Episode 117 - Seether - Disclaimer - Part 2

[00:00:04] Speaker A: This is our musical reaction breakdown and. [00:00:07] Speaker B: Commentary analysis of this song. [00:00:09] Speaker A: Under fair use, we intend no copyright. [00:00:11] Speaker B: Infringement and this is not a replacement. [00:00:13] Speaker A: 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. [00:00:24] Speaker B: Section 107 of the Copyright act allows. [00:00:27] Speaker A: 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 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, arrangement and melody. Again, just a bunch of friends who love music want to do a podcast. Nothing fancy. Again, first and foremost, you want to thank anybody who's listening. We really, really appreciate it. You know, like I said, we had a little bit of an uptick recently. So spread the word. If you like what we're doing. If you don't like what we're doing, leave a comment. Tell us what we can do better, tell us what we do worse. We're up for it, man. If there's an album you want us to do or a song you want to put in the new bets baby wheel, please let us know. We're more than happy to check it out. Tonight, we are a trio. We have Frank back. My name is Frank and I'm sexy. [00:02:22] Speaker C: Great to be back, everybody. [00:02:24] Speaker A: We have Mark. Oh, hi, Mark. [00:02:26] Speaker D: What's up guys? [00:02:27] Speaker A: Ciao. [00:02:28] Speaker D: Buenos. [00:02:29] Speaker A: So last week the wheel picked see there debut album disclaimer, which was released in Marco. Was it 22,002? Yeah. [00:02:39] Speaker D: Yes. [00:02:40] Speaker A: Without a doubt of its era. I mean the music, the voice, if you were around that time, this thing blended it perfectly with what was out at that time. So I know that Mark and I kind of differed a bit more. I think I liked it a little bit more than he did. But I can understand too, Mark, where you're coming from, where you're saying it's kind of sammy same. I don't necessarily think it's something where, oh, you know, oh, this came out in 22,002, but it sounds like this or like that. I mean, it's It's. It's of its time. I. I kind of liked it. What I did put like three songs actually on my playlist. From what I remember. I do have this on cd. I just haven't listened to it in a bit, so it's a little bit of a refresher for me. Mark, I know you thought you came across a little bit, let's say, dickish, but I don't think you're too bad. [00:03:26] Speaker D: It was a little bit of a Debbie Downer. I think I'm trying to get better this time. [00:03:30] Speaker A: Hey, listen, man, that's. That's why we do this, right? We're. We're. We're trying to be honest. I mean, obviously as musicians, especially musicians who, again, like, I would say, have no CDs on this list, we kind of have to be a little bit humble. But if you don't like something, you don't like it. I mean, if you do, you do. So. I mean, I think like I said on the last podcast, the stuff you were saying, it made sense. So, Frank, what is your experience with. See, there's disclaimer. [00:03:57] Speaker C: I like it. I. I've heard it a couple times. I actually got to see them live a couple times as well. The first time I saw them, there were. I think it was the Rock of Allegiance Rock Allegiance tour. It was out in Philly and there was. See their Stone Temple pilot, Puddle of Mud. I think Fuel was also on that. On that bill, a few others. And that. That was the first time I saw Cedar and they were great. And then after that, I saw them live in smaller venues. One of the groups that sounds better live, they think, than recorded. I like them a lot. I. And I like. I like this album as well. I think. I think they got like three or four hits off of this one, which made it pretty good. [00:04:35] Speaker A: I mean, in listening to it, because I said to myself, I didn't remember if I bought it because of a song that I had heard or, you know, again, in 2002, I had a little bit more expendable income. I could buy stuff and say, hey, this looks cool. So one thing I didn't mention last time, which, I mean, Frank, you probably knew the. There were different covers for this album. People holding signs that said different things. Yeah, I don't remember which one is the one that I have, but I do remember that. So that was a little bit unique. [00:05:03] Speaker C: I think there were 20. [00:05:04] Speaker A: Was it that many? [00:05:05] Speaker C: I know it was a lot. It was just holding different signs of like, I think negativity or some stuff like that. [00:05:11] Speaker A: Yeah, yeah. I mean, it was 2002, so it was. We were still kind of depressed, but, yeah, fine Again was the song that I had forgotten that I knew so well. That was a pretty big hit. I think Gasoline was. Was a moderate hit. And again at this. At this time, I think 923 still existed. So we were still getting a lot of our newer rock on that. Nothing. Nothing heavy, you know, heavy, heavy, but pretty much straightforward rock, kind of like this. So we still kind of had, obviously now with the streaming. So. Not that it does. Not out there. I'm just talking about mainstream radio, so. But yeah, so obviously we'll get back to that. But first, obviously, we have our New Bets segment and I see the Wheel. Mark, do you want to do the little intro? In a world where new music is not easy to find. [00:06:07] Speaker C: Welcome to New Bets. [00:06:16] Speaker A: I don't know whose turn it is. Is it my turn? [00:06:18] Speaker D: I think it may be your turn. [00:06:20] Speaker A: It's Frank's turn. I always say I'm going to pick the song. But you know what? Let the Wheel do it. Let's have fun. If it comes up, it comes up. I think it's more fun this way, honestly. [00:06:29] Speaker D: I think so, too. [00:06:30] Speaker A: Yeah. [00:06:30] Speaker D: So what did we get last week? What did we get last week? I forgot. [00:06:33] Speaker A: We got hoer. Sweet. Something sweeter. [00:06:36] Speaker D: Yeah. I don't remember. I didn't particularly like that too much. [00:06:39] Speaker A: Well, I mean, it was more pop. I mean, it was a pretty big hit on the radio. It's actually very big hit for him. But I don't think it was necessarily in this wheelhouse, so. [00:06:50] Speaker D: Yeah, but obviously a lot of other. [00:06:52] Speaker A: People liked it because it was a big hit, so it was okay. I mean, I like his voice. [00:06:56] Speaker D: Are we ready to spin? Yeah. [00:06:57] Speaker A: Let's spin the baby wheel. [00:06:58] Speaker D: Here we go. [00:07:12] Speaker A: Deep Purple. Pictures of you. That's right. They did put out an album this year. Yeah. [00:07:17] Speaker D: Yep. [00:07:18] Speaker A: I remember this being on the list, man. 2024. [00:07:25] Speaker D: Who's still in Deep Purple? It's my question. [00:07:29] Speaker A: Let's see. I don't remember. Who's still in there. Yeah. So this is ian Gillen, Simon McBride, right. On guitar, who I think has been there a while. Roger Glover on bass, Ian Pace on drums, and Don Area on keyboards. I mean, this is a pretty strong, classic lineup. And Mark, do you know who produced it? [00:07:47] Speaker D: Bob Ezrin. [00:07:49] Speaker A: He did. Bob Ezrin. Your old friend. Your old kid's friend. [00:07:54] Speaker D: If nothing else, production should be good. [00:07:57] Speaker A: I think I've heard this Maybe I haven't. Yeah, I'm not. I heard one song from here, and I wasn't too crazy about it. I'm not sure if it was this one. I am very curious. [00:08:05] Speaker D: Are we all ready to try this? [00:08:06] Speaker A: Yeah, let's do this. [00:08:07] Speaker D: All right, here we go. Pictures of you, deep purple. [00:08:30] Speaker B: I'm picking up a new vibe it's nothing too much. Antenna says I may be losing my touch? I'm hanging around a beehive and feeling the buzz? It's hard to explain let's say it simply because I like much more in this room? Pictures of you, they're too good to be true? So I trusting my eyes again? These cameras never lie? Giving up a day job, working at night? You're looking so fine in the cool amber light? You're running with a new mob, walking the crowd? The final result should make it proud? Forgive me asking, I can't help saying? But what you got there, the price you're paying? In the light of day, what do I see? Who wanted seems no matter to me? These pictures of you are too good to be true? I'm easing my eyes again? These cameras never lie? You got it. You down and dirty, you made for pleasure? The frame is frozen you watch the Bernie you're made to measure? Ah, look at you now. Stand out in a crowd, the real you showing up on your face. Your hair is growing all over the place? Pictures of you are too good to be true? So I trust my eyes again? These cameras never lie. I. [00:12:01] Speaker A: I think that last part was my favorite part of the whole song, honestly. [00:12:05] Speaker D: Yeah, I was gonna say that. I like. I wish they would have started with that and ended with that. [00:12:08] Speaker A: I wish I would have kept it throughout the whole song, honestly. [00:12:11] Speaker D: His voice was starting to. His voices. He's hurting a little bit. I mean, he's older. What do you want? [00:12:17] Speaker A: Yeah, listen, these guys are legends. I mean, they have nothing to prove at this point. You know, Ian Pace is an amazing drummer. I mean, obviously the bass player, Glover, Arian, keyboards. It's just this is a song I think that I've heard, and I don't think the production is that great either. Honestly speaking, it's kind of flat to me. [00:12:36] Speaker D: I didn't hate it. I didn't hate the production. The end part, I liked. [00:12:39] Speaker A: I think that sounded the best, honestly. [00:12:42] Speaker D: Yeah. Hey, listen, they're still making music, right? So good for them. [00:12:45] Speaker A: Yeah. I mean, listen, I don't like every single Deep Purple song, so. I mean, the rest of the album could be really good. It Just this one is. [00:12:51] Speaker D: So what'd you think, Frank? [00:12:54] Speaker C: I mean, I'm not quite sure why they would do this. It was kind of flat. Really sounded like something they may have recorded in their house. So I'm not crazy about the music, the lyrics. I mean, just reading through them, I don't know. I'm not crazy about it. It's not my favorite. How about you, Mark? [00:13:14] Speaker D: Yeah, it was okay. Like I said, I like the end part. That was the best. I wish they would have done more of that kind of stuff. But no, it's trying to be poppy when it really doesn't need to be at this point. Right. I think most people, when they think of Deep Purple, think with the Black War version of the Purple when he was playing guitar. So it's a little hard to, like, you know, figure out if you'd like anything other than that. [00:13:35] Speaker A: So, I mean, I don't