Episode 112- Blackberry Smoke - The Whippoorwill - Part 2

[00:00:02] Speaker A: Hey, everybody. Welcome back to another episode of Rock Roulette podcast. [00:00:04] Speaker B: This is our musical reaction, breakdown and commentary analysis of the song. Under fair use, we intend no copyright infringement, and this is not a replacement for listening to the artist. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holder for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work. [00:00:44] Speaker A: Would otherwise be infringing. [00:00:45] Speaker B: Now, onto the rockrul podcast. [00:01:12] Speaker A: Kind of sound, but. And they may be like that on other albums, but this album so far has been pretty, pretty country, without a doubt. There's some markings here and there of rock. And as it kind of progressed, I mean, again, not. Not bad, but definitely, I would say more country than rock. What would you say, mark? [00:01:37] Speaker B: Yeah, I listened to the first side a little bit more. Again, a little bit. So, I mean, yeah, it is country. There is some rock stuff in there, I think. But I think overwhelmingly it's contrary. And I think some of the earlier stuff is a little more rock. This one doesn't have to be that way, though. [00:01:52] Speaker A: Yeah, I mean, maybe it's kind of like a throwback. [00:01:55] Speaker B: It's good, though. [00:01:55] Speaker C: Yeah. [00:01:56] Speaker A: I mean, again, like we said last time, none of the songs are bad. And one of them I really liked. I have to check it out. I did not go back to this. I do want to go back to it. I try to go back. If nothing else, every once in a while, I do listen to our podcast. So I try to listen to the scores I've given songs to see if I still agree with it, if some songs I like better, if I don't like as much. Again, when we do this, in the moment, we break the song apart. So sometimes the parts are better than the whole, and sometimes it's the opposite. But whatever. But before we go back, well, review slide two. We do have our new segment, which is new bets, where we spin the baby wheel. And Mark, who's turn is it my turn or your turn this week? [00:02:43] Speaker B: No, I believe it is my turn. And I'm going to go to the wheel. [00:02:48] Speaker A: Okay. [00:02:48] Speaker B: All right, so let me play this first. Here we go. [00:02:51] Speaker C: In a world where new music is not easy to find, welcome to new bats. [00:03:07] Speaker B: Yeah, so I'm gonna do. I'm gonna do the wheel. I know the last time I picked. [00:03:10] Speaker A: Yeah, I noticed that. This wheel is getting harder to read as well. [00:03:13] Speaker B: Yeah. There's not that many on here. Comparatively. [00:03:17] Speaker A: No. Comparatively. Absolutely not. Definitely not. [00:03:19] Speaker B: I forget how many's on here, but there's maybe 50. Maybe. Maybe 50. Maybe less than 50. Maybe 25, 30. I don't think there's that much, but, yeah, it has grown since the first time I try to add new stuff when I see new stuff come out. [00:03:33] Speaker A: Yeah, you never know. [00:03:34] Speaker B: Oh, you never know. And I try not to listen to the song. I try to, like, just listen to the beginning to see if it fits our style, and then I just, you know, add it to it. Well, so cool. All right, let's. Let's see what this thing's gonna pick. I'm curious. [00:03:45] Speaker A: Yeah, let's see. [00:03:46] Speaker B: Yeah. I was like. Even though, like, last weeks, I didn't like a lot, but I'm excited to hear stuff that's new that I don't know. [00:03:52] Speaker A: I remember last week. I remember liking the chorus. The rest of the song was medzamet, as we say. [00:03:58] Speaker B: Yeah, that was radiance, I think. [00:03:59] Speaker A: Radiance. Yeah, that was the name of the song. [00:04:01] Speaker B: Here we go. Let's spin the wheel. [00:04:15] Speaker A: Oh, hailstorm. [00:04:16] Speaker B: Oy. [00:04:16] Speaker A: Prevail. I may know this one. [00:04:18] Speaker B: This may be a collaboration thing, I think. Right? [00:04:21] Speaker A: Mm hmm. I believe it is. I've listened to some high prevail stuff on the side. It's not bad. [00:04:29] Speaker B: What are they like? [00:04:29] Speaker A: They should be relatively heavy ish. [00:04:33] Speaker B: Is that what they are? They are heavy band. Cool, right? [00:04:37] Speaker A: Yeah. Let's check it out. [00:04:38] Speaker B: I wonder if it's just her with them. I assume that's what this is. I'm not sure. I don't know. [00:04:43] Speaker A: Let's check it out. [00:04:44] Speaker B: Let's do this. So this is. What is it again? I just spun it. I don't even know. [00:04:49] Speaker A: Hailstorm. I prevail can you see me in the dark? [00:04:52] Speaker B: Yeah. Here we go. [00:04:59] Speaker C: Broken bones and bloodshot eyes I hope you like my new disguise we're not the same, you and us don't you dare forget in this crowd room alone such things unknown face away you forget come face your eyes on me. [00:06:04] Speaker B: Have you heard this before? [00:06:05] Speaker A: I don't remember. I definitely heard a collaboration with I prevail on somebody else. I'm not sure if this was it, though. I'm pretty sure. I don't remember the drumbeat. So I want to say that I have not heard this one before. [00:06:17] Speaker B: You know, I must be in such a Linkin park thing right now that everything sounds like Linkin park. To me. [00:06:23] Speaker A: Yeah, I can hear some of that. Can you hear a little bit of that? [00:06:27] Speaker B: I assume I prevail came after Linkin park, correct? [00:06:31] Speaker A: I believe so. I think they're more recent. I mean, I've discovered them recently, but I've also been a little bit more in a music kick lately. I haven't really listened to a lot of music for a while, like anything. Again, my son kind of reintroduced, not introduced basically. Hey, listen to this. This sounds like this and this. And so I started going back to some of the stuff I listened to and then try to find some of the newer stuff. My wife is into some of the heavier stuff, so anytime I find something heavy, I like, I go to her like, oh, you know, this is pretty good. [00:07:04] Speaker B: Well, Lizzie Hale sounds good. Here she is. [00:07:07] Speaker A: She's still with touring with Skid row or. [00:07:09] Speaker B: No, no, I think that was just like a short, I don't know if they're gonna do any more stuff, but I think that was just a short tour. I don't think that anything, I mean, at least they haven't said that they're gonna do anything new. I mean, she was good with them. [00:07:22] Speaker A: Yeah, she was good. [00:07:23] Speaker B: And this song sounds a little bit like. It's definitely newer sounding. [00:07:28] Speaker A: Yeah. [00:07:29] Speaker B: But I feel like a lot of bands sound like this, though. Maybe it's just me. I feel like I hear this sound all the time. [00:07:35] Speaker A: Yeah, I mean, like I said, I think ultimately it's not about, oh, this sounds fresh or this sounds new. It's either you like the song, you don't. Right. Because, I mean, you think about any genre people like, oh, this, all this sounds like this and it sounds like that. And so I think it really comes down to what you're. I mean, it's. It's not bad. It's not, oh, it's okay. [00:07:54] Speaker B: No, I just. I don't know. I feel like there's so many bands that sound this way and is this just like the sound of now? Like in the eighties it was like the hair metal sound and the nineties, it was a grunt sound and there's a postgres thing. So is this just the sound right now? And so everything I hear that sounds like this, I think they all sound the same. Or am I just getting. [00:08:11] Speaker A: I think the production too has a lot to do with it. And I think, again, these drums sound like the drums that I'm not crazy about. So I think that that also, to me, has a lot to do with it. There isn't necessarily a signature sound that some of the bands have. [00:08:27] Speaker B: Maybe that's what it is. [00:08:28] Speaker A: And I'm not trying to sound old. [00:08:31] Speaker B: Just get off my lawn. [00:08:33] Speaker A: No, I mean, listen, I've heard. I've heard newer, heavier bands that don't have this kind of jump sound, and it's. It's different. It sounds different. [00:08:41] Speaker B: So I think we've said this before. Anytime everyone starts using the same stuff and same plugins, same drum sounds, same whatever, and everything thinks it always has to sound like this, or you have to do this, or it's not gonna. It's not gonna sound right. But, you know, it's kind of funny not to pull linkin park back into this again, but their new song. Right. Someone was saying that, oh, wow, the guitar sounds like an old school style guitar, right. Because it sounds better. And that's what they use. Because technically, they're an old school band at this point. Right. 25 years. [00:09:09] Speaker A: Yeah. [00:09:09] Speaker B: Basically they were, you know, they're using amps and stuff. Not that you can't get a good sound out of the modeling stuff, but I think that their sound is a little more that way just because that's what they're from. And people like, wow, it sounds so much different. Much different than new stuff. Yeah. Because not everyone's using the same exact thing over and over. I think that's. I think that's maybe the problem I'm having. It looks good so far. [00:09:29] Speaker A: Yeah. I mean, again, you kind of have to kind of go past the production, I guess, but it's people who like it, so I guess it's just the now sound and a lot of it, once it's run through, whatever it is. I mean, I'm not a production guy, unfortunately, so. But, you know, if we ever re recorded something, then I would not want my drums, me, personally, to sound like this. [00:09:50] Speaker B: I agree 100%. [00:09:52] Speaker A: Yeah. [00:09:53] Speaker B: All right, let's continue. Here we go. [00:09:54] Speaker A: Yeah. [00:10:10] Speaker C: It's a different language. To those of us who face the storm against storm lines and found the truth inside we beaten and weathered and broken sky we're pieced together with broken hearts now that you showed me just how you there's a ruin to hide can you see me in the dark? Are you watching it all apart? I needed your kiss alive my eyes open wide for the first time so I black out the sun the only way I know how to trust someone is shopping unite and enter the night that's not my wife. For the first time. [00:11:22] Speaker A: Can you see. [00:11:23] Speaker C: Me can you see me in the. [00:11:25] Speaker B: Dark. [00:11:56] Speaker C: Dark are you watching it all fall apart? I needed your cast of love to bring me to life my eyes open wide the first time can you see me in the dark shadow. [00:12:47] Speaker B: No. [00:12:47] Speaker A: I'd listen to it again. [00:12:48] Speaker B: My rock music is more guitar forward. I think here the guitar is just like a secondary instrument for me here. It's not really pushing anything forward. It's really. It's not really what it's about. It's more about the beat. Right. It's more about that loop that happens and the vocal than it is about the guitar. So, for me, that's where maybe I kind of lose it a little bit. [00:13:07] Speaker A: Yeah, I mean, there's definitely a lot going on with the electronics. And, I mean, that's another thing, too, that's prevalent as well. They've kind of brought back some of the. Because a lot of the bands, like the heavy bands, have keyboards now. Well, they've been having keyboards. This isn't something brand new. But obviously, when you have that as a permanent instrument, you can bring in a lot of different sounds and a lot of different things you can do with the keyboard. I mean, obviously you could do with the guitar, too, right? You have your synths and stuff. You could play whatever sound through your guitar. So there is a mix of that. And that's not bad. I mean, I kind of liked it a little bit more as it progressed. I may have heard it before. I mean, I know I heard a collaboration they did with somebody. I just don't remember. So I'm assuming that it was more than one because I don't think this was a song. [00:13:49] Speaker B: Yeah, I don't know. For me, I don't hate it. It's not bad. I mean, she's good. She's generally good. So now, you know, again, you know, the worst part about all this is, like, just because there's so much stuff going on, studio trickery wise, that you always wonder what's going on. But on a record, it's not as big a deal, you know, live, I don't think she does very much of that. I think she kind of is pretty straight when it comes to that stuff. [00:14:09] Speaker A: So, yeah, I mean, yeah, she did you well with skid row, so she did very well. Yeah, that was good. [00:14:16] Speaker C: In a world where new music is not easy to find. Welcome to new bandst. [00:14:31] Speaker B: Listening back to the first side again. Might