Episode Transcript
[00:00:04] Speaker A: This is our musical reaction breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only. Notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship and research.
These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now onto the Rock Roulette Podcast.
[00:01:15] Speaker B: Everybody. Welcome back to another episode of Rock Roulette Podcast. That's right, the Crazy Ass podcast. It took over 1,300 albums. Stuck them in a list, stuck them in a wheel, and typically every week we spin the wheel. She picks a record for us and we go through a track by track and we talk about the music, the lyrics, the production, the arrangement and the melody. And then we give it scores, man. Again, just a bunch of friends who want to do a podcast who love music, nothing fancy. And again, we always want to thank anybody who listens. Spread the word, tell us what you like, what you don't like, and you know, keep coming back. We've been, we had some good, some good, what do you call, some upticks in listens. And according to Spotify, we're doing a lot better than we did last year. So again, anybody listening? Thank you so, so much. And tonight we are threesome. Again, we have Frank.
My name is Frank and I'm sexy.
[00:02:20] Speaker C: Hello everybody.
[00:02:22] Speaker B: We have Mark. Oh, hi, Mark.
[00:02:24] Speaker D: What's up, guys?
[00:02:26] Speaker B: And I'm Seb. Ciao, buena sira.
So last week we did the first side of Van Halen 1984, which was a massive, massive album for them. And I don't know, we're kind of split a little bit. I mean, I think I'm. I don't think, I don't dislike what I've heard, but I think you guys are dug the last two songs a little bit more than I did. Although I think the soloing is, is really good, obviously the drumming, some some really cool instrumental parts. And I know I'm a little low in the lyrics, but I mean, Frank, you said this is your favorite Van Halen album, right?
[00:03:07] Speaker C: Yes, I did. I think this is, this is by far my favorite one. I think it's one of their better ones. I know that we had that debate.
[00:03:15] Speaker B: And Mark, obviously you are the, the resident Van Halen freak. Here. So, I mean, what is this? Top three for you? Top. I know you say that it changes, obviously. I mean, I. I do the same thing to certain bands where sometimes you like one better than the other one. This is in the tops for you as well, right? Somewhere.
[00:03:33] Speaker D: Yeah, it's top five for me, probably. I mean, it goes up and down. Yeah. I mean, I have to say, it's top five with such a massive album, and there's so many songs on here I like probably more than you like.
I'm a Van Halen fan. I give them a little more leeway when it comes to even lyrics. And Stu, for me, it's about Eddie Van Halen. As long as he's doing good stuff on there, I'm usually okay.
[00:03:51] Speaker B: Yeah, I think he's doing some great stuff here. I mean, some stuff that even for stuff that I've heard, didn't notice. Even in Panama, there's a couple little things that I hadn't picked up on. I mean, again, when you listen to it like this and you break it down, it is better to kind of pay attention to what they're doing. Especially when you get a technical player like Eddie Van Halen, it's very cool to kind of pick up on the stuff that he does. So, I mean, without a doubt, I find that stuff very interesting. Before we get back to it, as usual, we have our new segment. Newer segment. I mean, it's not that new at this point, but which is called New Bets, where you get to spin the baby wheel. Mark, if you want to cue the intro.
In a world where new music is.
[00:04:30] Speaker C: Not easy to find, welcome to New Bets.
[00:04:45] Speaker B: I'm glad you didn't forget the horn for Frank.
[00:04:47] Speaker C: So that makes two of us.
[00:04:49] Speaker B: Yeah.
[00:04:51] Speaker D: Can everyone see the wheel?
[00:04:52] Speaker B: I see it.
[00:04:53] Speaker D: Here we go. Let's get this going.
[00:05:08] Speaker B: That's so funny. I was literally reading that before it came up, because I'm like, what the hell is this? Flat black, a bit of lightning.
[00:05:16] Speaker D: I don't think any of us know this thing. Frankie, you don't know this?
[00:05:20] Speaker C: Nope. Nope.
[00:05:21] Speaker B: Never heard of.
[00:05:22] Speaker D: All right, so this is really a new bet. Nobody knows this.
[00:05:25] Speaker B: Yep.
[00:05:25] Speaker D: All right, so here we go. Flat black, a bit of lightning.
[00:05:54] Speaker E: Better days lost and never fail why does life always kick you when you're down in remedies sure don't come around down I need a way to escape this one light down I just need a little time to make it right to make it right I can use a bit of lightning Just to show me that the sky Is not falling Try to make it through the darkness Even though I hear the devil calling I won't give it, I'll give up I just, just need a little spark A little bit of lightning to help me through the dark Yesterday all have come and come no one's ever showed me where I went wrong and amaz sure as the day is love how do I get get to a place where I belong?
I just need a little time to make it right to make it right I can use a bit of lightning Just to show me that the sky is not falling Try to make it through the darkness Even though I hear the devil call it I won't give it or give up I just need a little spark A little, a bit lighter and I know hope is there but it feels so far away Until I see you again someday I won't give it or give up I just need a little spark A little bit of lightning.
[00:09:01] Speaker B: To help me through the.
[00:09:03] Speaker E: Dark to help me through the dark A little bit of lighting.
[00:09:14] Speaker B: To help.
[00:09:14] Speaker E: Me.
[00:09:38] Speaker B: I don't know if you guys looked it up, but the lead guitar player in that band was actually in Bullet Boys at one point. And also in Five Finger Death Punch.
[00:09:47] Speaker D: Yeah, that's Jason Hook.
[00:09:49] Speaker B: Jason Hook. Is that bad a drum sound? Like, as always? I mean, I'm not gonna say as always. Let me refrain. I. But song isn't bad.
[00:09:58] Speaker C: Where is the. The singer from?
[00:10:00] Speaker B: I don't. I think the other ones are unknowns as far as I can tell. Sounds like he just got a bunch of guys together.
[00:10:06] Speaker C: Wow. Bullet Boys.
[00:10:08] Speaker D: Wow.
[00:10:08] Speaker B: Yeah, he was there for two years.
[00:10:10] Speaker C: I haven't heard that in a long time.
[00:10:13] Speaker B: Yeah, I mean, he wasn't there in their. In their heyday, but it looked like he was there for a couple of years. What do you think, Mark?
[00:10:18] Speaker D: It's pretty stock. That little vocal break in the middle where they put the microphone effect on, like, that's so overdone. And the guitar playing is fine. It's just very stock. I mean, you can play guitar, but it's nothing. You go, oh, I need to hear more of this. It sounds like lots of other stuff. I don't know what Five Finger Death Punch sounds like because I've never really listened to them.
[00:10:35] Speaker B: I know one song by them that I really like. I haven't really gone down that road.
[00:10:39] Speaker D: Yeah, I know nothing by them. I know him because I've seen him in guitar stuff. Stuff. But other than that, it's fine. I mean, listen, it's least guitar oriented rock. It's not bad. But, you know, it's the same as lots of. I mean, you can put lots of stuff on that sounds like that, right? So it's nothing. Nothing special for me. It's a good song. I don't know if I would go listen to that.
[00:10:55] Speaker B: Frank, what'd you think?
[00:10:56] Speaker C: I like it very, very reminiscent of cedar, kind of like from that time frame. But overall, yeah, I mean, I like the guitar sounds like Mark said, very stock. When was the song released?
[00:11:06] Speaker B: I think this year sometime, right? Mark, everything on this list is this.
[00:11:11] Speaker D: Year, this year, last year. It's in the last couple of years.
[00:11:14] Speaker C: Yeah, I know Mark's definition of a couple of years, like back to.
Back to 2020.
I mean, but it just sounds like something you could have very easily pulled out from early 2000s. Brought it up.
[00:11:27] Speaker B: Yeah. It's got that vibe. I mean, it's very melodic.
[00:11:30] Speaker C: I mean, I like it. I'm definitely going to be listening to it again.
