Episode 122 - Van Halen - 1984 - Part 1

[00:00:05] 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 request, 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 on to the Rock Roulette Podcast. [00:01:14] Speaker B: 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 it track by track and we talk about the music production, lyrics, melody and arrangement. Again, just a bunch of friends who love music wanted to do a podcast and first and foremost, we always want to thank everybody who's listening. Thank you so much. Spread the word again. Tell us what you like, what you don't like. Give us a song to put in the new bets wheel. Give us an album to put in the big wheel. Maybe we don't have it on there. So drop suggestions. We're always listening. So we are very happy because we are back to a trio tonight. We have Frank back. My name is Frank and I'm sexy. [00:02:14] Speaker C: Hello everybody. Happy to be back. [00:02:17] Speaker B: We have Mark. Oh, hi Mark. [00:02:19] Speaker A: What's up guys? [00:02:20] Speaker B: And I'm sad. [00:02:21] Speaker C: Ciao buena sera. [00:02:22] Speaker B: So last week we wrapped up Thin Lizzy, Jailbreak, which I think again, Thin Lizzy, a pretty big name. I mean, anybody who listens to rock and metal, Thin Lizzy is a name that comes up constantly. I think initially Mark and I may have had the same concept where we're just not getting it once we hit the last song on the first side and then basically the whole second side. I mean really, really good stuff, especially Emeralds, which Mark and I agreed was a better version than the updated Ace Frehley version. Kudos. I'm probably going to go back to. I mean, I've already added Emerald to my playlist and I'm going to go back and probably add some of the other stuff. So what do you think, Mark? [00:03:01] Speaker A: Yeah, it was great. From Warrior on. I think it was great. Yeah, obviously boys are back in town. I gave that tens, didn't it? [00:03:07] Speaker B: You Did. Yeah. You gave it tens. [00:03:09] Speaker A: It's an almost perfect song. It's almost perfect song. [00:03:11] Speaker B: I mean, it's a great song. [00:03:13] Speaker A: Yeah, it's great. [00:03:13] Speaker B: Definitely. [00:03:14] Speaker A: I hope we get more from them because I'd like to hear now that I have an idea. Like the second half is what I thought Thin Lizzy was to me. [00:03:20] Speaker B: That's where I heard, okay, now I get it. So if. If other stuff is like this, we also read about some of the stuff where some of the songs on the first side where we're done specifically to try and be hits. I mean, I think those are the ones that were kind of the weakest. So if the other stuff is true representation of what they are, I'm definitely looking forward to getting them again on the Wheel. Frank, before we go into anything else, do you have any experience with then Lizzy at all other than Boys are back? Yeah, you know. [00:03:48] Speaker C: You know, I have to say it's one of those classic rock bands. Yeah. Yeah. I really appreciate them and Limited, but I enjoyed them kind of thing. [00:03:57] Speaker B: So maybe hopefully next time they come up, you'll be. You'll be on there and you can check out some of the good stuff. [00:04:04] Speaker C: Of course. Thank you. [00:04:05] Speaker B: We get to spin two wheels tonight, which is always awesome. First we get to spin the baby wheel, which is the new Bets wheel. So we get to see what it'll pick for us. Hopefully something cool. Last week, Mark, what is that? We had Dream Evil. Was that last week? [00:04:20] Speaker A: Yeah, that was last. [00:04:21] Speaker B: Which was like straight up power metal. [00:04:23] Speaker A: It was fun. [00:04:24] Speaker B: That was fun. Frank, have you ever heard of Dream Evil? [00:04:28] Speaker C: No, I have not. [00:04:29] Speaker B: Yeah, just straight up power metal. A lot of 80s influence. I mean, obviously Dream Evil Devo album. [00:04:35] Speaker C: Just to be sure it's not Dream warriors, right. From Duncan. [00:04:39] Speaker B: There probably is a dream warrior band out there somewhere, so I'm sure. [00:04:44] Speaker C: Okay. Awesome. [00:04:46] Speaker B: In a world where new music is not easy to find. Welcome to New Bets. And the horn, Mark. Don't forget for Frank. [00:05:03] Speaker A: Oh, yeah. See, I forgot the horn. Here we go, Frank. [00:05:09] Speaker B: That's how you know Frank is on once you hear that. [00:05:12] Speaker C: Straight up, bro. [00:05:13] Speaker A: Like his calling card. [00:05:14] Speaker B: Yeah. [00:05:15] Speaker A: Were we ready for the Wheel? [00:05:16] Speaker B: Ready. [00:05:30] Speaker A: Oh. Pearl Jam. Wreckage. [00:05:35] Speaker B: This is it. [00:05:36] Speaker A: This is the one you wanted. This is the one Frank got on. And you got it. [00:05:41] Speaker B: There you go. I will let you know if you guys have not heard this song. It's definitely in the vein of Like Daughter and the acoustic stuff. It is by far my favorite song on Dark Matter. [00:05:50] Speaker C: Cool. [00:05:51] Speaker B: It reminds me of old school acoustic Pearl Jam. [00:05:54] Speaker A: I'm ready, Frank. Are you ready? [00:05:57] Speaker C: I'm fucking ready. [00:05:57] Speaker A: Heard this before. No. [00:05:59] Speaker C: No. [00:06:00] Speaker A: Oh, cool. Me neither. Here we go. This is Pearl Jam. Wreckage. [00:06:23] Speaker D: Visited by thought Another dark sun hiding somewhere beyond the rain Alive stormy is the grave River's overflowing down in all I am today visited by FL I don't know that y'all can read how deep and every winner has to lose the sweet the mistakes we all make and perfectly repeat Trends I made by DNA and refusing refusing to Going through the rickets pouring through the sin Surrounded by the remnants what we could and couldn't hear Breaking through the ashes falling through my hands Charcoal on your faces and the burned up photographs all visited by cars and is I got to say it's your feeling you're leaving I can't make you stay I only ever won't care for it not to be this way Cuz you're not like the water and the water well found everywhere Call them to the record. [00:08:10] Speaker C: Going. [00:08:11] Speaker D: Out Coming through the record Going through the record I no longer feel a who's born in this ride? Came up with the song aha. Coming to the record holding out, holding on Calling through the record. [00:11:00] Speaker B: What do you guys think? [00:11:02] Speaker A: I thought it was good. [00:11:03] Speaker C: You know what? I have to say that I recently underwent a 80 veter revival. One of my professional acquaintances said, hey, you need to watch the Bear. [00:11:15] Speaker B: Yeah, I've heard that too. [00:11:16] Speaker C: And I said, okay. I was, yeah, I watched the Bear and whatever. It's great show. But Eddie, veterans in that whole series, at the end of the day, he's so relatable. He sings. He sings my pain. That's why I love him. There's that again. [00:11:35] Speaker B: I haven't really listened to a lot of Pearl Jam in between stuff. Honestly, since Vitology, I can't really say what's on what's not. Just songs that I've heard here and there, I wasn't crazy about. So when this came out, I heard a lot of talk about the record. I heard the first single, I'm like, okay. And then went through the record and as soon as I heard this, I'm like, okay. I'm getting versus vibes from this and. And I just think it's a. It's a really good song. I'm not crazy about the production, I will say that. But whatever. At this point, I'm not going to be a broken record. But I mean, the melody, it's. It's. It's. It's simple. You know what I mean? It's not really complicated, but it's just a strong melody and. [00:12:15] Speaker A: Yeah, I thought it was good. [00:12:16] Speaker B: My favorite. [00:12:17] Speaker A: On the other, it's grown up Pearl Jam. That's what it feels like. It's a more refined, more grown up Pearl Jam, which is fine. [00:12:24] Speaker C: Yeah, I thought it was good for me. He's a true lyricist. [00:12:28] Speaker B: Yes, he's a very good lyricist. [00:12:30] Speaker A: And his vocals. Good still. His vocals sound pretty good. [00:12:34] Speaker C: He sings your pain. [00:12:36] Speaker A: Yeah, I don't think he has the. The same. I don't think he has the same oomph as maybe he had earlier on. He wasn't hurting to try to sing, though. [00:12:42] Speaker B: No. And he's pushed himself. [00:12:44] Speaker C: We're talking about 30 years of pain. I love it. I love it. [00:12:47] Speaker A: That was a good thing. See, you didn't even have to pick it, so, you know, it just came up on your own. [00:12:50] Speaker B: Yeah. See, I mean, I figured eventually it's just gonna come up. Just let the wheel spin and do it. In a world where new music is not easy to find. Welcome to new bets. [00:13:12] Speaker C: Mark, what happened to the boo boo boo? [00:13:15] Speaker A: Oh, you need that there, too. Okay, sorry. I didn't know I had to do it twice. Thank you. Okay, so does anyone have an idea what they think they want to hear? I'm not even going to try to figure out this thing. One day it's Fiona Apple, the next day it's Thin Lizzy. I don't know what the fuck it's going to do. [00:13:32] Speaker B: I mean, we keep harping on this 80s stuff. We haven't had an 80s since Winker, which is a few albums ago. [00:13:38] Speaker A: It's 2025. So maybe we'll get something good. Who knows? It's very possible. [00:13:43] Speaker B: Yeah. [00:13:44] Speaker A: All right, well, here we. [00:14:06] Speaker B: If you listen quietly, you can hear Mark orgasming. [00:14:12] Speaker A: Why would you say that? [00:14:14] Speaker B: For 1984 by Van Halen. But listen, I do want to say. There's one thing I've been meaning to say. Not to cut anybody off, but I do want to say that I like the production on our intro song. I've always meant to say that I like the way the drum sound and the guitar. So wherever that's from, kudos. [00:14:33] Speaker A: I've been waiting for Van Halen again since episode two or three or whatever it was. [00:14:37] Speaker B: Yeah. Remember the beginning, Mark? It was. So we had done. Obviously we picked Hendrix. Right then we had Van Halen. Right then we had Ace Fraley. And we were like, this wheel is biased. And that was kind of it. [00:14:47] Speaker A: It didn't really tilt in my direction very Much more after that. I had David Lee Roth, too, so. Yeah. Like we did. [00:14:54] Speaker B: Yeah. Was that right after that? [00:14:55] Speaker A: No, that was a. Yeah, it was pretty close. Was it pretty close? [00:14:58] Speaker B: Yeah, it was pretty close. [00:14:59] Speaker A: So 1984, this is, I think where I became a Van halen fan is 1984. I'd heard him before, earlier on, but I wasn't as big of a fan. I wasn't even playing guitar at this point. This is before I even started playing. This is like three years before I even started. Two years. Three years before I started. This was such a big, gigantic album. You couldn't get away from all the hits on this thing, especially the videos. The videos were the best. The best part of this whole thing. It made the songs even better. When we get to, you know, second side, it's one of the best videos probably of that time frame. [00:15:31] Speaker B: Yeah, for sure. Well, I think. I mean, like, a couple of them are just pretty much them live. Right. It wasn't. Not live like, but just kind of on the stage. [00:15:39] Speaker A: Yeah. [00:15:40] Speaker B: Having fun. [00:15:41] Speaker A: Animan Jump. [00:15:42] Speaker B: Yeah. Whereas, you know, second side was just the whole storyline, and that was hysterical. [00:15:47] Speaker A: Well, you got to give him one thing, man. He's good at the video. [00:15:51] Speaker B: Yeah. [00:15:51] Speaker A: Because even his stuff. That was before this. What? The little EP he put out. Even those videos were good. [00:15:56] Speaker B: Yeah, he's. [00:15:57] Speaker A: And the stuff he did after this, the videos were good. At least one of them, anyway. [00:16:00] Speaker B: He definitely has fun. For sure. [00:16:03] Speaker A: So, Frank, what do you think about this? [00:16:05] Speaker C: I think I never saw my teachers the same way after sixth grade. That's all I gotta say. [00:16:11] Speaker A: I don't think you had any teachers that looked like that, I'm sorry to say. [00:16:14] Speaker C: Yeah, no, no, no. Never did. Maybe high school, but not grammar school. For sure. [00:16:20] Speaker A: I'm not grammar school. We get to part two. We have to discuss the video a little bit before we even talk about that. [00:16:26] Speaker C: Definitely. [00:16:27] Speaker A: So this came out in. Actually, we missed it by years. It would have been 40 years. Now it's 41 years. So it came out in January 9th. It was supposed to come out January 1st. [00:16:37] Speaker C: Oh, my God. Are you serious? 