Episode 120 - Thin Lizzy - Jailbreak - Part 1

[00:00:04] Speaker A: This is our musical reaction breakdown and commentary analysis of this song. Under Fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now onto the Rock Roulette Podcast. [00:01:15] Speaker B: Hey everybody. Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1300 albums, stuck them in a list, stuck them in a wheel, and typically every other week we spin the wheel. She picks an album for us and we go through a track by track and we talk about the music, the lyrics, production, the arrangement and the melody and we just give it scores based on what we feel. Again, just a bunch of friends who love music want to do a podcast, nothing fancy. And again, we want to thank anybody who listens. Thanks for the support. Again, if you like it, spread the word, you know, see if other people like you, get them on board, Tell us what you like, what you don't like. We will always listen. You know, give us suggestions for the new bets. Give us suggestions for the mama wheel too. Whatever it is, man, will definitely listen. Tonight we are a duo. I have Mark. Oh, hi Mark. [00:02:02] Speaker C: What's up guys? [00:02:03] Speaker B: And I'm sad. So last time the Wheel picked Fiona Apple's debut album and not something I ever expected to cover on this podcast, but I'm kind of glad it came up. I like when stuff I haven't heard comes up. I think we all kind of like that. I mean, we do like the stuff we've heard, kind of for nostalgic reasons probably, but stuff like this where we may or may not know anything. We did know one song, maybe actually two songs. It was something different in terms of not all the albums sounded like the hit song. So there was some jazzy stuff there. Definitely some torch, I guess you call it a torch singing, you know, some stuff I liked, some stuff I didn't like. For what it's worth, I think lyrically she was very good. Some of the melodies and stuff maybe were a little. I mean, overall, I mean, I think it's something I want to kind of go back to and revisit because I know we talked about this before, where sometimes you hear a song in pieces and it doesn't gel as if hearing it all together. So what do you think, Mark? [00:02:59] Speaker C: Well, the reason it's on there is because. Just because of those two. Well, probably because of Criminal more than anything else. It was a big 90s hit, so I stuck it on the Wheel, not knowing what the rest of the album sounded like because I never heard it back in the day. I heard the two singles. I never heard Shadow Boxer, the first single, so I never heard that. So I only heard two. I thought it was interesting. It's like two different albums. The first part is so jazzy and the second part is not as much. So it leans more toward the Criminal side, but not really. I mean, really only super popular song on this Criminal. There could have been one or two on the second side that she could have released. She didn't do it. I guess I liked it. [00:03:32] Speaker B: Yeah. I mean, I. I forgot what song it was. But anybody who listens or if we go back and listen to there was a. At least one or two songs like they were that were in that vibe that maybe could have been hit. So. But, you know, it's all hindsight. Tonight is exciting because we get to spin two Wheels. As always, we're going to do our new Bets piece where we obviously listen to some newer stuff, but we get to spin the mama wheel too, and we get to do a full record. So that's always, always exciting. I'm still hoping for something. I feel like we haven't had 80s in a while since Wingers. Something like that could be cool. What do you think? [00:04:05] Speaker C: I want anything with guitar in it this time because I had a whole album of piano, so any kind of guitar of any sort at this point, I'd like. [00:04:12] Speaker B: Uhhuh. Cool, man. That's awesome. Yeah. Let's do new Bets. [00:04:17] Speaker D: In a world where new music is not easy to find. Welcome to New Bets. [00:04:32] Speaker C: I think it's my turn, right? So I'm going to let the wheel do its thing. [00:04:35] Speaker B: I see the Wheel. [00:04:36] Speaker C: Can you see the wheel? Okay. Right, let's spin it. Let's see what it throws out of this. This time I'm curious. All right, Will, do your thing. [00:04:55] Speaker B: Oh, Motley Crue, Dogs of War. [00:04:59] Speaker C: Frank should be here for this. [00:05:01] Speaker B: I. I wanted this one, I think. [00:05:02] Speaker C: Did you? [00:05:03] Speaker B: Yeah. Was this the first single that came out? [00:05:05] Speaker C: Yeah. [00:05:06] Speaker B: You know what? I only listened to it once. It didn't sink in at all. I said, if it comes up on the Wheel, I'm glad To give it a re. Listen and see what I think. [00:05:14] Speaker C: I don't think I'm going to like this. I didn't like when I heard it. I will give it a shot, but I don't know. [00:05:19] Speaker B: I didn't like it either. [00:05:20] Speaker C: So nothing they've released really since Saints of Los Angeles. Like maybe the one or two songs on that record and that's about it. Haven't been a big fan for a long time. I mean, I'm a fan of Motley Crue, but the new stuff that just nothing they've released has done anything. They releasing weird friggin covers too. Fight for your right to party right? They release some weird. All right, here we go. So this is Molly crew, Dogs of War. [00:05:57] Speaker B: Bastards. [00:06:00] Speaker E: Bastards. Bastards. Get it. Fall, they'll make your skin crawl they'll make the stars fall do they matter after all? Down, down, down, down don't let them take a crown don't let them scratch you Count down, down, down don't let those Fasters Faster Fasters get you down Black out the bright white noise Stand up and we'll destroy we don't love. [00:07:26] Speaker B: You anymore. [00:07:30] Speaker E: A black wolf is standing at our back door Staring at the bloodstain on the floor get it Whoa, whoa, whoa, whoa down, down, down, down don't let them take a crown don't let the Fasters catch you down, down, down, down don't let Fast as fast just get you down I will stand my ground I will not bat Down I will stand my ground I will not back down, down, down, down don't let them take your ground don't let the Fasters catch you down, down Blasters Fasters, Fasters Fasters get you down down, down, down don't let them take your ground don't let them Fasters get you down down, down, down don't let those Fasters Fasters F. Wow. [00:09:45] Speaker B: Dogs of or Motley Crew. First song in a long time. New guitar player, huh? What do you think? [00:09:53] Speaker C: It sucks. [00:09:55] Speaker B: Do you think it sucks? [00:09:57] Speaker C: It's horribly bad. If this doesn't show that they miss Mick Mars, nothing does. And it's not against John 5, because John 5's a great guitar player. It's like a mix between like 6am like the verses are like ghosts. I don't really know what's up. And if Vince Neil couldn't sing lines straight through when he was 25, how long did it take him to do this? [00:10:19] Speaker B: I'm not convinced that this was straight. This is. You know, this. I haven't heard Vince Neil sound like this since, you know what I mean? [00:10:28] Speaker C: Well, no, it wasn't straight. They cut it up and then they cut and paste it. [00:10:31] Speaker B: Yeah, but I don't know if that's all that's happening here. [00:10:34] Speaker C: Oh, there's auto, too. And there's got to be fixing going on too. [00:10:37] Speaker B: Yeah. I mean. So I will say this. I like it better now than I did before. I like the main riff, as simple as it is. The verse is okay. I don't like the chorus. The solo was pretty decent, though. I mean, I don't know. What do you think about the solo? [00:10:53] Speaker C: I think they're trying to make a new sounding music. And unfortunately for them, they're a legacy band at this point. No one wants to hear this kind of Motley cruelty. They would rather have a throwback record. Now, obviously they could do whatever they want. But as far as the fans go, like, I'm a fan of Motley Crue. I don't want to hear this. Like, I don't care about this. It does nothing for me. I have no attachment to this. Whatever they say about Mick Morris, can't play or whatever. I mean, obviously he still can play. We did his solo record. I didn't really like his solo record that much. But, you know, if it was a more older sounding Motley Crue sound, I would. I think it would have done better, probably. I don't know what this is for me. It's not for me. [00:11:31] Speaker B: I mean, I definitely don't like the production. The drums. The drums sound like Tommy Lee programmed a beat. That's what it sounds like to me. It's in his style that. You know what I mean? Some of the fills and the beat. But the sound of it is shit. I mean, it takes away to me all the power from