[00:11:33] Speaker B: Well, there you go. Another New Bets in the stack.
In a where new music is not easy to find.
[00:11:45] Speaker C: Welcome to New Bets.
[00:11:56] Speaker B: Frank has got to have the his intro as his ringtone. And that has his notifications just a constant of the podcast.
[00:12:07] Speaker C: That was at one point my notifications.
[00:12:11] Speaker B: That means that now we shift over to the main chunk, which at this point would be starting with the second part of 1984. And Mark, you got something special cued for us here, right?
[00:12:25] Speaker D: Yeah. Well, I figured let's watch the video for Hot for Teacher because I have to say, for me, it's one of the most iconic 80s videos. It's kind of where a lot of the story kind of like video started to me. To me, I think of like, 80s iconic videos. This is not even rock. Aha. Take on me. That whole cartoon thing. This video is super iconic for me. Twisted Sister I Want to Rock is a gigantic. Yep, it's those kind of big, gigantic videos where there's more going on than just the guy on the stage playing music. Yep, it's a big, iconic video. I figure it's a funny thing. We can stop and talk about the video too, while we're at it. All right, so here we go. So this is Hot for Teacher.
[00:13:12] Speaker B: Sweet, sweet Waldo Now, Waldo. I hope you find some friends this year.
Oh, mom, you know, I'm not like other guys.
I'm nervous and my socks are too loose.
[00:13:40] Speaker E: Sit down, Waldo.
[00:13:45] Speaker B: That whole beginning thing with the mom, man, she's like, I don't remember that.
[00:13:52] Speaker D: I like the squeaky hair.
[00:13:54] Speaker B: I remember that. I know.
[00:13:56] Speaker D: Oh, Mom, I'm not like the other guys.
[00:14:01] Speaker B: Yeah, this kid's great, man. This kid plays it up. He's really good.
[00:14:05] Speaker D: I mean, give David Lee Roth credit. I think it's a lot of. This is his idea. So.
Yeah.
[00:14:11] Speaker B: Based on. Based on his videos. I would think so.
[00:14:16] Speaker D: This is a video you can't forget just because it's so crazy and so it has so much stuff in. I don't know if you can make a video like this now.
[00:14:22] Speaker B: I don't even know. I got. I haven't seen a music video in God knows how long.
[00:14:26] Speaker C: I mean, do they still make music videos?
[00:14:28] Speaker D: They do. They put them on YouTube. It's not the same. No one spends this kind of money. Almost everybody doesn't spend. I mean, there's some people who do. I think Billie Eilish spends money on her stuff. Even like this. This was super expensive.
[00:14:40] Speaker B: Yeah. Was it?
[00:14:41] Speaker D: Oh, yeah.
[00:14:42] Speaker C: Well, but then. But then again. But then again, it was during a time where people watch music videos and you had to stand out.
[00:14:48] Speaker B: MTV was still.
[00:14:50] Speaker C: So here you are. How many Dick. Yeah, it was still thing. So how many years later we're still talking about the video?
[00:14:55] Speaker D: It was money well spent. Let's continue. Here we go.
[00:15:44] Speaker B: Yeah, that stuff is funny. The kids who play the. Who play the band members. That's pretty good. I gotta tell you, man, that Michael Anthony one is dead on.
[00:15:54] Speaker D: I know.
[00:15:55] Speaker B: It is really, like, perfect.
[00:15:58] Speaker D: Waldo's old twitchy. He's sitting the seat, he's all twitchy. Yeah. Because he knows what's gonna happen.
[00:16:04] Speaker B: Yeah. Meanwhile, he's the only one in the classroom. All the kids disappeared all of a sudden.
[00:16:09] Speaker D: It was a smart idea to put, like, minivanhandle in this.
[00:16:12] Speaker B: Yeah. Yep. It makes sense, though. I mean, considering what the general theme of this video really is.
And song. I mean, the song clearly has a message.
[00:16:25] Speaker D: This is a topic you probably can't touch. Now, a song or a topic you probably can't touch. I mean, you can get away with lots of crazy these days, but this you couldn't get away with. It would be seen as misogynistic or. You know what I mean? It would be seen as more than just a fun thing, just a fun song, fun video. We take it too seriously. No one could do this. Let's continue on.
[00:16:49] Speaker E: Oh, wow, man.
Wait a second, man.
What do you think the teacher's gonna look like this here?
Teacher, teacher, stop and screaming Teacher, don't you see don't wanna be no uptown fool maybe I should go down But I'm doing well. Teacher needs to see me after school I think of all the education that I miss but that my homework was never quite like this.
Oh, got it bad, got it bad, got it bad. I'm like a teacher I got it be so bad I'm not the teacher.
[00:17:50] Speaker B: Wow. So that's pretty funny. Their dancing isn't even in. In unison that much.
They're off.
I mean it's, it's, it's still.
[00:18:01] Speaker D: Alex Van Halen is the most out of time and he's the one holding all the time down, which I find hysterical.
[00:18:07] Speaker B: Yeah, I mean listen, dancing and, and drumming aren't always. I, I've been told. I think I have the rhythm. I mean I have the moves though.
But I mean it's, it's fun. I mean they're having, I mean it looks like they're having. I mean David Lee Roth is definitely having a ball. That's for sure.
He is loving this.
[00:18:26] Speaker D: As a 14 year old boy. I appreciate this video a lot.
[00:18:30] Speaker B: It's funny. I mean it's, it's, it's fun. That's all it is.
[00:18:34] Speaker D: The mere fact that like the teacher comes out in like the bathing suit, it's just, it's hysterically ridiculous. But getting back to the music, obviously that intro with the drums is super iconic. The tapping riff at the beginning, I mean the whole song, even the little riff like that thing, it makes the song. This is another one of those songs that there's so much going on. If you don't pay attention, you'll miss all the stuff that goes on that's going on. So what do you think, Frank?
[00:18:59] Speaker C: I mean, I love the song, always did. I used to stay glued whenever the video came on.
[00:19:05] Speaker D: I wonder why the drumming.
[00:19:08] Speaker C: I mean, listen, minute you hear that, you already know this is the song period like you said with the tapping was. That's the really first time I heard a guitar is really use the tapping often was with Eddie Van Halen. I, I don't, I can't really make. Maybe Randy Rhodes did a lot of the tapping.
[00:19:25] Speaker D: Martin. Everybody did it. I mean he did it a little bit too. Not, I don't think to the same extent. I mean he did a little bit of stuff but he did a little different too. Listen, he didn't invent tapping and he says he never invented it but he's the one who kind of put it into practical use, I think and popularized it where then everybody said, oh we, we got a tap. It's the Van Halen effect. Of, you know, you take. Besides that, he's this crazy genius musician guy. He was super popular. Every hotshot guitar player in the 80s had to all play like that. Me included.
[00:19:55] Speaker C: Yeah.
[00:19:57] Speaker D: If you didn't do a little bit of that, you weren't doing the thing, you know, that everybody else was doing. So, you know, think of all the bands that have tapping White Lion Winger, where their guitar players tap a lot different than this, but they do tap. Yeah. So it was a big thing. There's the instrumental thing and then there's that. All the glasses falling down and all the noises. That's pretty cool, too. Oh, wow, man. That's it. Wait a second, man. What do you think the teacher's gonna look like this year? My butt, man. Oh, yeah. Teacher Stop that screaming. Teacher, don't you see don't want to be no uptown fool maybe I should go to hell But I'm doing well and teacher needs to see me after school I think of all the education that I've missed But then my homework was never quite like this. I got a bad, got a bad, Got a bed I'm hot for teacher I've got a bad so bad I'm hot for teacher so he says, my butt. That's what it says. Do I know? Yes. I don't know if that's true, but that's what it says. It could be wrong. This is Internet lyrics. Who knows if this is right? I think the next interlude part is funny because there's a little bit of double entendre going on.