40 years. [00:16:40] Speaker A: 41, yeah. [00:16:41] Speaker C: Oh, my God. [00:16:43] Speaker A: We would have got this in 2024. It would have been 40 years. But since it's 2025, this is 41 years. It was supposed to come out on January 1st, but it got pushed back. So now, before we even get into this, I was telling Savino the stories. This was recorded at 5150 Studio. So Eddie Van Halen built this studio right because he wanted to take control of his music a little bit more. After the last album, Diver down, where they had, like, five covers, and he wasn't really super happy about that, so he took control of this. So what happened was, even though, you know, Ted Templeman is the producer on this, I don't know how much he did. It was really Eddie Van Halen and Don Landy, the engineer who took care of this whole thing. So what would happen was it was getting close to the end, right, where they had to turn the tapes in. So Ted Templeman would call up and go, hey, I need these tapes. Oh, yeah, come by and come by and go. Come get them. So he pulled up to the gate, right? But they weren't finished yet. So they took the tapes, gave him the Don Landy. He drove out the back way. Ted Templeton came up to the front, came to the studio and go, where are the tapes? And he's like, I don't know. Don Landy has him. He's like, where is he? He's like, I don't know where he is. Like, ah, all right. When. When you get in touch and tell me I want the tapes. He's like, all right. He would leave the back and Don Landing would come driving up the front and come back up the front, because they weren't done, and they didn't want him to muck around with what they were doing. [00:17:57] Speaker B: Nice. [00:17:57] Speaker A: That happened for a whole bunch of times, like two or three times, until they had to give him the tapes because they wanted to get it done, but it never got done. Supposed to be like a January. A January 1st New Year's album, but it got pushed back, like, a week because they weren't finished. So I thought that was pretty funny. When I heard that, I was like, wow. They just kind of, like, cut him out. [00:18:16] Speaker B: Well, I mean, I guess that was Eddie's. Eddie's decision, right? Because again, 10 Templeman wound up going with David Lee Roth after this production. [00:18:23] Speaker A: No, I think they wanted him to do the album. He just. He had committed to the other one, and he couldn't do it. I think they really wanted to do things themselves. Not that that's always a good thing, because, you know, there's an album later on in the catalog where, you know, it would have been good if there was an actual producer on that record. [00:18:40] Speaker B: Yeah, that's the one I'm looking forward to, honestly, because it's. It's the one I know the least. I've only listened to it once, and it literally. I remember Being in the car with my friend and just skipping through each song, and I've really never gone back to it. I'm hoping that one comes up here. [00:18:55] Speaker A: Well, yeah, I think on that one, you know, there is some interesting guitar stuff that he does, but it's just so disjointed for me. It's just so disjointed for me that I can't really. I haven't heard it in a long time, but every time I try to go listen to it, it hurts me a little bit. Even if I don't like something, like, for him, I usually can find parts that I like. And there are a couple of songs on there that are okay. In general. It's a rough album to listen to if you're. For me, anyway, is rough. It needed a real producer, I think, and that's really what the problem was. We're not doing that album. We're doing 1984, which is awesome album. [00:19:27] Speaker C: Is it really bark? Is it really bark? [00:19:29] Speaker A: Yeah, of course it is. You see, Frankie's gonna get on me because we were talking about what my favorite Van Halen album was, and I said fair warning, because I love the guitar playing on Fair Warning. Realistically, right now, Fair Warning is my favorite album. It could be 1984 tomorrow if I. [00:19:44] Speaker C: Just want to give listeners context. [00:19:46] Speaker A: Oh, no. [00:19:47] Speaker C: Okay, here we go. Yeah, exactly. So we're talking via text along the way. The best Van Halen album of all times. And Mark was your choice. Fair Warning, Tobino. [00:20:02] Speaker B: Well, I said that I don't specifically know which one is my favorite, but I know it's not this one, and I'm not knocking it. Wow. I said it would definitely have to be the ones before this. Well, at least up until Fair Warning. [00:20:17] Speaker C: Okay. [00:20:18] Speaker B: And listen, I'm not saying this is bad. I'm not saying I just to me, when you look at the first four, I don't think this one is as good as those personally, but I couldn't tell you which is my favorite. [00:20:30] Speaker C: And here's the debate. When you're choosing your favorite, is it going to be David Lee Roth or Sammy Hagar? [00:20:36] Speaker B: I mean, like I said, mine would definitely be in the. In the first four. I'd have to pick from those personally. And I'm not saying there's bad stuff with Hagar, but, I mean, without a doubt, it's going to be 1, 2. Women and children are Fair warning. I just have to sit down and really think about it. [00:20:50] Speaker A: I can tell you right now, Fair warning. Mean Street, Unchained is Unfair's Warning shoves on fair warning. So this is Love Is Unfair warning. There's a lot of good stuff. It's a much darker album. It's darker theme, darker guitar. And his playing is a little more. A little more out there. [00:21:09] Speaker B: They can do dark. Well, right, because there's dark stuff on Women and Children first that we listened to. And I mean, there was some good stuff, right. There was that song which was like straight up Black Sabbath, that little instrumental. [00:21:21] Speaker A: So I don't want to hold this off any longer. [00:21:24] Speaker C: Let's go first. [00:21:26] Speaker D: 1980. 10 on the lyrics. [00:22:38] Speaker A: I didn't want to stop it, though. [00:22:40] Speaker B: Yeah, no, the very first note. I'm almost hearing Tom Sawyer coming after it, but just the very first thing. And I mean, to me personally, a lot of this reads more 70s to me than 80s. And I know that this is 84, so it's still kind of the first part of the. Of the decade. But I. I feel like some of it definitely has more of a 70s, like, 70s synthesizer vibe, which is not bad. [00:23:04] Speaker A: No, it was an OBERHEIM either an OB x8 or OBXA. So, no, he was playing around with that whole, like, synthesizer thing. I agree. It's a little seventies. I don't know. Like, if you were a big Van Halen fan before, this had to be a little freaky for you, like, to hear this keyboard stuff. Even though there was some keyboard stuff on Diver down too. But it wasn't like this. [00:23:25] Speaker B: This could have been like KISS fans putting on the elder. [00:23:29] Speaker A: Well, not as bad. [00:23:30] Speaker B: No. [00:23:30] Speaker C: No. [00:23:31] Speaker B: I don't think I was like that. [00:23:32] Speaker A: Classic 80s build 100 puts this thing where in the decade that it's in. [00:23:37] Speaker C: Yeah, 100. I love it. [00:23:39] Speaker B: The next song clearly puts it in that decade as well. [00:23:43] Speaker C: Yeah, exactly. So this is why it's one of my favorite, maybe number one Van Halen albums of all time. [00:23:51] Speaker A: You can see why. [00:23:53] Speaker B: Do you know if they caught, like, Black for this record? I mean, I think they did a little bit right for some of the. The keyboardiness. [00:23:59] Speaker A: And, you know, some fans didn't like it, I don't think. It's not like I was super young. I was 14. I don't remember the big backlash. It was hard to tell. It's not like today where someone would have been on a message board as soon as was out bitching about this. [00:24:11] Speaker B: As soon as the record store opened. [00:24:14] Speaker A: Record saw as soon as they hit play on the Download. [00:24:16] Speaker B: Oh, yeah, exactly. Oh, my God. Yeah. [00:24:19] Speaker A: Like record store record. [00:24:21] Speaker C: Hold on, Mark. How were you in this. Stop your bro. [00:24:29] Speaker A: I don't remember there being backslide, but I wasn't a gigantic Van Halen fan then. So, I mean, I knew who they. [00:24:34] Speaker C: Were, but I don't think I. I don't think we were all of us. [00:24:39] Speaker A: I was after this. I was after this. [00:24:43] Speaker C: After this or after thought? [00:24:45] Speaker A: No, after this. [00:24:46] Speaker B: I mean, I definitely knew of them and you know, obviously my cousin listened to them, so I knew. I already knew a bunch of their stuff. [00:24:54] Speaker C: When did you become a fan? [00:24:56] Speaker B: I mean, I was. I wouldn't consider myself. Oh my God. [00:24:59] Speaker C: I was. [00:25:00] Speaker B: I was like a massive Van Halen fan. But I mean, I liked what I knew I didn't listen to. I didn't know all the songs. I knew the bigger songs. And going into this, you know, I liked the hits when they came out. I was decently schooled in them because again, I had a cousin who was into this kind of music who played this stuff all the time for me. [00:25:19] Speaker C: So I can't front. I became a Van Halen fan as the fuck. And for those unanointed, that means for unlawful carnal knowledge. Right, Mark? So that's why I became a Van Halen fan. [00:25:32] Speaker B: You were deep in the game at that point. [00:25:35] Speaker C: Yeah, yeah. [00:25:35] Speaker A: There was already a singer already by that time. But it's a great album. I love that album. [00:25:40] Speaker C: It really is. [00:25:41] Speaker B: I think it's his best. [00:25:43] Speaker C: And by the way, 1984 is awesomely. It's like excellent album in my book. [00:25:48] Speaker A: It's a diamond selling album. Now I know this song has been around since. This is Jump we're talking about. It's been around since 81. No one liked it. Even David Leroth didn't want him to do it. He said no one wants you to hear you play the keyboards because you're a guitar hero. That's how it was presented. It's tough, you know, he's trying to stretch out, you know. Obviously had a lot more than just guitar going on. And even his keyboard playing is a little weird. It's like his guitar playing almost. He does weird stuff on his keyboard stuff. [00:26:13] Speaker B: Is it. I mean, Mark, do you know offhand, is this their biggest single? [00:26:16] Speaker A: Oh yeah. It's the number one single. [00:26:18] Speaker B: Oh, yeah. This was so massive. [00:26:20] Speaker A: It's still big. [00:26:21] Speaker B: Oh yeah. [00:26:21] Speaker A: It still gets played at everything. And unfortunately, the album could never get past, you know, Michael Jackson's Thriller was in its way. It only went to number two. [00:26:30] Speaker B: Hey, wait a second. What's that guy who played the solo and beat It? [00:26:34] Speaker A: I Think that would be Eddie Van Halen. [00:26:35] Speaker B: Oh, yeah. [00:26:37] Speaker A: So the question is, did it stop 1984 from getting to the number one spot or did it pull in people and helped it get as much as it did because he was on that record? I mean, you can look at it both ways. [00:26:50] Speaker B: Yeah. But honestly speaking, it's the biggest selling album of all time. How do you compete if you're gonna be kept out of number one by any album ever in history? I mean, this is gonna be. This is it. [00:27:02] Speaker A: It might as well be this one. [00:27:04] Speaker B: Yeah. Might as well be Thriller Man. [00:27:06] Speaker C: I mean, jump is. Yeah, I can't. [00:27:10] Speaker B: Or is that too poppy? [00:27:11] Speaker A: I don't know. If it's not. I might put it on there. Just because I think we should put it on there. Oh, yeah, yeah. I'll take a look and see if it's there. All right, enough yapping. Yeah, Here we go. Jump. [00:27:34] Speaker B: I have to say, I always love the fact that on that last hit he does the ride. I've always liked that. It's like. [00:27:42] Speaker A: So do you hear all of the influences in his playing? Like, it's supposed to be Ginger Baker, Keith Moon, John Bonham. Who's the big jazz guy? [00:27:49] Speaker B: Oh, what's his name? Right. Oh, my Lord. [00:27:52] Speaker A: Mono. [00:27:53] Speaker B: Oh, my God. [00:27:54] Speaker A: I was watching him yesterday, the drummer. People are, like, going to hate me. [00:27:57] Speaker B: Yes. [00:27:58] Speaker A: Come on. [00:27:59] Speaker B: No, don't hate me. This is. This is called old age. I promise you. This is not called. I have his face right here. I see him playing solos and not Gene Krupa. [00:28:08] Speaker A: No, I know who it is. You want to tell you. [00:28:11] Speaker B: Please. [00:28:12] Speaker A: Buddy Rich. [00:28:12] Speaker B: Jesus Christ. [00:28:15] Speaker A: And also Billy Copan from Mahavishru Orchestra. Miles Davis. So that's another one of his influences. I can hear all that kind of stuff in him. [00:28:25] Speaker B: He definitely has his own sound. I mean, I think we've spoken about this, too. Where Van Halen was. Without a doubt, he was playing or someone was playing. I mean, Alex had his sound going and obviously Roth had his style going. So I think it was a good. It was a thing of those. You know, we don't talk a lot about Michael Anthony, but obviously we enjoyed whoever. But obviously he's got the background vocals that are really, really good. And we saw him live and he can still hit notes. So there's some cool drum stuff in this song. So they're in the solo. [00:28:57] Speaker A: Oh, the solo part. Yeah, with the solo part. It's awesome. He has a cool. Just as cool as Eddie Van Halen stuff. [00:29:03] Speaker B: Yep, yep. [00:29:04] Speaker A: And that riff is so iconic. Oh, yeah, it's so simple, but it's just so iconic. Oh, so iconic. And you know, if you did. If they didn't know this was a hit, just hearing that first piece, like, you're like, okay, it's definitely something. [00:29:16] Speaker B: This is one of those songs where you're like, if this isn't a hit, something's wrong. [00:29:20] Speaker A: All right, let's continue. Here we go. [00:29:35] Speaker D: I get up and nothing gets me down. You got it tough. I seen the toughest around and I know, baby, just how you feel. You got to roll with the punches to get to what's real. I can't you see this standing here? I got my back against the record machine. I eat the worst that you've seen. How can't you see what I mean? I might as well jump, jump. Might as well jump, boy. Jump, jump. Go ahead and jump. [00:30:37] Speaker B: I'd heard a story and I actually just checked to make sure that it was real. That his initial inspiration for this was watching some guy who was going to commit suicide by jumping out of off a building. [00:30:46] Speaker A: I heard that too. [00:30:47] Speaker B: Yeah. So I just confirmed it because I read it somewhere else. [00:30:51] Speaker A: Yeah, if you didn't bring that up, I was going to bring that up. [00:30:53] Speaker B: Yeah. [00:30:54] Speaker A: I like that little. Like when the pre chorus, that little drum part with the pre chorus, that's a little off time thing that's going on. That's pretty cool. Yeah, he throws that weird shit all the time. [00:31:05] Speaker B: I mean, it's a good song no matter what that hidden part in it. To me, because it's always been the pre chorus and the solo where to me, the musicianship of Van Halen comes in in the midst of all the simplicity, because it's so. Again, it is a bump up. It's so simple and the words are so simple and it's so catchy. But then you catch this little thing going on in the pre chorus and the solo. I was like, oh, cool. It's like they snuck that in because they could have made it just as easy, just as simple, but they did. So I always thought that was very cool. [00:31:38] Speaker A: Yeah, you can definitely tell that they play off of each other. They listen to each other more than maybe most guitar player drummers listens to each other. I know I listen to you a lot. I don't know if I got that from here. It wasn't consciously on my part. I can tell you now, like, if I do play with you, it has. Maybe I got it from this, but I didn't consciously say, hey, Eddie Van Halen plays the Alex Van Helen. I'm gonna do the same thing when I play with Savino. I'm gonna follow him. Like, I didn't do that, but. But I know I do do that, though. [00:32:06] Speaker B: I. I