think it's off base for them. You know what I mean? I think it does sound like them, but I just. Overall, as a song, I'm just not crazy about it. [00:13:44] Speaker D: Yeah, I wish they would have done more of the. Like we said, more of the end part. I like that better. They should have done more of that kind of stuff. Whatever. That's what this is all about, right? Alrighty. Let's. Let's play our outro. Here we go. [00:13:55] Speaker A: In a world where new music is not easy to find, welcome to New Bets. Mark, you didn't do the horn for Frank. [00:14:13] Speaker D: Oh, I didn't do the thorn for Frank. Yeah, I forgot. Oh, here you go. [00:14:22] Speaker A: There you go. Now it's complete. [00:14:25] Speaker C: Thank you. Thank you. [00:14:27] Speaker D: And if you would like to submit a new Bets, please go to rockroulettepod.com podcast.com. actually, I don't know what happens if you go to rock roulettepod.com that nothing happens if you go there. So, again, that's why we do this, to listen to some new stuff and, you know, once in a while you'll get a legacy band that comes up and does new stuff and, you know, it is what it is. I mean, it's not the worst thing in the world. [00:14:47] Speaker A: Oh, no, it didn't suck. I wasn't like, oh, my God, it's horrible. I agree. Yeah. [00:14:55] Speaker D: All right, so what's our next one on this album? So the next one is sympathetic. This is starting off the second side. So let's see. Hopefully, like I said, I won't be as much of a Debbie Downer as I was last week. So maybe his voice. I'LL get used to his voice and it'll all be good. We shall see. All right, here we go. Sympathetic. I like the bass. Thought that was cool. Like the riff. [00:15:36] Speaker A: Yeah. [00:15:37] Speaker D: Can we do it all instrumental? [00:15:39] Speaker A: No, I think there's lyrics. [00:15:41] Speaker D: Can we do it all instrumental? Because I'd like that. No. Huh? [00:15:44] Speaker A: No, I don't think so. [00:15:47] Speaker D: Here we go. [00:16:11] Speaker B: And the words you left me lingering as I'm feeling again now Never to change them. [00:16:48] Speaker A: I think he's got a good melody, good music. I like when the heavy part came in. Mark, I know you're not crazy about his voice. I mean, obviously, I definitely heard some. What's his name there, Cobain in there. [00:16:58] Speaker D: I like the beginning of it better. And then when it gets into the chorus, I felt it Creed it up a little bit for me. [00:17:06] Speaker A: Yeah, but again, we're not going to say that Creed is original. You know what I mean? I could be wrong. If I'm offending anybody, I apologize. But again, I. Listen, I will tell you again, I'm not saying that this is. Wow. These tags didn't sound like anybody. No, without a doubt. It's of its time. It definitely sounds like other bands. There's definitely other stuff mixed in. So what you're saying is not incorrect. I'm just saying I'm taking it for the melody. I like the melody in the verse. I like the melody in the chorus, personally. Frank, what do you think? [00:17:39] Speaker C: I love it. I mean, I really do. No, I really like it. I mean, I think the band. Yeah, no, you know, it's. It's your point, right? It. They. They sound like the band from the early 2000. There was that unique sound to that era, that time, and they were right there. I. I just like the melody. Like you said, they got some pretty good. Overall. I think they have a lot of good riffs to a lot of their songs. Dale Stewart. Yeah, yeah. He's the acoustic guitar. [00:18:11] Speaker D: Yeah. [00:18:11] Speaker C: Great. I mean, great guitarist. Yeah. So I like it. And you definitely, like you said, you hear a lot of other bands in there. But again, you know, this is that post grunge, the beginning of post grunge. So you're going to see. You're going to hear a lot of that post grunge, a lot of alternative metal, that alternative metal sound is in there and everything else. [00:18:30] Speaker D: So. [00:18:30] Speaker A: Yeah. And I mean. And this is 2002, so obviously we know that the first couple of years of the next decade always kind of carry over a little bit of. A little bit over. I mean, this. This could Fit in easily in the 90s as well. [00:18:44] Speaker C: Late 90s, yeah. [00:18:45] Speaker D: But Eve. [00:18:46] Speaker A: I would say even mid to late. You know what I mean? Kind of. But typically with that transition, I mean, when you think about early 80s metal. 70 and 80s metal. Right? 80s going to the 90s. Sometimes we forget when albums come out because we think it's 80s, but it's actually early 90s. And you say to yourself, well, I mean, it just kind of transitioned over. [00:19:05] Speaker D: I don't really have issues with the music nor the lyrics. That's not my problem with him. My problem is the copying of everyone else's styles. And in this and that. And again, I don't hate it. Like, I would be wrong to say I hate it, because I don't hate it. It's just. I feel that it's 100% copying other people's stuff. [00:19:27] Speaker A: Derivative? [00:19:28] Speaker D: No, it's not even derivative. No. Derivative I can deal with. I could deal with that. He's purpose. No, he's purposely phrasing things and singing words. I mean, that's what it sounds like to me. I could be totally wrong. I hear certain ways he says the Creed thing, certain things he does Nirvana way. And I would like this much more if he had his own sound in his voice. There's two again, just like first side. There's too many other people in here for me. [00:19:54] Speaker C: But it's a point. But there's a time to transition. We're in a transitional period here in 2000, 2000. Because, look, all right, think about it, right? Metal, you know, metal as we know. It just ended. [00:20:07] Speaker A: There we go. [00:20:09] Speaker C: It just. There was no mix and match. The sound, right? Metal just ended in 1990. It came to an end. End of story. And then you had this completely. No, well, you had a com. Name me One band from 92, that Seattle Sound band that came through that sounded like. Oh, they sound like Motley Crue. So they sound like Ozzy. Name me a band during that 91, 92 era. It just didn't work. [00:20:34] Speaker A: It just. [00:20:35] Speaker C: They just have their own sound. So now we're into the next decade, and now you're hearing some of that metal. You're hearing some of the grunge. You're hearing industrial, which happened somewhere in the 90s as well, all being combined in the early 2000s. And that's where you're hearing that whole smash up of different sounds and different bands from that time. So between 2000, 2002, three, around there, you had the alternative new metal, whatever you want to name it. It Was like that whole mishmash of all the previous years that we had alternative rock, you know, like, I think like in mid-80s, late-80s, you had like the Cure, the. The new wave sound. Then we went right into the metal sound for us. And then grunge, the early 2000s, was taking all the previous generators and put them all together to one into one category. [00:21:22] Speaker D: I guess so. But I don't have a problem with that. That's not what I'm saying. [00:21:25] Speaker C: I think it's just dynamic. I think he could be. He could be a country singer, too. I mean, his voice is just that accommodating to any kind of sound. [00:21:33] Speaker D: I wish he was a country singer because it would sound more interesting than this. [00:21:36] Speaker A: Maybe when we get to the last song on the album. Mark, maybe you really don't like his voice. [00:21:41] Speaker D: I don't know why it bothers me. To me, it feels like they have, like, all the pieces that I would like. Right. And maybe that's why it bothers me so much, is that I like the music. I like the lyrics. I like the melodies. For most of the point. It's just the way he sings. It's not that he sings badly, because that's not what it is. I feel is purposely taking these voices that he has and just copying them. I don't think this is by accident. I think he knew exactly what he was doing to me. I would rather him have his own voice. In the chorus, I'm the Creed guy in the verses, I'm the Nirvana guy. He's not really doing Soundgarden because I don't think he can do that. So he's picking the people that he thinks he can do. [00:22:24] Speaker A: I don't know. [00:22:25] Speaker D: Because maybe he thinks this is what sells. I don't know what the mindset is. I could be totally off. [00:22:29] Speaker A: Well, Mark, let me ask you this. When we heard the. On the new Bets and they came up. Judas was a Judas mind. Did that bother you then? Did his voice. I don't remember if you mentioned it then. [00:22:38] Speaker D: No, not. No, not as much as this, no. Because I think here it's more pronounced. [00:22:45] Speaker C: And it's also their first home. They're finding their way, finding this out. [00:22:50] Speaker A: It's also more songs that you're hearing it over and over, right? No, but Frank, what I said to Mark last week was this. I agree with what he's saying because I hear all those influences. And again, this is also almost 10 years later, if not 10 years later, after those bands hit, you know what I mean? So These could be influences on Bam, where he's like, oh, I like the way. But when we heard that song, which just came out this year, what I told Mark is that I would know from the voice that it was see there, just from hearing his voice. So even though he blends all this stuff, there's still this thing about him where I'm like, I know. [00:23:24] Speaker C: I'll. [00:23:24] Speaker A: I'll know what it's him. Or I'll be like, oh, it sounds like cedar. But yeah, I mean, listen, I. Mark, I'm not going to debate. I think you're. You're right. I hear all those things in there, but just doesn't bother me where I can't listen to it. [00:23:41] Speaker C: I hear it all there, too. And, Mark, you're 100% right, but you got to look at the time frame, and the time frame was point of transition. So you're going to have all of those bands being carried over from the previous generation, while at the same time going tapping back to that old rock and roll, that old heavy metal, trying to bring some of that sound in, because by this time, it's a decade old. No one's really heard it, and they want to bring it back somehow. That's what I think. [00:24:08] Speaker D: Well, I hope it changes. [00:24:09] Speaker C: I think. No, I think. I think this is it. [00:24:13] Speaker A: Yeah, I don't think it's going to change, dude. [00:24:16] Speaker D: I'm going to be disappointed through this whole side. I think. Pretty much so. All right, let me read some words here. So the verse is. And my words will be here when I'm gone As I'm fading away against the wind and the words you left me linger on and I'm failing again now never to change this and the