Not that he doesn't do that all the time, but.
[00:21:06] Speaker B: Yeah. Oh, well. I mean, this song is pretty much. I don't know if it's double as. As much as single. I don't think this song could be mistaken for anything else.
[00:21:15] Speaker D: Well, no, there's some double entendre. Next verse is double entendre. You'll see.
[00:21:19] Speaker C: No mark. By the way, that part where it says old man. Oh, wow. Man said, wait a second. What do you think the teacher is going to look like this year? The lyric I sound was not. But it says, man. That's what it comes out. Yeah.
Which makes more sense. Sense, right. Teachers coming out.
[00:21:34] Speaker D: I'm just reading the lyrics from the thing. I don't know if I ever knew what that said. I'll take your word for it. It sounds better than but. So I'll take. I think that would be right.
[00:21:40] Speaker B: You know what?
[00:21:41] Speaker C: It's real easy. I have the cd. I'm gonna get the COVID Oh, yeah.
[00:21:45] Speaker D: You go do that. I'm gonna start playing.
[00:21:58] Speaker E: I brought my pencil.
Give me something to ride on, man.
I heard about your lessons by lessons on.
I know about this. Go.
Little girl from Cherry Love how can you be so bold? I did you know the golden rule?
I think of all the education that I miss I bet my homework was never quite like this.
Oh, got it f. Got it bad. I'm not the teacher I've got it bad so play. I'm not the teacher.
[00:22:55] Speaker B: So it's like Alex. I feel like he hits his brother like two or three times trying to do moves. It's so funny. Michael Anthony's pretty good.
[00:23:03] Speaker D: David Larott's pretty good.
[00:23:05] Speaker B: Oh, yeah, well, that goes without saying. I mean, he's tailor made for this stuff. But I'm saying out of the other three, Michael Anthony's definitely. Definitely the best. And again, I'm pretty sure Alex just hit Eddie in the head twice trying to do some moves. He's the tallest too, right? And looks like.
[00:23:19] Speaker D: Yeah, it looks like it.
[00:23:21] Speaker B: Yeah.
[00:23:22] Speaker D: And it has that Van Halen groove swing.
[00:23:26] Speaker B: Well, I mean, this is. This is an infamous drum. I think this song is probably just as famous for the drums as it is for anything else.
[00:23:33] Speaker D: Oh, yeah. This is a great song, though. And the video only makes it better. I mean, it's a great song, but the video takes it from being like whatever it is over the moon. All right, so here's the double entendre. Hey, I heard you missed us. We're back. I'm ready. I brought my pencil penis.
[00:23:52] Speaker B: Oh, you think that's what it is?
[00:23:53] Speaker D: Oh, 100. Give me something to write on, man.
[00:23:57] Speaker B: I just assume it's all the part of the school thing.
[00:24:00] Speaker D: No, no, there's no. On these words, there's something saying. It's symbolizing a good student that actually gives a damn about doing his work. That's such. Whoever wrote this here on this lyric site is smoking crack because it's a hundred percent double entendre. I brought my pencil. Give me something to write on, man. Come on. You can take it as straight on, but it's not straight on. It's. It's double entendre.
[00:24:22] Speaker B: I mean, I always look at it straight on.
[00:24:24] Speaker D: Really? Because.
[00:24:25] Speaker B: Well, I mean, within the. I mean, you know, just because of what the song is. Just. I mean, it. Because the rest of it is so obvious and it just seems like they're playing around. I don't think it's about being a good student, though.
[00:24:37] Speaker C: No.
[00:24:37] Speaker B: I mean, I don't know who said that. That I don't think.
[00:24:41] Speaker D: I have no idea who's writing this, that's for sure.
[00:24:45] Speaker B: No, no, that ain't. I mean, everyone's entitled to their opinion.
[00:24:48] Speaker D: Second verse is. I've heard about your lessons, but lessons are so cold. I didn't know about this school. Little girl from Cherry Lawn, how could you be so bold? How did you know that golden rule?
[00:24:58] Speaker B: Is Cherry Lawn a specific place?
[00:25:00] Speaker D: Yeah, I think so. I think Cherry Lawn is a place. I'm pretty positive. So there's some kind of a school. I don't know if it was a high school or it was a middle school, but I believe it's a school, though. Pre course is the same. Course is the same. And now we get to the part that I've been waiting for.
[00:25:52] Speaker B: Bass is doing a lot under that too. I think the first time I really, really, like, paid attention to the bass. I mean, I know we talked a lot about his bass playing. Well, let's say it's his bass playing, right? Because it's supposedly now. We don't know if it was him all the time.
[00:26:06] Speaker D: No, I'm pretty positive on this it was him. Later on, maybe not as much, but I think here it is. I mean, I don't ever know 100%, but if I had to guess, I think it's him. That solo is even that shot of him walking on the desks. That's such an iconic video shot.
[00:26:21] Speaker B: Oh, yeah.
[00:26:22] Speaker D: And it's funny, like, if you know how to play this solo, there's a part in there, like when it gets to the second part before they go to the back to the suits again. He's not playing the right thing there.
[00:26:30] Speaker B: No, no.
[00:26:31] Speaker D: It's just kind of funny. Like, if you know how to play. Like, that's not what he's playing. But he doesn't care. I mean, he's just playing in the video, so it doesn't matter. Yeah, it's just a guitar nerdy thing. Like, oh, that's not right. He's not playing the right thing.
[00:26:40] Speaker B: He might be guessing at that point anyway. Kind of like, oh, what the hell was I playing here?
[00:26:45] Speaker D: That's possible too. You were gonna say something.
[00:26:47] Speaker B: I don't remember.
Yeah.
[00:26:51] Speaker C: Oh, it doesn't take long.
[00:26:53] Speaker B: Yeah, it doesn't take long.
[00:26:54] Speaker C: But you forgot already that that's the first sign, bro.
[00:26:58] Speaker B: First side. Oh, these signs have been here.
This is like the fifth side.
The only thing I could think of is, is right before it goes into the solo, there's a little bit of a noise. It Almost sounds like a stick click or rim click. Like right before it goes into the solo. There's like that little break very quick, and you kind of hear a little bit of noise. And I don't know if that's part of the background. You know what I mean? How they have like the other background noises going on in the beginning.
[00:27:23] Speaker D: I don't know. Do we want to hear it? See what it is?
[00:27:25] Speaker B: I mean, yeah, if you want to play it again, it's like a little bit of a. Something like that.
[00:27:30] Speaker D: Now back it up. Here we go.
Yeah, they forgot to take it out.
[00:28:11] Speaker B: It sounds like two little stick clicks.
[00:28:13] Speaker D: It's the clicks to lead them in. They forgot to take it out, though, or they didn't care and they left it in. But that's the two clicks. So we can start the solo right there. Just to give him someplace to go. It. I've never heard that before.
[00:28:24] Speaker B: So, Mark, which part were you saying that It's. It's definitely not what he's playing in the solo. Which part of the. The video.
[00:28:31] Speaker D: The end of the first walking desk part. The end riff right there. It's not right. It's not playing what he's actually on the record. But this solo is constructed so well. Has a beginning, it has a middle, it has an end, keeps you interested. It has melody in it. Even though there is some, you know, fast guitar playing in it. It's a great solo. And now the next part coming up is funny where they're in the. In the jail with all the. Is that the teacher again or is that somebody else?
[00:28:53] Speaker B: I don't know. I don't remember this part, honestly. The jail.
[00:28:58] Speaker E: Ah, man. I think the clock is slow.
I don't feel turdy last.
Oh, yeah.
I got it back, got it back, got it back. I'm hyper teacher.
I got it back, got it back, got it back. I'm hyper teacher.
Yes, I'm high.
Oh, yes, I'm hot.
Wow.