listen a little bit more to the first side again. I think the production is very good. I'm excited to go back to this production after hearing something like this because I think this has more of a more real authentic production for. I don't know, drums don't sound like they're fake. You know what I mean? They don't sound like every drums that are out there now. Guitars are fairly unique, I think, too. I'm actually, you know, this is what we said. This is like ten years old, right? [00:14:55] Speaker A: Yeah. 2012, I think it was give or take. [00:14:57] Speaker B: Yeah. So twelve years. You know, it's just one of those things where I think, you know, going back a little bit, I. I listened to it and said, oh, it's not as bad, you know, I mean, the production's actually pretty good. Everything's clear. You can hear everything. [00:15:08] Speaker A: I think we've been giving production. I mean, it sounds natural. I don't know if that's a word to use, but. [00:15:14] Speaker B: Yes, it does. It doesn't sound fake. [00:15:16] Speaker A: I guess that's a. I mean, obviously these things are. Yeah, I mean, I just. Just, you know that, you know, not every drum set can sound the same. It isn't as if everybody's using the same studio, the same drum set, the same producer. That is my. My complaint when it comes to some of the heavier stuff, I just don't. [00:15:34] Speaker B: Even think it's just heavy stuff. I think it's just all across the board. Unless you're a band that doesn't do it this way or tries to get a unique drum sound right, that it kind of sounds very similar. It's just. It's very cut and paste and, you know, we come from the time of bands playing live in the studio to get, like, even when we did stuff, you play it to get the drum track right and then you go back and if the basic track sounds good and you like what you did, then you could leave it. Otherwise, you know, you're gonna re record that stuff. But you tried to get the drums down because you tried to get a good take that you want here. I feel like it's not that way anymore, and it's probably not. And I know, you know, other bands, you know, even earlier, like again, Linkin park, they didn't really do that. I think I was watching something until the third album, the one with Rick Rubin. They did some, like, live stuff together to see if it would sound better instead of just putting it all together and separately, then making the song. I mean, I always prefer that way, but, you know, that's is an older school way to do things. And I think in general, this band is an older school type band. [00:16:29] Speaker A: BlackBerry smoke? [00:16:30] Speaker B: Yeah, definitely. I doubt very highly that they're going and putting these things together piece by piece. I think they're. They're getting a basic track down, then doing what they have to do. That's what it sounds like to me. [00:16:38] Speaker A: Till we get there, like newest album, and then it sounds. [00:16:42] Speaker B: Well, I don't know what the new stuff sounds like. [00:16:44] Speaker A: I know we know. We have no idea to. To compare, but, yeah, I mean, yeah, the production on this, definitely. I mean, we've been giving sevens, right? Sevens and eights, from what I remember. [00:16:52] Speaker B: Yeah. You liked, um, one horse town is the song you like. That's the best one so far for you. [00:16:57] Speaker A: Oh, is it? Yeah, I mean, I remember liking that one, but I remember liking, um. I don't know if it was. Yeah. So maybe that was it. I thought it was the one before the whip Powell. [00:17:05] Speaker B: You also liked, um. [00:17:07] Speaker A: Ain't much left of me yeah, ain't. [00:17:08] Speaker B: Much left of me those are the two you like the best. [00:17:10] Speaker A: Yeah, I remember that. I mean, the whip wheel wasn't terrible. Right? That was kind of like the ballady one. [00:17:15] Speaker B: Yeah, it wasn't bad. I mean, I think in general, this is getting, overall six ish kind of thing, some seven. So that's. It's. It's. That means it's a good record, at least for us, as far as we are concerned, in our taste and what we like. [00:17:26] Speaker A: Exactly. Some other people might listen to it. And, I mean, again, depending on how. Well, I mean, we kind of did cheat a little bit on the side and kind of heard a couple little things from the first one, again, because we both thought it was a certain kind of band, and this is not exactly what we were expecting. It seems like that was what we were expecting. So some people might say, well, you know, this isn't really whatever or country fans might be like, listen, this is like, this is a really good country. [00:17:51] Speaker B: I'm like, okay, well, we're coming in the middle, right? So, you know, into a band that you don't know in the middle. You don't know where they're gonna be, where they were. [00:17:59] Speaker A: Exactly. [00:18:00] Speaker B: This could be the outlier of all their albums. And maybe nothing else sounds as country as this does. Who knows? I don't know. [00:18:06] Speaker A: I mean, listen, if the wheel's gonna pick something, this is what it's gonna pick. [00:18:09] Speaker B: Always. Always. [00:18:11] Speaker A: Yes. [00:18:12] Speaker B: All right. This is the number seven. It's the 7th song. It's called lucky seven, which is kind of funny. I think they did that on purpose, probably. [00:18:18] Speaker A: Cool. [00:18:18] Speaker B: I'm excited to go back into this because we have, like, six songs on this side. So. Or seven songs on this side, so it should be pretty good. [00:18:24] Speaker A: Cool. [00:18:25] Speaker B: Let's see, that's. Here we go. So this is, um, lucky seven. So those are real drums? I prefer that drum sound. [00:18:49] Speaker A: Yes. Well, I mean, again, I'm sure the other ones are real drums. It's just the way it's. Right. It's the way it's processed. [00:18:55] Speaker B: And sometimes they take drums and replace all the drum sounds with triggered, predetermined drum sounds. Yeah. So I'm not saying that happens all the time, but it can happen all the time. Like, that guy can play the drums and then they can replace all his drum sound, which patch drums have a certain sound on them. That's probably why you're hearing the same drums over and over, because people using the same exact samples to replace drums with. [00:19:17] Speaker A: Yeah, I mean, I do watch this. Somebody on YouTube who mentioned triggers, and he was listening to somebody, somebody was saying, hey, check out these, these drummers. What do you think? And he was saying, this one thing was good, and it was good. Then he mentioned, oh, I wonder if he's playing everything or if he's using triggers. And I said to myself, well, if he is, I'm not as impressed. You know, I'm not going to be as impressed by that, so. [00:19:43] Speaker B: Well, it doesn't take away from the drummer, though, but it just takes away from the sound. Like you don't have your own sound, or if you do, then they're taking it and making it sound like every other drum kit, which I think that's really the problem. I think that's just what is happening now. I don't think it'll be easy to get away from that unless people just start, you know, using. Using the digital workstation is the older way. Try to get a take, and then instead of trying to cut pieces out and trying to line everything up on a grid so everything's perfectly in time, so you can just take anything and just replace it. I like that fill over here. So we're just going to cut it out from over here and put it over here. When everything's perfectly aligned like that, you can do stuff like that, which I guess technically is easier to edit, but I think it takes something out of the music by doing stuff like that. You know, having a little bit of time shift. As long as it's not horrible, is not bad thing. Like, I remember someone on YouTube I was watching and they were talking about Pearl Jam, where the time fluctuates by, like. Like, it's 92 beats and it's 91. It's 93 speed speeds up a little bit, but that's okay. That's what makes it a human thing as opposed to just a drum machine. [00:20:49] Speaker A: Oh, yeah. [00:20:50] Speaker B: And something that's so perfect. Sometimes the more perfect it is, the worse it sounds. [00:20:55] Speaker A: No, I mean, hearing some stuff here through headphones, I've noticed quite a bit where the song speeds up. So I'm assuming that it was recorded. I mean, this is going back to some of the older stuff that we've listened to. So I'm assuming it was recorded the way we used to do it, which is try to get the drum track down. Right. And if you like the drum track and you're not redoing it, and then the drummer speeds up. Right. And then you're laying a rhythm track like, oh, sped up. So you kind of play along with it so it isn't off time. It's just kind of building in time and then kind of fluctuating. But it doesn't sound off because when the guitar player is playing, he's playing to that drum track. So if you hear it speed up, you're going to speed up. And again, this isn't something where it's a major transition, where it's the slight transition. And I first, like, I think that sped up okay, though. But I've heard a few times. So you pick up on a lot of this stuff, especially through headphones, I think. [00:21:50] Speaker B: Mm hmm. Some of that stuff is okay to do it, and certain people don't need to be fixed and don't need to be straightened out. I remember heard someone straightened out, like a Van Halen song. They straightened it out. It sounded horrible. Sounded horrible. Yeah, because it was too straight. It didn't have any swing. It didn't have anything. It was just, it was perfectly on time. And, you know, I know, like, these days, it's great for editing. Right. You, if everything's on a grid, you know, that's easy to fix. You can fix things. But I just, to me, it just takes something out of the music. And I think hopefully somewhere along the line, people are going to decide to go back and say, yeah, we can use this stuff to easily cut and paste and do whatever, but let's try to get a take using the new stuff so it. You're not always trying to make it perfectly in time or perfectly right on the line, you know, whether that's vocals. Right. If people use auto tune and get it perfectly on the note. Sometimes that. This sounds weird. It sounds like a robot because the voices don't do that. You know, generally don't do that. Very few people are so precise with their notes that they're always hitting it right on the note all the time. [00:22:49] Speaker A: And then you have to recreate it live. I mean, if you're. If you're going to tour supporting music, your music, right, you're going to have to recreate that live. And if, again, it comes the whole, hey, what do you use to recreate it live? Oh, we punch this and we click this and. Right, that's the massive debate. Now everybody's watching, everybody's saying, and everybody play and everybody, I can't go to. [00:23:13] Speaker B: A concert anymore without watching people now because the problem is now they can fix your vocals live. Like, you know, when auto tune came out early to 99, 2000, that was a studio thing, right? They fixed you in the studio, but they couldn't do it live yet, or was very rudimentary. Now they can basically process you through and fix you live. So you don't even know if anyone's good anymore, if they can sing or, I mean, you know, if they're hitting, you know, the right notes or whatever anymore. I think it ruins it for me because every time I go to watch someone play now, are they backing tracks? Are they playing with a track? Are they fixing their vocals? Is this right? Is that right? I almost. Listen, I don't want it to be bad. Right? I mean, we're not gonna mention, I went to something, you know, recently, well, a couple months ago, and the guitar player stuff was not great, but I knew that part was live because no one would fake tracks that suck that much. I still want it to be good. I want it to be good, but I want it to be good because someone's being able to do it good as opposed to, you know, again, it could be the old man, you know, get off my lawn thing. I want to see live music. I don't want to see tracked stuff. For me, like, am I going to spend money to go see live? I want to see live good, better and different, right? If someone's having a bad night or it's not that great, maybe I won't see them again, or maybe they're having a bad night, I don't know. But I would rather see someone really good, you know what I mean? And do it live as opposed to relying on other stuff to make it feel like everyone needs to do this because this. Because everyone's doing it because, you know, the big thing is, well, the big. The big names are doing it. So if they can. Why can't I? I don't think that's the reasoning you should use. [00:24:38] Speaker A: Yeah, I was gonna