it. Again, anybody listening who loves this kind of whatever. It's hard. And I like music that has this stuff. And I mean, that's the hardest part for me is that thing where I'm like, God, if the drums were just, you know what I mean, a little bit more powerful, whatever it is. But like I said, my son listens to. He's like, oh, my God, they sound so powerful. But maybe because it's. The music behind it is heavier. I mean, it's okay. It's all right. I don't know that I would say it sucks. But I wouldn't say it's good either. You know what I mean? [00:12:21] Speaker C: There's nothing here that redeems anything, you know, Maybe the melody is okay, but I don't know. The drums, you're right, are sounding like modern drums. And they did samples and it doesn't sound like what Motley Cruz, what his drums sound like when his drums sounded good. I'm not a big fan of that either. So, yeah, I don't really like this. I wanted to like it. [00:12:38] Speaker B: I mean, I think I mentioned it before. I was more curious to hear what Motley Crue did than what Mick Mars did personally. Because of what happened. And having a name player like John 5 in the band and seeing where they would go and see if they would do, you know, what they would do with it, all things being equal, this song does not surprise me. I don't. I mean, because I think they've done stuff kind of like this in this vein recently, maybe. But again, I really haven't listened to the newer stuff. It's. Whatever. [00:13:08] Speaker C: I'm glad it's off the wheel. [00:13:09] Speaker B: Yeah, I'm glad it came up, though, because I did wanted to give it a listen. I did wanted to give it another listen. And I haven't listened to it since. And I don't even. I'll be honest, I don't know that I made it through the whole time. The first time. There you go. [00:13:20] Speaker D: In a world where new music is not easy to find. Welcome to New Bets. [00:13:35] Speaker C: That was painful, dude. Painful. And you know that he had to, like, sing one word at a time. And then they took it and he got one thing down like. Like the. No, no, all that stuff. And they just copied and pasted it because, you know, he was. He was doing that in the 80s. They were doing one word at a time. So I can't think it's any better now. His voice is not better than it was. [00:13:54] Speaker B: I'd like to hear the song live, honestly, and see what they're. [00:13:58] Speaker C: I don't know if they do this live. [00:13:59] Speaker B: I'm just saying. I know he can't do that whole down, down, down, down. [00:14:04] Speaker C: I mean, again, John 5's a good guitar player, but. And he's good for copying this stuff that Mars did. But there is just something about Mick Morris and Motley Crue, Right? It's one of those things. [00:14:12] Speaker B: Mick Morris, I mean, we listened to it and yeah, maybe didn't completely sound like whatever, but there were times where he kind of had that vibe to it. And again, this is one song. I don't know what they have in the till, if there's anything other than what they've released already. I'm pretty sure there was a lot of backlash. Actually, I know that there's a lot of backlash because I was looking up the lyrics and then I read comics. And most of the comments were very negative. [00:14:38] Speaker C: Because, like I said, Motley Crue fans don't want to hear this. I mean, it's bad enough like, the later the Crew albums. We're not even too sure. Mick Morris says he didn't play much guitar. He maybe did some solos, but he didn't do riffs. I think DJ Ashworth was playing. The guy from 6am, he was playing stuff on there. I mean, that's why that was record Sound of the way they did. Like, he didn't want to do that stuff. I mean, I wasn't, like, super duper happy with his record either. I was expecting something else, too. No, I need a pallet cleanse. [00:15:04] Speaker B: I think 6am had some good stuff, didn't they? If I. I think I listened to it once. I don't remember it. [00:15:09] Speaker C: I don't know. [00:15:10] Speaker B: I don't remember. I mean, again, I don't know. Cocaine. What's it, The Code, The Overdose, Die, The Cocaine Diaries, something like that. Heroin Diaries, I think it was. [00:15:18] Speaker C: That sounds odd. Wasn't that a book of his? Was that his book? [00:15:21] Speaker B: I think so. [00:15:22] Speaker C: Let's spin the big wheel, and let's see what the big wheel can save us, hopefully. All right, Big Wheel, do your thing here. [00:15:49] Speaker B: Thin Lizzy, Jailbreak. This is. I think this is one of their big ones. [00:15:53] Speaker C: I think so. And, you know, this is another band that I don't know a lot about. I know some big songs from them, but I've never listened to albums straight through. [00:16:01] Speaker B: Me neither. Either that or I've tried. And, I mean, people go crazy for them. And it's funny because there's. I think after Bill Leonard died, they had another band. Black Star Raiders, something like that. And I think there's two people from there that are still alive, that are kind of doing separate things. Because I heard somebody talking about it, you know, why do separate things when you can do same things? And I think the name is still out there, possibly. [00:16:22] Speaker C: Really? [00:16:22] Speaker B: I think so. That's what they were saying. Again, I'm not. You're right. Like, this is another band you hear so much about. And obviously, you know, the boys are back in town. Such a massive. I think it's on here. [00:16:31] Speaker C: Maybe it is. [00:16:32] Speaker B: And this is another band. It's like a cheap trick, right? People. So many people just talk about them. And this is another band where it just traverses boundaries and you hear, like, people from all areas of rock. Just talk about Tim Lizzie. [00:16:45] Speaker C: Yeah. So who is in this version of Tim Lizzie? Like I know very little. Well, I know names here actually. Phil Line, bass guitar, acoustic guitar, vocals. Scott Gorham, lead guitar, guitars. He's played with other people too, right? [00:16:57] Speaker B: I think so, yeah. [00:16:59] Speaker C: Black Star Riders. So he's done a bunch of stuff. Brian Robertson, lead guitar. He was in the average white band in Motorhead. Oh, and then on drums, Brian Downey. I guess Phil Tim Lizzie is really his main thing. So I mean this is a big. This seems to be a big record and there's a lot of. A lot of stuff on here. [00:17:17] Speaker B: Yeah. [00:17:18] Speaker C: 35, 52 short record. [00:17:20] Speaker B: Oh, nice. I have this on vinyl. I know that for sure. I've listened to this record because. Because like I said, I do have it on vinyl. I think it's one of my 10 cent specials. I don't remember it. And again, I think it was one of those where I kind of expected to like more may not have. This is going back. [00:17:37] Speaker C: So I'm trying to see what this thing did to 18 on the U.S. billboard 200. So that's pretty big. It sold full 500,000. I mean for them that's probably a big thing. It went gold. [00:17:47] Speaker B: Yeah. [00:17:48] Speaker C: Yeah. This is a band like I've always heard things about. I know the big name songs generally, you know. So I'm not really too versed in like all their stuff. This for me is going to be good because I know it's going to be guitar in here. I'm good. [00:18:00] Speaker B: Oh yeah, yeah. [00:18:01] Speaker C: So they had the boys and back in town. Jailbreak's the first song we're going to be playing. The title, it doesn't look like a charred. In the United States. They were bigger in Europe I think generally, right? [00:18:10] Speaker B: Maybe. But I mean again just I hear so many people talk about them. [00:18:13] Speaker C: Phil Line that wrote pretty much everything. Other people in the bandwidth generally. He co wrote everything. [00:18:18] Speaker B: Yeah. [00:18:19] Speaker C: Cool. I'm excited. All right, let's do this. So here's the first one. This is jailbreak. [00:18:41] Speaker D: Tonight there's gonna be a jailbreak Somewhere in this town See me and the boys we don't like it so we're getting up Go down high to low Looking right to left if you see us coming I think it's best we move away do you hear what I say from under my. [00:19:05] Speaker E: Breath Tonight is gonna be a jailbreak Somewhere in the town Tonight there's gonna be a jailbreak so don't you be around. [00:19:22] Speaker B: I may remember this I'm not. [00:19:23] Speaker C: Sure I've heard this before. I heard. I know the riff. [00:19:27] Speaker B: Yeah. I mean, it's okay. [00:19:28] Speaker C: His vocals are very distinctive. [00:19:31] Speaker B: Yeah. I mean, it's funny because he reminds me of. Even the song reminds me a little bit of. And I don't know, he may have mentioned them as a. [00:19:36] Speaker C: As. [00:19:37] Speaker B: I know, a little like Bruce Springsteen. It reminds me