Oh, my God.
[00:30:21] Speaker B: So I'm pretty sure Waldo, based on that picture, grew up to be Woody Allen. Looks like it looks like Woody Allen in that end.
I do find it funny, though. They kind of give him that ending. And Eddie the wound up in Bellevue.
[00:30:36] Speaker D: And Alex Van Halen's a gynecologist.
[00:30:39] Speaker B: Yeah. And the other dude's a sumo wrestling.
[00:30:41] Speaker D: David Leroy's a game show host.
[00:30:43] Speaker B: Oh, yeah. Well, that's. I mean, that's perfect for him.
[00:30:46] Speaker D: Yeah. 100. All right, let me read. Read the last part. Oh, man, I think the clock is slow. Were you Doing this weekend. That can't be right. Were you doing this weekend?
[00:30:56] Speaker B: No, I don't think that was in there.
[00:30:57] Speaker D: I don't think so. I don't feel tardy. Class dismissed. I don't know idea if that's in there.
[00:31:02] Speaker B: I don't remember hearing that.
[00:31:04] Speaker D: No. See, sometimes these lyrics suck.
[00:31:07] Speaker B: I mean, there's no. There's no variation between the record and the. The video, right?
[00:31:12] Speaker D: No.
[00:31:12] Speaker B: Or maybe it's in the. The album, but it's not in the. In the video.
[00:31:18] Speaker D: I don't think so. I've never knew there was any kind of version other than the version that came on the album. Yeah, the video is awesome. The song is awesome. I'm gonna do mine first. It's gonna be super easy for me. I was gonna say nines across, but I almost have to give this tens across. I don't think there's any other song on here I'm gonna give tens to besides jumping this. I can't see giving anything else to this and the video. If I could give it twelves, I give it twelves because the video just even throws it higher than the actual song for me. This is one of my favorite songs. I like all the guitar parts. I like the bass parts, the drum parts. The vocals are super good. All the little pieces. Then you throw the video on top. Roll that stuff that they add. This is an awesome song. I don't even know. I have to look and see how high this one up. I don't even know where it went to. I'm gonna look it up while someone else gives their rating.
[00:32:03] Speaker B: Frank, I think you should go first.
[00:32:05] Speaker D: Yeah, Frank should go. Go ahead.
[00:32:07] Speaker C: I mean, giving the lyrics a 10. They're very fun. Love them. Musicianship. I'm gonna. I'm gonna give that a 10. I mean, everything about this song, you hear it, it's just. It's just very defining, very iconic. All about it from. From the drums, the guitar solo, the technique, everything about it. So gonna give that a 10. Arrangement and composition. I'm gonna give those nine. It's just. It's just such a great song. It's still classic all these years later. Sav.
[00:32:32] Speaker B: I'll preface this by saying I'm gonna give everything a 9. The lyrics are kind of stupid. I mean, I don't know. They fit the song, but I don't. I don't want to undermine everything, so I'll just say a seven on the lyrics. But I could go a lot lower, honestly. This is. To me, it's a music song. It's made for music. The drums and the guitar and, you know, the bass, too, which I never really paid attention to. And, you know, the lyrics are just a goof. So, I mean, for that, I'll give it a seven, but I think everything else is a. Is a nine.
[00:33:01] Speaker D: Lyrics are so fun, though.
[00:33:02] Speaker B: Yeah, it's a goof. So for that, I mean, you know what I mean? I'll go. But, I mean, yeah, it's. It's a great song. I mean, the solo.
[00:33:10] Speaker D: Yeah, the solo's great.
[00:33:11] Speaker B: Yeah, solo's great.
[00:33:12] Speaker D: I mean, all of his guitar parts on that song are awesome. Like, they all are great. All the pieces of it. I like when he goes right before the solo. He does a little tapping thing from the intro. Again, he reuses that part. It's just very well constructed. So now we're up to the second keyboard song on this record, which is. I'll Wait. Does everyone know that Michael McDonald helped write this song?
[00:33:31] Speaker B: No.
[00:33:32] Speaker D: Yes. Because David the Roth couldn't come up with lyrics. He really didn't get credit till way, way later. Like, during the time when it was released, he didn't get credit for this. David laro couldn't come up with any lyric. Ted Templeman asked Michael McDonald to do it, but I don't think they give him the proper credit.
[00:33:47] Speaker B: Templeman produced the Doobie Brothers, too, right?
[00:33:49] Speaker D: Oh, yeah. Oh, and Hot for Teacher only went to 56 on the Hot 100.
[00:33:53] Speaker B: You know what, though? Sometimes the video made the song. But I think sometimes, too, with the popularity of the video, you know, like, MTV had its own kind of video chart. I'm sure that this, at some point, had to top that. Most requested or most played or whatever.
[00:34:06] Speaker D: And that made the song even more popular. The video made it even more popular, even if it didn't go high in the, like, the actual music chart. This song was the second single, and it meant a number 13 on the Billboard Hot 100. So it was still a hit. And there was no video for it either, which is kind of weird.
[00:34:20] Speaker B: Yeah, I was gonna say, I don't remember any video for this.
[00:34:22] Speaker D: All right, here we go.
[00:35:22] Speaker E: You got me captured I'm under your spell I guess I'll never learn I am your picture Yes, I know it well Another page is turned Are you for real? It's so hard to tell from just a magazine yeah, you just smile in the picture cells. Look what that does to me.
[00:36:13] Speaker B: So it's funny. This is one of those cases where I talk about his drum sound. You don't Know who this is?
Let's say you. You've never heard this song before, right? Even if you know Van Halen, you hear this and like, oh, keyboard. Okay. As soon as his drum sound hits, you're like, okay, this is Van Halen. Like, there's no mistaking that sound of his drums. And it reminds me, too, of. Of like Genesis. I mean, I could picture Genesis having done something like this.
[00:36:40] Speaker D: Yeah, there's very little guitar in this. It's all keyboard. This is more keyboard than jump it, really? Yeah, I think it's awesome. I know some people may not like it and probably got a lot of flack back in the day because it had so much keyboard in it.
[00:36:52] Speaker B: Yeah, That's a good rift, though. I mean.
[00:36:55] Speaker D: And, you know, I never noticed either when the verse is coming in. I thought he hit, like, a symbol, like, to accent that, but he doesn't. It's like a hi hat and he goes in. Yeah, he does that a lot, too. He doesn't always accent the thing where you think he's going to accent it. Throws you off a little bit.
[00:37:08] Speaker B: Yeah.
[00:37:08] Speaker D: Verse one. You've got me captured I'm under your spell I guess I'll never learn I have your picture Yes, I know it well Another page has turned Are you for real? It's so hard to tell from just a magazine yeah, you just smile and the picture sells look what that does to me I'll wait till your love comes down I'm coming straight for your heart no way you can stop me now as fine as you are so do you like those lyrics better?
[00:37:32] Speaker B: Yeah, they're fine. I mean, it sounds like it's about somebody. Either a model.
[00:37:37] Speaker D: Would you like to know what it's about?
[00:37:39] Speaker B: Am I, like, way off or.
[00:37:41] Speaker D: No, you're right. Supposedly the song subject was inspired by a woman wearing men's underwear in a Calvin Klein print media advertisement. Roth picked up the ad beside his Sony TrinityTron television and addressed the lyrics to the model. I don't know what parts he couldn't finish, but obviously Michael McDonald came in and helped do that. But it was about, you know, I guess he saw this model, he's like, oh, I'm gonna write a song about her. I don't know who the model was. Doesn't really say.
[00:38:02] Speaker B: Because if you think about it, right, like, even, like, kiss, right? How many times have they talked about pictures in a magazine? Like, other people's pictures in their pictures, right? You saw me in a magazine or blah, blah, blah. So it is a common theme, but like, oh, maybe this is specifically about somebody.
