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.
[00:00:45] Speaker B: Now onto the Rock Roulette Podcast, everybody. Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1,300 albums, stuck them in a list, stuck them in a wheel. And typically every 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, the lyrics, the production, the melody and the arrangement. And we vote on it just based on our own personal opinions. Again, nothing fancy here. A bunch of friends who wanted to do a podcast who love music. And today we are a duo again. We have Mark. Oh, hi, Mark.
[00:01:44] Speaker A: What's up, guys?
[00:01:46] Speaker B: And I'm Sev. Ciao buena. I feel like you haven't been a duel in a while, Frank. Frank's been pretty, pretty constant. So fortunately he couldn't make it today. So hopefully we'll get them back next week. Again, like I always say, first and foremost, we want to thank our listeners. We have, we've been having a nice uptick lately, our Thin Lizzie episode, really well, you know, you just, you never know. We always say that we never know what's, what's going to hit and what's not going to hit. That seemed to do pretty well. So again, anybody who listens to anything, thank you so much. Spread the word if you like it and drop us a note, tell us what you like, what you don't like, things you want to hear. Maybe an album we can add to the Big Wheel or a single release, a new release that we can add to the the Baby Wheel. And we'll be, we'll throw it on there. Last week we wrapped up 5150 by Van Halen and we did a little bit of a special where we had gotten 1984 on the wheel and Mark thought it was a pretty good idea, which we agreed to transition into 5150 and talk about the last David Lee Roth album and then go into the first Sammy Hager album and listen to Changes and anything that we thought was different, what we liked and what we didn't like. I think I thought 5150 was a little bit cheesier.
I don't know if that makes any sense. I mean, my perception, it's still Eddie Van Halen writing this stuff, but you could definitely feel a little bit of a change. Obviously, Sammy Hagar is a different singer. He has more range. There's different things that they can do. Eddie obviously wanted to write a little bit more keyboards. 1984 was still already kind of that transitioning going on. I mean, Mark, overall, how it. I mean, you said 1984 is one of your favorites. How are your opinions again about the two? Comparing the two?
[00:03:27] Speaker A: Well, 5150 is still a good record as far as I'm concerned. I understand why people wouldn't like it. If you'd like the old Van Halen, you know, that change in 1984 into this, there's still some old things and there's some new things. And in general, I like it. It's just not the same as it was with David Lee Roth. Different singer. I think the lyrics are really where it suffers a little bit. But it was good. I liked it. I wanted to see how you guys felt because, I mean, obviously I know it.
[00:03:51] Speaker B: Yeah, I mean, I knew. Obviously I knew the hits. So 1984, that Girl Gone Bad was really, really stuck out to me. That really felt like old school Van Halen. There was some of it on 5150, but I don't feel maybe as much. I know that we said 5150 obviously being what it means that they didn't really jump on that. Where we said David Lee Roth probably would say, you want to name a song 5150, I'm going to write some 5150 lyrics to this. Whereas Sammy Hagar didn't. You may know better than I do exactly who controlled the ship and said, well, you know, we don't want to write it about this. Write it about this.
[00:04:26] Speaker A: Just.
[00:04:26] Speaker B: Just a cool name for a song. Just write whatever you want. I really don't know. But yeah, I mean, there's definitely some. Some good stuff. And obviously soloing is always good. And I think overall he kept that thing where come the solo. He's not playing over a verse or a chorus. Chorus. There always seems to be some kind of new piece of music, which I feel works sometimes. Sometimes it doesn't. Even if the solo itself is Interesting. I do give him credit for that.
[00:04:49] Speaker A: Well, he's a musician and he always wants to do something different, so that kind of makes sense to me. I think you either like Sammy Hagar and Van Halen or you don't. And I know there's a lot of people who don't. I do. But I do admit that I think the lyrics are not as inventive and not as creative, especially on the earlier Van Halen stuff. I think it's more than 1984. I think 1984 is a little straighter. Not as straight as this, but he's a very straight songwriter. He writes very straight. And I think the music was getting straighter, too. All those things together. I could see why Old School Van Handler fans wouldn't like it. I like both. I'm a fan of both versions of the band, so I like both of them.
[00:05:21] Speaker B: Let me ask you this, because I just thought of this, never thought about it before. If David Lee Roth was still in the band and 5150 was what it was, let's say musically, it was all the same. Exactly the same. But he put his kind of, like, lyrics. How much you think people are like, yeah, this is a good. You know what I mean? In other words, how much bias is. Hey, this isn't David Lee Roth. I'm not liking this. You know what I mean?
[00:05:43] Speaker A: I'm sure there's a little bit of that. I don't think it would have been the same music anyway if David Lee Roth was there. Would have changed. Yeah, it would have changed. I don't think you can even think about that. I think the songs that we thought were the older style songs you could hear David Lee Roth sing on, and then the other ones like Dreams and Love Walks In. That's really not. I don't know what he would have done with that. Maybe he would have done something really cool with it. We'll never know.
[00:06:03] Speaker B: Yeah. But I do remember I forgot what song it was on 1984 where I said, wow, I can picture Sammy, he going over this.
There was that shift that was kind of happening. And it may have even. I mean, I don't really know Diver down as well, but I would say, you may say. I know for sure the first four Van Halen albums are very old school Van Halen albums. Diver down could have been a bit of a change. Maybe. I don't know if it's because of covers that were on there or. But I mean, again, you hear a song like Little Guitars, right? That's on Diver Down. Yeah, that's a great song. And I would say that that's old school. Van Halen's and bands change, right? And clearly whatever they did, at least from a successful standpoint, they didn't do anything wr, because clearly they kept going. It wasn't as if, oh, you know, we made this one album with this guy, it failed. Or we made two albums with this guy and they failed. No, they made four albums with this guy and they were all pretty successful. Right. You got to give him credit for. For that.
[00:06:55] Speaker A: You were all number one albums, all four of them. So they were doing something right.
[00:06:58] Speaker B: Exactly. I think that's enough old.
Let's spin the baby wheel and see what it picks for us today.
In a world where new music is.
[00:07:08] Speaker C: Not easy to find.
[00:07:10] Speaker B: Welcome to New Bats.
[00:07:19] Speaker A: Can you see the new wheel?
[00:07:20] Speaker B: I see it.
[00:07:21] Speaker A: So let's do this. Here we go.
[00:07:22] Speaker B: Yeah, I'm ready.
Oh, Green Day Bobby socks.
[00:07:39] Speaker A: Green Day. I haven't listened to Green Day in a long time. I know you don't like them very much.
[00:07:43] Speaker B: Yeah, I mean, I like some songs. I think my thing, though was when. When that stuff that neo punk came out, I was kind of. No, punk is supposed to be dirty and raw and this is too clean. Like, that was kind of my thing. But, I mean, they've definitely written some good songs. I think actually my son knows them better than I do, so he might even know this song.
