Episode 110 - MC5 - Kick Out The Jams

[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: Hey, everybody. Welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1300 albums, stuck them in a list, stuck them in a wheel. And typically every other week we spin the wheel, she picks an album for us, and we go through it side by side, track by track, and we vote on each song based on five categories, lyrics, music, production, melody, and arrangement. And every once in a while, we get a short one. I had a couple short ones recently, so that was pretty cool. We got to bang out a couple things. So before, well, first and foremost, which I forgot last time, so I want to do it first. I want to thank all the listeners. Everybody who listens checks us out, you know, again, leave comments, questions, whatever you want, suggestions. We'll check them out and definitely get back to you. So we want to thank everybody for listening, and let's go. Roundtable. Tonight we have Frankie back. My name is Frank, and I'm sexy. [00:02:23] Speaker C: Great to be back. [00:02:25] Speaker B: We have Mark. Oh, hi, mark. [00:02:27] Speaker A: What's up, guys? [00:02:28] Speaker B: And I'm Sam. [00:02:29] Speaker C: Ciao. [00:02:29] Speaker A: Buonasira. [00:02:31] Speaker B: So last week we wrapped up Danzig three, how the gods kill, and I mean, pretty much, if anybody who knows Danzig, it's within the wheelhouse of stuff that they've done. No massive surprises. Some pretty straightforward, simple riffs, some decent production, I think. I mean, some heavy stuff. Some songs are better than others. I think overall, the first, I was probably better than the second one. I mean, I definitely had a good three quarters of the album memorized from, from back in the day. Mark, you were a newbie to this. So what, uh, what were your overall reactions? [00:03:05] Speaker A: Um, yeah, I was a newbie. I mean, I knew mother and a couple other things, but, yeah, I didn't really know this album at all. I mean, you know, it's basic, you know, basic hard rock medley riffs from back in the day. Although I do surprise, I was surprised that it was um, kind of, you know, like that in 90. What? It was 92, right? [00:03:24] Speaker B: Yeah, 92, yeah. [00:03:25] Speaker A: So I was very surprised that that was like that. I mean, I think it could have used a little bit more production. It was very under produced. I felt so. But I liked it. It wasn't bad. [00:03:34] Speaker B: Yeah, some good stuff. Frank, do you know that album at all? Danzig three dirty black summer. That was a pretty big. [00:03:41] Speaker C: Yeah, that was. Yeah, I remember it now. I don't remember. That was the album before he did his instrumental, or if that came, like, much later down the road, the instrumental album that he put out. [00:03:57] Speaker B: I could. I want to say it was after four, but don't quote me. I think so. Yeah. We had touched upon some of the other stuff that he's on. I mean, he's. Listen, he. We talked about this throughout the album. He wears his influences on his sleeve. You can hear the Morrison, you can hear the Elvis, you can hear the orbison at times. I mean, definitely. Especially in ballads, you can kind of hear a lot of fifties, sixties influences on them. The horror influence. So, you know, he is who he is. He doesn't try to hide behind anything. And you can like it or not like it, but I think some of the stuff is pretty cool, pretty simple. But, I mean, you know, sometimes that's all you need is a good simple riff to kind of kick you in the ass. So we get to spin the wheel twice tonight. And by spin the wheel twice, I mean, first we get to spin. Well, Frank, just to correct when we do new bets, it's your turn, because you haven't been here in a while. So you said you're going to let. [00:04:53] Speaker C: The deal spin for you, right? Let it spin and let the people speak. [00:04:59] Speaker B: And then after that, we get to spin again. We get to send the mama wheel, and she gets to pick an album for us to go over. So, Mark, if you want to do the intros for the new bets. [00:05:11] Speaker A: Sure. Here we go. In a world where new music is not easy to find, welcome to new bats. [00:05:30] Speaker C: Yes. There it is. [00:05:34] Speaker B: There you go. [00:05:35] Speaker A: Just for Frankie. [00:05:36] Speaker B: Yeah, I don't think you did it last week. I think we ended up here. [00:05:39] Speaker A: Yeah, it only happens when he's here. [00:05:41] Speaker B: So. There you go, Frank. Yeah. [00:05:43] Speaker A: So, uh, can, uh, everybody see the wheel? Frankie, can you see the wheel? [00:05:47] Speaker C: Let's see what comes up. I like being surprised. [00:05:49] Speaker B: That's all right. Well, we'll let him know. [00:05:51] Speaker A: We won't. [00:05:51] Speaker B: We won't lie to him. [00:05:52] Speaker A: It's surprised you won't lie to him. All right. So here we go. Here goes the wheel. [00:06:13] Speaker B: Whoa. What's this? Is this a. Wait, is this a cover? [00:06:18] Speaker A: Uh huh. Do we want to do it or do we not want to do it? [00:06:21] Speaker B: This is gonna be. This has to be God awful. I mean, if it's anything like. There are other covers. It's up to you. It's up to Frank. [00:06:27] Speaker C: What is it, Frank? [00:06:28] Speaker B: It's your choice. [00:06:29] Speaker A: Tell me what it is. [00:06:29] Speaker B: Motley crue fight. I forgot. I'm sorry. Motley five for your, right? [00:06:34] Speaker C: Yeah. [00:06:34] Speaker B: Let's go. [00:06:35] Speaker A: Yeah. [00:06:35] Speaker C: It has to be a rig. [00:06:38] Speaker A: Okay, here we go again. [00:06:53] Speaker B: We had these girls. [00:06:55] Speaker A: Yeah, we did. Well, it's up to Frankie if he wants to hear him. He's never heard them before. [00:06:57] Speaker C: Who is it? [00:06:58] Speaker A: Maybe he'll like it. [00:07:00] Speaker B: The warning. [00:07:01] Speaker A: This is the warning. And the song is. [00:07:03] Speaker C: No, you already did this in the show. [00:07:07] Speaker B: Well, yeah, we can. [00:07:07] Speaker C: Okay, well, then we can't do this again. We're off to a flying start here. Let's do it again. [00:07:12] Speaker A: All right, here we go. [00:07:14] Speaker C: All right. [00:07:14] Speaker A: Third time's the charm. [00:07:16] Speaker B: Yeah. Let's see. [00:07:17] Speaker A: Here we go. There we go. [00:07:31] Speaker B: Bruce Dickinson resurrection. Is that cool? Frank, this is off of. [00:07:38] Speaker A: It's something new. [00:07:39] Speaker B: Yeah. What's the album called? I forgot what the new album's called. [00:07:41] Speaker A: I know. It's fairly new. The Mandrake project. Yeah. So this is gonna be. This will be interesting. [00:07:47] Speaker B: He's done some good stuff on his own. [00:07:49] Speaker A: I don't even know. I don't even know what this is like. [00:07:50] Speaker B: It's usually pretty heavy. [00:07:52] Speaker A: Let's do this. Now, it took three sprints to get that down. That was the longest ever, so here we go. This is resurrection. [00:07:59] Speaker D: Mendez. [00:08:42] Speaker A: It's a very sixties western, very, very white. [00:08:45] Speaker C: Like, in the beginning there, I think. So. [00:08:47] Speaker A: You think? [00:08:48] Speaker C: Yeah, yeah. Yep. Yep. Yeah. I think that's a better analogy. Yep. [00:08:53] Speaker B: Needed some listen. [00:08:56] Speaker A: Yeah, I remember, like, his stuff that he did when he left made in a little bit. But this is. This is interesting, like, kind of style. I wonder what the vocals are gonna be like. [00:09:05] Speaker B: I think this is a. I don't know if this is a concept album. I mean, I've heard of it, but I've not. I've never heard. [00:09:11] Speaker A: All right, let's continue. This is a long song. It's, like, 624. So we're gonna let it play for a little bit. [00:10:07] Speaker D: In this ancient cone where falls apart I am the wisdom of your hand clear sail had a slice of blue had a different time to be with you without seed our respirator breathing cosmic incubator innocence translucent white we are the children of the night we resurrect. [00:10:42] Speaker B: And. [00:10:43] Speaker D: The final death will take you to the end resurrection man eternity has failed to once again resurrection Mandy, count down the deal. I told the story end resurrection man. [00:11:22] Speaker A: So what are we thinking of that so far? [00:11:23] Speaker B: That's not bad. I like the, um. I mean, I like the melody. His voice sounds like it's suffering a bit during the verse, but then it kind of comes in strong on the chord. [00:11:31] Speaker A: How old is he now? In his sixties, right? Something like that. I would think he is 66. I mean, I hear his voice. He's struggling a little bit. [00:11:42] Speaker B: Yeah, but it doesn't sound like he's struggling in the court. It sounds like it kind of comes strong. So I don't know if this. I mean, this is part. He did, like, a comic book, so I think this is part of concept. [00:11:50] Speaker A: What was it? Okay. I mean, it doesn't sound bad. [00:11:52] Speaker B: Well, this riff right here sounds like BT. Is it BTO? [00:12:00] Speaker A: So this is him. Roy Z, whoever that is. On bass, Dave Moreno. On drums, he was with paddle. [00:12:07] Speaker B: On mud. I started looking this stuff up as we were listening. [00:12:10] Speaker A: Giuseppe. I am Pierre. On keyboards, Chris Delacroix. I don't know. On solo guitar. On track three. I don't know, which track are you on here? And that's not on this. And then. I don't know. There's just tons of. I would expect it. Maybe the guy from Iron Maiden would have been on here, because usually he's on his solo stuff, but not Jenny Gurz is not on this. [00:12:30] Speaker B: Yeah, no. What's his name was actually been playing with him, which I didn't know until recently. Adrian Smith. [00:12:35] Speaker A: Was he frank? [00:12:39] Speaker C: I like the melody, too. I think it's. I'm still trying to figure out. I've heard the sound before. I'm just trying to figure out where. You know. [00:12:49] Speaker A: We got over three minutes still to go, so let's continue this. [00:13:06] Speaker D: Recall my name, recall my number my day of shame and death, my future, my own real life, some deadly marriage, a barren wife. So rise, you demons. I live in hell. I am connected to you as well. Some say we rock graves. In truth, we dig. My name is. [00:14:25] Speaker A: I like the second part. I like that riff. And I think it's. I think he's vocals are much better on the second time around. [00:14:30] Speaker B: I wish it was a little bit heavier produced, though. Just a little flat to me. [00:14:34] Speaker A: Yeah, I can see that. [00:14:36] Speaker B: I could like a little bit heavier. I think it kind of had to. It's not bad. [00:14:39] Speaker A: I mean, the guitar one has a weird. It's a weird thing. It's a little fuzzy. [00:14:43] Speaker B: It's a little grungy. Yeah. It's got that kind of nineties fuzz kind of thing going. [00:14:48] Speaker A: I don't think it's bad drums. [00:14:49] Speaker B: Just a little. Yeah. Just a little bit more power, I think, would make it even cooler. [00:14:54] Speaker A: Yeah. I mean, listen, for, you know, something like this, being in your sixties, I don't think that's bad. I think it's pretty. Like I said, I like the riff a lot. [00:15:02] Speaker B: Yeah. I mean, I like that beginning part. I think