Episode 114 - The Pretty Reckless - Who You Selling For - Part 1

[00:00:04] Speaker A: This is our musical reaction breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only. Notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now onto the Rock Roulette Podcast. Hey everybody. Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1300 albums, stuck them in a list, stuck them in a wheel. And typically every other week we spin the wheel. She picks an album for us and we go through it side by side, track by track. And we rated based on music production, lyrics, melody and arrangement. Again, just a bunch of friends who wanted to do a podcast. Love music, you know, just having some fun. And we want to thank everybody who takes a ride along with us. Thank you to all of our listeners. Again, spread the word. If there's anything you don't like, like whatever it is, man, just drop us a comment, give us something to throw into the new vets wheel. You know, the baby wheel we call it or something in the mama wheel as we call it. Or you know, we can always call an audible and just say, hey, we'll do this this week. So tonight we are duo. We have Mark. Oh hi Mark. [00:02:06] Speaker B: What's up guys? [00:02:07] Speaker A: And I'm sad. So last week we wrapped up the Whippoorwill by BlackBerry Smoke. And I think the second side we concurred that was a little bit more what we were expecting. Not that I really knew much about the band, but was expecting something a little bit more along the lines of southern rock. And that's what we got on second side. First I was a little bit more country, but again still, I mean, pretty good country from our standards, from what we know. So I mean, overall, not a. Not a bad record. I think it's something I'd go back to and check out. And again, based on the second side, I'm excited to hear what they do on their other stuff. What do you think, Mark? [00:02:48] Speaker B: Yeah, I thought it was good. The second side was definitely better than the first side. I actually watched a little bit video I think live stuff. And he and the singer does play leads too. So I'M not too sure who's doing leads on what. Like, I don't know anything about that, but it was good. Yeah. I definitely like the second side better than the first side. [00:03:10] Speaker A: Yeah, second side was a little bit more of what I think we thought was going to happen. [00:03:15] Speaker B: I had them in my. In my head for a while, and I've always heard their name, and I knew they were Southern rock, but it seems like this album maybe the Outlier, maybe. I don't know. And the first side, super country, and the second side is more what I would expect Southern rock to be. So it was good. [00:03:30] Speaker A: Yeah. So I am curious to see if they ever come up. We at least 10 more rat spins and then they may come up, but. Yeah. So tonight we get to spin the Wheel, obviously. But before we spin the Mama Wheel, we have to spin the Baby wheel with the segment we call New Bets. And I know it's my turn to keep talking about a song, but again, I think I'd want to wait till Frank is on. So if you don't mind, I think we're going to go with the Wheel again. Up to you if you want to do the intro. [00:04:00] Speaker B: Okay. Whatever you want to do. We do. Okay, here's the intro. [00:04:05] Speaker A: In a world where new music is not easy to find. Welcome to New Bets. [00:04:21] Speaker B: Can't have enough cowbell. [00:04:22] Speaker A: Yeah. [00:04:23] Speaker B: Oh, you're gonna spin, huh? [00:04:24] Speaker A: Yeah. I mean, listen, a song I want to pick is by an incredibly famous band from the 90s. I think it's my favorite song or their most recent record. It is 2024, but I'll give him two more chances. Next week is your turn. So I will not steal that from you in case he isn't here. But if he's not here that other week, that's it. Because I just have this inkling he's going to jump on. So. [00:04:49] Speaker B: Yeah, you know, trying to figure out who's coming on is not the easiest thing all the time because we tend to record this thing fairly late. [00:04:57] Speaker A: Yeah, I know. We do do it kind of late, so. [00:05:00] Speaker B: Okay, so you can see the wheel, I assume. [00:05:03] Speaker A: I see it. [00:05:04] Speaker B: All right, the Baby Wheel is ready to go. Let's. Let's spin the Baby Wheel. Here we go. [00:05:21] Speaker A: Or Feedback by a Day to remember. Do you know what or who this is? [00:05:27] Speaker B: No clue. I just threw it on the list because it was a new rock thing. The name sounds vaguely familiar, but I couldn't tell you what they do. I guess we should start this, shouldn't we? [00:05:37] Speaker A: I'm going to Check them out. [00:05:39] Speaker B: Here we go. So this is Feedback from A Day to Remember. [00:06:22] Speaker A: I like the riff. Hate the drums. [00:06:24] Speaker B: You always hate the drums. It's not surprising. It's all the same, man. [00:06:29] Speaker A: Dude, I. I found. I can't remember the name of the band, but they came up with my feed. They're a teenage thrash band, very early thrash sounding, and the drum sounds great. It was actually produced by one of the kids in the band. I don't know how old they are. I forgot the name. I was going to bring it up too, but it says Teenage thrash band, so. And I think it's new, so it isn't something I'm discovering 10 years after where they're not teenagers anymore. The drums sound great, they sound raw, they sound garagey, but they're powerful. [00:07:00] Speaker B: And you wish everything could be like that. [00:07:03] Speaker A: I just don't. I don't understand, man. I think this is a pretty solid riff. I mean, the melody is pretty cool. [00:07:10] Speaker B: Yeah, it's very. I don't know, it feels like lots of other stuff I've heard. I don't know if that makes any sense. [00:07:16] Speaker A: I mean, again, I'm not. Listen. If I can find something, we're like, wow. If I've never heard that before, then I'm even. Especially at this point, because I've really started to dabble listening to a lot of. I mean, I've always listened to a lot of different things. I've even listened to more different things. So if something sounds really fresh to me, which I can't remember, but again, I'm just looking for something, I think. And I do. I mean, overall, I kind of like the riff, but again, I just. Those drums. I know it sounds like a broken record. [00:07:47] Speaker B: It just feels like lots of bands these days are using the same stuff. Like they're using the same vocal thing. They're using the same. [00:07:56] Speaker A: But the guitars sound heavy though, right? I mean, I think they sound heavy here, which I like. I don't. I don't really have. I mean, me personally, I don't have an issue with the guitar. I think they sound. They come across heavy. But then again, I think once those drums come in, I just. To me, it sounds like they're hitting muted drums. And again, Ringo sounded great with stuff on his drums. [00:08:17] Speaker B: Yeah, but that's not what it is. It's because it's samples. It's got to be. They're all sounding the same. Not you. Not every place is going to have the same exact drum sound. So if everyone's drums are sounding the same. My only thing could be is that they're replacing drums now. If anyone knows this better than us, please let us know. But to me, it feels like they're recording the drums and they're just changing the sound of it. [00:08:36] Speaker A: Yeah, I mean, it has to be. It has to be. Because, I mean, again, having. Now trying to listen a little bit more of heavier things. And even here they talk about. This band has gone on tour with Architects, who. I think they're. They're pretty good. We came as Romans. They're pretty good. Rise Against. I mean, you know, definitely other bands that I've listened to and like, but again, they kind of have that. [00:08:59] Speaker B: Yeah, I know, I know. All right, well, let's continue it and see how it goes. [00:09:16] Speaker C: Corners I'm a queen, I'm a king if I want to hear your feedback feedback I'll let you know When I want to hear your feedback Feedback Let it go if I want to hear your feedback feedback I'll let you know when you wait Feedback, feedback Let go if I want to hear your feedback feedback I'll let you know if I want to hear your feedback Feedback Let it go It's a way of Feedback feedback Will let you know when you. Feedback, feedback Let her go if I want your feedback Unless, you know. [00:10:50] Speaker B: Motherfucker. [00:10:53] Speaker A: I love cursing in songs. [00:10:55] Speaker B: Very angry. [00:10:56] Speaker A: I like it. I don't like the way the drums sound, but I like the song. [00:11:00] Speaker B: It's okay. I mean, I'm not a big fan of the guitar sound on there, but it's fine. [00:11:04] Speaker A: I kind of like it. [00:11:05] Speaker B: I. I just. I don't know. It just feels like everybody sounds the same. I don't know what that's about. Like, back in. I. I mean, listen. Okay. I guess in the time of the 80s, everyone kind of sort of sounded the same. They sort of sounded the same, but they didn't sound. Does that make any sense? Like, they all had a. They were following a style. [00:11:23] Speaker A: I think producers had more of a voice. Whereas now you don't need the people. You know what I mean? You don't. Nothing you don't need. So it's like a director in a movie. If there's a director you like and you like their style and you can pick out their style. Right? But there's five other directors that are making the same exact movie, kind of based on the same characters and. And whatever. Even though it's. You like the movie, but you don't feel the director's voice in it. You know, their style, whatever it is. About it. That makes a movie, that director's movie. To me, that's kind of how this goes. I feel that ultimately these songs, whether they're good or not, or whether you like them or not, whoever's producing them is not doing anything. There's no stamp there. And again, if they're doing it themselves and this is what they want it to sound like, Cool. It does come across as heavy. And again, my main thing is the drums. I don't feel they're as powerful as they can be. There's no snare crack. To me, that's one major thing. And maybe that could be the main difference, the snare. To me, all these snares. Again, it sounds like someone's hitting a piece of cardboard. There's no pop. That's probably my main. My main thing. [00:12:39] Speaker B: Yeah, I think that your thing with the drums is me just feeling that a lot of these songs are just the same kind of thing. Like, the things that are happening here happened in the early 2000s. Like, they use the little like is a effect on the voice. Now, again, I don't want to be whatever old man on your lawn, but I don't feel like really your voice or this guy's voice is really coming through. It's got so much effect. I'm not sure if it's auto tuned. It may not be auto tuned. I don't know. Or pitch corrected. If your sales feels like everything's pitch corrected these days. So it's almost impossible to tell what's pitch correct unless you sit there and really pay attention. And then that kind of ruins the whole song for you because now you're like, all right, so is that pitch corrected? I don't know. Like, I have to listen to it. Whereas maybe back in the day, you know, you heard a singer's voice just like you have a producer's voice. And he was allowed to have. They were allowed to have their voice. Now I think everyone wants it perfect so it sounds samey same. And I think that's some of my problem with a lot of new music. Not that it's bad. It's not bad. I don't feel anything from this. This doesn't make me go, okay, it's good. But do I want to go out and search this out? Probably not. Hey, listen, I put the song on the list, right? I heard it and went, okay. I had more of a feeling hearing the new League and Park song that I did this. Like, this would not get me to listen to them just because I feel like everyone's taking everything from everybody and everyone's trying to do the same thing. And I guess, you know, that happens. Why? I guess happened in 90s with grunge. It happened in the 80s with the hair metal. Happens in pop all the time. I'm sure, like. Like lots of stuff now. A lot of girls sound a certain way, and they all sound the way in country, the same thing, modern country, a lot of the girls sound the same. You almost can't tell who's who unless you get a big star like Carrie Underwood or someone big, you know what I mean, who has a distinctive voice. Like, a lot of the girl singers sound the same to me, and my wife listens to that stuff all the time and I can't almost tell who's singing because it all sounds the same. So I guess it's just the trend of what it is again. Same plugins, same effects everyone's using. No one really can innovate anymore because you're almost not allowed to. I don't know. [00:14:38] Speaker A: Well, I. Listen, I'm not in the business. I don't know what goes on behind the scenes anymore. So, I mean, you'd like to think, hey, you know, you can record yourself, you have a little bit more control. But then when you listen to the artist, they're basically saying the same thing, right, that the artist said back in the day when it comes to the record companies and the control and this and that. So I don't know. I mean, maybe, maybe, maybe they think like, well, if we don't sound like this, we won't get played. We're not going to get listened to. You know what I mean? Like, this is what. This is what you need to sound like. I don't know. I mean, again, to me, it's. It's really that. That sound, I think it. It kind of began where everything was. It felt like all the knobs, right? All the. The things were pushed all the way up on the sound on the board. It kind of started like that and then it's kind of evolved to kind of this, at least to me. Like I said with. With the drums and I mean, again, I think it's a good song. I mean, I do like it and I may go back to it. I just wish that was different. [00:15:45] Speaker B: Let's just take the drums out and then you'll be fine. [00:15:47] Speaker A: Just something. I mean, again, just have a. That pop. You know what I mean? That's. I mean, I don't know. Like I said, listen, I had this discussion with my son. He's like, oh, my God, you kidding me? The drums sound, like, so powerful. Like, really. So maybe. I mean, again, everything is in the ear that we hold. [00:16:04] Speaker B: All right, maybe your ears are getting old. That's what it is. [00:16:07] Speaker A: I don't know. But that's the thing. I'm listening to a lot of this stuff now. I'm really liking it. And that's my only. I was like, I just wish there was a little. That differentiation. And I would think as a band, he would say that as well. Hey, what's going to make us stick out? Or maybe you don't want to stick out because maybe some of the bands that are sticking out aren't going as, you know, doing as well. But I don't know. Like, I don't. I'm not in the scene. I don't know who's popular and who's not. I kind of troll through Amazon and, hey, you like this? So listen to this. Okay, cool. [00:16:38] Speaker B: Well, that's the new best segment. If you liked it, that's fine. Whatever our opinions are. Don't mean anything. You know, I don't hate the song. I don't know if it's for me. I'm glad there's new music out there. Where there's