[00:08:00] Speaker A: There you go. Yeah, I. I like some of the stuff that they do.
[00:08:03] Speaker B: Yeah, they've done some good stuff. I mean, I'm willing to try it out.
[00:08:07] Speaker A: All right, so here we go. This is Green Day Bobby socks.
[00:08:19] Speaker C: Do you want to be my girlfriend? I'll take you to a movie that we've already seen or sit at home and watch mirror there's no other place I want to be.
Do you want to be my girl friends?
Do you want to be my girl friends?
Do you want to be my boy friend? You walk the cemetery and I'll kiss you again and make our dead friends bless you we'll be getting married right there on the scene do you want to be my best friend?
You can drive me crazy all over again and I'll bore you you to get the world doesn't matter when we are in love.
Do you want to be my boyfriend?
Do you want to be my boyfriend?
Do you want to be my boyfriend?
Do you want to be my boyfriend?
You're not just any type of girl yeah My one true love and you're my world do you wanna Be my girlfriend?
Do you wanna be my boyfriend?
Do you wanna be my boyfriend?
Do you wanna be my.
Do you wanna be my girlfriend?
Do you wanna be my boyfriend?
Do you wanna be my boyfriend?
Do you wanna be mine? Do you wa.
[00:11:52] Speaker B: So what'd you think?
[00:11:53] Speaker A: Sound like Weezer, maybe It was the Woos.
[00:11:57] Speaker B: Yeah. Sound like Weezer. And he sounds like. What's his name in the chorus? Chad Bennington.
[00:12:03] Speaker A: A little bit. I can hear that. It wasn't bad. I thought. Thought it sounded pretty decent. Yeah, I know you don't like them.
[00:12:09] Speaker B: No, I. Again, I don't. I don't have any bias. I don't. Like I said, I don't care who. Who does what. I mean, I don't think it sounds like. I wouldn't necessarily, necessarily know that it was Green Day. Honestly, it was okay. I mean, it could be one of those songs that kind of grows in you the more you listen to it. I mean, it's. It's a very familiar melody, I think, Right? That banner. Banner, Banner.
[00:12:29] Speaker A: Yeah, that riff is very familiar. I don't know what that riff is from. It's a simple song. I mean, they write simple stuff. You're gonna be, oh, my God, look at the guitar playing on here. But it's good. Doesn't have to be complicated. I thought it was fine. I thought it was good. I could listen to that. I didn't think it was a bad thing.
[00:12:43] Speaker B: I mean, I think it's better than the last two songs we had on here.
[00:12:46] Speaker A: Hells yeah. I wasn't listening to the drums, though, so I don't know what the drum sound like. I thought they were better.
[00:12:51] Speaker B: Yeah, they weren't bad. I think it was just big production. They didn't stick out to me as annoyingly as some of the other stuff did. So I'm thinking it was better.
[00:12:59] Speaker A: I think you would have known right away.
[00:13:00] Speaker B: Yeah, I didn't really pick up on as much.
[00:13:03] Speaker A: Well, cool. I'm glad we got that. That's good.
[00:13:05] Speaker B: I like another one in the books.
[00:13:06] Speaker A: Every once in a while. You got to get a good one because the last two in a row were not great.
[00:13:10] Speaker B: Plus, we didn't even know who the hell they were. Right. The last. This is pretty big.
[00:13:13] Speaker A: It doesn't matter if I knew who you are or not. If I like the song, I like the song. Both of those songs are just very generic.
[00:13:18] Speaker B: No, but I'm saying in general, like, it feels like the last two have really had no idea who it was. And now it's a big Name?
[00:13:24] Speaker A: No, it's always good when an older name comes out with something good. Because realistically, they're a legacy band at this point.
[00:13:30] Speaker B: Oh, yeah, pretty much.
[00:13:31] Speaker A: They've been around for 30 years or so.
[00:13:33] Speaker B: They're still making music, though. Give them credit.
[00:13:35] Speaker A: Oh, yeah. No, they've been making music for a long time. I don't think they ever stopped. You never can be as big as you were before. At your heyday, you only get that shot one time generally. Maybe twice if you get lucky.
[00:13:44] Speaker B: Yeah, either they just got to keep the heyday going for as long as you can.
[00:13:49] Speaker A: That doesn't always happen, though. All right, well, that's that.
[00:13:52] Speaker B: In a world where new music is.
[00:13:56] Speaker C: Not easy to find.
[00:13:59] Speaker B: Welcome to New Bets.
So now we get to spin the mama wheel, which is always exciting. I'm thinking maybe something newer or just something wacky.
[00:14:15] Speaker A: Yeah, I don't think I need any more 80s for a little bit. I think I'm. I'm burned through the 80s for a little bit, but then it'll probably give me 80s.
[00:14:22] Speaker B: Probably. Yeah. Because you've been asking for it and now it's.
[00:14:25] Speaker A: You want an 80s here, some more 80s. Have a good time.
[00:14:27] Speaker B: Yeah, you never know.
[00:14:29] Speaker A: I'd like some 90s again, I think.
[00:14:31] Speaker B: What's the last night? I mean, maybe.
[00:14:34] Speaker A: Well, Fiona Apple was 90s.
[00:14:36] Speaker B: Yeah. I mean, I guess I'm thinking like 90s rock. Rock, yeah.
[00:14:40] Speaker A: I think that was it. Soundgarden, I think. No, but, yeah, I think so. Yeah. It was later 90s, but, yeah. Are you ready?
[00:14:46] Speaker B: I'm ready. Let's do it.
[00:14:48] Speaker A: All right, here we go.
[00:15:08] Speaker B: Oh, I've been dying for them to come up. No joke. I'm like. He always, always talks about them. They have to come up. Rat. Invasion of your privacy.
[00:15:18] Speaker A: What did I say?
[00:15:19] Speaker B: You always. You always talk about that, though, right?
[00:15:22] Speaker A: I said, I don't want any more 80s. And what did it do?
[00:15:28] Speaker B: This is considered one of their best albums.
[00:15:30] Speaker A: Here's the thing. Every time I turn on SiriusXM and I flip through the hair metal station here, Nation, they're always on. Every time I flip over, they're on. I'll go back to a 90 stage. I'll come back to the Air Nation station, and they're on again.
[00:15:44] Speaker B: That's right. Stephen Piercey's following you, man.
[00:15:48] Speaker A: What year was this? This had to be like. It's 85, probably.
[00:15:51] Speaker B: 85, 86, 85.
[00:15:53] Speaker A: Bo Hill produced this.
[00:15:55] Speaker B: Yeah. I think he produced all their records.