chorus is. I'm so sympathetic Never letting on at the way Letting on I feel the way I do as I'm falling apart again again at the seams again I like the words. I like the melody. I like the music. I just. The voice. I just can't. I just. I don't know. It's not that I hate his voice, because that would be wrong, too, because I don't hate his voice. To me, this feels like we do this because this is what people like and this is what it sounds like. And I need to copy these people. I don't know. I just. I. I'm not a fan of that. I'm not a fan of that. I'm not a fan of trying to purposely copy it just annoys the crap out of me. But I don't know. I Mean, I don't know why it bothers me so much. I have no idea. This is a me thing. This is not a music. This is not them thing. This is a me thing. So I don't know. Anyway, let's continue. I don't want to. I don't want to be legal to point this long. I mean, 10 minutes on me. Why I hate his voice for. All right, here we go. [00:25:29] Speaker B: And it seems I'm alone here Hollow again Hollow again as I'm flailing again against the whale and the scars I am left with Swallow again There's a failing again now Never to change this and I'm still not feel the way I do is you fall in Lift my heart again and sing and I'm still bothered and alone I feel the way I knew it was before Begin to sing. The same old feelings are taken over and I can't seem to make them go away And I can't take all the pressure's over But I can't seem to make it go away the same old feelings are taking over And I can't seem to make him go away And I can't take all the pressure so hard go away. Cause I can't make it go and I'm so confident Ain't never been alone I feel the way I do Every fall and fall heart again and I'm so pathetic Never let him alone I feel the way I do if we fall in. [00:28:26] Speaker A: It's funny, like, sometimes you hear songs from back then, and they may or may are not put you back at that time, but I hear this song and I'm, you know, 20, 22 years younger. I'm right there. Certain songs just have that, to me, that nostalgic feeling. I don't remember. I mean, obviously I have the record, so I have the cd. So I know of knowing this song. But again, it's been a while, but hearing this now, I'm like, Yep, you know, 2022. Again, 2022 years ago, 2002. So. But yeah, I mean, I. I think it's a really good song. Frank, what do you think before you go to. [00:29:08] Speaker D: Frank. Hold on. [00:29:09] Speaker A: Okay. Oh, you can do lyrics? [00:29:10] Speaker D: Well, no, I'm gonna do lyrics, but let me do lyrics first, and then I have a thought. [00:29:14] Speaker A: Okay, so you may have the same thought I had. Let's see. [00:29:17] Speaker D: Okay, so the. Okay, so then the verse is. Where am I here? Okay. It seems like I'm all alone here. Or is that the one I'm at? Yeah, seems like I'm all alone Here hollow again as I'm failing again against the wind and the scars I am left with Swallow again As I'm failing again now never to change this. And the next chorus is. And I'm sympathetic Never letting on I feel the way that I do as I'm falling apart again at the seams and I'm sympathetic Never letting on Feel the way I feel the way I do as I'm falling apart the seams and the bridges the same old feelings are taking over and I can't seem to make them go away and I can't take all the pressure sober But I can't seem to make it all go away again I do like the song. I like the melody. I like. I like everything. I wonder because they're from South Africa, right? Is that what we're saying? I wonder if the way he's singing is trying to get a. To get rid of the accent, and maybe that's where it happens. Now, I found an interesting post. So this is what it says. It says, the first producers wanted Sean's voice to be raspy and grungier. He said Howard Benson was the first producer that gave him enough freedom to showcase his singing ability. Sean's singing ended up sounding more forced. He gave up the rawness and authenticity of his voice and just throw in some vocal gimmicks that just don't do any justice to his songwriting. So I'm wondering if they wanted him to sing this way because that is what sold and that's what people wanted to hear. And maybe between that and him being not from the United States and being from South Africa is causing it to be so copycat. Because in general, I do like the lyrics. I do like the melody. I like the song. I think it's a good song. [00:31:04] Speaker A: I absolutely agree with you in terms of what it sounds like. But that post also at the end dismisses him like that post doesn't. You know what I mean? I mean, that kind of dismisses the album. I mean, that last part of it, right? [00:31:19] Speaker D: Yeah, I guess for me, again, I think that's maybe what. Maybe that's part of what was going on. Maybe it's part of the language thing and the accent thing, and that's where we learned how to sing from. And so that's why he sounds like that. I don't know. It just. For me, it doesn't ruin the song, but it just throws me off. Like this song. Like, there's a lot of Kurt Cobain in this. I mean, that's not the worst Guy to copy, I guess. But for me, it ruins the something that could be something I could listen to a lot because I do generally like it. [00:31:50] Speaker A: My only criticism was when they did that bridge twice. I thought they should have done the bridge, broken it up with a little musical piece. Even if it's that same solo that he does all over the first side and then gone back to it. And then when they did the bridge twice, that was a little. I mean, I like it. I do like the melody of the bridge as well. But just to do it back to back like that, I thought they should have separated it, then gone back to the bridge because I liked it and. Which would have led him back into the chorus. Like, I just needed that. Felt like it needed a little musical break there or something. That was. That's my only criticism. [00:32:27] Speaker D: Frank, what do you think? [00:32:28] Speaker C: I'm glad that you found that article. It reminds me a little bit of, like, when John Karabi joined Motley Crue. So Vince is out. John Crobby came in, and they're in the studio, and he and John Corabi, one of the chapters that he had in the book, wrote about it. He was like, they wanted me to sound like everybody else but me. And that's why the album didn't sound like it didn't have his own identity. It just sounded all over the place. I could definitely see that. What you just, you know, found in that article where they wanted him to sound like every other artist that was just coming out of that era. And again, this is. Goes back to very common for the early 2000s, that a lot of bands were just really bringing over some of that sound because that's what was the successful model. But with that said, I like the song. I like the lyrics, I like the melody, I like the rain. I like everything about it. So I think it's very good. Overall, I'm gonna give eights all across the board. [00:33:23] Speaker A: Do you want to give eight all across the board, then first, since you haven't been. [00:33:27] Speaker C: Oh, yeah. I mean, I just. I just. I just. I. I think they just have great riffs, I think, you know, great melodies in all their songs, and so. And the voice doesn't bother me that much, honestly, so I give it. So I give it all eights. How about you, Mark? [00:33:42] Speaker D: I do like the song. And again, the issue I have is just that I think it would be better if he had his own voice. And whether he was copying people on purpose or they wanted to copy, you know, want him to copy other people that would have Made it a little bit better for me. But, I mean, I can't deny that I like to. I like the music. I like the lyrics. You know, a voice notwithstanding, I'm not gonna. I'm not gonna ding it that hard because I think I kind of did that last side. So I think I'm gonna do sevens across the board, because I think that's kind of fair, because I think I like this song. So here we go. Nikki titty baby. Quintuple seven. [00:34:21] Speaker A: Do we have a quintuple eight, Mark? I don't remember. [00:34:23] Speaker D: Oh, yes, we do. Hold on. [00:34:24] Speaker A: Yeah, I was gonna say this is for you. Quintuple. [00:34:30] Speaker C: I love it. That was great. [00:34:35] Speaker A: Oh, my God, we're going international. I love it. [00:34:38] Speaker D: All right, Saf. [00:34:39] Speaker A: I'm going to say a seven on the lyrics, an eight on the music, seven on production, an eight on the melody, and a seven on the arrangement. Only because of that one little piece. I think it's a really good song. And again, Mark, I'm totally there with you. I mean, but I don't. I mean, I could be wrong. I mean, considering that they just put an album out this year, I think his voice still kind of sounded the same on the new song. So I don't know if he's just trying to kind of go back to that. I don't really know a lot of their other stuff. Even though I remember liking this record again, I think I just got to a certain point where it was, well, I got, you know, married and family after this, too. So it's more like, hey, you got to stop buy so many CDs. You know, mom's not gonna let you keep them at the house anymore, so. But. So, yeah, I mean, yeah, I think it's a. It's a good song. [00:35:38] Speaker D: I do like it. I. I can't deny that I do like it. I just wish it didn't sound. His vocals didn't sound like everybody else. That's just. I would. I'd be much happier if he came out with something that was a little more original to him. And again, whether this was a producer thing or a record company thing or just him trying to, you know, sound a certain way because he comes from another country and he wants to sound as accessible here as possible, and maybe that's the only way he could do it. Maybe then maybe it's not the case anymore, but. I don't know. [00:36:05] Speaker A: But the guy also mentioned the name of the producer who's not the name of the producer on this album. Right? Did he say. [00:36:11] Speaker D: No? It's probably afterwards. Yeah, afterwards. Howard Benson. [00:36:15] Speaker A: Yeah. Well, I mean, again, this guy kind of. I mean, I don't know if he was talking specifically about this album Again, he kind of dismissed everything, you know, he didn't say he could have sang better. He's like, oh, this stuff doesn't come over distance. So I was like, wow, that's pretty dismissive of everything. Maybe you just didn't like it. [00:36:32] Speaker D: Maybe. It's possible. All right, here we go. So the next one is your boar. [00:36:50] Speaker B: You make me feel like I'm a. Like I'm the one who's there to. [00:37:02] Speaker D: Okay, Come on. Seriously. That sounds like Kur Cobain. Why does he have to phrase everything the same way as him? [00:37:10] Speaker A: Me, I. I wasn't getting