:23:24] Speaker B: Yeah, yeah, yeah. No, I agree. Alrighty. Well, I guess we'll see you next week. And thanks for listening. And next week's a wheel spin. So let's see what the wheel does for us. [01:23:34] Speaker A: Yeah. Ciao. Ciao. [01:23:35] Speaker B: Later.