say. Don't also say, well, everybody's doing it. I don't think everybody is doing. [00:24:42] Speaker B: A lot of people doing it. [00:24:43] Speaker A: I mean, I know the argument is, well, more people doing it than you think, and, okay, whatever. I mean, yeah, we totally went off. [00:24:51] Speaker B: And they did in the eighties, too, so I'm not doing it then they. [00:24:55] Speaker A: Did in the seventies. Right? I mean, look at. I mean, again, look at some of the live albums aren't as live as you think they are. [00:25:01] Speaker B: So that's studio trickery, which is different than the actual live performance. Like, even if it was, let's say, the eighties, really when it started, somewhere in the eighties, maybe it could have been in the seventies, too. I'm sure they were backing tracks and stuff, playing through tape right back then, but whatever. I don't particularly like that either. Just because it was being done back then doesn't mean that that's the way it should be done. It's just someone decided to do it and now it's so easy to do that. Your local cover band in the bar you're going to see them at could be doing the same kind of stuff and you wouldn't even know about it unless you were paying attention. So who's. Who's good and who's bad anymore? Do you even know? No one even knows who's good and who's bad. It's like impossible to know that kind of stuff. Anyway. I guess what we're saying is we like the way the sounds. So. So let's get back to it. [00:25:36] Speaker A: Yeah, exactly. [00:25:38] Speaker B: Rant over. [00:25:40] Speaker C: I ain't never been to prison but I probably should have gone cause I broke the law twelve dozen times but I never did get caught I'm a different kind of daredevil than a lot of folks I know but I still walk the tightrope with no net down below hey, I'm lucky I I danced a mountain I may not get to help my lord for the wicked things I do if you wanna walk in my boots and take all that I took it ain't as easy as if love. [00:26:29] Speaker A: Cool. I feel like I definitely overall, not only in this song, but I think we mentioned it in the first. So I hear definitely some eagles influence on it. I mean, this sounds a little bit more. It's country, but it kind of has a little bit more of that southern rock tinge to me. [00:26:44] Speaker B: I think I was just going to. [00:26:46] Speaker A: Say that right it's not loud. Not that it is supposed to be, but to me it sounds a little bit more like that. Something I would hear. I mean, we talked about some of the stuff like Leonard Skinner and brothers. So this one's a little bit more, I think. [00:27:00] Speaker B: Yeah, there's definitely more of a rock and roll kind of thing going on here. Then some stuff on the first side, which I appreciate. This is what I. This is more what I thought I was gonna get, you know, when I was gonna get this album. So. So let me read some lyrics. So the verse is, I ain't never been to prison but I probably should have gone because I broke the law twelve dozen times but I never did get caught I'm a different kind of daredevil than a lot of folks I know but I still walk the tightrope with no net down below and the vert. And the chorus is, hey, I'm lucky as a seven I dance to my own tune I mean, I get to heaven, Lord for the wicked things I do if you want to walk in my boots and take all that I took it ain't as easy as it looks. It's not bad. It's very catchy. I mean, for the music he does. He's a good singer for this music. [00:27:44] Speaker A: Yeah, absolutely. I hope the. Maybe the police didn't hear this song say, hey, this guy's. [00:27:49] Speaker B: Maybe we should look into this dozen times. We can't go. [00:27:52] Speaker A: Yeah, he's committed a lot of. He's got a lot of crimes, this dude. Let's. That's that. Let's look into him. What has he done? [00:27:58] Speaker B: Here we go. [00:28:00] Speaker C: Life ain't always simple some things you can't explain if you quit, that's what you get cause you couldn't take the pain I ain't never had it easy just the way it is but circumstance opened up a chance I do it out again hey, I'm lucky as a stepper I danced a mountain I may not get to help my lord for the wicked things I do if you wanna walk in my boots and take all that I took it ain't as easy as it ain't no place to turn around come on, wild. [00:28:57] Speaker B: Right before the solo comes. [00:28:59] Speaker A: I wasn't too crazy about that little part there. [00:29:01] Speaker B: Bridge, whatever it was. [00:29:02] Speaker A: Yeah, the little bridge. [00:29:04] Speaker B: It breaks it up a little bit, though. [00:29:05] Speaker A: Yeah. And I mean, the production is really good in that part. Just a little. I don't know. But I like the song, though. [00:29:12] Speaker B: I think it just breaks it up. It's not that's not the worst thing I've ever heard. I like his vocals, actually, a lot. [00:29:17] Speaker A: Yeah. I mean, he definitely. I like his voice, too, overall. [00:29:21] Speaker B: Right. Life ain't always simple some things you can't explain if you quit that's what you get because you couldn't take the pain I ain't never had it easy that's just the way it is when a circumstance opened up to chance well, sorry, but if circumstance opened up the chance I'll do it all again so, you know, lyrics are okay. Not bad. Tell a little bit of a story, I guess. [00:29:40] Speaker A: Yeah. [00:29:41] Speaker B: And in the chorus, it does get a little, you know, gets a little more distorted and stuff. Not bad. [00:29:45] Speaker A: Mm hmm. [00:29:46] Speaker B: I like this more. [00:29:47] Speaker A: Yeah, I like the song, too. Good song. [00:29:49] Speaker B: Let's see what he does soul wise. Here we go. That was too bad. [00:30:13] Speaker A: No, he did what he had to do. I actually could have used a couple. Two more bars, though. I don't think it was a little bit more interesting than some of the other stuff he'd been doing. [00:30:20] Speaker B: It's kind of like four bars and he's out. [00:30:22] Speaker A: Yeah. I wasn't expecting more than that, but I. But I felt this was a little bit more interesting, maybe, than some of the other stuff we had done. So I was like, give him a couple more. [00:30:31] Speaker B: Wow. I think, you know, they try to keep these songs fairly short. Like, this is 417. So they're trying to keep. You know, most of the songs are in the rest of the side, or threes and four. So, yeah, they're trying to keep it short. [00:30:43] Speaker A: Oh, absolutely. [00:30:44] Speaker B: I mean, I think it's a little. It's a little less predictable. I think he's coming a little bit more. Maybe on the second side. Maybe he gets to stretch out a little bit more. I'm curious to see if there's, like, an end solo on this, too, which I think it would probably be a good thing, but I don't know if they're gonna do that or not. You shall see. Let's. Here we go. [00:31:09] Speaker C: If you wanna walk in my boots and take all that I do it ain't as easy. Easy as it looks no, no, I tell you. Oh. [00:32:52] Speaker A: So it's funny. It ended exactly the way I thought it was going to end. If it didn't fade out. It just took, like, an extra five minutes to get there. [00:32:59] Speaker B: I'd like the fact that they actually did some little, like, outro stuff. It was actually pretty cool. They had a little wawa. Some slide. I liked it. [00:33:05] Speaker A: Yeah. I wish. I don't know. I guess I wanted it to be a little bit more than that. I mean, yeah, it was interesting, but kind of. I guess I wanted a little bit more out of it. [00:33:15] Speaker B: You're just hard to please, that's all. That's all in it. [00:33:17] Speaker A: Let the guy loose. That's. I'm. Listen, I'm giving him credit. I like the solo. I mean, I was like, okay, you know, let the guy a little bit loose, maybe in a little piano. Even the piano. I mean, the piano's been getting a lot of room in the other songs, like solos and things like that. Maybe give the piano, like, a little bit of. A little solo there at the end. [00:33:33] Speaker B: Yeah. Because it was about like a minute long. So I was expecting maybe here a little piano, but I didn't really. It really didn't do that. It was more like one guy with the slide, the other guy with the wawa. So, yeah, I liked it, though. Well, I'm gonna have you go first since I'm still mowing the circle. [00:33:46] Speaker A: No, I mean, I liked it. I was thinking maybe six is a cross and a seven on the production. Lyrics were fine. I mean, everything was pretty cool. I mean, I'd probably revisit this song. I don't know that I give it all sevens, but I would say, for now. What do you think? [00:34:00] Speaker B: I think that's a perfect thing. I think I'm gonna do sixes and seven on a production. I do like the production. They're doing a good job of making everything separate. The drums sound good. I mean, really, everything sounds good. Guitars sound good. The only thing is, I don't really notice the bass that much. I don't know if it's just me. [00:34:14] Speaker A: I haven't paid attention to the bass. And do we even talk about it all on the first side? I don't remember. [00:34:20] Speaker B: Not much. It doesn't really stick out. So maybe that's why we don't notice it. [00:34:23] Speaker A: That must be it. So just kind of going along with the drums. [00:34:26] Speaker B: Leva scar is next. There we go. Here's. Here's leva scar. [00:34:45] Speaker C: The old man was a good man. He raised his children right taught us how to work hard and showed us how to fight. Told me about the good Lord and when to use a gun made me very proud of where it is that I come from when I die put my phones in the dick sitter look down on me smiling I don't want no feet and so all I leave behind me is around I may not change the world but I'm gonna leave a scar. [00:35:28] Speaker A: Country trash. [00:35:31] Speaker B: Double time. Yeah. This is more rock, too. [00:35:34] Speaker A: Mm hmm. It's a little bit more was I. [00:35:36] Speaker B: And there's a little bit of a story going on, too, which is good. [00:35:38] Speaker A: Well, I mean, they do talk a lot about, obviously, where they're from and experience, it seems like. And personal experiences. [00:35:47] Speaker B: Yeah, I like it. I think this side is a little more rocky than the first side so far. [00:35:50] Speaker A: Mm hmm. [00:35:51] Speaker B: Okay, here is lyrics. The old man was a good man he raised his children right taught us how to work hard and showed us how to fight told me about the good Lord and when to use a gun made me very proud of where it is that I come from when I die put my bones on the dixie dirt look down on me smiling I don't want no feelings hurt all I leave behind me is a ragged old guitar I may not change the world but I'm gonna leave a scar so he's gonna leave his mark, right? No matter what happens, I assume via music? That's what I'm assuming, yeah. [00:36:17] Speaker A: Well, I don't know, because he was a criminal on the other one, so I don't know. [00:36:21] Speaker B: Twelve times. [00:36:21] Speaker A: He's gonna beat somebody up. [00:36:23] Speaker B: It's possible. [00:36:24] Speaker A: I do like that couplet, though. I may not change your world but I'll leave a scar. [00:36:30] Speaker B: He'S getting to you, Sabrina. He's getting to you. All right, here we go. [00:36:39] Speaker C: About them Santo Contra blues. Taught me how to pour out my heart and try to make it right told me not to give a break but one all at a time. [00:36:53] Speaker B: When. [00:36:54] Speaker C: I dive with my bones in the dick say dirt, look down on me smiling I don't want no fingers hurt all right. I may not change the world but I'm gonna leave a scar I might not make. No. [00:37:36] Speaker A: There was a little bass, Phil. [00:37:38] Speaker B: Yeah. First time I even heard it. [00:37:40] Speaker A: Mm hmm. [00:37:41] Speaker B: The banjo was that there on the first verse two. Is that just happening right now? [00:37:45] Speaker A: I don't remember. I don't remember. I'm just kind of hearing that. [00:37:52] Speaker B: Yeah. I don't know if I heard the banjo on the first verse. [00:37:55] Speaker A: I don't remember. [00:37:56] Speaker B: I mean, this. This doesn't have a lot of lyrics left and is like, how much left? 100 and 5134. [00:38:02] Speaker A: So maybe big soldier. [00:38:04] Speaker B: Maybe. Maybe another one. Yeah. Well, I think he's just gonna get four bars, and then they're gonna do something at the end. Years they rolled on by the old man turned me loose Waycrest town I learned about them sad old country blues taught me how to pour out my heart and try to make it rhyme told me not to ever break but one, but one law at a time so in the last one, he broke twelve, so maybe those were one at a time. And now he's breaking. Yeah, he's telling you. I did twelve, but only once at a time. [00:38:27] Speaker