[00:38:16] Speaker D: What do you think, Frank?
[00:38:17] Speaker C: No, I had no idea that was. That song was about that. And I often wonder. Too late to look it up. So thank you for sharing that. So far. I like it. I mean, I love the keyboards, you know. Again, one of those songs, soon as you hear it, you know exactly that. That it's a Van Halen song.
[00:38:30] Speaker D: All right, here we go.
[00:38:31] Speaker E: I wrote a letter and told her these words that meant a lot to.
I never said that she wouldn't ever.
Her eyes don't follow me and while she watches I can never be free Such good photography I'll wait till your love comes down I'm coming straight while you're not no way you can stop me now as fine as you are.
[00:40:12] Speaker B: That's a weird solo.
[00:40:15] Speaker D: It's really cool.
[00:40:17] Speaker B: It's like weird going on behind it too. Like the way the drums are being played and the keyboard parts.
[00:40:22] Speaker D: That's what I appreciate when those things happen. When there's those things behind it that's not normally in the rest of the song. And they just throw that like right out in the middle of there. The soul is very. A little out going on in there. I played the solo a bunch of times. I recorded it a couple times. It wasn't that easy to do. I think it's like 20 or 30 times to get it half ass right.
Because it sounds super easy, but the timing is not as easy as it sounds. There's a little middle break there right before that. Big, big stretch kind of legato line. I like that a lot. I like this. I like the solo a lot.
[00:40:54] Speaker C: What was that sound again?
[00:40:55] Speaker D: Oh yeah, that. Like that part like right before. That does like a little riff part. That's like my favorite part of the whole solo. It's awesome. The reason why I like him so much is that he plays for the song. But he also throws in things that you just go, huh, yeah. Really? Is it a guitar is not his musicianship and what he does in every. You know, obviously not in this song. There's no guitar besides a solo. But it's. I think what makes him him and makes him so good is that he only gets a certain amount of space. But he uses all that space very well and sometimes separates him from other guitar players that are just. Can be even technically better than him. But it's sometimes it's not about the technical part.
[00:41:34] Speaker B: It's not how much you play, it's what you play.
[00:41:36] Speaker D: Yep. And it's a very memorable solo. Even though It's. It's a little weird. Has some weird things going on.
[00:41:41] Speaker B: Yeah.
[00:41:41] Speaker D: Obviously there's not a lot of bass in here. This keyboard bass going on, that's Michael Anthony too, but it's just a pulsing kind of thing. But the drums are awesome in this song too.
He's underrated, I think. I think he just. He just gets overshadowed by Eddie Van Halen. But if you sit down and start listening to what he does.
[00:41:57] Speaker B: Yeah, well, I mean, his name. His name does get mentioned in the drumming circles, without a doubt. Does he get mentioned in the same circles as like a Neil Parrott? I don't think so, but yeah. I mean, but if you listen to drummers, I'll say, yeah, like, he does.
[00:42:11] Speaker D: Yeah.
[00:42:11] Speaker B: I mean, he does some interesting stuff. And I think that's kind of like a theme that I find for this record in the simplicity of the songs. There's still, like, when the solo comes around, it's like, all right, let's. Let's complicate this a little bit. You know what I mean? No matter how easy the song is, let's just do something weird when it comes to the solo.
[00:42:30] Speaker D: Yeah, they spice it up a little bit, which is nice.
[00:42:33] Speaker B: Yeah.
[00:42:34] Speaker D: So verse two is. I wrote a letter and told her these words that meant a lot to me I never sent it she wouldn't have heard. Her eyes do follow me and while she watches I can never be free Such good photography. I think the words are pretty decent in that.
[00:42:50] Speaker B: I mean, you know exactly what it's talking about.
[00:42:52] Speaker C: Well, yeah.
[00:42:52] Speaker D: Like if you had a post on the wall, like if it was the painting where the eyes follow you around.
[00:42:55] Speaker B: Yeah, yeah. When they're looking straight so it's like they follow you.
[00:42:58] Speaker D: Like I said, I don't know how much of this is him. How much of this is Michael McDonald Reports. I've never. I don't think I've ever look to see if anyone even knows what parts were written by who, but I think it's awesome. I don't mind the keyboards. I mean, it's not a very keyboard heavy album really, if you think about it.
[00:43:16] Speaker B: No, no. I mean, there's the intro, right? There's jump. There's this.
[00:43:21] Speaker D: That's it.
[00:43:21] Speaker B: The rest of it isn't really. Again, some people lump. It's like Dynasty, right? Oh, the disco album by Kiss. It's like. Well, it's not really a disco album.
[00:43:31] Speaker D: All right, let's finish this out. Here we go.
[00:43:39] Speaker E: The pages come alive.
You're magic free. Everyone who reads Heartbreaking motor drive Are you for real? It's so hard to tell from just a magazine.
Yeah, you just smile in the picture sells. Look what that does to me.
[00:44:08] Speaker D: I.
[00:44:08] Speaker E: Wait till your love comes down I'm coming straight on your heart no way you can stop me now as fine as you are I wait till your love comes down I'm coming straight for your heart.
[00:44:40] Speaker B: That'S a weird fade. I feel like it came in too early. Like maybe you should have gotten through the chorus again. And then me kind of faded out. I mean, I know I've heard this song so many times. I just don't. Didn't remember that fade. How long is this song? It's pretty short, right? It's not that long.
[00:44:58] Speaker D: 440.
[00:45:01] Speaker C: Yeah.
[00:45:01] Speaker D: Everything on this side is under five minutes. What I did notice, too, is on the fade. There was like a part when he went. And you thought he was going to hit cymbal. No symbol.
[00:45:09] Speaker B: Yeah.
[00:45:11] Speaker D: Never really sat down and listened to that. Parts of it coming out. He does a lot of that. It seems like the places you think he's going to. Accent. He doesn't accent.
[00:45:18] Speaker B: Yeah.
[00:45:18] Speaker D: Verse three is. You can't imagine what your image means. The pages come alive. You're magic reading. Everyone who reads Heartbreak in Motor Drive. Are you for real? It's so hard to tell from just a magazine. Yeah, you smile and the picture sells. Look what that does for me. I like it. But I'm going to have Sabina go first because I want to see what he does.
[00:45:38] Speaker B: I mean, I'll say. Say I don't know on the lyrics. I'll say a six on the lyrics. I mean, they're fine. They kind of tell a story. And then I'll probably say seven on everything else. Keep it simple. I mean, it's a good song. I mean, I've always liked it. And again, I never really paid attention to what was going on in the solo. But again, I think that's no matter how simple the songs are on this record.
Definitely, when it comes to the solo parts, they break out a little bit. And to me, some of it is the best part of the songs. Frank.
[00:46:09] Speaker C: I'm going. I'm going seven. Zola Cross. I mean, it's your typical Van Halen song, right? So the lyrics match their style, their writing, their music. Everything about it is just totally Van Halen. They stick to the root. Yeah. So I'm getting someone across all over here. How about you, Mark?
[00:46:22] Speaker D: I gotta give you this first. So hold on. Nikki Titty baby Quintuple seven, Zippity bippity bop.
[00:46:29] Speaker C: Awesome.
[00:46:30] Speaker D: So I'm gonna give seven on the lyrics, seven on the melody. I like the music a lot, so I'm gonna give that an 8. A solo is awesome in there. And I love the playing of Alex Van Halen. This song arrangement, I'm gonna say eight in production. Eight. I like this song a lot. It's one of my favorites on the album. I mean, I don't really have a bad song on this album. This is one of the ones that even though has a lot of keyboards and I like a lot.
[00:46:51] Speaker C: Just really quickly, I just realized because I'm looking at the CD case here, all band members got credit for the music and the writing. Did you know that?
[00:47:00] Speaker D: Oh, do we have to go into this?