do remember you saying to me one time that anytime you wrote a riff, you never knew how to play it until you heard me play drums to it. [00:32:13] Speaker A: See, there you go. And that wasn't on purpose. [00:32:15] Speaker B: No, but it helped the feel. [00:32:17] Speaker A: I don't think we ever talked about that, ever. Like, we never said, hey, let's do this. [00:32:21] Speaker B: Yeah, you're playing like this. Yeah, exactly. [00:32:23] Speaker A: Well, I'm sure that's what happened with them, too. They played with each other for so long, you know what I mean? That is just instinctual. And they had the brother thing, too, which probably didn't help. [00:32:30] Speaker B: It's got that telepathy thing going. [00:32:33] Speaker A: I get up and nothing gets me down. You got it tough. I've seen the toughest around and I know, baby, just how you feel. You've got to roll with the punches and get to what's real. Oh, can't you see me standing here? I got my back against the record machine. I ain't the worst that you've seen. Oh, can't you see what I mean? I might as well jump, jump. Might as well jump. Go ahead, jump. Jump. Go ahead, jump. You know what I always thought the. I always thought it was. I got my back against a wrecking machine. [00:33:05] Speaker B: Oh, nice. [00:33:06] Speaker A: I never thought it was record machine. [00:33:08] Speaker B: I think I knew it was record machine. [00:33:10] Speaker A: Yeah. Are we double entendre when something's here? I'm sure, yeah. [00:33:14] Speaker B: I don't know. [00:33:16] Speaker A: Is this straight through? [00:33:17] Speaker B: You think so? I don't know. I thought it was just more just to get into it. It could be. I always found the lyrics very, very simple in this. It's almost like. I mean, especially like, compared to some of the other stuff we've heard him do. Yeah, but it fits. I mean, how complicated are you gonna do lyrics to this, right? [00:33:33] Speaker A: Oh, no. I mean, this was probably the easiest thing for him to write lyrics to. Usually he's writing lyrics to weird fucking music that's already recorded. And here you go, have a fucking single to this. [00:33:44] Speaker B: Yeah. [00:33:44] Speaker A: Yeah. This is probably easier for him. [00:33:46] Speaker B: Yeah. [00:33:46] Speaker A: All right, Frank, what do you think so far? I know you like this song. [00:33:49] Speaker C: I do. Oh, the whole album. So I appreciate it. Doing too. [00:33:57] Speaker A: Okay. All right, here we go. Let's continue. [00:34:17] Speaker D: Can't you see me standing here? I got my back against the record machine. I ain't the worst that you see. How can't you see what I mean? Now I might as well jump. Jump. Go ahead and. [00:34:48] Speaker A: Okay, I gotta stop it there. [00:34:50] Speaker B: I figured you're gonna stop it for the solo. [00:34:53] Speaker A: Yeah. The lyrics are very simple, but, you know, again, what are you doing for this? I. I like them though. They're still not. They're still not like super cheesy either, though, even though that they're very simple. That's just my opinion because this could be really super cheesy. [00:35:09] Speaker B: Yeah, but it's simple. Oh, I know what. I was going to look something up and I couldn't remember while you were playing it. I want to see when Jump by the Pointer Sisters came out, because I remember I thought that those were kind of like close to each other, but I could be wrong. It was like the era of Superman. Remember how many songs were like Superman at one point, like referencing Superman? [00:35:33] Speaker A: The record was 83, but the single was 84. Technically, the album was out first, but. But this, the single one was Jump, the single out. Hold on. See, now I have to actually do work here. [00:35:45] Speaker B: Yeah, sorry. I couldn't help, but I just remember there being jump and jump. [00:35:50] Speaker A: I mean, this can't be right. Oh, maybe. Oh, I get. Was Jump released ahead of time? Oh, Jump was released. Supposedly. This is Wikipedia, so don't take me. I don't remember. It said that it was released December 83 and then the album was released in January. So it's possible they released Jump first, but they were close together. The other one was 84, April, so. But still, that's kind of crazy. [00:36:13] Speaker B: I mean, at that point, I mean, knowing what we know, that song was probably already recorded and it's probably in Matt other mastering or whatever, you know what I mean? So. [00:36:22] Speaker A: Oh, no, dude. The album literally was turned in like a couple weeks before. I think they didn't finish till really late. Maybe they did release a jumper or. Like. I didn't. I didn't remember that, but it's very possible. [00:36:33] Speaker B: Yeah, I don't remember it either. [00:36:35] Speaker A: All right, so verse two is. Hello. Hey, you. Who said that? Baby, how you been? You say you don't know and you won't know until you begin. I like that line. You say you won't know, you won't know until you begin. I don't know what the fuck that means. [00:36:49] Speaker B: I always thought it was just a rhyming thing. It could be, honestly. [00:36:53] Speaker A: Could be. I know that the story was he was driving around and he had one of the road. He's Driving around. He was sitting in the back of the car trying to write the lyrics because he didn't have anything for it. I mean, he did a good job for someone who didn't have anything. [00:37:04] Speaker B: Yeah. [00:37:05] Speaker A: And then the pre chorus is the same and chorus is the same. And now we get to my favorite part of the song and Sabino's favorite part of the song, technically. Here we go. [00:37:17] Speaker D: Jump. [00:38:06] Speaker B: So, I mean, the keyboard solo is longer than a guitar solo, right? Is that just beam? [00:38:11] Speaker A: No, it's longer. Well, it's at least as long or a little bit longer. [00:38:15] Speaker B: Yeah, I mean, it's just basically triplets, but it's cool. I mean, I've always liked both parts. [00:38:21] Speaker A: And then drums. [00:38:23] Speaker B: I mean. Yeah. That beginning part, that's something you gotta listen to when. If you're trying to play it. [00:38:28] Speaker A: Yeah. That's just not something you just pick up and just do. [00:38:31] Speaker B: Yeah. Because at first I may have forgotten that he kind of did a variation of it in the pre chorus. So as I was playing along, I was thinking, wait, is this the same? I said, no, it's definitely not the same. But I like the bass accents too. When it's like. [00:38:43] Speaker A: Yeah, it's not just a regular straight ahead thing. It has a little bit of swing. Right? A little bit of swing to it. [00:38:48] Speaker B: What do you think of the guitar part? [00:38:49] Speaker A: And that guitar solo is definitely two pieces. There's that first part and then you can hear almost the cut. So there's definitely a comp. That's a comp solo. They took one from one, one from none, and put it both together. It's great. It's everything you would think Van Halen should be. The obvious things that he does. I think it's great if it's the song. Great. The keyboard solo is great too. Even though it's just like the triplet thing. But it's good. It. It kind of works. [00:39:14] Speaker B: Yeah, it's good. Yeah, it works with the song. Cool. [00:39:17] Speaker A: Frank, what do you think? [00:39:18] Speaker C: Yeah, I agree. 100. [00:39:20] Speaker A: I know this is a lot of geeky music stuff. I get it. [00:39:23] Speaker B: Yeah, yeah, yeah. [00:39:24] Speaker C: You know we chatted offline about this, right? So I love it. I love this album, by the way. [00:39:32] Speaker A: And you always gotta love the jump right before the solo. See, solo is always good. Like we said last week too. As soon as someone yells something before the solo, it's always good. [00:39:40] Speaker B: Yeah, yeah. You said somebody said that, right? [00:39:43] Speaker A: Yeah, I guess it all the time. But it's true though. Have we had a solo where someone didn't yell Something like before the solo. And the solo is not good. It's usually good all the time. [00:39:52] Speaker B: I guess the one you could think of, whether or not. I'm not saying specifically, but again, I talked about. I think I mentioned it last week, where Bret Michaels calls CC out in like every friggin song. [00:40:02] Speaker A: All right, maybe not every song. Most of the time, yeah. All right, let's finish this up. Here we go. [00:41:02] Speaker B: There's some. Some double bass accents too there at the end. I never, never heard that. See, that's a fade out. Yeah, well, you know, when you listen to headphones, you pick up a lot of stuff. [00:41:10] Speaker A: That little riff at the end. Does that sound familiar with you at all? [00:41:14] Speaker B: I don't know, I wasn't. I was kind of listening to the. [00:41:17] Speaker A: I'm gonna back it up a little bit and you're gonna listen to that riff. You're gonna tell me if it reminds you or anything. Here. [00:41:21] Speaker B: Okay, hold that. Chin chin, chin chin Ch. That's not Atomic Punk, right? [00:41:38] Speaker A: No, it's from Frankie's favorite album. [00:41:40] Speaker B: This one? [00:41:43] Speaker A: No, he said for Unlawful Carnal Knowledge. You remember at Top of the World, he didn't really like that song that much, but he used that riff. He reused that riff there. [00:41:55] Speaker B: That's so funny. So this song has always had keyboard in it, right? Like that's the thing. It's always been a keyboard song. [00:42:02] Speaker A: It was written on keyboards. There's always been keyboards. It's never been just guitar. Now. [00:42:06] Speaker B: Yeah, I was gonna say. I mean, I'm just curious if he ever try to represent it because that'd be cool to hear as a. I. [00:42:12] Speaker A: Mean, even though there's not a lot of guitar, there's some memorable guitar things. Like in the pre chorus is that little riff thing. That's super duper memorable. [00:42:21] Speaker B: That's. [00:42:21] Speaker A: Oh, you know what I mean? That's not keyboards, it's guitar. So I'll let you guys go first because I know what I'm gonna do with this. [00:42:27] Speaker B: I'm gonna let Franco first. He's been out for a while, so he goes first. [00:42:32] Speaker C: No, I read. I wanted to. Your first. [00:42:34] Speaker B: No, you go first. You've been gone for a while. I'm still debating on some of the stuff I'm debating in my head. [00:42:40] Speaker C: I mean, for me, the song is. For me it's 10, 10 zone across. I love it. I love the production, I love the music, I love the lyrics. I love everything about it. It's true. Van Halen, there's that SAP. [00:42:56] Speaker B: All right. I've never Been a fan of the lyrics. I will say that I think especially hearing some of the weirder stuff he's done. This is very simplistic enough that this song needs whatever I'm gonna say. You guys are gonna kill me, but I'm gonna say a five on the lyrics. [00:43:11] Speaker C: Oh, my God. [00:43:12] Speaker B: I don't like the lyrics. Listen, they're just kind of dumb for me. I'm sorry. I'm very sorry. [00:43:18] Speaker A: Oh, I'm very sorry. [00:43:22] Speaker B: Listen, it's just the lyrics, but, you know, I'll make it up for everything. I'm gonna do nines on everything else. I was gonna say maybe eight, because whatever. But, I mean, hearing it now, I've heard this song 15 billion times, and now hearing it, it's been a while, actually, since I've heard it. But hearing it now, I mean, I'm just like. I was getting into it, playing with the drums and everything, so I'd have to do a nine on it. [00:43:44] Speaker C: That's the whole reason why I give it 10 across. Because the lyrics play to the music. [00:43:48] Speaker B: I know, but I just. [00:43:50] Speaker C: And everything else, it's like, this is why I give it a 10. [00:43:53] Speaker B: I just. I can't give. I can't give Those lyrics A 10. I'm sorry. Oh, my God. Really? [00:43:58] Speaker C: It's like they go hand in hand. [00:44:00] Speaker B: What? It's. It's lyrics. It's only lyrics. I give his melody a9. [00:44:05] Speaker C: There's not only lyrics. What are you talking about? It's only lyrics. Lyrics is all. It's everything. It's a whole song. [00:44:11] Speaker B: I'm saying that's the only. Listen, this thing is still make my playlist. [00:44:17] Speaker C: I mean, we said, hey, you know, production. I give it a five. I go, all right, I get it. But lyrics. Lyrics. Makes the whole song. [00:44:25] Speaker B: Wait, so you understand the five for production over a five for lyrics? [00:44:29] Speaker C: Yes. [00:44:30] Speaker B: Oh, no, I don't think so, man. [00:44:33] Speaker C: All right, I. I respect you. I respect you. Your score. [00:44:38] Speaker A: I was gonna be the one gonna be fighting over this. This is good that Frankie's doing this. That makes me feel much better. So I'm gonna do the same thing that Frankie did. There's no way that I can't. If I gave Boys are back in town tens. I have to give this 10. Here's our thing, Frank. Ready? Here we go. [00:44:54] Speaker B: Quintuple 10. The best of the best. Wow, that's a new one, eh? [00:44:59] Speaker A: No, we used it last week. [00:45:00] Speaker B: Did you really? [00:45:02] Speaker A: Yeah. You even said something about it. He's like, oh, that's the movie. Guy. [00:45:05] Speaker B: Oh, my God, that's right. Son of a. God. [00:45:08] Speaker A: Tobino's getting old. You don't remember anymore? CRS disease. [00:45:12] Speaker B: Oh, man, I gotta get that ginkgo biloba I got tomorrow. That's gonna be on my shopping list. [00:45:17] Speaker A: Yeah, no shit, it should be. [00:45:19] Speaker B: I do remember saying that comment, though. I just don't remember. That's what he said. [00:45:22] Speaker A: Yeah. I have to give this 10. The guitar solo is great, even though the lyrics are not, like, spectacular. There's no way that, you know, without those lyrics, it wouldn't be the song, even though the riff's so great. I mean, it needs silly jump lyrics. [00:45:33] Speaker C: Yeah, that's what I'm saying. Yeah, that's what I'm saying. It's like the lyric and the music goes hand in hand in this song. [00:45:39] Speaker B: All right, I'll make you feel better in relation to the song. I'll give it a nine as well. [00:45:43] Speaker C: No, no, no, no, no, no. You're done. You're done. [00:45:45] Speaker A: No, no, you can't change it now, so. [00:45:47] Speaker C: No, no, you gave your score. You can't. Don't. Don't give back seats. That's that. That's that. [00:45:53] Speaker B: No, no, no, no, wait. No, no, no, hold on. No, no, no. I don't want to change my score. I wanted to keep it at a 6. 