Episode 115 - The Pretty Reckless - Who You Selling For - Part 2

[00:00:05] Speaker A: This is our musical reaction breakdown and. [00:00:07] Speaker B: Commentary analysis of this song. Under fair use, we intend no copyright. [00:00:11] Speaker A: Infringement and this is not a replacement. [00:00:13] Speaker B: 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. [00:00:27] Speaker A: Limited use of copyrighted material without requiring permission from the rights holder for purposes such as education, criticism, comment, news, reporting, teaching, scholarship and research. [00:00:40] Speaker B: These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the Rock Roulette Podcast. Hey everybody. Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1, 300 albums, stuck them in a list, stuck them in a wheel and typically every other week we spin the wheel. She picks a record for us and we go through a track by track, side by side, and we rate it based on five categories. Music, lyrics, production, melody and arrangement. Again, just a bunch of friends who love music wanted to do a podcast together. You know, nothing fancy, as all our listeners probably know. Just having fun. And speaking of listeners, we had a recent uptick in listeners. So whoever you are, thank you so much to all the returning people. Thank you so much. Anybody new, thank you so much. Again, you know, if you like us, spread the word. If you have any criticisms or even advice, whatever, whatever it is, man, drop us, drop us a note. You know, we seem to have a lot of followers but not a lot of interaction. So you know, we do appreciate that on, on the social media. But again, drop us, give us a song to listen to, you know, maybe in the new BET section or an album to listen to in the. The regular part. So we are a duo again. We have Mark. Oh, hi Mark. [00:02:21] Speaker A: What's up guys? [00:02:22] Speaker B: And I'm Sav. Ciao Bonac. So last week the Wheel picked who you selling for? By the Pretty Reckless, their third album. Again, a band that we've both heard a lot about but never really kind of dove into. I overall, I mean the songs are pretty good. I think it's a. It seems like an album where they're kind of trying different kind of things where it's kind of a lot of some of the 90s stuff I hear. Obviously the song with Warren Haynes was very southern rock sounding. Some Malice in Chains influences in there. Again, I think they, they wear their influences on their sleeve. We've mentioned that before about other bands. This is Taylor Momsen, who is the singer she's obviously. She's young now. She was younger here. And a lot of the influences. She actually predate her birth, which we talked about last time. [00:03:14] Speaker A: But it's cool. [00:03:15] Speaker B: I mean, again, you know, my son's 18 years old and he listens to more stuff that I grew up on than stuff that he's growing up on, so. But, I mean, overall, I. I know Mark definitely likes her voice. I like her voice. I've always been a fan of kind of like the deeper, like, grace, like, type voices where you hear a lot of soul in it and even a little, you know, a little rough. I like that, too. So, Mark, I know you're. You're digging the album so far. [00:03:40] Speaker A: Yeah, yeah, I'm thinking. Yeah. I went back and listened to some earlier live stuff, and, you know, she's. She's good. I like her voice. I like. I like what they do generally. I. Again, I thought it was a. More of a heavier band, even though even the earlier stuff's a little. I mean, it's. It's heavy, but it's not as heavy as I thought that they were. So I like it. Yeah, I appreciate the influences. I think that that's very similar to. I think our influences, meaning when we were in. Not that we weren't influenced by the stuff at the time, but we always listened to stuff 20 years prior. So that's kind of where her head is at. Like, she's listening to stuff from the 90s, you know, because she was younger. So, you know, and she. And she goes even farther back to the Beatles and Led Zeppelin and all that stuff. So it's. It's good to have influences and it's good to show your influences on your songs as, you know, as long as you're not just doing a straight copy, if you're not doing a straight copy, that you can use those influences wherever. So I like it. [00:04:37] Speaker B: This album was 2016. [00:04:39] Speaker A: Yeah, 2016. [00:04:40] Speaker B: So, I mean, there's definitely good. A good amount of space between this and kind of like the grunge era and even some of the postgrunge stuff. [00:04:47] Speaker A: So, I mean, they count her as post grunge. I don't really think that that's what this is. I don't know what else you call it. [00:04:52] Speaker B: I guess I don't listen. There's so many labels out there. I just call some of this stuff rock. You know what I mean? Obviously, there is a difference between certain things of rock, but I think this is. Again, every song kind of has its own vibe. And again, it seems more like they're kind of saying, hey, let's do a song like this, a song like that. And not that they're doing a dance song and a jazz song. I mean, it's still kind of. It's within the rock realm, but I think it's more of like, let's kind of do this type of rock song. This type. At least so far. You know, I'm not necessarily getting who they are here, so maybe. Oh, my God. I think could be the. The main. I think that's my favorite song so far. That was. That was pretty good. It's pretty heavy. But again, I've never listened to it, so this could be something that they do, which is cool, too. I mean, I think that's something that we kind of did as a band. Not that we were, you know, all over the place, but, you know, we had different influences as well. So I'm sure there's some stuff that kind of was a little bit heavier and maybe even had some of that Southern tinge to it. So, I mean, I can definitely appreciate that. If you kind of experiment. As long as the song is good, I mean, that's. That's what matters. So. [00:06:04] Speaker A: All right. Well, yeah, I think we. I think we both like this. Like you said, I don't know what's their style? 100% what their style is. I think there's pieces of all their style in here, but I think. I think you're right. The song that you said. Oh, my God. Is really. Is really the song, I think, so far, which. I think that's what their style is, so that's cool. [00:06:22] Speaker B: Yeah. [00:06:23] Speaker A: Anyways, we need to do our new Bet segment. If everyone doesn't know what New Bets is, New Bets is basically new songs released in the last couple of years. Compile a bunch of lists, people. Give us some songs, and then we spin it. And we don't really do a big, deep dive into it, but we just go over it pretty quick, see if we like it, if we don't like it. And it's just to get some new blood of music as opposed to maybe all the stuff we listen to, you kind of get into a rut. So whether it's, you know, an older band having a newer song or a new band with a newer song, that's kind of what this is. All right, so let's. Let's play our little intro. Here we go. [00:07:01] Speaker B: In a world where new music is not easy to find. [00:07:08] Speaker A: Welcome to New Bets. I am going to spin as I've been doing all this time. I only picked one song so far, which was that Linkin park song. So, you know, unless there's something else that really grabs me coming up year or whatever it is, or I find a song I want to pick, I'm going to spin. Most of the times I'd like the randomness. Even if I don't like the song, I like the randomness. [00:07:35] Speaker B: Yeah, you never know. [00:07:36] Speaker A: Are you ready? [00:07:37] Speaker B: I'm ready. I see the wheel. [00:07:39] Speaker A: Can you see the little wheel? [00:07:40] Speaker B: Okay, I see the baby wheel. [00:07:41] Speaker A: Here we go. [00:07:55] Speaker B: Oh, we got the Offspring. Cool. I haven't. I mean, I knew that they had a new album out, but I haven't had a chance to listen to it when. What was that album with, you know, keeping a white guy. [00:08:09] Speaker A: That one. [00:08:10] Speaker B: Oh, no, See that. I mean, after that, that stuff I could never get into. You know, why don't you get a job and that stuff. I just. Way too silly. I didn't understand. I mean, listen, for what it's worth, it gave them hits and it kind of kept them going. But I did always like his voice. I always thought it was kind of unique and stand out. Ish. And kind of knowing it's him. So I can appreciate that. And you saw them live. [00:08:35] Speaker A: Yeah, yeah. And they were very good. Laugh. I was very surprised. I didn't think I was going to like them because, you know, those songs were kind of silly back then. So that's what I always, you know, associate them with. They were good, though. They were very good. I was very impressed. All right, so this is Make it all right. So neither of us have heard this, so we don't really even know what this is. [00:08:55] Speaker B: I've. I've heard of. Of it and it's. I've heard mixed reviews of the album, so I think it's only like 30 minutes long. It's really short. This must be a short song, too. Probably. [00:09:07] Speaker A: The album is supercharged. I believe so. [00:09:10] Speaker B: Yeah. It's like a blue cover. [00:09:13] Speaker A: Yeah. Like lightning and stuff on it. [00:09:16] Speaker B: Like Ace Fraley. [00:09:18] Speaker A: So this is make it all right. [00:09:23] Speaker B: All I want to do is to. [00:09:24] Speaker C: Fly away with you. No matter what I say you're always there to give a smile. Just suck it up, you'll say say it only hurts for a while show me the way Never obey Give me black clouds on a summer day. No matter what it's fine we're life One step over the way down. [00:10:25] Speaker B: It's very. I feel like I'm listening to Blink 182 again. [00:10:28] Speaker A: I was going to say it's very blanket 182ish. Now, again, I don't know enough about them to know. I assume they were first, but I'm not sure if they were or they weren't. I didn't really