[00:47:02] Speaker C: Never mind. There's clearly a story I'm missing.
[00:47:04] Speaker D: Would you like to go into this?
[00:47:07] Speaker C: It says here all songs written by Edward Van Halen, Alex Van Halen, Michael Anthony and David Lee Ross.
[00:47:13] Speaker B: Wait, on all. On all tracks.
[00:47:15] Speaker C: That's what it says. All songs.
[00:47:17] Speaker D: Yeah. Well, my knowledge of this is that was set up at the beginning to give everyone a four way split on the music. By the time 1984 came around, people were getting a little frustrated. Well, it happened, it happened prior. It happened like around 1980. And people were frustrated because Michael Anthony doesn't really write anything. He never really brought anything in. So Eddie Van Halen was super frustrated. David Larue is frustrated. You know, Alex Van Halen did a lot of arrangement and stuff, so he helped out with the things. But Michael Lantin never brought anything. He just came in, they showed him what to play and he played and he left, according to them. So after 1984, he lost all of his credits. He didn't get equal writing credit anymore after this and retroactively. So I think any albums that sold from the prior five, he didn't get any more royalties. From what I hear. I don't know 100 exactly how that is, but from what I've read and heard from other people, that's what happened.
[00:48:08] Speaker C: Wow. Never knew that.
[00:48:10] Speaker B: Oh my God, poor Michael.
[00:48:13] Speaker D: Yeah, you know, I mean, Michelange is a super nice guy, but I mean, I get the other guys saying, hey, look, we're writing all this stuff. He never brings anything in. He doesn't just come over like say, hey, let's jam, I gotta, I got something. Supposedly he never did that. He came in during the rehearsals, they showed him the songs, he played his parts. But at a certain point too, if he's still playing his own things. He does add to the song. They got frustrated because he never. I understand why it was a four way split because they're trying to keep everyone together. Not one guy's doing all the work, but one guy and two guys are doing all the work. So I understand that. I don't think I would ever do that. I would never pull anyone's writing stuff away. If we made a deal that it's always going to be the four of us or whatever. I would never do that. I can understand people got frustrated.
[00:48:55] Speaker B: Wasn't Kiss like that too though? In the beginning or. For a while there was a four.
[00:48:59] Speaker D: Way split and then up until Peter and Ace left. Yes. Or technically. I think Peter Chris was still getting stuff after the fact.
[00:49:07] Speaker B: Yeah, I think so too. I think he was getting paid for a while.
[00:49:10] Speaker D: So the next song is Girl Gone Bad.
[00:50:22] Speaker E: Lazy Eyes in the summer heat Fresh from out of town now she's working on that street Shaking papas down.
[00:50:49] Speaker B: So I'm going to say this here. So far, this is my favorite deep cut. I think it's a good riff. This also reminds me of Genesis too, though. The. The. The chords that they're using in the beginning. Little like Genesis. Me too, Asia.
But I mean, I. I think it's a really good. It's a good riff. I like the intro and everything.
[00:51:09] Speaker D: He's doing the tapping thing again an octave over the course he's playing, which just gives it like that bell kind of sound.
[00:51:16] Speaker B: And the bass is kind of doing that thing in the beginning. So far this may remind me the most. I mean, I think we mentioned it on the first side too, from one of the songs. But it's like this kind of reminds me of little bit of older Van Halen. And by older, I mean two or three or one or two albums before.
So not like older, you know what I mean?
[00:51:39] Speaker D: So first one is Lazy Eyes in the Summer Heat. Fresh from out of town now she's working on the street Shaking poor boys down Girl Gone bad Girl Gone Bad and the patented Van Halen backing vocals.
There's some interesting rhythm stuff, interesting chord choices and stuff here. So I like that a lot.
[00:51:59] Speaker C: Yeah, it almost doesn't align with all the songs on this album. It just sounds from a different time, that's all.
[00:52:06] Speaker D: You can see that. Alrighty, here we go. Let's continue.
[00:52:19] Speaker E: Breath.
[00:53:24] Speaker B: The only thing I will say I'm pretty sure he does is a lot. If I remember correctly, there's not always a lot of. Or any rhythm guitar going on underneath the Solo.
[00:53:34] Speaker D: Right.
[00:53:34] Speaker B: Like in this, it's just the solo drums and bass.
So sometimes it feels a little bit empty. Whatever he's doing, he's doing. But I think had he had a little bit of that behind it, it would have been fuller. And not that it's bad what he's doing, but I think I just like the. The rhythms that are going on in the song so much that I would have even liked to have heard it underneath the solo.
[00:53:57] Speaker D: He'd started doing more of that later. He did a little more overdubbing on Fair Warning a little bit on here. I mean, generally they wouldn't play it and he just played.
So that's kind of, you know, that's what happened in the. Most of the albums in the Sammy Hagar years. It was a lot more overdub than it is now, I mean, which is.
[00:54:12] Speaker B: Cool because obviously go hear it live.
[00:54:14] Speaker D: And so, I mean, it'll sound the same.
[00:54:17] Speaker B: Exactly. Yeah. So I mean, from that aspect, it's definitely cool. So what do you think of the solo?
[00:54:21] Speaker D: That sounds ridiculous. It has all the things I like within the solo. It's a little more out than some of the other solos. Reminds me a little Fair warning. Yeah. I do like his playing on here. There's a lot of fast runs and just weird interval things. It's great. I don't have any bad songs on this album. No guitar wise. To play that thing correctly would not be a fun thing to do, you know. I know there are people that learn things note for note and whatever. I doubt he would have played that the same after the fact, you know, I mean, he would be in the same ballpark probably. But you know, it doesn't sound comp. To me. It doesn't sound like it was put together. So it sounds like it's a one shot deal. Which even makes it more impressive.
[00:54:56] Speaker B: Yeah. Just an off the cuff kind of.
[00:54:58] Speaker D: Yeah. Bass playing is good. Drumming is good in there.
[00:55:01] Speaker B: Yeah. Bass playing is really good on this one.
[00:55:03] Speaker D: Yeah. Verse two is found that girl with a lonesome john but she should have been with me Guess that woman fall in love she don't work for free. So obviously this is about Prostitute, I assume because like lady of the Night, if you want to be politically correct. Yes. It's awesome. Even though this is a deep cut for me, this is like one of my favorite songs on this album. Even though it's deep.
[00:55:23] Speaker B: I mean, this is definitely my favorite non hit song that I've heard so far.
[00:55:28] Speaker D: I like the little part between when and I have to say, even though he's one guitar player and there's no rhythm thing behind it, he does a pretty good job of filling out stuff.
[00:55:39] Speaker B: Oh, yeah. I mean, you never. You're never gonna fall to solos, without a doubt. I'm just saying, like, it's very full going into it. So kind of when everything drops out and yeah, I mean, you're gonna sit there and be like, okay, it's Eddie Van Halen playing the solo. But I think I just. I really like the stuff that was going on before. So when it drops out, it'll be like, oh, you know, I wouldn't mind hearing it under there too.
So it's not a put down. It's more of like, oh, I wish it kept going. I mean, obviously it's going to come back.
[00:56:04] Speaker D: Let's finish this out here. We.
[00:57:50] Speaker B: It was so funny when it ended. I was. I had my head up. I was like, oh, okay, that's how it ends. I was waiting for a little like a thing after kind of like the simulation.
[00:58:01] Speaker D: Some good drums in that end part.
[00:58:02] Speaker B: Yeah, I was. Yeah. The bass is going off too, man.
[00:58:06] Speaker D: Why don't we let Franco first?
[00:58:08] Speaker C: Frankie, I gotta say. Yeah, I. I haven't heard this in decades.
[00:58:12] Speaker D: For sure.