A: No, he broke twelve dozen. [00:38:29] Speaker B: Oh, twelve dozen. Oh, crap. [00:38:30] Speaker A: Oh, yeah. No, this guy's. That's what I'm saying. So he did one at a time. [00:38:35] Speaker B: What did you think of that bridge? Do you like that bridge better? [00:38:37] Speaker A: Yeah, I like the way it's ending better than the way it started, because it feels like there's this kind of, like, power thing there at the end that I really liked. So I'm hoping that, you know, he delivers, like, a nice. Sounds like it should have a nice, big solo, right? [00:38:50] Speaker B: Yeah. I'm not gonna get so too excited about that. I don't think so, but maybe he'll prove me wrong. [00:38:54] Speaker A: Yeah. Let's see. [00:38:55] Speaker B: Here we go. [00:39:38] Speaker A: What did you think of that? [00:39:39] Speaker B: I liked that one better. I thought that was more what I would think was gonna happen. Still short, though, I think. I think it. Yeah, I think it could have been doubled. [00:39:46] Speaker A: Yeah. I'm not. I wasn't crazy about that first part that they went into. I thought me personally, like, once the solo came in, I liked the way it came in. I like what he was doing. I think, to me, it would have more impact if it came right after the bridge. Maybe they could have even switched it around right where they did the solo first, and then maybe kind of gone into this other little part that they started with. Or maybe cut that part out. Not cut it out, or maybe make that shorter and then have the solo go longer. [00:40:14] Speaker B: Yeah, I can't disagree with that. I think if the solo came in, you know, right at the beginning, it would have more impact. But, I mean, I like the solo. [00:40:21] Speaker A: Oh, yeah. That's what I'm saying. Like, I thought it was good. Even though the second part with the doubling and everything, you know, that was obviously very reminiscent of old school southern rock. Is it. Is it just the one guitar player? Yeah. Right. It's. [00:40:32] Speaker B: No, there's two. [00:40:33] Speaker A: Oh, there are two. [00:40:34] Speaker B: But they don't differentiate about who's, like, lead, the rhythm, and just his guitar. So I don't know. [00:40:38] Speaker A: Okay. I thought it was. [00:40:40] Speaker B: I haven't looked at any live stuff to see who's playing leads, and I need to do that. [00:40:43] Speaker A: They're probably good life. They sound like they have, like, they would be good life. [00:40:47] Speaker B: This is old school. Like, rock stuff. I mean, I'm sure they. I'm sure they're good live. I'm sure they're not using a tracks or doing anything. It sounds like this is, like, you know, stuff that you'd be like, oh, and it probably sounds a better life than is on record. I probably pretty positive. [00:41:00] Speaker A: Yeah. Song like this could have more oomph lives. [00:41:02] Speaker B: Mm hmm. Let's continue. [00:41:04] Speaker C: I'm falling in the dictator look down on me smiling I don't want no fear all I leave behind me is a ragged old guitar I may not change the world but I'm gonna leave a scar I may not change the world but I'm gonna leave a scar. [00:41:55] Speaker A: I think that Ampar was my favorite part. I really liked that. And then it kind of started going into that beat and, like, oh, that's cool. Are they gonna kind of. Is the song ending or not ending? Because I don't know how much time is really left. I wish they had incorporated that, maybe even into that before the solo or after the solo and, you know, with the cowbell and everything. I like that. Any more lyrics to read? [00:42:16] Speaker B: No. This is the most consistent song for me. [00:42:18] Speaker A: Well, you get to go first. [00:42:19] Speaker B: So I think this is getting sevens across. This might be making it, to me, my more favorite. Most favorite at this thing so far. And since I did that, then I have to do this. Where are my things? I move them around. Here we go. Who am I going to use this time? Nikki titty baby quintuple seven. Zippity bippity bop. [00:42:38] Speaker A: Is that an actual quote? Because it really sounds like something he would say. [00:42:41] Speaker B: No, I don't think so. But, yeah, it is something he would say, probably. Who knows? He might have said that. I don't know. What do you think? [00:42:47] Speaker A: Okay, so I might shock you a little bit here. I thought the song was okay. I don't know. I wasn't. I didn't feel this one as much as the last one. And because I gave the other one sixes, I'm gonna say five and a six in the production because, honestly, I wanted a little bit more oomph in the drums, and there's parts that I would give sixes to. [00:43:04] Speaker B: I'm shocked. [00:43:05] Speaker A: Yeah, a little short for me. This one, I like the overall vibe of it, but, I mean, I didn't like it as much as the previous one. And giving that one sixes, I don't think I could do that for this one. Listen, do we have any listeners that'll be like, what the hell is the guy talking about, man, Mark, take care. [00:43:20] Speaker B: Of this guy or your anger torso veno is all I can say. [00:43:24] Speaker A: Yes. Bring him down to an empty basement. [00:43:26] Speaker B: And tell him he's getting made [email protected]. write to him and tell him how much he's wrong about this. [00:43:32] Speaker A: Yeah, exactly. [00:43:33] Speaker B: Okay, so now this is Crimson Moon. This is the one that has Zach Brown written on it. Writing on it. So here we go. [00:43:52] Speaker C: Homecoming queen about to turn 18, just a couple months younger than that wanna be James Dane. She can't wait just say when she ain't gonna leave a no joke she ain't gonna tell a friend he smell the rain on the black tile she heard the banshee in the wind hey, hey, hey darling, please let's put these hard times in the bridge let your father breathe in. [00:45:01] Speaker A: That's cool. I think I like this one better. [00:45:03] Speaker B: Do you? [00:45:04] Speaker A: I like that riff. I mean, that's. I mean, I feel like I've heard that riff before, but it's just kind of that old school zeppelin kiss. Kind of hear a little bit of kiss in there. I heard a little bit of kiss, honestly, in the other ones. Well, especially in that breakdown. [00:45:16] Speaker B: Well, I think that there's a little, like, octave on the guitar there, too, with the bass obvious. You can hear a little bit more here, too. But I think there's some kind of octave effect on the guitar, too. [00:45:26] Speaker A: I do think that it's a powerful riff, and I would like to hear it done in a more powerful way. I think it would have more impact, but within the context of what they're doing, I think it sounds pretty good. [00:45:38] Speaker B: Yeah, I'm. [00:45:39] Speaker A: You know, the drums sound good. [00:45:41] Speaker B: I'm not sure if I like that. They went so, like, light on the verses. I don't know if I want that because the riff is not used anywhere besides the beginning and in between. [00:45:49] Speaker A: Yeah. [00:45:50] Speaker B: So in the chorus, it's not used again. Right. So it's just used as a thing to break sections up. [00:45:55] Speaker A: Yeah. [00:45:56] Speaker B: So I don't know if I would rather it have been in the verse. I don't know. [00:45:59] Speaker A: I know that did kind of. I was going to say that, too. Like, when the first. When the verse came in, I was like, oh, okay. They kind of went this way. It kind of. I like the way the verse kind of progressed. I would. I agree with you. I don't. I think had the. Even if they use a little bit of electric guitar in there, I mean, which. I mean, they're playing, but a little bit more going on. So who knows? We'll see what they do in the second verse. [00:46:22] Speaker B: But. [00:46:23] Speaker A: Yeah, I do agree with that. I wish they kind of not gone so. So often. The verse. [00:46:27] Speaker B: Well, I think they're trying to bring it down. So when the chorus comes in, the chorus is much more impactful because the verse is so soft. So I guess that's what they're trying to do, which is not the. Which is not the wrong thing to do. [00:46:37] Speaker A: But you can still make it a little bit more right without having to bring it down so far. Like, it was kind of like, whoop. [00:46:45] Speaker B: All right, so here. Words. Homecoming queen about to turn 18, just a couple of months younger than that. Want to be James Dean. She can't wait just to say when she ain't gonna leave a note she ain't gonna tell a friend he smelled the rain on the blacktop she heard a banshee in the wind hey, hey, hey darling, please let's put these hard times in the breeze let's go find a little breathing room bathe in the light of a crimson moon yeah, some. [00:47:09] Speaker A: Of the little kind of small town story, sounds like. [00:47:12] Speaker B: Yeah, well, that seems to be the thing, right, with them. They write from what they know. [00:47:15] Speaker A: Yeah. And again, I was like, home country, about turn 18, I was like, here we go. But I like that it's about two other people. It isn't him. Because if he was about to, like, say, yeah, I'm gonna take her from her daddy. And I'm like, oh, boy, here we go. [00:47:29] Speaker B: Yeah, no, he's talking about her. [00:47:30] Speaker A: Yeah, her and another guy was the same age, a couple months apart, so it's nice. Young love. [00:47:35] Speaker B: See, so far, you haven't gotten your 9316 yet, so. [00:47:39] Speaker A: Oh, God. [00:47:40] Speaker C: He was named after the herdinal hurricane blew through in 79. And it did just about the same. Ain't no point, no way of living it down standing at the crossroads of the sideways one light town screen door closed is the only sound she made she climbed on and wraps her hands around his way hey, hey, hey darling, please let's put these hard times in the grave let's go find a little breathing room baby. [00:48:51] Speaker B: Bass guitar yeah, it was good. [00:48:53] Speaker A: Yeah, that verse, I mean, I like the melody of the verse, and I do like those last two lines, how they kind of change it. But even if the drums, it weren't doing, like, the rim shot, if they. Even if he kind of did the snare on it, I think it would elevate it. They just kind of keep it there, you know? But I. And I do like the dynamics of groups, too. Like, let's say they do the one verse, the first verse, where it's very quiet, but then when they go into the second verse, there's something extra there. And again, even if it's a snare, where it was a rim in the first thing, or an open hi hat was. Was posed in the first. Or something with the. Just a little bit so it just doesn't come down from that big riff, which is fine. Again, to add a little bit more dynamics in the verse, I think would have been. Would have made this song even better. [00:49:39] Speaker B: I think they're using the softness of the verse as the dynamic. [00:49:43] Speaker A: Yeah, but just a little. Again, it could be soft, but have it change again, even if he's just hitting the snare instead of kind of like, the rim. Give it a little bit more. A little bit more of something, I think. I mean, but again, listen, I'm judging this from probably what I would have done, which doesn't make it right. Monthly money, quarterback grant. [00:50:02] Speaker B: Backseat drive. [00:50:03] Speaker A: Yeah, exactly. [00:50:05] Speaker B: Okay, so the verse is he was named after the hurricane blew through in 79, and he did just the same. Ain't no point, no way of living it down standing at the crossroads at the sideways one light town screen door closed is the only sign she made of she climbs on and wraps her hands around his waist so it's a guy who. The hurricane blew it. He's coming into town. [00:50:26] Speaker A: Right. [00:50:26] Speaker B: So he's not from there. [00:50:27] Speaker A: Probably blows in, blows out. [00:50:29] Speaker B: Yeah. So. So she falls for him, and now she's on his motorcycle, I assume. Because that's what it sounds. [00:50:33] Speaker A: Yeah, that's what I think. That's what I'm getting. [00:50:35] Speaker B: Okay. [00:50:35] Speaker A: I hope so. Because if he's driving a car and she climbs in around her, imagine. [00:50:40] Speaker B: Yeah. How's that gonna work? [00:50:43] Speaker A: I'll do the shifting. [00:50:45] Speaker B: I'm sure she will. Right, here we go. [00:51:11] Speaker A: I wish I gave him a little bit more room. Like, even there, too. It felt like you got cut off. [00:51:15] Speaker B: I know. The keyboard had its time. [00:51:17] Speaker A: Yeah. And it's perfect. Right? That organ was perfect. I like the way came in. [00:51:21] Speaker B: Yeah. [00:51:22] Speaker A: I just feel like he got cut off. [00:51:23] Speaker B: You need another four bars is what he did. [00:51:25] Speaker A: Yeah, he needed a little bit something. Or just go back and forth. You could do that, too, right? [00:51:29] Speaker