5. What I'm saying is if you. If I'm viewing it the way you're viewing it, then I would give it all the same score, but I'm viewing it individually, so I'm not changing my score. [00:46:08] Speaker C: No, no, no. You have to look. You have to look at holistic. From a holistic standpoint, the lyrics, the music goes hand in hand in his. [00:46:17] Speaker A: Song and the story, it doesn't really matter, Frank. He gave it a 5, but still, the song still came out to a 10 anyway. He can't override R210. This is no way. [00:46:24] Speaker C: Yeah, exactly. [00:46:25] Speaker B: I wouldn't want to listen. It's a great song, man. It's a great song. [00:46:31] Speaker C: No, no, no, no, no. You can't. You can't come back down and give it. Oh, yeah, you know, it's a great song. [00:46:37] Speaker B: I know. I think the lyrics are cheesy. I don't. I think. Yeah, I. Listen, I'm not going back on my lyrics for I gave everything else a nine. I mean, it's pretty damn good. [00:46:48] Speaker C: Give me a. Give me a review of nine, bro. [00:46:52] Speaker B: I'll take it. [00:46:53] Speaker A: There's gonna be a little Savino doll with the Van Halen people. Are Gonna be putting like pins in it. He's gonna start getting pains in all parts of his body because the Van Ham people are gonna be fucking pinning into the Savino friggin doll. [00:47:05] Speaker B: Listen, as long, as long as I don't get a dealer skit on the podcast, I'll be okay. Okay. Because then I'll be in the same. [00:47:12] Speaker A: You know, this is what they're gonna do to me now. [00:47:17] Speaker C: Yeah, I'm gonna be the loudest boo in that situation. [00:47:21] Speaker A: There you go. Next song is another great song. From one great song to another great song, which is Panama. Do you like this better Savino than lyrically? [00:47:30] Speaker B: No, but really? [00:47:34] Speaker A: Wow. [00:47:34] Speaker B: I don't know. I gotta, I gotta. Look, I haven't heard the lyrics in a while, but. Mark, I will tell you that this is your ringtone on my phone. [00:47:40] Speaker A: Oh, is it? That's pretty funny. Yes, I do like this song a lot. It's a good. To me, it's a good one. Well, it's not really 1 2, but I don't count 1984, so I mean, I like 1984, but I don't count it like as a 12 thing. It's a pretty good one too. [00:47:52] Speaker B: Yeah, it's a good one too. [00:47:53] Speaker C: Mark, I just want you to know my ring to for you is Iron Man. [00:47:58] Speaker A: Iron Man. Okay. [00:47:59] Speaker C: All like whatever he posted right now. [00:48:06] Speaker A: All right, here we go. [00:48:56] Speaker D: Top down hot you burning down the Avenue Model Citizen 0dis don't you know she's got me you lose her. [00:49:32] Speaker C: So. [00:49:32] Speaker B: I do have to tell you funny thing because it is your ringtone, Mark, it only has the first riff, like the main riff before the drums come in. So now knowing that the drums come in, it's the full song. It's so weird hearing the whole thing. That's fine because I'm used to just the riff repeating over and over without anything coming in. And I also, I mean again, a song I've heard a billion times again in the pre chorus, I mean, right before it gets into Panama. I knew there was a little bit of breakdown, but I didn't realize the. I guess the complexity of it. I mean that was really cool too hearing. [00:50:04] Speaker A: He's really, really good. I mean he gets overshadowed a little bit because Eddie Van Halen is who Eddie Van Halen is. But you start listening to some of the shit he does, like behind and through the riff riffs was like even the da na na da na na. That's the part right when those. When that part, the drum part is awesome. [00:50:20] Speaker B: I'VE never been a massive fan of his drum sound. That's. That's one thing to me, where I was like, I'm not crazy about. I think it got better on Foreign Lawful Carnal Knowledge. I think that. To me, I mean, not that it's bad here, but I just feel like there. It sounded different. I just feel like it was cleaner, you know what I mean? It sounded more realistic, if that makes sense. [00:50:39] Speaker A: He finally got his drum sound because Andy Johns was the producer. He was looking for that bottom thing. And he finally got the bottom thing that he wanted, I think, which is kind of funny. Then they never used him again and never had that sound again. But I think he had a great sound on that album. I mean, I don't think it's bad here. [00:50:53] Speaker B: No, it's not terrible here. [00:50:54] Speaker A: In the next one, the room wasn't really that big, so there wasn't a lot of isolation. He had to use some electronic stuff because he had no choice because this room was so small. I didn't know that either until I started recently, just looking around. And he had to use some stuff because there wasn't enough room for him to have, like, the full set in there because it was so small. It eventually became bigger, but at this point, it wasn't as big as it ended up being. After the oohs and the ahs. Jump back. What's that sound? Here she comes full blast and top down Hot shoe burning down the avenue Model citizen zero discipline don't you know she's coming home to me? You lose her in the turn, I'll get her. And then Panama. There's a little double entendre. Is it about a woman? Is it about a car? Pick what you would like. [00:51:40] Speaker B: Yeah, it's probably a bit of both. [00:51:41] Speaker A: I would say, because, like, here she comes full blast and top down. That could be a convertible or it could be a woman. [00:51:47] Speaker B: Well, model citizen, zero discipline. [00:51:50] Speaker A: I do like the way he does stuff like that. That's why, in general, I think his lyrics are better than the Sammy Hagar stuff. He's usually not to the point as much. He tries to dance around the point a little bit. Not that I hate the Sammy Hagar stuff. I don't. [00:52:02] Speaker B: It's more straightforward. [00:52:03] Speaker A: Yeah. Sometimes the Sammy here, we also can be a little bit cheesy. Just a little bit. You know, I do like a lot of the samieg or stuff. I don't. I can't lie and say I. I hate it. I'm not one of the people who like it's. All David Lee Roth. And without David Leroth, it's not Van Halen. That doesn't work for me. I know some people like that and, you know, good for them. That's their, like, opinion. [00:52:19] Speaker B: Yeah, maybe you're gonna get some booze, too. [00:52:22] Speaker A: Oh, I'm just probably marked out there with some. Frankie, what do you think of this so far? [00:52:26] Speaker C: I love it. You know, and I was saying, thinking the same. It's like this park more San Hagar than traditional Van Halen so far. You got my boobs. [00:52:36] Speaker A: I like both. I like both. I think if I had to be pressed, if someone pressed me, I have to say, David Leroth era, if I had to choose. I do like both. I enjoy both. I don't know if I ever said this. I know I told Sabino this, that I started learning guitar around, like, oh, you wait, one, two. Some people don't like that record. I have a weird fascination with that record because I tried to learn play guitar to that record. So it's just weird for me. Even though the production is not great, I know, you know, some of the things are, you know, some of the songs a little cheesy here and there. It is one of my albums that I really like. I don't think I could put it in, like, you know, the top things, but just, like, on a personal thing, like, I have, like, a thing with it because I was trying to learn riffs from that. You know how hard that is. Like, you first start playing guitar and. All right, here you go. Let's go play something. Van Halen, have a good time. Yeah, it was always one of those things just because. Just because of the time frame, what it was. Yeah, and I like the riff for all the guitar people out there. I'm just going to mention that he started to put a little harmonizer in the guitar. He used it a little bit before. Here, you can hear it a little bit more. Some people don't like that sound. Some people don't like when he changed the sound over. Gets a little more coming next album and then the subsequent albums, he starts doing that harmonizer a lot more. So this is like the end of the original guitar tone pretty much. [00:53:48] Speaker C: You know, Mark, oddly enough, I remember you saying that you preferred this Van Halen album over the other ones. [00:53:55] Speaker A: What do you mean? 1984. [00:53:56] Speaker C: Yeah, yeah, yeah. [00:53:57] Speaker A: No, I love this album. That's what I say. [00:54:00] Speaker C: To practice. To practice guitar playing. [00:54:02] Speaker A: Oh, yeah. No, this is a good album to play. I mean, there's some hard on Here, too. You know, everyone worries about, like, his solo playing, but his rhythm playing is sometimes harder than the solo playing is. It's hard to have the. The swing that he has between him and his brother, that little interaction. Sometimes playing that correctly is not as easy as it sounds. You would think that it's all about the solo stuff, or for me, it's more about his rhythm playing than it is almost about his solo playing. Fair Warning to me is such a good record because some of his stuff that he plays there is a lot harder than you would really think. Man, this stuff's fun. I mean, it can be hard, too, to get it right. You know, no one's really going to get it right because no one has the same kind of feel. You know, they grew up. Their dad was like a big band guy when they were younger. They played with him a little bit in clubs and stuff. So, you know, he. They got that swingy thing from the jazz side that a standard, like, metal rock band doesn't really have that. It's one of the things that all the guitar players couldn't get generally, is his swing. You know, you could get the tapping, you can get. You can get the whammy bar stuff. You can get all the funky things that he did right. But to have his timing and the way he swings, his. His rhythm work, that's harder. [00:55:01] Speaker B: I mean, I was going to say the couple of times that we saw Ace freely do with Detroit Rock City, and I told you, the drummers are not doing it. They're not doing it the Peter Chris way. They don't. They don't have that bounce that he had that, to me, makes that beat. And I'm not the only one. I actually saw a video on YouTube where somebody was talking about Peter Chris, and he said he's like. A lot of people play it straight up, but he goes, you have to listen to it. There's ghost notes. There's. There's a bounce to it. And when people don't play it that way, it sounds so stiff. [00:55:32] Speaker A: Yeah, there's no swing. [00:55:34] Speaker B: Yeah, there's no swing to. But there is swing in. In the original recording. [00:55:37] Speaker A: Yeah. And I'm the same thing with his drum parts, too. If there's not a little bit of swing going on, it doesn't sound right. I told you, the one time someone took Van Halen and tried to, like, line it up to, like, a grid, the perfect time, it sounded all up. [00:55:48] Speaker B: Oh, yeah, yeah. [00:55:49] Speaker A: Oh, it sounded all up. Yeah. No, because there's a thing that goes on there's a. There's a groove and a swing that doesn't have to be perfectly on time for it to be good. So, you know, when you take the swing out, it's almost. It's too straight and sounds weird. All right, let's continue here we. So this verse even more makes it double entendre. [00:56:52] Speaker B: Oh, yeah. [00:56:53] Speaker A: Ain't nothing like it. Her shiny machine got the feel for the wheel Keep the moving parts clean Hot shoe burning down the avenue on an on ramp Coming through my bedroom I never knew that line either. I. I don't know what the. I sang there, but it wasn't that. [00:57:08] Speaker B: I don't know a lot of these lyrics. I think I used to just sing Panama and just groove to the rest of it. I'll be honest with you. [00:57:14] Speaker A: That is a good little verse, though. You can take that a whole bunch of different ways. It's def. This is more than Jump, I think, in his wheelhouse, personally. [00:57:21] Speaker B: Oh, yeah. I mean, I think these lyrics are more interesting than jumping. I think so. [00:57:24] Speaker A: All right, so now I gotta listen to the drums behind it. I'm sure. I've never listened to all the drum part to see what funky stuff he does behind it. Guess I'll talk about solo before we get to the post chorus. Yeah, I've always liked the solo. Solo's always been great. It's a fun solo to play. I played it a whole bunch of times, I learned it a whole bunch of times, I learned that, I come back. I always find little extra things that I didn't hear the first time. For a guy who's the Guitar Hero guy, he doesn't get very much solo time. [00:58:18] Speaker B: Yeah, well, he's in control of it, right? I mean, that's. He's playing for the song. [00:58:22] Speaker A: Yep. [00:58:23] Speaker B: So. And I mean, you could hear the hit factor in this, too. I think when they were. I'm sure they heard that they had this thing had hit potential. [00:58:30] Speaker A: Oh, yeah. [00:58:31] Speaker B: And it's heavy too, right? The solo. I mean, in comparison to the rest of the song. [00:58:35] Speaker C: Right. [00:58:36] Speaker B: I just feel like the soul is a little bit heavier, like crunchier. And even in. I mean, even in Jump. Honestly, the solo, in comparison to the rest of it, it's a little bit heavier and darker, I think. And then when the keyboard solo takes over, then it gets back into, like, that happy territory. [00:58:52] Speaker A: I'm sure that was on purpose. What'd you think about the drums in the solo? [00:58:55] Speaker B: It's good. I mean, obviously it's not as complicated as what's going on in the pre chorus. But he's doing this little thing where he goes. Which I really like. You know, instead of stopping on, like, the one accent, he does it twice. So I'm really. I like that little thing again. It's little things like that. They keep shit interesting. [00:59:11] Speaker A: It was definitely on purpose. They definitely worked this out. [00:59:13] Speaker B: Oh, yeah. [00:59:14] Speaker A: Practicing enough times that whatever happened, happened, and they figured out the pieces. And again, when you play with people for a long enough time, right, with them, since they're kids, right, you just figure that out, you know, what the other guy's gonna do. [00:59:25] Speaker B: Did he write the riff and then present the song to him and came up drums, or was it more of a mutual thing? I don't know if he even talks about that in his book now. [00:59:33] Speaker A: I think Eddie came up with the riff and then he kind of