Cobain as much on that one. [00:37:13] Speaker D: I'm gonna roll it back. You listen to it again. Tell me I'm not crazy, okay? [00:37:16] Speaker A: Because I like that part. [00:37:18] Speaker D: I like it, too. I'm not saying I don't like it. I'm saying that. Why? Why? Yeah. Here. [00:37:28] Speaker B: You make me feel like I'm a ho. [00:37:35] Speaker D: Come on. [00:37:36] Speaker A: Yeah, I got a bit of it. I'm not gonna. Yeah. [00:37:39] Speaker D: Why? Why? [00:37:42] Speaker A: Maybe it's a big influence. I mean, again, don't forget this is. When did. I mean, when did bleach come out? 90, 89? I'm saying this is years later. [00:37:52] Speaker D: Here's the thing. You can have all the influences you want. Your influences come out. You don't need to sound exactly like the guy. [00:37:59] Speaker A: But Mark, even with the. Pretty reckless, though, right? I mean, some of the music was just blatantly like Alice in Chains. You know what I mean? And that's 20 years after. No, not. Is it 20. Yeah. 20 years after this, or. No, it wasn't 20 years after. This was 14 years, 2016. I mean, they wore their influences on their sleeve. And again, I do like her voice. I don't think it was anything specifically original, but I just like that kind of voice. [00:38:24] Speaker D: Yes, the music was a little bit Alice. I'm not saying it's not. Wasn't out. I'd be lying to say if it wasn't, but because. Because her voice was different. I didn't think Allison changed as far as the vocals went, but her voice. [00:38:35] Speaker A: Was different to the music. You know what I mean? That's so. Yeah, I agree with that. You didn't necessarily expect that kind of voice with that music. [00:38:45] Speaker D: It's more palatable to me in that situation than it is here, and I don't know why And I don't know why. This just pisses me off. [00:38:54] Speaker A: You know what's gonna happen, Mark? You're gonna turn on the radio. You won't know what song this is. Cedar. I can tell by the voice. [00:39:02] Speaker D: Oh, is this a bad core, Cobain? Oh, yeah, that's what we want. It's not even bad. See, I'm trying not to be a dick. It's not bad because he has a good voice. I just. I get frustrated. I'm frustrated when newer bands do it. I'm frustrated when older bands do it. You can take your influences and push them all up into a fucking thing and push them back out your way when it has to be. I mean, literally, that line right there, the way it's sung, it's sung exactly like Kirkland Bay would sing, or very fucking close. Anyway, I know people are not going to like me. I can't wait to post this, like, on the Cedar thing. And then they go, listen to the podcast and see me on this. But, you know, I'm not really on it because I do like it. [00:39:39] Speaker A: Yeah, but you're being honest. Listen, you're being honest, right? You could sit there and be like, oh, that doesn't bother. This is great. Tends across the board. But listen, we're here to be honest. And again, like, I would say, we're not professionals. We're not. We're just being honest. [00:39:53] Speaker D: What was the band that sound like AC dc was that. What was that again? [00:39:57] Speaker A: Oh, June Something of June. [00:40:00] Speaker D: Goodbye June. Something like that. [00:40:02] Speaker A: Yeah, the first. I mean, the first side, right? Then the second side, they kind of came into their own. [00:40:07] Speaker D: They turned me around, remember? Yeah, they turned me around because at the beginning, we're like, okay, do we. Do we. See, there's. That's the. To me, that's the same thing. Because the vocal sounded just like it, and the music sounded just like it, and you knew exactly what they were trying to do. This here is the same exact fucking thing. Except the music doesn't bother me as much because I don't think it's exactly like what Nirvana would write. But as far as the phrasing of the vocal and the way he's singing the vocal, and just. It's just. It's too much. And especially on this song right here, this is worse than everything else to me. I don't know. I just. This is going to be the podcast of me just bitching for 10 minutes in between the first verse of every fucking song. [00:40:45] Speaker A: Listen, you wanted a bad 80s album, you could. You could. You Know, right? You wanted one of those, so now you got a 2002. [00:40:54] Speaker D: But, no, I don't even want that. I just wanted a cheesy, bad album. I didn't want. I didn't need it to sound like anything else. Like, to me, this is just. Pisses me off. All right, I'm gonna continue this. So we're never gonna get through this. Yeah, Here. [00:41:11] Speaker B: Now. It's always going to be this way. Get the right cuz I can't sing to show you what you want to see I can never give you more Ever anything you need I'm sick of wasting time on what can never be I cannot control you until one you always want to steal the night but stepping on the W to fight for you it's always going to be the. [00:42:13] Speaker A: Same. [00:42:26] Speaker B: What you want to see I can never give you more anything you need I'm sick of wasting time on what can never be I cannot control you. [00:42:52] Speaker A: Like it. I like the melody. I like the way it transitions. [00:42:57] Speaker D: And I do like the music. I have no problem with that at all. [00:43:01] Speaker A: Listen, I think he's got a good voice for the music. Again, I. I can't argue with you saying what you're saying, but it doesn't bother me. Maybe there's a nostalgic feeling to it, too. But listen, in general, even, like, what's her name? Like, Taylor Momsen, the way I've always liked deeper male vocals as well. You know, like Eddie Vedder, you know, guys with range and stuff like that. So, again, I'm not going to argue with what you're saying, because I don't think you're wrong. It just doesn't bother me the way it's bothering you. No, Frank, what do you think so far? [00:43:29] Speaker D: Come on, Frank. Go ahead, get it. Get away from my bitch vest. [00:43:32] Speaker A: We haven't heard from Frank in a while. [00:43:36] Speaker C: I get what you're saying when you hear that Nirvana influences specifically around the vocals, but I personally like that raspy kind of voice there. And honestly, I don't think they're doing anything that no one else is doing for that time. I like it. [00:43:56] Speaker D: So I have a question for everybody here. If a band came out and the singer sounded like Freddie Mercury, what would you say? Would you go, oh, wow, look how good those vocals are. Would you go, what the fuck? That's my question. Take the grunge thing out of this. If someone came out and sounded like Bono Sabino and started to sing just like Bono sings, would you not go, I don't understand. Why do you need to do this. [00:44:17] Speaker C: But it's going to be inevitable. [00:44:19] Speaker D: That's what it is to me. [00:44:20] Speaker A: No, but I'm saying I. I may possibly. And I have heard other guys had. That have done certain things like that. I think it's within the context, you know what I mean? Because I don't think this sounds. It's. Again, it's of the air. It's nothing. Oh, my God. Brand new. Nobody sounded. No, but it's more of a mishmash where it's not like it's all there. Like, when Creed came out, I was like, all right, this to me sounds a little bit too much like Pearl Jam then and Silver Chair. I felt like, wow, this and that was around. They were contemporaries, I think Silver share. [00:44:52] Speaker D: No, Silver Chair was like 95 and Creed was like 95 then. Late 90s. It was after he passed. After. It was after. But Pearl Jam was still around, so. Yeah, that's true. I mean, I thought that too. [00:45:04] Speaker A: Yeah. So I think maybe then. But again, it's. Listen, how many metal bands, eight glam metal bands have we heard that, you know, is there a massive, massive difference between some of the bands that we liked? And so in your. In what you're saying, yeah, maybe. Maybe if he sounded like Bono, I don't know, would it bother me? Maybe. Or maybe like, wow, he sounds like Bono and it fits here. I couldn't tell you. Just. I'm telling you, as of here, this isn't bothering me. Could something else bother me? It could. [00:45:33] Speaker D: Okay, I get you. [00:45:35] Speaker A: You know what I mean? Just like, maybe someone sounded like Paul Stanley. Like, let's say, you know what I mean? Like, if you had somebody like, oh, my God, he does everything like him. And maybe you could love a song, but. Because that. You know what I mean? [00:45:46] Speaker D: Maybe that would bug you or would piss me off. [00:45:50] Speaker A: Or you might say, oh, cool, like, hey, somebody picked up the baton. You know what I mean? [00:45:54] Speaker D: He kind of like, no, no. Anytime you're physically copying someone, that much to me. Just like when they were doing the AC DC stuff, right when Good Bye June was doing that on that first side. I just. This is not necessary. It's not necessary. Have your own thing, dude. Have your own sound. You can't just copy people's stuff just because it's a familiar thing. Less like to think of doing do a cover song because it's already been hit once. Right. I mean, yes, that possibly works. Possibly. You know, I would. I would rather you be you and not be a cop. A copy of somebody Else, no matter what that is, whether that's a drummer, whether that's a guitar player, whether that's whatever, a band sounding just like. I mean, that. That again, was the problem with, you know, late 80s hair metal is that, you know, everyone started to sound the same. It just. It was bad. And now in this situation here, you know, this is. It is post grunge and this is. It is coming to a head again, I think. So, you know, it makes sense that, you know, this would kind of sound. Now, does it sound like Nirvana? No, the music doesn't. So if the music doesn't, what does the vocals have to. I don't know. I don't hate it. All right, let me read the lyrics. We can continue because this is going to happen every fucking song now. All right, so verse one is, you make me feel like I'm a whore Like I'm the only one who's there to bore you now it's always going to be this way get the away Because I can't seem to show you what you want to see I can never give you anything you need I'm sick of wasting time on what can never be I cannot control you into wanting me. And then verse two is, you always want to steal the light by stepping on the ones who fight for you it's always going to be the same. Get the fuck away. And then back to the verse again. Again. I like the music. I like the lyrics. I like the melody. I'm not going to shit on this song. I'm not going to give this song a fucking three. The one line over there that it's always going to be this way. If you listen to the way that sung, it's just not necessary to me. I could be totally