new rock music out there. I don't think it's super missing to me, obviously. Obviously there's no guitar solos anymore. It's just. No one does that. So it's just kind of like, whatever, we're just going to play through this and we have a break or whatever. And I don't know. I don't hate it. It wasn't really my. [00:17:04] Speaker A: My bag, but not my bag, baby. You don't have that sample in there anywhere? [00:17:10] Speaker B: Oh, see, now I don't know. [00:17:12] Speaker A: I mean, you told you. I mean, that's very specific. [00:17:15] Speaker B: Now I'm gonna have to put it on there. [00:17:17] Speaker A: You gotta. I'm doing. [00:17:19] Speaker B: I know. I only have one of these. This is one of the ones I have. [00:17:22] Speaker A: Oh, behave. [00:17:24] Speaker B: I have to get that one, though. [00:17:25] Speaker A: See, reminded that that should be, like, the. You know how we rate. We. We don't really rate these songs. Right. When we do the new best, we just kind of listen to it and give an opinion. We should do, like, a sample of. If you like it, you get this sample. If you don't like it, you get that. [00:17:39] Speaker B: We're gonna have to think about that. [00:17:41] Speaker A: Yeah. Each one of us can have a like and don't like. [00:17:48] Speaker B: All right, let me play our outro. Here's our outro in a World where. [00:17:53] Speaker A: New music is not easy to find. [00:17:58] Speaker B: Welcome to new Bets. I just feel like I'm just Debbie Downer on all the new songs. I feel like every time one comes up, I'm like, I don't really like that that much. I really don't like that that much. It's okay. I don't know. I feel like I'm being super duper down. [00:18:17] Speaker A: Well, I mean, listen, I do. I mean, if you like something, you like. If you don't like it, you don't like it. I mean, what are you gonna do? I mean, that's why we're here, right? [00:18:24] Speaker B: To be honest, I mean, I think it's well played. And I say that about a lot of stuff I don't like, probably. I mean, I can get behind the playing and the musicianship behind it. It's just. I don't know, it feels generically generic. I don't know. And the drums don't help it. You're right. The drums are. I mean, it's very evident the more new songs we play, the more we hear the same drum sound. No, without a doubt there's something to be said about that. Okay, so Big Wheel time. So what do you think? What are you feeling? [00:18:52] Speaker A: Oh, man. I mean, last week that was a curveball. Without a doubt. What did we do the week before that? I don't even remember. Oh, Was that the MC5? Was that the week before this? [00:19:02] Speaker B: Yes. Two weeks. Whatever. Yeah, two weeks. [00:19:05] Speaker A: And before that was Dan Zig. I mean, this is a pretty eclectic. I mean, listen, she does what she wants. I'm trying to think. So we had kind of 90s and classic then I guess you could say modernish. So either we probably go back to what's the last. Trying to think what's the last real 80s, glam or hair metal? Like. No, but was it Winger maybe? [00:19:26] Speaker B: Yeah, probably. That was the last one. I think so. [00:19:29] Speaker A: That was a while ago, right? That was. That was a good five or six albums ago, actually. Probably. Maybe more than that. [00:19:34] Speaker B: Yeah. I'd have to look, but. Yeah, probably. [00:19:36] Speaker A: That'd be fun. You know what? I'd love to maybe get something. I know we always say that, but. [00:19:41] Speaker B: I know because there's so many of them on the wheel that you never really know what you're going to get. I'm going to say 80s, too. [00:19:47] Speaker A: Yeah. Or just something we have band. We haven't had something. Or something just really interesting. [00:19:52] Speaker B: That would be nice. Okay. [00:19:54] Speaker A: Maybe something that you've been hungering for. [00:19:58] Speaker B: You haven't gotten it's 113 episodes. I still haven't gotten it at all. [00:20:04] Speaker A: I got my YouTube before you got your Kiss. [00:20:07] Speaker B: No. [00:20:08] Speaker A: I thought those bands were never coming up, man. [00:20:11] Speaker B: No. And you got the. One of the biggest YouTube albums ever, if not the biggest one. [00:20:15] Speaker A: Hey, but listen, in the beginning, man, you got Van Halen early, right? You got David Lee Roth early. You got Ace Freely or Ace Frailey early. I mean. [00:20:21] Speaker B: Yeah, it's really. Twice. [00:20:22] Speaker A: I think the wheel was singing, remember? Really? Is this rigged? [00:20:26] Speaker B: And then, since then, it's been very long, cold winter, as Cinderella would say. [00:20:31] Speaker A: Yeah, that's a. That's a great album. [00:20:35] Speaker B: Yeah. I wouldn't mind to get something like that. And we haven't got AC DC either, which is weird. There's a bunch of those on there. It's just weird. [00:20:40] Speaker A: Yeah, no. AC dc Scorpions. I was thinking, too, the other day, I heard somebody talking about the Scorpions. We haven't gotten any of theirs. There's a few of that, right? [00:20:47] Speaker B: Yeah, there's a lot of them on there. Yeah. I don't know. [00:20:50] Speaker A: Yeah, I mean, they put out a lot. I mean, Def Leppard, right? We've never gotten. [00:20:54] Speaker B: No, we got it in new bets. And that's it. [00:20:55] Speaker A: Yeah. I mean, we got Motley Crue. We got them out of the way. We got Poison. [00:21:00] Speaker B: Yeah. [00:21:00] Speaker A: Warrant. We haven't gotten any warrants. I mean, there's a few of them on there. [00:21:03] Speaker B: Bon Jovi. Two of the biggest ones. [00:21:05] Speaker A: Bon Jovi. What? Two? Yeah, the two biggest ones. Dada was shocked how she did not pick either the first or second or the second one, but. Or something way down the line. [00:21:16] Speaker B: No, I'm gonna give you both of the biggest ones so you get them out of the way. So then, yeah, we're gonna hear Bonjour over you again, maybe. [00:21:20] Speaker A: And now that's pretty. [00:21:22] Speaker B: All right, let's get this wheel going. Because I. Yeah, let's. I'm saying. I'm saying 80s. We're saying 80s. It's not going to be 80s. [00:21:28] Speaker A: No, probably not. [00:21:29] Speaker B: That's my prediction, but we'll see. All right, here we go. [00:21:50] Speaker A: Oh, we were just talking about them. [00:21:52] Speaker B: I know. [00:21:53] Speaker A: They're pretty reckless. Who you selling for? [00:21:56] Speaker B: Funny. I know we were having conversation about this. [00:21:59] Speaker A: Damn. I've actually never heard anything by them. That's another band I've always wanted to check out and just never have. [00:22:05] Speaker B: Let's look and see what. When this thing is. [00:22:09] Speaker A: I don't even know when this is. [00:22:10] Speaker B: From 2016, so it's almost 10 years old. It's 8 years old. [00:22:15] Speaker A: God. So what is the singer, like, 14 when this came out? [00:22:19] Speaker B: No, how old she is? I think she's. Is she in her 30s now? [00:22:23] Speaker A: Is she really? [00:22:24] Speaker B: I thought she was 31. [00:22:26] Speaker A: Wow. [00:22:26] Speaker B: She was born in 93. Okay, this is. This is just wrong. [00:22:30] Speaker A: Whatever. [00:22:34] Speaker B: The funny part, she portrayed Cindy Lou who in the film how the Grinch stole Christmas in 2000. [00:22:38] Speaker A: Oh, my Lord. With what's his name? With Jim Carrey. [00:22:41] Speaker B: Is that the one with him? Yeah, yeah, yeah, that's the one. [00:22:45] Speaker A: I've actually never seen that. [00:22:46] Speaker B: Have you not ever seen that? [00:22:48] Speaker A: Yeah, I've heard it's bad. I've heard. I've heard it's bad. I. I'm not a very big Jim Carrey comedic guy. I think he's a. He's a great dramatic actor, like Truman show and Eternal Sunshine. I would love to see more of him and stuff like that. I think he's. He's really good. I mean, listen, I thought Liar Liar was a great movie, too. It's kind of like a mix. [00:23:11] Speaker B: Yeah. He could be too much for people sometimes, I think. [00:23:14] Speaker A: Yeah. But, I mean, I guess it's probably what they were asking for, too. [00:23:17] Speaker B: Well, I'm glad we got this. [00:23:18] Speaker A: Yeah. I've never heard of them. Heard them. Excuse me. [00:23:22] Speaker B: I've heard some stuff, but I can. I couldn't tell you what. What albums they were from or whatever. No, I mean, this is 12 tracks, so it's Taylor Momsen, Ben Phillips, Jamie Perkins and Mark Damon. It's not really saying who plays what here. I'll have to look this up later to figure out who plays what or who does what. I know she sings and that's about it. And there's tons of, like, additional personnel. Warren Haynes is on track number six. Warren Haynes from the Almonds and Government Mule? [00:23:48] Speaker A: Yeah. I couldn't get. I couldn't get that out of. I knew exactly who he was and I couldn't get that out of my mouth. [00:23:56] Speaker B: I don't know. Andy Burton on keyboards, Tommy Burns on guitar. I don't know who that is. Janice Pendarvis, she's a voiceover. A singer, songwriter, record. Sting, David Bowie, Steely Dan, Peter Tosh, the ojs. Lots of people. [00:24:09] Speaker A: Peter Tosh, he's. I think he's a whaler. [00:24:13] Speaker B: Oh, is he? [00:24:13] Speaker A: Peter Tosh? I believe so. [00:24:15] Speaker B: And there's a bunch of people. Jenny Douglas, Foot on background vocals, Sophia Ramos on background vocals, Adam Larson. That's art direction. There's a lot of people on this album, it debuted number 13 on the US Billboard 200. Yet they're popular. And you don't have to give her credit. Like, she just dropped all the acting stuff and went full force into music. You got to give someone credit for that because, you know, she had an acting career. She had a decent acting career when she was younger. So to just leave that and just to do rock music, good for her. Yep. It's saying with too many hard rock bands sounding sterile and calculated, it makes the rawness, emotion, and originality of who selling who you selling for stand out even more. So now I'm even more excited. See, maybe that's really what I was thinking about with the other song. Very sterile, very calculated. It's super like. Like that. I'm hoping this is not going to be that way. [00:25:02] Speaker A: I hope so, too. [00:25:04] Speaker B: It would be very nice to do that. And I'm actually glad we got this, even though we were asking for 80s. [00:25:10] Speaker A: Yeah, me too. It's just so funny. This isn't the first time, though, that you and I have kind of discussed something off podcasts, and all of a sudden it pops up. I think New Jersey. You and I had gotten into a conversation about that the week before. [00:25:21] Speaker B: Yeah. [00:25:22] Speaker A: And again, you know, obviously we're not. We're not faking it. We're just. Maybe the Wheel is listening. [00:25:28] Speaker B: It might be on its off time. It probably has. Our. Our phone's bugged. That's what probably happened. Yeah, we gotta watch it. There might be, like, we have to listen for sounds maybe. [00:25:37] Speaker A: Oh, our phones are bugged. Anytime we. Anytime we talk about a band, it comes up in my feed one way or another. Either there's news about them or everybody's listening. It's fine. [00:25:47] Speaker B: So I'm super psyched about this. [00:25:49] Speaker A: Give me some cheap tickets. [00:25:50] Speaker B: Oh, yeah. Seriously. Come on. [00:25:52] Speaker A: Yeah. All right. [00:25:53] Speaker B: So this is gonna be good. [00:25:54] Speaker A: Yeah, let's check it out. We're very curious. [00:25:56] Speaker B: And so the first song is the Walls Are Closing In. Hangman. Here we go. Let's listen to it. [00:26:02] Speaker C: Get your together. [00:26:05] Speaker B: Here goes. [00:26:10] Speaker A: One more time. [00:26:16] Speaker C: There's no light, Mama, I can't see it all. [00:26:29] Speaker B: So before we go forward in this, it's not what I was expecting, but I tell you the truth, though, it's kind of refreshing to have someone actually sing. And it's just like, piano that it's actually real as much as it's not something I thought I was expecting. I'm okay with this. [00:26:45] Speaker A: I. I'm almost positive I've heard this before somewhere I don't think I know the song, but this sounds familiar, as if I've heard it. I don't know how it's going to go into whatever it's going to go into, but this sounds really familiar to me, other than, you know, somebody singing Mama over a piano, like the. The obvious connection. It sounds really familiar. I gotta. I gotta check it out. [00:27:08] Speaker B: Maybe it's 6:37, so it's fairly long. So this is definitely gonna change, but I kind of. So far, I'm okay. Her voice is good. [00:27:19] Speaker A: Sultry. Yeah, she's got that thing going. Yeah. [00:27:23] Speaker B: All right, let's continue. [00:27:25] Speaker C: There's no one left to break this phone, Mama. There's no one at all. [00:28:50] Speaker B: Was that Italian of some sort? [00:28:52] Speaker A: No. What was it? [00:28:54] Speaker B: Spanish? [00:28:54] Speaker A: It's supposed to be some mock Latin. [00:28:56] Speaker B: Mock Latin. Okay, so I'm gonna have you read that because I'm gonna butcher the fuck out of that. I'll read the first part and then you can read that. [00:29:05] Speaker A: Yeah. [00:29:06] Speaker B: So, you know, get your shit together. [00:29:08] Speaker A: Yes. [00:29:08] Speaker B: There's no light, Mama. I can't. I can't see it at all. There's no one left to break this fall, Mama. There's no one at all. All right, do it. [00:29:16] Speaker A: Semi tabelio prima retractor. Modem column. Odi chisum chi musiato bora victim. Calefia dolia mia esto nesciente. Leo rumen apello mama. Tkos nova lumen patior estomi doleo solar solor vivac solor ma infecta estar in mia altaria estur in nomina montis. And then the end is. I don't know. Won't get out alive. [00:29:53] Speaker B: So the translation is. I first started to decompose, but I regained control. I have thick skin. I hate the rope. It's burning my skin. The food is hurting my throat. I know it's ignorance, but I reject it. I can't keep it in my stomach, Mama. The human body fascinates me. The mark of the new light is devastating. I know. The pain is comforting me. Its intensity and smell disturbed me. He died by sacrifice. He died on the hill in a baneful way. Super ballsy. Like to even do that. It's definitely not stock. I kind of like it. I kind of think she's doing a great job. Like, who introduces Latin into the move of song like that? [00:30:33] Speaker A: Yeah, I mean, I like the chanting part of it. [00:30:35] Speaker B: And obviously you can see which one of us speaks a different language because Sabino's good at that. Does it make sense in Italian, sort of, kind of. [00:30:41] Speaker A: I mean, some of the words definitely sound. I mean, looking at the translation, but I don't know that it's because there's thing that says in what appears to be a Latin verse. Actually few real Latin words make an appearance. And mostly the words just look like they are Latin. So maybe it's just a mock. I think I read it as I would in Latin. Or an Italian reading. [00:31:02] Speaker B: Yeah, I did a good job. What? All right, I'm gonna back it up. [00:31:05] Speaker A: Not as good as Steve and, you know. [00:31:07] Speaker B: Oh, wow. Yeah, well, not as good as