jammed it out. They're always jamming it, so I think they worked out the parts. I mean, yeah, Alex Van Halen has a lot more to do with things that everyone thinks he does. [00:59:42] Speaker B: So kind of like what we used to do in. Back in the day, jam. Like, somebody would come in with something and just. We jam it out. [00:59:47] Speaker A: I think they kind of worked it out until they had something they wanted before they showed everybody and they're like, here's what we got. What do you think? And then, I guess then it got kind of reworked, you know, between the vocals and all the stuff and David Lee Roth putting lyrics because they generally didn't have lyrics. Sometimes he said he had melody, and sometimes he didn't have melody, and he just gave him music. So that's not easy. Someone just gives you music and goes, here you go. Have a good time. This is the way the song goes. Like, write stuff to this. Yeah, it's not easy. I give him credit. This is one of my favorite parts in the song. [01:00:17] Speaker D: Yeah, we're running a little bit hot. [01:00:19] Speaker B: Tonight. [01:00:23] Speaker D: I can barely see the road. [01:00:24] Speaker B: From the heat coming up Reach down. [01:00:30] Speaker D: Between my legs Ease the seat back she's my name I'm flying right behind it Reveal me now Got the spirit power. [01:00:52] Speaker B: Yeah. So, I mean, do people still go between their legs to ease the seat back Back then? [01:00:58] Speaker A: They did. [01:00:59] Speaker B: I'm saying, though, most people, like, wait, don't you reach over to the side now and use the controls through you forget about. [01:01:05] Speaker A: Well, it depends on the car. A lot of the cars, the. The driver's side is electronic, but maybe sometimes the passenger side, you still have to reach between the seat to do it. [01:01:12] Speaker B: Yeah, maybe. Maybe he was in the passenger side of the car. [01:01:15] Speaker A: So the part is, yeah, we're running a little bit hot tonight. I can barely see the road from the heat coming off of it. I reach down between my legs and ease the seat back. She's blinding. I'm flying right behind in rear view mirror now. Got to fearing power stealing, piston popping, ain't no stopping. There's so much double entendre in that. [01:01:37] Speaker B: Yeah. He could say this is about a car as much as he wants to, but. Yeah, I mean, but one person was like, it's a comparison. But did the comparison to little red Corvette. [01:01:45] Speaker A: Yeah. [01:01:46] Speaker B: Which obviously. [01:01:47] Speaker A: Obviously it's well written. It's not blatant in your face. He's not telling you exactly what he's telling you. He's making you use your imagination by just injecting words in certain places to make you go down a road where he may not even be going really, but he wants you to kind of go down the road. [01:02:02] Speaker B: I'm pretty sure he's going down that road. There's an off ramp thing to his bedroom. So unless he's like, here's a car come crashing through my window or. [01:02:11] Speaker A: But he would never tell you that's what it's about, though. He make you make your decision about where it is. [01:02:15] Speaker B: Yeah. [01:02:15] Speaker A: Let's finish it up. [01:02:37] Speaker B: What do you think of that ending, Mark? [01:02:38] Speaker A: I always like that ending. [01:02:39] Speaker B: Yeah. [01:02:40] Speaker A: Yeah. [01:02:41] Speaker B: So here's the deal. I knew it ended that way, but it sounded weird this time for some reason. There's. There's some kind of effect going. Right. He's like kind of like backing himself and there's. There's a little kind of something probably. [01:02:52] Speaker A: Michael Anthony back there too. So it's one of those things where you don't realize how much his backing vocals have to do with the sound of Van Halen. [01:02:59] Speaker B: Yeah. And speaking of Michael Anthony, we haven't talked. We haven't really talked about bass yet. [01:03:04] Speaker A: I don't think in here it's super stand out. Ish. In at least the first two songs. [01:03:09] Speaker B: Yeah, I don't think so either because, I mean, I know when we did Women and Children first, we were all like, you know, even Steve and Nick were all over the bass playing. [01:03:16] Speaker A: It's definitely a little more subdued right here, but I think it'll change. So we know you go first because Frankie went first last time. [01:03:21] Speaker B: I'm gonna say six on the lyrics. I do like them better than Trump. Ah, music. I think it's hard because I gave nines and I say to Myself. How do I compare this to the other one? You know what? I'll say nines again. I mean, what the hell? I. I think it's a different kind of song, but it's. It's good and memorable in its own right. In a different way. I was gonna say eight, but I'll say nine. [01:03:43] Speaker A: I mean, I can understand that. Because even though it's a different type of song, you can't stop the musicianship of what it is. You know, it's a very catchy song. It's a great. [01:03:51] Speaker B: It's a great. It's a great song. And again, a song I've heard a million times, but I'm still bopping my head and, you know, going along with it. I'm not sitting here going, oh, God, here we go again. Frank. [01:04:02] Speaker C: Not across for me, you know, musicianship and the production. Awesome. All the way through. The lyrics for me, as the two you alluded to is like, I would say, not alluded to, but we're very straightforward. They were kind of like, hey, this is. What is that? They're very straightforward for me personally. And I thought they captured the essence of the song partially. Not across from me on the lyrics, production, the musicianship, and the composition. [01:04:29] Speaker A: So do you think it's about a car or do you think it's about a woman? [01:04:31] Speaker C: That's the whole thing. It could be anything you want. I think it's about a woman. But, you know. You know, you're a car fan. Okay. It dresses your interest in that respect as well, sort of. [01:04:43] Speaker A: I could be a homer and give this 10 across too, I think. [01:04:46] Speaker C: I think it's about a woman, personally. [01:04:48] Speaker A: Okay, I gotcha. So I could give this tens across if I wanted to. Easily give it tens across. I don't know. Is it as iconic as jump? Maybe. I mean, for me, it's got to be. I don't know. [01:05:00] Speaker C: I don't think it's as iconic about jump. It's up there, but not as I come. [01:05:04] Speaker A: I'm gonna give it nines across. I could give it tens across easily. Give it tens across. But, yeah, maybe you're right. It's. Maybe this is not as iconic as jump to me. To me it is. Because these two songs to me are kind of like sister song. So it's. I could give it tens easily, but I'll give. I'll give it nines. I mean, obviously, nines is great. There's nothing wrong with that. [01:05:21] Speaker B: I mean, like you said, it's a great one, two, punch. It really is a Great. One, two punch. Yeah. [01:05:25] Speaker C: It really is a one, two punch. [01:05:27] Speaker B: Yeah. [01:05:27] Speaker C: I never thought about it being about a woman. I always thought about a car. I could see the relationship between. [01:05:34] Speaker A: Well, they also have Eddie Van Halen's car. They mic the exhaust up in the middle part of that. [01:05:39] Speaker B: Oh, did they? [01:05:39] Speaker A: His Lamborghini. They brought. They drove it to the back of the studio and they put. They ran a microphone outside and they recorded. Is the exhaust in the middle of that? [01:05:45] Speaker C: Really? [01:05:46] Speaker B: Isn't. Isn't that the story for Harford teacher as well? [01:05:51] Speaker C: Really? Is it? Is it? [01:05:52] Speaker A: No one's ever 100%. Alex Van Halen hasn't said anything in his book about that. No one's really knows. They say that because that's what I. That's what I heard, too, that, that. [01:06:00] Speaker B: Beginning, even though it can be played on drums, I mean, I can't play it. I'd have to practice it. I mean, I never tried, but I've definitely seen people recreate it. But that's what I heard. [01:06:11] Speaker C: I will say. I will say if that's the case, this song resonates in my heart because I've been chasing after my second love of all times. And then my.72 Buick Skylock convertible that I sold just so I can have tuition money to go back to college. And I've been chasing her back ever since. So there's that. [01:06:33] Speaker B: I thought you were gonna say, well, you've been chasing Lamborghini. [01:06:38] Speaker C: I'm a simple guy. I'm a simple guy. You know, like, I, I, I have two loves in life, and I've been chasing my second ever since. 72 Buick Skylark convertible, fire engine, red, white interior, black rack top. I sold her so I can have tuition money, go back to college, and I've been chasing her back ever since. So there's that gonna cost you a. [01:07:01] Speaker A: Lot more money now. [01:07:03] Speaker C: Oh, my God, don't remind me of that. I can't find her ever since. [01:07:06] Speaker A: I'm sure someone has one. The question is, do you want to pay for it? That's the question, dude. [01:07:11] Speaker C: I know the person bought it, and I know the person who bought it back a second time and is like, yeah, you're right to your point. They want big money. I was like, are you serious? I did not sell her. I did not sell her for that price point. But, yeah, yeah, yeah. That's the second love of my life that I lost. [01:07:27] Speaker A: Oh, Frankie. [01:07:29] Speaker C: Chasing her ever since. [01:07:32] Speaker D: Emotional damage. [01:07:35] Speaker C: I will say this like, there was never a bad day in my life once I Got in that car and drove it around. [01:07:40] Speaker A: You had to sell it. [01:07:41] Speaker C: Yeah. So, you know, it reminds me of the Van Halen or. [01:07:45] Speaker A: Yeah. See, it all comes full circle. [01:07:48] Speaker C: Exactly. [01:07:49] Speaker A: All right, so now we get into a little bit of deep trackness. You know, if you're just a Van Helen fan that knows the hits, you're not going to know this. I assume everybody here knows this, right? [01:07:57] Speaker B: I mean, I know every song. I don't remember it, though. That's the thing. It's been a while since I've listened to this album straight through, but I definitely knew every song at some point. [01:08:06] Speaker C: I always have on that one. I may not know this next track, but I know a lot of Van Halen songs. [01:08:12] Speaker A: Another little interesting guitar thing. The guitar he used on this was a funky guitar where you can take each string and either pan it left or right in the stereo spectrum. He didn't use it very often. This is a weird. It's a weird little guitar called the Ripley. So you could take, like, string one and pan it to the right, spring six, pan to the left, and you could. You could determine where the strings are. It's a weird. It's a weird thing. [01:08:34] Speaker B: That's awesome. [01:08:34] Speaker A: He was always, like, trying to, you know, use things that other people didn't do. [01:08:38] Speaker B: Yeah, that's cool. [01:08:39] Speaker A: It is very cool. So here we go. This is Top Jimmy. [01:09:21] Speaker D: They said he sang so good that the rope fell in and he didn't even stop the show. They don't remember the plays, but they remember the face. And now everybody want to go, whoa, Stop, Jimmy Cook. Stop Jimmy swings. He's got the love. Stop Jimmy. He's the king. [01:09:43] Speaker B: So, I mean, that's a little bit closer to older Van Halen, I think. [01:09:48] Speaker A: Yeah, it's got the. It's got the swing. [01:09:50] Speaker B: And I think the production's a little bit different, too, honestly. Sounds slightly different. A little bit more of a throwback. [01:09:57] Speaker C: I agree. [01:09:58] Speaker A: They're not that far away from all the other stuff, really. [01:10:01] Speaker B: Oh, of course. Yeah. I mean, this was also the era where, I mean, this is 1984. And how many albums do they have at this point? [01:10:09] Speaker A: This is six. [01:10:10] Speaker B: This is their fifth six. And their first album was 78. [01:10:14] Speaker C: Six or fifth? [01:10:15] Speaker A: 78 was the first one. This is their sixth. [01:10:18] Speaker C: I will say, this is a lot closer to what McCullough would say is smart people, choice people. [01:10:27] Speaker B: Like, what the is this guy? Oh, by the way, Frank, I found a 72 Buick convertible for 21, 000 in Massachusetts. [01:10:36] Speaker C: She is fire engine wrench white interior, black rack top. [01:10:40] Speaker B: It's white, white, white top, red. It's beautiful. It is like, super mint condition fire. [01:10:46] Speaker C: Yeah, yeah, yeah. Don't. Don't tease me, bro. Don't break my heart. You know, I have my heart broken twice in my lifetime, so don't break it a third time. I will say that there was never a bad day, you know, there was never a bad day when I drove that car. Yeah, just say that, by the way. So, you know, someone in our group chat named Smokola had said that, you know, people who felt certain Van Halen albums were less smart and, you know, I'm gonna leave it at that. But this song, I think, is most vintage Van Halen. [01:11:22] Speaker A: Yep. He's got the. He has got the little riffs in between, like, all the. All the vocals and stuff. Like, it's really cool. Supposedly this is about a real guy named Top Jimmy named James Croneck, who was a regular performer with the band Top Jimmy and the Rhythm Pig. Yeah. So this is a real guy, Tom. [01:11:39] Speaker C: Jimmy, the real guy. Is he gambler or. That's kind of. Boo. Yeah. [01:11:45] Speaker B: I read that David Lee Roth used to get high with them. [01:11:47] Speaker A: Well, surprising. [01:11:48] Speaker C: Okay. Love that guy. [01:11:51] Speaker A: All right, here are the lyrics. Someone. Some friends of mine just the other night went to see this cool cat blow. They say he sang so good that the roof fell in and he didn't even stop the show. They don't remember the place but they remember the face and now everybody want to go. Top Jimmy cooks, Top Jimmy swings. He's got the look. Top Jimmy, he's the king. As far as, like, that intro thing that's done by hitting the 12th fret above, where he's holding the chords up top and just tapping out the actual chord so it sounds like that bell kind of ringing kind of thing. He did that on Dance the Night Away. Same kind of thing in the middle part of that. That from Van Allen, too. So he's been using that technique. He always tries to sneak things in there where you're like, what? I'm not even too sure what the fuck's going