[00:15:57] Speaker A: Excited for this. I haven't really listened to A full Rat album in a long, long time. I don't know the last time I heard this album, all the way through, it's probably 85.
[00:16:05] Speaker B: I mean, I have this on vinyl. This is one of my 10 cent specials. I mean, there's definitely good stuff on here. And I mean, so clearly Warren demartini is known in the industry as a solid guitar player. I think Robin Crosby probably didn't get enough credit as far as I've heard, in terms of what he actually did. I mean, hopefully there's a. Maybe we can find a breakdown as to who plays what. One thing I will say for sure is that Bobby Blosser was a pretty good drummer. I think he was, you know, within this genre. He was pretty groovy and I appreciate his drumming. So I'm hoping that I remember correctly. He's not just a doom tattoo daka, you know what I mean? He's got some grooves.
[00:16:46] Speaker A: Yeah. I don't hate them. They just come on all the time.
[00:16:49] Speaker B: Here's my thing with Red. I don't know. I mean, I don't know if you would put them. A. Probably not, right? I would say B. A, like what, A1 or B?
[00:16:58] Speaker A: Your question?
[00:16:58] Speaker B: I don't know if I put them. It's. It's weird. I mean, but I don't know. I think. But when it comes to this, I mean, what are the Big four, let's see, of Glenn. You know how there's the Big Four of. Of thrash? I mean, what would you say? Poison, Motley, Cruelty, Bon Jovi?
[00:17:12] Speaker A: Def Leppard?
[00:17:12] Speaker B: Bon Jovi and I. I mean, Def Leppard, I guess, right?
[00:17:16] Speaker A: I would think so.
[00:17:17] Speaker B: Would probably be the Big Four. You know, it's always like. Well, whenever people talk about the. The four thrash, it's like, okay, well, who's number five and six? I mean, you probably say what docket.
[00:17:26] Speaker A: And Rat kind of think that they're like, in the second tier, right? Yeah, the DOC and Rat.
[00:17:30] Speaker B: I would. Yeah. But a lot. Listen, Rot. Rat has a lot of. Rat has a lot of fans. And I've. Not that I have all. I wish I liked them more. I don't necessarily think that they wrote songs as well as some of the other bands.
You know what I mean? I know that there's good stuff on here, without a doubt. I never focused on listening to it. I've kind of, like, breezed through it more than anything. But you're gonna know. At least I would say three or four on here.
[00:17:55] Speaker A: Yeah. Looking through the actual track listing, I Think I know a bunch of these songs. And even if I don't know them by name, I might know them by just sound. You couldn't get away from rap back in the days. I can't see, I wouldn't know a whole bunch of these.
[00:18:08] Speaker B: Yeah, I mean, they were another big MTV band, so. Cool. I'm glad. I'm actually glad we got them.
[00:18:13] Speaker A: Steven Piercy, Robin Crosby, Warren D. Martini, Juan Crissier and Bobby Blotzer. So was this their first album? No, Second.
[00:18:20] Speaker B: So I think it's their second full length. They had the. The EP and then they had out of the Cellar, I think was the first one. First, like lp and this was the second one on, I'm pretty sure.
[00:18:31] Speaker A: Yeah, I know a couple of these definitely. But like I said, I didn't want any more 80s. And what did it do? Fucking big middle finger. Here you go, here's some more 80s.
[00:18:40] Speaker B: Now, you know, when you're in the mood for the 80s, use reverse psychology.
[00:18:45] Speaker A: It will never give it to you if you ask for it.
I think this is going to be a good one. I'm excited because I don't know the last time I listened this album all the way through.
[00:18:55] Speaker B: Me neither. I have.
[00:18:57] Speaker A: I just don't know when I'm assuming I have, but that doesn't mean I have. I may just heard a whole bunch of this stuff before.
[00:19:03] Speaker B: Within our circle. There wasn't a major Rat fan. No, I think they flew a little bit out of our radar. Other than the hits and stuff. I don't really know. I mean, obviously Nick probably liked them, you know, Frank probably. But I don't. I don't remember anybody where it was like, oh, Rat, Rat, Rat. You know what I mean? It wasn't one of those. They weren't one of those bands, I think for us in general.
[00:19:26] Speaker A: No, I never had a big thing about Rat. I mean, I knew who they were. I heard all their hits. I might have heard a couple of their albums all the way through. I couldn't tell you very much about them. Obviously, I know from the Sunset Trip, I know that they were like you said they were the second tier. I think Rat is probably a little bit bigger than Doc, but I don't know.
[00:19:42] Speaker B: Well, what's the name? The bass player was in Dawkin, I'm pretty sure. I think he's on the first Dawkin record.
[00:19:47] Speaker A: So the first song is you're in Love.
[00:19:55] Speaker C: You take the midnight subway train. You calling all the shots.
You strip our lightning. We are in love you take the evening one on one. You're only listen to having fun. If you want to use it, Take me home tonight. I'll make you wish that you were mine.
[00:20:25] Speaker A: It stuck.
[00:20:26] Speaker C: My likeness. We are in love.
It's not worth fighting.
We'll turn around, remember me. I'm the one who's out in game to pray.
[00:20:46] Speaker B: I mean, production's good. They have a sound too, right? I, I definitely think they have a sound. So call it their guitar sound. Call it Bo Hill. I mean, I definitely think they have a recognizable sound. Because think about to a song like Way Cool Junior, right? Which is two albums later, you can still kind of hear that guitar sound. What do you think?
[00:21:06] Speaker A: For me, this was never something that I wanted to listen to. I don't know, it's very strange. I think a lot of people copied this sound. So they probably had a very popular type metal sound. Because you can hear other bands doing sounds like this. And obviously they've been around since, you know, early 80s, right. I don't know, it just does nothing.
[00:21:26] Speaker B: For me within the context of this genre of music. I think it's good.
I don't, I, I, I mean, I do like this song. I mean, the lyrics are whatever. And I always thought he said, you're strip of lightning. Like you're a strip of lightning. But that's not what he's saying now.
[00:21:43] Speaker A: I'll read the words. You take the midnight subway train. You're calling all the shots. You're struck by lightning. You're in love. Verse 1. You take the evening one by one. You're only living to have fun. You want to use me, take me home tonight. I'll make you wish that you were mine. You're struck by lightning. You're in love. It's not worth fighting. You're in love. Well, turn around, remember me. I'm the one who's out to aim to please. You're in love, you're in love.
[00:22:10] Speaker B: Yeah. I mean, obviously we're not going to come here to hear.
We're not going to hear Dylan or, or whatever here.
[00:22:17] Speaker A: So those lyrics are what the genre is about. It's not bad.
The sound, the guitar sound is just so 80s like it can't be anything else but 80s. It's really weird. Like you listen to this, which is 85, right? You listen to Van Halen in 86. Do these things have anything in common?