wrong. I'm sure there's millions of people who love See there and they love the way he sounds. They love that he's a grungier sounding, you know, singer and it sounds grungy, so they like it. But I. I think it's. It's like anything else, you know, for me, I would rather he have you sing. Sing as you. And maybe this is him. I don't know. [00:48:02] Speaker A: I think it's definitely close to him. Because again with that new song that came out, I wasn't sitting there going, oh, wow, he sounds completely different. I said, okay, yeah, it definitely sounds like him. [00:48:12] Speaker D: So, all right, let's continue. Here we go. [00:48:50] Speaker B: I can't seem to show you what you want to see I can, I can never give you anything you need I'm sick of wasting time on oh can never be I cannot control you until the Walt and me now. [00:49:59] Speaker C: You know, Mark, I'm surprised you didn't say he didn't sound like Sully Erna there from God Smack. [00:50:03] Speaker A: I think he made that comparison. Yeah, we talked about that last week too, a little bit. [00:50:07] Speaker D: Yeah. Uhhuh. Yeah, I already did that already. [00:50:10] Speaker A: The one thing I do say is that that guitar sound, which, you know, when it's on its own with a solo, hasn't really done much. But I like it when they back up the whatever they're doing. I think it does add another element to it. [00:50:22] Speaker D: I didn't hate the screaming part in the middle. [00:50:24] Speaker A: I liked it. I've recently gone back into screaming stuff, so I'm starting to appreciate screaming a little bit more now. [00:50:32] Speaker D: Yeah, that's totally fine. I have no issue with that whatsoever. [00:50:37] Speaker C: Well, that screaming thing again goes back to that Godsmack era. I used to love screaming into the mic. [00:50:42] Speaker D: Do more of that and less of the. The Kurt Cobain copy cat thing. I know nothing. They have records out. I don't, so what the do? I know. But whatever. Yes, if you want to take everything 100%. [00:50:54] Speaker A: Well, screaming's been around for a long. [00:50:58] Speaker D: Time, so we can't say that Godsmack is on the same level as Nirvana is, so we can't even say that. So regardless of whatever's going on. Yes. You could say that Gods make up first. You could say Pantera. It's a Pantera. Sounds similar. And screaming that way too, Again, that, to me is not so copycatish. To me, that's more of what I would expect. I don't know. Maybe I'm wrong. Maybe I'm totally wrong. I don't know. I just don't like when he sings the verses sounding like I just don't like it. I'll go first again. Get this out of the way. I like the song. I do not like the song. I'm going to be as politically correct as possible and this is what I'm gonna do. You ready? Here it is. I might be phoning it in all the way to the end of this. The end of this side, because I don't hate the songs. Nikki titty baby quintuple 7, zippity bippity bop. [00:51:58] Speaker A: Well, Mark, maybe you can. I mean. I mean, maybe there's a way for you to kind of ding the singing without. I mean, Triple Seven Quintuple Sevens is obviously a good score. [00:52:08] Speaker D: Yeah, I don't hate it. That's the worst part about this, I don't hate it. I like the music. I think they do some interesting things. Obviously, the one thing I can say is, in this time frame, solos are not really a thing. So I can't even dig it for that because that's kind of just the sitch, what it was then. So I can understand that. You know, if the song sucked, it would be easy for me to say, hey, this sucks. I'm gonna give it a five, right? You know what I mean? But they don't. The melodies are good and I like his words in general. For most of the stuff I liked, it's just. I just have a hard time. I have a hard time with the. With the lyrics. I don't know where. Where I could. Where I can mess this up. I don't know. It's not a lyric thing. It's not a melody thing. I could ding arrangement for it sounding like Nirvana. [00:52:50] Speaker A: Right? [00:52:50] Speaker D: I'll do that. There we go. Does everyone feel better now? [00:52:57] Speaker A: Well, I mean, I know you want to ding it somewhere, right? Because, I mean, you know, it's one thing if you're like, listen, I don't like the music. I don't like the melody. I don't like the lyrics. I mean, that's easy. But if you just don't like the way he's using his voice. [00:53:10] Speaker D: I do not like the way he's using his voice. It's not going to change to the end of this thing, I'm sure. Frank, what do you think? Go ahead. [00:53:16] Speaker C: I mean, I love it. I really do like to see the sound again. I get it. I get what you're saying. It sounds like everybody else, but, you know, that doesn't. It doesn't sound any different than what was coming out during that time. So for me, I'm gonna give this triple eight. I love that. That screaming in the middle there. Like I told you, it sounds very Godsmackish right there, I think. I think his voice again, I like that raspiness. So it's great. Melodies are great. The music, arrangement, composite, everything. I just love the song all around. So eights. [00:53:52] Speaker A: So is that the only eights we have? I'm gonna say seven on the lyrics. I'm going to say. Because I gave the other one an eight. I don't know. I mean, I do really like this one. Production was good. I'm gonna say an eight on production. On this one, I'm gonna say an eight on arrangement. I do like the way everything flowed. I do like the way that guitar came in kind of backing it up and everything, I felt like there was no real filler here. I like the screaming. What do I have left? Music. [00:54:25] Speaker D: And melody. [00:54:27] Speaker A: I like the melody, too. You know what? Let's go eights on those two. It. I. I like it in a different way. I think the one before was more like. It was catchier, but this is heavier and I like the way it is. So. Yeah, I mean, me personally, I'm liking most of the stuff on here. My only snag, I think, was 69t from last one. [00:54:53] Speaker D: Yeah, neither of us like that, I don't think. All right, here we go. So the next one is Fade Away. [00:55:30] Speaker B: I wanna be the one you need I wanna be the one you bring Today is the day we'll fade away O Today is the day we'll fade away Away Today's the day we find our way Today is the day we fade away. [00:56:15] Speaker A: Was that Butthead? [00:56:17] Speaker D: Yes, it is. [00:56:18] Speaker A: Was that Frank? [00:56:19] Speaker D: I was not either. What? [00:56:22] Speaker A: Was that Frank? Was that you? That's. But it. Come on. That's Mark doing it. Listen, I've been watching a lot of Beavis and Butthead lately, so I. Oh, my God. [00:56:39] Speaker C: You know what? I've been watching those animations from MTV back in the day myself. I've been watching Eon Flux. [00:56:46] Speaker A: Yeah. How is I. It looks good. I've never watched it. [00:56:50] Speaker C: I was great. It was really good. I mean. Yeah, that animated City was so good to watch. I don't know about the movies. [00:56:58] Speaker A: Yeah. I mean, basically, at one point, watching Beavis and Butthead was the only way you could watch videos on mtv. It was the only way to catch any video. You had to watch that show. So, Mark, are you owing. Eyeing this? Is that you? [00:57:13] Speaker D: What do you think? What do you think? What does he sound like again? Why? Why? Why? Why? [00:57:19] Speaker A: I think he's got a little. I think he's got range, though. [00:57:22] Speaker D: I'm not saying he can't sing again. This is nothing about his vocal ability or the songwriting or whatever the fuck it is. [00:57:31] Speaker A: I don't. I mean, I don't think I hear Cobain in this one. Maybe I'm wrong. [00:57:35] Speaker D: Oh, yeah. [00:57:36] Speaker A: But at the same time, I could not be specifically listening for it either. You know what I mean? So that could be. [00:57:41] Speaker D: Now it's just, like, sticks out to me like a fucking sore thumb. Like, once I heard it now. Now I can't not hear it. This is what I feel like every time I hear him sing now. I feel like I'm getting Rickrolled Every time. [00:57:58] Speaker A: Well, no, Rickrolled is when you expect something, you get something else. But, I mean, he's pretty much giving you everything you. [00:58:04] Speaker D: I'm Reverse Rick. Rolled. No, it sounds like Nirvana, but it's not. I'm Rolled Rick. [00:58:09] Speaker A: You're Rolled Rick. [00:58:13] Speaker D: And it's unfortunate for me because I do like the music and I do like the lyrics and I do like the melody in general. If the singing was different, this would be getting much higher scores for me. I would be. I'd be more praising what it is. I just. For whatever reason, it just. It rubs me the wrong way. I don't think I can ever change how I feel about this. I don't know. And again, it's not for his ability and it's not for his songwriting ability. He's playing and everyone's. It's all good. I just. I feel like it's. This is the easy way out. [00:58:43] Speaker A: Hey, listen, for what it's worth, what's my usual complaint when it comes to the newer stuff? The drums. Right. I guess I have to, because I do like a lot of new stuff that's been out. And I'm like, oh, God, I wish the drums recorded. But listen, you can get past it or you can't. I mean, if you can't, you can't. And again, it's not like you're giving this shit scores. So, I mean, clearly it's one thing that's bothering you. It's not everything, which would be fine, too. I mean, listen, if you hate. If you don't like the songs, you don't like it, what are you going to do? [00:59:15] Speaker D: No, I think so. I think they're very well written. I think they're very well played, I think, in general, for the time frame of what this was. You know what I mean? It has a. It does have a little sound that throws it back more into the grungier era, even though it's 2002. Right. That's what I feel like. I mean, then there are some newer aspects to it, too, which is fine. And I think that's totally cool that you take some of the older stuff, mix it up with something that's newer. And because that screaming stuff is not as much. I mean, that wasn't as much of a grunge thing. Not the way they do the screaming. That's more of that time frame. That's more of that time frame, which is totally fine. I just, you know, when I start hearing. When I start hearing verses, I'm listening, going, oh, what is it? Gonna sound like that for why I could. Because for me, I could put this on playlists because it's good. I don't think there's. Except for that 69T, so I don't think it's a song I really didn't like. [01:00:04] Speaker A: Yeah, no, there's gonna be a lot of songs on this playlist, I think. [01:00:08] Speaker D: Oh, yeah. Because I'm not giving a shit scores. Yeah, it's not. It's