know what to. It's way, way blinky to me. Is this what you were expecting? [00:10:45] Speaker B: I. Yeah. I mean, I'm not shocked. I think. You know what I mean, this is kind of in that vein of a bit of, I guess, silliness. So. I mean, listen, they've always had a little bit of a sense of humor in their songs. It isn't as if something that just came later. I mean, even if you listen to oh, what's that song that I actually love and can't remember the name of Low self Esteem. You know, they mean even in then. And there's always been a little bit of. But I just think the music was a little bit heavier. I'm not shocked by this. I'm just not really digging it. [00:11:16] Speaker A: Yeah. I didn't think this. You were gonna like this just because the way it sounds. Because you don't really like Blink182 and this sounds way more than that and other stuff I've heard from them, so. But again, this could be normally what they do. I don't know. I haven't been into their catalog enough to know. [00:11:31] Speaker B: Oh, I haven't. Yeah, I haven't listened to something stuff in a while. [00:11:34] Speaker A: Alrighty. Let's. Let's continue this thing. Let's see. [00:11:37] Speaker C: Fly away making fun of everyone we'll wax our wings and pray don't get too close to the sun show me the way Never obey Give me black clouds on a summer day no matter what it's fine. You're like one step over. [00:12:27] Speaker B: And you. [00:12:28] Speaker C: Make it all right and it's going to be fine. We're like partners in crime and we'll make it all right and it's gonna be show me the way Never obey Give me black clouds on a summer day. You know, I don't mind you Supernova too. We're like partners in crime Radio, away we go. Turn it around, you gonna make it. So it's. [00:14:06] Speaker B: That part there reminds me of kind of like that 80s guitar sound and then kind of riff going. Is it catchy? Yeah. Is the production good? Yeah, I mean, it seems like the production was pretty decent. [00:14:20] Speaker A: What do you think about the drums? What we think about the drums? [00:14:25] Speaker B: They don't sound bad. I thought in the beginning it was kind of. But I think. I think they sounded pretty good overall. I think the production overall was pretty good. I mean, it reminds me of. It seems as if they're going through the same production that they kind of had back in the day. Maybe again, not. Not on that album, but the stuff after that. I don't think the drums are as pronounced as blinking Blink182, but, I mean, again, I was just waiting to sing say It Ain't so. I will not. I mean, I was. I kept waiting for that to come in. [00:14:54] Speaker A: Yeah, it. It's very Blink 182, but I like Blink. Any two. One minute. Nah, Blink 182. So I'd like this. I thought it was fine. I thought production was good, like the drums. His voice sounds good now. I don't know what kind of. He didn't. It doesn't feel like he's lost anything. [00:15:11] Speaker B: No. If anything, he's. I mean, he's calmer, I would say. You know what I mean? His voice is usually a little bit higher up in the mix, but there's a lot of. A lot of background vocals going on. And. I mean. Yeah, I mean, the production overall is fine. I mean, listen, it's. It's kind of like a ditty. It's. It's not terrible. [00:15:28] Speaker A: Hey, listen, I. I like this more than I liked one last week, so. [00:15:31] Speaker B: I. I put the one last week on my playlist. [00:15:33] Speaker A: Oh, did you? [00:15:34] Speaker B: Yeah, I did. I kind of like that one. [00:15:38] Speaker A: Yeah. I would put this in my playlist. I like this. I'm good with the pop punk kind of thing, generally. Not everything, but I like Blink, and this is pretty good. I like this again, I saw them live, so it gave me a little more of a reason maybe to like it just because I thought they were really good live. You know, you can go see a band live. It can change, you know, your perception of what they are. [00:15:57] Speaker B: Oh, absolutely. Absolutely. [00:15:59] Speaker A: Go in thinking one thing and then come back out and go, oh, I didn't know they were that good. [00:16:03] Speaker B: Yeah. It could have the opposite effect, too, though, unfortunately. Right. Kind of like, oh, it can go. To see a band, like, ooh. [00:16:13] Speaker A: All right, well, that's good. All right, let's play our outro in. [00:16:16] Speaker B: A world where new music is not easy to find. [00:16:23] Speaker A: Welcome to New Bets. [00:16:31] Speaker B: It's funny, I saw something on YouTube somewhere. I want to say it was a kid. I'm kidding. Like, maybe a teenager playing drums. And he didn't have a cowbell, so he hit something else, which kind of sounded like a cowbell. I don't know if it was like a light or something, but I thought of this. I was like, oh, we should get that as a sample at the end of the new Bets thing. I just can't remember where. I know it's on YouTube. It's some kind of short, but I don't remember where. But it made me think of this. [00:16:56] Speaker A: You can find lots of crazy shit on YouTube. All right, so now we're back to our main thing and the pretty reckless. So the next song up on the second side is track number seven, which is who you're selling for, which is the title track. So I'm curious to see where they head now. What's the second side going to do? Are they going to really rock this out? Are they going to continue with their experimental side? I don't know. Let's see. [00:17:17] Speaker B: Curious. [00:17:18] Speaker A: This is who you selling for? [00:17:39] Speaker C: In the middle of a dream on the darkest night Woke up in a scream Thought I'd lost my sight. [00:17:58] Speaker B: Who. [00:17:58] Speaker C: Are you selling for tonight? Pack my bags down to fly don't be sad I'm not that high who are you selling for tonight? Who you selling for tonight? Who you selling for tonight? Who are you selling for tonight? It's all right I can see the tunnel at the end of these lights and when driving called I didn't even answer Jules A war but he ain't no dancer like Paul know it all and when Roger showed me I was building a wall I've been waiting a long time Waiting a long time Waiting a long time Waiting for it to fall yeah. [00:19:25] Speaker B: So obviously some musical references in there. Travis, John, Paul, Roger. If I maybe want that chorus, which I guess is a chorus a little bit louder, kind of. It's not bad. [00:19:39] Speaker A: No. I actually like this a lot. [00:19:41] Speaker B: There's a lot of interpretations about it. So if it's selling out, if it's selling drugs, selling the body. But she talks about music, so I'm wondering if it's selling out kind of. Or who are you trying to appeal to musically? [00:19:55] Speaker A: She's talking about John, Right. John Lennon and Paul McCartney and then Roger Waters, I assume, because of the wall. [00:20:02] Speaker B: Yeah. And Travis is a band. [00:20:03] Speaker A: And Travis is a band. [00:20:05] Speaker B: Yeah. I think I have one of their things. I think I have one of almost everybody that ever releases the record at some point in my collection. [00:20:13] Speaker A: Yeah. I didn't know where to stop it. I was kind of like, I'm going to stop it here. But no. And then she went. She's doing the kind of chorus, reverse chorus thing together again. This Is pretty good. I liked it. I enjoyed the riff. I don't know, I kind of enjoyed this. It's a short song. It's only two something. We're almost finished with it already, so we should probably just play it out and then talk about it once we finish it because we're like three quarters through. Okay, here we go. [00:20:51] Speaker C: In the middle of a dream on the darkest night so it seems But I think I'm right. [00:21:12] Speaker B: That's it. [00:21:13] Speaker A: That's it. It's short. Let me. Let me. Let me read lyrics and then we can, like, discuss. So verse one is in the middle of a dream on the darkest night Walk up in a scream Thought I'd lost my sight who's selling for tonight? And verse two is, pack my bags, time to fly don't be sad, I'm not that high and then who you selling for tonight? Four or five times. Then the next verse is the more interesting one. I think. Tonight it's all right I can see the tunnel at the end of the lights and when Travis called I didn't even answer John was a walrus but he ain't no dancer like Paul know it all and when Roger showed me I was building a wall I've been waiting a long time Waiting a long time Waiting a long time Waiting for it to fall who are you selling for tonight? Who you selling for tonight? And then the last outro or half of a verse or whatever is in the mold of a dream on the darkest night or so it seems But I think I'm right now. To me, this is so 90s sounding, it's not even funny, but I like it. You think it's really. Oh, I think it's really not. Yeah, it's the mellower side of the grungy kind of thing. That's what it feels like to me. It's just very, very mellow. There's no distortion. And I'm okay with that. I mean, for a 248 song, it's very catchy. I like the music. I think it's produced better than some of the stuff on the first side. She's. She's up front, but at least you can hear all the other things. [00:22:41] Speaker B: Yeah. [00:22:42] Speaker A: You know, sometimes it feels like that first side, like she's the focus. And some of the other stuff gets pushed to the back where, you know, especially that song with the Chicka Chicken in it, which. I forget what song that was. [00:22:53] Speaker B: Oh, yeah, I forgot about that. [00:22:55] Speaker A: Yeah. And where that. All that stuff was really so far back. But her Vocals are always like super up front, which, you know, she's the singer so her vocals should be up front. I like it when it's a little more balanced. So I kind of like this. I'm going to do my rating and then you can go and say what you'd like or don't like about this. [00:23:11] Speaker B: Okay. [00:23:12] Speaker A: I like the lyrics. I'm going to get lyrics a7. I like the melody a lot. I'm going to give that an 