[00:58:13] Speaker C: Very good. Loved it. Classic D track. And I love the whole jamming kind of thing that they had going on there for me. I'm gonna give this eight across. Well, actually, let's do this. I'm gonna give the lyrics to this a 7 and the rest 8 across. Lyrics are, you know, they're okay, nothing crazy, but definitely give the. The other music, the composition, everything. Eights.
[00:58:38] Speaker B: Mark.
[00:58:39] Speaker D: I think I'm gonna mirror that seven on the lyrics and eights around for the rest of the stuff. It's a great song. I mean, I don't hate the lyrics. I think the melody is good. Obviously the guitar is good. Drums are good. This is one of my favorites. So it's hard to, like, separate me from what I really like in this. So I think it's really great. Seth.
[00:58:56] Speaker B: I'm going to say eight on everything.
But I mean, the lyrics. There's really not much either, really.
Listen, this is going to balance out. I mean, this song would. Is definitely going to make my playlist. So I'm going to say five on the lyrics. But I mean, without a doubt, this is my favorite non hit song so far in this record to like start to finish. Where like, like on the first side, the. The last couple songs, like where the solos I thought were the best part. I just Think this is, like, Straight through is just a really good song. And I don't remember this song. I mean, I'm assuming I heard it at some point, but I. Going into it, I don't remember hearing it. I remember it, but it just struck me. It's like, wow, this is a really good song, man.
[00:59:36] Speaker D: And we haven't really touched on his vocals at all. His vocals sound pretty good in this album.
[00:59:39] Speaker B: Yeah, that's what I'm saying. I mean, the lyrics were whatever, but, I mean, his melody was really good. The production was really good for what it was. I mean, not that any. None of these songs were produced badly. Without a doubt. It's just, like, so much going on in that song that just made it, to me, really stand out.
[00:59:53] Speaker D: It's great. All right, we're at the end. This is House of Pain.
[01:00:08] Speaker E: You.
[01:00:55] Speaker B: When you hear that this album starts out with, I mean, let alone the instrumental, but starts with jump and then ends with this, you're like, wait a second.
This doesn't sound like it was made for this album.
So there's the main riff.
How hard is that thing he does in between, like, that kind of, like, warpy thing? How hard is that to play, to get that right?
[01:01:19] Speaker D: If I've remembered how to play it? I haven't done this in a long time.
[01:01:23] Speaker B: But you know what I'm talking about, right? It's almost like the record. Somebody's, like, holding the records, like.
Like, it's really cool what he does.
[01:01:32] Speaker D: Yeah, he always comes up with stuff, man. You know, you're not too sure it's even guitar. Like I said a million times, it sends guitar players into the woodshed. They're like, what the we're supposed to do with that? How do we learn how to do that? And that drum part at the beginning, it was a little bit weirdly off time, wasn't it?
[01:01:48] Speaker B: Yeah, well, that, too, though. But that's. That's why I'm like, this. This really sounds like a holdover, so. And I know that we've spoken about some of the rhythms and stuff that he's come up with, where David had to come up with, you know, with stuff. And this. To me, it's not as hard as when it gets to the verse. Like, actually, like, I like the melody, too, that he comes up with. But I said to myself, if he has to come up with something with this intro, man, it's not going to be that easy. But they dial it back for. For the verse.
[01:02:16] Speaker D: Even this stuff in there, that's the Stuff going on behind is just great. It's not easy to write lyrics over that. Give him credit. Verse one is say you're gonna leave me because I only tie you up Always loved you tender but you only like it rough Woman bound for glory why you leaving me again? Gonna pack your bags and leave this house of pain so, you know, his choice of topic is not always what the music sounds like.
[01:02:41] Speaker B: It's so weird, right? Because you hear like, because I only tie you up. But he's like, but I love you tender but you only like roughs the way it sounds like, huh. What?
[01:02:49] Speaker D: What huh?
[01:02:50] Speaker B: You know what I mean? You could almost hear, what do you call it? A little bit of, like, bondage almost.
But then you're like, wait, does she like it or doesn't she? Like. Like, who likes what here?
[01:03:02] Speaker D: I know.
Frank, what do you think?
[01:03:05] Speaker C: This one so far, it's my least favorite, to be honest. Oh, we'll see how it progresses.
[01:03:11] Speaker D: This is a musician song. Song. That's what I think. Like, if you're a musician, you're like, oh, yeah, this is awesome. But if you're just a regular casual listener, this could be a little rough on you, maybe.
[01:03:22] Speaker C: Okay, let's hear.
[01:03:24] Speaker D: That's my opinion. Don't you think, Sav? Like, this is a musician song.
[01:03:28] Speaker B: I mean, yeah, I mean, I'm. I'm definitely digging it. Without a doubt. And I mean, again, it does remind me of stuff that we've heard on the last. Their last out two albums before this. Knowing those two albums, that's what it reminds me of.
[01:03:41] Speaker D: Okay, here we go.
I'll just stop it before that. I'm just listening to the rhythm behind the back of it. Holy. I can give him more credit now. Like, there's some weird going on behind there.
[01:04:20] Speaker B: Was it this involved in the first verse? I mean, the drums are just. Basically, he just like.
I don't remember if he was doing that in the first. If it was like more straight up. This is almost like, you know, like the role on the Toms going on with the. With the crash. So it seems like it's more involved here. Like, everybody's just doing whatever the fuck they want to do. I'm like, was that going on in the first verse, too? Because it sounded a little bit more controlled and even him. It sounds like he's right. David is kind of like, out there too. A little bit more in this one. Like, it's following the same melody, but I don't know.
[01:04:51] Speaker D: I thought it was just the same.
[01:04:52] Speaker B: It could Be. I mean, maybe I just noticed it more now.
[01:04:55] Speaker D: Well, here, let's do the solo. This should be good. Here we go.
[01:05:54] Speaker B: Here's what I think.
And you may totally disagree. I wasn't expecting that beginning solo because it came. The song almost became catchy. I was like, wait, this. Where did this come from? I'm like, okay. And then it did that for. For that thing before it went into that other part of the solo. And I really liked what he was doing, but. But they didn't keep with that. And this other part came in and I. Not his soloing, but I wasn't crazy about that part. Like, I felt like it didn't fit with the song. It was almost as if they put. They had this other part from this other song and they kind of attached it here. Especially when that little.
I was like, oh, this is cool. It sounds heavy. It's going to be this heavy solo. But then it just felt a little disjointed to me personally. And again, it has not. It's not really about what he was doing solo wise, which. Just the music underneath.
[01:06:42] Speaker D: Well, at least you got some music underneath, right? This time it wasn't just bass, so he actually overdubbed that.
[01:06:47] Speaker B: Oh, yeah, there's a lot of music underneath.
[01:06:49] Speaker D: I actually like the disjointed nature of that. I mean, I understand what you're saying, but I do like the change in it that it's just not the same thing to play over. I think on purpose now, it could have been something jammed together as possible because this was an older song. I believe I'm correct on this. I know the Van Halen fans are good to get on me if I don't know everything, but I believe this is an older song. So this was reworked. I think there are. There are demos out there of this song different. So I'd have to go back and have you listen to that maybe. But yeah, I like the disjointed nature of it. I think it's interesting. But I understand what you're saying too, that it's much different than the other part of it.
[01:07:22] Speaker B: Yeah, to me, it detracts from some of the heaviness. Like, I was really liking the heaviness of. Of going into it. And then it was catchy. The solo, which was kind of like out of left field. I'm like, okay. But then it went into that part where he was just doing that simple.
And I'm like, okay. Like, I like this. It's getting heavy again. But then it went somewhere else. So it didn't go where I wanted it to go, and I guess maybe that's what it is.
[01:07:44] Speaker D: Yeah.
[01:07:44] Speaker C: This song must have been amazing live.
[01:07:46] Speaker D: I don't know how much they've played this.