Stephen. [00:31:10] Speaker A: What the hell was that on that Bon Jovi song? [00:31:12] Speaker B: Social Disease. [00:31:13] Speaker A: Social disease. Yeah. [00:31:14] Speaker B: Yeah, that was great. We shouldn't read this out. That would have been fun. [00:31:17] Speaker A: I know. [00:31:18] Speaker B: So what are you thinking so far? I like the ballsiness. I like the different of it. It's not a stock thing. [00:31:26] Speaker A: I mean, I like. Yeah, I like the chanting aspect to it. I'm curious to see where it work. I don't. I don't think that that first part goes with the second part. I mean, really. I like them separately, together. I don't know if they're just the first one ended, but it feels like it kind of came right in. They didn't really blend. But I mean, the two separate parts are cool. [00:31:43] Speaker B: Yeah. I mean, obviously on purpose. Maybe it was just like the intro thing to something. You know what I mean? [00:31:48] Speaker A: I mean, listen, chanting Latin always sounds evil. I mean, if anybody has ever seen any omen or whatever. So I'm always down with those. [00:31:56] Speaker B: All right, let's continue. We have like over four minutes. [00:32:30] Speaker C: Clear. When they come to hang you Stand straight Bring some neck Be stronger. When they come to hang you and you think you lost control don't take your soul. [00:33:08] Speaker A: Very, very Alice and Chainsy. Very lean Staley. [00:33:12] Speaker B: The verses are way. Alice in Chains. [00:33:14] Speaker A: Oh, my Lord. [00:33:15] Speaker B: The drawing out lines. [00:33:17] Speaker A: Yeah, but even her timber and everything. But they just. It's. I wish it had a little bit more power behind it. It's kind of. To me, it's missing that. I think it's. It begs for. For the music to be heavier and it's not. [00:33:30] Speaker B: I think it's very vocal forward. I think that the music could be a little bit louder and that would have made it a little bit better. If you tell me if I have to take this or the song we just listened to Prior. I take this all time, every day. All day, all the time. Real drums. The drums sound really good. [00:33:44] Speaker A: Yeah, they sound. [00:33:45] Speaker B: I'm. [00:33:45] Speaker A: I'm. I'm not crazy about them. I don't think they're as bad as the other one. But there's still a little. Again, but it could be just a whole production because I just think. Again, I think based on what's going on, especially her, the way she's delivering the lyrics, I feel that the music behind it should be a little bit. All of it should be a little bit harder, I guess you could say. So it's not bad, but I think there's a little weakness to it. [00:34:09] Speaker B: I think it's just the way it's produced personally. [00:34:12] Speaker A: And I mean, it could be something they're going for. I mean, you know what I mean. Obviously, when you do your own thing, you make it sound the way you want to. [00:34:19] Speaker B: So I'm going to read the chorus and you can read the post chorus. I don't want to butcher it. So when they came to hang you, stand straight, brace your neck, be strong, daughter. When they come to hang you and you think you lost control don't take your soul now supposedly. I don't know if you've seen this too. It's from Inspired by a poem called Tichborne's Elegy. It was written in 1586. Written on the eve of his execution, the song parallels the poem's themes of having control over your own mind and soul, no matter what is happening to you. [00:34:46] Speaker A: Yeah, I don't have any of them. [00:34:50] Speaker B: It's kind of heavy for, you know, rock song. [00:34:52] Speaker A: So then the part after that is. I don't know. Won't get out of love. I did not think I'd be reading Latin today. At the end in the podcast Rock. [00:35:05] Speaker B: Roulette podcast will surprise you. The boys like, yeah, you want something? Here you go. [00:35:10] Speaker A: There you go. [00:35:10] Speaker B: Read some Latin. [00:35:11] Speaker A: Yeah, exactly. [00:35:12] Speaker B: Or, you know, whatever this is Latin, Whatever it is. [00:35:15] Speaker A: Yeah. [00:35:16] Speaker B: Okay, here we go. [00:35:31] Speaker C: By the humans die by the end of fear. When they come to hang you, stand straight, brace your neck, be stronger. When they come to hang you and you think you lost control don't take your soul But I before human had the sight Spend my life combined with a picture and remind vision of the sun but now my life is done if I wait for I coming I'll take not a thing the world would I bring they won't decompose as my body is disposed and the earth weighs a ton and now my life is done. Come as I wait for the light to come. [00:37:37] Speaker A: You going to let it pause for a phone? You think that's a. That's going to turn into a full blown solo. [00:37:42] Speaker B: Well, I like the solo Party. Did I? It's just the music is way low. Like the drums are super loud and the br. And the vocals are super loud. But like the bass and the guitar like really pushed super duper back. Like I'm not vibing on the production too much and the melodies could be. Yeah, whatever. I think the melodies in the verse obviously are very Alison Chains ish. So I don't hate those. But like that bridge was super long. I mean, I don't hate. And she's going for like a thing here. This is not like standard. Like you said, cut and paste or like they said, sanitized and very calculated. You know, vocals or music. I give her props for coming out with something like this. Not even caring like what everything else is doing. I don't care. I'm just going to do this and it sounds good. I wish the production was a little bit better, that's all. Who produced this? I have to look now. Oh, that's the guy who died. Kato Candewalla. He had a motorcycle accident in 2018. He died. I suppose I messed her up really bad. Like I guess that was her producer guy. Not to say anything ill of the dead. Right. For me, the production is not great and I think that really holds this song back from something can be much better. Yeah, it's not balanced enough. [00:38:48] Speaker A: Yeah, I mean it's, it's. It sounds like an idea more than a fulfilled concept to me. Like, if you know what I mean. That's, that's kind of like what I'm. What I'm getting from. It doesn't, it doesn't sound complete that makes any sense. You know what I mean? It's kind of like ideas kind of like they're kind of wisdom melody. And I mean, I do think the drums are sounding better. If nothing else. [00:39:09] Speaker B: It's real drums. [00:39:10] Speaker A: Yeah, well, I mean, listen, I'm sure the other stuff is real drums. It just, you know, once you put. [00:39:14] Speaker B: It through whatever doesn't sound like real drums. It sounds like fake drums. This at least, at least is a snare. And things sound good. I mean the problem is is that the levels are way all wacky. Like even when his solo came in, you're like, huh, Is there like a solo going on? I'm hearing it. And you know, his wawa work was good. I mean, I didn't hate it. [00:39:31] Speaker A: Well, I mean it sounds like there's something still kind of going on. Right. [00:39:34] Speaker B: Well, let me read anyway so I can kind of get that part out and then we can come back. Time flies by the rank of years Humans die by the hand of fear and then. Chorus. And then this long bridge in the time of delight before humans had sight Spent my life living blind With a picture in my mind A vision of the sun but now my life is done As I wait for the light to come I will take nothing for what I would bring I won't decompose. Sorry, that. Won't decompose. As my body is disposed and the earth weighs a ton and now my life is done As I wait for the light to come to come I mean, like, lyric wise, it's pretty good. I just think. Yeah, it's missing a little bit of melody, maybe. [00:40:15] Speaker A: Yeah, I mean, I. My. My favorite part was kind of like that initial Latin. [00:40:20] Speaker B: Yeah, like that too. [00:40:21] Speaker A: Like, it feels a little. Almost like something from Razor Blade Suitcase. You know what I mean? How we kept talking about. They kind of felt like ideas, but not completed concepts. This does a little bit. Sounds to me. I don't know, maybe we're asking too much of this. There might be people like, shut the up, you idiot. This is perfect. [00:40:38] Speaker B: Obviously it's not perfect. I appreciate the trying to be different thing and not taking the we need to sound this way, though. [00:40:46] Speaker A: I don't know that it's different, though, because it sounds so much like Alice in Chains, you know, like her melody. And I don't really find this to be unique, honestly. Especially not in 2016. But. Well, listen, this is the first thing I would. Obviously, I'm not gonna say, oh, I mean, I wouldn't judge it on. I mean, I think they're trying to do something interesting. I don't think they're. [00:41:08] Speaker B: Well, let's continue. [00:41:50] Speaker C: And you think you lost control don't take your soul. [00:42:33] Speaker A: I had a feeling they were going to end it like that. [00:42:35] Speaker B: You know, thinking about that now. For me, I think that should have been what the chorus was. [00:42:40] Speaker A: Yeah, I like that part. That's my favorite part. Honestly, it's kind of like creepy. And I. And I like the production on that. You know what I mean? I like the fact that it's kind of subdued. It's almost like a background chanting kind of going on. And so I think that part of. Is pretty cool. I mean, listen, I like. I mean, I like that part too. With the Wawa, honestly, like that kind of musical break. I thought that was pretty cool. It reminded me of trying to think. But I want to see kind of like some late 90s, maybe. Late night. Early. Early 90s, actually. I was going to say. I was gonna say late. Early. Late 80s, early 90s. Some of the. Some of the rock bands that were kind of branching out a little bit. Sound that kind of reminded me like this. Do. Do you want me to read the. The chorus is the same, right? Do you want me to read the. The last. [00:43:26] Speaker B: It's the same thing, though, isn't it, again? [00:43:28] Speaker A: Oh, is it? [00:43:29] Speaker B: Yeah, same thing again. [00:43:30] Speaker A: Oh, yeah, it is the same thing. All right, good. So let's skip it. [00:43:33] Speaker B: I'm gonna go first because I think you're gonna hammer this worse than me, so I'm gonna get mine out of the way first. [00:43:37] Speaker A: Yeah, I wanted you to go first. [00:43:39] Speaker B: Maybe I can change your mind a little bit before you kill it. [00:43:41] Speaker A: No, listen, I don't think I'm gonna kill it. [00:43:43] Speaker B: I do hear the Alice in Chains part in there, which is totally fine with me. It's an influence to her. Not the whole thing sounds like Alice Chains, but I could see if you're an Alice in Chains fan, you would hear that and go, oh, they're trying to rip them off. I don't really think that's what it is. To me, it's a little more. That's maybe the music she likes. Okay. Yes. It does take a little bit from there, so that's fine. I can be okay. As far as lyric writing goes, I. I think it's kind of ballsy. I think she didn't take the easy way out. I think she tried to use a poem from 1500 to base a song on. And I'm gonna just give it. I'm gonna give it six for that because I don't know what the rest of this album is gonna be like. Melody. I like that first chanting thing, like you said. For me, I think if they were to use that as the chorus, even though it was in Latin, I thought it would have been cooler. Instead of the chorus they used, I think that would have been better. So I'm going to do six on the melody. Musicianship. I mean, everything's played great. I just think that it's just so low in the mix. So I'm going to give that a 7. I'm going to say for arrangement, just because they didn't use that as a chorus, I'm going to give that. I'm going to give it a five. And production, I'm going to give a five because I just don't think that it was balanced enough for me. I think the song would have been way better. If the instruments were a little more balanced out. I know she's the. She's the focus of this thing. So it's very vocal forward, but it's also drum forward. Like super drum forward. Like, those two things are so loud that it kind of drowns out the rest of it, where I think if it had a little more evenness than that, it would have been a better song. But I do like it and I. I appreciate the fact that it's not a cookie cutter sanitize. This is what rock sounds like now. This is how it has to sound. This is how the guitars have to sound, the drums have to sound, so vocals have to sound. I give her credit for changing things up and that, making it, you know, samey same. What do you think? [00:45:29] Speaker A: So I just want to bring up the fact that, you know that she's actually younger than Alison Chains, right? [00:45:34] Speaker B: Yes, I know that. I know. [00:45:38] Speaker A: Wait a second. [00:45:42] Speaker B: Yeah. [00:45:43] Speaker A: No, I mean, honestly, I. I think we're kind of gonna be. We're kind of going to be similar. Not too, too far apart. I mean, I'm gonna give a seven on the lyrics, you know, whatever the. They are. I mean, I just. I appreciated whatever. I mean, the melody. I do. I really. I like the melody. And the Latin stuff. I'm not too crazy about the other stuff. Would you give melody a six? [00:46:01] Speaker B: I gave it a six. [00:46:03] Speaker A: Yeah. I mean, I'll. I'll do a six for that part arrangement. What am I missing? Music? I don't think it's played badly, so I'll say a six on the music. But, yeah, maybe. I mean, the arrangement. I'm not crazy about the arrangement. So, yeah, I'm gonna say five on the arrangement. And what did you say, five on production? [00:46:19] Speaker B: Yeah, I guess I. I just. I think that it's just not balanced enough to be. To say the production is that good. [00:46:25] Speaker A: Yeah, let's do the same. I mean, I wouldn't. I mean, I think we got. Again, it's. [00:46:29] Speaker B: It's. [00:46:30] Speaker A: It's not bad. I think that there's a better song there if it was just fleshed out and not. There's not a massive flushing out that needs to happen. I just think there's a little bit that kind of needs. There. There's a heavier song there that isn't happening. And I mean, again, I don't know if you blame them. You blame the producer, whoever you blame. I mean, I don't think you really blame the producer. What is. What album is this for them? Do you know? [00:46:55] Speaker B: This is like the third? [00:46:56] Speaker A: Yes. I mean, at this point, they. They know what they're doing. They've. They've made a name for themselves because even though I've never really listened to their music, I've always heard of them. I mean, I know Eddie Trunk always talks about them. So, I mean, they, you know, they have a name for themselves at this point. [00:47:10] Speaker B: I think, like I said, I'm. I would listen to this. Over the other song, we had new bets. [00:47:15] Speaker A: Not. Not me. No, no, not. Not this one. I'm. I'm pretty sure I'm very optimistic here. I think there's going to be some more stuff that's kind of going to kick us in the butt a little bit. Just not this one. I feel it's. It's kind of an intro thing. Me personally, it's kind of a. Again, a concept we're