it's. Overall, it's pretty good melodies. [00:15:05] Speaker A: Yeah. So, like you said, it's a. It's a concept thing. So I guess the, like, sixties, like, spaghetti western thing was on purpose specifically for whatever's going on. [00:15:15] Speaker B: Yeah. There's a comic attached to it, so maybe. [00:15:18] Speaker A: Makes sense. Okay. All right, here we go. [00:15:30] Speaker D: So rise your spirits, rise show yourselves and the glass reach up tighten my grandpa summon your demons outside Resurrection man eternity has failed you once again Resurrection man count down the deal and solid. Resurrection Man Resurrection Mandy. Resurrection man. [00:17:20] Speaker A: That wasn't too bad. I like that. I think we need to put the album on the list. [00:17:24] Speaker B: Oh, it's not on there? [00:17:26] Speaker A: No, this is just a sorry single. I figure, like, I put it on the. I'll put it on the wheel, and then if we like it, then we can decide, you know, whether we should put it on the list or not. Oh, yes. Other. Yeah, other stuffs on the wheel. [00:17:38] Speaker B: Okay. I just assumed that everything, you know, to me, because. [00:17:43] Speaker A: Yeah, I think is at least one of his solo things on the list, so maybe we'll stick that on there, too. So, would you like it? [00:17:52] Speaker C: Yeah, it got better, you know? But even after all these years, right, that his vocals are still tight? [00:18:00] Speaker A: Oh, yeah. I mean, there's some guys, like, they can't sing anymore, so. Yeah, he's good. I like it. I'm glad we spend that, because that would. That would be something to inches. I mean, it's a long album. It's like. It's only ten songs, but it's 60 minutes, though. Even 1010 songs, so it's about six minutes. A song around ish makes. [00:18:21] Speaker B: If it's, like, conceptual, it's good. [00:18:24] Speaker A: All right, let's. Let's close this up. And here we go. In a world where new music is not easy to find. Welcome to new bets. [00:18:47] Speaker B: So now we get to spin the big wheel as rush, the rush song sounds when the big wheels spin. [00:18:53] Speaker A: So does anyone have an idea what they think the wheel is gonna do? Frankie, what do you think, Frank? [00:18:59] Speaker C: I would like it to pick like a classic. A classic? Eighties metal, like an LA guns. That would be great. How about you? That. [00:19:11] Speaker A: I think I'm gonna stick in the eighties too. I'd like to have some eighties. [00:19:15] Speaker B: Yeah, eighties would be cool. [00:19:17] Speaker A: Now you know, if we all say eighties, you know it's not gonna pick the eighties, right? [00:19:20] Speaker B: So you know what? I'll say seventies. Nineties and two thousands. [00:19:23] Speaker A: Oh Jesus. That's everything. [00:19:25] Speaker B: We have a good shot as anything else, right? [00:19:27] Speaker A: I mean, pretty much these two. [00:19:29] Speaker B: We got sixties on there, right? We don't have any 50 stuff. I don't think. We don't go that far. [00:19:33] Speaker A: I don't think so. [00:19:34] Speaker B: So that's what I'll say. You guys say eighties, I say sixties. Seventies and nineties. [00:19:39] Speaker A: Samina wants to play everything. [00:19:43] Speaker B: No, but now we have as good a chance as any, right, of it picking something. So. Yeah. [00:19:48] Speaker A: All right, let's, let's spin it. Here we go. Big wheel time. Give us something good. [00:20:13] Speaker B: Wow. Mc five. Kick out the jams. That is like classic. [00:20:20] Speaker A: It's kind of punkish, right? I know I've heard of them, but I heard a lot of them. [00:20:26] Speaker B: Mc five, I mean they're, they're one of the runners for original kind of metal. Very influential band. There's another one too. I've always kind of wanted to, I may have heard like stuff here and there, but never kind of really, and again, probably should have. When, now? When did this album come out? [00:20:46] Speaker A: 1969. I've always wanted to try to listen to these guys. I just never, I just never had the chance to kind of listen. I've heard so much about them. I think I've heard maybe one or two songs, but I mean, this is the album from them, right? I don't know, like much more about them than, than just hearing their name over and over. I'm actually excited about this. [00:21:04] Speaker B: Yeah, there's a couple long songs. [00:21:07] Speaker A: Have you ever heard this at all, Sam? You know, all the way through? [00:21:09] Speaker B: No, definitely not all the way. [00:21:11] Speaker A: And Frankie hasn't, right? [00:21:12] Speaker C: No, Frank, I have not. No. [00:21:15] Speaker A: First time heard of them though. Mm hmm. [00:21:18] Speaker C: A little surprised. [00:21:22] Speaker A: So look at the tail end of the sixties. Like 69. Couldn't get more in the sixties in this. [00:21:26] Speaker C: It came out. It came out December 1969. I'm just saying. Probably right? That's when it came out. [00:21:34] Speaker A: It came out February 1, 69. So no. [00:21:37] Speaker C: Wow. [00:21:38] Speaker A: Yeah, it's kind of crazy. [00:21:40] Speaker B: Big name out there. [00:21:41] Speaker A: Now what do we have as far as information on this? Do you have any information on this album, Sabino, at all? [00:21:46] Speaker B: No, I was actually bringing up some of the. Some of the lyrics. [00:21:50] Speaker A: Let me see if I can pull up the Wikipedia page where, you know, it's. That thing is so right all the times. So this is the debut album. 19 1960 819 69. It was recorded at the Detroit's grand ballroom over two nights. It's live. Wow. It's live. Do we do live albums? That's the question. [00:22:09] Speaker B: But I mean, isn't it? I mean, it's live, but it's kind. [00:22:11] Speaker A: Of like it's live, but it's there, actually. Debut album. [00:22:14] Speaker B: Yeah. So I think it's one of the same. [00:22:16] Speaker A: Yep. It peaked at number 30 in the Billboard 200. It's kind of crazy. I'm very curious. So who's in this band? Say, Rob Tyner. Lead vocals. Wayne Kramer. Wayne Kramer. Why does that sound familiar? Fred Sonic Smith on rhythm guitar. Michael Davis on bass guitar. Dennis Thompson on drums. Who's Wayne Kramer? Is it only from this maybe post MC five trying to see if he did anything? I don't know. I mean, he's done some other stuff. But I think this is really the thing that he's known for. Not. I don't know very much about him. But the name sounds very familiar. And they're from Detroit, I think, right? [00:22:48] Speaker B: Yeah. [00:22:48] Speaker A: Detroit's put us out a lot of bands, man. Or they started a lot of. Even bands that like Kiss got big in Detroit even though they weren't from Detroit. Detroit, yeah. That area has a lot of cheap trick to then. Did they break in Detroit too? [00:22:58] Speaker B: Maybe. I don't remember. [00:23:00] Speaker A: Oh, it's gonna be cool. I think. Even though it's supposedly live. Let's see. Let's see how this works. So it's supposedly considered an important, important forerunner to punk rock music. Rolling Stone didn't like it on its release. Fuck them. They never liked anything, those fucking guys. Unless you're fucking. Unless you're fucking Evers Costello. They don't fucking like you. So obviously they were wrong about this too. They're wrong about a lot of shit. Hey, cool. So we ready? See how this goes? So this is Umdez. This is rambling. Rose. Here we go. The MC five. [00:24:05] Speaker D: Brothers and sisters. I want to see and see your hands out there. I'm a cc of hands. I want everybody to kick up some noise. I want to hear some revolution out there, brothers. I want to hear brothers. And sisters, the time has come for each and every one of you to. [00:24:23] Speaker B: Decide whether you are going to be. [00:24:25] Speaker D: The problem or whether you are going to be the solution. You must choose, brothers, you must choose. It takes 5 seconds. 5 seconds of decision. 5 seconds to realize your purpose here on the planet. It takes 5 seconds to realize that it is time to move. It's time to get down with it. Brothers, it's time to testify. And I want to know, are you ready to testify? Are you ready? I give you a testimonial. Love is like a ramble and roll. The more I feel it, the more it grows rambling on. Rambling. [00:25:33] Speaker A: That is not what I expected whatsoever. [00:25:36] Speaker B: It's very sexy sounding. [00:25:37] Speaker A: Oh, it sounds like tiny tim. [00:25:40] Speaker B: Well, I think he's doing that. This is a Jerry Lee, a Jerry Lee lewis song. It's a cover. [00:25:43] Speaker A: It's a cover. Okay. [00:25:45] Speaker B: Yeah. I mean, it kind of reminds me of like when Johnny Rotten did songs from this era and he would just kind of make up kind of vocals and stuff like that. [00:25:54] Speaker A: Yeah. And, and the Ramones too, did a lot of covers of 50 stuff. Right. So it's kind of similar too. So interesting. I don't know about his voice yet. I'm still, I hope. I don't know if that's the way it is on everything, but I guess we'll see. [00:26:05] Speaker B: No, because the rest of it sounds, I mean, the background. So I don't know. They're gonna, they're releasing an album this year, so really? First lp in 53 years. Crazy Wayne Kramer and Tom Morello is gonna be in it. Slash. Vernon Reed. [00:26:17] Speaker A: Oh, wow. Is everybody dead? Is that what's going on? [00:26:20] Speaker C: Are they all jamming together or are they just like being featured in different songs? [00:26:27] Speaker B: They might help them, right? [00:26:30] Speaker A: I'm assumed different songs. I don't think it would be altogether. [00:26:33] Speaker B: They're collaborating with the singer. [00:26:35] Speaker A: Was the singer still alive? Was the singer Rob, Rob Tyner? Is he still alive? No, he died in 1991. I'm trying to see if everyone's still alive here. [00:26:45] Speaker B: Well, Kramer and this guy Brooks wrote twelve out of 13 songs like Morello's on the first one. Slash is on one of them. So it's kind of like one of those. Vernon Reed is on one of them. [00:26:56] Speaker A: The singer died, the rhythm guitar play. He died in 94. He was married to Patty Smith, Fred Sonic Smith and then Michael Davis, the bass player. He's still alive. And the drummer, Dennis Thompson, obviously he's still alive. No, he died in May of this year. [00:27:11] Speaker B: Wayne Kramer and Dennis Thompson, I think, just recently done both. [00:27:14] Speaker A: Wayne Kramer, too. [00:27:15] Speaker B: Yes. [00:27:16] Speaker A: Oh, yeah. February. [00:27:17] Speaker B: Oh, 2022. I'm so. Wait. Oh, no. Yeah. In February. In February 75, he died. Yeah, I guess with a. Where they had already been working on this. [00:27:25] Speaker A: Ah. Gotcha. [00:27:26] Speaker B: Okay, well, Hammond and this guy, Brad Brooks. [00:27:29] Speaker A: All right, let's continue this because this song's pretty quick, so let's kind of get through it a little bit. I'll read some lyrics. Once it gets through it. [00:28:32] Speaker D: Like a rambling roll. I need to rabbit road my way. Family road. Yeah. [00:29:48] Speaker B: I like how the singer says one thing and the guy's, like, right behind them. Right now. [00:29:52] Speaker A: Right now, right now. [00:29:54] Speaker B: I know what I said, man. [00:29:55] Speaker A: I'm gonna read a little bit of lyrics. There's not much. So the verse is, hey, love is like a rambling rose the more you feed it, the more it grows. The chorus