8. I think this so far my favorite melody. I just think it flows very well. I like the verses, the repeated verses together, the verse, choruses, whatever's going on here. Music is fine. 7. I like the music. I like the riff. I like the sound of the guitar. I think the drums sound good. I didn't really hear much bass, but that seems to be par for the course on this record. Except for that one song where it was a lot of bass in your face. I don't notice the bass that much. For whatever reason, I don't know why. Arrangement's fine. I'm gonna give that a six. And production, I'm gonna give it a seven. It's one of my. So far. It's one of my favorites. Even if there's not many heavy guitar in here. I just, I don't know. I. For whatever reason, I like the melody. I like. I like her singing. Like her voice isn't as deep here. She goes a little higher. So it's like in the middle of her range, which I kind of like to. Yeah, I like the change up, we think. [00:24:09] Speaker B: I mean, I don't think it's bad, but I feel like it ends for no reason. I don't know. You know what I mean? They didn't even go back to the chorus. And it feels a little incomplete to me. So what I'm going to do is I'm going to say seven on the. On the melody. Because I did like the melody as well. It reminded me of something else. Like I can't remember what it is. I want to say it's something 70s like this, a one hit wonder. But if I think about it. But I'm going to say sixes on everything else and not because I don't like it. It just felt incomplete, you know what I mean? Like it just ended too soon. It wasn't fully developed. I think she could have gone back into the chorus and maybe even made some more references. And again, it's not bad. But I was like, oh, that's it. It just felt like that was like when I went to see you two on the pop tour and they did like one or two. Whatever it was on the encore. And they kind of left. It's like I was still sitting there and my friend's like, it's over, dude. Like, wait, that's it? [00:25:03] Speaker A: Yeah. I hate when that happens. So are we supposed to leave? I'm not sure they're coming back. [00:25:08] Speaker B: Yeah, I was like, wait, man, that can't be it. [00:25:11] Speaker A: I don't mind that it's short. I'm fine with that. She came back into the chorus for a little bit. Not as long. That second chorus was much longer. The first chorus was short er, and then the second course was long and the third course was short er again. So she did come back. It just. [00:25:26] Speaker B: Well, I guess kind of like. No, go ahead. [00:25:29] Speaker A: Hard to tell because the verses flow into the chorus. There's not as big of. There's not really a separation between those two things. So sometimes you can feel like she's not really coming back to it when she really is going back to it. I don't know. I liked it. [00:25:41] Speaker B: Yeah. No, I mean, I guess that whole, you know, where she talks about the band, like Travis and Paul and John and I kind of took that as a chorus. I mean, I felt that that did stand out. So it's kind of like I said. I mean, it's not bad. Listen, I wanted it to be longer, which is not a put down, obviously. [00:25:57] Speaker A: Oh, no. [00:25:58] Speaker B: I think it, you know, could have gone back and developed a little. It just. To me, it sounded odd that they ended there. [00:26:04] Speaker A: Yeah. I don't know. I don't think it needed to be any longer than where it was. I don't even think it needed a solo, and I'm Mr. Solo Guy, but here. I don't even think he needed it. Maybe he needed some kind of break or. [00:26:15] Speaker B: Yeah, no, it was fine without that. [00:26:16] Speaker A: So next song is Bedroom Window. Let's see what they do here. Are we staying into the 90s or are we gonna stray out? I don't know. [00:26:38] Speaker C: As I look out of my bedroom window I see the chaos that's calling me so the wind blows wherever it will go it's all too much for me. [00:26:59] Speaker B: You could say it. I know you're gonna say. You can say it. [00:27:02] Speaker A: No, you can say it. Go ahead. [00:27:03] Speaker B: Beatles. And something else, too. [00:27:07] Speaker A: Yeah, it's very 60s 70s to me. Sounding somebody else, too. But it's good, though. See, I'm okay with the influence. [00:27:17] Speaker B: Oh, yeah. Hey, listen, I never thought we were original in whatever we did. And I mean, I think we kind of wore our influences on our sleeve as well, so. Yeah, I mean, listen, I'm okay with that as well. I mean, you know, the melody's pretty good. [00:27:32] Speaker A: I can hear the Beatles thing, what you're saying, though. [00:27:33] Speaker B: I mean, listen, saying it's Beatles is not a put down Beatlesque. Absolutely. [00:27:38] Speaker A: No. There could be worse things to be called. Right? Let me read some words. As I look out my bedroom window I see the chaos that's calling me so the wind blows wherever it will go it's too much. It's all too much for me Good word so far. [00:27:53] Speaker B: Yeah. So it's only verse so far, right? We haven't hit a chorus. No. [00:27:57] Speaker A: I don't know what kind of chorus is happening here. There's not a lot of words, so we'll see. It's a short song again. 204. It's even shorter. I mean, that's okay. There's a couple of songs later on that make up for the shortness. So. [00:28:15] Speaker C: All of this emptiness I've been sharing it never comes when I want it to I can be anything I've forgiven me and you Me and you oh, all this time that I've spent Just wanting to know now that I've seen it All I want is to go As I look out of my bedroom window Is it all real or just fantasy? I have lost touch with what makes me human I have lost touch with reality it's all too much for me all too much for me. [00:29:36] Speaker B: That was quick, too. Obviously surprised. They're like two back to back. Really short songs like that. [00:29:43] Speaker A: Yeah. A little similar, too. I mean, this is acoustic. Another one was an acoustic, but still I liked it. Yeah, she followed the guitars, followed her vocal or vice versa. I don't know how or. They had the riff first, then she wrote the music. The words to follow the music. I don't know. [00:29:56] Speaker B: Yeah, I'm okay with that. I think if it's a good melody. You know what I mean? Like, I've always been okay with that as long as it's a good pattern. [00:30:03] Speaker A: Well, I guess we're gonna find out if it was good. What do you think? [00:30:06] Speaker B: And there are more words or. No. [00:30:08] Speaker A: Oh, there are more words. Hold on. Yes, I'm sorry. [00:30:10] Speaker B: Oh, it's okay. [00:30:11] Speaker A: I thought it went. It's so short that I forgot that I didn't go through them. [00:30:14] Speaker B: I know. It gets me to think a little bit more. [00:30:16] Speaker A: So verse two is. All of this emptiness I've been sharing Never comes When I want it to I can be anything I've forgiven Me and you Me and you Like I like that Me and you part I like that she doubled that up the second time. And then the bridge. The bridge was okay. All this time that I spent Just wanting to know now that I've seen it All I want All I want is to go and then the third verse is. As I look out of my bedroom window Is it all real or just fantasy? I've lost touch with what makes me human I've lost touch with reality it's all too much for me it's all too much for me I don't know if this is maybe someone who's, like, in their house. Is it like a mental thing, like an anxiety thing, or is this a drug thing? I'm not too sure where this is going. [00:31:05] Speaker B: I mean, it sounds like. I mean, that's kind of like what I picture. Someone just kind of looking out their window, not wanting to deal with, you know, or kind of feeling this way. And, like, when she says all this emptiness I've been sharing and never comes when I want it to. So, I mean, that's how I picture just kind of her looking out the window and kind of reflecting on the outside and the way she's feeling. [00:31:26] Speaker A: Yeah, I can hear that. So why don't you. Now that you've heard the words, what do you think? [00:31:31] Speaker B: I mean, I like the words. I would say seven on the words. I like the melody, too. I'll say seven on the melody. Production was good. I'll say seven on production, and then I'm gonna say six on the other two. I mean, again, it's so quick. Which, again, is not a bad thing. Right. Yesterday is a Beauty To Me is a beautiful song. How long is that song? Right? No, it doesn't have to be. But again, these are more like interludes to me, I feel. Not that that's wrong. I mean, obviously, I'm giving some higher scores on this one than the last one. Yeah. I mean, again, like, her. She has a good voice. I mean, I definitely like her voice. And both of these songs, she's kind of going a little bit more mid than the low. You can't start a fire without a. [00:32:08] Speaker A: Spark but there's something that I guarantee it's quintuple 7. [00:32:12] Speaker B: Nikki Titty Baby. [00:32:18] Speaker A: I'm just throwing sevens across I. I like it. I. It's very quick. But both of these songs, to me, I just think they're better songs than maybe some of the stuff on the Prior side, she's not really hitting hard with this stuff. Now, I assume some of the stuff coming later is going to be a little heavier than this, but I like it. I like it a lot. I like the. I like the lyrics, like the melody. I think guitar playing is very well done. Again, no solo. This doesn't need a solo. I mean, could it have a solo? Yes, you could have something there. But does it need it? No, it doesn't need it. It's fine. [00:32:50] Speaker B: No, yeah. [00:32:51] Speaker A: I mean, this side's going pretty quick already. It's like two songs in. It's only four minutes. [00:32:54] Speaker B: Yeah. Go to sleep a little bit earlier tonight. [00:32:59] Speaker A: So this one's a five minute song, so it's going to start making up for the songs being short. [00:33:03] Speaker B: Yeah. [00:33:04] Speaker A: This is living in the