B: Mm hmm. So I like what he was doing. [00:51:32] Speaker A: Yeah, me too. [00:51:33] Speaker B: I mean, solo wise, that this now is taking his place is maybe one of the better things he's done. It's not so safe. He wasn't playing it as safe in this, so, yeah, I wish you would either had more or they would have went back and forth or something like that. Would have, you know, been a good thing. We have, like, 106. Let's. Let's finish this out. [00:51:49] Speaker C: Nothing worse. The hell left behind there's two lost souls they go running off into the night they felt the fire of running on two wheels if they don't stop tonight Lord knows they never will hey, hey, hey. Don't put these hard times in the breeze let's go find a little breathing room. [00:52:51] Speaker A: No fade outs for this record either, right? As far as I remember. Not that. That I didn't hear a fade out there. I think typically when you have a roof like that, but you do want to kind of end on that kind of bomb up. [00:53:03] Speaker B: Yeah. That's the right way to end that. [00:53:04] Speaker A: Yeah, I think so. [00:53:05] Speaker B: And now we had the girl background singers now, too, coming in. [00:53:08] Speaker A: Yeah, I like that. I like that a lot. [00:53:10] Speaker B: Okay. Last verses. Nothing worse than the hell left behind just two lost souls they go running off into the night they felt the fire of running on two wheels if they don't stop tonight Lord knows they. [00:53:21] Speaker A: Never will there's that kind of wheel and wheel thing kind. [00:53:26] Speaker B: So why don't you go first, since you hit the other one with fives? [00:53:32] Speaker A: This is, I'll say six on the lyrics. See, this one's a little bit hard because there's things that I like and things. So you kind of have to know where to ding things that you don't like. Production, I'm gonna do say seven. We'll go with that arrangement. That's where I'm gonna ding it a little bit. When they did that last verse, which was only. Which was shorter than the other ones, I'd see that when that was quiet and then went back to the thing, I think that that was perfect. Like, that really, really fit. But the fact that they did it every single time. I'm gonna say a five on arrangement, that's a little bit harsh, but, I mean, considering I gave the other one a six melody. I like the melody. I'm gonna say six on the melody, and I'll say six on the music. I was sick in seven, but I'm gonna say six. I mean, overall, I do like it. I think it's one of my. One of my favorite ones. It's just the way. The way that it was arranged was the only complaint. And again, like we said in the solo, I think the guitar player definitely could have used a little bit more room. But, hey, this is their band, so they do what they want to do. What do you think? [00:54:41] Speaker B: Well, I'm just happy to solo guitar somewhere. So that's what I like. Yeah, I think six on the lyrics of. I think six on the melody. I'm gonna give it the music. I think I like the music better than last time, so I'm gonna give it an eight. Just because I think I like the riff. I like that they changed in the solo. They made the. I don't think that was the same riff, either. I think that was a different riff. I like that arrangement. Yeah, I'll probably do arrangement five. I think that they could have changed it up a little bit where it wasn't. So, I mean, I understand what they're trying to do, but I think I would have liked that a little bit better if that was a little different. And production still good at seven, I think as far as, like, sound wise, I mean, you can't ask for much more. It sounds great. [00:55:17] Speaker A: You know, I'm gonna up my music to a seven as well. I was thinking seven and six came out, and then when you said. I said, yeah, you know, I was gonna say seven. Just go with it. So I'll say seven on the. On the music. On that. [00:55:27] Speaker B: I like the riff. I think the riff's good. [00:55:28] Speaker A: Yeah. I mean, it's that stereotypical good, classic rock riff, I think. Right. That kind of thing, you know, with the pulls and the little things like that, so. [00:55:38] Speaker B: Okay, so, next one. This is ain't got the blue. So this was written by the singer. So I'm curious to see what this is like. I'm assuming it's gonna be blues. [00:55:46] Speaker A: I think it's gonna sound like he's got the blues. [00:55:48] Speaker B: I think he will. [00:55:49] Speaker A: Yeah. Let's see. [00:55:51] Speaker B: All right, here we go. [00:56:11] Speaker C: I ain't got the blues anymore. [00:56:16] Speaker A: I. [00:56:17] Speaker C: Don'T talk turn at night, Mama. I don't walk the floor. Cause ever since little mama came home I found what I'm looking for. I'm gonna shine a bitch, sparkling shine everybody that I meet is gonna be a good friend of mine I'm feeling fine, just fine I can't find. I can't lose the win I got blue. [00:57:02] Speaker B: I knew that was gonna happen. [00:57:03] Speaker A: I see. I thought. I thought it was gonna catch. I was. I was saying, how long is this song? Because they may just keep it like that, like, very old school sound thing. I mean, the production is great. It sounds like they put on an old record. [00:57:13] Speaker B: Well, yeah, the static for the record of the needle going on the record. It was pretty cool. It was interesting take on doing something because most times they'll do it lo fi. They won't make it lo fi with the, with the needle sound. [00:57:25] Speaker A: Mm hmm. [00:57:25] Speaker B: That's, that was cool. [00:57:26] Speaker A: Yeah. [00:57:27] Speaker B: Yeah. [00:57:27] Speaker A: Sounds genuine. Yeah. [00:57:29] Speaker B: Oh, no, it's not. No, it sounds, I listen, when they're doing kind of blue stuff, it's gonna sound right because it's kind of in their wheelhouse, you know, they're not, this is not, you know, a band that can't do this when they do it, it's gonna sound right because it's what they do versus. I ain't got the blues anymore I don't toss and turn at night, mama I don't walk the floor because ever since little mama came home I found what I'm looking for and then choruses. I'm going to shine a big, sparkling shine everybody that I meet is going to be a good friend of mine I'm feeling fine just fine as wine I ain't frowning I can't frown for grinning I can't lose for winning ain't got the blues anymore. [00:58:02] Speaker A: Yeah. Typical blue song. Blue song lyrics, I mean. Yeah. [00:58:08] Speaker B: I wonder if they're gonna actually, I don't think they're ever gonna go back to the old sound again. That's my opinion. It's gonna stay like this for the rest of the way. [00:58:13] Speaker A: How long is this song? [00:58:14] Speaker B: 404. [00:58:15] Speaker A: Oh, wow. It's longer than I thought it'd be. I'm curious if they're just going to, if they're gonna go anywhere with it, you know, I mean, like, build on it or if they're just gonna kind of do that kick drum thing and. [00:58:25] Speaker B: Yeah, I don't know. All right, let's continue. Here we go. Curious now. [00:58:36] Speaker C: Sunday ain't no rain on my parade plans immediately I'm ahead of the game and, brother, all my bills got paid ever since little mama came home just made right in the shade everybody that I meet is gonna be a good friend of mine I'm feeling fine, just fine at mine I can't frown for granted I can't lose for winning I ain't got the blue mo. [01:00:06] Speaker A: That's what I was expecting. I said. I was expecting that. I said, and I bet you they're going to give him more space in this one than anything else. He's going to get a longer solo. [01:00:15] Speaker B: It's about time. [01:00:16] Speaker A: Yeah. What did you think of the. [01:00:17] Speaker B: It was good. It was really good. [01:00:19] Speaker A: Yeah. [01:00:19] Speaker B: Yeah. I have, I have nothing bad to say about this at all. They changed the drums up too. Right. So he was doing some, some cool stuff on the drums. It wasn't just the bass drum. [01:00:27] Speaker A: No. Yeah, he was doing like an actual beat. [01:00:29] Speaker B: I mean, this is another solid thing as far as I'm concerned, for them. [01:00:32] Speaker A: Yeah. I'm just, I'm actually, like, shaking my head, like, side to side. [01:00:37] Speaker B: Yeah, it's good. [01:00:37] Speaker A: As it's playing, it reminds you of something like Cinderella would have done back in the day. I could hear Tom Kiefer singing this. [01:00:43] Speaker B: Yeah. But to me, this is more authentic than even stuff that he would have done. I think. It's just very, I don't know, it's just, it's done correctly. Not that that stuff was bad. It's just this is done correct. [01:00:53] Speaker A: Cinderella man. [01:00:55] Speaker B: But it's from the south. It's from what it is, you know? You mean it's gonna sound this way and they're doing a good job? [01:01:00] Speaker A: Yeah, no, they're definitely doing a good job. [01:01:02] Speaker B: It's not a fake. Somebody just doing a bluest thing because all we have to, right? [01:01:05] Speaker A: Mm hmm. [01:01:05] Speaker B: So that's why it sounds so good. Versus, son, there ain't no rain on my parade my ends are meeting lately I'm ahead of the game and, brother, all my bills got paid because ever since little mama came home it's made right in the shade I assume little mama is his woman. I assume. My assumption is I don't think so. [01:01:21] Speaker A: Yeah, I don't think he has, like, a short mother that came back to him. [01:01:26] Speaker B: Probably not. [01:01:27] Speaker A: Mama. [01:01:28] Speaker B: Mama all right, here we go. [01:01:35] Speaker C: Good lord smiling down on me it ain't a worry on my mind. [01:01:42] Speaker B: Something. [01:01:43] Speaker C: About my fine little mama I don't know why but she makes me wanna shine break sparkle and shine everybody that I meet is gonna be a good friend of mine I'm feeling fine just fine as mine I can't remember I can't. Blue I ain't got the blues anymore no, I ain't got the blues. [01:02:40] Speaker A: I knew they weren't gonna do that. But you know how, like, a lot of the eighties bands just throw that little thing at the end? [01:02:46] Speaker B: Of course they did. Okay, verse. If I ain't got ten, brother, I got nine the good lord smiling down on me and I ain't a worry on my mind something about my fine little mama I don't know why but she makes me want to shine now I like how they came into the chorus this time. Like, is this shorter? I don't know if it's shorter. But I think they came into the chorus different. I liked it. I mean, I like everything about this. [01:03:16] Speaker A: You go first. [01:03:18] Speaker B: I think I'm gonna have to throw sevens across again. I think I really like. I. I actually, you know, I'm gonna do seven. And then you put eight on the music because I think he finally got enough, you know, enough space. They gave him eight bars finally. And I think, you know, his feels like it was more complete just because of that. Didn't feel like he was cut off. I liked it a lot. I mean, I think it was for, you know, a blues thing. I like, and I like the, you know, I might have to give production eight just because of that interesting thing at the beginning where they put, like, the record needle sound and stuff. So they didn't do a typical, like, this is lo fi. They did that. They had a little extra. So I kind of like it. I liked it. They didn't go back to it, which I didn't think they were going to, but it's good that they didn't. [01:03:57] Speaker A: Yeah. Or maybe they would end it like that. Kind of like, where it faded back into it. Like, I would have been okay with that, but, yeah, they didn't go back to. Which I'm fine with. Yeah, I'm gonna see an eight in the production because I really thought as soon as it started, it's like, this sounds really good. I mean, it's. If they. They're doing exactly what they want to do. And I think it was done really well. I'm gonna say a five on the lyrics. I mean, they're whatever. I'm gonna say six on everything else. I mean, it's pretty. You know, it's good. I mean, I definitely liked. It was bobbing my head from side to side. And, yeah, I can appreciate, too, again, that the guitar player got a little bit more room and he played exactly what needed to be played for the song. Yeah, I mean, overall, like, I think the side zoom better than the first one. [01:04:38] Speaker B: Yeah, yeah, for me, yes. I mean, I don't know about everyone else, and if you're a black race smoke fan, do you like the first side better? I like this side a little bit better because it leans more to the rock side to me and the blue side to me, so I kind of like that better. Not that I hate the first side, but I like this. So the next song is sleeping dogs. So BlackBerry smoke. And Gordon Kennedy, who is an american singer, songwriter and musician, the most successful