not. But I do think there's going to be stuff from like. Yeah, I would definitely listen to this over. Over that. So I'm pretty sure it's coming. [00:47:44] Speaker B: She cites her influences. Kurt Cobain, Chris Cornell, the Beatles, Led Zeppelin, the who, Pink Floyd, AC dc, Madeline Manson, Oasis, and Shirley Manson of Garbage. It's a good set of people. [00:47:55] Speaker A: Yeah. [00:47:55] Speaker B: If you can mush that all together into one thing. [00:47:57] Speaker A: It's so funny, man, because like, the Beatles, right? Like them or not, they have to be the most influential band of all time. [00:48:03] Speaker B: Rock band percent yeah. [00:48:05] Speaker A: How many bands, no matter what music it is. Beatles, Beatles, Beatles, Beatles. [00:48:12] Speaker B: And Zeppelin not far behind. [00:48:14] Speaker A: Yeah, but I mean, but Zeppelin is straight up rock, right? I mean, you could, you could see how Zeppelin and Sabit inspire bands like rock bands, right? You know what I mean? But the Beatles, you know, I mean, obviously they. They had whatever. I mean, Helter Skelter, let's say, is like their heaviest song. But again, just. Even though they weren't like a heavy band, just the fact that. Yep, no matter who it is, man. Yeah. Beatles are cool, man. Beatles are cool. [00:48:39] Speaker B: Beatles are everywhere. [00:48:41] Speaker A: Yeah. [00:48:41] Speaker B: Okay, so the next song is. Oh, my God, here we go. I have to stop that. What the fuck? [00:48:54] Speaker A: What? [00:48:55] Speaker B: Who thought that sounded fucking good? [00:48:57] Speaker A: No, but that could be a, like. [00:48:58] Speaker B: A lo fi thing. [00:49:00] Speaker A: Yeah, I'm thinking that's what it is. It's kind of like that telephone voice thing. Okay, that's what I think. That's. That's what it sounded like to me. But let's see. [00:49:08] Speaker B: I think you're wrong. I think that's what it's going to be. Just from the other song now. Starting now, I'm like, okay, maybe the other one was an outlier. That doesn't sound that way all the time. But this is. I don't. If that's the way it's. If that's what a guitar is going to sound. I don't know. I don't know. Does someone sound like someone put a blanket over it? I understand the effect of lo fi, but I don't know. [00:49:27] Speaker A: I think that's what let's say. [00:49:30] Speaker B: I hope you're right. Here we go. Okay. You're right. Thank God. Because that would have sucked. [00:49:53] Speaker A: Yeah. I was like, I don't think it's going to be all that unless it starts out that way and then kind of goes somewhere else. But this is very Soundgarden here. That's for sure. [00:50:01] Speaker B: Hey, listen, you could. You can copy worse things. [00:50:04] Speaker A: Good. [00:50:05] Speaker B: Yeah, definitely. Well, Chris Cornell was a. Was an influence, right, for her. So, yeah, that makes a lot of sense. Okay, let's continue. [00:50:26] Speaker C: Oh, my God. Wish I was there. Wish I was a normal human being I'm just like them stuck in the dirt I am a victim of miles of water I wanna take it back I wanna take it back to an hour so dumb and so when I say oh, my God Wish I was black Wish I had stolen My music attacks I am so white I shine like the sun Just like we've been counted down to the one I want to take it back I want to take it back I want to take it back to an hour so Diamonds to win a sand. [00:51:26] Speaker A: I was going to say something and I forgot what the hell I was going to say. Oh, the bass. I was loving what the bass was doing. [00:51:33] Speaker B: That little. It's so 90s. [00:51:37] Speaker A: Yeah, it's very 90s, but I like it. But the first one was 90s too, though. [00:51:43] Speaker B: I do like it. [00:51:44] Speaker A: Yeah, I'm not crazy about the. The melody and the chorus, but I do like the. I do like the verse. Yeah, I do like that. [00:51:51] Speaker B: I like Bar. I like both. [00:51:53] Speaker A: It's not bad. I mean, I like it overall. I definitely like it better than the first one so far. [00:51:57] Speaker B: That's good. [00:51:57] Speaker A: Yeah. [00:51:58] Speaker B: You want me to read some lyrics? Straight up 90s. It's straight up. Okay. This could be like 1993 when she was born. Maybe her mother played Nirvana to her when she was in the womb. Who knows? It's possible. All right. Oh, my God. I wish I was thin I wish I was a normal human being I'm just like them stuck in the dirt I'm a victim of my own self worth and now I want to take it back. I want to take it back. I want to take it back to when I was so dumb and so innocent. So she kind of has like a socially conscious lyric, right? [00:52:28] Speaker A: Yeah. I would expect serious lyrics in this music. [00:52:31] Speaker B: Uh huh. I liked it. And second verse is, oh my God, I wish it was black. I wish I had soul with my music attached I'm so white I shine like the sun. Just like with Eve. Counted down to the one. I don't know exactly what she's trying to say there. Eve counted down to the one she had after one killed the other. Play. It's a play on words. Sun and son. Okay. I think that even if this is eight years ago. Okay. This is not today. Right. I do think that even eight years ago you weren't hearing this because the 90s music wasn't really 100% back. Right. I think it's more back now than it was then. For her to do this then to me feels, you know, very fresh because it's, you know, pulling something, you know, at that point. What, 20 something years ago? [00:53:13] Speaker A: Yeah, basically. [00:53:15] Speaker B: So, yeah, I mean, it's good. I like it. I like the drums too. I like the drum pattern. I like. I like a lot of stuff in here. I'm bummed out that I haven't listened to them through all this time and that I suffered, like, through music that I didn't particularly like as much when I could just listen to this. And I would have been happier. But you know what? It is too. You see you. You see her as being like this actress girl. What's she doing? She's doing music. Like, I'm sure she got a lot of that right. I'm. I'm probably guilty of that too. [00:53:39] Speaker A: Well, I mean, honestly, I didn't know who she was, so, I mean, somebody. I mean, I. Believe it or not, I. If you tell me what she's been in, I'm like, okay, I've seen it. I knew her as a singer before. I knew her as an actress, I think, But I still didn't check it out. And again, sometimes you always say, oh. I mean, even. Even like Frank and I were chatting the other day, he sent me a thing of David Bowie and Trent Reznor. He's like, oh, did you know that they collaborate? I said, yeah. He's like, how the fuck am I just hearing about this now? And he's like, we've been sleeping on Bowie. And I said, yeah, I have slept on him. Like, I've been trying to go back and I listen to like, Ziggy Stardust and I mean, there's some really, really good songs. But again, right. Bowie has a million albums and you know how. How influential he was and how. You know how the highly lauded he is. But I've heard less than a handful of records. Right. I just. Sometimes you want to get to stuff and you don't for whatever reason. Right. I mean, remember your reaction to me when I told you I never really listened to Velvet Revolver? It's not because, oh, I don't want to listen to those guys. No. It's just. I don't know. Sometimes things are. And I've always heard about these guys and I may have heard like snippets here and there saying, oh, that's pretty good. There's a lot of music out there. [00:55:01] Speaker B: I know, I know. I mean, this is a bummer to me. It's a bummer to me because I have. This is like eight years ago. I'm like, just get into it now. [00:55:07] Speaker A: Well, that's what we do this for, right? [00:55:09] Speaker B: Yep. Discovery time. Okay, let's continue. Here we go. [00:55:35] Speaker C: Wish I could do something smarter than singing I'm just a face painted in mud don't try for perfect it's never enough I'm just hanging with my head down I'm just hanging with my head down I'm just hanging with my head down I'm just hanging with my head down I want to take it back I want to take it back I want to take it back to when I was so dumb and so on the San. Oh my God Wish I was dead Wish I could turn off the noise in my head oh my God Wish I could breathe not bearing my lungs to monster or scream oh my God Wish I was numb Wait on my back didn't feel like a ton oh my God Wish I could pray Leaving the words your religions I'll say oh my God Wish I could swim Cuz I'm going to drown in depression again. [00:56:56] Speaker A: I was like, I hope they end it there cuz I like that. Cuz I wasn't 100%. The verse is my favorite part of the song. It actually reminds me a little bit of a Concrete Blonde song. Sky is a poisonous garden. I think that's the. The name of it. [00:57:12] Speaker B: I'm glad you like it. [00:57:14] Speaker A: Yeah, I mean, listen, like I said, the first one was in tarot. I just. It felt more like a concept than kind of a fully. I can't think of the. I'm like lost for words tonight. Like a Full concept. A concept. More like a fully visualized idea. I think that's what I was going for, probably. [00:57:32] Speaker B: And at least the production here is much better. It's leaps and bounds over the first one. You can hear everything. [00:57:37] Speaker A: Yeah. [00:57:37] Speaker B: Guitars and bass are not, like, shoved into the back. You can't even hear them. I missed no solo in this, though, because I think it could have benefited from one. But that's okay. If that's the worst in the whole situation, I'm okay, I guess. You should go first, probably. [00:57:49] Speaker A: Are there more lyrics? [00:57:50] Speaker B: Oh, yes. I forgot. See, thank God I got so, like, into the song. I forgot about lyrics. Okay. Verse three. Oh, my God, I wish I could think Wish I could do something smarter than sing But I'm just a face painted in mud don't try to. Don't try for perfect it's never enough and then the bridge is. I'm just hanging with my head down. She does that four times and then a chorus and then back to the ver. This last verse. Oh, my God, I wish I was dead Wish I could turn off the noise in my head oh, my God, I wish I could breathe Enough air in my lungs to muster a scream oh, my God, I wish I was numb the weight on my back didn't feel like a ton oh, my God, I wish I could pray Believe in the words that your religions all say oh, my God, I wish I could swim Because I'm going to drown in Depression Again it's so 90s lyrics, too. The lyrics in 90s are lyrics and 90s. The music's 90s. But I like it. I do like it a lot. [00:58:42] Speaker A: So I'm going to say a seven on the lyrics. I mean, if I gave the first one a six on music, I have to give this one a seven. The production. I'm not sure about the production yet. I'm gonna come back to the production melody. I mean, I really like the melody of the verses. I wasn't crazy about the melody in the other parts, though. So I'm gonna say 6. Be a little bit conservative on that arrangement. Arrangement was good. I'll say seven on mean everything. You know, whether or not like the melody of it. I mean, the arrangement of I thought was good. I like the way they kind of went in and out of the verses and. And whatever it was. Production. I was gonna say it's six instead of seven, but I don't. I don't remember why I thought there was something I heard. You know, I'll say seven. I mean, it is for what it is, is produced well. I mean, I definitely like this one better than the first one. So what do you think? [00:59:34] Speaker B: Yeah, we're gonna be pretty close. Almost everything. Six on lyrics, six on melody, seven on music, seven on arrangement, seven on exactly the same, seven on production. I like the production better. At least it was full. I was getting worried after I heard that first thing. I was like, oh, no, it's not going to be like the whole record is going to be like this. I'm much happier. The musicianship is good. The drum, I thought the drumming was really excellent and the bass playing was really excellent. Like, I like the patterns they were using on the drum. It wasn't standard stuff. So I always get excited when, you know, things are not standard. Not that I don't like that. Not that I don't like standard stuff. When you hear stuff like this, you're like, oh, I value people trying things differently because today's music is all the same to me. I shouldn't say that. See, it sounds like. Again, sounds like old grumpy man on the lawn. I just. I feel like everyone's trying to copy each other so much. Or whatever's happening right now, whatever kind of music is, country, pop, rock, whatever, everyone's copying everyone. And then you get someone like this who says, I'm not going to do that. I'm going to go back 25 years. I'm going to use that as my starting point. Just like people, you know, in the 90s said, I'm going to go back to the, you know, I'm going back to the 70s, right. And pull some of that stuff. So that's what she's doing. So that's, you know, what I appreciate a little bit more than just like doing it. Oh, well, you know, it has to sound like this because that's what everyone's doing right now. [01:00:44] Speaker A: Yeah, but don't forget to. This was eight years ago. Right. [01:00:47] Speaker B: Still. But even eight years ago, this wasn't going on eight years ago. [01:00:50] Speaker A: Well, I mean, again, I don't. I don't think. I don't find this original, like. But again, I'm not saying the other stuff is either. That's why I say to myself, hey, if you. If you do something where I say to myself, well, I don't think I've ever heard anything like that before, then that's really a bonus. But ultimately, I'm just looking for, you know, a good song. I mean, again, there is a lot of we don't. What they call indie rock now, which Was basically what we called alternative. But yeah, a lot of that has that 90s vibe. So technically, if people don't know that music, then it sounds different, obviously, than the mainstream. Until you go back, you're like, okay, well, you know, now I see where these influences are. And again, it's not a bad thing. I mean, to me, like I always say, a good song is a good song song, no matter who it is or what they're doing. I mean, that's kind of how I see it, if that makes any sense. [01:01:37] Speaker B: It makes a lot of sense. Listen, as much as I like 80s rock, right? Personally, for me, I like the sound in the 90s more. For me, at least early, earlier 90s, in the late 90s, you got a little more post grunge. I didn't hate that. You know, the stuff that happened from like 90 to 80, late 80s to mid 90s, I think some of the best stuff that happened. Even though I like the 80s stuff and, you know, the 80s stuff is very. I don't. I like some of the bigger man, bigger bands in that genre. I'm not always too much with the B level, C level, D level stuff. Even though there's good stuff in there too. Like we always say, like, when it got to, like Firehouse and Steelheart, I was like, done. I was like, okay, I need it. There has to be something changing here. You know, when the 90s came in, I was. I was happier that things got stripped down a little bit more, you know what I mean? Was back to less being overproduced because, you know, it's fine to be produced, but you can be over produced. Yeah, I'm liking this because it reminds me of that 1993ish time. [01:02:33] Speaker