is rambling rose, rambling rose, come on home. Then the second verse is, hey, rambling Rose I'm searching for diamond rings in a Cadillac car and then back to the chorus again. And then verse three is rambling rose, rambling around, rambling rose and we're gonna put you down. And then a chorus. And then back to the first verse. And solo was in. Solo was fine for the song. I mean, consider it's a cover and stuff. So. [00:30:29] Speaker B: Yeah, the bass was cool, too. I mean, it's kind of following the. The guitar. Yeah, but it was, you know, it's pretty cool. Loud. [00:30:38] Speaker A: All right, so who wants to go first? [00:30:41] Speaker B: Hasn't been here. You got it. Now you gotta sing for yourself. Come on. And I'm making it easy on you. I mean. [00:30:51] Speaker C: I mean, I like the whole live thing, you know? Um. I don't know. I'm gonna. I mean, the music I like. And I'm gonna give the music there an eight. The lyric, I mean, it's short and sweet. And I'm gonna give that a seven. The production, this one's a little bit of a tough one. I mean, it's a live album, but, you know, you can still hear it sounds. I'll give that a seven. Give the arrangement at seven. I don't know. Melody there. I give that a seven. Too. Sad. [00:31:32] Speaker B: I mean, lyrics, jeez, there's, like, really nothing there. I'm gonna say a three on the lyrics. I mean, there's nothing there. Love is like a rambling rose the more you forget it, the more it grows. [00:31:44] Speaker A: Melody was kind of right. [00:31:46] Speaker B: Production, I'm gonna say six. I mean, I think the production's fine. Kind of captures the loudness of it, which I kind of like. I'm gonna say six on the music, the melody. If an arrangement. I'm gonna say a six on the arrangement because I do. I mean, I think that's my favorite part. Kind of like when they just start jamming out. So I kind of like when they get away from the singing part of it. Even the chorus isn't bad. But I. It's. It's okay. I mean, it's all right. I wasn't, like overly impressed. I think I like, like I said, the bass of the guitar so far. Kind of like that part. The soloing and what the bass was doing the most so far. So, Mark? [00:32:25] Speaker A: Um. Yeah, I'm gonna do four in the lyrics. I'll give it one more than you. I mean, they didn't write this, so this is really not them. They just taking as a cover. I like the melody though. I'll give that a six musicianship. Yeah, six. I mean, you know, it's nothing spectacular, you know, I'm not gonna go, my God, this is the best thing ever. But, you know, it has some attitude and then the sound is pretty good. Production six, you know. What are you gonna do with 1969 recording live? This is not kiss alive or Peter or Frampton comes alive or anything happened in the seventies. This is a fairly live thing. They probably didn't do a lot, but you can pretty much hear everything. So that's good. And arrangement of six, I think so. You know, it's interesting beginning. I don't know what the rest of it's gonna be like. I I know the next song is original. Right. So this thing should be the. This is the big song, I assume. Kick out the jams. [00:33:14] Speaker B: Yeah. I think he curses here, so it's like a big deal. I read well, yeah. [00:33:19] Speaker A: Well, it's the sixties, right? So it doesn't really happen. You might know this one, Frank, maybe. [00:33:24] Speaker C: All right, let's see what it is. [00:33:25] Speaker A: Yeah. This song has been around for. I mean, I think a lot of people heard. I mean, I know I've heard pieces, I mean, haven't heard in a long time, but I know that, um, this is their big thing, so. All right, here we go. Kick out the jams. [00:33:39] Speaker D: Motherfucker praising I baby we all gotta do the group got hazing I made it I know how you want it. [00:34:15] Speaker A: Up on the. [00:34:15] Speaker D: Sand I let them kick out the tail dance kick out the tail. [00:34:30] Speaker B: Yeah. So what do you call it? Did a cover this rage against the machine makes sense on renegades. Frank, you may know it from them, possibly, because I'm pretty sure I've heard that version as well. [00:34:43] Speaker A: Yeah, it's very raw. I can see where the punk thing sounds like a little bit, because even those, like, background vocals, and they're not exactly, like, together. They're, like, very, very, like, in between. So it's very raw, again, live. So I don't. [00:35:00] Speaker B: I feel like the production was better on the first one, though. I felt like everything was clearer on the first one. [00:35:06] Speaker A: Yeah, this is a lot more. This is a lot louder, I think. So whoever's recording this has probably had a hard time. This is much louder. His voice is good, though. I like his voice. [00:35:14] Speaker B: Yeah, I do. I like his voice, too. [00:35:16] Speaker A: So, Frank, do you know this from the rage stuff or. [00:35:19] Speaker B: No, I think we lost them. Give him a second. [00:35:21] Speaker A: Oh, did we lose. [00:35:22] Speaker B: I just want. [00:35:23] Speaker C: I'm sorry about that. Was saying that. Yeah, I do remember this from rage because rage did a cover, so. [00:35:37] Speaker A: Okay. [00:35:38] Speaker B: Yeah. [00:35:41] Speaker A: So the, um, lyrics are verse one. Well, I feel pretty good. And I guess that I could get crazy now, baby because we all got in tune. I went in my dressing room got hazy now, baby, I know how you want it, child hot, quick and tight. Girls can't stand it when you're doing it right. And then the chorus is. Let me up on the stand. Let me kick out the jam. Yes. Kick out the jams. I want to kick them out. [00:36:04] Speaker B: I mean, that phrase alone, right? Kick out the jams. Kick it. Kick the jam. I mean, that shit, whatever. Even if it's not from this originally. But that shit's lasted a long time, man. [00:36:14] Speaker A: Mm hmm. [00:36:15] Speaker B: Just that phrase itself. [00:36:17] Speaker A: Yeah. I'm not sure where the kick out the jams thing. See, there's anything about this, blah, blah, blah. I don't know. It's not really saying very much about where that came from. Just that the, you know, the album was very. Was quickly successful, selling over 100,000 copies of. Yeah, I think they were saying this. [00:36:35] Speaker B: Is, like, the first one of the first major. Or the first major release that actually had the curse on it. And it was actually on the liner notes as well. [00:36:42] Speaker A: Yeah. They said there's a problem with that. Right. [00:36:44] Speaker B: There was a big deal. [00:36:45] Speaker A: Well, especially then. Yeah, that's. Yeah, it's crazy. Let's continue. Here we go. That was good for the song, I thought. [00:37:50] Speaker B: Yeah, I like that, actually. [00:37:52] Speaker A: Yeah, it's very raw. It's very interesting that their first album is live, though. [00:37:57] Speaker B: I know. [00:37:59] Speaker A: Maybe didn't have the money to go in to record this thing. Were they on a major label? [00:38:04] Speaker B: Look, I think so. I think they said this was, like, the first major. Major label release that had a curtain, actual curse on it. [00:38:10] Speaker A: Yes, Elektra. Bruce Botnick was one of the producers who. What? What is that? I think woman. But in the doors. [00:38:18] Speaker B: Yeah. [00:38:20] Speaker A: Eddie money, he engineered pet sounds. Buffalo Springfield, Dave Mason, the Supremes, Marvin Gaye, the Rolling Stones and Steve Perry. Lots of people. Yeah. It's very super duper live. It's super duper raw. I guess. I guess it's sort of, kind of garage rocky. Sort of, kind of before punk. [00:38:40] Speaker B: Yeah. [00:38:41] Speaker A: Yeah. [00:38:42] Speaker B: I mean, I hear more garage, I think, than I heard. I mean, I just. Maybe because it was. It was wrong. It's live and it's. That could be it, but, yeah, I definitely hear some of the garage. [00:38:55] Speaker A: Yeah. I wish there was an actual release of this stuff recorded. So. [00:38:59] Speaker B: Yeah. [00:39:00] Speaker A: So what do you think so far, Frank? I mean, you've heard this. The rage version, so. [00:39:03] Speaker C: Yeah. [00:39:03] Speaker A: Did you like the rage version? [00:39:04] Speaker C: I like this version, too. I kind of like. I'm liking the whole. I always like live music, so. So I'm digging it so far here. [00:39:11] Speaker A: Yeah, we're gonna get more of this, obviously. So, um, first two is. Yes, I'm starting to sweat. And now my t shirt's all wet. My shirt's all wet. What a feeling in the sound that abounds and resounds and rebounds off the ceiling. You gotta have it, baby. You can't do without. When you get that feeling, you gotta sock them out. Put that mic in my hand and let me kick out the jam. Let's kick out the jam. So I want to kick him out. And there's a bunch of ad libs through the solo oz and oohs and all rights and whatever. I think his voice is good on this. And, you know, for the live nature or whatever. Whatever it is. I think it's good. I can see why it was popular. [00:39:42] Speaker B: Yeah. It's a lot of energy. [00:39:43] Speaker A: Yeah. This is not like a live album. Like, that happened later on where they redid a bunch of shit and put crowd noise in. [00:39:48] Speaker B: I mean, that doesn't. It doesn't sound like that. [00:39:50] Speaker A: Yeah, no, this is just live sounds live. Yeah. All right, let's continue. Here we go. [00:40:05] Speaker D: Don't get in your brain if you wanna keep a rocket deal only come let me see who I am and let me kick out the jail. Damn. Kick out the jail I done kick them out. [00:40:48] Speaker A: All these tracks running to each other. So I gotta stop it before the next one comes on. But supposedly kick out the jams. It's not really about anything. He first used the phrase when we were the house band in the ballroom in Detroit. We played there every week in another band from the area. We got in the habit, being the sort of punks we are, screaming at them to get off the stage, to kick out the jams, meaning to stop jamming. We were saying it all the time and it became sort of an esoteric phrase. Now I think people can get what they like out of it. That's one of the good things about rock and roll. So they would basically be yelling at the other bands, kick out the jams. [00:41:23] Speaker B: I shut the fuck up, pretty much. [00:41:28] Speaker A: All right, so verse three is so you gotta give it up, you know, you can't get enough. Miss Mackenzie. There is no Miss Mackenzie. It just sounds good. That's why you used it. So of course it gets in your brain. It drives you insane with the frenzy, the wiggling guitars, girl, the crash of the drums makes you want to keep a rock until morning comes. And then the chorus is. Let me be who I am and let me kick out the jams. Yes, kick out the jams. I'm done. Kick them out. I like the lyrics better here. I think I'm gonna go first. I think I'm gonna say for the time that it was. I'm gonna give lyrics a seven. I think there's some interesting things in there and stuff that you couldn't do. Obviously. Motherfucker, you couldn't say then. So the mere fact that that's in there probably pissed a lot of people off, which is always good. The demo is okay. I'll give that a six. Musicianship. Seven. I'd like to solo. I think better in this than the first one arrangement. I think the Raymond's good. I'm gonna give it a seven. And, you know, I don't think the production is as good as the