[00:22:34] Speaker B: No. I mean, well, they're two different, I mean, two different bands, right? I mean, this is obviously a little bit more simple. I'm not going to generalize because I really don't remember. So there could be something down the pike where it gets a little bit more complicated. But clearly this is a simple. I mean, I'm sure I could play this song.
I don't think it's a bad song overall. You know what I mean?
[00:22:58] Speaker A: No, it's kind of catchy.
[00:23:00] Speaker B: Yeah.
[00:23:01] Speaker A: I mean, listen, I've heard worse.
[00:23:03] Speaker B: Yes.
[00:23:03] Speaker A: I'm okay. Oh, another thing. His vocals, like, they do a weird doubling. Like, I think he doubles himself lower.
[00:23:09] Speaker B: Yes. It always sounds like there's two of them singing. Two of him singing. I've always noted you're gonna hear it in everything. I'm pretty sure he doubles himself up all the time.
[00:23:19] Speaker A: Not knowing a lot about Rat, I would think that his vocals are the weak link in this.
[00:23:25] Speaker B: Yes. I've. I've heard bad things about him live for a while.
You know what I mean? It isn't one of those. Well, he used to be a good singer. Now, I mean, listen, if anybody's listening. And you. What, you saw them back in the day and he was great. Again, I've never seen them, and I've actually never really watched him live either. But I've heard Rat fans talk about how bad he was live back in the day, too. I mean, this isn't like, oh, I went to go see. Because, I mean, they're another one, right? They're another one of those splits, aren't they? One of those bands now that there's like two versions and.
[00:24:00] Speaker A: Yeah, I think so.
[00:24:01] Speaker B: Or that. Or at some point it was. Again, within the context of the song. It's fine. It's not annoying me to the point where I can't listen to it because of his voice.
[00:24:12] Speaker A: No, he's. He's not really trying to go out of his range. He's not straining himself out of his range. So he's kind of staying where his voice can handle it. But we'll see as it goes along. You know, does he try to do more stuff or. It's almost very monotone. It's very strange, but it's like.
[00:24:27] Speaker B: I mean, listen for. For what it is. It is unique, though, right? You know, it's him.
[00:24:31] Speaker A: Yeah.
[00:24:32] Speaker B: You know what I mean?
[00:24:33] Speaker A: 100. Yep. Let's continue.
[00:24:46] Speaker C: You take the evening one on one. You're only within two. Have fun. It's not my lightning. We are in love.
It's not what I need.
We'll turn around the best of me I want the loudest. Ancient green.
You're in love.
[00:25:20] Speaker B: Solo Coming?
[00:25:21] Speaker A: Yeah, solo's coming. I figured I'd stop it right there before we got there. I'm gonna read the verses. The guitar, I don't know. Feels a little low in the mix, though. It's the only thing I can say. It's a very 80s production. I don't know. I mean, I don't hate it. And I'm sure, like, if you played this, like, as a live song, like in a cover band or whatever, it'd probably be fun to play.
[00:25:40] Speaker B: It's. It's fine. You know what I mean? I'm not gonna sit here and say, oh, this is one of the standout songs from the Fine.
[00:25:47] Speaker A: There's probably a reason why I was not a River, a big fan of theirs. Feels like there was so much stuff doing this. But I think the problem with that, too, is that they probably had done it way before the other bands that came after. So I'm kind of, like, judging this on it sounding like everything. But really, this is more because they started a sound or they were at the beginning of the sound. Not that they made the sound, but they were at the beginning of this. But there was a lot of stuff that ended up sounding like this, though.
[00:26:12] Speaker B: I mean, think about round and round. Think about that sound. Right. Again, it's. It's similar to. To this, the guitar sound. And I'm. I'm assuming Bohill produced that as well. So, again, I think they had a sound which wasn't always easy then, but again, maybe because they were one of the front runners, they could develop their own sound. I don't. I mean, they've been around. I know that they were making rap before they were Rat. I think there's. They're another one of those bands where they'd been around a while and then who was in it was that kind of deal. Them. Sure. There's a little. I actually read his thing, his book, Steven Piercing. I don't remember much, honestly, but I. I read it was at a time where everybody was writing a book, so I was working down in the city, and every time I went to the biography section, there'd be a new musician. I was like, okay, I'll read this. Why not? He's. He was one of them.
[00:26:59] Speaker A: Oh, I'm sure it was interesting. I got a lot to say.
[00:27:01] Speaker B: Yeah.
[00:27:02] Speaker A: Verse two is, you make your living loving hot. You spin me like a top. You take the evenings. One on one on one. You're only living to have fun. You're stuck. You're struck by lightning. You're in love, it's not worth fighting. You're in love. Well, turn around, remember me? I'm the one who's out and aim to please. You're in love, you're in love. You know, the lyrics are what they are. If you're not here for any kind of scholarly lyrics, this is all fun stuff.
[00:27:26] Speaker B: Some people you associate with good lyrics and you. It's kind of like, oh, well, that wasn't that great. As opposed to maybe going into this where you're like, wow, that was good.
But we'll see. I don't know all the lyrics, so.
[00:27:39] Speaker A: All right, here we go.
So my assumption is that's Warren D. Martini.
[00:28:11] Speaker B: I don't know who's who, because, like I said in. In looking at kind of like they're behind the music stuff. I don't know. So if obviously people know, then, you know. But they said maybe, maybe with songwriting line, like, he didn't. He really didn't get as much credit as he should have with the band. Well, I mean. Well, whoever it is. What do you think of the solo?
[00:28:29] Speaker A: I thought it was good. I thought it had a beginning, a middle and end. It's not just wankery for the sake of wankery. So I liked it. I thought it was good. I mean, listen. Or either of these people. Eddie Van Halen. No, but they're good. It was good. Wasn't a bad solo. I don't have a problem with that. Yeah, I liked it. I don't know who it was because it says Coley guitar. Both of them. So I don't know if it's Robin Crosby or Warren D. Martini. No clue. Maybe eventually I'll figure out who's who.
[00:28:51] Speaker B: Yeah, either we can start watching whatever videos they release and see who plays on the video.
[00:28:56] Speaker A: It's the only way you can know.
All right, let's continue.
[00:29:20] Speaker C: We are in love.
We are in love.
You're in love, you're in love, you're in love.
[00:30:00] Speaker B: I remember that ending. I like that ending. Kind of like, you know what I mean? A little bit of change on what's going on. It's short, too, right? How so? How long is that song?
[00:30:08] Speaker A: That song is 314. Short.
[00:30:11] Speaker B: Yeah. That sounds like, hey, this could be a. This could be a single.
[00:30:15] Speaker A: Yeah, I remember the song.