storm. [00:33:42] Speaker C: There'S something wrong with all my friends Amazing violence I'm trying to pretend it's not me that I can be anything I. [00:34:22] Speaker B: Yeah, I like this one better. [00:34:25] Speaker A: I thought you would. [00:34:26] Speaker B: Two criticisms. One, the drums, I think, are too low in the mix. To me it sounds like the microphone isn't in the room with the drums. Like, he's playing heavy, but the mic is a little bit away. Like, I think it would add to the force of the song. It would make it heavier. I wish he said that chorus line again because I really. I mean, that's my favorite part of the song. I really like that chorus, that one little line. The melody of it is really good. I was like, I hope she says that again. But she doesn't. I mean, she may do it again later, but again, it's a. It's a good criticism in the sense that I liked it. So please do it again. [00:35:04] Speaker A: Yeah, you'd be right. It will be happening again, I think, which makes sense. Maybe she's holding it off, you know what I mean? So she doesn't. [00:35:11] Speaker B: Yeah, it could be. [00:35:12] Speaker A: It's more impactful later. I like it. I heard bass, which was nice. [00:35:17] Speaker B: Oh, yes. Yes. I like that too. I was gonna say, right? Absolutely. [00:35:20] Speaker A: The drums are a little bit back. They're not really up in your face very much. [00:35:24] Speaker B: I mean, the snare's kind of loud, but I mean, it's not. It's taking away from the force of the song. I think we made a criticism like that too on the first night. But I don't remember. [00:35:32] Speaker A: Yeah, I don't remember. Well, I'm gonna read words. [00:35:35] Speaker B: Ready? Yep. [00:35:37] Speaker A: There's something. There's something wrong with all my friends Empty heads and violence I'm trying to Pretend that it's not me I can be anything I want to be and I'll try to ignore it I'll try to ignore it this banging at my door and I am living in the. [00:35:54] Speaker B: Storm yeah, again that whole. That verse flowing right into the chorus. [00:35:59] Speaker A: Yeah. Verse into the chorus thing again. She likes doing that. [00:36:02] Speaker B: Yeah. [00:36:03] Speaker A: She doesn't really break it up, which is fine. If it works. It works. [00:36:07] Speaker B: Yeah. [00:36:07] Speaker A: Let's continue. Here we go. [00:36:17] Speaker C: Chopping bombs on all my friends Every time I turn around and blowing up again but it's not me out on the streets I don't know who people are Be dead. Go. [00:37:47] Speaker A: Big solo. It sounds like. [00:37:49] Speaker B: Yeah. And all of a sudden, the drums became very loud. I wonder why they didn't do that before. [00:37:55] Speaker A: I don't know. Impact, maybe. I don't know. [00:37:59] Speaker B: Yeah, I mean. Glad she did the course again, you know, I'm glad they did it again. [00:38:05] Speaker A: I mean, that was definitely a conscious thing to do. [00:38:07] Speaker B: Yeah. You know, we've done that and other bands have done that. [00:38:10] Speaker A: So here, I'm gonna read some words. They're dropping bombs on all of my friends Every time I turn around they're blowing up again but it's not me out on the streets I don't know who any of you people are. And I. I'll try to avoid it. I'll try to avoid this. This vulture at my door and I I'm living in the storm I am living in the storm and then there was that little bridge part, which I kind of liked, too. It's pretty cool. It was different. I know I'm alone All on my own I'm already dead and cold, cold, cold I like this side so far. I think the side is more cohesive so far. Even though it's like two acoustic things in this, they all feel like they fit together a little better. So I like the sequencing on this side a little bit better. And the bass is really good on this. I finally get her bass, which is awesome. [00:38:56] Speaker B: Yeah, this is good. I mean, I like the. I like the melody that she's using and the patterns kind of going in and out. I guess the arrangement. That's pretty good. [00:39:06] Speaker A: Cool guitar behind everything. I like the guitar that's going on. I like that the bridge came in. It had the electric guitar on one side, and then the acoustic came out on the other side. That's pretty cool. Kind of filled it all out in the space. Yeah, I liked it. I'm backed it up a little bit, but here comes solo time. Here we go. [00:40:29] Speaker B: Very 90s song, too. Hey. [00:40:31] Speaker A: Oh, yeah. 100%. Yeah. And the solo was okay. [00:40:34] Speaker B: I didn't like the first part. [00:40:37] Speaker A: No, it goes on too long. I think it needed to come out a little harder out of the gate, and it didn't do that. I was expecting more out of the beginning of the solo. I didn't mind the bends and stuff. I don't know about the whole, you know, slow part of the beginning. I. You know, it could have came in with a couple of bends and then I would have liked a little bit of faster playing toward the end of it. It didn't really build. I mean, it built up, but I don't know. I mean, I don't hate it. I just. It wasn't what I was expecting. I was expecting something else. [00:41:03] Speaker B: I mean, I thought it kind of started okay, but. Yeah. Then it kind of got a little bit weaker and he was playing those chords and stuff that didn't fit the song, I thought. And then. I like the second part of it. It became very even flow. I thought it reminded me of the part before the. Yeah, before he goes back into the thing. [00:41:22] Speaker A: The drums, you mean? [00:41:24] Speaker B: No, the guitar. Like the rhythm behind it. Like that part where it's better. But the drummer wasn't doing that. He was just playing the rhythm. But I kind of felt the melody behind the solo reminded me of that a bit. [00:41:38] Speaker A: I like the second part where they had. The drums came in there, was doing that little marching thing a little bit. It changed it up. I like that. [00:41:46] Speaker B: Yeah. That. [00:41:46] Speaker A: He didn't play it straight through that. They did break it up a little bit. I mean, I like the song a lot. [00:41:51] Speaker B: Yeah, it's a good song. [00:41:53] Speaker A: Continue. Here we go. [00:42:59] Speaker B: They don't. They're not. They're not feeders either. Right. Every. Every. So has a. Has a stop. [00:43:05] Speaker A: Yeah. There's not much fading going on. There's no fading on this whole thing. Right. Nothing. [00:43:09] Speaker B: I. I don't remember anything fading yet, which is fine. I know you like the fades I'm okay with. As long as it ends at a clear point. I'm okay with it if it ends. Some weird. Like sometimes bands throw that weird chord at the end that's just so dissing, like. Oh, no, no. [00:43:28] Speaker A: Yeah. I'm a fan of the fade when it's done. Right. [00:43:30] Speaker B: Yeah. [00:43:31] Speaker A: Then you read words and the words are, they're killing. They're killing brains and all of my friends When I look inside of them there's nothing happening, but it's not me. I can think. I think I'll stay right where I am and I, I'll try to ignore it I try to ignore it this banging at my door and I I, I am living, living in the storm and I I, I am living in the storm I, I I'm living in the storm Me, me so I kind of like it. I'm going to give this. I think for lyrics, I'm going to give it a seven melody. I'm gonna give it a seven. I like the music, even though, you know, the solo is not exactly what I wanted. I'm gonna give it an 8 because I think I hear bass. I like the riff, and I like the stuff under the verses a lot. Seven for arrangement and seven for production. I think it's fairly high for this record for me. [00:44:18] Speaker B: Yeah, it's a good song. I'm going to say. I'll say seven on the lyrics, seven on the music. I'm gonna ding production a little bit, though. I'm gonna say six on production. I, I need to ding something because I just. Not only were the drums too low, but then they got higher, and then I feel like even towards the end, the music kind of varies in volume. I was picking up, and I don't know if it's just the way that it was coming through in my headphones. It almost felt like that's what was happening. I like the melody. I'm gonna say a name on the melody. I mean, I don't think I've given her that high on anything, but I just. I really like that chorus. And going into the chorus arrangement, I'll say seven on arrangement. I mean, they kept it pretty. I did like that middle part. I didn't like the first part of the solo, but I like the second part of the solo. But I think it's, you know, was well arranged. And it wasn't. The middle part. Wasn't Joe first. It was. I was like, okay, they're going quiet. But, you know, I like the way they went back into the. The solo and everything. So I think so far the two heavier songs, which is this and oh, My God, are my favorite so far. [00:45:22] Speaker A: I do like this song a lot. I expected the solo to come in a little different other than that. I mean, I can't really ding it too much. Yeah. The drums at the beginning could have been a little bit better, and it came a little bit more forward later. So maybe that was just a production choice to do that. [00:45:36] Speaker B: Yeah. That's why I kind of dug, you know what I mean? I had to ding the production A little bit. I just felt like it could have been stronger, that's all. [00:45:42] Speaker A: Yeah, I can hear that. Well, I think this album has up and downs in production for me. Some of the stuff I like and some of the stuff I don't really like, so the next one is already dead. [00:46:05] Speaker C: In the doldrums of my life I was nice to the people that I meet but inside there was hate can you relate to the feelings that I preach? If you're sure I know a way to go I'm sure It's all in your My head I'm cold already dead I'm cold already dead. [00:46:56] Speaker B: I don't know. This one's okay. It's not bad. I just feel again, it needs. Maybe needs a little bit of something. I haven't. I'm. I'm not 100%. I'm kind of on the fence