one prior. So I'm gonna give that a five. But I think it has more to do with just being too fucking loud. So probably hard to record that. Frank, think he muted himself again. [00:42:42] Speaker C: Hey, there we go. Sorry. [00:42:44] Speaker A: He's back. [00:42:44] Speaker B: There he is. [00:42:44] Speaker A: Yeah, go ahead and. [00:42:46] Speaker C: Yeah, the lyrics, I'm gonna give it a seven. You know, really like that whole. Kick out the jam. The music like that, too. That it goes well. Seven for that production. I'm gonna. I'm gonna do mark right there. I'm gonna give that, like a six. To your point. I think it's just that it's just too loud in there. [00:43:06] Speaker B: Right. [00:43:07] Speaker C: And that's why you can't really hear it. Yeah. So I think you're right about that. It's just too loud. So I'm gonna give that a five. Arrangements. Gonna give that a seven. And what was the last one there that I need to do? Melody. Like the melody. Yeah. So I'll give that a seven. [00:43:24] Speaker B: I'll say five in the lyrics. I mean, they're okay. I mean, I do like the motherfucker thing. [00:43:31] Speaker C: I mean, that in itself is a five. [00:43:33] Speaker A: Just that in itself. [00:43:36] Speaker B: I know. I was debating, like, to give it a six because of that one thing, because I was gonna do six is Schradere also, honestly. So you know what? All right, I'll do it because. Because of that, we'll give them some. You know, because we. We tend to curse a lot, whether we do it or not on. On the actual podcast. And in conversation, I think we drop more bombs, which I thought, honestly, from the beginning of this podcast, I'm like, oh, my God, we're gonna drop so many. But we really don't. At least not listening back. I don't think so. Yeah. Let's do straight sixes a little bit. [00:44:09] Speaker A: A little bit. Yeah. [00:44:10] Speaker B: Could be. Could be a lot worse. [00:44:12] Speaker A: Yes. Six is straight across. The next song is what I assume. Is it what I assume this is? This is a cover, too. No, it's not. Wow. It's come together, but it's not the come together that everybody knows. I thought it was a cover, but no. Now I'm very curious. All right, so here we go. This is, um. Come together, but not the thing you think. MC 569. Here we go. [00:44:59] Speaker D: Them together in the darkness come with me. Damn. Together in the darkness foundation. Oh, yeah. [00:46:06] Speaker A: That crowd was louder than the guitar beginning. [00:46:09] Speaker B: Yeah. [00:46:10] Speaker A: I don't know. The verses are real janky like. They're jammed together with no kind of melody, or there's a melody, but it doesn't really work. [00:46:17] Speaker B: I like the music, though. I mean, musically, riff wise, this is my favorite one so far. [00:46:22] Speaker A: I like it, too. [00:46:23] Speaker B: And it's pretty simple. It's just a bam ba bam, ba da bam bam ba bam. But it's. I mean, it's heavy. You know, it can come across as heavy, and, I mean, honestly, I just. I feel like that first one was just. And who knows? Maybe was the crowd that wasn't just as loud or whatever it was, but I felt like you can kind of hear everything better. And this suffers a little bit from a. A little lack of power from, like. [00:46:45] Speaker A: The drums and, yeah, it's, um, it's interesting because, like, at the beginning, you couldn't even hear the guitar. All you heard was, yeah, I was. [00:46:52] Speaker B: Like, wait, is that the riff? And I was like, yeah, it is the riff. [00:46:56] Speaker A: Yeah, he's trying to, he's trying to, like, jam these words together here. And I know that he doesn't have like, a concrete melody here. It's sort of a melody, but not really. [00:47:04] Speaker B: And he's just a singer, right? [00:47:05] Speaker A: I believe so, yes. Now, I'll read these things, but I don't even know if there's any, I mean, there's some interesting things. Well, obviously we know what this is about, so. [00:47:13] Speaker B: Yeah, I kind of read ahead, it gets even more obvious. [00:47:16] Speaker A: Yes, I am out. You are in. Let us form a link and move in rhythms. Slide apart, slide apart. Come together. Yes, together in the darkness. Come with me. And verse two is let us dance the concentration. Dance the dance from which all dances come. Yes, together in the darkness. Astounding. Oh, together, Mama. Yes, yes, yes, together, mommy. Yes, yes, yes, yes. Yeah, you don't hear mama anymore. That's a very sixties, seventies thing. I mean, there's some interesting ideas here. Just, there's really no structure to the melody of the song so far. And I don't see any chorus here. So I don't know what's going on with this. What do you think, Frank? [00:47:52] Speaker C: Um, yeah, I mean, you know, I'm still trying to let it develop a little bit. But to your point, it just seems like everything is just kind of crunched in together as one thing there, so, but I do like the music better so far. [00:48:06] Speaker A: Mm hmm. Yeah, I think it's my favorite. Oh, and guitar solo was very sixties too. That little one line, she's like one string, like he's playing all around on one string thing. That was interesting. So let's see if he continues that. [00:48:17] Speaker B: I mean, in general, it's very sixties. [00:48:18] Speaker A: Oh, yeah, I mean, there, but like I said, I understand why they say there's a little bit of punkiness going on here. Because there is a little bit of, like, not really what it was happening in the late sixties anyway, you know, I mean, I, there's a little harder edge to this than there was. Let's see, let's continue. [00:48:55] Speaker D: And together at the bottom. [00:48:59] Speaker B: Coming. [00:49:46] Speaker D: Oh, God, it's so close now. Gotta go. [00:50:42] Speaker B: That's a long clip. I take a look at my enormous penis. [00:50:49] Speaker A: I haven't used that clip in a long time. [00:50:52] Speaker B: Wait, is that what you get out of this song. [00:50:55] Speaker A: 100%. [00:50:56] Speaker B: Of course. [00:50:58] Speaker A: What else do you get out of this? [00:51:00] Speaker B: I know, man. Jesus. Oh, yeah. [00:51:03] Speaker A: Now I'm horny. I'm trying to find, like, every, like, set clips I have here for this. It's just too funny. Do I have to read these lyrics? I guess I have to read the lyrics. Huh? Oh, Steve was here. If Steve was here, I would love him to read these lyrics, but he's not. [00:51:22] Speaker B: We're gonna have him. Next time he's on, he's gonna read these lyrics. [00:51:25] Speaker A: Just one song. [00:51:27] Speaker B: I just. I have to hear it say nipple over and over. [00:51:32] Speaker A: So all the guiding rhythms of the. All the nerve that takes a lower. Nipple stiffen. Nipple stiffen. Nipple stiffen. Mama, let me give it tongue to it. Yes. Let me give tongue to it. Yes. Together in the darkness. Come with me. Yes. Yes. Yes. Together, mama. Yes. Yes, yes. Yes. Yes. Yes. Yes. Yes. Wow. And then the next one is. Oh, God, it's getting closer. Oh, and when it gets closer. Oh, God, it's so close now. God, it's so close. Yes, yes, yes, yes, yes, yes, yes, yes, yes, yes. All right. Build to a rising bill to a gathering. Build to a quaking bill, to eruption. Build to a peak and fall. Grasping over together. Yes. Together in the darkness. Owen, now, now, now. Yow. I don't know if I can get through the whole thing. What for, then? [00:52:29] Speaker B: Yeah, I think so. [00:52:30] Speaker A: It's just semen is. Is another kind of milk. [00:52:35] Speaker B: Bazinga. Bazinga. [00:52:40] Speaker A: Oh, man, that's just. That's crazy. Oh, wait. We might as well add this in here, too. No, very much like I'm really influenced by Mozart and Barna, and it's sort of in between. It's really. It's like a mark piece, really. What do you call this? Well, this piece is called lick my love pump. What do you think of the lyrics, Frank? [00:53:00] Speaker C: I mean, you know, there's only so much you can say. [00:53:06] Speaker A: I almost couldn't get through that. It's just. Wow. I can't. I can't really believe. I mean. I mean, how this even got onto a record in 69, I have no clue. [00:53:16] Speaker B: Maybe because it was 1969, there's no. [00:53:19] Speaker A: Censors, because, really, you should have just had beeps going on every time you say something. That's what should have. That should have just happened. [00:53:26] Speaker B: Oh, man. Can you imagine? I mean, this would have been impossible. [00:53:29] Speaker A: We just been like, wait, hold on. Can I. Can I do this at the same time? Hold on. I'm gonna try to multitask. [00:53:33] Speaker B: Like watching Scarface on. [00:53:35] Speaker A: I'm gonna try to multitask here. Here we go. Right? Let's see if I can do this. Um. Here we go. I'm gonna try it. Stiffendeh. Stiffen. Stiffen. Mama. Let me give tongue to it. Yes, let me give to it together. This with me. [00:53:54] Speaker B: I was gonna say, man, you may have had more beeps than that. May not have been. Get away with the stiffen and. [00:53:59] Speaker A: Yeah, maybe not the stiffen either. It's kind of crazy. It's. I can't believe that that actually happened. Well, let's finish it up. We got, I don't know, a minute left, so here we go. Did come together? [00:55:16] Speaker B: Yeah. [00:55:18] Speaker A: Jesus. You go first. Have fun with this. [00:55:24] Speaker B: I'm gonna give it a four. And for the boldness, I don't think I can give it more. I mean, it's almost silly. I mean, it's funny, but music, I'm gonna give a seven. I mean, musically, it's my favorite one so far. Production, I'm gonna say six. I mean, again, I wish it was a little bit better, but for a 69 lav album, if this really is whatever. I mean, if they didn't fix this up, if they did fix it up, I give the production a two, because I'm like, make those drums loud. Mandy. Um, Melody. I don't know. I guess I'll say six. Of the melody and arrangement, I'll say six as well. But, I mean, overall, musically, this is definitely my favorite. I mean, I think the riff is strong. The music is strong. [00:56:08] Speaker A: They made me read those lyrics. Yeah, I mean, for the boldness of the lyrics alone, I'm gonna give it five just because, like, I don't think anything was, as far as I know, was released on a major label with that on there, I'm surprised it was even released. Melody, there is no fucking melody to me. I'm gonna give that a three. That's, like, the weakest part for me. Musicianship. Yeah, I'm gonna give that one a seven, I think. Because I think it's my favorite riff so far. I mean, I got. I don't think the playing is not super clean, but I enjoy the energy of it. Arrangement. Yeah, I give that a six. And production? I give a six. This has got to be hard to record because, well, the crowd and the shit being really loud, I tend to think that's what it. That's what it is. [00:56:50] Speaker C: So, yeah, I'm gonna give lyrics like, you guys, five just because of the boldness of it all, the music. I like it. I think I'm finding the music getting better as we continue. So I'm gonna give this a seven here. Production. I like the production here better. So I'm gonna give that a sick. Melodies I give a sick. And arrangement I give a sick. [00:57:14] Speaker A: Almost quadruple six. Just five threw it off. [00:57:18] Speaker B: All right. [00:57:19] Speaker A: Okay, so the next one is rocket reducer 62 in parentheses. Talk. Now, I haven't looked at the