of, like, his. His first couple of albums. It really kind of reminds me of, like, that. The COVID is really cool, by the way. I don't know if you saw the COVID It's very. Very comic book. [00:19:50] Speaker C: Yeah, that's cool. I like the guitar tone. It's very 70s. This is 76, so this is their sixth album already. [00:19:57] Speaker B: Yeah. [00:19:57] Speaker C: The guitar playing is good so far. Drums sound good. Real drums. Right. You can tell the difference. [00:20:02] Speaker B: Yes, yes. [00:20:03] Speaker C: I haven't been listening for the bass, though, so I want to kind of. I want to listen for that because he's the bass player, so. Right. [00:20:07] Speaker B: Yeah. [00:20:07] Speaker C: I didn't hear about it, so I'm very curious, but I like it so far. Tonight there's going to be a jailbreak Somewhere in this town See, me and the boys, we don't like it so we're getting up and going down hiding low Looking left, right to left if you see us coming I think it's best to move away do you hear what I say from under my breath? And the chorus is, tonight there's going to be a jailbreak Somewhere in the town Tonight there's going to be a jailbreak so don't you be around. Don't you be around. You know I'm not spectacular words, but not horrible either. Yeah, I like the melody, too. [00:20:40] Speaker B: Apparently, this song was in. Yeah, Grand Theft Auto 4 and Guitar Hero 5. [00:20:45] Speaker C: Yeah, I'm sure it was in Guitar Hero. I've never tried playing any really Thin Lizzie songs, but it sounds like a fun song to play. I like the riff. Boom boom. It's classic rock. Right sounding. So it's of the time frame. [00:20:56] Speaker B: Yeah, absolutely. Yep. [00:20:58] Speaker C: All right, let's continue. [00:21:00] Speaker D: Don't you be around tonight there's gonna be trouble Some of us won't survive See the boys and me mean business Busting out dead or alive I can hear the hound dogs on my trail all hell breaks loose Alarming sirens Will like the game if you lose, go. [00:21:35] Speaker E: To jail too late. There's gonna be a jailbreak Somewhere in the town to make the skill way to go to be around to make the go of each trouble I'm gonna find myself in tonight the gonna be trouble so stay with. [00:22:07] Speaker D: You know, it's. [00:22:18] Speaker B: I actually like that part the best so far. And I like how it went louder. [00:22:24] Speaker C: I generally like the song. [00:22:26] Speaker B: Yeah, it's not bad. [00:22:28] Speaker C: No, I can see why it was a single. It's catchy. I like the little guitar things in the chorus. That's pretty cool. They make really good use of two guitar players, right. Not just playing the same thing. The bass is kind of following what the guitar is doing. [00:22:40] Speaker B: Yeah. [00:22:41] Speaker C: It's a little hard to, like, hear the bass itself. It's not really standing out too much. But he's also singing, so it's got to kind of be good for him to sing. So it's not that he can just play and sing. I mean, obviously he can play and sing, but the more complicated is, the harder it gets for him to sing. So verse two is, Tonight there's going to be trouble Some of us won't survive See the boys and Mimi Business busting out Dead or alive I can hear the hound dogs on my trail all hell breaks loose Alarms, sirens wail like the game if you lose, go to jail and chorus. And then they call this a post chorus. It's basically just a different chorus. It says, tonight there's going to be trouble I'm going to find myself in Tonight there's going to be trouble so women stay with a friend, you know, it's safer. Break out. I was. I was like the yelling right before the solo some. Whatever that is. I agree with the Pot of Thunder guys. Anytime you yell something right before the solo, generally. So it's good. I don't know why that is. [00:23:39] Speaker B: Maybe it. It. What do you call it? Amp something. Guitar player. [00:23:42] Speaker C: He's like, oh, yeah, maybe. [00:23:43] Speaker B: But that was like when we did Poison, right? God. We always like, God. How many times did he go CC on purpose, probably. Maybe it'll wake him up. [00:23:52] Speaker C: I'm generally liking this. I'm generally liking the vibe. I like the melody. I like that his voice is very distinctive. I mean, obviously when he, you know, when he sings, you know, it's him. It's like one of those things. Right? I mean, I don't know who his influencers are, singing wise, but I don't. I don't feel there's a lot of, like, stuff that pointing at, like, trying to just be a copycat of anything to me. Not that I can hear, but I like it. All right, let's back it up. Let's do so. Here we go. That was surprising. [00:24:56] Speaker B: Yeah, just noisy. [00:24:58] Speaker C: I like the Riffs and stuff. They were playing. They had, like, the sirens going on. I expected more of a solo, but. Okay. Yeah, I'm okay with that. Maybe it didn't need the solo. [00:25:06] Speaker B: Yeah, man. I like. I mean, they did the. What do you call it? The. The police noises and everything. Because, I mean, supposedly the song is just about a jailbreak. It's not a metaphor for anything. [00:25:16] Speaker C: No, I don't think so. So, yeah, I mean, listen, it's catchy song. I like it. It's cool. I'm more curious to see some of the things I don't. I've never heard before. You know what I mean? Just. I always want to see stuff that. I don't know. Like, I know a little bit of this because I've heard the ref and stuff, so. I think I've even seen this video for this. There's probably. Probably a video for this of some sort. Even in the late seventies. [00:25:35] Speaker B: It could be. Yeah, pizza. Would they promo videos, right? That's what they called them back in the day. As opposed to music videos like kids. [00:25:43] Speaker C: Had and Van Halen had. They had some weird stuff that they put out before, like, video was big thing. All right, let's continue. Here we go. [00:26:01] Speaker D: Tonight there's going to be a breakout into the city zones Don't. Would you dare to try and stop us? No one could for long Search light on my trail Tonight's the night all systems fail hey, you, good looking female, come here. [00:26:27] Speaker E: Tonight there's gonna be a jailbreak Somewhere in the town Tonight is gonna be a J Tonight it's gonna be trouble I'm gonna find myself here Tonight is gonna be trouble so make me stay. [00:26:56] Speaker B: I was surprised I didn't end up with some kind of effect. I thought that would have been cooler, like some police sirens or whatever. [00:27:02] Speaker C: It could have. [00:27:03] Speaker B: Yeah. [00:27:03] Speaker C: I do like it generally, though. [00:27:05] Speaker B: So just quick, before we go into the scores. I guess I didn't remember how long Spring Scene's been around. His first album is 73, so remember when I said it reminds me of, like, his very early stuff. Apparently one of the critiques was it harkens too much to Springsteen. And it's funny because the boys are back in town. Always reminded me of Bruce Springsteen. Like, when we get to it and listen to the lyrics and everything. That's funny, though. Like, I thought that. I thought that this was. I forgot how early he was around. [00:27:36] Speaker C: Yeah, I could hear the influence there. It does sound like him a little bit. Well, let me read verse, the last verse, and then I Guess I'll go first. Tonight there's going to be a breakout into the city zones. Don't you dare to try and stop us no one could for long Searchlight on my trail Tonight's the night all systems fail. Hey, you, good looking female. Come here. And then basically, yeah, basically about. You're. Like you said, it's literally about. About a breakout. [00:28:05] Speaker B: Yeah. [00:28:06] Speaker C: I think I'm gonna do Sevens across because I really do like this. I wish there was a guitar solo, but I could live without the guitar solo. I'm just happy there's guitar of some sort. So I think there'll probably be more. So I'm gonna do. I'm gonna do Sevens Across. I'm going to stay conservative like that because I think this is one of the songs that I know. So we'll see if the other things I like any better. So I'm going to do this. [00:28:25] Speaker B: You can't start a fire without a. [00:28:26] Speaker C: Spark but there's something that I guarantee it's quintuple 7. Nikki Titty Baby what do you think? [00:28:32] Speaker B: You know, it's actually funny. I don't know if I mentioned this before, but I feel that, you know, obviously Nick hasn't been able to join for a while, but he's always with us in Name Without a Doubt, because his name comes up a lot more than hours because we only do our early intros. And then Nick is always. Is always in there. So I don't know. Like, I think it's a decent song. I don't think it's a great song. Like, it's. It's okay. I'm gonna say again, let's start