right now on this one, I think. [00:47:11] Speaker A: I don't know. [00:47:12] Speaker B: What do you think? [00:47:14] Speaker A: I don't hate it. The snare is super loud. [00:47:20] Speaker B: Yeah. [00:47:20] Speaker A: Holy. [00:47:21] Speaker B: That was. That was what he should have done before. Well, I mean, he did do it in the middle, and then it kind of just faded again, so. [00:47:27] Speaker A: No, but this is too loud. It's just. It's too loud. It needs to be. At least we backed off just a little bit. I don't hate the drum. I mean, I like that they're real drums, so, you know, I have to deal with that, I guess. It doesn't need to be perfectly, you know, that, you know, back behind, like some of the newer stuff is, but it's just so loud. It's like, hey, we need the snare to be really loud. Let's push it up a little bit. I mean, otherwise. I mean, it is very within what this side is. Again, it's still. Yeah, it's still very 90s. I don't know if I like the chorus as much as I like some of the other choruses. She actually separated it this time, which was weird. [00:48:04] Speaker B: And yet I feel like she did, but I don't really notice. There's not a massive difference. And maybe that's why, too. The last song, you know, I gave it a natal melody because I just felt like that chorus again, it was short, but it just. To me, it really stood out, the melody of it. [00:48:22] Speaker A: Okay, here are some lyrics. In the doldrums of my life I was nice to the people that I meet but inside there was hate can you relate to the feelings that I preach? If you're sure I know the way to go I'M sure it's all in your head. I'm cold already dead. I'm cold already dead. Now she likes saying she's dead in her heart. I don't think she means dead in the physical dead. [00:48:47] Speaker B: No. It sounds like she's faking niceness to these people. [00:48:54] Speaker A: She really doesn't like them. [00:48:56] Speaker B: No. [00:48:57] Speaker A: Could that be in her acting career? Could it be, like, the record company people? Who knows who she's, you know, not really particularly fond of, you know. [00:49:05] Speaker B: You know what we need to search for? We need to search for a band that sent a song about record people that they like. And I don't know if that's ever been done before. Maybe that could be our shtick. [00:49:16] Speaker A: I don't think so. [00:49:17] Speaker B: I don't think there's ever been, especially in rock, right. A song about the music industry or the record companies where they're like, we love our record company. Yeah, yeah, yeah. [00:49:29] Speaker A: That's never been done. [00:49:30] Speaker B: I don't know if that's ever happened. [00:49:32] Speaker A: All right, here we go. [00:49:41] Speaker C: I saw in the distance of Brain Shame out of the M. It was rolling right at me so I started running But I lose my breath Too many cigarettes I smoked me to death now you remember I can feel it all. You're sure? I know a way to go well, I'm sure It's all in the eyes yeah, I'm cold already. Dam. [00:51:58] Speaker B: What you think of that? I thought David Gilmore made an appearance on the album. [00:52:02] Speaker A: I was just gonna say that. [00:52:04] Speaker B: Yeah, I figured. [00:52:06] Speaker A: But it's not as good as David Gore. That's the problem. [00:52:10] Speaker B: No, this. And it's. I. To me, it feels very empty. Like you said, you hear the snare loud as anything. I mean, the drums are louder in this song. I think in the other ones, there's kind of no base either. It feels like. No, you know what I mean? And not even. It gets lost. There's nothing. It isn't. You know, like, when we hear, like. We've talked about, like, some of the Metallica stuff and even some of the grunge stuff where they kind of use that low end so the bass maybe kind of gets lost in there, but there's nothing to cover it up here. And I think it would have added a little bit of. I mean, obviously there's a base there somewhere, but you don't really hear it. And it's the longest solo as well. [00:52:50] Speaker A: Yeah. I'm surprised they gave him that much time. And my question is, what was that fill that was going into the solo? What the Fuck was that? [00:52:58] Speaker B: Oh, yeah. [00:52:59] Speaker A: I didn't like that at all. I don't know what the fuck that was. [00:53:01] Speaker B: And I don't like that they double timed it either. Honestly speaking. I mean, I think, to me, this reminds me of the Soundgarden that I don't like in the 90s. That's kind of what it reminds me of. To me, like, maybe some electric in. In the second part of the song kind of differentiated a little bit. And it was just weird. I think that they went double time for this solo. And I don't think it fit. Like, this timing, it's. It's really weird. [00:53:27] Speaker A: I think overall, the one thing she did. I like how she came into the second verse. I thought that was pretty cool. Like, the vocal by itself, right. And everyone stopped. Like, I. I kind of like that. So it's like, oh, I. I like that. But no, she's got a really good voice. She does. And the solo, to me, yeah, it was definitely. Could have been more Gilmore esque. But here's the problem. If you're gonna do that right, you need to do that. This, unfortunately, it was long, but it felt like it was meandering long. Not like it was like, if this was a Gilmore solo. Not that I'm the biggest aficionado of Pink Floyd, but the stuff that I've heard that I've liked, his stuff is really worked out. Like, whatever he's gonna do that's worked out, it's not just off the cuff. And if you're going to kind of do this, I think you need to work this out some and at least have an idea where you're going. They gave him a long time, and it wanted to be like a Gilmore solo, but it really wasn't like, I'm not looking to hate on anybody. I just like when I'm hearing that, that's what I expect to hear. And if it doesn't sound like that, then maybe it shouldn't sound that way. I don't know. And it was really empty behind the drums. Like, the drums were so loud that you couldn't hear anything else. [00:54:31] Speaker B: Yeah, it's just very oddly produced. [00:54:34] Speaker A: I like her voice in here, though. Her voice is very good. [00:54:36] Speaker B: Yeah, listen. I mean, I don't think I've ever complained about her voice throughout this album. So. [00:54:41] Speaker A: Yeah. No. All right, let me read you some lyrics. I saw in the distance A freight train out of the mist it was heading it was rolling right at me so I started running But I lose my breath Too many cigarettes I smoked me to death and I will remember I can feel it all if you sure if you're sure I know the way to go I'm sure It's all in your head I'm cold already dead I'm cold already dead I mean, you know, it's fine. I don't think I like as much as the other two songs prior. [00:55:10] Speaker B: No. [00:55:10] Speaker A: I still think I like it more than some of the stuff on the first side. I think most of the stuff on. [00:55:15] Speaker B: The Versailles, like the song overall. Yeah. [00:55:17] Speaker A: I think overall, like, there's nitpicky things that I'm picking at. Like solo stuff that for me is just very hard. I hear things in my head and I'm not always. Obviously, I'm not always right. Like here you're right. Like, I heard and went, okay, this is. And this needs to be like a David Gilmore type solo, because I think that's what they're going for again. It's that 1%, right. That makes whatever guitar player it is from good to great. And this solo needed to be great. It didn't need to be good just because of the way it felt. Like you're bringing. You're pulling that kind of sound in and what you want it to be, which I'm sure that had something to do with this. If not, it was just by accident. But if you're. If you're playing this back to yourself, you have to. What it has to be. Yeah. You know right away that this sounds like what it sounds like. [00:55:56] Speaker B: Absolutely. I mean, without a doubt. I just, It's. I just. It was odd. And it's the fact that it's just. I mean, unless I'm forgetting, it feels like the longest solo out of. Out of all the songs. And I mean, just the fact that they just kind of kept playing that same thing behind it. [00:56:10] Speaker A: There was one on the first side. It was as long as this, remember? [00:56:13] Speaker B: Yeah. Was there? I don't remember. [00:56:14] Speaker A: I mean, this was long for him. [00:56:16] Speaker B: Yeah. [00:56:16] Speaker A: And the problem too is once it gets to a certain length or you're running out of ideas, which that's happened to me. You, like. You run out of ideas. Like, what am I doing? Especially if it's not worked out enough. So you start running out of ideas and then what do you do? We only have, what, 40 something seconds left. Let's. Let's finish it out. Here we go. [00:56:32] Speaker C: It's so long so long ago I'm alone up here on this stage Age I'm cold already dead I'm cold already I'm Cold already dead I'm cold already dead. [00:57:19] Speaker B: I didn't think they were going to fade. [00:57:21] Speaker A: I didn't like the ending at all. [00:57:22] Speaker B: No, I didn't mind that, but I like it. [00:57:26] Speaker A: All right, let me read the last part. You died so long, so long ago I'm up, I'm alone up here on the stage. And then I'm cold already dead There was another weird film going into that chorus on the drums. I didn't particularly like too much. I don't know. Overall, I think she saved this song. That's my opinion. Like, her vocals saved the song for me. Well, I'm not gonna. I'm not gonna totally destroy it because her vocals saved it for me. So I think what I'm gonna do is sixes across and then maybe, I don't know, five on the production. Just because I do some weird choices and some weird mixing things, and I don't know. I don't hate it. I think the songs probably were better. What do you think? [00:58:13] Speaker B: Yeah, I'm gonna say five on production as well. I was gonna. That was like, the first thing I was