just not gonna happen anyway. All right, so the first one is. I want to be there when you call I want to catch you when you fall I want to be there when you need I want to be there when you breathe I mean, that's a little rhyme. Rhymey chorus is. Today's the day we'll fade away Today's the day will fade away Today's the day we'll find our way grown Today's the day we'll fade away. You know, these lyrics are not as good as some of the other stuff he's done. [01:00:37] Speaker A: No, no, I don't think I'm going to give it aside as the other ones. Yeah, I mean, I understand there's a sentiment there, without a doubt, but obviously it's very repetitive, and repetitive is good. [01:00:47] Speaker D: Sometimes. It really depends on the song. [01:00:49] Speaker A: Yeah. [01:00:50] Speaker D: You know, it's a good way to bang the chorus into someone's head, right? [01:00:53] Speaker A: Yeah. But these are the verses, too. [01:00:56] Speaker D: Yeah, well, yeah, it's true. I mean, that's okay, though. I mean, you know, sometimes that works. [01:01:01] Speaker A: Oh, yeah. I mean, I like the. I do like the melody and I like the music, so. [01:01:07] Speaker D: Yeah, I'm fine with that. Okay, let's continue. Here we go. [01:01:19] Speaker B: And when you're down I'll help you fly I want to be the one you need I want to be the one you bring Today is the day will fade away oh, today's the day will fade away Today's the day will find my way Today's the day will fade away way But I'm coming back and I'm taking back everything I can Breaking me up and tearing me up it's all I have and I'm coming back and I'm taking back oh, everything I can is breaking me up and tearing me up it's all I Today is the day we'll fade away oh, today's the day will fade away oh, today's the day we'll find my way Today's the day will fade away Today's the day will fade away O Today is the day will fade away. [01:03:46] Speaker A: I actually like one auto. That would call it solo, but I guess a musical bridge in that. Just the way it followed it. [01:03:51] Speaker D: And why does it have to be the same guitar sound? Why? I don't understand. [01:03:59] Speaker A: Hey. Threw a little lean Staley in that. That. That one part, though. I thought I heard a little bit of him in there. What? [01:04:04] Speaker D: The end part. [01:04:05] Speaker A: I thought you were going to point that out. Wait, what part was it? I think it was kind of like the oh, and I'm coming back part. [01:04:12] Speaker D: Yeah, you thought so. I didn't. [01:04:13] Speaker A: I heard a little bit of him in there. [01:04:16] Speaker D: Frank, why don't you go first? [01:04:18] Speaker A: Wait. Mark any more lyrics? [01:04:20] Speaker D: I forgot about the lyrics. Faith throwing me off this thing. [01:04:23] Speaker A: You're so angry. [01:04:23] Speaker D: Okay, I'm not even angry at this point. I'm just like. I'm just numb to this whole thing. All right, verse two. [01:04:31] Speaker A: Let it go. [01:04:32] Speaker D: Yeah. Maybe he just stopped fucking trying to sound like Kurt Cobain a little bit and sound like him and be fine. [01:04:37] Speaker A: Let it go. Let it go. [01:04:38] Speaker D: Let it go. [01:04:40] Speaker A: Yeah. [01:04:41] Speaker D: All right. So I want to be there when you cry and when you're down I'll help you fly I want to be there I want to be the one you need I want to be the one you breathe and chorus and then the bridges. But I'm coming back and I'm taking back everything I can. It's breaking me up and tearing me up. That's. It's all I have. And they do it again, and then the fade away thing happens. Fading away. All right, Frank, go ahead. [01:05:04] Speaker C: Not my favorite song so far. It just goes to show you the range of their ability to play pretty much any kind of music. Right? So here we have a great ballad. Like SAP said, you can hear the sentiments there. The lyrics are really good. Not my favorite, though. I'm gonna give. I'm gonna give this a seven for the lyrics. Composition, I really do like it a lot. And the music I like a lot. So I'm giving those an eight. Melody. I'm gonna give that a seven. And, yeah, I think that's all the categories. [01:05:36] Speaker A: I'm gonna make it simple. I'm gonna say six on the lyrics only because I've given seven to better. But I'm gonna say I thought I was gonna make it simple. Now I'm thinking I'll say seven on the music. I like the melody. So I'm gonna say eight on the melody, seven on production, and seven on music. I mean. Yeah, I mean, I. I think this side is very strong. I thought the search the first side was pretty strong, too, but I think this one's even stronger. This one's hitting me better than the first one, which doesn't happen a lot on this show. So. [01:06:08] Speaker D: Marky Nirvana writes very good songs. That's what I have to say. Lyrics? Yeah. 6. Probably musicianship again, 7. Melody 6. Musicianship 7. Arrangement 7. Production 7. [01:06:22] Speaker A: I mean, I don't think the song sounds like Nirvana, though. I mean, even if you want to see his delivery. But I don't think the music does. [01:06:28] Speaker D: No, I'm just being a dick now, that's all. [01:06:31] Speaker A: Never mind. [01:06:33] Speaker D: Yeah, never mind. We're gonna write a song that's gonna be the name of it next. I just. Again, it's just stupid. It's just. I'm being stupid. [01:06:40] Speaker A: Hey, listen, man, you may get, like, a ton of people agree with you if they listen to this, right? Then they're like, yeah, Mark. [01:06:46] Speaker D: Yes. [01:06:47] Speaker A: Team Mark. [01:06:48] Speaker D: If you're a Cedar fan, you like this. You're not gonna agree. What I said, he doesn't sound like Nirvana. It's not like Kurt Cobain. Whatever. That's fine. And I'm sure there are bands that maybe I like that sound like other bands, I guess. I don't know why this bothers me so much, but it does. There's no way I can get around this. It's been, what, how many songs already? 10? Whatever. All right, the next song is Pig. [01:07:38] Speaker B: Have you ever wanted to die when you will out your friends haven't you said goodbye to the morning her last could it be that I don't want to save you anymore? Could it be that we don't have what it takes? Have you ever wished for fire to burn away your mind restraints? Haven't you bound for hire or suffer those cheap complaints? Could it be that I don't want to save you anymore? Could it be that we don't have what it takes? Take it away. Take it away. [01:09:12] Speaker A: Yeah, I like it. I like that, too. I like that weird little thing they're doing with the. Like that. And that's all I have to say. Mark. I know. [01:09:26] Speaker D: Mark is gonna say, I do like the song again. I'm not gonna say anything again. Everyone knows what I think about this, so it is what it is. There's nothing I can do about this. But, you know, the song itself, I like. I like the drums. I like. I like the melody. It's good. [01:09:41] Speaker A: Yeah. [01:09:42] Speaker D: I just wish Kurt Cobain was a singer for this band. Other than that, it's fine. So versus, have you ever wanted to die have you ever wanted to die when you were without your friends Having you say goodbye to the one on who your life depends could it be that I don't want to save you anymore? Could it be that we don't have what it takes Takes Verse two. Have you ever wished for fire to burn away your mind's restraints? Have you, have you been for haven't you been for hire? Suffered those cheap complaints? Could it be that I don't want to save you anymore? Could it be that we don't have to have what it takes? Take it away Because I don't like this anymore Take it away and throw it away Lyrics are good. [01:10:22] Speaker A: Yeah. [01:10:23] Speaker D: Bothers me so much that I can't put any of these songs on any kind of playlist anywhere. [01:10:26] Speaker A: They're going to be on a big rock roulette playlist, though. [01:10:29] Speaker D: Yeah, I won't be listening to that. Frank, what do you think? [01:10:33] Speaker C: What I like about it is just. So here we go from a power ballad to this, right? And it just goes again to show you the. The ability to just turn it up when they need to really like it. Like, it's. Like it's heavy. Again, I don't hear any influence outside of them. I hear this is. This is either. I. I think that we have today playing right now in this song. [01:10:53] Speaker D: I do like this. I'm not saying I don't like it. [01:10:56] Speaker C: But this is so the song that we heard two weeks ago. Okay. And this song here, this is the same band. This is their sound? I think so. [01:11:05] Speaker D: Okay. [01:11:06] Speaker C: I'm just saying this. Like, this is. This is. They don't sound like anybody else. They don't sound like Cobain here or anything. This is them. [01:11:12] Speaker A: No, I think because for. I mean, I asked him that too, before, and I think when in one dose, he may not have picked up on it, but when you have it in doses. Listen, I'm sure there's bands that we probably like music in, but the singing, either, we kind of get used to. I mean, this. When I first heard Cinderella, I was like, the music isn't bad, but this guy's voice. But then I just. It just became part of it, you know? And then long cold winter comes along and just kicks you in the ass and you're just like, yep, that's the sound. That's his voice. He can do both. I'm okay with it. I love the songs, so. But I mean, if you can't get past. I mean, the voice is obviously a major part of things. So if you don't like the way somebody sings. Even if you like the music, odds are it's going to put a, you know, a big damper on really getting. Being able to get into the song. [01:12:02] Speaker D: I mean, generally, I don't like Tom Keefe's voice when he screams, like when he has the raspy thing. Generally, it's not my favorite. It's still sort of unique, even though, you know, some people say, well, it's an AC, DC's kind. But to me, it's not like that. It's. [01:12:13] Speaker A: I don't think so, man. Listen, when he did the Janis Chaplin song for the. What do you call it? He sounded good. He really did move over. He did. I was like, wow, I can't. I. I hear her in him now. He can do that. And I'm not saying he's Janet Chaplin by any means. But then I was like, oh, I kind of hear that in it. I think she just had. Maybe because she was female and that kind of tone was there and a little bit more restraint. But again, if you tell me, oh, I like Cinderella's music, I can't take his voice. I'm not going to sit there. Oh, my God. What? [01:12:51] Speaker D: I mean, I don't hate it. [01:12:52] Speaker C: Although I will say this. I saw him. I saw them not that long ago. They were in the US they were touring around. They were in New York area. They're in the area. It's definitely. That voice is definitely. It's taking