[01:07:48] Speaker B: I was actually gonna ask you if they played the other song live before Girl Gone Bad. Yeah. I wonder, because I would have. It's like, I wonder if they ever played this live. I think it has to do again with the way I was saying there was nothing underneath. You know, the way you hear the solo on the record, you could hear a lot. You know, you gotta check FM setlists.
[01:08:06] Speaker D: Yeah, well, we'll have to take a look. I don't know if they've ever played this or not. Well, let me read the second verse, which I didn't read, which is. Heartaches all around me how many times we tried Said she tried to leave me but her hands were always tied if I had it all to do I keep it just the same Gonna fix it so you never leave this house of pain so now I'm not too you like you said. It's this a little weird about what he's actually saying. Does she like it? Does she not? He's tying her up.
[01:08:28] Speaker B: Yeah.
[01:08:28] Speaker D: He's not letting her leave. Or does she want to be tied up?
[01:08:30] Speaker B: I mean, it could be all metaphorical, but if we take it at face value.
[01:08:34] Speaker D: Yeah.
[01:08:35] Speaker B: I think that could be one of.
[01:08:36] Speaker D: The things it could be right. And I know there's a different little part coming up now. So we change it up again. Here you go.
[01:09:38] Speaker B: And there's a fake.
[01:09:39] Speaker D: Some of the best stuff's in the fade.
[01:09:41] Speaker B: He kept it simple in the fade all that time. No.
[01:09:45] Speaker D: Yeah. But that's totally different than the rest of the song.
[01:09:47] Speaker B: Oh, it is. Yeah. It is different.
[01:09:50] Speaker D: I know. It's just. It's one of those things. I just don't know. I think I did think song is a amalgamation of things together. It has to be, because it is such disparate parts.
[01:10:00] Speaker B: Yeah.
[01:10:01] Speaker D: 1984.
[01:10:02] Speaker B: Right.
[01:10:02] Speaker D: Let's see what they were doing. So I could be wrong. I'll wait. Oh, girl Gone Bad. There you go.
[01:10:07] Speaker B: Oh, nice.
[01:10:08] Speaker D: They play girl gone bad. 1984. Jump not for teacher. I'll wait. I don't see Panama on here yet. Maybe this is before they started playing. Oh, Panama's there. So they play five. And they played Girl Gone Bad, which is awesome. I didn't know if they played that. That's great.
[01:10:20] Speaker B: Yeah. That must have been just for them.
[01:10:23] Speaker D: Oh, yeah.
[01:10:24] Speaker B: Probably just do the song, man.
[01:10:27] Speaker D: Well, I'm gonna go first. I would say six on the lyrics, seven on the melody, nine on the music, because I really like the music, eight on the arrangement, eight on the production. Production. This has always been a deep track that I really like. I mean, there's just so much different parts and they just. Things together. And to actually write melody over all that weird going on, I give him so much credit. I don't think I can do that. Seth.
[01:10:48] Speaker B: Yeah, I'll say six on the lyrics, seven on the music, seven on production, seven on melody. I gotta dig it for arrangement. I just, I. I feel badly saying this and I can appreciate what they did, but I mean, honestly, after. After that second verse, they kind of lost me in this song. And I feel bad saying that because I liked going into it. I'll say six. I mean, I. I don't. I don't know that I can do five, but I'll say six. I just. I don't know, it just. It kind of. I. I can appreciate appreciating it, but me personally kind of fell out for me there. Frank.
[01:11:27] Speaker C: I like the whole jamming part. I mean, to me, this is just one of those songs. A bunch of rockers getting together, jamming out to close everything out. The lyrics, I'm gonna give that a five for the music. I'm gonna give that eight. Actually. I'm gonna give it eights across. It really is a great jamming song. Like, you just can practically hear the band having a good time doing it, playing it during this recording. So. Really like it. It turned out like I wasn't crazy at first, but I really do like it. So. Thanks.
[01:11:55] Speaker D: So overall, what are we thinking? Sereno. I know my opinion about this album. What do you think overall now, if you heard it again?
[01:12:00] Speaker B: It's okay. It's not bad. You know what I mean? It's not. It's definitely not bad. I don't. Me personally, I don't think it's as good as the ones before it overall, but it's not bad. You know what I mean? Even. Even in. I mean, like you say sometimes, right? Even in stuff where you'd may not may or may not like the song, there's still stuff there that's interesting. So even in Top Jimmy and Drop Dead Legs, which I think got my lowest scores, I could be wrong, but I think they did. I mean, when it came to the solos, I found that very interesting. I mean, I think what he was doing, what was going on underneath. And again, this is me listening to this piecemeal after not having heard it after a while where a song like Girl Gone Bad just, like, struck me. Who knows? I mean, you go. May go back and listen to those other songs and. And like them better.
[01:12:50] Speaker D: Yeah. I'm excited that we got this. I was. I was very happy that we. I've been waiting for a Van Halen album from literally, like, 40 or 50 albums.
[01:12:58] Speaker B: I'm telling you which one I'm waiting for.
[01:13:00] Speaker D: I want that one, too.
[01:13:01] Speaker B: I'm waiting for three, man. I want. I want to hear that one again. I think I've listened to it once, and that was it. That would be a great rediscovery.
[01:13:11] Speaker D: So, Frank, what did you think of 1984? 91 back and listen to it again.
[01:13:14] Speaker C: I mean, you know, this is always my top Van Halen song album. It still remains my top one. I'll say. This is going to be still my number one out of all the Van Halen releases. So, like, it. It was great. It was great listening to it again.
[01:13:29] Speaker D: Yeah. Frank is nothing but consistent. He said this was his number one, and it stayed his number one even though he hadn't heard some of the songs in a long time.
[01:13:35] Speaker C: Yeah, I just remember it was always one of my favorite, you know, the last two tracks, honestly, I have not heard them very, very. A very long time. It still remains my. My favorite.
[01:13:44] Speaker B: And I did say the four before this, but it's actually five before this. Right. I meant the first four.
[01:13:49] Speaker D: Okay.
[01:13:49] Speaker B: Because Diver down right, is number five.
[01:13:51] Speaker D: Yes.
[01:13:52] Speaker B: Yeah, that one. I don't. I don't know as well. I'm comparing this to the first four. Not that one specifically. Again, Mark, you're the resident Van Halen guy, but I want people saying, you idiot, is there six? Not.
[01:14:04] Speaker D: Yep, there you go. That's what happened.
[01:14:08] Speaker B: Yeah. You know, when you love a band, you love a band.
[01:14:11] Speaker D: All right, so why don't you do your thing?
[01:14:13] Speaker B: Yeah. So we are part of the Deep Dive Podcast Network. Again. Great bunch of guys who took us in right away. If you want more individualized podcasts about bands, you name it. You'll probably find out. The queen. Mark, this. Is there a. There's a Van Halen, right?
[01:14:26] Speaker D: Of course. Yes. And the podcast Will Rock.
[01:14:28] Speaker B: Podcast Will Rock. Is that. Is that. Yeah. So those are guys over there, of course. And then, you know, we got. We got Rush buddies of Rush Rash, you got Judas Priest. You name it, it's on there. So, you know, if you want mishmash stuff like we do, and you want specific bands, go check them out. And mark, where can they find this.
[01:14:44] Speaker D: On the Interwebs Rockwoodlet pod on all the social media rockwelletpodcast.com go over there, see our polls, put a new bets in, do some interaction and if you can, put us on your auto downloads. We get new episodes every Tuesday. And if you can rank us and give us a nice review on wherever you listen to your podcast, a five star review helps us out and pushes us out to more people. I guess next week we're gonna see what happens. It's another real spin time, so we shall see what we're gonna do. All right, guys, we will see you next week.
[01:15:16] Speaker C: Bye everybody.
[01:15:17] Speaker B: Ciao. Ciao.
[01:15:18] Speaker D: Later.
[01:15:28] Speaker B: It.