gonna say. Arrangement. I'm gonna say five and arrangement, too. I just. I don't. I don't really understand that part the way the solo is. I like the music when she's singing the verses. I don't. I'm not like. I mean, I'm cold already dead isn't bad, too. I will say six again. I'm gonna give six to her. That's. That's really where I'm giving the six. Or else I might even go lower on that. Lyrics are okay. I mean, I'm gonna say. Say five on the lyrics. Honestly, it's a lot of repetition. I don't feel it's as drawn. She doesn't draw as much out. I think of this one as she said in some of the other stuff. And. Is that everything, or did I miss one? [00:59:02] Speaker A: Melody. [00:59:03] Speaker B: Oh, melody. I don't know, because I'm trying to think if I remember any part of the song now. I mean, I'll say six again. It's. It's her that I'm giving the sixes to. And again, it's not. It's not a terrible song, but I don't know. It's just kind of weird. I think the way it was organized more. That's more what it is. A production and organization of the song. And 2. I think some of the. If the. Some of the back stuff had been heavier, it would have been. It would have been a better Song, like, I probably would have liked it better, so. Sorry. [00:59:39] Speaker A: Yeah, I can see that. I mean, she saves it for me. So I think sixes are. For me. Sixes was a fair thing because there are parts of her that I like, you know, the weird parts that I don't like. You know, it's fine. I just think that without her vocal there, it really wouldn't be that great. So now we come to the big mama on this side. The devil's back is seven minutes. [01:00:03] Speaker B: Nice. [01:00:03] Speaker A: So is this going to be like a seven minute? That goes. Oh, wow, that was quick for seven minutes. Or this is going to be like, is this seven? Is this. Is this over kind of a seven minutes? I'm hoping for the former and not the latter. [01:00:15] Speaker B: Yeah, me too. [01:00:17] Speaker A: Here we go. So the devil's back. [01:00:55] Speaker C: Remember when you didn't care? That's when you were living, you were living, you were alive? But I don't know what's happening to me No, I don't know what's happened to me I guess the devil's back I guess the devil's back I guess the devil, Devil's back I guess the devil's back. [01:02:00] Speaker B: What do you think? I'll let you speak first time. [01:02:04] Speaker A: Well, I don't hate it. I like the guitar sound a lot. I think the production is better already than the first song prior the chorus. The devil's back thing is too much. Like, it needed to be changed. Like, this is where the repetition is bad. Like she needed to break that up a little bit with something else. That's just my opinion. Like, I like the first part of the verse. Like, hey, me remember when you were skinny? Remember when you didn't worry? Remember when you didn't care? That's when you were living, you were living, you were alive. I don't think the words are bad. [01:02:34] Speaker B: No, I could. I mean, I appreciate the sentiment and even you know what she's talking about. But yeah, like, so I was listening to something else. I don't know what it was. I want to say it was something new probably that I haven't heard before, that I was kind of digging. But it did the same thing where it's just they did this one part just over and over and over. I'm like, I never. I guess, like, yeah, if you have a catchy chorus and people want to hear it. But even that, obviously you don't want to do a chorus that many times. But then, yeah, I mean, I had the same sentiment when she says, I guess the devil's back Right. She says, like four times, right? [01:03:11] Speaker A: Yes, four times. It's too much. She could have done it twice or then maybe broke it up, maybe in between. The devils are back. I don't know. You could have done it four times, but if you maybe did it twice and then broke it up with some. Something else. I don't know. It's very repetitive because. And I don't know what's happened to me No, I don't know what's happened to me I guess the devil's back four times. [01:03:32] Speaker B: Yeah. And there's not much difference between the verse and the chorus either. [01:03:35] Speaker A: No, I don't hate it. Like I said, the music I like. I like the guitar sound. I like the Leslie rotating speaker thing on the guitar. I like that. That's pretty cool. I'm gonna hold off judgment. It's seven minutes. So I'm trying to see what they're gonna do here. So maybe they'll. They'll throw something they really like in here and it'll bump it up a little bit for me. [01:03:52] Speaker B: I mean, I was waiting for a snare pop right there. When she doing. The music stopped. But you stopped it right before anything. So I'm like. I'm hoping for that pa. And then it kind of. You know what I mean? Because if it's seven minutes of this, I actually think it's gonna be. But I could be wrong because I don't know what happened right before you stopped it. So we'll see. [01:04:10] Speaker A: I backed it up a little bit. [01:04:12] Speaker B: Yeah. [01:04:12] Speaker A: Here we go. [01:04:18] Speaker C: Hate me I hate what I've become and now I can breathe Anxiety is k Feeling me slowly what happened to you? When did I get so old that I don't know what's happening to me no oh, I don't know what's happened to me I guess the devil's back I guess the devil's back against the devil's back against the devil. [01:05:26] Speaker A: They changed it. [01:05:27] Speaker B: Yeah. Don't laugh. I mean, it. It. There's kind of some parts of that guitar reminds you a little bit of. Of something the Edge would do. This also kind of reminds me of something. Taylor Swift, right? [01:05:39] Speaker A: Really? [01:05:40] Speaker B: Yeah, a little bit. A little bit. I mean, obviously, she probably a little bit more of a pop edge. I think you can kind of hear the rock edge here. Even though they're not doing it, but you can kind of hear it, but. Yeah. [01:05:52] Speaker A: You didn't get your snare, though. [01:05:53] Speaker B: No, no, they kept it going. And honestly, I mean, that first note of the solo, which I'm Assuming is coming. Also had the David Gilmore thing going. I think so. I am curious. [01:06:04] Speaker A: I like his fills that he's doing in here. So I'm not. I'm hoping he's. It's going to be a little bit better. The verses are interesting. So this is eight years ago, right? So she's 31 now. So what was she, 23 when this came out? It's just interesting, the lyrics that she's writing. I hope this is not, like, autobiographical, because it makes zero sense. Hate me, Hate what I become and now I cannot breathe Anxiety is killing me slowly. What happened to youthful carefree? When did I get so old? [01:06:32] Speaker B: Well, it's a feeling, right? [01:06:33] Speaker A: Feeling more than actual age. [01:06:36] Speaker B: Yeah, but think about this, too. She. She's. She grew up in the spotlight, right? So I think that that ages you quicker than if you don't. I mean. Right. She was. Whatever. She was an actress, a model, a singer. You know what I mean? So. And I think it has to do with that, too. They grow up quicker. And obviously a lot of these child stars got exploited and. And were, you know, we're not treated well. So even at 23, I mean, this is their third album. So she. Even if she quit and she didn't do any acting or at her anything at 23, she's done her third album, so she's talking about a whole other life that already happened when she was. She's still young here, and she was even younger then. You know, I understand what she's. What she's saying. I mean, when it comes to that, I can get. [01:07:24] Speaker A: I can get behind that. And the chorus, they changed. So I guess the Devil's back to against the devil's back. What she probably should have done was cut the first chorus to guess the devil's back part to only two. And then when she came out on the second one, maybe LinkedIn into the four. I don't know. I think that would have been more impactful. It's easy to Saturday night. To Saturday night quarterback this or Sunday night quarterback this. [01:07:46] Speaker B: Monday morning quarterback, whatever it is. [01:07:48] Speaker A: Monday morning, Sunday morning, Saturday, whatever. It's easy to be the backseat driver here and go, oh, yeah, I would do this with the song. Oh, yeah, I would do that with the song. It's easy if you can criticize anything. I mean, of course. [01:07:59] Speaker B: I mean, ultimately, you know, the bands, they write the songs that they want to write, and then it's. Especially if it's personal. I mean, obviously, this is very primary in general. She seems to write very personally and this is clearly a personal reference. Fuck it. Just write what you want to write. If people like it, they like. If they don't, they don't. I mean, that's what it comes down to. [01:08:17] Speaker A: This is very true. All right, I'm going to back it up a little bit and then we can try here with the solo is going to do. I mean, we have over four minutes to go on this. I don't see any more lyrics here, so I don't know what's going to happen. Confused. Here we go. [01:11:54] Speaker C: Sa. [01:12:53] Speaker B: The hell was that at the end? I think he fell asleep playing that solo and that was just his hand falling over the. The strings. [01:13:02] Speaker A: You hear what I mean about running out of ideas? Like he was out of ideas. [01:13:06] Speaker B: So I think what happened was she. She finished the song, right? She. She like recorded the song. Her little vocals. She was in the doo doo doo and she thought the song was like over. And then she came back the next day and she realized that There was like 10 minutes added on to it. She's like, what the fuck happened here? [01:13:21] Speaker A: Because it's literally a two minute song. That's a long solo. Here's the problem. [01:13:25] Speaker B: Oh my Lord. [01:13:26] Speaker A: If you're not a great guitar player, it's too long for anybody like Steve Ray Vaughn playing over that and it wouldn't be