A: Oh, yeah, yeah, definitely. [01:02:34] Speaker B: All right, let's see what she can do next. So this one's called Take Me Down. [01:02:55] Speaker C: Waiting at these crossroads Forever a new day on a guy to buy my soul I spend all night and day how much harder can I play? You know I gave my life to rock and roll Mama begged me please yes, she got down on her knees Said, you'll burn in that Mississippi sun But I'm the only one that's standing here so, mama, don't you have no fear I'll be the last door I've already won Here I go Take me down down Take me down Take me down Take me down so I like. [01:03:57] Speaker A: The verse, I don't like the chorus. [01:04:00] Speaker B: That seems to be your thing today. [01:04:02] Speaker A: Yeah. [01:04:02] Speaker B: I don't know. [01:04:03] Speaker A: I feel like she. They. They get to the chorus and they. To me personally, they. They don't know where to just because the. When you think about the verses, they're. They're specific. They're kind of telling the story, kind of get what she's going. But then the chorus is just the same thing repeated. Like I feel it needs more. I mean, you know, the music is cool and everything. It just. Oh, the chorus falls a little flat to me. I mean, I like the verse. I mean, I like the percussion. You know, I've always been a big progression guy. I like the melody in the verse. I like her voice too. I mean, I also like the fact that she's in that lower range. I've always really liked female singers in the lower range, like Grace Slick. He was always one of my favorite voices. What do you think so far? [01:04:44] Speaker B: Well, maybe the choruses have to be a little less because the verses are so much. And I like the fact that she's using, you know, the age old crossroads thing. Robert Johnson, the crossroads. [01:04:55] Speaker A: Yeah. [01:04:56] Speaker B: I mean, it's interesting she's using that. You don't hear that much anymore. Or even then, more like it's not today, it's this eight years ago. But still. I like her voice, I think. Yeah. I like the fact that she's not a screaming girl singer, that she has a little sultry thing going to her voice. I kind of like that. I don't hate this. I. I didn't like the guitar thing during the verses as much as I think the chorus guitar is a little bit, for me, sounds a little bit better. I don't know. I was worried again because I started to hear that, oh my God, why are we doing this? Does it have to sound like that at the beginning of every song? I don't know. [01:05:27] Speaker A: Listen somewhere if I haven't thrown it out. There's a song I've written called Crossroads. I was on that bandwagon too, because I always liked that concept of the crossroads. I mean, it doesn't even have to be about selling the soul, but just being at a crossroads, right. So God knows if I still have that anywhere. If I threw it out, it means I didn't like it. So it doesn't matter. [01:05:50] Speaker B: All right, let me read some words. I've been waiting at these crossroads forever In a day on a guide by my soul I spend all night and day how much harder can I play? You know I gave my life to rock and roll. Here we go. Mama, beg me please yes, she got down on her knees Said you'll burn in the Mississippi sun But I'm the only one that's standing here so moma so mama don't you have no fear I'm either last or I've already won Here I go. And the chorus is. Take me down Take me down Take me down Won't you take me down? The one thing I do like, I like arrangement wise, it's going to get a higher score for me. It's two verses in a row than the chorus. I always like that. You know what I mean? It kind of like you're expecting the chorus to come, but it doesn't. And then, I mean, you can't use that too much because then it becomes like a trope that you do this all the time. Yeah, I like once in a while not to have the chorus, like right after the verse. [01:06:41] Speaker A: Yeah, me too. [01:06:42] Speaker B: Yeah, I like when they change it up. Let's continue. [01:07:02] Speaker C: Standing at the crossroads a Dr. Pen in hand the conversation went like this Tell me your desire why you pull me from the fire and seal the deal with the kiss I wanna raise the dead Find an op that I can shred on my walls I scroll My gods don't care what happens when I die as long as I'm alive All I wanna do is rock, rock, rock Sh. Down Take me down Take me down Take me down. [01:08:14] Speaker A: Did you think of that? Not really solo as much as a musical break, right? [01:08:19] Speaker B: Yeah. Wow. It's a solo. It's kind of like what I said with the BlackBerry smoke thing. It's very safe, like there's no chance. And I don't know if there. There is a place for not being. For being not safe here, you know, again, I think it's four bars, could be eight bars. If you did that maybe the first time and then the second time and then the end, you did something different. Maybe that I would feel a little different. I mean, it's fine. There's nothing wrong with it, it's for the song. But I think it's too short. And I think that because that melody is ripped on twice, it just feels like it's there. And maybe. Yeah, you don't take it as a solo because it's just. It's so short and the same thing over and over. I don't know. [01:08:59] Speaker A: Do you? I don't know if you remember a band called the Baby Animals. [01:09:04] Speaker B: Yes. Sounds familiar. [01:09:05] Speaker A: Yeah. That's who she reminds me of. I forgot her and her. It was Jeanette. Dinner politics, something like that. I mean, that first album, if that ever comes up, that is Ripping. But that's who she reminds me of. And a little bit the music, too, of it. Again, not that. Oh, well, yeah, you know, they had their own son. No, but that's who she. Because I'm thinking, like, she reminds you of somebody. And even that last song I said reminds you a little bit of, like, Concrete Blonde, but her voice definitely reminds you a little bit of her. [01:09:34] Speaker B: I like her voice a lot. [01:09:35] Speaker A: Yeah, it's a good voice. [01:09:36] Speaker B: Yeah, I think she's doing a good job. Like I said, it's not typical, which is good, too. So this verse is a little longer than the other ones. It's. Yeah, it's like double almost. Standing at the crossroads I dried up pen in hand the conversation went like this. Tell me your desire While you pulled me from the fire and will seal the deal with a kiss Said I want to raise the dead Find a note that I can shred on my walls I scroll my gods I don't care what happens when I die as long as I'm alive All I want to do is rock, rock, rock. Like, you don't hear lyrics like that now. And the chorus, to me, I like the chorus, even though it's simple. I'd like the fact that she changes. Even though she's singing the same thing, she kind of changes up the melody of it and how she sings it. So it's not as boring as just, like, four take me downs in a row. I like that she changes it. So I think with all the stuff going on here with the. With the verse, I'd say that the chorus has to be simpler because there's so much going on in the verses that it would be too busy maybe to do more than that. [01:10:42] Speaker A: Yeah, I mean, there is a lot going on in the verse. There are a lot of words. And so, I mean, I do understand. [01:10:49] Speaker B: No, I know. I. I understand what you're saying, too. You'd like to have a little bit. Maybe change it up every other word or something, but. [01:10:54] Speaker A: Yeah, but just a little bit. [01:10:56] Speaker B: A little bit more, I think, to defend her. I think that she's changing the way she sings it. And then maybe for her, that's enough of a change as opposed to writing a different lyric again. Don't hate it. I like that there's a story and she's keeping the story going. So she hasn't changed it up. [01:11:12] Speaker A: Oh, no. Yeah. No, it's definitely. Yeah, absolutely. [01:11:15] Speaker B: Yeah. That's a good thing, because sometimes people do a story and there'll be, like, three or four stories happening in the one story. [01:11:21] Speaker A: Yeah. No. [01:11:22] Speaker B: Okay, let's. Let's continue it. I think there's a bridge coming up. [01:11:38] Speaker C: Sign with the devil Sign with the devil Sign with the devil oh, sign with the devil Sign with the devil Sign with the devil Take me down Take me down Take me down Won't you take me down? Take me down Take me down Down Take me down Take me down. [01:12:55] Speaker A: That didn't sound like a 20 something girl, 20 year old girl, whatever she was at this time. [01:13:01] Speaker B: No, not so much. Not so much. [01:13:03] Speaker A: Maybe that was the devil. [01:13:05] Speaker B: I like the background vocals. I thought they did a good job changing it up. Now one thing I could say is that when they did the first Sign with the Devil. [01:13:12] Speaker A: Yeah. [01:13:13] Speaker B: That maybe there could have been some lead guitar things in there somewhere. Would have helped that out a little bit. I don't hate it, but it's the bush thing. We're just going to say the same thing over and over. The difference is, is though her voice helps that a little bit as opposed to his voice where. So when she's singing it, even though it's a repetitive thing because her voice is very expressive in what she does a little more. To me, it doesn't bother me as much as maybe just the repetitive thing over and over. And on the outro part, I like that they mixed the Sign with the devil with Take Me Down. I thought that was a good idea. So do I have to read more? I guess I have to read more, right? [01:13:47] Speaker A: Is there more? [01:13:48] Speaker B: No, it's just Sign with the Devil. Really? [01:13:50] Speaker A: Yeah. [01:13:50] Speaker B: Sign with the devil Sign with the devil. I guess I'm going to go first. Lyrics. Are they as good as lyrics prior? In some ways I say yes. In some ways I say no. Because I do like the story thing of this. So I'm still going to give it a 7. I do like it. I like the fact that she used the story and she continued on melody. I'm still going to do six. I probably could do seven because I don't hate the chorus. I like the fact that she changes each line the way she sings it. So to me that Kate makes it a little more interesting. And the verses are so busy that to me like that chorus has to be simple or it's just gonna be too much. I like the fact that they changed the chorus in the end and added the bridge into the chorus. So that's pretty cool musicianship. I'm gonna give it a six. I don't know if I'd like it as much as some of the one Prior, but it's still good arrangement. So this is the one. Did this to do the two verses together. So I'm gonna say if I gave arrangement seven to the last one, I have to give eight to this. Just because I like the two verses in a row, and then I like the sign with the devil. And the chorus at the end, I'd like. I like that they did that. So I have to give it an 8. If I give the other one a 7, just, you know, whether it's an 8 comparative to other albums we've done, it's only comparative here. And then production, I think I'm going to say six. I don't like it as much as the one before. It's not bad. It's better than the first one, but I think that I like the second one better. Rethink. [01:15:08] Speaker A: I don't think the lyrics are terrible, but, I mean, if I gave the alone A6, I don't think I can give this. I gave the other one seven, but I don't think I'm gonna say five. I mean, just. I don't know. I've kind of heard this story before. Is it cool? Yeah. I feel like the other ones were deeper than this. And even though I know what she's saying, but again, it's. I don't know. Music. I'm gonna say sex. I did like the music. Overall, I think I like the song better as it progressed, and I think it got busier, too, which I like. Like, I like the way they padded out the end. Yeah. Production, I don't think was as good on this one, honestly. I think. I think it was a little muffled, honestly. So I'm gonna say six in production. It wasn't terrible. So six, not. I mean, melody. Like I said, it's another thing where it's kind of like the. I'm gonna say six on the melody. I mean, I do like the verses, and I do. Again, I do like how they. Like you said, they kind of did the double thing at the. But to take me down and sign with the devil. And I like the way they. They padded that out. I mean, six on arrangement, it's fine. I mean, it's simple, you know, there's not a lot of dynamics or whatever going on. But just the fact, again, that the way they ended it, I. I like that. [01:16:15] Speaker B: So I thought it was good. All right, so the next song is called Prisoner. [01:16:20] Speaker A: Nice. Oh, dude. So I was listening to. Just a quick side note. I was listening to the slippery one wet podcast we did, because I Picked up Steve's daughter to bring her here. So I was like, oh, you get to hear your dad read lyrics. What do you call it? Shot through the heart. You know, he says, oh, prisoner of love, whatever. And I make a comment, and, my God, so many 80s bands use prisoner as a thing. And now here we are in 2016, and rock bands are still prisoners. [01:16:52] Speaker B: Yep. It doesn't matter. 