composition he wrote is an international hit song. Change the world by Eric Clapton. [01:05:07] Speaker A: Oh, I hate that song. [01:05:08] Speaker B: I'm not saying I liked it, but that's his biggest song. And he worked with Peter Frampton, Garth Brooks, Ricky Skaggs, Bonnie Raitt, Stevie Nick, Faith Hill, Carrie Underwood. So he's worked with a lot of people. So I'm wondering if this is gonna, like, slowly, you know, bring its way back into the countryside. [01:05:23] Speaker A: Maybe her ballady side, it sounds like we'll see. [01:05:26] Speaker B: Maybe too. I mean, sure. 323. [01:05:28] Speaker A: I mean, I don't know. I feel like the. The title suggests some rock, but I don't know. Who knows? [01:05:34] Speaker B: I mean, just cause he's involved, I would think it would be more country. But I could be wrong. I mean, he worked with Peter Frampton and Eric Clapton, so that's not. That's not country. [01:05:40] Speaker A: I mean, Stevie Nicks isn't really country either. I mean, she has. She definitely has. There's some. Some of her stuff has some of the, like, undertones of country, for sure. Let's see. [01:05:49] Speaker B: Here we go. Sleeping dogs. [01:06:15] Speaker C: Well, I'm not trying to get in the way. Minding my own. Got nothing to say about nobody. That's right. Nobody. Don't shake my tree. Don't ride on my cage. You and me be on the same page. Got no trouble. Don't make no trouble. Yeah, you best let us sleep in down. [01:06:54] Speaker A: Not the melody, but the riff before it goes into the melody. Reminds me of Neil Young. Kind of like his take on some of the southern stuff. [01:07:05] Speaker B: Yeah, it's. It's not really. I thought it was gonna be more crunchy, but it's not for me. It's in the bluesy kind of rock thing. [01:07:10] Speaker A: That's cool. I. Look, I think the melody's pretty good. [01:07:13] Speaker B: Lyrics are. Well, I'm not trying to get in the way. Minding my own. I got nothing to say about nobody. That's right, nobody. Don't shake my tree. Don't rattle my cage. You and me will be on the same page. Got no trouble. Don't make no trouble. Yeah, you best let the sleeping dogs lie. Because you soon gonna understand why you're gonna get bit right between the eyes. [01:07:34] Speaker A: Ouch. Better leave this guy alone. [01:07:36] Speaker B: Yeah, leave him alone. Don't rattle my cage. Don't leave me alone. I'm not. I don't want to be bothered by you, but I have a feeling that's not gonna happen. [01:07:43] Speaker A: I don't know. Let's see. [01:07:44] Speaker B: Well, he's been. You know, he did 1212 dozen things. [01:07:47] Speaker A: Well, yeah. I mean, he's been biting people, telling. [01:07:50] Speaker B: The guy to leave him alone. But I don't think it's gonna happen. Here we go. [01:07:57] Speaker C: Call a pine's pub. Oh, Wayne. It had too much. Well, push come to shove Emma came to blows, spilled some blood and I broke his nose yes, I had to do it, mama. That soul it was too. Now you better set a sleeping dog and soon you come to understand why hey, you gonna get. [01:08:42] Speaker B: That? Stop it right there before the solo. [01:08:44] Speaker A: I like that part, actually. I like the way they went into that. A little bit of bass there, too. They could have easily gone just right into there, but they. I don't know if I want to say it sounds a little bit heavier, but I like the way it sounds. This, I think, more of a country feel. I think it's a little bit in line with some of the country I've heard recently. But it's good. I mean, it's still a good song. I mean, I like the melody. I think the melody is pretty strong. [01:09:11] Speaker B: Yeah. And the lyric lyrics pretty good. And it's another story. I told you he had to get into some kind of fight. See, it had to be something. [01:09:16] Speaker A: Yeah, of course. [01:09:17] Speaker B: Goddamn Wayne Wayne can't hold his lips come along. [01:09:20] Speaker A: I know. [01:09:20] Speaker B: Fuck Wayne Wayne causing people to have trouble well, let me tell you how it all went down. Funky little joint on the edge of town called a Pines pub old Wayne had just too much? Well, push come to shove and it came to blows spilled some blood and I broke his nose yes, I had to do it, mama that's all there was to it. And then what I thought they were going to do in the first chorus, they changed it up. So now you best let a sleeping dogs lie to. Cause soon you're gonna understand why and you're gonna get bit right between the eyes? Said you best let a sleeping dog lie? Come on. So that sleeping dog lied. They didn't do it the first time, so that's what I thought was gonna happen the first time. But they held it off, which I like. I like it. Didn't say it until the second time. [01:10:00] Speaker A: Yeah, like that too. Dynamics. [01:10:02] Speaker B: Yeah. And obviously, you know, the guy helping them write the lyrics here, writing the song, he writes good songs, so he knew what to do right there. That was on purpose and was the right choice. Mm hmm. All right, so we can think he's gonna get four bars or eight bars. What do you think? Are they gonna short him again? [01:10:17] Speaker A: I think so. I don't think they're gonna let him go. I mean, it's a short song you said, right? It's like three something. Was that the other? [01:10:22] Speaker B: No, it's 323. [01:10:23] Speaker A: Yeah. I don't think they're gonna give him more than four. I actually heard the organ, too, though, so it might go that way. So I'm not sure. [01:10:31] Speaker B: Let's see. Here we go. [01:11:11] Speaker C: Make new. [01:11:12] Speaker A: I like whatever they did there. It didn't sound like it was shorted, because he kind of had his thing, and I like what he did. And then the organ came in, so it didn't feel it shorted. [01:11:22] Speaker B: I feel me personally, I liked the organ part. I still think he was shorted. I think he needed another four bars, and they could have done the. You know what, it's going to extend it by. Would extended it bye. Like, 20 seconds maybe. So it'd have been three and a half instead of 323. I think he needed a little bit more, kind of figure out what he was going to do there. Then you could have did that organ, that whole little break. I actually liked that break a lot. [01:11:44] Speaker A: Yeah. [01:11:44] Speaker B: Yeah. But it just seems to be the thing. He gets four bars. That's it. You have four bars. Except for that one blue song. You get four bars, my friend. Figure it out. [01:11:52] Speaker A: Yeah. [01:11:53] Speaker B: It just sometimes feels like it needed. It needed a little bit longer stretch out. But I'm not saying you need 16 bars, but you know what I mean? He needs eight. He's eight. It feels like it's just. It's cut off all the time. But the Oregon stuff was pretty cool. I like that little break. [01:12:07] Speaker A: Yeah. It's stuff like this that makes me want to hear more like that break. Right. It's. It's got that nice old school vibe, that country, um, you know, that southern rock. Rock, like, real rock vibe. And a little bit of. There's some of nineties in there, too, though. I feel there's a little bit of that nineties in there as well. Reminds me of. So, I mean, I would be very interested in hearing what a straight up rock album by them sounds like. [01:12:36] Speaker B: Well, all their stuff is on there, so our list. So maybe we'll get another one. [01:12:40] Speaker A: We'll probably get another country album. I mean, again, at this point, I don't. I mean, yeah, I would say, obviously, this country changes to it, but I think this side is a little bit more on the rock side. [01:12:51] Speaker B: This is a little more what I was expecting it to be. I think that's why I like the second side better, which is never usually the case. [01:12:57] Speaker A: Yeah, we had. So who else was. We had another one. [01:13:00] Speaker B: Wasn't the cactus thing better on the second side? [01:13:03] Speaker A: Maybe. Maybe let loose a little. Oh, journey too, though, right? Didn't we like journey the second side better than the first one, too? [01:13:09] Speaker B: Yeah, I think you're right. Alrighty, we got 57 seconds left. Let's go. [01:13:16] Speaker C: Make no mistake let there be no doubt paint me in a corner I fight my way out the moral of a story, brother, this is it I'll be all over you like stink on shit and you better let a sleeping dog soon you come to understand why and you're gonna get bit right between my eyes if you know that I'm sleeping dog you better sit a sleeping dog come to understand why are you gonna get bit right between the eyes? Said you best let us sleep in our blast. [01:14:05] Speaker A: Good under. [01:14:06] Speaker B: Yeah, I like that roof again. [01:14:07] Speaker A: Yeah. [01:14:08] Speaker B: Hmm. [01:14:09] Speaker A: It's tough. [01:14:09] Speaker B: I'll go first. I like the lyrics. I'm gonna give those a seven. The melody. I like the melody, too. I'm gonna give that a seven musicianship. Mmm. Seven again. Because I think the music is really good. I like the music here. I like the little breaks. I like what they did at the last verse, too. That was totally different than all the other verses, which I like to arrangement. So that's where I'm gonna, like, bump it up to eight on arrangement and I'm gonna say eight on production. I think this is very well produced. I think they're starting to hit their stride here about, you know, staying a little more on the rock side a little bit, even though this does have country trench twinge. But that's what I expected. I wanted it to be a country, a southern rock record. This, to me, more on the second side is doing that. So, yeah, I liked it. [01:14:51] Speaker A: Yeah. I'm gonna say. I'll see six on the lyrics, but I think I'm gonna say I like the melody a lot. I'm gonna see an eight on the melody and then a seven on everything else. So I think this is my highest rated song. I mean, it's really good. It's a really good song. I mean, it was. It's. You know, when I heard sleeping dogs, it's like, oh, I think this could be, like, a little bit of a rocker. And I kind of. I really like the way they melded the two. I felt like this one worked better than the one before, you know what I mean? Would have had that if. And then it quieted down. Like, this was a good mix of. Of that, actually. No, I'll give the arrangement an a two then. Now that I say all those things throw an even bigger bone. What the hell? [01:15:33] Speaker B: Yeah. The arrangements. Good. [01:15:34] Speaker A: Mm hmm. [01:15:35] Speaker B: Just that they changed that. That last verse up, which I didn't read, did I? So the last verse. I gotta back up now. Hold on. Let me read the last verse. Make no mistake. Let there be no doubt paint me in a corner and I'll fight my way out. The moral of the story, brother, this is it. I'll be all over you like stink on shit. [01:15:51] Speaker A: Yeah. Anybody, anytime anybody says, you gotta give him a nod. [01:15:57] Speaker B: Seriously. Alright, so the next one is shaking hands with the Holy Ghost. I have a feeling this is gonna be a little short. This is gonna be a little more slow. But I don't know. This is 345. And we got one last one. And that one's like, gonna be like five over five minutes. So I'm not sure where there's. If there's gonna be a slower one. They really haven't slowed down too much, really on the side? No, they've kept it upbeat. All right, so here we go. Shaking hands with the holy dose Holy Ghost. [01:16:50] Speaker C: Ain'T got nowhere to go yeah, my baby's howling at me yeah, she tearing up the floor we got the Tennessee champagne feeling moonshine line. Yeah, my johnson said it, baby yes, she helps me draw the line. [01:17:26] Speaker A: As. [01:17:27] Speaker C: The crow flies, baby gonna get me up on time gonna light me up like the focus you lie, baby, take it slow. Feel just like I'm singing with the holy ghost. [01:18:00] Speaker A: That'S pretty strong. [01:18:01] Speaker B: Yeah, I like that. Rough. [01:18:05] Speaker A: Yeah. Yeah, like the. I like the melody. It reminds me of like something black crows would do. It's almost like black crows meets AC DC. [01:18:15] Speaker B: I was gonna say AC DC. [01:18:17] Speaker A: Yeah, but. But then the verses don't. So it's almost like. It's like AC DC in the. That main riff that bam, bam, bam, bam. Especially when he, you know, he's. Whatever with the fingers. I'm assuming that's how he's doing it. And then. But then the verses in the chorus, the melody reminds you of something the black crows would do. But I can hear kind of Brian Johnson or doing some vocals on this as well. But it's good. It's like. I think it's a pretty good mix of the styles. [01:18:43] Speaker B: But the nice thing about it, too, is that even though it has, like a. Reminiscent of AC DC, it doesn't feel like a rip off. [01:18:49] Speaker A: No. [01:18:49] Speaker B: You know