lyrics here. I don't even want to look at it. Before I start, I kind of looked. [00:57:33] Speaker B: At what it is. [00:57:34] Speaker A: So this one says rocket reducer number 62. Rama llama fa fa fa. That sounds like a. That sounds like it would be something Ramones would do. [00:57:42] Speaker B: So rocket reducer said about the same time about what does it do? And Wayne Kramer said about the same as sniffing glue. I think it's the active. Tovin is the active ingredient. It's a paint remover. You got your fucked up, that's for sure. There was a lot of experience, experimentation in those days. And then they asked, how did the Rama llama fa fa fa get added to the lyric? They said, just sounded good, like a rock lyric. Okay, so kind of like Miss McKenzie. Misses McKenzie. [00:58:11] Speaker A: So this is rocket reducer number 62. Here we go. [00:58:25] Speaker D: Baby brother Wayne Clinton. [00:58:51] Speaker B: Mother Wayne training. [00:59:08] Speaker D: After some good on your back and. No, I got the piece where I'm a man for the baby yes, I am for the baby I'm a man for the baby, for you just money working business on your mama so get me don't satisfy you ain't saying nothing yet I said a wow, ma'am. Thank you. Man. I don't. For the man for y'all. [01:00:54] Speaker A: Right, before we get into Rama lama. [01:00:56] Speaker B: I tell you, man, I hear. I hear almost more grunge now. Do punk. She like that high ended, like, guitar soloing, you know what I mean? I hear a lot of, like, dinosaur junior there. Kind of like that noisy fuzz, basically. [01:01:11] Speaker A: Kind of garage rock. [01:01:12] Speaker B: Yeah, yeah. [01:01:14] Speaker A: It's. It's. There's a lot of energy going on here, whether they always. Like. [01:01:18] Speaker B: I think there's a little bit more melody here, too. [01:01:21] Speaker A: Yeah, there's much better melodiness than the last song. [01:01:23] Speaker B: This is kind of something you can sing along to, like, I mean, again, the lyrics, obviously, you're gonna read, are kind of silly no matter what, but this is clearly not meant to be. [01:01:32] Speaker A: Hey, yeah, no, but, you know, it's not. This is not socially conscious sixties movies, music whatsoever. It's. [01:01:40] Speaker B: At least not yet. I don't know what happens after this, you know, who knows if they go. Sometimes he seems like party music. Right? [01:01:46] Speaker A: Yeah. Well, what I can say, too, is that it's very frenetic, too. You know, I'm sure they're not all in the sober state of mind of any kind. [01:01:54] Speaker B: No. Especially whoever's singing the background stuff. That just sounds like, hey, whoever gets near Mike, just say something. [01:01:59] Speaker A: Yeah, pretty much. Yeah. And so even some of the music, too, like, there's off things where, like, people don't play or they're behind whatever's going on. I mean, it's part of the live thing, I guess. But that's why it's just so weird that they decided, yeah, we're just gonna push the. We're just gonna put this out. We're not gonna record any of this stuff. We're just gonna put it out live. Which I guess is kind of ballsy, too. I don't know how they. How they got that actually happen. Okay, so I like this one a lot, too, actually. [01:02:24] Speaker B: I mean, I think it's pretty. [01:02:25] Speaker A: Yeah, I think the melody's way better, I think, though, than the last one. So after some good toques and a six pack, we can sock them out for you til you're flat on your back. You know, I gotta keep it up. Cause I'm a natural man. I'm a born hellraiser, I don't give a damn. I'm the man for you, baby. Yes, I am for you, baby. Say I'm the man for you, baby. Yes, I am for you, baby. I am the man for you. Yes, I'm the man. I'm the man. Oh, yeah. Yes, I'm the man. Working here before your mama soaking wet. You think you're satisfied? You ain't seen nothing yet. I said wham, bam, thank you, ma'am I'm a born hell raisin, I don't give a damn. And then basically, I'm back to the I'm the man for you, baby. And that's the chorus, I guess. And then there's a solo. And the solo, you know, the solos. Nothing here is, like, groundbreaking for me. It's. [01:03:11] Speaker B: I like the solo, though. I mean, I think it fits the song. Yeah, yeah. But to me, again, it's kind of reminiscent of some of the stuff, like dinosaur junior Pearl jam, too. Some of that high ended, you know, towards the stuff that they would do, like even like yellow ledbetter, obviously louder. But when I think about a riff like that and kind of playing in that range of the guitar and everything, I mean, I think I heard some of that stuff even before, though. Like, some of the fuzz on. On the guitar was the first or second one I mentioned that kind of reminded me of. [01:03:41] Speaker A: Yeah, Frankie, what do you think? [01:03:43] Speaker C: I don't know. I'm liking it for sure. The lyrics here so far, I mean, I'm gonna give. That was a seven. [01:03:50] Speaker B: Wait, no, no, we didn't finish it. [01:03:56] Speaker C: I know, I know, but so far. [01:03:58] Speaker B: I mean. [01:03:58] Speaker C: No, I'm just saying, like, I like it so far. Up to seven. That's what I'm saying. Like, I like it. I like it so far. [01:04:05] Speaker B: Frank heard the wham, bam, thank you, ma'am. He's like, oh, okay, we're done. Right. [01:04:12] Speaker C: But this is pretty much punk, right? Like, it's just for that time frame. Like, just like those. These types of lyrics. Like, right. [01:04:19] Speaker A: There was no punk yet, so, I mean, yeah, it's. It's. I understand why they call it, like, the forefather of, like, proto punk. [01:04:27] Speaker B: I mean, the Stooges. I mean, the Stooges who were also from. Were from Michigan, too. They had some of them. [01:04:34] Speaker A: Were they around this time, too? [01:04:36] Speaker B: I think 67. I was reading the first one. [01:04:38] Speaker C: So what was it called? [01:04:40] Speaker B: So, reading stooges, I don't know what it was. I mean, I don't know what they called, if they called it that. Because here's the deal. I think the moniker punk came from the look. It wasn't necessarily the music, these punks. [01:04:54] Speaker C: Okay. Yeah. [01:04:55] Speaker B: So I think that's why, like, the Sex Pistols are credited. Because it's kind of like the look. Just like we talk about. Well, you know, metal was born with Sabbath. And it's like, well, you know, maybe you can argue certain things here and there. You know, like, some people argue that Helter skelter is the first metal song ever. But when you. To me, when you think of, like, the genre and the presentation, right. It's like hip hop incorporates different aspects of. It's not only music, it's look and. [01:05:24] Speaker C: Got it. [01:05:25] Speaker B: The origin of the expression wham, bam, thank you, ma'am is disputed. It features an american joke from before World War Two about a buck male rabbit having quick sex with some does female rabbits, while alternatively, a rooster and some chickens. There's a little history lesson from her. Anybody who cares about wham bam thinking man. Very nice. [01:05:47] Speaker A: All right, let's continue it. Here we go. [01:06:08] Speaker D: All right, for the baby wanna man for y'all. [01:08:53] Speaker B: During that guitar solo, I kind of imagined the pigs on fire and then the guitar kind of floating away. [01:09:01] Speaker A: I mean, that part was kind of interesting that they were doing that. Well, I'm gonna. Let me just read this one first and we can talk about it. So that after the Rama lama fa fa fa you can lay it down on me, mama any old time we can shimmy so good we both be stoned old mind I gotta keep it up because I'm a natural man Robin Schreiner is the name and I kick out the jams. That's the best line in the whole thing. Yeah, he called himself out, and the guitar part thing in the middle was interesting. I understand what they were trying to do. I don't know if they executed it 100% correctly, but they were trying. I thought that was cool. Frankie, why don't you go first? [01:09:33] Speaker C: Yeah. Like I said before, I kind of like the lyrics. I don't know. I really like this song. So I'm gonna get the lyrics, seven. The music, I'm gonna match that with the seven as well. Production, I think this is one of the better ones as well. So I'm gonna give that a six. Arrangement, I'll give that a six. And a melody, I'll give that a six. [01:09:56] Speaker B: I mean, the lyrics, I don't know. I'm gonna. I'm gonna start backwards because, I mean, I don't know if this one or the last one, I think musically I like the last one better, but as a full song with the melody incorporated, I think this one is stronger. So I want to do. Because I haven't really done this. I'm seven's so far for everything except the lyrics. Lyrics. Ah, God, I'm gonna say five on the lyrics. I mean, that's kind of a throwing a bone, too, because, I mean, I don't know. Not really. Whatever. But I mean, yeah, the melody was strong. I mean, the music is strong, you know, production, again, I could go for a little bit more. Whatever. But again, I mean, I think the last two songs are pretty strong. Things that I would definitely go back to mark. [01:10:41] Speaker A: I'm gonna say 600 lyrics just because he calls himself out and refers back to the other song. I kind of like that. So I'm gonna give a six for that melody is okay. I'm gonna give that a six. Musicianship, I'm gonna give it a seven. Just because they tried to do that synchronized, like, guitar thing, even though I don't think it went exactly the way they wanted to. Arrangement six and production six. I think, again, any. Anyone can kind of get any kind of production out of this with it being as loud and the technology of the time is probably, you know, it's a hard thing to do, so. All right, the next song is called borderline. So let's see what this thing does. Yes. Madonna covered this song. This has borderline. [01:11:26] Speaker B: Imagine all of a sudden here, no one ever knew. [01:11:32] Speaker A: No one ever knew. It's an mc five song. This is like 250 something. This is short. Here we go. [01:11:49] Speaker D: I'm a God on my phone. [01:12:05] Speaker B: I. [01:12:05] Speaker D: Don'T know when I make love to you when I make love to you never fuck before see you, girl, can't say why come on. [01:12:58] Speaker B: I like the. I didn't like that thing when they slowed down, that. I didn't feel like that fit at all. I mean, I think they've tried to do. Even the last one, though, had a little bit of a weird time behind it, like the drum beat. So this one, too. I mean, I think the melody is actually pretty strong. I really like this melody, except for that. That need you, girl part. I just felt like that just came crashing in. And me personally, I don't like that part at all. But I really like the other part of it, though. [01:13:23] Speaker A: Yeah, the timing's a little wacky on this, though. [01:13:26] Speaker B: Yeah, yeah, it's a little. I can. They can throw you up, but I kind of like. I think the melody kind of made up for it. I really like the melody. And there's, like a background vocal that's going on, too, which I kind of like. [01:13:35] Speaker A: Let me read some lyrics. I'm at my borderline I'm at my border, my borderline love you, girl but I just don't know why I have to trust you so when I make love to you. When I make love to you love