[00:30:17] Speaker B: It's pretty popular. I mean, for what it was. I. I actually. And now that I remember, I had a cassette that I taped from the radio from wsou. Remember sou. And this was on there. It was this. And because they Were doing two first. I forgot what the other song was that they played. I don't know if it was. If it was way Cool Junior. But, yeah, I had this tape where it was like, two of everything. It was like two of them. There was two Megadeth, two Accept.
I love that tape. We used to listen to it all the time. Yeah.
[00:30:46] Speaker A: This is not a bad song. It's just weird for me when I come. When I come off of Van Halen, this is just weird for me.
[00:30:52] Speaker B: Anything else to read or.
[00:30:53] Speaker A: No, not really. It's kind of the same. I think I'll go first. I don't think it's bad. I was gonna do sevens across, but I think I'm gonna do five on the lyrics and seven across on everything. His voice is. Whatever his voice is. His voice to me is like, Vince Neil. It's like. It's good in the studio. It's probably not great live. I mean, I think he even has less of a range in the studio than Vince Neil does, which is kind of strange. I mean, it's not bad. It just tends to come on so much. They're on all the time on Hair Nation all the time. At a certain point, you're just like, okay, enough with the rat already. I know this is the 80s. I know you're doing hair metal. I get it. Can we pick somebody else to come on? It's always, like, round and round. That's the song that comes on all the time. What do you think you actually get?
[00:31:34] Speaker B: I think you're giving it better ratings than I am.
I think the lyrics are pretty bad. I mean, I'm gonna say a four in the lyrics. I could probably even go three. I mean, they're just repetitive, and they don't really say anything. I was gonna go sixes on everything else. I'm gonna. I'm gonna mull it over. But let's say that's. That's what I'm gonna do for now. I'm actually surprised you weren't seven.
[00:31:53] Speaker A: My assumption is that this is probably gonna be one of the better songs on the album. So I want to give it decent scores because I have a feeling that other stuff may not be as good. I don't know. I know another song on this side. Really know very much about them. Obviously. I know Warren Dre, Martini being guitar player. You hear his name all the time. Robin Crosby. I know. I mean, I know everyone's name in the band.
[00:32:12] Speaker B: Yeah.
[00:32:12] Speaker A: When I was reading the names that I knew everybody.
[00:32:14] Speaker B: Yeah. I mean, like, again, they Were popular enough to know the. You know what I mean, the names of the members of the band. But overall, I do enjoy the song. I think it's fine again for what it is. It's. It's a. It's a good 1985 hair metal song.
[00:32:28] Speaker A: In 1985, this would just be metal, right?
[00:32:31] Speaker B: I know.
[00:32:31] Speaker A: Really?
[00:32:32] Speaker B: Well. No, well, I think we said glam back then. We may have said glam metal, though. I think we did say glam.
[00:32:37] Speaker A: Okay, maybe glam metal.
[00:32:38] Speaker B: Yeah, I think we were at least saying glam metal, if not necessarily hair metal.
[00:32:42] Speaker A: I just think this is going to be one of the better songs. So I wanted to give it a decent score because maybe the rest I might not. Although, who knows? I may end up liking other songs on here better than this. I don't know.
[00:32:50] Speaker B: Yeah.
[00:32:50] Speaker A: So next song is Never Used. Love.
[00:33:22] Speaker C: My statement no rearrangement I say you're not going to make tracks all over my.
When push through the shove I'll be pushing you down Better when you take that step that you got Both feet on the ground Never inside yourself I don't want to fight I won't get in your way don't give me the right.
[00:34:20] Speaker B: Yeah, I mean, I like that riff, but the melody, I just feel like, is all over the. It's like two completely different songs.
[00:34:26] Speaker A: Once the chorus comes in, it's very messy.
[00:34:29] Speaker B: Yeah. It's like they try to force a catchier chorus into it and it just. To me, it doesn't work. I don't remember this song at all, honestly.
[00:34:37] Speaker A: Me neither. But this is what I was afraid of. This is where the big things overshadow the rest on the album. And this is not very good for me. Not very good. I mean, if you're a big fan of this, awesome for you. I don't like the melody. It feels like he's shoehorning this whole song together, unfortunately. And he doesn't have a great voice, so he can't even carry it. You know what I mean?
[00:34:56] Speaker B: Yeah, I mean, like you said, I mean, I'm. Honestly, when he gets to the chorus, it's a little. It feels like it's a bit out of his. His range. There's not a ton of background either. I got to pay attention. Maybe I wasn't listening to it. That also, I think, takes away sometimes if you don't have anything else coming in.
[00:35:11] Speaker A: What do you think of the drum sound?
[00:35:12] Speaker B: I think they were better in the first song, honestly. But I do think overall, he's a decent drummer. You Know what I mean? He's not a just a simple 44 guy. He throws in accents and fills and things like that. And he plays with a little bit of groove. I mean, this is kind of straightforward. I think in the next song, you probably hear it better. And the next song is obviously very famous, too, and I think it's definitely going to be better than this one. But, I mean, the production minds are a little bit of Doc and you know what I mean? I hear a little bit of that kind of sound in there, too.
[00:35:39] Speaker A: It's that guitar sound with a little bit of delay thing that's like right after the end. Like, feels like it's in a room, but see a delay or some reverb sound. But it's very strange. I don't particularly like it too much. I never really liked that, even during that time. That would have turned me off a little bit. I don't really like it now. I mean, drum sounds okay. I can't really hear the bass very much.
[00:35:57] Speaker B: No, actually, I haven't. I haven't paid attention at all to the bass.
[00:36:01] Speaker A: It's probably just doing the same thing everything else is doing. So that's why. Yeah, it's getting lost. Okay, read some lyrics. I'm going to make my statement don't need arrangements I said, you're not going to make tracks all over my life when push comes to shove I'll be pushing you down Better think twice when you take that step that you got both feet on the ground it's so clunky Never use love Never use love I don't want to fight I won't get in your way don't give me the right Never use love it just feels very forced. They were trying to make something out of something that they don't have.
[00:36:31] Speaker B: Yeah, but I mean, again, I do like that main riff. I think it's a good riff. It just. What comes around it, though, like.
[00:36:40] Speaker A: Yeah, I know. All right, let's continue. Here we go.
[00:37:04] Speaker C: Benefit, right? And take that step that you d on the ground Never, you never stop I don't want to fight.
[00:37:18] Speaker A: I will.
[00:37:19] Speaker C: Get in your way don't give me the right Never use that I, I don't want to fight.
[00:37:50] Speaker B: That banana. That reminds me of something, but I can't think of. I don't know. I mean, what do you think of that main riff? You like the main riff?