boring. The problem is. I know who said this. John Mayer said you can play like Steve Ray Vaughan for two minutes until your hand cramps up and you can't do it anymore. That's what this is. This is too much. And he doesn't have enough. He doesn't have enough parts to make it interesting. Like there's some good parts in there. Like there's some stuff that I like a lot. The problem is it's so long that you start running out of ideas. [01:13:54] Speaker B: Yeah. Just. It's too much, I think, for this song. You know what I mean? And not to change. And then like the little. Like there are times it stopped and then it come back in and then fade slowly and then go back. You know what I mean is really weird. I mean, again, I didn't think that the soloing was bad. I just think if it kind of. They added a little bit more dynamics to it. You know what I mean? It would have. It would have sounded better. And maybe if you had a little bit more oomph in. In it. [01:14:22] Speaker A: The backing part. You're right. Yeah. It was so the same that it's hard to even put any emotion into that because there's nothing that there's nothing to do. Like the same thing over and over and over and over and over. [01:14:33] Speaker B: Yeah. And then it stopped at points. [01:14:34] Speaker A: It's. [01:14:35] Speaker B: It stopped and it got lower at points. It just. And I was just really, I don't know. Weird. [01:14:41] Speaker A: His guitar went lower and then the piano came up and they lowered his guitar down and then he came back again. I mean, again, there are parts of it that I like. There are parts that you know in something a little bit shorter. It made it work that again, it's hard to do that. It's not an easy thing. It sounds like it's an easy thing to do. Oh yeah. Give me. Give him friggin four minutes of playing solo. Yeah, that's great. Can you play like that for four minutes? Can you keep it interesting for four minutes? It's not that easy to do. It's an interesting way to like make a song, right? I get. I give credit for the. For the. Okay, we're gonna write this song. It has this two minutes of vocal and the rest of it's just gonna be instrumental. Again, like I said in the first side, it takes amount of balls to do that. To put a song like this on here, it's not something anyone would really do. So give credit for the. The ballsiness to do that. Whether it was the right thing or the wrong thing to do is all of the story. Do you want to go first? Do you want me to go first? [01:15:29] Speaker B: It's weird. I can go first. I mean, I like the lyrics. I think they're introspective and I'm gonna say six on the lyrics. I'm gonna say five of production again because again I just. Five and arrangement. I just. The fact that that stuff was in and out and you think that something else was going to happen and then it kind of came back into the same thing and then it got lower and higher and two like the trade off in the volume between the piano and the guitar was weird. And again, I don't. I don't think that it was played badly. I mean, I don't think he's a bad. I mean he definitely plays with some feel, which I like. I mean, obviously this was also very Gilmore esque, without a doubt. But I think Pink Floyd knew how to make what was going on behind the solos more interesting as well. But yeah, this is. This is a choice, you know, this is. This is what you want to do. It's what you want to do. Honestly, I would say to myself, I probably had fast forward through this song to see if it changed, like, if we were listening to it here, and if I hear that it didn't change, I don't think that I would have gone back to it. And again, I don't think he's playing badly, but it's just, I guess, the five in the music. Am I missing anything? [01:16:33] Speaker A: Did you do melody or. [01:16:34] Speaker B: No, I don't even remember the melody. I'm gonna say five on the melody, too. I think the lyrics and her singing again are the best part of this. And again, not to knock us soloing. I mean, he does a decent Gilmore. That's what it sounded like to me. Even the one. I guess, the one before this, he plays with some feel. And I. And I like that. I just wish they had done something more behind it. But I had a feeling that at one point, I think when. When that second part didn't change when she. When they went back into the verse, I'm like. I said to myself, this is probably. This is probably all it's going to be for the whole song. What do you think? [01:17:08] Speaker A: Her voice was good. I think her voice saved the song. Again, his guitar playing is not bad. The problem is, is that you run out of vocabulary. And I said that before. Great and good are two different things. And it's a very small margin of phrasing and things. And this is a geeky guitar player thing when I'm hearing that. All right, if we're thinking it's Gilmore, right? Gilmore would have had. His phrasing is better. It's just. It is what it is. I'm not saying I could have done better. I'm just saying that when you're hearing things like that and it puts you in a certain vibe of where it is, it's hard to make that unassociation. So now you're associating that with something that cannot be done by him. And it's not a knock on him whatsoever. It would be a knock on anybody who's trying to do that. And given that much time and just continually rehashing parts. Once you get past all the things that you want to do, it's hard to come up with something different to make the solo flow enough so it doesn't feel like it's five minutes. Guitar players like Gilmore can do stuff like that. Jeff Beck can do things like that. I mean, Eddie Van Halen never really did that because he was into. Into little pieces. He never really had to stretch out that far. But, you know, Hendrix and Steve Ray Vaughan could have got. [01:18:15] Speaker B: I see this as an album Closer. Honestly, like, if you tell me that this is where you end the album. You know what I mean? You do that long song, you let it fade out of the solo. I have no idea what. I mean, there's another song, right? There's a final song. If this kind of. And I'm not saying that they would have made whatever, but if you're fading out on this, where it's kind of like, okay, like you're playing the record, you're letting it play and then you kind of get to this and this is how you end the record, where you kind of just let it fade out on this big solo kind of thing. I think that would make more sense in terms of the tracking. [01:18:45] Speaker A: Yeah, at the end it would have been better. So what I'm going to do is six on the lyrics, five on the melody, six on the music, and five and five on the arrangement and production. Yeah, there was some parts where that solo part went down and the piano came up and it was. It just felt very loosey goosey on the levels. So, yeah, again, I don't hate his guitar playing. I do not. I don't want to make it out like. No, I'm saying whatever. But if you're putting yourself in there, right? You're putting yourself in that place, you gotta. You gotta deliver there. And if you can't deliver there, this whole five minute thing shouldn't have been that long. That's just. I mean, again, their record, they could do whatever they want. But you're kind of putting yourself. You're putting yourself against the wall there. The wall, the wall. Yeah. There you go. [01:19:30] Speaker B: I mean, like I said, I believe more I felt more the lack of dynamics. I think that if he were doing the same solo, even over something different going on in the background, it would have been better. [01:19:43] Speaker A: Or you know why? Because he would have had something to play off of. He didn't have anything to play off of here. So he ran out of ideas real quick. Because the stuff behind it was. It didn't change and didn't. If it doesn't change, it's hard. You're hard pressed to come up with things and to make things exciting. Because the backing part is just the same over and over and over. Like you said, Pink Floyd knew how to do that. So, you know, I mean, again, nothing against them. They're not Pink Floyd. Right? I mean, I don't expect them to be. I don't expect them to be Soundgarden. I don't expect them to be whatever. [01:20:12] Speaker B: And like I said, I think it was good. [01:20:14] Speaker A: He's fine. Yeah, he's fine. [01:20:16] Speaker B: Yeah. He plays with feel. I mean, I like that. [01:20:18] Speaker A: But it's partially on him and it's partially on the band for not changing it up. I mean, unless that's what they wanted to do. But again, you're right. This should have been an end track. This should not have been the one. Right. We made more sense. All right, so the last one is called Mad Love. And this one is only 325. So I'm sure this will be in and out kind of thing. [01:21:05] Speaker C: It's just a fantasy Ain't got nothing on me youe love ain't got nothing on me it's just a fantasy Ain't got nothing on me with all of the orphans I got none Other friends I was alone till you came the one now there's someone inside me I think it's you I won't let you go, baby Till I'm through with your love Ain't got nothing on me it's just a fantasy Ain't got nothing on me youe love ain't got nothing on me it's just a fantasy. [01:22:02] Speaker B: Yeah. Again, it's. I think it's missing dynamics. I don't mind it. I don't know. It's just the same thing over and over and again. When you don't have a change, a specific changing verse and chorus, it just becomes one, you know what I mean? That flatline kind of thing. Because I like the sentiment of the song. You know what I mean? Like, that. That's cool. But I think if they add something to it. [01:22:29] Speaker A: Well, the bass has like that distortion on it. That's pretty cool. I like her vocals, like the double tracked vocals. Pretty cool. The low and the high thing she's doing, it's pretty neat. [01:22:38] Speaker B: Yeah, that's cool. [01:22:39] Speaker A: But, yeah, you're right, it doesn't change enough. This definitely should have been before the song. This should have