is true but I just don't know why I have to trust you so need you, girl, can't say why. Come on over here. Love me now you know, you know, you know, you know, you're moving around pushing me past my borderline yeah, yeah. I think that. I think the melody's pretty decent. [01:14:02] Speaker B: Yeah, like that. Like I said, that slow part just came out of nowhere and it didn't kind of threw me off, honestly. I'm glad that it didn't last too long. It kind of. It's going back into that other part, so I'm like, okay. It didn't linger too long. [01:14:16] Speaker A: Yeah, it's a super short song, too. So I'm curious to see what they do with this. So let's continue it. Here we go. [01:15:56] Speaker B: That got, like, the cleanest applause I feel like at the end, that's like a bunch of golf games together. [01:16:04] Speaker A: It's, you know, it's very raw. Again, I'm very surprised that this was released as, like, an albumen. I can keep saying that, but because they didn't really do that then, you know what I mean? Live albums weren't a thing. [01:16:14] Speaker B: Well, at least not something that's supposed to be. You know what I mean? I mean, I think it's established. It's one thing. [01:16:21] Speaker A: Like your debut album. [01:16:23] Speaker B: Yeah, yeah. [01:16:24] Speaker A: I don't know. [01:16:24] Speaker B: If nothing else, for that reason alone. [01:16:27] Speaker A: Let me read the last two pieces. I can see why I don't like that knee, you, girl part. I'm not feeling that too much either. [01:16:32] Speaker B: I think my thing is this. I think had they kind of really done the music to that part where they kind of slowed down and quieted down, I think it would have been better. It could have worked, because it. It didn't jar me as much when I heard it again. But I'm like, oh, if you guys just. It just. But it just. It's so still loud. Right. You know what I mean? And he still. It seems like. But if they kind of. If they kind of lay, you know, like, laid down, like, I was like, okay. And then went back into the other thing with a little pause or whatever, I think it would have worked better. Finish the lyric. [01:17:12] Speaker A: Yeah. It's just a. It's a. It's a weird little thing. Um, so the bridges. It's about time it's about time it's about time it's about time love you, girl, I just don't know I have to trust you so and then it's need you, girl, can't you feel? I just got to know if it's real it's big and strong hard and fine you move around pushing me past my borderline yeah, yeah tell me about it. Oh, oh and then borderline my borderline my borderline obviously is at the borderline. Um hmm. I'll go first, I guess. Um, yeah, I mean, lyrics, five melodies, not bad. I'm gonna leave that a six met music, six arrangement, six production. Six. It's fine. Short to the point, but, you know, it's not one of my favorites. I don't think I'm this thing, Frank. [01:18:03] Speaker C: Yeah, I agree with you. I mean. I mean, I like it. I'm gonna give the lyrics a seven. The music. I'm gonna give a seven production again. I mean, it's all live, as you've been mentioning all along, so there's only so much that can be done there. So I'm gonna give that a six. Melodious six. And I'm gonna give the arrangement a six here. So pretty much almost what I had the last time. Zap. [01:18:26] Speaker B: Yeah. I'm gonna say four on the lyrics. I'm gonna get. It's a lot of repetitive stuff. I'm gonna say seven on the Melody. I mean, I actually really like the melody music. It's a little bit hard because I'll say six on the music. I'm gonna say five in the arrangement. I mean, I think that's where I have to ding that part, when you think about it, at least when I think about it, it's the arrangement of where that part comes in and how it comes in production. I'll say is seven. Is that all of them? [01:18:55] Speaker A: Yeah, that's all. [01:18:57] Speaker B: Yeah. I mean, I like this one for the most part. I mean, there's probably two minutes of it. What is it, 250, you said? How long is it? [01:19:04] Speaker A: 232, 55, something like that. [01:19:07] Speaker B: All right, so let's say 55 seconds. Is that kind of weird thing that I'm nothing, so I'll say two minutes of what I really like. [01:19:14] Speaker A: Yeah, I think I'm going to change my arrangement to five because you're right, that thing just kind of, like, derails it a little bit. So anti. [01:19:21] Speaker B: Like, I think there was a decent melody and I liked the music. Yeah, I mean, the timing was a little bit. Kind of weird. But listen, give it to them for at least not doing straight. They didn't do it straight through. And then on the one before this either, there was definitely some. Some timing stuff that was going, so. And I'm gonna be honest here, I don't how the fuck these guys could even hear each other from. From what I'm hearing. [01:19:43] Speaker A: I don't think they always are, Teddy. Truth. [01:19:45] Speaker B: Yeah, I. That's what I'm saying, though. The fact, too, that the kind of, like, the background. That background was actually in tune and in key or whatever. I'm like, God bless because you guys sound drunk and you can't hear. [01:19:57] Speaker A: Yeah, it's gotta be tough. [01:19:58] Speaker B: I mean, the singer's been really strong throughout this whole thing. [01:20:00] Speaker A: The next thing is the. The Motor city is burning. The original song was claimed by John Lee Hooker. It was about a riot that took place in west Detroit during July 1967, and Hooker's version was cut just two months after the incident. Soon after, MC Five incorporated the song into their act as it fitted their style and politically charged thematic, like a glove. The band significantly altered the lyrics, bringing more confrontational tone, for instance, adding reference to the Black Panthers absent in the original. So even though this is a cover, I think they kind of, like, made it their own. So let's see what they do with this. I'm curious. So this is. Motor City is burning. [01:20:41] Speaker D: But I'll let you know something. If you ask me, this is the high society. This is the high society people that ain't a faith got what I like to do my hometown, Vietnam let me tell you how it started, y'all. [01:21:46] Speaker B: It. [01:21:47] Speaker D: Made the beat cops all jumping shout I say that it's gone off with the damn I found it made the pigs in the street the freak out the fire wagons kept coming, baby. [01:22:18] Speaker A: There'S gonna be a solo coming up, so I figured we talk about that. Yeah, so it's a very. Obviously, they changed lyrics in here, so. And it's. It's. It's a fairly new event. Right. Obviously a couple of years from when this thing is recorded, so. [01:22:31] Speaker B: Yeah, I mean, something got that blues, obviously. Right. That. [01:22:34] Speaker A: Yeah, but, you know, they sound okay doing that, though, I think. [01:22:37] Speaker B: Yeah, he sounds good. He's. I mean, I'm very impressed. I mean, the singer's got a really good voice. [01:22:41] Speaker A: Yeah. Especially for what they're doing for their stuff. Yeah, definitely. [01:22:45] Speaker B: Yeah. I mean, he's got a pretty strong voice, too, because, I mean, he's screaming a lot. He just keeps going. He does a lot of the talking in between. I mean, he's. [01:22:53] Speaker A: It's really strong, you know. The Motor city burning, babe there ain't nothing in the world they can do you know the motor city's burning people but it ain't got a thing that whites society can do my hometown burning down to the ground or worser than Vietnam let me tell you how it started here it started on 12th and Claremont that morning it made the b cops all jump and shout I said it started on 12th and clear mount that morning it made the pigs in the street a freak out the fire wagons kept coming, baby but the black panther snipers wouldn't let them put it out wouldn't let them put it out wouldn't let them put it out so, obviously, you know, the riot thing is obviously the theme. Like I. Obviously, I. The Black Panther thing, they said that's something they added. You know, they did the typical calling cops pigs that they were doing back in that time. So, you know, it's a socially conscious song. This is, I think, is the first socially conscious thing. Right. Really? [01:23:46] Speaker B: Yeah. Well, yeah. Everything else was pretty much, I think. [01:23:51] Speaker A: Yeah. [01:23:52] Speaker B: Yeah. [01:23:52] Speaker A: Free love is, as they say, in the sixties. All right, so let's see. Let's see what Wayne Kramer does here on solo eyes and see what he does. Here we go. [01:24:44] Speaker D: Everywhere I thought that was my boss, but I was out of baby national. God, everywhere I've been screaming. I realized in death. [01:25:46] Speaker A: I think he sold. Yeah, I like him. I like the second one better than the first one, but I like it. The first one wasn't bad. I like the second one better. I felt more pushing the envelope a little bit more, maybe that. Maybe he wanted to do the first one a little slower, and then he kind of, like, little did a little bit more in the second one. I like it. It's good. It's a. It's a blue song, right. Obviously Johnny Hooker. So it's gonna be so. But they're doing a good job with it, though, you know, I don't always expect that to be the case, but in this case, I think they are. [01:26:13] Speaker B: Well, back then, I think in general, it's kind of better. [01:26:16] Speaker A: Yeah, it's a little more. It's a little more genuine, I think, than some of the other stuff. So it sounds good. Frankie, what do you think? [01:26:22] Speaker C: I'm surprised. I mean, it's really good. They did it. They did a great job of doing the COVID of course, taking that little bit of creative liberty of adding the black panther to the lyric. But, yeah, I like it a lot. Very cool. [01:26:33] Speaker A: This is a surprising thing. Like, I've never really listened to this album. So it's just kind of like. This is, like, a total, like, new discovery thing for me. I've been curious if they did it, what they did after this. That's my question. Okay, so verse two is, well, there are firebombs bursting all around me. People. You know, there are soldiers standing everywhere. I said there were fire bombs bursting all around me, baby. You know, there was National Guard everywhere. I can hear my people screaming. Sirens fill the air. Fill the air fill the air, baby yeah, yeah. I mean, they're doing a good job. You know, like we say, sometimes when people try to do the blues, it doesn't sound right. They're not having a problem with this at all. It sounds very natural. [01:27:09] Speaker B: Well, I mean, I think we speak about one kind of genre, really, that felt like it had to do that or not that it had to do that. Nobody has to do anything. But, hey, we can do one. You know what I mean? [01:27:22] Speaker A: Yeah. It always sounds wrong and just cliche. [01:27:24] Speaker B: The shit out of the song and. Yeah, you know, repeat every third world third. Whatever the hell it is. [01:27:30] Speaker A: Yeah. I mean, they're doing that here, too. But it just sound. It doesn't sound forced. It sounds like this is kind of what they grew up playing. You know what I mean? I'm sure that, you know, it was more of that here than it was, you know, when. When some of the eighties hair bands did. It just didn't sound. Sometimes just sounded so