2016 and rock bands are still prisoners. [01:16:56] Speaker A: Yep. [01:16:57] Speaker B: I think prisoner has to be, like, one of the most used things in rock. [01:17:02] Speaker A: Yeah. I mean, you know, when you think about the concept of prisoner. Right. There's so many things you could apply to and how, you know, your own personal prison or even a mock prison, whatever. So it's. It's a concept. That's understandable. [01:17:14] Speaker B: So prison of your body, prison of your mind, Prison. [01:17:17] Speaker A: Yeah, absolutely. [01:17:19] Speaker B: Prison of everything. [01:17:20] Speaker A: Yeah. [01:17:20] Speaker B: Let's see what kind of prisoner this is. [01:17:22] Speaker A: Yeah. [01:17:23] Speaker B: And here we go. [01:17:25] Speaker C: Sa. I'm a prisoner, won't you set me free? I'm a prisoner, won't you set me free? You can have my body, but you can't have me. [01:18:29] Speaker B: What do you think? [01:18:30] Speaker A: It's fine. I. I mean, I think it's. Again, I think her voice is good. The. The song itself is generic. It's not badly generic. You know what I mean? I don't think it's terrible. You know, if you put some 80s guys, you may not like it as much. You know what I mean? I mean, I can't do it too loudly because it's past midnight. [01:18:55] Speaker B: Oh, well, you don't want to do a Jim Gillette scream right now. [01:18:57] Speaker A: Yeah, yeah. Oh, God, yeah. I actually heard. It's so funny. Exactly. [01:19:01] Speaker B: Yeah, yeah. [01:19:02] Speaker A: I mean, I don't know if you remember, we had his. His vocal instructions. [01:19:06] Speaker B: I think I remember on tape. Oh, yeah, that's 80s, boy. That's 80s, baby. [01:19:12] Speaker A: Yeah. Oh, boy. [01:19:13] Speaker B: Yeah. I think her voice can save some stuff. Like, this is fairly a little stock to me. I mean, I like the beat, though. The beat's a little different. I mean, it's not normal what you would use. It's kind of like a chain gang kind of thing going on. Marching. [01:19:26] Speaker A: Yeah, yeah, that's. Yeah, that's. Yeah, I mean, that's cool. Listen, I mean. I mean, I like that aspect of it. Again, I think. I think her voice is what's elevating it a bit. [01:19:36] Speaker B: I do agree. [01:19:37] Speaker A: I don't. I'm not crazy about the production, honestly. It's. It's got that muffling to me a little bit. Whatever. And again, it's. Maybe that's what they're going. It sounds like she's recorded much louder than the music and it's just about to crack. [01:19:53] Speaker B: Yeah, it's a very vocal forward album. She's the focal point right. Of this. And you can tell just by the way it's mixed. [01:20:01] Speaker A: I haven't heard enough for her to know that I would be able to pick her out in a crowd as of yet either. [01:20:06] Speaker B: Like, to see her. [01:20:08] Speaker A: No, to hear her. I mean, where I'm like, oh, I know that. That's pretty reckless. That's Taylor Moms. I don't know that exactly. You know what I mean? So. But again, I do. I definitely like. I like her voice. I mean, I've always liked voices like this, kind of like that low. There's a little bit of rasp to it. [01:20:26] Speaker B: Yeah, I like her voice a lot too. [01:20:27] Speaker A: Yeah, it's a good voice. [01:20:28] Speaker B: I'll read the first part again. I'm a prisoner once you set me free. I'm a prisoner once you set me free. You could have my body but you can't have me. It's a statement. [01:20:37] Speaker C: I know I'm a criminal. Don't you tell me. I know I'm a criminal. Don't you tell on me. You can cross your fingers but you can't cross me. Don't you tell me you can have my money, have me on my knees. You can have my body but you can have me. No, you can't have Love me. [01:22:29] Speaker A: That. What's that song by Judas Priest Metal Gods. Do you remember that? I don't know if you remember that song. [01:22:37] Speaker B: I think I remember it where. [01:22:39] Speaker A: Where they actually. The. The. The. They got the sound by banging draws with cutlery in it. So that's a little bit. It reminds me a little bit of that. That little. That's a short song. How long is that? [01:22:54] Speaker B: Three minutes exactly. I like that they use it at the beginning. I don't know if I like it through the whole song, though. And the little OO thing in the middle. I don't know. She saved the song for me. Like, her voice saves the song. I don't think the song's great, but she saves it. [01:23:09] Speaker A: I mean, it's not bad, but it's the least interesting thing that I think that they've done so far on this record. [01:23:15] Speaker B: I like the bass playing. The bass playing was good, actually. [01:23:18] Speaker A: Yeah. I think maybe. Maybe if. Kind of like how I would approach it is if they had done, like, let's say, the first verse, maybe, where the drums were doing kind of like a tom and snare thing, and then they just kind of really ripped it open on the second part, even if she was still saying the same thing. So we just kind of added a little bit more of a dynamic to it. [01:23:38] Speaker B: It's one thing, though, that's the problem. All through. [01:23:41] Speaker A: Yeah. [01:23:41] Speaker B: I have to read lyrics because I'm not that there's a lot, but I know I'm a criminal, don't you tell on me. I know I'm a criminal don't you tell on me. You can cross your fingers, but you can't cross me. Then the whole bunch of O's, and then back to the chorus. And then I guess the little thing at the end is, you can have my money, have me on my knees. You can have my body, but you can't have me. No, you can't have me. I agree. That's not the most interesting out of the song so far. [01:24:07] Speaker A: That's funny, because I didn't. Believe it or not, I wasn't paying attention to the criminal part, but I was thinking of Fiona Apple, too, the way she sings. [01:24:17] Speaker B: Yeah. [01:24:18] Speaker A: Not that I think it sounds like. But, you know, she also kind of had that sultriness about her voice, too. [01:24:24] Speaker B: No. 100%. Yeah. I mean, it's definitely a different voice, but there's parts of it that are similar. All right. Lyrics. I don't know what you say here. I'm going to say five on that melody. I'm trying to think I'm gonna probably do five on that musicianship. I'm gonna say six because I like the bass playing. I think. I mean, the music is just fine. I mean, it's. But it's the same. It's so repetitive that I think that, you know, having that loop of the. Of the. Of the marching through the whole song, it was almost distracting to me. I don't know. Arrangement 5, production 5. It's not my favorite out of all them. Not that it's horrible. I just. I just don't know what else I can. I can give it. I'm trying to see where her voice can save this for me. I'm gonna give six. Maybe I'll change six on the melody just because I like her voice. I think her voice does save what could be boring song. Really super boring. Not that it's, like, exciting anyway. But her voice is very interesting, so it kind of helps that out. I don't know if that makes any sense. [01:25:20] Speaker A: Yeah, I mean, I'm trying to think of what score would I elevate above a 5 to give her credit for? I mean, the lyrics. I mean, listen. I mean, the lyrics are simple, but I can understand the sentiment. But I'll say five. I mean, just because she's on. I just think she's been more interesting. I mean, music, there's really not much there. So you know what? I'll say six on the music, just. But maybe that's where I'll give her credit because I feel that she's carrying the song. But, see, but then again, I don't think it deserves a 6 compared to the other one. I don't know. I mean, I don't really like the production either on this one. And the arrangement, like I said, I think could have been. I'm just gonna go five across the board. I don't think it's terrible. I know that the. The voting is. Seems like, oh, my God, the song is terrible. No, I just think kind of like the first one where there's something better underneath. Just this one just seems like so stock for somebody that seems to have wanted to do different. Not different things, but at least somewhat interesting stuff. [01:26:26] Speaker B: Yeah. It's not my favorite so far. I mean, listen. Can't love everything. It's very hard to have an album where you love everything. [01:26:31] Speaker A: No, no. [01:26:32] Speaker B: So the next one is Wild City. Hopefully this will change it up a little bit. Here we go. Like a 70s porno movie. [01:27:01] Speaker A: Yeah. I mean, I like that intro. I'm Hope she gets some Isaac. Kids be like, who's a bad with a shaft? Listen, I. I like that. I like the wawa. [01:27:11] Speaker B: It's very 70s in the beginning, even. The beginning. So 70s, like 70s cop show. [01:27:17] Speaker A: It didn't go where I wanted it to go. But I'm not dis. I was kind of hoping for like. Like after that bam, bam, bam. Kind of going into that bam, bam, bam, bam. You know what I mean? Kind of like a. That's what I was kind of hoping it was going to, but I wasn't expecting this. So I'm not disappointed yet. So I'm kind of curious to see what. What they do with it. [01:27:38] Speaker B: Yeah. Then it went into chicka Chicka. [01:27:40] Speaker A: Yeah, I mean, I wasn't expecting that. So I'm like, all right, well, okay. What are you gonna do? Let's see. I'm curious now. [01:27:46] Speaker B: Yeah, see, this is not what I expect. I always expect them to be, like, super hard rock. Right. And this is definitely not that so far. I mean, there are parts of it. There are in the earlier stuff, but this right here is like, wow. What's this coming from? [01:27:58] Speaker A: Yeah, let's see where this goes. I'm curious. [01:28:01] Speaker B: All right, let's. [01:28:32] Speaker C: When the blood runs hot and God must have a reason when the judges are Just one more nameless baby and a mama and shame now one of the fathers the judges came the. For a motherly sh. In the wild, wild place for girls Young and brave Motherless child In the wild, wild today Cuz the city ain't no place for a lonely girl. [01:29:28] Speaker B: So are they going to change up the pace of that? They're going to have to, like, go into an actual beat soon, right? [01:29:34] Speaker A: I think so. I mean, I was like, wait a second. Time of season when the blood runs hot I was like, this isn't a. I was like, no, this isn't a cover. That's. That's a different song. [01:29:45] Speaker B: Yeah, I do kind of like it. It's so. It's so different from what happens even back eight years ago. It's throwback. [01:29:54] Speaker A: Yeah. But I mean, I'm still waiting for more, though. I. I feel like it. It should have gone to what it's going to do already, and it hasn't. So I'm kind of waiting it. For it to go somewhere, to break. [01:30:04] Speaker B: Out and do something. [01:30:05] Speaker A: Yeah. It needs to open. Me personally, I want for it to open up a little bit. [01:30:09] Speaker B: The one thing I don't like, though, is that waka waka chicka waka wawa Guitar is very low. It's too low. [01:30:14] Speaker A: Yeah, too low. You know what it sounds like to me? You know when. You know when you have. When the. When the music is split between two channels, like, the guitars on one side. Right. And the drums on the other. To me, it sounds like I only have one headphone in and that chicka chicka is on the other one. But I have it, like, down on the. On on my desk, like. You know what I mean? Like that earpiece. So I'm only hearing it kind of through the other side. That's. That's what it sounds like to me. It's so low. [01:30:43] Speaker B: It's too low. Yeah, it's. [01:30:45] Speaker A: Yeah. I mean, I like the production of the doodoo. I mean, actually, it reminds me a little bit of. What do you call it, now that I think about it, People's Court? [01:30:57] Speaker B: It does. I didn't think about that right now. [01:31:00] Speaker A: Yeah. I mean, either. [01:31:02] Speaker B: George Wapner. [01:31:03] Speaker A: Yeah, exactly. [01:31:04] Speaker B: All right, I'm going to read. Ver. I'm going to read because there's Lots of. There's lots of lyrics here. [01:31:08] Speaker A: Yeah. [01:31:08] Speaker B: It's that time of the season when the blood runs hot And God must have a reason when the temperature drops One more nameless baby and a mama in shame. Not one of the fathers of the churches came For a motherless child in the city. Motherless child in the wild, wild city. It ain't no place for a girl so young and pretty much. Child in the wild, wild city. Because ain't the city Ain't no place for a lonely girl. It's telling a story, right. About the. About the city. Yeah. And how it's not good for a young girl and that a nameless baby and a mama in shame. And then none of the church people came. So that's interesting. I just hope that it actually goes somewhere and this doesn't stay in the same bow. Bow. It's very interesting that she would use that kind of a beat, and that's kind of a melody and rhythm in this kind of, you know, in something. The band that I always associate with a little more heavy stuff. [01:32:01] Speaker A: Yeah, Well, I mean, that t. That mean that part is heavy sounds. [01:32:05] Speaker B: It's more. But it's more 70s sound than it is like a heavy. A heavy rock sound, though. All right, here we go. [01:32:18] Speaker C: It could happen to me, it could happen to you. It's the love to the jaw it's the blow the dice. There ain't nothing that you can do. She took too many daddies Took too many. Oh, trying to find the one, someone else's son. She couldn't weather those streets alone As a motherless child in the wild, wild city. It ain't no place for girls so young and brave. A motherless child in the wild, wild city. Cause the city ain't no place for a lonely girl. [01:33:49] Speaker A: I like that part. [01:33:50] Speaker B: Yeah. I'm glad they actually came into a beat of some sort, because that. Yeah, you can't do that for the whole song. The guitar solo was good. He didn't play. He didn't play the safe there, which I liked. [01:33:59] Speaker A: Yeah. No, I like that solo. I. I wish I had gotten to that part sooner, though. You know what I mean? I. Because it was good. I think they did a good job. I liked his solo, and I liked where they went with that. [01:34:11] Speaker B: Maybe they could have came to the chorus doing a beat and then came back into the verse with the thing again and then go back into the chorus without the beat. Maybe. I don't know. I hope they stay with the beat now and they don't just go Back to the other thing. [01:34:23] Speaker A: I don't know. I thought I kind of heard it drop out, but. [01:34:26] Speaker B: Yeah. I may not have back this up a little bit, but let me read verses, I guess. It could happen to me, it could happen to you it's luck of the draw it's the blow of the dice There ain't nothing that you can do she took too many daddies Took too many home Trying to find the one Someone else's son she couldn't weather those streets alone so, you know, the sentiment there about, you know, having too many, being too many baby mamas, too many daddies, you know, to take too many men home. Now you're pregnant all these times you have all these kids. Right. Trying to find the one. That's interesting. Yeah. I mean. I mean, at least it's. You know, a lot of. It's not. It's not a bubble. It's not a bubble gum lyrics, which I guess is good. [01:35:03] Speaker A: No. [01:35:03] Speaker B: Like 125. Let's see if she. They can keep it. The beat going or are they going to go back to the thing? [01:35:08] Speaker A: Yeah. [01:35:08] Speaker B: All right, here we go. [01:35:24] Speaker C: So young and pretty A motherless child in the wild, wild city the city ain't no place, no the city ain't no place, no the city ain't no place For a lonely girl. [01:36:33] Speaker A: That was okay. [01:36:35] Speaker B: I'm glad they had the beat all the way through the end, though. [01:36:37] Speaker A: Yeah, but they didn't, though. That's the thing. They kind of went back to. [01:36:42] Speaker B: Well, at the end they did. But during the chorus, though, they at least played through it, though. [01:36:46] Speaker A: Yeah. Yeah. [01:36:47] Speaker B: But it's a cool. It's a cool thing to have, like, in this kind of a time frame. I mean, I don't hate it. I. I think it could be better. I think they should have got to the fast part in the first chorus, then went back to the bump. Bump, bottom. And then when. Then from the chorus on, it should have just been what it is. And you could end it like they ended it. I don't think the ending was horrible. [01:37:06] Speaker A: No, the ending was fine. [01:37:07] Speaker B: Might have been too long. But I like that they went back to the thing at the end. So arrangement wise is right. I don't know what it is about having that guitar so low during, like the. Wherever it's playing. It's just so low. Unless they want that to be the focal point, though. I just. It sounds weird. [01:37:21] Speaker A: Yeah. Listen, when you got. You got the focal point, man. [01:37:27] Speaker B: Well, and then he's playing all these lead lines. You can't really hear it. [01:37:30] Speaker A: Yeah. [01:37:30] Speaker B: Because the other stuff is produced pretty good. Like, up front, like, it sounds good, but I. But this is, like, unexpected to me. Like, I give her credit for doing styles that maybe would not be super popular. [01:37:40] Speaker A: Oh, yeah. [01:37:40] Speaker B: I mean, is ballsy. This is not what I expected from them. [01:37:43] Speaker A: Well, I mean, not. Not this song. Not something like this. [01:37:46] Speaker B: Did you go first last time that I go first? [01:37:48] Speaker A: Nah, you went first. I can go first. [01:37:51] Speaker B: Oh, yeah, go first. [01:37:52] Speaker A: See, it's. It's hard because again, I feel as almost like there was an idea that wasn't for me, wasn't fleshed out the way I wanted to. So the concept of it is cool. I mean, you know what I mean? I do. Like, that was like that. You know, once it opened up, it opened up well. I thought the solo was really good and then the production on that part was good. Lyrics. I don't know. This. Honestly, this is hard. This one's a little bit harder for me. Production. I don't. I don't really like the production on this. I'm going to say a six. I'm going to throw it a bone because I said five on the other one. But I do think that the. Once it opened up, I thought that part was really good. Like, that sounded really solo, the. The drums and everything. It was. It was. And even the, like, I thought that was done really well, but, you know, like, we've been saying that. And even the high hat. I just need a little bit more. Just a little bit higher in the mix arrangement. I'm going to say five. I just. I think it just spent way too much time in that space. And to me, it just wasn't interesting. And I think because maybe the music just wasn't as loud as it should have been. Melody. I'm going to say 5. 