some hits over the years. Let's just say that it didn't sound really like him. [01:13:08] Speaker A: Yeah, but think about the way he sings, right? How can you not? [01:13:13] Speaker C: Yeah, yeah, it really is. [01:13:14] Speaker A: I mean, that. That voice is from the throat. [01:13:16] Speaker D: Ready? Let's continue. Here we go. [01:13:19] Speaker B: Have you ever wanted to die when you without your friends haven't you said goodbye to the one on her life deep that I don't want to hurt you anymore could it be that we don't have what it takes? Take it away. Cause I don't like this anymore Take it away and throw it away. [01:14:02] Speaker C: Take. [01:14:03] Speaker B: It away I don't like this anymore. Take it away. Let's run away. [01:14:39] Speaker A: That was the whole song? [01:14:41] Speaker D: Yeah. [01:14:42] Speaker A: Oh, I thought there was more. For some reason. I'm trying to tag along a little bit on the lyrics. I thought there was more. That's so funny. I mean, Mark, if nothing else, the songs are pretty short. You don't have to deal a lot with that voice. [01:14:55] Speaker C: Was this a single by any chance? [01:14:57] Speaker D: I think it might have been. [01:14:58] Speaker C: I mean, for A debut. They had a lot of good singles that came out. [01:15:01] Speaker D: I'd have to look through all the singles and see, well, somewhat of a. [01:15:04] Speaker C: Debut because, you know, they had one. [01:15:06] Speaker A: Before this, but this is wrong. [01:15:08] Speaker C: Yeah, exactly. And most of the songs on this one. [01:15:11] Speaker D: And most of the songs are on this. On that, too, by the way, But. [01:15:15] Speaker C: But still, they. I. Three or four. I think they had hits off of the first album. [01:15:19] Speaker D: So. Verse three is. Have you ever wanted to die? When you were without your friend? Haven't you said goodbye to the one on who your life depends? Could it be that I don't want to hurt you anymore? Could it be that we don't have it? Have what it takes. And back to the chorus again. I guess I'll go first again. I should get this over with. I like the lyrics. 7. I like the melody. 7. I like the music. [01:15:38] Speaker A: You did scream more in this song, Mark. So he gave you a little bit of that. [01:15:41] Speaker D: Yeah, no, it's good. I'm gonna do sevens all across the board. I'm gonna eight on production, because I do. I think it's produced very well. I really do wish I liked his voice more. It just bothers me a little bit, but whatever. Saf. [01:15:53] Speaker A: I'm gonna say seven on the lyrics. Yeah, production was good. I said give an 8 on production as well. I like the melody. I'm gonna say seven on the melody. I'll say seven on arrangement. The only reason is because after. When the. When they had that bridge before the chorus, I. I wish it was unmuted as well. I mean, I do know that they changed it up, but I think if the second time, like I said, even the first one, which they actually did, if they hadn't done that with open chords, I just would have liked that better, but. And what about some music, right? [01:16:25] Speaker D: Yes, sir. [01:16:26] Speaker A: It's hard, man. Until we got to start incorporating halves. I want to do, like a. I'm not sure if I want to do an eight. We'll say seven. I'll be. I'll be a little conservative on this one, but I do like it, like, without a doubt. So, Frank. [01:16:49] Speaker C: Oh, geez. Music and arrangement. I'm gonna give that an 8. The lyrics and melody. I give those sevens. I do like the song. It really is a good song. [01:17:01] Speaker D: All right, so the next one's called I just don't know right Now. [01:17:05] Speaker C: But even still, I mean, great song. [01:17:07] Speaker D: Here we go. [01:17:33] Speaker B: I guess I like it when you hit the way you drag me down. Cause I can't face myself in A mirror I left alone with all my pain and I disgrace myself in the mirror I'm left alone with my shame. You and me Walk out, walk out I see you and me I feel you and me I'll heal you and me. [01:18:10] Speaker A: I love that chorus. It just comes out of nowhere. I'm like, they're not going to keep it calm for the chorus, are they? They're going to come in heavy. [01:18:20] Speaker D: This is the first song. I'm almost feeling like this is not copy voice. [01:18:23] Speaker A: Nice. [01:18:24] Speaker D: Except for the. The last line sounded like a James Hatfield. For whatever reason. I got that. But other than that. But I don't think that was on purpose. See, this is what I'm trying to say. Like, you could do this and not, you know, not copy the other stuff and it would be great. I like this a little bit more. This is going to get better scores for me if it continues this way. See, it takes to it before. [01:18:44] Speaker A: There you go. [01:18:45] Speaker D: There you go. Has to be it. [01:18:47] Speaker A: It's got a curse. [01:18:48] Speaker D: Yeah, it's got a curse. [01:18:49] Speaker A: Listen. Well, I mean, they curse in other songs, too, but this is very. [01:18:53] Speaker D: You think the verse is. I guess. I like it when we play the way they drag me down. [01:19:01] Speaker C: It's already got a tennis court. [01:19:03] Speaker D: When you hate me the way you drag me down Because I can't face myself in a mirror I'm left alone with all my pain and I disgrace myself in the mirror I'm left alone with my shame It I see you in me Fuck it I feel you in me Fuck it. I heal you in me and they do it twice. Yeah, this. This to me is to me feels the most original. That's what it feels like. But, you know, obviously all his lyrics are just as depressing as anything in the 90s is like, everything. [01:19:34] Speaker A: Yeah. Not a lot of happiness here. [01:19:36] Speaker D: No, not at all. Well, we expect from a song called Fuck It. I don't think it's anybody positive. All right, here we go. [01:19:49] Speaker B: I guess I like it when we find a way I guess I like it when you smile myself in a mirror I'm left alone with all my pain and I disgrace myself in the mirror I'm left alone with my dream I'll see you in me I feel you in me Walk out, I'll heal every day Walk out I see you in me Walk out I feel you in me Walk out, I'll heal you and me please you all forever I cannot please you at all I can feel you coming up behind my head I see you in me Walk Out I feel you in me Walk out I feel you in me Walk out I see you in me Walk out I feel you in me Walk out I'll heal you in me. [01:21:35] Speaker A: I'm just banging my head singing the chorus. That must go for great live, man. [01:21:40] Speaker D: You think they still do this live? [01:21:42] Speaker A: Oh, I hope so. Are you kidding me? [01:21:45] Speaker D: Oh, no. [01:21:45] Speaker A: Hell yeah. If I went to see when they didn't play this, I'm like, hey, excuse me. [01:21:51] Speaker D: Yeah, this ain't Constellation. This is, to me, is the most original. Not that original sounding because I think this is very. This is. This is very of the time. Screaming chorus and. And that little part in the middle where the guitar is like really, like lo fi. That's pretty typical for what was going on and still typical now. There's still. That still happens now, too. [01:22:10] Speaker A: Oh, yeah. Well, I mean, it's a. Yeah, yeah. [01:22:12] Speaker D: I kind of appreciate this more than everything else here. And I'm not saying it's even the best song on the record, but I appreciate it because it's not. It's really not trying to do something else. It may be trying to do something. I mean, again, I'm not as versed enough in to say what other bands are right before this which have this sound, but this, to me, feels like the sound that was happening in the early 2000s. So just on that whole thing, this is what I'm going to do. [01:22:37] Speaker A: Quintuple. [01:22:40] Speaker D: I think in general, I like everything about this song, and especially since it's really not. I mean, I like everything about this song, you know, even though it's not going down the other route of what the other songs were. That makes sense to me. It feels. It feels very different than everything else that's on this record. [01:22:57] Speaker A: For this record, you feel it's more original, even though it's not specifically original for what you've been hearing within context. [01:23:05] Speaker D: It's not a. It's not really a throwback. His voice is not being a copycat of other stuff. So I kind of. I kind of like. I kind of like it more just because if to me, it feels like this. What. This is what they probably should have been doing. Frank. [01:23:25] Speaker A: Yeah. [01:23:26] Speaker C: You know, Mark, I agree with you. 100. I think this is their original sound. This is. See there. It's a song that just gets in your face fast and stays there and lets you know what. How it feels. I'm gonna give it triple eight. I'm gonna give it eights across the board as well. I love the guitars. Guitars are just so loud, but yet it doesn't dominate the whole song. [01:23:46] Speaker A: You still hear everybody else the first time, but I liked it the second time. And I love the. And I mean, I love the outro. So I'll say eights on everything else because I think the production was really good on this as well. Listen, I've liked most of the songs on this record, and I've liked every song on this side. And I know. I love the last song, so. [01:24:06] Speaker D: Well, this is the one with Amy Lee on it, right? [01:24:08] Speaker A: No, this is. Well, she's not on this version. This is the original version. Oh, that was redone. Which was redone. Well, I really like the way they did it with her because I really like the orchestration that's behind it. So this is much simpler. This is a much more simple, you know, simpler version than what. What you're maybe used to. [01:24:27] Speaker D: It's just funny that it took all this time for me to go, oh, that's what they're supposed to be sitting down, like. All right. [01:24:33] Speaker A: Yeah, but I mean, that verse had the same. I mean, there was traces there. I mean, it was him. I mean, he didn't put on, like, a different voice or anything. He was still in that range and. [01:24:43] Speaker D: Yeah, but it didn't sound like it was. It didn't sound like he was. It was copying someone else who was singing. That's what I'm saying. And again, I don't even know if he's doing this on purpose. He's probably not. [01:24:52] Speaker A: I could just be the way he sings, but. [01:24:55] Speaker D: Yes, but what the problem is is here, when you play it back, right, you don't hear that. Or maybe it's okay. Maybe this is what they wanted to hear. Like, I don't know. Ultimately, you know, the band has the decision at least a little bit anyway, what they put out, whatever the case may be. I like that one. So. All right, so here we go. Here's broken. [01:25:29] Speaker