[00:37:56] Speaker A: I like the main riff. That's the only redeeming quality of this song right now is the main riff. I'm gonna read some lyrics But I'm gonna point out a couple of things, so. First two, I've got to find my place. Don't need no replacements. Okay. When you think you're too much Then I had enough Hell, yeah. And that Hell, yeah was like a Vince Neil. Hell, yeah.
[00:38:14] Speaker B: Yeah. I was. I was gonna say that did sound like Vince Neil back there.
[00:38:17] Speaker A: I was like, oh, boy, is Vince Neil singing for this band now? Okay. When push comes to shove I'll be pushing you down Better think twice when you take that step that you got both feet on the ground this is making Sammy Hagar's lyrics feel like Bob Dylan.
[00:38:32] Speaker B: Yeah.
[00:38:32] Speaker A: I mean, yeah. These aren't great. And of course, never use love I don't want to fight I won't get in your way don't give me the right Fuck's that supposed to mean? Never use love I don't want to fight Never use love Like I said, I gave seven to the other song on purpose.
[00:38:46] Speaker B: Yeah. Yeah. You know, I don't think. I don't think there's going to be a 7 in. In. In this.
[00:38:51] Speaker A: This is tough, man.
[00:38:53] Speaker B: It may add up to seven tough.
[00:38:56] Speaker A: Maybe.
Let's hope the guitar solo gives it a little bit of a saving here. That musicianship will go up a little bit, maybe.
[00:39:03] Speaker B: I mean, I do like that they went back to the main riff. At least. At least they were smart enough to say, hey, let's play that main riff again because it's pretty cool. You know what I mean? Let's play it on its own.
[00:39:11] Speaker A: Yeah, I do like the riff.
[00:39:11] Speaker B: Yeah, me too.
[00:39:12] Speaker A: Okay, here we go.
[00:39:49] Speaker B: What'd you think of them?
[00:39:51] Speaker A: I don't know. I thought it was Robin Crosby at the beginning. It doesn't sound like Warren demartini. Not that I know a lot about his guitar playing. From what I know that he plays, it always feels a little more fluid than that. That feels a little choppy.
[00:40:04] Speaker B: Yeah. And I felt it was different sounding than the first lead. The actual sound of the guitar was different.
[00:40:09] Speaker A: Yeah. Even the style was a little bit different.
[00:40:12] Speaker B: Tell you what, though, for what it's worth, I like it better than the rest of the song.
[00:40:15] Speaker A: Yeah, true.
[00:40:16] Speaker B: That break.
[00:40:17] Speaker A: I mean, it's okay. It's okay. I think the first guitar solo on the first song is better. So maybe this is Robin Crosby. I don't know. I could be wrong. I want to think it is, because I don't think it sounds like Warren D. Martini. From what I know about his playing, which is very little. He just seems, again, more fluid of Guitar playing this doesn't feel that fluid, but I don't know.
[00:40:36] Speaker B: Yeah, definitely felt different. The sound was different. I liked the way it started better than the way it ended.
[00:40:41] Speaker A: I like the ending better than the start.
[00:40:42] Speaker B: Oh, do you? Is that so funny? I like. I like the beginning because I thought it was kind of. The mood was there, but then I felt like it kind of lost the mood of it.
[00:40:50] Speaker A: But I didn't like the beginning. I didn't like the melody he was using there. And I thought the end part was better. Not that that was great, but I thought it was better than the beginning. I mean, at least had a beginning and an end. Like, it was kind of planned out. But again, Everybody in the 80s got to use the dive bombs and the harmonic. I'll let Eddie Van Halen. It's everywhere in the 80s, man. Can't get away from it. That shows you how wide his influence was. Yeah, everyone's got to do that. So funny. So let's run this out. Here we go. I think it's just a chorus or outro or whatever this is.
[00:42:06] Speaker B: Tell you what, I wish if that was the chorus throughout the whole song, it would have made the song better. I think they never use love over the main riff. Sounded way better than whatever they were doing in the chorus.
[00:42:16] Speaker A: Yeah, you usually don't like just the one word over and over, but in this case, yeah, way better.
[00:42:20] Speaker B: They worked.
It's not way better than the chorus because it didn't sound shoehorned in. It was part of that riff. So I'm glad that they actually did that. That was. That was actually good arrangement from their part.
[00:42:31] Speaker A: I think the guitar playing at the end, I think, was the other guitar player, whoever the other guitar player is. It sounded more fluid, so it might have been Warren D. Martini. It just sounded different than the solo. I don't know. I don't pretend to know on this. Why don't you go first off, I'll.
[00:42:46] Speaker B: Say four in the lyrics again. I think they were better than the first ones, but, I mean, they're still meaningless. I mean, I'm sure they have meaning, but whatever music. I'm gonna say a five. I do like that main riff. And I do like that they played it before the solo. And then at the end, I'm gonna say a six again on production. I mean, I do think the first one was produced better, but it's, you know, it's not. Terrible arrangement. I'm gonna say a five. I was gonna say four, but because they again, did that solo Piece. The. The main riff for those two times. I'll bump it up. Oh, God. Melody. I'll say probably four. What do you think?
[00:43:22] Speaker A: Mine's gonna be very close. Lyrics for Melody four. I could even go melody three. The melody was. It got saved by the end. So that's why I'm gonna give it four. Musicianship, I'm gonna say. I'm gonna say five. Even though I'd like the riff, it just, I don't know, doesn't do very much for me. Arrangement. I'm gonna say five. I could have went lower on that. I like that they changed it up a little bit. And I like that they used the riff over and over. And I'm gonna give it seven. On production, I thought the production was fine. I don't think it was bad. It's a hard sell, man. It's a hard, hard sell.
[00:43:50] Speaker B: Yeah, yeah. I mean, we talked about, like, some one, two punches, but that is not because, I mean, the next song, if I remember correctly, is a pretty decent song that has more structure than this.
[00:44:00] Speaker A: This is what I was worried about. I was worried that we were gonna get stuff like this. I was gonna know a couple songs and the other stuff was just gonna be very. Not up to standard. That's why they're probably on the second rung of the glam metal thing after the bigger four guys. Not to say that Motley Crue didn't have stinkers, because they did. But even their stinkers, I think, are better than this.
[00:44:19] Speaker B: Probably more cohesive, if nothing else. Right? I would say I believe that.
[00:44:24] Speaker A: Yeah.
[00:44:24] Speaker B: I think in general, that's where they kind of falter for me, in general is some of the melodies. Again, I don't remember everything on here. I thought. I mean, listen, I thought the melody in the first one was good. And I think the melody in the next one is going to be better, but we'll see.
[00:44:39] Speaker A: Okay, so the next song is laid down. Warren demartini brought the riff in. It doesn't say who's playing the solo here. This reached number 40, so it was very popular. I remember this song. And we'll see.