conservatives. I say five on the lyrics. I mean, they're okay. They're typical music. Music is okay. I'll say six. Production. I'm gonna say seven. I mean, I like the production. It sounds the way it's supposed to because it's funny. In the beginning I was like, oh, you know, I wish I had a little bit more oomph. But they added the oomph later on. So, I mean, clearly it was all calculated. And so I think it was. It was good for what it was. I don't say sixes on the. The other two. It's not bad. It just. It maybe just didn't grab me as much. [00:29:31] Speaker C: The next song is angel from the Co. [00:29:49] Speaker D: The Sacred Heart is Bleeding. Go tell the holy Ghost that the junkie is cheating to get the things he needs the most lady luck has got me covered Keeping her watchful eyes over me the lovers are discovered the charge is first degree. [00:30:33] Speaker B: I like that. The main ref. And actually, I like the way they did it here, too, where they didn't go right back. You know what I mean? They didn't do, like, a couple of bars of it. They built upon it, so I like that part. I'm just. The melody is a little. [00:30:45] Speaker C: It's his delivery. I think that's what you're getting. His delivery is very dry. And his vocals, there's like. They have no effect at all. It's like. [00:30:54] Speaker B: Not that he has a bad voice. [00:30:56] Speaker C: No, he doesn't have bad voice, but it's a very dry delivery. He almost sing talks. [00:31:02] Speaker B: Yeah. I mean, I feel like that riff needs more behind it in terms of what's going on, because I think it's pretty cool. Like, I don't think so far this one's produced as well as the first one, I don't know. Because I like that. You know what I mean? That thing that's going on, and I feel like it just needs again, a little bit more oomph. [00:31:22] Speaker C: The guitar tone's a little weird during that part. I. It's. I don't know. It's very, like. Feels like it's farther away. I don't know if. I don't know if I like the sound of that that much. It's interesting. I could tell right now. I don't really like it as much as the first song right at the moment. All right, let me read some words. The sacred heart is bleeding Go and tell the holy Ghost that the drunk is cheating to get things he needs the most Chorus. Lady luck has got me covered Keeping her watchful eyes over me the lovers are discovered the charge is first degree it's fine. [00:31:57] Speaker B: I mean, apparently he had. He was a big addict. I'm wondering if that kind of feels a. Sacred heart is bleeding. I mean, I'm. I mean, they were Irish. I don't know if I was, like, in terms of religion or the drunk is cheating. It almost sounds like somebody doing what they need to do to get what they need, But I don't know. I didn't. I didn't see anything written about it, opinions or. [00:32:18] Speaker C: And I'm just curious to see where it goes. [00:32:21] Speaker D: Angel, she's a killer she's just rolling from the coast make the hit, it's a winner Leads you dead past the post and Sally's took to playing poker and the joker's her favorite card and the drunk, he can't stay sober he says it's oh Much too hard. [00:32:48] Speaker E: It's much too hard. [00:33:54] Speaker B: What do you think of all that? [00:33:56] Speaker C: Some of it I liked. Some of it felt like it start off too quick. Sounds like a little bit of Doobie Brother sound going on a little bit. I don't know if that. If you heard that. Some of it sounded like that to me. [00:34:07] Speaker B: I mean, I like the way it started and then I do like, you know, that it kind of broke up a bit. I think that it shouldn't have gone back into the same thing with nothing playing. I think had a cut off sooner at the end with the verse coming in quicker. I would have liked it better because I did like the way it started. And I do like the little solo piece that came in. I thought that was pretty good. You know, the drums of. Obviously they. You know, he's doing pretty well. Then when it kind of went back in and before the verse, I'm like, okay, now it's a little bit too much maybe, but it's not bad. Yeah. [00:34:43] Speaker C: And I've never really heard much from them, so I don't really know how to take this. There's more bass playing in here too. I heard some bass stuff and it was pretty cool. I mean, I think in general. Yeah, they're accomplished players. They're doing some cool stuff. [00:34:56] Speaker B: Yeah. [00:34:57] Speaker C: I just don't think it's. I don't know if it's all like cohesive though, which is, you know, could be a thing. And again, I've never heard this, so I might take a couple of times listening to this to kind of get through that. [00:35:07] Speaker B: Yeah, exactly. I mean, we do talk about that a lot sometimes on first lesson, things don't hit you and you go back to it. Just like, listen, there's probably stuff that we've given sevens and eights to. Then we may go back and say. [00:35:22] Speaker C: Possible. [00:35:24] Speaker B: So. [00:35:24] Speaker C: Well, let me read words because the chorus here is totally different than the last chorus. So he's changing it up. So verse two is angel, she's a killer she just flown in from the coast Makes the hit, it's a winner Leaves you dead past the post chorus and Sally's took to playing poker and the joker is her favorite card and the drug and the drunk he just can't stay sober he says that. He says it's, oh, much too hard it's much too hard. [00:35:51] Speaker B: Yeah. I mean, the lyrics are cool. [00:35:53] Speaker C: Yeah. And the mere fact that he doesn't repeat the chorus twice the same way. I think even the third chorus is different. So there's really no Repeating in this at all. [00:36:10] Speaker D: What'S happening across the hall? Someone seemed to be groaning you could. [00:36:17] Speaker E: Hear it through the wall and the. [00:36:21] Speaker D: Cops, they came like lightning the bullet flew astray and the noise, it was. [00:36:29] Speaker E: Frightened but the crook, he got away. [00:36:33] Speaker B: Got away, got away, got away Was that it? [00:36:37] Speaker C: Yes. [00:36:39] Speaker B: That was a weird ending. [00:36:40] Speaker C: I know. [00:36:41] Speaker B: I was waiting for more. [00:36:42] Speaker C: It's a super weird ending. [00:36:45] Speaker B: That was a weird ending. [00:36:46] Speaker C: Now, let me read the verses and then we can kind of vote on this. So verse three. Meantime, something seedy was happening across the hall Someone seemed to be groaning you could hear it through the wall and the cops, they came like lightning the bullet flew astray and the noise, it was frightening but the crooky got away so I'm not too sure what this is all about. It's like every. It's all over the place. [00:37:09] Speaker B: Yeah. I mean, it sounds like some criminal activity going on. [00:37:12] Speaker C: No, that's what I thought. Yeah. But I mean, it kind of goes in different places. I mean, I like the mere fact that he changed up, like, every verse and every chorus. He didn't keep it the same. [00:37:22] Speaker B: Yeah. [00:37:23] Speaker C: I just don't know if it's a super cohesive song. There's parts, like, the middle part, there was some cool, like, dual guitar things, which I liked. And then it went into, like, the Doobie Brother kind of stuff. And then it kind of, like. That ended too short for me. [00:37:35] Speaker B: Yeah, that was a weird ending. [00:37:36] Speaker C: I'm gonna go first again. I'm gonna say five on the lyrics and the melody. I'm gonna do six. The musicianship, I'm gonna say I'm gonna do six on that. I wish that that solo part was a little bit longer. I mean, it's a short song, only three minutes. Arrangement, five. And production. I don't think it's produced as good as Jailbreak. So I'm gonna say six. I mean, it's not horrible. I'm trying to get my bearings about what they do and what their style of music is. So this is only the second song on the record, and I haven't heard a lot of their stuff. So I'm trying to figure out, like, where I want to be with this. It's not horrible. [00:38:12] Speaker B: I gotta think down. I'm gonna say six on the lyrics because the last one's a five. I do like these better. Kind of paints a little bit of a picture, and I like some of the couplets. He did music, you know what I mean? I think I was gonna do sixes across. Yeah. You know what I'M gonna do sixes, except for range. Right. I think I'm gonna do a five on that one. Too close. And again. It's not. It's not terrible. And once. Once it came back to the verse and the chorus, I felt like I was liking it better. And I did always like that main riff. So, again, you know, you gotta take all this stuff with a grain of salt sometimes, because we break it up, we only hear it once. And sometimes things don't impact you the way they should. Or could. I should