on here. Is it a guitar? I'm not sure. Yeah, especially back then. [01:12:37] Speaker B: So is that the Ripley, though, that he's playing? [01:12:38] Speaker A: Yeah, and that's why it sounds a little weird, because he's. He must be panning the strings. Not right down the middle or, like, some strings are going right, some strings are going left. Is it that weird little sound? I like the drums and the bass. You can start hearing now, right you got a little more bass in here, which is good. [01:12:52] Speaker B: Yeah, exactly. [01:12:53] Speaker C: Yeah. [01:12:53] Speaker B: You hear a little bit more of the V. Yeah, this is. [01:12:55] Speaker A: This is more like Frank said to me, more vintagey Van Halen. So most of this album is not like keyboard, you know what I mean? But, you know, you got the big keyboard so long, and everyone's like, oh, my God, it's a keyboard record. [01:13:06] Speaker B: Well, there's another massive hit on this album that has a keyboard riff. It's not as. Not as loud as Jump, Right. But it's kind of got that little. [01:13:13] Speaker A: Yeah, we'll talk about that one, too. The verses. Jimmy on the television Famous people laughing with him Jimmy on the news at 5 Jimmy on the radio and even on the video, the baddest cat alive Driving all the women crazy all they want is Jimmy, baby Love it when he rolls his eyes Top Jimmy cooks, Top Jimmy swings He's got the look Top Jimmy, shake it, baby and again, another intro. I like his rhythm playing behind it because he always has little things he's adding. It's not a very. It's never straight, kind of like just chords. It's always other stuff that's happening. And I think that's kind of where his genius rhythm playing is. Is the in between pieces. Not easy to do and not easy to do. [01:14:34] Speaker B: Well, I never tried such, you know. [01:14:37] Speaker A: To do it well. It's hard. [01:14:39] Speaker B: Yeah, I've done. [01:14:40] Speaker A: All right. Here we go. [01:15:14] Speaker B: That's my favorite part of the song. [01:15:16] Speaker A: Dude, it's cool. Even the rhythm behind it's different. [01:15:19] Speaker B: I really like that song. And again. Right. It's like a cutesy song in a sense, sort of. But then the solo comes in, it's just kind of darker. Like, this, to me, is a real throwback to kind of like probably women and children in Fair warning. [01:15:31] Speaker A: That's always not easy. [01:15:32] Speaker B: It doesn't sound easy. No, definitely does not sound easy. [01:15:36] Speaker A: That, to me, sounds like a lot of the soul is unfair warning. It's some out notes. He's doing some stuff that, you know. Could you play it? Yeah. I always say, again, I think I've said this on the podcast before. I could probably play it if I practiced it enough. Could I write that? I don't think so. That's really where the genius is. The genius is not really the playing of the thing, because that's a technique thing. It's. Who comes up with that? [01:15:58] Speaker B: No, but you say the same things about drummer. You practice. You can play in your period, you can play whoever you want to, but it's not the point. Because if that's the case, you don't respect anybody. But you're just like. You listen to this song, you're like, oh, man. Listen to that drum part. I want to play that drum part because it's so fucking cool. You know what I mean? [01:16:14] Speaker A: Same thing with this. [01:16:15] Speaker B: That was a really good solo. [01:16:16] Speaker A: Yeah, he's really good. This is as well. This is one of my favorite songs on the record. Just because it's so solo, so out there, and a very groovy kind of song. All right, let's continue. Here we go. [01:16:45] Speaker D: He's got the love top J. Jimmy. Go, Jimmy. Stop, Jimmy. Go, Jimmy. Stop, Jimmy. [01:16:54] Speaker A: Ow. [01:16:55] Speaker D: He's the king. Oh, Jimmy. [01:17:08] Speaker A: Oh, Jimmy. [01:17:09] Speaker B: You know, this kind of reminds me of. Well, so there's two things. One, I mean, the. The. The message of the song, the way he presented reminds me of, like, way cool J Jr. Like, that kind of person. Obviously, this came out before that on. On the side. Don't have to do it now. But there's a. There's. There was a Canadian TV show with Don Adams called Check it Out. And if you listen to the. The rhythm of the. There's a theme song. It sounds like this. [01:17:35] Speaker A: Really? I never heard that. [01:17:37] Speaker B: Yeah, yeah, it's very funny. I mean, this came out first as well, so. [01:17:42] Speaker A: All right, I'll go first on this one, I guess, because I made you guys go first verse before. The lyrics are a little more straightforward. I mean, they're not straightforward because he does, like, cool stuff in there. I like the lyrics. I'm gonna say seven. I don't think I'm gonna give any song really bad on this. I'm gonna give. I'm gonna give nine in your music just because the solo is so crazy. And I'm gonna eight on the rest, I think. I think it's a great song. I don't think there's. There's much more. You know, I could. Like, not like. I like all the techniques, like, little tapping thing at the beginning. I like that they changed the actual rhythm. And under the solo, it's not anything that's played in the rest of the song. So it's probably why the solo sounds so much different, because it's really not the same. It's not that, like, they use the verse or the chorus underneath it, which would. Every normal person probably would have done. But not Eddie Van Halen. No, he's gonna write specific for underneath it, and they're gonna practice that. And then he's gonna play on top Whether it was improvised or it was, you know, worked out, whatever it was, it was great. Frankie. [01:18:34] Speaker C: Hey, guys. I want to say thank you so much. I was dealing with a grease fire in my kitchen while I was listening to the song, so there's that. So, grease fire, grease fire. [01:18:46] Speaker B: What the hell do you do during the podcast? I usually just sit in a chair. [01:18:51] Speaker C: Oh, my God. I was cooking dinner. I was cooking a farewell dinner and had a grease fire in my kitchen while I was listening to the song. But whatever, we're. We're good here. You know, Sav, it's interesting you said that it reminds you of Waco Jr. Because I was kind of thinking. I was trying to say, would I hear the song before? And you nailed it with Waco Jr. So with the lyric style and singing, for me, I'm gonna give the lyrics of seven production music and arrangement. I'm gonna give those a nine across because personally speaking, I think 1984 is my most favorite Ben Haley album of all time. I know there's certain peoples in the podcast that feel differently, but. But I'm giving this a straight across the line. [01:19:37] Speaker B: This one's a little bit hard because again, I feel like everything is a little bit different. I'm gonna say. I'm gonna say an eight in the arrangement. I'm gonna start with that because I do like. I really like the beginning part. I like that he goes back to the beginning part Again. I like. I really like the solo, like, where it comes in and what's done under the solo. So, I mean, overall, it's the innate for the music as well. I mean, lyrics, I don't know. I'll say six on the lyrics. I mean, clearly they tell a story, and it's personal and it's cool that he wrote about some dude that nobody other than whatever was in the circle, and he made him out to be this massive famous guy. What am I missing? Production? I'll say hate on the production. I mean, I like the production because again, I felt like I was listening to something older, and it's. It comes in after two songs that are very commercial sounding and I guess a little bit different. What am I missing, Mark? Sometimes I lose myself. [01:20:29] Speaker A: You're missing the melody, actually. [01:20:31] Speaker B: I like the melody. I'll say seven on the melody. [01:20:33] Speaker C: Well, surprising how you compared it to Waco Jr. You give it like seven. [01:20:38] Speaker B: Well. Well, I mean, the. The. The lyrical content, I think is similar, you know, about this guy. [01:20:44] Speaker C: Yeah, yeah, yeah, yeah. Okay, I. Okay, I got it. But that's a good Catch A Very. After you said it and I replayed Waco Junior and this song in my mind. You nailed it. [01:20:59] Speaker B: So basically, these two songs are going to remind you of grease fires from now on, right? [01:21:03] Speaker C: Oh, my God. I had a grease fry in my kitchen. Well, I'm making dinner for someone who's leaving my company on tomorrow, so there's that. [01:21:14] Speaker A: Alrighty. Well, this is the end of side one. And this is Drop Dead Leg Facebook. [01:22:10] Speaker D: Nothing but nothing else could ever do. [01:22:55] Speaker B: I don't remember this song, but I will tell you 100%, if I heard this on the radio, I would absolutely know as Van Halen. But I would. I'd be waiting for Sammy Hagar to come in and sing. I think this is straight up where it was going. [01:23:10] Speaker C: Oh, my God. This is where a battle begins. This is where a fight begins. I knew that was gonna come. [01:23:18] Speaker B: So we're not fighting, we're agreeing. [01:23:22] Speaker C: No, you know what? Like, there's no doubt this is a Van Halen song. The fact that you related to Sammy Hagar is where I draw the line. [01:23:32] Speaker B: I don't know. I mean, Mark, what do you think? I mean, I. I could be wrong. I just. I totally hear Sammy coming in. [01:23:39] Speaker A: I could see on some parts of it where you could take that. I don't know if Sammy could write lyrics to this thing because there's a lot of crazy going on behind the back of that. I mean, I understand what you're saying. It's a little. [01:23:52] Speaker C: Exactly. [01:23:53] Speaker A: Part of it's straightforward. But listen to it. It's not as straightforward as you think. [01:23:57] Speaker B: No, but I'm just saying, like that. Just the simple. Oh, yeah. I mean, I do hear shit that's going on on the guitar. Like, I mean, clearly, he's like, what, muting strings and tapping on them? It's like. I hear that. I mean, before it goes back into the verse, after the chorus, that little breakdown is really cool. [01:24:15] Speaker A: Michael Anthony again. [01:24:17] Speaker C: Mm. I'm just saying, like, I get you, but this is where our war begins. [01:24:22] Speaker A: Fight Some fight. [01:24:23] Speaker B: I just hear him coming in. [01:24:25] Speaker C: Have you said, hey, Frank? You know, kind of feel like this could be Van Halen meet Dave. Steven Percy Main. [01:24:33] Speaker B: Oh, we got Stephen Percy back. [01:24:36] Speaker C: Yeah, I'll meet you halfway. But this is where I draw the hard line. [01:24:41] Speaker B: Hey, listen, I'll listen to the second when the main riff comes in, and I'll see if I change my opinion. But I was like, wow. [01:24:47] Speaker C: But just. Just out of curiosity, came. Can you picture Stephen Percy singing this? [01:24:52] Speaker B: No, because I don't I don't really think it sounds like rap, no. [01:24:55] Speaker C: Wow, really? You can't see him singing this. [01:24:59] Speaker B: I mean, I just think it's straight up Van Halen, like, without a doubt. Like, I would absolutely know it was either Van Halen or a clone. [01:25:05] Speaker C: Classic Van Halen. It's classic Van Halen. Mark, earlier today, his position, I agree with that, but I don't know, I feel it. [01:25:16] Speaker A: I can see where Sabino is saying that part of the riff's a little straight ahead, but I understand that where there. There would be things that. I think at one point it might have been a little simpler than this, maybe. And the groove maybe is what you're getting. Possibly. I don't know. [01:25:30] Speaker B: But even, like. I don't know, I just feel like that riff, that initial main riff again, this is my initial impression. Obviously, we still got a good half of the song left, so who knows? Maybe I'll listen to, like. Okay. [01:25:46] Speaker C: You know, this is one of those songs that you can put a lot of front man in and you can say, okay, this works. [01:25:54] Speaker A: I don't know. I disagree with that. You know why I think that Phil Lewis, now you're smoking some good crack. [01:26:00] Speaker B: It's the grease fire. It's the grease fire. [01:26:02] Speaker C: Oh, come on. You can't get singing this. Okay, let's. Let's play. Let's play this song and hear those two lyricists singing. [01:26:09] Speaker A: I think anybody would have a hard time coming up with lyrics over this weird ass that's going on. That's my thing. But I give. I give him credit. [01:26:16] Speaker C: Okay, but just listen to the vocals and picture Phil Lewis. [01:26:20] Speaker A: Well, let me read the words first. Drop dead legs. Pretty smile hurts my head gets me wild Dig that steam. Giant butt makes me scream. I get nothing but the shakes over you. I got nothing, Nothing but the shakes over you and nothing else could ever do. You know that you want it. You know what you need. You know that you want it. When the night is through Will I still be loving you? This is more straightforward for him. [01:26:44] Speaker B: It is. [01:26:45] Speaker A: Drop Dead Legs means exactly what it means. [01:26:47] Speaker B: Oh, yeah. Well, let me listen to the rest of the lyrics. [01:26:50] Speaker C: Okay. I want you to hear the next songs. And picture Stephen Percy singing this. [01:26:56] Speaker A: Do I have to? Okay, here we go. [01:27:04] Speaker D: Let me lose. Get high through my root Nice white teeth Let go real heaven. I. [01:28:00] Speaker B: Yeah, that part of, like, chorus. Because he did it before as well. That. Yeah, that. No, the guitar. [01:28:08] Speaker A: The drums are following that first part of it, though. [01:28:12] Speaker B: Cool. It's. It's a little, you know, just A little thing again, things you appreciate that people do. It's not just going straight back, right? It's got a little bit of. [01:28:20] Speaker A: He tends to do that a lot a thing going. So if you notice, he always puts something funky or something I do in there that you're like, okay, but I like that. [01:28:28] Speaker B: I mean, like you said, right? [01:28:29] Speaker C: It's. [01:28:30] Speaker B: It's not only in the soloing, it's in the rhythm. [01:28:32] Speaker A: Oh, yeah. And that's a to. That's a big fucking interval stretch too, by the way. That's not just like a. Oh, yeah. Much played it before, but it's not as easy to do clean and right. He had a big hands. He made those big stretches look a lot easier than they are. If you're not as endowed as he is with gigantic hands. Hendrick's hand. And then this song's