2. I'm going to be honest, I don't remember at all how the song goes. I know I'm being rough because then it sucks because I like the concept. So what am I missing? Lyrics and music. Lyrics. I guess I'll say six. I mean, I guess I like the overall sentiment of them, but I don't think they're that interesting. Again, I think, like the one before, it's like kind of on the nose. And just based on what she did on the first two, I think she can be a little bit more poetic in music. I guess I'll say six on the music. I mean, it wasn't bad. I think. I think that the. The concept was good. It just. The execution Wasn't. I was excited, you know what I mean, when it started, and then I wasn't expecting it to go into this. And I was like, oh, okay. But I just. I don't know, I felt like it was a little bit flat. What do you think? [01:39:47] Speaker B: Yeah, I don't think it went where I would have wanted it to go. I think you're right. They. They held off that too long. That should have been a verse thing. And the choruses should have played through and it would have had more impact. I think that's my opinion. Lyrics, I would say probably six, two. I mean, that makes a lot of sense. Melody, I like. The Wild Wild City thing's not bad. I'm gonna give that a six. It's fine musicianship. Six. I think I'm gonna go six across the board. I think. I think six across is fair. I was excited to hear something different like that because it's like, you weren't expecting that to happen. You're like, what. What the fuck is this? A hard rock band? Like, where's the 70s like stuff happening from? I mean, again, to me, it's super ballsy. Regardless of whether I like it. And it's not as fleshed out as it could be. I kind of think that it takes balls to do that, especially, you know, eight years ago, even now. I mean, to put something out like that would be like, I don't understand. Because, you know, most bands, like, they stay within their lane. Right. I have to give her credit for not always staying in her lane, at least so far on this album. She's all over the place. [01:40:48] Speaker A: I mean, I think that's a blessing and a curse in this song based on the fact that I think it is cool just because I was disappointed with the overall kind of execution with it. That's where it's like, well, you try to do this, but I don't know. [01:41:03] Speaker B: Yeah, give her credit for trying, though. [01:41:05] Speaker A: Yeah. I mean, listen, I give an A for effort. [01:41:08] Speaker B: I mean, you're not going to find many bands today that are willing to take the chances. And I think that's really what it comes down to. I mean, I don't know. I may. I could be making a generalization, but the band we heard at the. In the new BET segment, I don't. Haven't heard a lot from them. I bet you a lot of their stuff is very similar. I could be wrong. I mean, you could almost say that about Linkin park, too. Even though I like them, I didn't really listen to them just till Recent, but from what I heard, I like they really stay within their lane pretty decently. [01:41:33] Speaker A: Yeah. I mean they've done different variations but I mean, I don't know that you're going to hear jazz, so. You know what I mean. For just the pull up thing. [01:41:42] Speaker B: I mean from her. To go from the stuff at the beginning, this album to this. It's like. I just don't. I don't even. I wouldn't even. I wasn't expecting it. It just took me by surprise. Could it have been executed better? 1000%. Could it have been better? I think it could have been better. The guitar part by itself is just like, why is it so low? Why does it have to be such. In the background? It should be at least upward where her vocals are. It would sound better. It could play off her vocals, which she was doing. But it was too low to make much of an impact. [01:42:07] Speaker A: I mean, definitely when she sings, it's. There is a bit of. Other than that second song really, where everything kind of seemed to be a bit better match matched. I think it does. It definitely seems as if. When. When she's singing the music definitely volume wise just takes a bit of a backseat. [01:42:25] Speaker B: Oh no. Yeah. Besides that second song. Yeah. It's 100 that she's the same. [01:42:29] Speaker A: Which is fine if that's. I mean, again, this is their third album. This isn't there for. They're not. I don't think they're discovering and who knows? I mean, again, right. We. We don't know. I mean, I've never heard anything other than this. You know, it's like we were talking about BlackBerry Smoke. We don't know how country their other records are. Right. Because we don't. We've never listened to. So you really have nothing to compare it to. You just assume that by a third album, the band is in their groove. You know, look at a band like stp, right? Like, yeah, the second. The second album was different than the first, but the third was even more different. Right. There was way more experimentation on that. You know, Live two on their third album, way more experimentation on that. So who knows? I mean, this could be their. Their sophomore thing. You know what I mean? It could be their whatever. So when you have nothing compared to. You don't know what else they do. [01:43:18] Speaker B: Yeah, we got dropped right in the middle. So we don't know. [01:43:21] Speaker A: Yeah. As usual. [01:43:22] Speaker B: As usual, we get dropped. [01:43:24] Speaker A: We get dropped either in the Judith Priest first album, BlackBerry Smoke third album, fourth. Whatever. That was pretty reckless. You just. You don't Always know what to compare it to. So. [01:43:36] Speaker B: Yeah, it's hard to. It's hard to tell. [01:43:38] Speaker A: Yeah, whatever. It's part of the thing. [01:43:40] Speaker B: So this is Back to the River. This is the one featuring Warren Haynes. So I'm assuming guitar playing is gonna be good here. [01:43:45] Speaker A: Maybe a little Southern rocky maybe. [01:43:48] Speaker B: I don't know. [01:43:49] Speaker A: Where are they from, by the way? Did you see them anywhere? [01:43:52] Speaker B: I didn't see, but I'll look at it while we're listening to this. All right, so this is Back to the River. [01:44:03] Speaker C: There's blue skies all around me and the world looks just the same it's hard to be criminal when you all know my name Sometimes I wonder and sometimes I wanna be free well, you can be king of me and I'll be the queen no one listens to me Back to the river where no one will find me I'm going back to the river Back to the sea. [01:45:13] Speaker A: What do you think? [01:45:14] Speaker B: You hit the nail on the head. 100% southern rock. [01:45:18] Speaker A: I didn't know what to. Yeah, I mean, it's got that right, huh? [01:45:25] Speaker B: Yeah, it's good. Her voice, I gotta say, does make a lot of this. Yeah, her voice is good for these kind of songs. Like, it's just because she's not, like, super high, she's not super low. She's a little more low. But her voice is very. She has. It's very. It's very expressive. So. [01:45:43] Speaker A: Yes, absolutely. [01:45:45] Speaker B: I think if I heard more stuff from her, I'd be going, oh, yeah, that's definitely her. Just because it's very unique, because you don't hear girls singing like this now. You know what I mean? It's just at this point in time, even eight years ago, you weren't hearing girls sing like this. And that's really what. Everyone follows the trend, whatever the trend is right at the moment. Right. So, I mean, that's not the trend then, it's not the trend now. But, yeah, she took it from being alternative grunge to, like, where we are now. Yeah, it's good. And so they were. They were. They were put together in New York City, so that's where they're from. [01:46:20] Speaker A: I was curious. Yeah. [01:46:22] Speaker B: Yeah. [01:46:23] Speaker A: It's so funny, because I kind of had a feeling, but then, like, maybe, maybe not. [01:46:27] Speaker B: Well, I have a feeling this is going to be a good vehicle for Warren Haynes, for his playing, I would think. We'll see. I mean, he's a good. He's a really good guitar player. So. [01:46:35] Speaker A: Yeah. [01:46:36] Speaker B: Lyrics are, there's blue skies all around me and the world looks just the same it's hard to be criminal when you all know my name Sometimes I wander Sometimes I want to be free well, you can be the king of me and I'll be the queen no one listens to me the words I have to say There ain't no doubt about it I'm just trying to get away I'm going back to the river where no one will find me we're going back to the river Back to the sea not bad. I like the melody. [01:47:03] Speaker A: I didn't know that that was the chorus until the second part. I think the second part kind of differentiated it from the verse. [01:47:10] Speaker B: Yeah, I think the first part is very similar to the verse, I think. [01:47:14] Speaker A: Yeah, it kind of blends in, kind of does that. [01:47:17] Speaker B: All right, let's continue. Here we go. [01:47:31] Speaker C: River no one knows my name. [01:47:40] Speaker A: I'm. [01:47:40] Speaker C: Going back to the river Back to the same. [01:47:48] Speaker A: Here we go do you think that was all warned? [01:48:39] Speaker B: Oh, 100%, yeah. [01:48:41] Speaker A: I mean, it clearly was in that style. But I'm wondering if they let him do the whole thing. [01:48:46] Speaker B: Oh, yeah. When you have him playing on your record, you give him whatever time you. [01:48:50] Speaker A: Yeah, I mean, I. I would, but. [01:48:51] Speaker B: I mean, they weren't leaving him for, like, four bars and just let him stop. I knew that was going long. I was surprised it was going to be slide. I thought it was going to be just more of a blues rock thing. [01:49:02] Speaker A: Yeah. I like the way they did it, though. You know what I mean? It was a little bit kind of, like, tempered in the beginning, and then they. They opened it up with the ride and the thing. I do like that they did that. [01:49:12] Speaker B: And what I have noticed here is that. I don't think. I think all of these things are chorus slash verses together. Because if you look at the first one, they don't say the name of the song, but the melody is the same, right? [01:49:26] Speaker A: Yeah. Because even this one was, like a couple of lines. Right. And then it went right into that part of the chorus where I said, oh, that's. I didn't like the first part of the chorus because. Not that I didn't like it, it just sounded like the verse. And then the second part said, oh, that sounded like the chorus. [01:49:39] Speaker B: Yeah. So I think it's an interesting arrangement where there's really not a chorus. It is, but it's kind of like tucked into the verse. So I think that's kind of interesting. Let's see. So did I read. Yes, let me read this. When I was just a Baby, my mama taught me Girl, you best believe in Jesus if you want to make it in the world I'm going back to the river when no one knows my name I'm going back to the river Back to the Seine and here we go. Oh, it's always good when they introduce as the Pot of Thunder. Guys say, it's always good when you introduce the solo before it comes. Somebody's name. Cc, Here you go. [01:50:12] Speaker A: Oh, man, I. I apologize to you when we listen to Poison, because I never called out your name in any of our songs. But CC has been called out in so many Poisons. [01:50:24] Speaker B: It happens all the time. Yeah, Warren Haynes solo is good. I mean, if you have him playing on your song, chances are that's where guitar players get elevated from good to great. It's the very little things that happen that change a guitar player from good to great. To me, you could be right on that line, but you may not. You may not go into the great thing. He's a great guitar player. I mean, obviously, you know, played in the Allman Brothers. This is, you know, right up his alley. And I don't know if he played a lot of slide in the Allman Brothers or in Government Mule. I don't know enough about that because, you know, basically he had Derek Trucks, who's a ridiculously great sly guitar player. So I don't know how much he played of that. [01:51:04] Speaker A: And what's his name too, though, right? Wasn't he Dickey Betts? Wasn't he. Was it Dicky Betts? [01:51:09] Speaker B: He was great. But I'm just saying, in that incarnation of the Allman Brothers, where Derrick Trucks was in there, Warren Haynes was in that. I don't know how much slide. I don't know enough about that, whether they. Whether how much slide he played. He did a great job here. [01:51:20] Speaker A: Yeah, it was a good solo. [01:51:22] Speaker B: You could tell a guitar player who really knows what they're doing. Like, there was no. Kind of built that solo up. Where it ended up, where it was going was really good. [01:51:29] Speaker A: Yeah, No, I like the way they did. It was simple in the beginning. Right. And then it kind of. It opened up so idea. I think they did a really good job with that. And then it was as long as it should have been. It wasn't cut off. [01:51:40] Speaker B: Do you think they're going to give him some more room later? [01:51:43] Speaker A: I would. [01:51:45] Speaker B: Why would you? [01:51:46] Speaker A: I mean, it's a pretty straightforward song, right? And I mean, the fact too, that there's not a lot of variation between the verse chord, you know, What? I mean, so I feel like this song lend itself to kind of going back to. [01:51:59] Speaker B: It's like verse, choruses together. [01:52:01] Speaker A: Yeah. So, I mean, I think it kind of lends itself to opening it up a bit at the end. I mean, you know. I mean, if you're gonna fucking have Warren Hayes, right. What are you gonna do? [01:52:11] Speaker B: Just use them for the middle and don't use them anywhere else. [01:52:13] Speaker A: Yeah, I mean, you know, let him play, man. [01:52:16] Speaker B: I'm surprised it took that long for him to get there. I mean, who knows? Maybe he recorded more and that they didn't use