B: I wanted you to know. I love the way you left. I wanna hold you high and steal your pain away. I keep your photograph I. I know it serves me well. I wanna hold you. I'm still your pain. Cause I'm broken when I'm old proud And I don't feel like I am strong and numb. Cause I'm broken when I'm lonesome And I don't feel like when you're gone away. [01:26:31] Speaker A: Beautiful. My opinion, beautiful melody, beautiful music. [01:26:37] Speaker D: It's a good song. [01:26:39] Speaker A: Again, it is simpler than the other version. I do like, a lot of times, not a lot of Times, but sometimes they kind of tweak something or they throw somebody else in or whatever. But I do like what they did with. With that one. So this is a simpler version of it. Obviously, the melody is the same and the guitar. [01:26:56] Speaker D: It's a good song. Again, unfortunately, he went back to the other voice again. Unfortunately for me. I mean, again, I can't deny the song is good. What you gonna do? All right. So I wanted you to know I love you I love the way you laugh I want to hold you high and steal your pain away. I keep your photograph I know it serves me well I want to hold you high and steal your pain Because I'm broken when I'm open and I don't feel like I'm strong enough Because I'm broken when I'm lonesome And it'll feel right when you're gone away. You know who I wish was on this episode? I wish Steve was on this episode. He would have had something to say about this, I'm sure. [01:27:33] Speaker A: I don't know if he. If he knows him, I gotta ask him. [01:27:36] Speaker D: He probably knows, though. Or just play it to him and say, hey, look, I got a newer Nirvana song for you here. [01:27:40] Speaker A: Yeah, but they don't sound like Nirvana, though. [01:27:42] Speaker D: I know the music doesn't. [01:27:43] Speaker A: I mean, even if you want to say he has Kurt Cobain esque sometimes. But they don't sound like Nirvana, though. I don't. I would never say. [01:27:50] Speaker D: Nah. No, music wise, they don't. [01:27:52] Speaker A: You know what I mean? I think that's. That's a bit much. [01:27:55] Speaker D: Yeah. [01:27:56] Speaker A: I mean, I wish Nirvana had put out an album like this after. Never mind. You know, in my opinion, that's just me. [01:28:04] Speaker D: They weren't going to put anything out that was commercial after that and it just wasn't going to happen. They wanted to go back a little Roar. I don't. I don't hate in Euro, but, you know, again, it's different. [01:28:13] Speaker A: I never give it a fair shot. I'll be honest. I will. Because even my son's like you. You don't like in your do. I said I didn't like the two singles that I know. I mean, I liked. Never mind. I wasn't gaga crazy over it because I didn't buy in utero, you know, it was like, oh my God, the new album's coming out. You know what I mean? So. And then when I heard the singles, I'm like, yeah, I'm definitely not going to buy this. But again, I don't really know all the songs. So I'm not going to. Can't sit here and say I don't like the album. You know, there could be two songs I don't like and I love the rest. I just never really gave it a fair shot or bleach for that matter. [01:28:47] Speaker D: So, Frank, what do you think about this? [01:28:49] Speaker C: I like it. I've always did, from the first time I heard it. It reminds me a little bit of a. Of a faster version or sped up version of Nutshell by Alice. [01:28:59] Speaker A: Yeah, I can hear some of that. [01:29:00] Speaker C: Yeah, you can hear some of that. [01:29:01] Speaker A: But that's a great album. [01:29:03] Speaker C: That is a great album, man. [01:29:06] Speaker A: We'll get to that. My son gave that album a 10. Yeah, he's like, do you know Dart Flies by Alison Janz? I say that's a great album. [01:29:14] Speaker C: Yeah, great album. But, yeah, no, I love the song. Yeah, this song is great. Amazing. So far into Sav's Point, the remake was better. And so, I mean, I don't know how you make a great song better. But they did in that remake. But Amy. [01:29:29] Speaker A: Yeah, the remake is really good. They really did a good job with it. [01:29:33] Speaker D: All righty, so here we go. Let's continue. [01:29:51] Speaker B: The worst is over now and we can breathe again. I wanna hold you high. You steal my pain away. There's so much left to learn and no one. I wanna hold you high and steal your pain. Cause I'm broken when I'm old pale and I don't feel like I am strong enough. Cause I'm brought broken when I lo. And I don't feel right when you go away. [01:31:24] Speaker A: Best solo on the album. [01:31:26] Speaker D: Only solo on the album. [01:31:28] Speaker A: It's good. [01:31:29] Speaker D: It was good. [01:31:30] Speaker A: Incorporated the melody, did a little here and there. [01:31:33] Speaker D: I mean, I'm liking the guitar sound and the drums. They have that little thing where they have the. They have the tambourine, but only comes on the off beat thing like every other. It's pretty cool. Again, it's a good song. I mean, I don't know how you could say it's not. Even if you don't like them. I like it so far. Again, I wish. I wish his voice was in his. It's not as cobainy as some of the other stuff, but there's still. It's on certain lines. Feel. I feel it sounds. That's when he sounds like them. Trying to think other words where it just comes out. I gotta listen to it a little bit more, but I'm sure I could point out a car. All right, I'm almost done here. So let's finish this thing out. [01:32:20] Speaker B: And I don't feel like I am strong enough? Cause I'm broken when I'm lonesome? And I don't feel like when you go away Sa. [01:33:20] Speaker A: I like it, too, that he had, like, the. The two guitars on each side. So even though it was kind of like that last note in the solo part, it actually ended on the chord on the left side, so that was pretty cool. Something different. [01:33:33] Speaker D: Yeah. Production was very good on this. Why don't you go first? [01:33:40] Speaker A: Quintuple nines easily. This song is a very special place in my heart for. For a few reasons. So I just think it's a great song. I do think the remake is probably better just because it has that home footy again. Like I said, the orchestration isn't necessarily her. It's really. They pump it up a little bit more. They fill it up more, I think. Which I like. I mean, I've always really liked the song. I like. The words are simple. But, you know, like I said, it also has more meaning for it for me. So personally. Mark. [01:34:18] Speaker D: Yeah. As much as I want to bang on them, this song is great. So I'm gonna give it ace across the board. Even though, you know, there were places here where I'm like, why does it have to sound like that? But it just. It is what it is. I've. It's taken. What is it? How many songs on this album? 12. It is what it is. Again, I don't think there's any real bad. Bad ratings here, though. I think 69T is the worst. That one got a 5 because both of us hammered that thing. [01:34:45] Speaker A: Yeah, clearly we didn't like that one. [01:34:47] Speaker D: No, we didn't like that at all. But. But it's funny. The Spotify play. This is almost the whole album, except for. It is the whole album, except for 69T. [01:34:53] Speaker A: It's good, man. Let's. I mean, I remember liking it when I bought it, and again, I don't remember if I bought it because of the single or because, again, I was like, hey, this looks cool. I think I've heard of these guys. Let me buy it. But I remember it kind of sticking out to me. But it had been a while that I'd gone back to it, so I'm glad that it came up because I remember how much I really like this. I think I may even like it more now than I did back then. So, Frank. [01:35:27] Speaker C: For me, this song also has a very special place, very special meaning. I'm going nines all across the board, I just can't give anything less than that. [01:35:37] Speaker A: The lyrics, it was well produced. [01:35:40] Speaker C: The music, all of it, just really great. [01:35:43] Speaker D: I from one give it nine. I'm happy this album is over. Over so I can stop bitching and sound like a. Sound like a broken record every time it comes across. So. And again, I don't hate the album, which is. Which for me is even. It's even worse that it sounds for the vocals sound the way they do. [01:36:00] Speaker A: Hey, you're being honest, right? I mean, you could sit there and be like and lie, but you're being honest. That's what this is all about. We're being honest. Listen, there's been stuff that you've liked more than we've liked, right? So for. For different reasons. [01:36:13] Speaker D: And I mean, even if I don't like something, I mean, I can appreciate the musicianship and stuff in it, you know, would I have liked his voice to be different? Yes. But, you know, what am I gonna do about that? I can do. I. I probably wouldn't put very many of these songs on my playlist, if any, just because I wouldn't be able to. I wouldn't be able to handle the vocal style. All right, Sav, do you think so? [01:36:34] Speaker A: We are part of the Deep Dive podcast network again, like I always say, great bunch of guys took us in right away. If you want individual podcasts about bands like Rush, Judas Priest, Tom Petty, Zeppelin, Queen, you name it, it's probably on there. So definitely check them out. And mark, where can they find us. [01:36:52] Speaker D: On the Interwebs rock roulette pod on all the social media. We're also on Blue sky now, so find us out on blue sky. Rockwellettepodcast.com Submit a new bets you can get some new things there that I haven't picked because, you know, just if I pick everything, who knows how crappy it's going to be. So put some songs there, put us down on your podcast app, put us auto download. We're going to be changing our release date after this episode. Or actually when you hear this, these are going to be released on Tuesday. So we're going from Sunday to Tuesday to change up our release a little bit. Yeah, if you don't see us on Tuesdays, it's because, I mean Sundays, it's because we're on Tuesdays now. So we're going to change it up a little bit. [01:37:33] Speaker A: And if you know that you don't see us on Tuesdays, thank you so much. If you don't see us on Sundays, I mean, thank you so much. If you're sitting there going, where the is my rock roulette podcast. Thank you. [01:37:47] Speaker D: Yes. Yeah, we're just going to change it up. So, yeah, rate us wherever you rate podcasts and that helps us move up on the algorithm. And next week will be a wheel spin. Woohoo. [01:37:57] Speaker A: Yes. [01:37:58] Speaker D: Yep, lots and lots of albums on there. Alrighty, we will see you next week. [01:38:02] Speaker C: Bye, guys. [01:38:03] Speaker A: Ciao, ciao. [01:38:04] Speaker C: Later.