a little weird too, because I'll play it out. I won't tell you why, but you'll. You'll catch it once it happens. The verse 2 is. Dig those moves Vampire set me loose get it higher Throw my rope Loop Loop de loop Nice white teeth Betty Boop Set it cool Real heavy I ain't fooled Getting ready this song always feels like it's a little more of a stream of consciences during the verses. I like the chorus, though. Yeah, a lot. That's typical Van Halen. When you hear all the background vocal. What Eddie Van Halen and Michael Anthony doing that background. They do excel at that. [01:29:23] Speaker B: Yeah. I mean, once you listen to. On the headphones, you really do pick up on. On Michael Anthony's vocals a lot. Like, you really hear how intricate he is and backing him up. [01:29:33] Speaker A: And their voices mesh pretty good. [01:29:35] Speaker B: Yeah, perfectly. [01:29:37] Speaker C: It's all. It's almost an Allison Chang zoo vocal situation. [01:29:41] Speaker A: Yeah. I'm sure that Jerry can show is a gigantic Van Halen fan. So I'm sure some of that stuff seeped into their music a little bit. [01:29:47] Speaker C: But the way they sound so similar, but at the same time, they off tone each other is amazing. [01:29:52] Speaker B: So, Mark, I mean, just really. I was gonna say only because we're talking about it. I mean, you may or may not know Michael Anthony, right? Was. He was never given a lead, like vocal? [01:30:03] Speaker C: No. [01:30:03] Speaker B: Is that a purpose? He didn't want to do it. They're just. I mean, Jesus Christ. I know who the fucking lead singer is, and God forbid that would ever happen. But had you just curious. [01:30:12] Speaker A: I don't think that was ever a thing. [01:30:14] Speaker C: Hey, Seth. Hey, Seth. Who is the lead singer for Van Halen. [01:30:17] Speaker B: David Lee Roth. [01:30:18] Speaker C: Oh, okay. [01:30:19] Speaker B: I think even he would say he has the biggest ego. [01:30:23] Speaker C: Just making sure you understood that. [01:30:26] Speaker A: And he understands that situation too. [01:30:28] Speaker B: Yeah. I mean, I think the best part of the song was right there. [01:32:05] Speaker A: That right symbol. [01:32:06] Speaker B: Without a doubt. Yeah. No, but not only that. I mean, just everything that's going on on the guitar, and I just think that part was elevated. [01:32:12] Speaker A: I'm. [01:32:12] Speaker B: I'm gonna be honest. You not a big fan of this song. I really like that part. But the rest of it is meds Ahmeds, as we say. [01:32:19] Speaker C: Well, I'm gonna. I'm right there with Savino. It's like the song is meds of meds, but, you know, you got. You got to get respect. Well, respect. The zoo is Van Halen. Is that. [01:32:29] Speaker A: Well, then you go first. First. [01:32:30] Speaker B: Yeah. I mean, that part is just as a coda. [01:32:32] Speaker A: Coda is the song to me. It's that beginning riff. They never come back and they just like play it out. It's kind of strange arrangement wise. [01:32:39] Speaker B: Yeah. [01:32:39] Speaker A: Well, Frank, you go first. [01:32:41] Speaker C: Oh, Jesus. You know, not only did disrespectful, but what's right is right. I'm getting this six across. Not my most favorite Van Halen song. Lurk wise is like. I don't know, it's like most Marvel songs. Lyrics, lyrics, the production, the music, everything. It's six across. What's that Sad? [01:33:03] Speaker B: Yeah, I mean, the lyrics. I'm gonna say four. I mean, I think a five to something. I have to. I mean, these are just boring music. All right, so if we include Dakota in the music, I'm gonna say seven just based on that, because the rest of it, I could probably easily give a five to. But I have to give credit because I do really like that part. Production's cool. I'll say seven on production arrangement. [01:33:25] Speaker C: Really? [01:33:25] Speaker B: Yeah. I mean, I think for what it is, it's produced well. You know what I mean? It's for what it is. [01:33:30] Speaker C: I. I just feel like you try not to be disrespectful. [01:33:33] Speaker B: Yeah, I'm trying not to be arrangement, I guess. Six and melody. I'm gonna say five. I didn't really like. I mean, I probably. If I went to this song, I'd go to the next one and then hit rewind on the. On the know, on the CD player just so I could hear the last part. I don't know. There's just not much for me here, Mark. [01:33:57] Speaker A: Well, I obviously have a different take on this. I don't think it's his best Lyric at all. I'm gonna give it a six. I don't think it's that horrible. I think he has written better stuff than this melody. I like the melody because I like the chorus, and I think the chorus pulls out a lot for the melody for me. So I'm gonna give it a 7 on that. Musicianship Dakota is the thing. So I'm going to give that an 8 arrangement. I like that it goes where it goes and it doesn't ever go back to anything. It just kind of like fades its way out. So I appreciate the difference in just not doing the normal arrangement thing. So I'm gonna do eight on that. And I like the production. We do eight. I always like the song. I know that I'm a little bit biased. It's one of my deep track songs. I do like. [01:34:35] Speaker B: Hey, listen, man. There's gonna be stuff that we're all gonna have those moments. [01:34:39] Speaker C: Yeah, it's a deep track. So I think overall the average is like, what, seven, mark? [01:34:44] Speaker A: Yeah, it's seven. [01:34:45] Speaker C: Seven across. Okay. [01:34:47] Speaker A: Seven's a good song. [01:34:48] Speaker C: It's a deep track. Seven for a D track is not bad. [01:34:50] Speaker A: No. Sometimes good songs get seven, let alone a dream track. Yeah. [01:34:53] Speaker B: Yeah. [01:34:54] Speaker C: Is that. [01:34:55] Speaker A: That's side one. So next week we get to do side two, which has a couple. A bunch of good songs on it. I think there's two big songs and then there's a couple of deep track. Yeah, which I do like the deep track stuff too. Yeah. [01:35:06] Speaker B: I don't remember the tape ones, but I do remember the. I mean, the hit hits. [01:35:10] Speaker A: I mean, listen, every Van Halen record has things like this. This. You know, not every Van Halen record is like hits back to back to back to back. There's always weird and strange and stuff that people may not like as much as other things. So I'm. I mean, I'm not surprised the way it worked out for me. I take it in a different way because he's one of my guys on guitar. You know, if not one of the top. The top spot flips around between him. Hendrix probably is those two guys. For me, flip flop, my number 11 1A, 1 in, 1B. You know what I mean? They can go in whatever order for me. I always can find something good in the songs. Especially during this era of time that even if the song isn't great, I appreciate the things behind it because I've tried to play the things behind it. When you do that, you're like, oh, okay. Like, I understand, like, just as a song Thing, Maybe not as much, but as a guitar playing thing, I think I take it a little differently. [01:35:57] Speaker B: Yeah, no, this cool stuff go. I mean, listen, even in. Even in the Top Jimmy song, I mean, to me, the solo was the best part of it. The song around, it wasn't that great. But I can appreciate what he's doing. [01:36:07] Speaker A: It's a genius. [01:36:09] Speaker B: Yeah. I mean, hearing it on headphones, you hear the little. It's not just a chugga, chugga, chugga, chugga thing. Right. There's all these little things and taps in this going on. And I mean, musically, I can definitely appreciate that. [01:36:21] Speaker A: I think that's what. If you want to say that they started like the hair metal thing, the thing that kind of sets them apart, I think, is swing. Right. Most hair metal bands don't have swing, so we take that right there. In general, I'm trying to think, well, Hamilton really has swing. I can't really think offhand of any. [01:36:36] Speaker C: Wow, Mark, did you really just say that they saw the swing? [01:36:41] Speaker A: No, no, no. [01:36:42] Speaker B: He said they have a swing. [01:36:43] Speaker A: They have swing. [01:36:45] Speaker C: Oh, okay. Okay, okay. Thank you. Thank you for clarifying that. [01:36:48] Speaker A: I was like, what? [01:36:53] Speaker B: March said, swing music back 100 years. [01:36:57] Speaker A: I mean, a lot of the bands that came after him didn't have that. They didn't have the vocal harmony thing. Like, there's lots of stuff that sets Van Halen off from that. Things that followed them, that people cherry picked the pieces that they wanted. Right. Whether it was the look or it was the specific guitar things that he was doing, but ignoring the actual rhythm kind of playing, and picked up on the whammy bar stuff and the tap and stuff, and having the blonde singer and being a four piece, they set a template that went on past them. But my opinion, I don't think they're in the same kind of genre. Genre. I think it's just. It's a different thing. [01:37:27] Speaker B: No, well, because they came in the beginning of it. Right. So technically you can consider them classic rock, obviously, because they were around since the late 70s when they came out. And then as this genre developed, this hair metal genre developed, I guess they kind of got thrown in because they were grandfathered into it. You know what I mean? Because I mean, look at Aerosmith. Right? Aerosmith got put into that as well. And you can debate whether or not are they really hair metal? Are they glam metal? Yeah, I mean, some of the look or whatever, but. And look, Kiss got into it too. Right? Yeah, so. And yeah, I mean, they. Maybe they. More than those other two bands Kind of dressed a little bit more of what was going on. [01:38:06] Speaker A: I know people, like say that they started the hand metal thing just because there were pieces that were cherry picked as far as like a whole band and what they did. It's a little different. [01:38:13] Speaker C: Yeah. [01:38:14] Speaker A: At least to me, anyway. [01:38:15] Speaker B: Yeah. I mean, just having Eddie Van Halen as your lead guitar player sets you apart. [01:38:19] Speaker A: Yeah. And Alex Van Halen is a drummer. [01:38:21] Speaker C: So I just want to make sure. So I just want to make sure I'm understanding the debate. Van Halen was the start of hair battle. [01:38:29] Speaker A: Well, think of all the bands that became big, right? They all had very similar stuff. Generally. You had the blonde singer guy. Right. It was almost always four pieces. You always had a hot shot guitar player. They became, I think, a template a little bit. I think all the people who came after them missed a lot of what made them. Them things that they couldn't do. They didn't really swing the background vocals. There was a lot of background vocal. It was a different kind of thing. And the guitar players all had to be hot shot guitar player. Right. I mean, what hair metal band didn't have a hot shot guitar player? None. [01:39:04] Speaker C: So when was the first Van Halen album? So are we talking about Van Halen when they first came out or did specific album? [01:39:12] Speaker A: I think you take the whole totality. [01:39:14] Speaker C: Okay, so when they came out, 79. 8. Okay, so you're saying from 78 to hair metal, which hail metal became what, 82. 83. [01:39:27] Speaker A: I mean, I guess you can talk about the cruise. Hair metal, I guess. [01:39:31] Speaker C: No, no, we're talking about I want to rock. I want to rock. What, what time they came out? [01:39:36] Speaker A: 84. [01:39:37] Speaker C: 84. [01:39:38] Speaker A: So maybe you're talking. Come on, field. The noise, maybe that. Are we saying that's the first. I know we did that album. [01:39:43] Speaker C: Quite right, quite right. Okay, one quiet riot. Come on, field. [01:39:47] Speaker A: 83. Right. [01:39:47] Speaker B: I think that was 83. Right, I think it was 83. [01:39:50] Speaker C: 83. So it's like four years. I don't know. That's a stretch. Debatable. Debatable. Not off, but debatable. [01:39:57] Speaker B: I mean, then you can also say there's a difference between hair metal and glam rock. [01:40:01] Speaker C: Yeah, yeah, yeah, of course, of course. [01:40:04] Speaker B: Per se. Right. I mean, obviously Van Halen, even if you want to say they were hair metal because they had the long hair, clearly they were never glam. They were never poison. [01:40:14] Speaker C: No, no, that came much later on glam metal and arena rock. [01:40:18] Speaker B: No, but I'm saying. But glam itself existed in the 70s. I mean, that's where that all came from. Anyway. [01:40:23] Speaker C: Who. Who. Who's glam in the 70s? [01:40:25] Speaker A: Slade. [01:40:25] Speaker B: Oh, I mean, some of the British guys. Or glam. I mean, very glammy. [01:40:31] Speaker C: Oh. [01:40:31] Speaker B: And whether or not. What's that guy, Gary Glitter? [01:40:38] Speaker C: He wasn't that great. He was. [01:40:40] Speaker B: Look at Elton John. I mean, Elton John glammed it up, too, back in the day, right? I mean, that's where the. That's where the influence came. [01:40:46] Speaker C: But he was different. He was a little bit different. He was more alternative, adult kind of thing. [01:40:52] Speaker B: But I've. No, but I'm talking specifically. Look, look. And like, the New York Dolls, right? The New York Dolls were all glammed up, but I mean, their look was glammy. [01:41:01] Speaker C: Oh, but conk. [01:41:02] Speaker B: That's what I'm saying. So, I mean, it's. It was. It was. It was kind of like a forward throwback, basically. [01:41:09] Speaker C: All I gotta say is that maybe, maybe perhaps you need to do a research on this song, on this album specifically. [01:41:16] Speaker B: But, I mean, Motley Crue wore a ton of makeup back in the day, right? Even. Even they. They were. [01:41:21] Speaker C: No, but they came on A two. [01:41:23] Speaker B: No, but I'm talking. Even if you look at Shout at the Devil, like. Yeah, it's a different kind of makeup. But it is makeup. It's darker makeup. It's not. [01:41:30] Speaker C: We're talking about 82. We knew that with glam rock from 82, from the first day they came out, we knew that their sound wasn't. [01:41:37] Speaker B: Really glammy compared to what was coming. Their first two albums, you would say. You can say it's. You know, to me, it's more metal. And you want to say hair metal because they have long hair. But it didn't have a glammy. Some of it did, I guess, but. And yet again, we go on this big tangent. How do we even start this? [01:41:58] Speaker C: We're going to a big tangent. But all I know. All I know is