[00:44:50] Speaker B: I think that whoever brought the riff probably did the solo, right? I think those interviews with Bo Hill. Wasn't he talking. I think Rhett was one of those. I'm gonna say one of those bands. I'm not to say. I think there was a big issue in Red about who wrote the song and who got the money. I think that was a big issue with them. It wasn't really a. A Split.
[00:45:10] Speaker A: Oh, they didn't do like the five way split?
[00:45:12] Speaker B: I don't think so. I think there was a lot of arguments about who got what. I think that was one of the contributions to. I mean, listen, they lasted a while because this is what, album number three. And then they did three more after this before Robin Crosby died. And then. Then, you know, whatever else they put out after that.
[00:45:28] Speaker A: Oh, this is two.
[00:45:29] Speaker B: Yeah, well, yeah. Second full length. Yeah.
[00:45:32] Speaker A: Oh, you're counting ep.
[00:45:33] Speaker B: So there was three more after this. One, two, three, I think. Yeah. And honestly, I think the melody, again, I don't remember this, so I can't really say it now, but having the next three albums on vinyl, I think the melody is not necessarily the next one, even though the next one's a big fan favorite, I think. But I think Reach for the sky and. And Detonator, the melodies got a little bit stronger. Some people really like it and some people don't. I think they got a little bit more polished.
[00:46:01] Speaker A: Well, let's hear it. Here we go. Lay it.
[00:46:28] Speaker C: Well, I know you don't really know me Well, I know you don't really care to see me I'm into total affection not being scared if you never please me. You know you really want to lay it down right now and how.
I know you really want to lay it down right now Lay it down, Lay it down, Lay it down.
[00:47:13] Speaker B: So I don't know if this is sacrilegious, please forgive me, but I think that opening riff is a little Van Haleny.
[00:47:19] Speaker A: Oh, a thousand percent. But I like that riff a lot.
[00:47:24] Speaker B: There you go. So I'm right then.
[00:47:27] Speaker A: Yeah. 100. You can hear it. I mean, not exactly like it, but there's an influence there that has to be.
[00:47:33] Speaker B: Well, think about. I mean, what song do I think?
Oh, man, I had and I lost it. I'll probably think of it again, but it's. It's a faster version. This is a groovier, slower version of what I'm thinking of. I can't remember now.
[00:47:49] Speaker A: The melody in the verse is much better. I don't think the chorus is as good as the verse is. The verse is much better compared to the last song. This is Mozart.
[00:47:58] Speaker B: Yeah, basically. I mean, it's cohesive, without a doubt.
[00:48:01] Speaker A: And the production is a lot better. They knew this was going to be a single because you could hear the production. They spend a little more time on this.
[00:48:06] Speaker B: Yeah. You know, again, referring to the drums, what I mentioned, you know, he's kind of, you know, he's not just like, again, he think overall, in the grand scheme of things, he was a pretty decent drummer in this genre.
[00:48:22] Speaker A: And you can hear bass, too.
[00:48:24] Speaker B: Yes.
[00:48:25] Speaker A: Yeah, I like it a lot. Okay, so here's the lyrics. I know you don't really know me. I know you really care to see me. I mean to total affection. Not being scared if you ever please me, you know you really want to lay it down right now. And how I know you really want to lay it down right now. Lay it down, lay it down, lay it down, lay it down. Lyrics are whatever, but the melody is much better. Yes, I'm ready. Here we go.
[00:48:57] Speaker C: Prayer.
You take what's good for your pleasing.
I'll take what's good for this crazy singing.
You know you really want to lay it down right now.
No matter how I know you really want to lay it down right now.
Lay it down, lay it down, lay it down, lay it down, lay it down, lay it down, lay it down, lay it down.
I'll give you all that I can.
[00:50:04] Speaker B: That sound like Jon Bon Jovi.
[00:50:06] Speaker A: I know.
I was thinking, right? It did the whisper thing. Yeah, I know. Oh, boy. I'm gonna read some lyrics so you can have a good laugh at this. Under the sheets you will find me. I know that nothing's for free. You take what's good for your pleasing. I'll take what's good for this crazy evening. That's a shoehorn rhyme.
[00:50:30] Speaker B: Yeah. I mean. I mean, these lyrics are as bad as they get.
[00:50:33] Speaker A: No, but it's better than the last song.
[00:50:34] Speaker B: That's like saying a D is better.
[00:50:35] Speaker A: Than an F.
Well, it is. Really.
[00:50:40] Speaker B: Yeah.
[00:50:42] Speaker A: But I do like the riff. What I didn't notice was on the left hand side, which is probably Robin Crosby doing the chug, chug, chug with the bass. And on the right side, Warren Diamartini is doing the little double stop things. That was pretty cool. I thought that was a good idea. He came up with a good riff. I'm pretty positive this is gonna be him. I think we're gonna be able to tell who's who's who. All right, here we go.
[00:51:25] Speaker B: I mean, would you say it sounded more like the first one?
[00:51:28] Speaker A: I would bet money that's Warren D. Martini. I would bet money.
[00:51:30] Speaker B: I mean, that would be my guess, too. Again. I would think so, too, based on what I remember hearing from him.
[00:51:35] Speaker A: Yeah, you can just hear the playing is a little. Again. I'm going to say it again. Again. It's a little more fluid sounding. It's not as stiff sounding. That's what it just sounds like to me. I don't know. I thought it was pretty decent.
[00:51:43] Speaker B: Yeah. I mean, it's definitely groove to this song, you know? That's what I remember. The groove.
[00:51:47] Speaker A: The drumming, too. Like you said, he's not just a four to the floor.
Yeah, there's a little more to him.
[00:51:53] Speaker B: Yep.
[00:51:53] Speaker A: So I'm gonna read the little wispy part.
If you give me just one chance to prove myself.
Yeah. It's funny. I think they did this before Bon Jovi, right? Yeah. This is before that.
[00:52:05] Speaker B: Yeah. Well, I mean, I just like the tone of his voice. It sounded like him.
[00:52:09] Speaker A: Oh, okay. I thought you meant the actual whispery thing.
[00:52:11] Speaker B: No, no, no. I mean, that's what I meant. Like his actual voice sounded like his voice. Like actual Jon Bon Jovi guested on there. And by the way, it's definitely Warren demartini, because I'm looking at the video.
[00:52:22] Speaker A: Oh, okay. Well, maybe now I can figure out who's playing who in the solo cup.
[00:52:25] Speaker B: But that would. That would have been my guess, too. No, that would. It didn't sound like the soul before this.
[00:52:29] Speaker A: Maybe the guy who brings the riff in is the guy who does the solo. That's how it works. I don't know. Okay. No, here we go.
[00:52:58] Speaker C: Down.
[00:53:05] Speaker B: I was waiting for the. The double time.
[00:53:10] Speaker A: It could have went into double time.