funny. Forced. [01:27:45] Speaker B: Yeah. Organic. [01:27:48] Speaker A: Yeah. Let's continue. This is six minute song, so we have two. Something to go still. So let's continue. I think there's another solo coming up, too, probably. Yeah. Here we go. [01:28:17] Speaker D: Can't see what it's all about get the loose thing to do that just get out there in the street I check it out, my son I hang it down to find it out I better be there sound it out stop taking my people I beat down maybe a white boy but I could be master just a tuna. Just a tuna. [01:30:36] Speaker B: Like four solos in that song? [01:30:37] Speaker A: Yeah, sorta. That last one wasn't really a solo, but. But I have to say, this is the most clean, well played song out of all the songs. [01:30:46] Speaker B: I think that's probably the first song they played before they got really drunk and they just put it out of order, maybe. Probably like stone cold sober. And I'm sure there's stories about this recording. [01:30:57] Speaker A: It's so, like, on the mark, you know what I mean? Like, the other ones feel real loose. This feels real super tight. Like they knew exactly what they're doing. [01:31:04] Speaker B: Well, I mean, in general, I think it's. I mean, the first song was a cover, right. But I think that song was just kind of a loose, goosey song. Whatever. But this is more of a concentrated. [01:31:14] Speaker A: Yeah, it's very tight and it's very well played. Yeah. I can't say that for everything they do, but I can say that for this. Let me finish. I guess I'll finish up the lyrics, then we can vote. I guess so. Your mom and your papa don't know what trouble is you see they don't know what it's all about I said your mom and pop it all know what the trouble is, baby they can just see what it's all about get the news ready read the newspapers, baby, you just gotta go out there in the street and check it out. And then choruses. I said the motor city is burning people I ain't hanging around to find out to fight it out I said the motor city is burning people. You best not hang around to fight it out. Well, I'm taking my wife and my people and they're on tv yeah, yeah, yeah well, just before I go, baby, I want to go down there's firemen on the street people all around now I guess it's true I just like to strike a match for freedom myself yeah, I may be a white boy but I can, but I can be bad too yes, yes, yeah, yeah, yeah, yes, it's true now. Yes, it's true now. And a little bit of a solo and then yeah, yeahs and burns and all that stuff toward the end. Who wants to go first? Sav, you want to go first? [01:32:18] Speaker B: Um, I gotta make it easy. I'm just gonna say seven across the board. I mean, even if I don't like the rest of lyrics, I like that he says honkies, so I'm just gonna say make it easy. [01:32:30] Speaker A: Ooh. So you know what that means? [01:32:32] Speaker B: Yes. [01:32:34] Speaker A: Honey, that ain't no pistol. [01:32:36] Speaker B: It's quintuple seven. [01:32:38] Speaker A: Nikki titty, baby. [01:32:41] Speaker B: All right. Is that a Paul Stanley? [01:32:44] Speaker A: Yes. Yes, it is. [01:32:46] Speaker B: I don't think I've ever heard Paul Stanley other than when he called. I think he called us. Did he call us or is it only. [01:32:51] Speaker A: Yeah, he called us the first time. This the first time? Yeah. I'm gonna do sevens across the fact, across the thing. And now I gonna get seven. So here's my sevens. Nikki Titty, baby. Quintuple seven. Frank, what do you think? Did his Internet die on him again? He's there. I can see him. [01:33:12] Speaker D: Frank, what the fuck? [01:33:20] Speaker B: I think he's. [01:33:21] Speaker C: I'm right here. [01:33:23] Speaker B: Oh, there he is. No, we won't here. [01:33:28] Speaker C: I did phase out. No, I'm dropping in and out of here. That's some of the stuff here and I'm having problems with. So we're up to ranking, correct? [01:33:41] Speaker A: Yes. [01:33:42] Speaker C: I'm gonna go seven. The lyric music, the production arrangement is six. And. And, um. And what's the last bit there? Here's sake of melody, actually, I like them. I'm gonna give that a seven. [01:33:56] Speaker A: Okay. Yeah, it was pretty tight. It was a pretty tight song. [01:33:59] Speaker C: It was. It was surprising. [01:34:01] Speaker A: Yeah, well, the other stuff is very loosey goosey. So you weren't expecting it to be that. Be that tight? [01:34:06] Speaker C: No. Yeah, and it's not what we've heard so far, so really stands out. [01:34:10] Speaker A: He did a good job with it. Alright, so next one is I want you right now. So let's see if this gets back to Lucy Goose here. If they can tighten it up again to the end. I'm curious. All right, here we go. Has a little bit of a wild thing feel to it, to me. Right? [01:34:47] Speaker B: Yeah, it's a good riff, though. [01:34:50] Speaker A: Yeah, I like it. Maybe they're getting tighter. Maybe the longer they play. If they play another, like, 2 hours, every song will be tight. [01:34:57] Speaker B: Yeah, they'll be dream theater. [01:35:01] Speaker A: They're gonna be a frog band coming up soon. All right, here we go. [01:35:27] Speaker D: I can't alone I said I want you right now I think the light. [01:36:46] Speaker A: I actually really like this. I think the guitar playing on this is really good. [01:36:49] Speaker B: That riff. I keep humming it over and over. I'm like, I've heard that. I don't know if I want to say, like, iron man, but without as many chords because, like, there's something. Is there obviously not exactly the same? It's kind of like maybe four to whatever chords you don't remember, whatever uses. Yeah, I mean, it's. [01:37:15] Speaker A: I find it funny that they went from, like, socially conscious right back into the sex thing again. They can't stay very long without that. [01:37:22] Speaker B: But, I mean, lyrically, it's like, there's really not a lot going in any of the songs except for that one, which they didn't write, even though they kind of. [01:37:29] Speaker A: They rewrote, fudged around a little bit with the lyrics. Well, this is. I said, I said I want you right now yes, yes, I want you right now I can't stand it alone on my own I said, I said I want you right now you know I said, I said I need you, baby yes, I do I said, well, I need you right now oh, I guess you need me, too yes, I do I said, I well, I need you right now wow. A whole verse full of nothing. [01:37:57] Speaker B: It's like. What's his name? Popcorn? Licorice. I'll say it, I'll say it. [01:38:01] Speaker A: Hold on. I never had to play that. No, no, no. [01:38:04] Speaker C: You're doing it all wrong. [01:38:06] Speaker A: I never thought I'd get to play that. There you go. Yeah, this is gonna be a little bit. It's a very repetitive. But I do like the riff, and I do like the solo so far. So I wonder. I mean, there's still a bunch time left. [01:38:16] Speaker B: I like his melody, too, for what it's worth. I mean, the lyrics are nothing grand, but I kind of like, you know, it's going. I think, again, like, the first couple of songs where he was kind of like. Was weird. The melody was a bit weirder. But now he's kind of likely latching onto the riff. [01:38:32] Speaker A: Yeah, I think they're doing a good job with this. Let's continue. [01:38:34] Speaker D: Watch your mic now. I said I watch a mic now. I can't stand it alone on my phone I said I want you right now yes, I need you, baby? Yes, I need you right now? And I hope I'll let you, baby, too I want you right now, baby why don't you say yes? I want you I want. I'll finger. Oh, now take those. Cause I said all right. I said right now. [01:40:19] Speaker A: Is he slurping? [01:40:21] Speaker C: Yep. [01:40:21] Speaker B: I was gonna say the adventure piece. [01:40:24] Speaker A: Do I need to read these lyrics? I don't even know if I do. [01:40:27] Speaker B: I don't think so. [01:40:28] Speaker A: Basically, I said I want you right now is pretty much the whole thing. It kind of devolved into something I really liked, and now I don't know what's going on. [01:40:35] Speaker B: It sounds like something you do live, right? [01:40:37] Speaker A: Yeah, it's a breakdown, a live breakdown. [01:40:39] Speaker B: You kind of calm it down. [01:40:40] Speaker A: Yeah. [01:40:41] Speaker B: And it's probably gonna erupt again. I mean, I don't know how long. How much left is left? Installed? [01:40:46] Speaker A: 131. [01:40:47] Speaker B: Yeah. They still got time to bring it up. [01:40:49] Speaker A: Let's see if they can take it home. I'm curious now. [01:42:23] Speaker B: Was the next one gonna start doing it? [01:42:25] Speaker A: Yeah, no, it devolved a little bit, though. [01:42:27] Speaker B: Yeah. But they went back, though. I mean, again, I think that's more of a live thing. I think if that was a recording, like a studio recording, I mean, they could have gone into that, but I don't think it would have been as long. [01:42:39] Speaker A: Probably not. Probably not. [01:42:41] Speaker B: And they went. They didn't. I kind of like the fact, too, that they didn't build backup to. They just scream and went back into it. [01:42:47] Speaker A: Mm hmm. [01:42:48] Speaker B: You know what I mean? It's kind of like those videos where you're kind of looking at the screen, and then that face pops out. [01:42:54] Speaker A: I said, you go first. [01:42:55] Speaker B: I wonder you haven't gone first. [01:42:57] Speaker A: I haven't gone first. Okay. Lyric wise, a little rough. I don't really know what. What I'm gonna do here. There's not a lot of lyrics. I'm gonna say. I don't know lyrics. I'm gonna say three. It's not a lot of lyrics. I like the melody, though, so I'm gonna give that a six. Music, I'm gonna give a seven, because I really like the guitar soul, and I really like the riff arrangement. You know, this is a live thing. I think. If you're right, you're right. If this was recorded, I think it would have been different. So I'm gonna give that a five. It could have, you know, I'm taking it as a live thing, but I would like it to have been a little. Not as nice, drawn out, and then production sounds pretty good for what it is. I'm gonna give that a six. Frank. [01:43:40] Speaker C: Yeah, I'm gonna give the lyrics here. Four. The music I like a lot, especially that breakdown when he was doing that solo there. So I'm gonna give that a seven. Production and arrangement. I mean, it's live. I think they did a really good job of this one. So I'm gonna give those sixes. And melody, I'm gonna give that a seven. [01:44:02] Speaker B: So, yeah, yeah. I'm gonna see a three in the lyrics as well. I mean, there's really nothing there. Music. I'm not sure about the music yet. Arrangement. Yeah, I'm gonna say I'm gonna see a five only because that breakdown, to me, lasted a little bit too long. It kind of broke up what I thought was really. Whatever. And like I said, it feels more like a live thing. And so, yeah, production, I think I'm gonna do sixes for the rest. Make it easy. I mean, still. I mean, still. It's pretty good. I mean, the main riff is good. The guitars, like you said, mark, are good. I mean, it's pretty. I mean, it's pretty good. I think kind of the first two were the weakest so far. And it's kind of been pretty solid for. And not that they were terrible, but, I mean, it's been. It's kind of been more solid. [01:44:43] Speaker A: Yeah. I think that, um. I think if this was