say. So, yeah, it's not bad. Either one of the songs are bad. [00:39:01] Speaker C: They never came back to that main riff. [00:39:03] Speaker B: No. [00:39:03] Speaker C: Which I would have liked. Maybe end it. Or between the verse again. They never really came back. The next one is Running Back. [00:39:42] Speaker B: Over. [00:39:43] Speaker D: Can you guess my name? I make my money singing songs about you it's my claim to fame when they say it's over it's not all over there's still the pain and I come running I'd come running back to. [00:40:06] Speaker E: You again oh, I'd come running I'd. [00:40:11] Speaker D: Come running back to you again. [00:40:17] Speaker B: Little Diddy. [00:40:19] Speaker C: It sounds like Bruce Springsteen to me, too. [00:40:21] Speaker B: Yeah, it does remind me of Bruce Springsteen. [00:40:23] Speaker C: It's got a little bit of saxophone in it. But I gotta say, though, the way he sings his vocal here, I like this type of him singing whatever he's doing here. The melody and the way he's phrasing with his voice, I like the way they sound. [00:40:37] Speaker B: Yeah, me, too. I think. I think he's doing a better vocal than the first two. There's a little bit more motion. It feels like behind that. Yeah. I wish the keyboard. I wish it was more. It was a piano, not an electric thing, you know what I mean? I think it would have made a little bit more vibrant. It sounds a little dinky. [00:40:59] Speaker C: Who's the name of this guy? Tim Hinckley is playing keyboards and running back. [00:41:04] Speaker B: Isn't that the guy who tried to assassinate Reagan? [00:41:06] Speaker C: No, that's David Hinckley, I think. I mean, he's recorded with lots of people. Steve Marriott, Alvin Lee, Humble Pie, Whitesnake, Roger Daltrey. So he's done a lot of stuff. [00:41:23] Speaker B: So actually, he said this was influenced by Van Morrison, which also makes sense. [00:41:27] Speaker C: I can hear that, too, actually. [00:41:29] Speaker B: Yeah. [00:41:31] Speaker C: Yeah. Like I said, the melody in here, I like a lot. I like his singing in this. Whatever it is. It's the way he sings here. Just. I like the way it sounds. All right, so I'm a fool now that it's over can you guess my name I make my money Singing songs about you it's my claim to fame when they say it's over it's not all over there's still the pain and I'd come running I come running back to you again oh, I come running I come running back to you again I like these words better. [00:42:00] Speaker B: I think I read a little thing. That said, Lynette and producer John Alcock decided to employ session musicians to add more commercial elements to some of the tracks and try to produce a hit single. So Tim Hinckley was brought in to add keyboard parts to Running Back. Robertson was against the idea, as he liked the song as it had originally been arranged in a blues format with his own additions of piano and bottleneck guitar. [00:42:26] Speaker C: That's interesting. [00:42:27] Speaker B: Yeah. I'd be curious if we. If it's floating around somewhere. [00:42:30] Speaker C: Well, I guess he was like. He said he was trying to make a hit. Right. This is like the sixth record. Like, you need to do something. [00:42:36] Speaker B: This is very catchy. I mean, for what it's worth. [00:42:39] Speaker C: Yeah. And, you know, 76. What was Springsteen doing in 76? What album was out in 76? [00:42:44] Speaker B: I think Born to Run was 75, his third album, which was his big. His big breakthrough. He's probably still on that tour because it was in between Born to Run. In darkness on the edge of town. [00:42:56] Speaker C: Yeah. See, this thing does have, like, a little bit of that, a little bit of Van Morris. I hear both of those things. It's catchy. I like it. All right, let's continue. Here we go. [00:43:05] Speaker D: If I said I was sorry Would you still leave me? I never thought you'd go till you. [00:43:14] Speaker E: Did Believe me. [00:43:19] Speaker D: When they say it's over it's not all over completely. Cause I'd come running I'd come running. [00:43:29] Speaker E: Back to you again yes, I'd come. [00:43:33] Speaker D: Running I'd come running back to you again I miss that girl. [00:44:17] Speaker B: What did you think of that? [00:44:18] Speaker C: Parts of it that I like. I think, to me, it repeated itself too much. I don't know if that makes sense. Like, I like when he did the things he did, but I just felt like he was just repeating, repeating, repeating. I mean, maybe because they want us to be a single, I guess. I don't think it was very well put together for a single solo. I think you could have done something else. You could have used the melody. I don't know. I don't hate it. I mean, it's not bad. Would like something different, I think. [00:44:43] Speaker B: Yeah. The drums just fell out, really. I mean, it was almost like he was just playing a tambourine. [00:44:48] Speaker C: A lot of things are like that, though. Like, even though saxophones are really low in the mix here, like, the mix isn't great. [00:44:53] Speaker B: Yeah. It's odd. [00:44:54] Speaker C: And then some of the guitar parts are, like, really back there. [00:44:57] Speaker B: Yeah. [00:44:58] Speaker C: I mean, I don't think productions is good. [00:45:00] Speaker B: No, not especially. If you're like, this is going to be a single. [00:45:03] Speaker C: I mean, the melody's good. It is very catchy. So verse two is, if I said I was sorry Would you still leave me? I never thought you'd go till you did Believe me when they say it's over it's not over completely. And then back to the chorus. Not bad. Catchy. [00:45:20] Speaker B: I think the lyrics to the other ones are better, though, just because, I mean, all right, Jailbreak is about a jailbreak, but I think the one before this was more about. So this, to me is more like, hey, I could be wrong like, hey, we need a hit. What can I write that's simple and you know what I mean? So it's not that the words are bad, but I feel like the other ones were a little bit more thought out. This seems simple on purpose. And again, not that they're bad. They're fine. They're not as heavy. I think the other ones, even the first one's a little bit heavier, kind of. [00:45:49] Speaker C: Yeah. This is just about a girl But I'll come back to you again you know what I mean? So it's very straightforward. So, I mean, it's not horrible. But I like his melody. I think the melody is what I like more than the words, actually. So. Okay, let's continue. Here we go. [00:46:07] Speaker D: Just leave me by myself I'll be all right here on my own if it's all over it's all over and I'm all alone and I'd come running I'd come running back to you again don't you know I'd come running I'd come running back to you again loud. Oh, my. [00:46:55] Speaker B: There you go. You got your fast fade. [00:46:58] Speaker C: I like fades. But that little part at the end. [00:47:01] Speaker B: That was really fast. [00:47:02] Speaker C: No, I know, but that part at the end there. He's trying to make something catchy, but I don't think it worked the way he wanted it to work. [00:47:08] Speaker B: No, and it was too short. Right. I mean, this isn't like. Again, Van Mars and where he basically makes a whole chorus out of saying that. [00:47:18] Speaker C: Verse 3. The show is over we must all go home Just leave me by myself I'll be All right here on my own if it's all over it's all over and I'm all alone Then back to the chorus and then the Lord My, my, my TRA la las la la Nas. He was trying to do something cool. It just. I don't think it. I don't think it worked out to be as catchy as he thought it was going to be at the end. [00:47:42] Speaker B: And then it faded out on it, too, which is like, quick. [00:47:44] Speaker C: Yeah, too. I'm all good with the fade, but I think it did fade out way too quick. I think he could have. He could have stretched that out if he wanted to make that part really super memorable. But it was. It faded out pretty quick. Why don't you go first? [00:47:55] Speaker B: I mean, I'm gonna say a five on the lyrics because I gave the other one six. Again. It's just. It is what it is. I don't know. Production. I'm gonna say five. Two. I want to ding the production because, again, just a certain. But most of most of the point, it just felt like the background faded out. It was all about his vocals, which, again, I'll say melody is a six. I do think that it was the catchy melody so far. Oh, our Ranger was fine. I mean, that. That part in the middle was kind of weird. I've. It was almost too complex for what was going on. I'll save five on that, too. And music. Five on the music. I mean, it's okay. So I'm. I'm bobbing my head throughout the whole song. Without a doubt. So I guess it. It did what it had to do. But as a song itself, I thought it was. I don't know. I