what I mean? Like, some of the other stuff we've heard, it's been like, okay, yeah, this is AC DC. Just someone trying to copy it like this has, like, the influence of it, but it's really not. [01:18:59] Speaker A: Mm hmm. [01:18:59] Speaker B: Think I'm gonna like this song, too. This is a super strong side for me. [01:19:02] Speaker A: Yeah, it sounds pretty good. Well, you. And when you were in Tennessee, where did you go? Did you go to Johnson City or. [01:19:07] Speaker B: No. [01:19:07] Speaker A: Was that where you were? [01:19:08] Speaker B: No. [01:19:09] Speaker A: Okay. I wasn't sure. I can remember. [01:19:10] Speaker B: Okay. So spend the night wide open. I ain't got nowhere to go. Yeah, my baby's howling at me yeah, she's tearing up the floor we got the Tennessee champagne feeling moonshine. Fine. So I assume Tennessee champagne is moonshine. That's pretty funny. And my Johnson city baby yeah, she keeps me, she keep. She helps me draw the line as the crow flies, baby going to get me up on time going to light me up here like the 4 July everybody knows baby, take it slow feel like I'm singing with the heavenly host everybody said, everybody knows just like shaking hands with the holy ghost I'm really liking this a lot. I'm glad that they got more to the rock thing, man. [01:19:50] Speaker A: It's good. Yeah. Because they do. I mean, they do it well. I mean, listen, I thought they did the country well, too, but if anybody's a massive country fan, listen to us. Which probably not mean. This is the first thing I think we've ever done that has anything to do with country. Tell us we're wrong. But, yeah, I mean, this side is. I'm definitely liking this side better. [01:20:08] Speaker B: I agree. [01:20:09] Speaker A: And again, there's nothing wrong with the Fr. I mean, I think the first side has some good songs, too, that I'll go back to. And they're straight up country, but I think they do that well. I mean, clearly they're a talented band. [01:20:20] Speaker B: And they're doing it old school, it seems like, too. Which is nice to see. [01:20:23] Speaker A: Yep. Good production. [01:20:25] Speaker B: Production is great. [01:20:26] Speaker A: Yep. [01:20:27] Speaker B: And it's not too loud. It has dynamics. It's not just blasting you in the face. [01:20:30] Speaker A: Yep. [01:20:31] Speaker B: Which is nice, too. Okay, let's continue. [01:20:39] Speaker C: Keeps me coming back for more I ain't ever gonna break away gotta hook in me for sure get me up on time gonna light me up. [01:21:03] Speaker B: Like. [01:21:03] Speaker C: The fuck that you laugh everybody knows baby, take it slow feel just like I'm singing with the Emily hoes everybody say everybody knows just like shaking hands with the Holy Ghost all right. [01:21:55] Speaker A: I like how they went into that. [01:21:56] Speaker B: Finally. They gave me bars. See? It fit perfectly. Yeah, it did. [01:22:01] Speaker A: Yeah. I mean, it was. It was good. I liked. I liked it. I really liked it. And I liked the way they went into it. They quieted down for, like, a second. [01:22:08] Speaker B: Right. [01:22:09] Speaker A: And then it just came right back in. I really liked the way they did that. I mean, I think they are pretty decent, too. I mean, at arrangements. And when they do it right, they do it really right. That's. That's what it is. [01:22:20] Speaker B: Yeah. Agreed. Well, most of the words are the same. I'm just gonna give you the verse then. She's got the stuff that I need keeps him coming back for more I'm ever gonna break away got her hooking me for sure. And then back to the pre chorus and then the chorus and. Yeah, the guitar solo was good. Wawa was used correctly. He didn't hold back. I think he was a little more adventurous in his playing on this thing, so I liked it. I keep saying this is my favorite now. This is my new favorite. This is my new favorite, but I think this is now my new favorite. [01:22:47] Speaker A: Yeah. [01:22:48] Speaker B: Have to give this high marks just because it's so. I mean, unless they fucked us up in the last. I don't know how much time we have left. 48 seconds. I can't see that happening, though. All right, so let's. Let's ride this out. [01:23:12] Speaker C: Go. Everybody know baby, take it so feel it. Like I'm singing with the. Everybody there, everybody knows. Just like taking hand with the holy. [01:23:44] Speaker A: You should have done a little tambourine shake there at the end. [01:23:48] Speaker B: It was good, man. [01:23:50] Speaker A: Yes. Good. [01:23:50] Speaker B: So do you want to go first or you want me to go first? [01:23:53] Speaker A: You go first. Because I. I'm not 100% sure you're where I'm going with everything except for the lyrics. Other than that, I'm a little bit in between two numbers. [01:24:03] Speaker B: I'm doing eights all across us. I think the three. I keep saying this is that now, unless they can beat this in the next song, this is now what I would like to hear from them. This is like culminating everything all together, all the songs before it, and everything all together. And what I. What I would assume this would be. They didn't cut them off on the solo. You can hear a little bit influence of things that were, like we said, AC DC and little black crows and whatever else is mushed into that thing together there. But it's not a ripoff. It's, you know, maybe the melody a little bit. I can hear the melody maybe being it sounds very black row to me. But then again, black Rose. The copying other people, too. Right? So they could all have the same influences, for all I know. [01:24:44] Speaker A: Yeah. I mean, you know, what was the name of their second album? The southern harmony music, whatever the hell. [01:24:50] Speaker B: So, yeah, so for me, this is my favorite so far. This is what I would hope the whole album would have been like. Again, the second side has been awesome. [01:24:57] Speaker A: Yeah. [01:24:58] Speaker B: Destroy it now. Go ahead. [01:24:59] Speaker A: No, no, no. I mean, lyrics. I'm gonna say I'm not. I can't. I mean, the lyrics are okay. I mean, I'm gonna say a five in the lyrics. I know that might be a little bit low, but I just think the other stuff. Some of the stuff was better. But see, I'm torn between sevens and eights on everything. I'm just wondering. I mean, I did really like it. The other one, I gave some eight. So you know what, from a playlist standpoint, I mean, this one, the other one have to be on there. So we will do eight on this one, then we'll say eights across the board. Except for the lyrics. I mean, yeah, this is. [01:25:26] Speaker B: It doesn't kill the rating that much, even with that. [01:25:29] Speaker A: I mean, listen, if that caused it not to be. I mean, there's no way that I would not. You know what it is? There's no way I wouldn't put this on a playlist for this album. So if you said, yeah, you got to bump up the five, then I would bump it up. [01:25:40] Speaker B: But, I mean, yeah, I really like this now. I don't know what's gonna happen here now. This is the last song. Can he end this thing strong, is the question. I have a good feeling that they can. And this is a five minute song, so I don't know. Are they gonna slow it down at the end here? I don't think they should. Like, if they're gonna do this, they need to write this to the end, right? And not make this the slow song. I hope not. [01:25:58] Speaker A: I'll say I'm on some kind of, like, bluesy, ballsy, bluesy kind of thing. [01:26:03] Speaker B: We're gonna find out. So, this is up the road. [01:26:21] Speaker C: Lately, I can tell you getting pretty sick of me. To tell you the truth, I've had about enough of me, too. All this cussing and fighting, who's wrong and who's right, it don't mean a thing. It don't mean a damn thing. Cause the grass ain't always greener. Just like we're always told. You may not have the winning hand, but you ain't got to vote. And it just seems that much more when you come in to from the cold. Cause things ain't always better off the road. [01:27:29] Speaker A: Yeah, I had a feeling it was kind of gonna go this way. [01:27:32] Speaker B: God damn it. [01:27:33] Speaker A: Yeah, I had a feeling they were gonna probably end on a ballad. It just. It felt like it, but it's almost as if. I mean, the first. I kind of ended on a slow one, but I think that one was more interesting than this. This is very. Not that it's bad, but it's very typical. Right. You know what I mean? It's kind of got a little bit of the Beatles in there, I think. [01:27:53] Speaker B: I was going to say. [01:27:54] Speaker A: Yeah, I'm just wondering if this was the first side, right? And it ended on this, and then going into. I don't know, but I definitely had a feeling that this was going to be. [01:28:07] Speaker B: I could say that. I think, sequencing wise, I would never put this at the end, either at the beginning of the first side. Or somewhere in the middle of this thing. Somewhere. I don't know. I find that. I think I would rather ended it strong and that ended it with the ballad, that's all. [01:28:23] Speaker A: But a lot of bands do that, though. No, I mean, a lot of. I think we've heard some stuff where that last song is kind of like the ballad. [01:28:32] Speaker B: I mean, it's not bad, but it's more like you said, typical or stock or mid. Is it mid? I don't know. [01:28:38] Speaker A: Yeah, it's a little. It's a little. Yeah. Yeah, it's a little bit more stocky. [01:28:41] Speaker B: I mean, his singing is good. You know what I would have liked? I wish they would have done two verses in a row. Or a long verse, half verse, then chorus. They went from verse to chorus. I would have liked if they would have stayed with the verse a little longer. [01:28:52] Speaker A: Well, I mean, this is a long song, so who knows if they're. I don't know if there's just a lot of lyrics. Or if they're just gonna. I don't know, take it somewhere. [01:28:59] Speaker B: Maybe they can turn us around. [01:29:00] Speaker C: Yeah, let's see, people, they'll be talking rest assured. They always do. They got it all shut down everything that we go through. Let's give them all the faith. Tell them where they can go. What do they know? What in the hell do they know? Cause the grass ain't always green. Just like we're always told. You may not have the winning hand, but you ain't got no foe. [01:30:05] Speaker B: Now, before they go any further, I need to read lyrics. I'm way behind. [01:30:08] Speaker A: Yeah, I was gonna say, lately, I. [01:30:11] Speaker B: Can tell you're getting pretty sick of me to tell you the truth? I've had about enough of me, too. All this cussing and fighting who's wrong and who's right, it don't mean a thing it don't mean a damn thing and then the chorus is because the grass ain't always greener just like we were always told you may not have the winning hand but you ain't got to fold and it just seems that much warmer when you come in from the cold because things ain't always better up the road second verse, people, they'll be talking rest assured. They always do they got all sussed out everything that we go through let's give them all the finger tell them where they can go what do they know? What the hell do they know? Act a chorus and that's where we're at. It's not horrible. It's fine. Oh, I just think it's sequenced wrong. [01:30:55] Speaker A: I do. I mean, I do like to that it kind of gets dirty with the lyrics without getting, you know what I mean? Without the actual cursing. He reminds me in the verses, especially here, of the. The kings of Leon singer. I can really hear his voice in the verses here. [01:31:12] Speaker B: Yeah, a lot. It's probably that southern thing, though, maybe like, at the end of phrases, right? Is that what you're hearing it? [01:31:19] Speaker A: Yeah, especially kind of that raspy. But, I mean, listen, they got. He's got a soulful voice. I mean, you. There's a lot of emotion in his voice. [01:31:27] Speaker B: He's a good singer. [01:31:28] Speaker A: Mm hmm. Yeah, absolutely. [01:31:29] Speaker B: Yeah, he has his own thing going on. I mean, every once in a while, like, he'll float into territories of, like, the black rose and stuff and some of his melodies and stuff where it kind of sounds like that. But again, it's all the southern things, so that doesn't make a lot of. So this song is 558, and it's only 227 right now, so we got another 325. Are they gonna extend his solo out in here? I don't know. [01:31:49] Speaker A: Maybe. [01:31:49] Speaker B: Maybe a big solo might be surprising. All right, here we go. Wow, a bars. [01:32:49] Speaker A: Yeah. I felt like the beginning of it was odd. Like, I liked what he was playing, but didn't necessarily fit the vibe of what was going on. Going on before. It. It's a little bit off. Not that it was off in terms of, oh, he's playing, like, bad notes, but he kind of went a