an actual record, it would be better, because I think they would have taken. You know, they would have tightened it up a little bit. But since it's just a live thing, I think that's where it suffers a little bit in, like, the arrangement. Production part of it. There's something here, obviously. So the last song, starship 824. [01:45:04] Speaker B: That'S starships. [01:45:07] Speaker A: Starships. Yeah. I. I'm assuming this has to be some psychedelic kind of thing, but who knows? I don't know. This is. 824 is a long song, no matter who does it. Here we go. Starship. [01:45:29] Speaker D: A song called starship. A song called starship. Sergeant. Sergeant Bacon, you sit down. Get right one. Energy. One. Just one. Check. One. [01:46:59] Speaker A: I actually like this. [01:47:00] Speaker B: Yeah, I like those. I like the way they did that with the ten and the nine. [01:47:03] Speaker A: Yeah, that was pretty cool. I like that a lot. [01:47:05] Speaker B: Yeah. [01:47:06] Speaker A: I'm trying to and it actually has some lyrics in it, so I'm gonna read those. So. Okay. So I know where I'm at. Starship, starship take me, take me where I want to go out there among the planets let a billion suns cast my shadow starship, starship, take me stretch your legs in time and space and I'm trying to find the right lyrics for this load of plasm through the vacuum let me feel the stars burning on my face ten for the gravity checkpoint nine for the polarity checkpoint eight for the incomprehensible lyrics. That's what it says. Seven for the prismatic time warp six for the spirit of the captain, captain five for the power of the nucleus nebula four for the eyes, ears, nose, think, feel, speak three for the many levels two for the chromosome one for the energy one for the energy one, check one, check one, check one, check one, check one, check. And a whole bunch of drum stuff. Drums are pretty good on this, too. He's good. [01:48:14] Speaker B: Mm hmm. Yeah, he's got some nice feels, especially on the Sarah like. [01:48:19] Speaker A: All right, so here we go. We got another six minutes and 47 seconds. [01:48:30] Speaker D: The solar system, leaving the solar system leaving the solar system leaving leaving, leaving, leaving Sadeena is a life whose speed is almost unimaginable to the human mind. Today we stand there and look further every ordinary eye can see far above the roof of this world we can encompass lifters of the world there is a land where the sun shines eternally eternally, eternally out in outer space unliving blazing fire. [01:54:13] Speaker A: Gotta stop it there for a second because it's just too much. Yeah, yeah, it's a lot of. It's a lot of drugs, man. [01:54:23] Speaker B: I'll tell you, though, you gotta give him a credit, man, because, I mean, arranging all this, right, and being in time with it and then kind of feeling it out, I mean, you got. If nothing else, you got to give them credit for that. [01:54:34] Speaker A: Yeah, I would have been curious to see what this would have been like if it was actually recorded. I mean, there's a little bit of, um, Hendricksy kind of, like, psychedelic kind of thing going on. [01:54:43] Speaker B: Oh, yeah, I was going to say that, too. I feel some of that. Yeah, I feel that vibe. [01:54:47] Speaker A: I'm going to read whatever lyrics I have here. Leaving the solar system leaving the solar system leaving the solar system leaving the solar system leaving, leaving leaving leaving it's cold in sunfire glory from this point I rise to infinity there is a land whose beauty is almost unimaginable to the human mind and then something no one understands what he says. We stand there and look further than the ordinary eye can see children far above the roof of this world we can encompass vistas of the worlds there is a land where the sun shines eternally eternally, eternally out and outer space a living, blazing fire so vital and alive there is no need to disguise its splendor and then just basically, whatever kind of music stuff is going on there, for a live thing, it's kind of ambitious. [01:55:34] Speaker B: Yeah, that's what I'm saying. I mean, just to be in step with what's. You know, what's a kind of accent and kind of rise and fall and all the noise. [01:55:42] Speaker A: Easy, too. [01:55:43] Speaker B: Yeah, that's what I'm saying. Everything is pretty much. [01:55:48] Speaker A: Again. I wish. I wish this is. These songs have been recorded real, like, in their studio thing. It's kind of funny. I wonder if anyone's done a cover of this song. Be surprising. All right, let's finish it up. We got a minute. I had to break it for a minute because we went so long. I was just like, I gotta stop it here. I just didn't know where to stop it. All right, let's finish it up. [01:56:59] Speaker B: Everybody's high as it can. [01:57:01] Speaker A: Yeah. Obviously kind of crazy. That was an ambitious thing. [01:57:04] Speaker B: Don't do the brown acid. [01:57:05] Speaker A: Yeah, that's crazy. [01:57:07] Speaker B: Yeah, absolutely. [01:57:08] Speaker A: Who wants to tackle this first? That's my question. All right, go do it. [01:57:12] Speaker B: I'll go first. I'm gonna say seven on the lyrics. I mean, you know, a little Sci-Fi and fucking crazy shit. I'm gonna say a seven on the arrangement again. Because I give them credit for kind of being able to do it and make it work. Whether or not you like everything that's going on. I mean, I just think that they're tough. Tighten that aspect. I'll just say six on everything else. I mean, I'll be honest with you. I don't know that I'd go back to all of this if I go back to this record, but at least the beginning part. But I mean, again, from an ambitious standpoint and kind of doing it live and getting away with it and whatever. You gotta give him credit for that, if nothing else. So, Frank. Frank is in a starship. [01:57:55] Speaker A: He's in a starship. I don't have any starship noises, though. [01:57:59] Speaker B: Mark, you want to go first, then, in case you. [01:58:02] Speaker A: Yeah, I'm gonna give seven on the lyrics and probably gonna do six for everything. Maybe. Maybe seven on the arrangement and six on everything else. Just because you know, how do you do that? It's just. It's very ambitious. I wish, um, again, I wish some of this stuff was really recorded in the studio kind of thing. What it is, it's. It's interesting. I mean I understand why people think this is a punk record, I guess. But to me it's just more garage rocket. There's not a lot of punk here to me. I mean, I guess before there was punk it's. I guess because it's heavy. Is that why? I don't know. [01:58:31] Speaker B: Maybe like some of the hardcore elements or the looseness of it. But I mean I. Yeah, like you said, I hear more garage. I hear some grunge going on. I mean that's what more kind of like what I'm hearing. But again, it depends on what punk they're talking. So you know, the pistols were punk, but they had a pop. They were obviously. They had a catchiness. And this to me is more of like there's psychedelic going on. There's a. You know, it's very sixties. [01:58:56] Speaker A: They're saying that proto punk is rock music from the sixties to the seventies. The mid seventies that foreshadowed the punk rock movement. So it's kind of what it is. Someone saying they traced punk back to Richie Valens in 1958. I mean, I guess la bomba. They kind of. [01:59:10] Speaker B: Well, there's a big acoustic punk movie. [01:59:13] Speaker A: Yeah. [01:59:13] Speaker B: So. Which is basically just a person and a guitar. But I mean it's the elements of it. Whether or not it sounds like what someone might. Oh, I didn't think punk music. I think this. Well, it's like. No, it's kind of like this. But it's kind of on done acoustics. So. You know, again like anything else, right. There's different variations and I think we lost Frankie. [01:59:31] Speaker C: Oh, you hear me? [01:59:32] Speaker A: Oh, there he is. Yeah, there he is. [01:59:34] Speaker B: Hey, there he is. [01:59:35] Speaker C: I liked it. I like this one. I think I'm liking these as they go along a little bit better. I'm gonna give the lyrics and the music of seven. Production arrangement. I'm gonna give that a six, Melly. I'm gonna give that a six. Yeah, there you go. [01:59:54] Speaker A: Yeah, it was a long song, but it was. It was interesting that they tried to do something so ambitious. So what'd you think, Frank? It's one of those things that you never heard ever. [02:00:02] Speaker C: No, I. So far I kind of have mix mixed feelings about it. I mean the first few songs like. But then we came across the one cover song and now this one. And it's like it's taken a different direction. [02:00:15] Speaker A: Yeah. So I gotta see if I have any more mc five on here that, you know, from later on, they only made three records, I think the original band. So they got dropped off for lecture after this because they couldn't sell their records because it was too controversial. They had too much political stuff going on for back then and they just couldn't. They couldn't really get it through, you know what I mean? And they couldn't play live. And it's a whole backstory for all this. [02:00:37] Speaker B: Oh, what's over? They come in with that on the list? [02:00:41] Speaker A: Yeah. Interesting. Wow. I say. Well, we got. We got through a whole album. That's cool. So now we can spin again next week. Very nice. [02:00:50] Speaker B: All 29 minutes. [02:00:51] Speaker A: Yeah, 29 minutes. [02:00:53] Speaker B: Just kidding. [02:00:55] Speaker C: Yeah. All 29. [02:00:56] Speaker A: Yeah. [02:00:57] Speaker B: Oh, yeah. [02:00:59] Speaker A: All right, Sabrina, do your thing. [02:01:00] Speaker B: Yeah. So we are part of the Deep dive podcast network again. Like I was saying, great bunch of guys took us in right away. And if you're looking for more focused stuff as opposed to what we do, and you want to just hear about the bands that you love, like Rush, Judas Priest, Uriah Heap, who I think has something coming out too, or something's up with them. I heard something about them too. Zeppelin, queen, you name it. Big names. They're on there, so definitely check them out. And, mark, where can they find us on the interwebs? [02:01:27] Speaker A: Rock roulette pod on all of the socials. Rock redletpodcast.com. if you want to submit a new bet song, go to the website, fill out the form and get added to our list. And then hopefully it'll get spun by one of us or picked by one of us, depending on how we want to do it. I think it'll be Savino's choice next time. We'll see what he's going to do. Spin or pick. [02:01:45] Speaker B: Yeah, my pick. Because there's a song that's been on there for a while that hasn't been. [02:01:48] Speaker A: Yeah, I know what song you're gonna do. You've been waiting to do that. So also put us on your player to download automatically and give us a review. Reviews help us move up in the algorithm. So I guess next week we get to. We get to spin again, which is cool. [02:02:02] Speaker B: Yeah, nice. [02:02:04] Speaker A: Yeah, yeah. [02:02:05] Speaker B: Spinning a lot lately. Seriously getting them short albums. [02:02:08] Speaker A: Yep. Well, yeah. Well, this ended up being a little longer just because it's three of us, but yeah, it's a short. It's only 40 minutes, so figure we might as get through it. All right, guys, we will see you next week. Later.