thought it was okay. And again, I think I would have liked different instrumentation. I don't know what the original sounded like. And apparently it was re recorded in 2021. Robertson. Oh, 2011. I'm sorry. Re recorded it too. So I'd be curious to hear that. If it's like the original, if you had a brand new take on it. What do you think? [00:49:06] Speaker C: I think I'm gonna agree on the lyrics. I'm gonna give that a 5. I like the melody more than you do. I'm gonna give that a 7 because I think I like the melody a lot. That's my favorite part. Musicianship. I don't know if I can give it a five. I mean, I think it's played well. I think I just. I think it's more in the arrangement. And I'm gonna ding it because I think the Guitar solo could have been better. I think it could have been arranged a little bit better. I know what he was trying to go for, but I don't know if they actually. Actually got it to where they wanted it to be. So I'm gonna say six on the music. I'm gonna say five on the arrangement and five on the production. I don't like the production at all. And the arrangement really is where I have to ding it, because I just don't think it ended up being where they wanted it to be. There was all elements for. It could have been something, but it never really materialized. That makes any sense. [00:49:52] Speaker B: Yeah, it does. [00:49:55] Speaker C: I mean, he has some cool names of songs on the next song. Romeo and the Lonely Girl. It's a good name. [00:50:00] Speaker B: I mean, I was just gonna say that. I mean, I think for a song that was supposed to be hit, I can. I can hear it being a hit. I can understand it's the catchiness and stuff. And again, it could be a song that eventually draw on me and maybe I'd give it better scores here in the moment. [00:50:13] Speaker C: Yep, here's Romeo and the Lonely Girl. [00:50:22] Speaker D: Romeo and the Lonely Girl they seem to hit it all Till Romeo only told the lonely girl I must take my lead, my love it was these few words I overheard Thought I would. [00:50:42] Speaker B: Move in. [00:50:44] Speaker D: But before I could the lonely girl had fallen in love with. [00:50:49] Speaker B: Kenya. [00:50:52] Speaker E: Oh, Borobio send out all this omeo. [00:51:06] Speaker B: Roll me over. I don't know. [00:51:10] Speaker C: It's in his style, though. [00:51:11] Speaker B: Yeah. And I. That riff sounds so familiar. And I don't know if it's because it's just two simple chords that were put together. You know what I mean? But again, I don't. I don't know. I don't feel like there's a massive distinction. It's kind of. Again, to me, it's one of those run ons, I feel. I mean, musically. And listen, like you said, I have nothing to compare this to with them. What is it that you said? This is their sixth studio album. [00:51:33] Speaker C: Yeah, sixth. [00:51:34] Speaker B: Yeah. So again, I don't really know them to say what's what and what sounds like what. And people could be like, well, you're kind of saying this, but this came out first and. Absolutely. But again, I feel Springsteen and Doobie Brother vibes in this song, too. You know, the doobies were out before this album. I don't know, it just. It's kind of boring to me right now. [00:51:52] Speaker C: Well, because you hear the big song like, Boys Are Back in Town. That's such A big song, it's such a popular song. You expect other things to be like that. It's a little hard because you know it's coming up and you're trying to compare that to this or compare this to that. [00:52:04] Speaker B: I mean, I. Yeah, I really am, like, trying not to, like, because, I mean, the first one wasn't. You know what I mean? I mean, that was straight up a rock, you know, 70s classic rock song, like without a Doubt, you know what I mean? And it's like they kind of did that. And now since then, three songs later, we haven't really gotten anything like that. I feel. I don't know. I mean, that's kind of what I feel. [00:52:27] Speaker C: Yeah, no, I can hear that. All right, let me read some words again. I love the. I love the name of the song because it's just not a normal thing. But I don't know if it's going to live up to what I expected to be. But Romeo and the Lonely Girl, they seem to hit it off to Romeo he told the lonely girl I must take my leave, my love it was these few words I overheard Thought I would move in but before I could the lonely girl had fallen in love again oh, poor Romeo sitting out on his o'neo opor Romeo. I think what makes it okay is just the way he sings it. Makes it better than maybe what it is. I'm not too. [00:53:02] Speaker B: I mean, listen, there's a sentiment there, right? [00:53:04] Speaker C: Yeah. [00:53:05] Speaker B: I mean, it sounds like this girl. Romeo left this girl and he thought this guy thought he was gonna come in. Could be wrong. [00:53:10] Speaker C: No, that's exactly what I think it is. And then. [00:53:12] Speaker B: Yeah. [00:53:12] Speaker C: And then she's like, nope, sorry, I found somebody else. Sorry. Damn it. [00:53:16] Speaker B: Even though it says, oh, poor Romeo. I don't know, it's weird. That's weird. [00:53:23] Speaker D: Romeo, he had it rough. The guy you'd like to burn. But everything that Romeo had, you can bet it was well earned for all his good looks there were scars that he took and a lesson to be learned Never judge lovers by good looking covers the lover might be spurring. [00:54:22] Speaker B: I figured it's all coming up. [00:54:23] Speaker C: What do you think of the drums? [00:54:25] Speaker B: So I think he's doing some cool stuff. He's doing some. Some cool fills and things like that, I think. I mean, he's been solid all throughout, but again, even in this song, he's buried right. He's buried in the background again. [00:54:37] Speaker C: Yeah. [00:54:38] Speaker B: And I feel like if you watch him play this song, you're like, yo, the drummer's doing some Cool. But I can't really hear him. But, yeah, I think the drum has been pretty solid. [00:54:47] Speaker C: I was gonna say the same thing. It feels like he doesn't have as much punch the drums as it could. [00:54:50] Speaker B: No, I mean, it's like the first song had the best production, I think. So I'm actually think. No, the second. I don't remember what I gave the second one, so. Starting to get hazy already. But I don't know, it's just. I mean, this wasn't released. [00:55:01] Speaker C: You gave the first one better. [00:55:03] Speaker B: Yeah, I think this wasn't released, but they said it was a big live song for them. So my guess is that this song live, probably had a different feel to it. Without a doubt. [00:55:11] Speaker C: Of course. It's very catchy, I think. [00:55:13] Speaker B: Yeah. I mean, again, it's not bad, but it's nothing where I'm like, holy. Have you heard that? Then Lizzie record? Yeah. You know what I mean? [00:55:20] Speaker C: Yeah. What was the reception to this thing? The Village boy said he'd like an album to Bruce Springsteen's cast offs, finding Lynette's lyrical ideas boring and Gordon's guitar secondhand through a barely of Classic Rock magazine referred back to the Village Voices appraisal, writing that both Springsteen and Lynott were indebted to Van Morrison and his Celtic soul remarked how Jailbreak line its best attributes were coming on strong in a retrospective. They said Jailbreak is a truly exceptional album with a dimension of richness and sustains, but there is such kinetic energy to the band that it still sounds immediate no matter how many times it's played. I can see both ways. Like, maybe at the time this was released, people are like, yeah, this is like Van Morrison and Bruce Springsteen together. [00:56:01] Speaker B: Yeah, but I mean, Pitchfork gave it a 9.1 out of 10. [00:56:04] Speaker C: I don't know. I can find the parts in here I like. I don't know. Is it because of his vocals? Is it because you're taking the songs that, you know, like Boys Are Back in Town and you're like projecting that onto this and you can't really do that. [00:56:16] Speaker B: But I don't think it's that far removed when I'm hearing it. I don't. I don't think that the Boys Are Back in Town was made by different band. I can hear that in here because I think that's a mix of this and Jailbreak. But again, I just feel like Jailbreak was one song and these next three are three other songs kind of. I don't know. I don't know. [00:56:35] Speaker C: Well, his Vocals are very unique. [00:56:37] Speaker B: Yeah, I like his vocals, his voice. [00:56:39] Speaker C: The way he does stuff. It does help the songs out, even though they may be not as good as you would like them to be. But his vocal kind of saves a lot of this, I think. Verse two is Romeo, he had it rough the guide you'd like to burn but everything that Romeo had, you can bet it was well earned for all his good looks there were