it. It's fine. [01:52:22] Speaker A: Possible. [01:52:23] Speaker B: You don't know what happens. Anyway. Okay, here we go. [01:52:48] Speaker C: And the world looks just the same it's hard to be criminal when they all know your name Sometimes I wonder and sometimes I wanna be free well, you can be king of me and I'll be the queen no one listens to me the words I have to say Ain't no doubt about it I'm just fading in the brain I'm going back to the river where the devil can find me I'm going back to the river Back to the sea. [01:54:59] Speaker A: I was actually gonna say, I wonder if they're gonna do a little something at the end. [01:55:04] Speaker B: Yeah. You had to use him again. That would be silly, not to use him again. [01:55:08] Speaker A: Yeah, I mean, I guess I wasn't expecting it to kind of double time. [01:55:11] Speaker B: And, I mean, I like the fact that he didn't do the slide. The second part was like all neck pickup. Like, very typical Southern rock lead stuff. I mean, he's good. I mean, again, like, here, what kind of guitar player he is and how good he is just because of that. I mean, it's perfect vehicle for his playing. I was wondering where they were going to stick him. Like, what kind of song is he going to be on, like, again? I think. I think of them as more of a hard rock band. The one thing that was strange, too, is that second chorus, verse thing. They didn't really use the Back to the. They did the Back to the river, but they didn't use the accent. So it sounded a little weird to me. I don't know why they did that for. I mean, not that I hate it. It's just. It was just strange. I'm surprised. [01:55:45] Speaker A: I thought it was kind of weird that after that I'll be the queen. It just. I mean, again, that no one listens to me. Which I guess technically is supposed to be. I can't tell if it's chorus or verse. I Don't know that I would have gone back into that at that point. Maybe just back to the river thing. I think I would have kind of cut that beginning part, you know, me kind of shortened it a little bit because that's what kind of sticks out. I mean, listen, it's not like, oh my God, what the hell? [01:56:11] Speaker B: But it's an interesting arrangement regardless. I still have to read some lyrics. So that verse three is the same as the first verse, so I'm not going to read that. Or verse four or five, whatever we're up to, whoever the. Yeah, it's the chorus Versi thing. So the last one is. No one listens to me the words I have to say There ain't no doubt about it I'm just fading in the gray I'm going back to the river where the devil can't find me I'm going back to the river Back to the sea what am I going to do? I mean, I don't think the lyrics are horrible. I'm going to give it a. I think I'm probably going to do sevens across eight for music, just because Warren Haynes is there. And seven. I'm going to do sevens all around. Except for the music. I mean, I think it's a fairly straightforward Southern rock kind of song. Her voice is good for that. I don't see very much downside. And the arrangement is a little. I'm going to leave it at 7. I probably could go higher on the arrangement because it's a weird thing. Like, I'm not sure where the chorus begins and the verse ends and it's like chorus verses over and over and over, which is not a normal thing. I find that to be interesting. And I thought it was produced very well, too. One of the better produced tracks. I. I guess if you're getting Warren Haynes on there, it's got to be produced pretty good, right? Just because you have no choice. What do you think? [01:57:22] Speaker A: Yeah, I'll say seven on the production. I'm gonna start way in the back. I mean, melody was. I. I think I'm gonna go sixes on everything else. Trying to think. I mean, I. I know maybe saying sixes sounds like it grew on me a little bit more, but just say if I. If I want to do seven on the music again, because I kind of like the soloing part, which I really liked. [01:57:42] Speaker B: How can you get born into six? [01:57:44] Speaker A: All right, I'll say seven on that, but I'm gonna say sixes on the rest of it. I mean, you know, it's not. It's not bad. It's not a bad song. I mean, honestly, it kind of reminds me of BlackBerry smoke a bit, like some of the stuff that they kind of did. And obviously it's a Southern rock tinge, so it's like saying, oh, my God, like. [01:58:04] Speaker B: But I liked it. [01:58:05] Speaker A: Yeah. [01:58:05] Speaker B: Well, that's the end of the first side, so six songs. I'm glad we got this, too. It's just one of those things where, you know, the wheel goes, oh, you want 80s, here you go. [01:58:14] Speaker A: Yeah, well, I figured we weren't gonna get it, but like I said, I also said I'd like something interesting. And by I mean something we've never gotten before, too, so. And I mean, this is a band that I've always wanted to listen to. You know, their names are always mentioned in certain circles. [01:58:28] Speaker B: Yeah, it's a good thing. All right. Saf, do you think? [01:58:31] Speaker A: So we are part of the Deep Dive Podcast network again. Great bunch of guys who took us in right away. If you want more individualized podcasts about certain bands like Rush, Judas Priest, who, you know, we're all trying to get together, you name it, Tom Petty, Queen, Zeppelin, whatever it is that's on there. So check them out. And Mark, where can they find us on the interwebs? [01:58:54] Speaker B: They can find us at Rock roulette Pod on all the socials. Rockroulettepodcast.com submit a new Bets song. So I don't have to keep submitting myself because, you know, I just keep picking things I don't like. Obviously put us on the automatic download, so you get our episodes every Sunday. Give us a review, too. That'd be awesome. That helps us out. And I guess we got next week to hear the second part of this. I mean, it's a long album. It's 51 minutes. [01:59:18] Speaker A: Oh, is it. How long was this side? Does it say? Is it split? [01:59:21] Speaker B: Put evenly, or let's say 6, 36, 3, 25, 14, 413, 3, 448, 507, second side, 2472-045014-16706 and 323. [01:59:36] Speaker A: So you got some shortens and some longings. [01:59:38] Speaker B: Yeah, I think it kind of evens itself out all the way through, probably so. But yeah, this is a discovery for me. It changed really quickly. It, like, started out being very alternatively like 90s, and then slowly went into 70s funk, chicka chicken music, and then now it's a Southern rock. I'm curious to see what they do on the second side. I mean, some of the names I'm seeing on the second side lead me to believe it's going to be more like the beginning, but I don't know. Again, I've seen very little of them. I've heard them, we've talked about them. I know nothing. Like, this is the first album I've ever heard. [02:00:11] Speaker A: No. Maybe their other stuff is like this too, where they kind of have certain style. You know what I mean? Different styles. And listen, sometimes bands get pigeonholed into certain things, whether they are or, you know, whether they do or don't sound a certain way. It's kind of like. Well, they have like this one heavy song. So they're heavy band. Well, that's not all they do. Like Dynasty is Kisses. Disco album. Because of one song, I don't know. [02:00:35] Speaker B: Where it's going to go, which is totally fine. I like that. [02:00:37] Speaker A: Yeah. [02:00:38] Speaker B: I generally like bands that change style a lot. I think we kind of did that a little bit, too. We weren't the same style over and over. And I kind of like that. I mean, listen, some bands can do that great. AC DC does it great. Like the Black Sabbath album we listen to. Right. Masters of Reality. It's a great album. It's the same stuff generally. Right. It's in the same vein. They don't. They don't stray too much. But, you know, I do like bands that stray, too. I mean, I can have it both ways. [02:01:04] Speaker A: Yeah. I mean, again, like I always say, a good song is a good song. Right? I mean, if it's a. You know, if there's a disco song on the second side and like, hey, man, I'm digging this. I don't. I don't like. I don't care. Like, I don't sit there saying, oh, you know, you should stick to this or you should be playing this. You know, why are you doing this? [02:01:20] Speaker B: It's like, okay, again, I do like when they. When they change it up. So I give her credit. I mean, even. Even this is not a new album. It's eight years old. But still, it still takes a. A big set to. To change your style up so much through an album. She's not pandering to any fad of any time. Even. Even when this thing came out. She's not pandering to anything. [02:01:41] Speaker A: No, I think they're writing the songs that they want to write. [02:01:43] Speaker B: Listen, is she like Ann Wilson kind of voice? No, but her voice is very. She's have the sexy, sultry. I can't Even explain just what it is. When you listen to her voice, like, oh, that sounds good, and she's singing. [02:01:55] Speaker A: Yeah. [02:01:56] Speaker B: I don't think there's much fixing on this. If there is, it had to be very super subtle. I mean, it feels like this stuff is kind of recorded the old way. It just feels that way to me. I don't know if that's true or not true. [02:02:08] Speaker A: Yeah, I don't think there's. I could be wrong, but I don't. I don't think there'd be a lot of. A lot of fixing on her. [02:02:14] Speaker B: It's refreshing to hear because even the song we played in the. In the new BET segment, you knew where it was going to go. It sounded very. It sounded very calculated. Where this. I'm not sure it's calculated. I mean, there's some calculation going, obviously, but it feels a little more natural. Is that making sense? I don't know. [02:02:33] Speaker A: Yeah, I mean, I. Listen, I think they're. They're saying, you know what? Not every song has to sound like, oh, my God, or whatever. Here's a. Here's a chicka chicka song. Here's a. You know, here's a country song. We got Warren Haynes. So we're gonna give you, like, a country rock song. So, yeah, I mean, I'm. I'm. I'm okay with that. I think, like I said, at the end of the day, you write what you want to write, and then, you know, if people like it, they like it, and if they don't, they don't. I don't. I don't think a band has to specifically sound. You know what I mean? Like, they have to stick to one style, you know, especially at this point by their third album, right? And they. Obviously, they have a name. People have heard of them. So if they say, hey, it. We want to do this kind of song, then do it. Especially if you have the freedom to do it. [02:03:16] Speaker B: True. [02:03:17] Speaker A: But again, who knows, right? We don't. We don't know anything about these people. They may have Southern country song, you know, Southern rock songs on every single record. They may have Joe, some 70s funk on every record. And I mean, honestly, if anybody's listening, you're like, dude, what the fuck? Like, this is on all. Okay, drop us a line, Let us know again. You know, we're new. We're new to this specific band. [02:03:39] Speaker B: I'll read you a couple of things before we get to the end. What she said. For me, it was a question that challenges what I'm doing with my life. It questions the meaning of my actions, whatever they are. Also defines the record in a grander way by asking the listener to look into the meaning of each song past the obvious. She explained that the COVID Arp is a direct, direct representation of how I feel at the moment. I wanted to be artistic and emote how I'm feeling at this junction in my life. So it feels like she just wants to do stuff and she's not really worried about what the trend is or what everyone else is doing. Or you have to do it like this, or you have to, you know, you have to lock all the drums to a thing and it has to all be perfect or whatever. You know what it means. I think she just wants to do what she wanted to do. I mean, you got to give credit to that. [02:04:22] Speaker A: Yeah. I mean, listen, if we start writing again, I mean, I'd be like that too. Like, who cares if the song is heavy? This song is light. The song just, you know, as an artist, write what you want to do what you want to do. Especially if you've given freedom to do it. If you're like, you know, I'm assuming, obviously this is on. I don't know what label this is on, but I mean, especially if you've been given freedom to. To expand and explore and do whatever, you know, why not? [02:04:47] Speaker B: So it was on Razor and Tie, which is an American entertainment company that consisted of record label and music publishing. It was established in 1990. I don't think they're around anymore. I don't think they're around anymore. [02:04:58] Speaker A: They did a bunch of things. I remember seeing them a lot in like the alternative. [02:05:03] Speaker B: Oh, no, maybe they are still around. Oh. So after 25 years operating independently, in September 2015, Concord Bicycle Music required a significant percentage of Razor and Thai. It's in Warner now, but yeah, I mean, she had an independent label, right, that they could. She could probably do more than what she wanted. Boarded what she wanted to do. Good for her. I mean, it was number 13 on the Billboard 200. It's so funny. You remember back in the day what it took to be number 13. She had to sell only 19,580 albums to be number 13. [02:05:31] Speaker A: Is that what it was? [02:05:32] Speaker B: It doesn't take very much. The first, she sold 18, 19,580 in this impure album sales back in the day that wouldn't even get you any place. You know what you'd have to sell to be number 13. And even the 90s would. You have to sell. You have to at least go Gold, probably, at least, right? [02:05:49] Speaker A: Oh, yeah. I mean, this. I mean, think about. All right, what do we do? [02:05:54] Speaker B: Slippery when sold well, 15 million in United States. [02:05:59] Speaker A: 15 million? Oh, alone. Yeah. So, I mean, but. Yeah, I mean, ridiculous sales. But again, the artists used to make money off of sales back in the day, right? [02:06:07] Speaker B: Yeah, a little bit anyway. [02:06:09] Speaker A: Yeah. Well, I mean, I think if you had a decent enough contract, maybe that's what it was, you could make money. [02:06:15] Speaker B: Yeah, well, that's. That's the whole thing too. Yeah. I mean, again, it's a different time. [02:06:19] Speaker A: It is. I mean, you know, streaming is obviously has taken over. Listen, I stream. I couldn't tell you the last time I bought something new, honestly speaking, like, physically something new. It really has been a while. [02:06:32] Speaker B: Well, you know, if you want to support, you know, artists, there's certain artists I will buy stuff for just because I want to support what they're doing. You know, it's harder. It's not as easy it used to be. Anyways, I guess. I guess we're done for today. And we will see you next week. We'll finish this up. [02:06:48] Speaker A: Yeah, I'm looking forward to see what they do on the second side. If it's kind of spread out or if it's a little bit more even, I guess doesn't work. [02:06:56] Speaker B: I mean, again, I like the variety. So, I mean, even though I like the fact that they are trying. Anyway. All right, see you all next week. [02:07:03] Speaker A: Ciao, ciao. [02:07:04] Speaker B: Later.