that, you know, for those who are listening in, we have side chats, right, Via text. And Mark was saying, this is his Mark. Correct me if I'm wrong. You said you ranked this album fourth in terms of Van Halen success. [01:42:17] Speaker A: No. [01:42:18] Speaker C: You want to speak to that? [01:42:19] Speaker A: No. Success. [01:42:19] Speaker C: Yeah, I think you did not. [01:42:21] Speaker A: Success. No. This. This in the first one sold 10 million albums. I don't think so. I'm saying, for me, my top number one flips around one day. It could be, you know, 1984. It could be the first record. [01:42:32] Speaker C: Dude, the songs. The songs are written. They're out there. There's no flip around there. Like what. You know, favorite Van Hill album of all times. That's it, right? Print it. It's out there. It's right. Yeah. Right now, today. Mark. Mark, pick your number one Van Hill album. [01:42:51] Speaker A: Hey, if you have to put me down and say, write this moment, fair warning right now. [01:42:54] Speaker C: Oh, wow, SA I'd have to think about it. [01:42:58] Speaker B: I mean, I think of the first one, the second one. [01:43:01] Speaker A: All of those are perfectly right choices. [01:43:04] Speaker B: Yeah. [01:43:05] Speaker C: By the way, SA we talked about the. A chat, so you should have. Yeah. Ample time to think about this moment. [01:43:10] Speaker A: Yeah. [01:43:11] Speaker B: But you gotta. You have to listen to it sometimes though, right? Because, you know, the first two are pretty similar in sound and what's going on. But I think that's where you hear the innovation. And I mean, this would not be. I can tell you for sure now, this is not my favorite Van Halen album. I like. I like the ones before it, as so far. I mean, personally. So listen, for anybody who's 1984, I mean, I'm not knocking it. You have a tr. Hey, you know what? I bet you some people like Balance as their number one. [01:43:44] Speaker C: So. So the question becomes. So let's. Let's just get into the. The. The real question that everyone is listening to Roth or Hagar. [01:43:54] Speaker B: I'm gonna say Gary Sharon. [01:43:56] Speaker A: He was great on the tour, though. He did. He did all the errors. It was good. But the album itself, not so much. If you have to push me. If you have to push me, it has to be David Lee Roth. But. There's a but. I like pretty much all the albums with Sammy Hagar. Balance is maybe my least favorite out of all them. I don't know why that is. It's one of those things for me where I like both eras, but if I had to be pushed into anything, it would be the David Lee Roth era. But I do like the Sammy Hagar. There's tons of stuff on there on those albums that I like. [01:44:27] Speaker C: Like, you know, I have to agree with you, right? I. For me, 1984 catapulted Van Halen to mainstream. That album remains my favorite all time. We think about post. Yeah, I gotta agree with you. I like. I like. I like 1984 because of family, David Lee Roth and what he sang and everything else. But I can't discount, you know, Sammy Hagar specifically for. For Unlawful Connor Lodge, that that's one of my favorites of all time. [01:44:59] Speaker A: He's technically a better singer. He sings much better. But that's not always you know, some of his lyrics could be a little cheesy sometimes and some of his lyrics are great. I like both eras that they're still Van Halen to me, regardless. Regardless who the singer is. Again, if I had to be pushed and you have to say, I have to pick one or the other. I have no choice. It's got to be either Sammy Hagar or David Lee Roth. Yeah, I guess I have to take De Roth because that's like Savino said, that's where all the innovation happened. There never could be a Sammy Hagar version without that other stuff all happening beforehand. But you're right, 1984 was, was the thing that catapulted them into the mainstream. And it's a great choice. It's sometimes my number one, too. [01:45:36] Speaker C: Yeah. Yeah. For me, 1984 is what catapulted them to mainstream. And that's my all time favorite Van Halen album. [01:45:44] Speaker A: Just right the moment. It's not. Not right. The moment's Fair Warning. [01:45:46] Speaker C: No, no, no, no. That's not what you said in your chat. [01:45:49] Speaker A: No, I did say that. [01:45:50] Speaker B: He's not gonna let you live it down. He's not gonna let you live it down right now. [01:45:54] Speaker A: It's fair. [01:45:54] Speaker C: Stop your. That's what he said to chat. That's. [01:45:57] Speaker B: Hey, it happens, man. It, it, it happens. Sometimes it fluctuates. You hear different things and different. Right. [01:46:03] Speaker A: So for me, there's a lot of guitar innovation stuff on Fair Warning that's not. On some other things. He plays in some weird stuff. He plays some things that he doesn't normally play. And I kind of like that because it's a little bit different. It's a little bit of a darker record. I kind of like that too. But this is a great record. Obviously from my scores. I like pretty much everything on here. But then again, I'm a Van Halen fan. I don't hate anything about this album. [01:46:26] Speaker C: No, this is one of. This is one of those albums. Like you can't say you hate anything about it. [01:46:32] Speaker B: I was going to say, right, Sammy Hager was around. Technically, he could have been the singer of Van Halen. He was around already. [01:46:38] Speaker A: He almost was the singer of Van Halen. Ted Temple wanted to get rid of David Lee Roth because he didn't like the way he sang. But David Lee Roth did a bunch of vocal training and stuff and lessons before they recorded the first album. He wanted to get rid of him. And the name that was thrown around was Sammy Hagar. [01:46:54] Speaker B: What do you think? You know what I mean? Then you have to say to yourself, had he been in the band from the beginning, what would. What would have. What would it have sounded like? [01:47:02] Speaker A: Oh, I don't know. [01:47:03] Speaker B: Had he been the singer. Right. Because he's a guitar player as well at that point. Who knows how much Eddie may have said, okay, like, I'm just starting out. Like, you know what I mean? You're a guitar player, I'm a guitar player. Like, who knows, like, how different they would have been if he had been in the band from the very beginning. I don't think we would have the albums we have. [01:47:26] Speaker A: I don't know. [01:47:27] Speaker C: This is one of those situations that life dictated, you know, David Lee Roth was there when he needed to be, and Sammy Hagar came when he needed to come. [01:47:38] Speaker A: I agree. I agree. In Sammy Hagar's version, without David leroy's. [01:47:41] Speaker C: Version in the story. [01:47:42] Speaker A: And I don't know, you know, the earlier records, the stuff was not as structured. And maybe that has to do with just the way, though, you know, they wrote together and how things were. And Eddie had these riffs that were always. Not always, like, straightforward. So sometimes you listen to things and you're like, I didn't even come up with fucking melody. Go over that. Because it's just. So. Could Sammy Hagar do that? To me, Sammy Hagar is more of a straightforward kind of a singer. I don't know if he would have been right for the early stuff, really. Who knows if they would have been as popular. I don't know. Would Eddie still have done his thing? I still think Eddie would have done his thing. It would have been different because Sammy Hager plays guitar, even though he didn't really play a lot of guitar in Van Halen, even when he was there. I mean, that's a good question. It's one of those things. Who knows what that would have been like? Yeah, it definitely wouldn't have been the same, I'm sure. [01:48:26] Speaker B: But, I mean, think about it, too. Eddie Van Halen having, like, a rhythm. [01:48:28] Speaker A: Guitar player, that happened a little bit on the. On the 5150 toy that didn't last very long. No one wants to play guitar with Eddie Van Ham playing guitar. It's a little too intimidating, I think. [01:48:40] Speaker C: You know, it's just like, you know, it's. It's just, where's that band at that time in the Journey? [01:48:47] Speaker A: Yeah, they needed who they needed for that part. And then maybe if David Leroth stayed, maybe it wouldn't have been as big as it ended up becoming. Because Realistically, they had four number one records with Sammy Hagar. I do think that it had something to do with 1984 being so big. Right. That it was easier for the next record to be number one because of the 1984 effect. [01:49:07] Speaker B: Yeah. And I mean, the hits were very commercial sounding, too. Like Dreams is very commercial sounding. [01:49:13] Speaker A: And it's a different singer. He writes differently. His lyrics, his melodies are different. His lyrics are different. He can sing a little higher. They change. They stop tuning down a half step. They tuned up the regular standard tuning because Sammy Hagar could sing that high. I'm saying, I'm reading a book from Steve Rosen which has, like, a bunch of interviews that he. I'm listening to the audiobook and it has, like, the interviews that he was doing with Eddie Van Halen. He's been bitching about David Lee Roth and Michael Anthony from 79 80. Why is he tuned down? Because he can't. He can't really. For the singer. He can't really sing that high. He needs all the help, you know, he needs help. So, you know, when Sammy Hagar got there, he. I think at the beginning, he felt really free. [01:49:58] Speaker C: Yeah. [01:49:58] Speaker A: Because he felt like he could write songs that maybe he couldn't write with David Lee Roth because it was a more of a limited vocal thing, Even though they were great songs. I think he might have felt a little bit stifled because he couldn't really write the way he wanted to write. That make sense? [01:50:15] Speaker B: Yeah. [01:50:15] Speaker A: And Sammy Hager was the right guy at that. [01:50:17] Speaker C: Yeah, no, it totally does. You know, it kind of your position reminds you of Motley Crue when they're trying to transition from Viz Neil to John Karabi. Two different style of singing, two different style of writing. Lyricists, overall, I feel that that fits in this debate a little bit. [01:50:39] Speaker A: Except that didn't work. [01:50:40] Speaker C: No, it did not work at all. It was a terrible experiment, actually. [01:50:46] Speaker B: A lot of people say that's their favorite Motley Crue album, though. Make. I'm saying a lot of people say that's their favorite Motley Cruel Mick Mar. It's his favorite Motley Crue album. [01:50:56] Speaker A: Well, Vince Neil never wrote lyrics. [01:50:59] Speaker C: Oh, John Kabi is amazing. John Kabi is amazing. But to. To what Mark was saying is like, who's the true image or face of the band and singer Vince Neil. Yeah, there you go. [01:51:13] Speaker A: It is what it is. [01:51:14] Speaker C: It is what it is. Exactly. I think John Krabi was better. A better fit. [01:51:19] Speaker A: Well, he was a better singer. [01:51:20] Speaker C: I am better singer right now. John 5 is a lead guitarist. Is he better than Mick Morris? [01:51:27] Speaker A: No. [01:51:28] Speaker C: I don't know. [01:51:29] Speaker A: He's a great guitar player. I don't. Vince Neil was never a great singer. He didn't write really write lyrics, you know, so John Corabi wrote lyrics and he played guitar and he did all these things. [01:51:38] Speaker C: He was amazing. [01:51:39] Speaker A: Oh, he's great. But was he right for Motley Coup? Probably not, no. And unfortunately for Motley Crue, even more than Dan Halen, I think that his vocal is really what people remember. [01:51:49] Speaker C: Yeah. Now I think too. You saw Sammy Hagar live, right? [01:51:55] Speaker A: Yeah, he was still good. [01:51:56] Speaker C: What did you think? [01:51:57] Speaker A: He's 77. He's 77. He's still good. [01:52:00] Speaker C: It was great. [01:52:01] Speaker A: He was great. [01:52:01] Speaker C: Well, did he sing a lot of the Van Halen classics or. He sang a. [01:52:05] Speaker A: Otherwise from his era. He did almost everything from his era. Stuff that stuff that you haven't heard in like 30 years. Like what, 40 years. [01:52:13] Speaker C: Like what? [01:52:14] Speaker A: Stuff from 5150, stuff from Foreign Lawful stuff from OU812. Then he did some solo stuff. But he did a lot of stuff, right, Savino? He did a lot of stuff. [01:52:23] Speaker B: Yeah. [01:52:23] Speaker C: How you sound? [01:52:24] Speaker B: He was good. [01:52:25] Speaker C: He was good. [01:52:26] Speaker B: He was. Yeah. They. Honestly, they sounded great. I mean, it was him. Michael. Michael Anthony was hitting like these notes, I mean, even on purpose. So sometimes it's just so funny. He'd be at the microphone, you know what I mean? Just those high power notes. But they were. I mean, they were great. They were tight. Everything sounded really, really good. It was. I mean, it was a really, really good show. [01:52:49] Speaker A: And there was no background tracks. [01:52:50] Speaker C: Oh, that's amazing. That's truly amazing. I wouldn't know because you guys didn't invite me to that. But I appreciate you. [01:52:59] Speaker B: Frank. You go to a concert like every week and we're always getting pictures and stuff. [01:53:04] Speaker C: So, yeah, you know what? It's amazing tonight. And I did not go because I said, you know what? I promise I'll be on podcast tonight. True story. [01:53:16] Speaker A: All right, Sabina, why don't you do your thing? [01:53:18] Speaker B: We're part of the Deep Dive Podcast network again. Great bunch of guys who took us right in. If you want more individualized podcasts, check them out. There's a Van Halen podcast, obviously. Queen, Tom Petty, Uriah, Heap, Zeppelin, you name it, it's probably on there. So check them out. And Mark, where can they find this? On the Interwebs. [01:53:35] Speaker A: Rock with that pod. All the social media. Rockwelletpodcast.com Please go there, do a new bets, put something on the wheel put us on your automatic download so you get us every Tuesday. We're releasing every Tuesday now, so be the first to get our new episodes. And if you can review us wherever you listen to your podcast, that'd be awesome. A five star review moves us up in the algorithm so more people get to hear us. Next week, we get to hear part two. [01:53:59] Speaker C: All right, thank you. [01:54:00] Speaker B: Looking forward to it. [01:54:01] Speaker A: All right, guys, we shall see you next week. [01:54:03] Speaker C: Good night. [01:54:04] Speaker B: Ciao. Ciao. [01:54:05] Speaker A: Later.