scars that he took and the lesson to be learned Never judge lovers by good looking covers. The lover might be spurned. That's interesting lyric. He got spurned Rhyming were learned. That's not bad. [00:57:06] Speaker B: I did like that. Yeah, that I actually, that's. I was gonna say that I really. I like those, you know, it's simple. But I like the way he put that stuff together. I thought that was a pretty good two bars, two lines, you know, two couplet. [00:57:19] Speaker C: All right, I'm going to continue. Let's see, here comes guitar solo. Here we go. [00:58:22] Speaker B: What did you think of that? [00:58:23] Speaker C: Loud? Jesus Christ. Who's mixing this thing? [00:58:26] Speaker B: Yeah, it was insanely loud. It was insanely loud. I think it's the solo with the most personality so far. You know what I mean? I feel like he incorporated the song and it kind of made sense. I mean, I was like, you know, do I. Do I mind that chorus kind of being sung over it at the end kind of thing? I'm like, it's not that bad. But I mean, personally I think it's the best solo so far. And yeah, it was loud. Like when it came on, I was like. I kind of put my headphones out a little bit because it was loud and trebly. But I think it's the best solo so far. [00:58:56] Speaker C: Yeah, I like some of the parts, but I'm going to refrain from my. The thing. What I think should have happened and which probably is not going to happen. So I'm going to hold off. It's not horrible. It's good. There's some parts that I like. It's typical 70s guitar playing stuff. It doesn't stand out either way. It's not as good as like, do we brothers like guitar stuff? You know what I mean? That's a little bit better. Or even Chicago kind of. Just. Just better stuff. Guitar playing. Overall, it's not bad though. I mean, you're not going to say that he can't play guitar. [00:59:22] Speaker B: But I think it fits the song better than yes. What they were doing in the other song. [00:59:26] Speaker C: Agreed. I'm just gonna back up a little bit. So we can do the last verse. Here we go. [00:59:35] Speaker D: Romeo, we like to put it around he was everybody's friend but in the end Even Romeo found On the one could be the. For all his charms in someone else's arms Lonely girl safely laid the train came in and had to leave again. [01:00:00] Speaker E: And Romeo pulled away oh, Romeo, sit down on his Romeo oh, for Romeo. [01:00:42] Speaker B: Or Romeo out on his. O'Neill. [01:00:45] Speaker C: The chorus does get in your head, though, I have to say. [01:00:47] Speaker B: Yeah, I mean, it's not. No, I mean, listen, the melody isn't bad. Well, I mean, we'll get into it. I won't start talking about everything now. [01:00:53] Speaker C: All right, let me read words and then I guess you can go first. Romeo, like he put it. Sorry. Romeo, he'd like to put it around he was everybody's friend but in the end Even Romeo found On no one could he depend for all his charms in someone else's arms Lonely girl safely lay the train came in it had to leave again and Romeo pulled away Chorus and outro. So why don't you. Why don't you do it first? [01:01:22] Speaker B: I'm gonna say six on the lyrics. I mean, you know, I'm Gonna Ignore that, O'Neill, because I think some of the other stuff, in his simplicity. I think he does a pretty good job in rhyming. Even though I'm not sure who Romeo is. And if he's getting the girl, not getting the girl, leaving the girl, he's kind of, like, all over the place. It feels like music. I'm not sure about the music. I'm gonna say five on production, honestly, because, I mean, again, the solo was too loud. The vocals were too loud compared to what's going on in the back. Again, I'm hearing the drummer doing some cool. But I kind of have to. You know, when you kind of have to lean into somebody to hear that's what I'm doing here. As if it would make it louder by leaning into the screen in front of me. But that's. That doesn't happen. Melody isn't bad. I'll say six on the melody. I think the arrangement's fine. Six music. I guess I'll say six on the music. I mean, again, they're not. They're not bad songs. They're not. So in hearing this, I'm not. I'm still not saying. And again, this is one album. I'm not saying. Here's what I missed. Like, I haven't gotten that yet. I feel it's like when we did the Eagles, you know, when we talked about doing the Eagles album, that Eagles album, saying we wanted to find treasures. And I feel like I haven't found it yet here other than the song that I know. So I don't know. What do you think? [01:02:47] Speaker C: It's very funny. I was listening to your scores, and my score is exactly the same. Lyric 6 Melody, 6 Musicianship, 6 arrangement 6 production 5. Your production is horrible. I don't like the production at all. It's. Everything's all over the place. Guitar solo is way too loud. And I'm a guitar player. I'm saying that guitar solo is too loud. And here's the part with the guitar solo, which I didn't say the first time. That part, that over the chorus thing should have been done at the end of the song, not where it was. I think that's where. Another thing. I probably could ding it on arrangement wise, and I think maybe I might do that. I'm probably gonna say five on arrangement. I'm gonna change it because that. That's something. I don't know why they would do that for. Like, you want to put all that solo stuff, do it at the end. Like, it didn't need to be through two choruses of stuff. Yeah, you could have made the solo better and made it, you know, worked it out, figured out what he wanted to do, and then, you know, ended up doing that other stuff toward the end, which would have been fine. I mean, I was fine with the fade out. I was fine with the way the outro went. It just needed to have that solo. And, yeah, the drummer was doing some. A lot of cool. Yeah, the mixing was bad. It just wasn't good. It's not like that. I don't like the song. I do like the song. [01:03:58] Speaker B: I mean, I guess with the music. I'm not reading it on how it's played because I don't think it's badly played. I'm just thinking about the writing of the music, in a sense. You know what I mean? I heard some bass in that too, I think. Some cool stuff going on with the bass. Yeah, but even that, right? I mean, I don't know. I don't. I don't really understand the production of these. Of these songs where he's so loud compared to everything else, and these people are doing some cool stuff and it's just getting buried. [01:04:26] Speaker C: I know. All right, so the last song on the first side is War Yours. [01:05:32] Speaker D: Losers are Conquerors all flash Passed on my silver screen Death is no easy answer for those who wish to know Just as Those who've been before you what fate the future holds. [01:05:52] Speaker E: It ain't print, it ain't Brit, it ain't British. [01:06:04] Speaker B: So did you know that Jimi Hendrix came back to do a guest vocal on this song? [01:06:07] Speaker C: It does sound like Andrews a little bit. But I like the riff, though. [01:06:10] Speaker B: I will say. Yeah, by far the most memorable riff. Like, to me, without a doubt. Like, if people. If this is more of. In stuff where people, like, this is what they did, I'd be like, okay. Like, I can understand. Like, to me, this is like straight up rock. I like the production. I like the riff. His melody's okay. I mean, it's. It's okay. But in general, this, to me, is the most standout song so far. [01:06:34] Speaker C: Is this what you were expecting or this? [01:06:36] Speaker B: Yeah, yeah. I mean, listen, it sounds nothing like the Boys are Back in town, but I wasn't expecting the Boys are Back in Town. To me, that was the offshoot. From what I gathered from all these people that talk about Thin Lizzy, that was more of an offshoot, where. Yeah, it's a good song. It's catchy. But they've got other stuff where it's, like, heavier and so I would. This is more of what I was expecting, I thought. [01:07:00] Speaker C: Yeah. [01:07:01] Speaker B: What do you think? [01:07:01] Speaker C: I like it. I like the riff. [01:07:03] Speaker B: Yeah. [01:07:03] Speaker C: Part at the beginning, I think was too long. [01:07:05] Speaker B: It was long. I agree with you. [01:07:06] Speaker C: They shouldn't have did it four times. They should only did it twice. But, you know, that's a minor. It's a minor thing. It probably goes over live better. I would think it's probably a good. [01:07:14] Speaker B: Song to start with. [01:07:15] Speaker C: Yeah. Maybe they started doing that live and then they brought it to the studio that way. But I think twice would have been enough than four times. I am a warrior I serve the death machine Losers are conquerors all flash past on my silver screen Death is no easy answer for those who wish to know Just ask those who have been here before