been the second to last song. And that other one should have been at the end. Would have been much. It would have flowed a little bit better. It starts off with the chorus of. Your love ain't got nothing on me it's just a fantasy. Your love ain't got nothing on me it's just a fantasy. And then the verse is like. All of the orphans I got none of the friends I was alone until you came and went now there's someone inside me I think it's you Won't let you go, babe Until I am through and back to the chorus. But there's parts of it I like. [01:23:13] Speaker B: Yeah, I mean, I like the. That kind of thing again. [01:23:18] Speaker A: Another song where I think she saves it. [01:23:20] Speaker B: Yeah. But even here, she's kind of drawn in a bit. I mean, like I said, just to change something. [01:23:26] Speaker A: Here we go. [01:23:42] Speaker C: I am alive When I battle with you you think you amaze me I think that it's true Bless your love Ain't got nothing on me it's just a fantasy Ain't got nothing on me youe love ain't got nothing on me it's just a fantasy Ain't got nothing on me when you come around I lose my mind from the sound of your voice and your laughter I'll come right after you Let your love Ain't got nothing on me it's just a fantasy Ain't got nothing on me youe love ain't got nothin on me it's just a fantasy Ain't got nothin on me Ain't got nothing over me Got nothing over me Ain't got nothing. [01:25:19] Speaker B: Yeah, there you go. They finally faded it. They did finally fade it. [01:25:25] Speaker A: Let me read lyrics all these voices debate in my head One thinks I'm crazy One thinks I'm dead I'm alive When I battle with you, you think you. You think you amaze me I think that it's true and then the bridge is when you come around I lose my mind from the sound of your voice and your laughter I'll come right after your love I don't think the words are bad. I think the problem you have is that the drum part doesn't do anything different. That is probably on purpose because there's a little bit of a 70s thing going on here. I don't know if you hear it, because there were songs in the 70s that had the same drum beat all the way through the whole thing. [01:25:59] Speaker B: Yeah. [01:26:00] Speaker A: So maybe that's what she was trying to do. I do like the instrumentation part. I think that's kind of original, that she's using all this weirder sounds and stuff. So I'm gonna go first because I think I need to get this out of the way. I know you're gonna probably ding this more than me. I don't think the lyrics are horrible. So I'm gonna say six on the lyrics. Six melody. I mean, it's fine. I really wish there was a little bit. A little bit more variation. But I'm still gonna give it a six because I still think it's catchy musicianship. I'm still gonna give it a six. [01:26:30] Speaker B: I don't know. [01:26:30] Speaker A: I think I'm giving this thing a six all the way across. I don't think the production was that bad. I like the bass part. I like all the effects on all the guitar stuff. You know, short of the drums just being the same thing. But I think that was on purpose things. This wanted to be like a beat thing, and they weren't looking to change parts. That's the only thing I can say. So sixes across for me is what I'm going to do. I don't hate it. I understand what you're saying, though, that it doesn't change, but I think that was on purpose. [01:26:53] Speaker B: Yeah. [01:26:54] Speaker A: That they wanted to keep that beat going through the whole thing. Whether I like that or I don't like that, I think is, you know, whatever. All right, go ahead, kill it. [01:27:01] Speaker B: No, I mean the verses. I like the lyrics and the verses. I mean, the chorus is. Whatever. I'll say it sticks on the lyrics. No music. I just. It's. I like the base. The base of it. You know what I mean? The fundamental. I'll say a six on the music because I do like that burn thing. But arrangement, I'm gonna say, because it just. It doesn't go anywhere. It's one to me, it's just this big flat line. Even more than some of the other ones. I'm gonna say a five, I guess. I don't know. I was gonna say four, but I guess I'll give it five. Melody. I mean, again, I don't. I don't remember even the melody of it. So I'm gonna say five again. Production's fine. I mean, I think it sounds the way it's good. I'll give it a 6. On production. I don't think it's a bad song. I just wish it had gone somewhere, you know what I mean? I just feel like they. They could do something with it. I mean, I would have liked it had they done something with it. I know that they didn't. Whatever. Because, I mean, again, I like the basic. The. The base of it. The, you know, with the whatever is there. And they change it, even just a little bit. And I don't think it's a good album. Closer at all. I mean, this definitely should have been switched at least with the song before it. Like Without a Doubt or maybe even up further, maybe to break up some of the, like, the first two things a little bit. [01:28:14] Speaker A: I do agree with that. I do think that the drum part was 100 on purpose. They were trying to keep that Beat all the way through. And they weren't really caring about changing the drum part. I mean, because the other instruments changed. It's just the drum stayed the same, so it kind of. [01:28:26] Speaker B: Yeah, but that's the thing. I didn't. I feel like they changed enough. Like, in my opinion. You know what I mean? I think just a little bit more dynamic. And I think I've said that a lot in this album. Some lack of dynamics would have made it better. [01:28:39] Speaker A: I do like her vocals, though. I like how it was double and triple tracked and stuff. That was pretty cool. I like that. [01:28:44] Speaker B: Yeah. [01:28:44] Speaker A: Again, another song. That's another song that she saved. I think she saved it from being nothing. [01:28:49] Speaker B: And that beginning part was. What do you call it? Right? I mean, that was Strawberry Fields. No, Lucy and this Guy with Diamonds. [01:28:55] Speaker A: Hey, listen, it's one of her big bands, man, so it's fine that she sticks that in there. I'm okay with that. So it's sounding like, yeah, I'm okay with that. I don't mind that. I mean, overall, I mean, this side, I think there's more that I like. I think on this side, or maybe about. Maybe even amount. At least at the beginning, it was very consistent, and then it kind of threw itself off toward the end of it. But, you know, I think it's a solid album. I don't think. You know, I don't think it's a horrible thing. I. I would stick this in my rotation of albums just because it's not bad. [01:29:23] Speaker B: I think when they rock out, that's what I like. I think they're good at rocking it and not that again, not. The other stuff is bad. Some of the stuff felt incomplete here. I think that's what it is. I think that they're good enough to kind of elevate the songs a little bit more that the ones that I'm kind of giving low scores to. So, I mean, in. In that regard, it's a compliment. Okay. You know, you guys did some cool on this other stuff. Did some variations here and there. But again, you know, at this point, I think she knows what. What she wants. And I don't know what their other albums are like. I don't know if they're more straightforward rock or if it's something like this where, you know, there's different styles of music. You got the acoustic, you got the funk, you got the country, you've got the heavy. I mean, they know how to write. And she can obviously sing. [01:30:06] Speaker A: Yeah, yeah. She's taken all of her influences and Stick them in a blender. I mean, I always come out the way you want it, right? The way you would like it. But I give her credit for doing stuff this way. And it sounds really older schooly recorded like this was recorded eight years ago. It doesn't sound like. It sounds like it was recorded old school. I. I didn't really look into what they did as far as like recording. What, was it done that way? Maybe it was. It sounds like it was. Doesn't sound like there was a lot of modern things going on. I don't really know. I. I mean, I think in general, like, I would hope we get another record coming up somewhere down the line. [01:30:38] Speaker B: Yeah, I definitely wouldn't mind hearing more. [01:30:40] Speaker A: All righty. Well, that's another one down. [01:30:42] Speaker B: Another one in the books. [01:30:43] Speaker A: Yep. So why don't you do your thing? [01:30:46] Speaker B: We're part of the Deep Dive podcast network again, like I always say. Great bunch of guys took us in right away. If you want more individualized podcasts like Rush Rash and Judas Priest podcast, and you name it, it's probably on air. Queen, Zeppelin, Tom Petty, I mean, definitely check them out. And Mark, where can they find us. [01:31:05] Speaker A: On the interwebs, roulette, odd on all the socials. Rockwellettepodcast.com to put a new bet in. Put us on auto download because we release every Sunday, so you get a brand new episode. Episode. Please review us on whatever podcast platform you're on that helps us get in the algorithm and get moved out to more people, more people that listen to it. The longer we decide we're going to do this. Whether you. I don't know if you want that or not, but we're not going anywhere right at the moment. So we're going to continue to do albums until we really get tired of this. [01:31:36] Speaker B: So God knows we have enough to do. [01:31:41] Speaker A: We're never finishing the list. It's an impossible. [01:31:43] Speaker B: Oh, no, no. It only grows even. Even if we keep going, it grows. [01:31:48] Speaker A: So 50 something albums in and it's only went up, not down. All right, well, I guess next week we get to spin. And who knows what the wheel is going to pull. Next week it decides it wants to do whatever it wants to do. [01:31:59] Speaker B: Exactly. [01:32:00] Speaker A: All righty, so we will see you next week. [01:32:02] Speaker B: Ciao, ciao. [01:32:04] Speaker A: Later.