little bit more minor than the song was. You know what I mean? I mean, this song is slow and whatever, but it's still kind of, like, in a happy range. And then when he came in with the solo, kind of like a morbid range in the beginning. I mean, I do like the solo overall. [01:33:18] Speaker B: I don't hate it. I think it doesn't have as much of a. I guess it has a beginning, middle, end, but it doesn't really build up. It kind of, like, gets the end and then kind of goes down, or rather, had to build up into the back, into the chorus, as opposed to going, you know, doing that, like, going down. I think it could have been different in that situation. He's still good guitar player. This has nothing to do with that. [01:33:41] Speaker A: Yeah, no, yeah, absolutely. I mean, listen, everything he's played has been for the song. There's nothing where, you know, he's trying to be flashy, trying to do this. He's trying. I mean, every solo has been perfect for the song, so. And I mean, the fact that we. Anytime we say, oh, we wish to give him more room, I mean, that's a compliment to the play. If you don't like the way the person's playing, you don't want them to play more, you want them to play less. [01:34:05] Speaker B: There's a fine line between good and great, right? It's the great guitar player who would have elevated that more. Not that he's saying he's not a good guitar player because he is probably better than me, I would assume. But when I hear in my head, like, what would I do? Or what would one of my favorite guitar players do, right? And I think, like, if you put a Eric Clapton in this, right? Would it be better? Of course it would. And I'm sure he would agree with that, too. He would have figured out how to make that guitar solo great, I think. I mean, that's a hard thing to do. I mean, I'm not saying that's easy thing to do. Making stuff like that great just because of the way you play is not the easiest thing in the world to do. I mean, but you're right. He plays for the song, and it's totally fine. Like, I don't think he should be have a problem with what he did. I just. I would have liked it to end on a higher thing, not end on the lower thing thing. That's just my preference. I mean, everyone can be, you know, again, we say this is, you know, is our preference. Whatever we say, we could be totally off the mark for other people. Some other guys gonna say, this is the best thing ever. [01:35:01] Speaker A: And, I mean, listen, we could be the producers of the album telling them, hey, why don't you do this and be like, no, we don't like that idea. Okay. [01:35:07] Speaker B: Yeah. [01:35:08] Speaker A: I wish you would have incorporated some more dynamic. Because they went right back into the solo, the chorus. I'm sorry. After this all, though. I don't know. I mean, for five, a six minute song, right. It's. You said 558, especially with the stuff that's come before and some of the. Some of the stuff they did with the arrangements and things. I just wish there was something more here. Even like a bridge, like some kind of musical bridge, maybe throw in some of the electric and organ. And I don't. Just something. Because it went right back into the chorus now. And I'm like, really? And there's still, what, two minutes left of the song? [01:35:42] Speaker B: Give or take 231? [01:35:43] Speaker A: Yeah. I don't know. I guess they're not gonna. I don't think they're gonna take it anywhere at this point. I guess we'll see. [01:35:49] Speaker B: I think that what I was saying is that if the solo ended up on a higher thing, I don't think it would have felt as, like, back down. You know what I mean? You would have came into the chorus. Because the guitar would have come into the chorus on a higher note, and then the chorus would have came. I think that would have been better. I think because it goes down like that, it feels almost like a letdown that the chorus comes back. I don't know. Does that make sense? [01:36:09] Speaker A: It does make sense, yeah. Because, of course, it's happy kind of thing. Right? And it's full, for what it's worth. But, yeah, the solo just kind of. [01:36:18] Speaker B: Like, meanders its way back down lower. Whereas maybe if it was structured a little differently. Where it ended up higher and not lower, I mean, that could have been. But this may be what he wanted. Maybe he wanted to go that way. [01:36:29] Speaker A: Based on the solo, I hear a verse coming there, not a chorus. I think the verse, to me, would have made more sense than the chorus at the here. [01:36:38] Speaker B: Mm hmm. Okay, let's continue. We got 231, just like we're always told. [01:36:45] Speaker C: You may not have the winning hand, but you ain't got no more. And it just seems that much more when you come in from the cold. Cause ain't always better off the road. Things ain't always been on the road. Things ain't always better than the road. [01:37:23] Speaker B: What does that remind me of? [01:37:25] Speaker A: It's. I know. I'm trying to think of it too. [01:37:27] Speaker B: You're hearing it, right? Too, right? [01:37:29] Speaker A: Yeah, I'm hearing it. Dinner. I know that. [01:37:34] Speaker B: I don't I don't. I don't know what song it is, but it sounds like something else. And there's even parts in the chorus to me sound like something else, but I can't place it. I mean, they still have 148 and there's no more lyrics. So is it gonna be more instrumental? Maybe? [01:37:46] Speaker A: I don't know. I don't know where they're gonna go with this. Maybe give them like an outro solo. [01:37:50] Speaker B: Maybe. Let's continue. [01:37:56] Speaker C: Up the road. Ain't always been up the road. Sadeena Wadde. Wait, how do we end it? [01:39:40] Speaker B: You know, though, the only thing I wish it would have done at the end. I wish they would have repeated the things ain't always better up the road at the end. Right there, like somewhere at the end maybe, but with the keyboard going, with the organ going, then things ain't always better. Like at the end. I don't know. That's what I was hearing in my head. [01:39:56] Speaker A: It's killing me that I can't figure out what that I know. I don't know where the. [01:40:05] Speaker B: There's a little beatles in there, though. [01:40:07] Speaker A: Yeah. Oh, yeah, absolutely. Oh, it's killing me. [01:40:10] Speaker B: It's not a rip, though. [01:40:11] Speaker A: No, no, no. [01:40:13] Speaker B: There's an influence there. [01:40:14] Speaker A: Yeah, absolutely. Listen, I mean, I like that they. [01:40:18] Speaker B: Gave him space at the end. [01:40:20] Speaker A: Yeah, it sounded really good. [01:40:21] Speaker B: I thought I liked it. No, in my head I'm hearing other stuff. The end part I liked a little bit better. Again, I think sometimes it's a little too safe for me. I would like it to be less safe, but it's good. Again, like you said, he plays for the song, right? He doesn't get a lot of time to really do this stuff here, at least on this record anyway, from where we can tell, so. [01:40:38] Speaker A: But if you're going to end it with the ballad, at least they. I think they ended it on a high note in terms of going into this other part and just kind of letting loose and having him solo out and the. The chorus is going and the drums kind of building up. And so at least, no matter what the rest of the song was, I do think that they ended on a high note. [01:40:59] Speaker B: Well, why don't you go first then? [01:41:01] Speaker A: The lyrics are fine. Say six on the lyrics. Melody is. I'm going to say a five. I mean, there's. I wasn't. I just thought the melodies before were definitely better. I'll say six on the music. I mean, I just. I like that they ended it well. So I think that that's what kind of bumped it up to a six for me. If not it, just. Not that it deserves a five because it's played badly, but, I mean, if I'm giving six to other stuff on this that I liked better, at least for that, I think they kind of redeemed it. So for that, I have to give it that arrangement again, I guess because of that last part. State six and production, I'll say seven. I mean, there's nothing wrong with the production. That last part, to me, was the memorable thing. I think they did the right thing, but overall, it just sounded more stockton than the stuff before it. But you can. [01:41:50] Speaker B: I think I'm gonna do five on the lyrics. I think six. And melody, too. I like the melody. It's okay. Arrangement, I'm gonna give that a seven, just because that end part production, I'm gonna give that a seven. And. Yeah, that's what I think. I mean, again, you know, it's not a bad song. I mean, at least you're right at the end. At least they did that part at the end. And that kind of, like, even though it's the ballad, least it kind of ends on an upper up thing. It would been bad if it was just about that end part. [01:42:17] Speaker A: Mm hmm. [01:42:18] Speaker B: I still think, sequencing wise, I don't think I like this at the end. They do, and that's all that matters. [01:42:23] Speaker A: But I had a feeling, though. I just. I had that feeling, though. I said, I think they're going to end with a ballad. This is going to be a ballad. [01:42:30] Speaker B: I was hoping not. I was thinking the same thing, but I was hoping that they rocked up the whole side, man. I mean, the side is way better for me. [01:42:37] Speaker A: I think so, too. I mean, again, the first I listened for, from a country standpoint, it's like, I don't really listen to country music, but, I mean, in general, I thought it was pretty, you know, is pretty good. I mean, clearly they know how to write songs. They can write some decent hooks. The musicianship is good. The protection is good. But, yeah, the second side makes me a little bit more interested in hearing what else they have. [01:42:58] Speaker B: I would definitely like to hear more, because the second side, I think, is definitely more rocky than the first side. [01:43:02] Speaker A: Yeah, I thought so, too, but it. [01:43:03] Speaker B: Was cool that we got this, because this is one of the bands I was hoping we'd get. I know the band. I've heard the name, but I don't really know what they do. I mean, in my head, I knew it was a southern rock thing. [01:43:12] Speaker A: I didn't even know they were on the list. I didn't even know that, but I wasn't shocked when I saw them. So. [01:43:19] Speaker B: All right, that was a good one. [01:43:20] Speaker A: Another one in the books. [01:43:21] Speaker B: So why don't you do your thing? [01:43:23] Speaker A: Yes, we are part of the Deep Dive podcast network. Again, great bunch of guys took us in right away. Check them out. If you want more individual podcasts about the specific bands, you know, brush, Judas Priest. I know we got to try to get together with those guys and arrange a co podcast and the Rush trash guys, too. So hopefully we can lend our talents, quote unquote talents to them and just have some fun. But again, you name it. Tom Petty, Queen, Zeppelin. They're there on there, so definitely check them out. And, Mark, where can they find us on the interwebs? [01:44:01] Speaker B: Rock, roulette pod, all the socials. Rockrullettepodcast.com if you want to drop us a note or submit a new bandaid idea. Also, if you can give us some good ratings on whatever app that you use so we can move up the rankings and more people get to us and always put us as an auto download. So you get the newest episode because we try to put an episode out every week on Sundays. So your Mondays, you'll be able to hear a new episode, which should be, you know, hopefully entertaining. Anyway, hopefully we're not too boring. We're not professionals. You know, we just like music, and maybe some of our opinions are not exactly what everyone would like, but. But that's okay. [01:44:36] Speaker A: Yeah, that's part of it. Again, you know, that's part of the fun of doing these things. [01:44:40] Speaker B: Yes. And then next week we got a spin. [01:44:42] Speaker A: Yes, we do. [01:44:43] Speaker B: So what do you think for your new bets next week? Are you gonna pick or are you gonna let the wheel do its thing? I know you want to pick a song. [01:44:49] Speaker A: Not sure. I mean, I know I've had that, you know, Sword of Damocles has just been hanging there, that low hanging fruit, and. Well, I was going to do it last week, but because of who it is, I thought if Frank was there, I would have kind of done it. But next week, I think I'm just gonna pick it and do it because at this point, they're gonna have another album out. [01:45:07] Speaker B: Yeah. [01:45:10] Speaker A: Yeah. So it's. It's a good song. [01:45:12] Speaker B: So thank you, everyone, for listening to us, and hopefully we didn't ramble too long this time. It's not as long as some of our stuff, so that should be good. I guess we will see you next week later.