you but fate the future holds it ain't pretty. [01:07:36] Speaker B: I read that this is actually about addiction. [01:07:38] Speaker C: Is it? [01:07:38] Speaker B: Oh, it's about people with addictions. Yeah. He said he sees them as warriors. [01:07:44] Speaker C: Just ask those who've been here before you. That makes sense. [01:07:47] Speaker B: Yeah. What the. What the future holds that ain't pretty. Yeah, that. That's a blurb that I've read. [01:07:52] Speaker C: Cool. That makes a lot of sense. I kind of like it. All right, here we go. [01:07:56] Speaker D: I am a messenger the message here you must know I am the warrior I deliver the fatal blow so faith will have to wait till time heals the scar See my heart is ruled by Venus and my head by More, more. [01:09:39] Speaker C: I don't know when it's going to stop. I gotta stop it right there. [01:09:42] Speaker B: I know. I was like, is that the end? [01:09:45] Speaker C: No, no. [01:09:45] Speaker B: What do you think of the solo? [01:09:47] Speaker C: I like the first half of the solo a lot, and then it lost me a little bit, and then it got me back at the end. But I thought it was good. I think this, to me, is my favorite solo so far. [01:09:56] Speaker B: Yeah, it's probably the most interesting. But again, right, It's. It's louder than the stuff behind it. I thought the production was really good going into the solo, but then again, it kind of lowers the stuff behind it. I don't know. You know what I mean? Like, I feel that's like the producers going, okay, here's the solo. Let me lower the music behind it and pump up the. Because I thought going into it, it was really good. Like, everything was really on par. It was powerful. It packed a punch and it felt like a solo. Like that needed a little bit more behind that. [01:10:27] Speaker C: I don't think it was as bad as the last one, though. The last one was way louder. I think this was a little more evened out. It didn't bother me as much. I was like, whoa, I don't know what's going on there. [01:10:36] Speaker B: But this is more a rock, right? So it's not as jarring when you get a loud solo like that other was like a. Like a ditty almost. And all of a sudden you got this. [01:10:45] Speaker C: Yeah, I know, but I like. I thought he worked it out pretty well. I don't. Then it went to some other thing that I didn't like as much. And then I'd like the Jimi Hendrix. Will we hear that on Burning of the Midnight Lamp? Same kind of thing he did with the Wawa. Pedal back and we listened to that. So, yeah, I like, he's got a lot of room. Yeah. No, he lets him do what he wants to do. It's totally fine. So. But I mean, this song's on like, four. Four something. So I'll read verse two, I don't think. I don't know if there's any more lyrics coming back, but we'll see. I am a messenger the message here you must know I am the warrior I delivered the fatal blow so fate will have to wait Till time hears the scar See, my heart is ruled by Venus and my head by Mars so is the warrior the drugs, I. [01:11:29] Speaker B: Think they're the warriors Going through what they have to go through to get the drugs. That was. I've read a blurb, and that was my understanding. [01:11:37] Speaker C: Okay. [01:11:38] Speaker B: Because he also talked about, like, Duane Allman and somebody else, like, basically getting to what you need to do to get what you're addicted to. [01:11:46] Speaker C: Got it. Okay. If that's right, we only have 53 seconds. Let's see what they do. [01:12:42] Speaker B: Did you hear those. Those little guitar things at the end? [01:12:45] Speaker C: Yeah. [01:12:46] Speaker B: Like, someone had their hands on the string still. [01:12:48] Speaker C: It's funny. [01:12:50] Speaker B: That was funny. What'd you think of the end? Were you okay with that? [01:12:53] Speaker C: I thought that I liked it. I don't know. It's weird. It feels like it was either too short or too long. Like, I can't tell you what it was. And then when it went down and that little stop came, like it was in a weird place. And I was like, what the fuck was that? And then I was like, oh, okay, now they're doing it again. So it felt more right. But the first time I came in, it was super jarring. [01:13:10] Speaker B: Yeah. [01:13:10] Speaker C: I wasn't sure. Okay, why don't you go first again? [01:13:14] Speaker B: You know what? I'm just gonna make it simple. I'm gonna do Quintuple Sevens. I think it's the best song so far. I don't. I don't think that there's. I mean, I know that I haven't given a lot lower to the other ones, but I think overall, I think this. Me, personally, this is the best song. So. Quintuple Sevens. [01:13:30] Speaker D: It's groovy, man. [01:13:31] Speaker B: It's Quintuple seven. [01:13:32] Speaker C: Nikki titty baby that's perfect. [01:13:34] Speaker B: He sang in the song, and he gave me my triple A. Quintuple 7. [01:13:38] Speaker C: Yep. And then I'm going to do this. Nikki titty baby quintuple 7, zippity bippity bop. I think it was the most cohesive since Jailbreak. I like the solo in general, except for the end. I could have changed that up a little bit. Little small. Little nitpicky thing that I can't really worry about. And the end was a little weird, too. But, you know, it wasn't bad. I kind of. I enjoyed the riff. I enjoyed. There was a little more rock talking, so that's. That's. [01:14:03] Speaker B: I liked it a lot, so it's kind of funny. But that part where they were going, ah, I'll make a picture is the Kiss video, for sure. Know something? You know when they do that, Ah. And their faces kind of come up into the camera, and then they're all together making the faces. [01:14:17] Speaker C: That's funny. [01:14:18] Speaker B: It kind of reminded me of that. But yeah, I mean, to me, this is. This is classic rock, right? This is when you think of 70s and you think of those songs and those riffs. To me, this is. This is where. This is that it's like, oh, you know. Yeah. Then Lizzy, play this song, man. Like, if I had to play somebody a song, this would be it so far. Granted, I don't know a lot from these, from them, so. Yeah, yeah, good way to end the side. [01:14:40] Speaker C: I like the way it sounds. I like that they use like the stereo thing. You notice they were doing some stereo, weird stereo stuff back and forth. So they were trying to experiment with that a little bit too. So that was cool. All right, side one, done. That's what I expected more of than Lizzie. That's my head. That's what I think Thin Lizzie is. Maybe Thin Lizzy is the middle part. I don't know. I have. I don't have enough experience within Lizzy to know if that's really what they do or is the hard rocking stuff more what they do? I don't know. [01:15:03] Speaker B: I would think it's more the hard rock because again, Thin Lizzy, it to me is like a band like Foreigner, right? Like, you know, some of the slower stuff by far, and you know, some of the hard. But again, that's a band where everybody's like, oh, you know, don't listen to, don't think about, you know, I want to know love. And yeah, we know. We probably know more. I know we know more Foreigner than Thin Lizards, but I think there's even more hidden stuff that we don't know that's a little bit more rocking than maybe some of the stuff that's more popular. [01:15:26] Speaker C: So this is true. [01:15:28] Speaker B: Yeah. [01:15:28] Speaker C: All righty. Why don't you do your thing? [01:15:30] Speaker B: So we are part of the Deep Dive Podcast network. Again, great bunch of guys took us in right away. If you want individualized podcasts about bands like Rush, Judas Priest, Uriah Heap, hey, maybe they'll throw Thin Lizzy up there sometime. Zeppelin, Queen, you name it, it's on there. So go check them out. And mark, where can they find us. [01:15:49] Speaker C: On the interwebs, rock roulettepod on all the socials, rockletpodcast.com put a new bet in to go on the list. Turn on the automatic downloads on your favorite podcast player and please review us so we can move up in the algorithms. Hopefully we get some more people listening to us. If you're new. We have lots of back episodes, so maybe it might be something if you're coming in here, listen to Tim Lizzy. There's other stuff we've done, so maybe you'd like to go. Go back and listen to some of that. That'd be cool. So next week, we'll get to finish off Thin Lizzy, and then we'll get to spin the wheel again after that. So let's be cool. All right. I'm excited to hit the second side, because I know two songs in the second side, so that'd be more than I know on this side. [01:16:28] Speaker B: Well, I know two, but I remember one. I'll just say that. [01:16:32] Speaker C: There you go. [01:16:32] Speaker B: Yeah. [01:16:33] Speaker C: All right. I guess we'll see you guys later. [01:16:34] Speaker B: Ciao. Ciao. [01:16:35] Speaker C: Later.