[00:53:12] Speaker B: I was waiting for that.
These songs are pretty short. How long is that one? That's like three something, too, right?
[00:53:20] Speaker A: 325.
[00:53:21] Speaker B: I mean, that's one good thing you can say if you don't like it. Does not too much to listen to.
[00:53:25] Speaker A: It ends pretty quick if you don't like it.
[00:53:27] Speaker B: Yeah, it's in and out.
[00:53:29] Speaker A: All right, I'm gonna go first.
[00:53:30] Speaker B: Okay.
[00:53:31] Speaker A: Lyrics. 5.
Melody. I think it's better. 6. Musicianship will say 7 because I like the riff a lot, and I like his solo arrangement. I thought that was fine. Seven and production. Seven. This is probably. Well, it is my favorite probably on this record so far. What do you think?
[00:53:51] Speaker B: Yeah, I'm gonna say four on the lyrics Again, I'll say sick. What's next? Music. Yeah. Six on the music, six on the melody, seven on production, and seven on arrangement. Is that all of it?
[00:54:05] Speaker A: Yeah, it's everything.
[00:54:06] Speaker B: It's a hit. It's a standout song. I mean, it also shows, too, that they can kind of do different things.
So, you know, they can do that straight up to kind of thing, and then they can kind of do something like this where it's groove.
[00:54:23] Speaker A: No, this is A much better song than the last one. I don't know what's going to happen next on the next one.
[00:54:28] Speaker B: I don't know either. I don't remember.
[00:54:29] Speaker A: Although it's kind of funny. First four songs all have three words in the titles. You're in love, Never Use Love, Lay it Down. And the next one is Give It All.
[00:54:55] Speaker C: Take it away on the ride not far from here no wasting time she's got plans for me she gave me high Even showed me her side, you know what I mean?
No way to say she would win the likes of me the likes of me she said I thought to wear you out Give it all to you I'll find a reason now skip it all Just give it all I want to give you all my love tonight Just give a sight to me I'll make it right.
[00:56:04] Speaker B: Do you remember this one at all or no?
[00:56:07] Speaker A: No. I have no clue what this is.
[00:56:10] Speaker B: I know it from the chorus and I don't know why I know it from the chorus either. I watched something where somebody was talking about rat and then they played this. I was like, I think I know the chorus of this song. It's not bad. It's more cohesive, I think, than the second one. And the chorus is kind of catchy. My only thing is though, that riff right in the beginning, there's. There's a little bit of this. This quick little odd time thing that goes on. But then they lose it when the drums come in because, I mean, usually accent, stuff like that, but he doesn't do it. I was like, oh. He just kind of played it straight through, you know. What do you think so far?
[00:56:41] Speaker A: I think it's better than the second one. The melody is still a little janky.
[00:56:46] Speaker B: A little bit, yeah.
[00:56:47] Speaker A: I just don't like the way things are put together here. When they hit it on a decent mark, like the. Like you're in love and lay it down, it works. And sometimes it's like this where it's hard to keep yourself interested in the song. I mean, the riff is pretty good and the playing is good behind it. It's just. I think that's where it suffers, like vocal wise and melody wise. I think that's where they suffer more than anyone.
[00:57:06] Speaker B: I think my main issue here is that they kind of have the. The verses and then they kind of go into that part where they say, just give it all that. He's like, just give it all. I don't think they need that part. I think they should have went into the chorus quicker. I think that part kind of drags it out longer than it needs to go because, again, I think the chorus is pretty catchy. It may not feel that way the second time. The second go around. When that part came in, I'm like, okay, this is kind of long to go into the chorus. And I knew the chorus was catchy because I did remember it.
[00:57:33] Speaker A: Yeah, this is like a new song to me. I don't remember this at all.
[00:57:36] Speaker B: The chorus, I remember, like I said, someone must. I must have watched something recently for me to have this chorus in my head.
[00:57:42] Speaker A: Let me read you some lyrics. Taken away on a ride not far from here well, no wasting time she's got plans for me she came behind and then showed me her thighs. You know what I mean? Well, no way to say she could win me the life of me she said I'd like to wear you out and give it all to you I'll find the reason now Just give it all Just give it all I want to give you all my love tonight Give it all Just give a sign to me I'll make it right Give it all.
I mean, listen, I wasn't expecting very much out of this, so whatever I got out of this that I like, you know, it's fine. I think the riff is fine, but I think this is going to be a Robin Crosby solo, because he did write this, so we'll see. I think we're going to be able to tell right away now, probably based.
[00:58:26] Speaker B: On the last one.
[00:58:27] Speaker A: Yeah. But we still got another verse, so here we go.
[00:58:47] Speaker C: She moved me south don't you know she's here to please I'm on my knees P.
Moving on she said I'd like to wear you out Give it all to you I'll find a reason Now Just give it all Just give it all.
[00:59:56] Speaker B: That was all him, like Crosby. Or maybe a mix.
[01:00:00] Speaker A: I'm not sure anymore. Now.
[01:00:01] Speaker B: Yeah, right.
That. That blurred the lines a little bit. I thought I heard two different styles in there.
[01:00:08] Speaker A: I don't think so. I think it's the same person.
[01:00:10] Speaker B: No. Yeah, I think so.
[01:00:11] Speaker A: I think so. I just. I can't tell you who it is, though. I want to say that's Warren D. Martini, but I don't know.
[01:00:18] Speaker B: I mean, what'd you think of it overall?
[01:00:19] Speaker A: I thought it was good. I liked it. I thought it was very well worked out.
[01:00:23] Speaker B: A little bit more space, too.
[01:00:25] Speaker A: Oh, yeah. They gave him a whole bunch of space. It was. That was one of the longer solos so far.
[01:00:28] Speaker B: Yeah.
[01:00:29] Speaker A: I think I need to finish this thing out. We're almost done. Oh, wait, Let me re read some lyrics before I finish it. A fashion plate In a way she really was. She had style in class understand she'll pay to dance she moved my soul don't you know she's here to please well, I'm on my knees, can't you see? Move in on me Moving on me like, they don't need to do that part right there. Yeah, that just feels all disjointed. I like the riff behind the next part. She said, I'd like to wear you out I'll give it all to you I'll find a reason now just give it all Just give it all the guitar part underneath there is pretty interesting. Like, they can write good stuff. It's just. This is again, why they're probably not on the higher tier of glam metal stuff. Because you get to these things here where it's just not as good. Like, they get one or two songs out of themselves for an album, and then they. Look, they blew their load, and then they can't write anything else like that.
[01:01:13] Speaker B: I mean, I think this song is not a bad song. I mean. I mean, I. I can probably get into it. They didn't go back into the chorus, which is fine. I felt like they should have. I feel like the solo came in and I wasn't expecting it. I was expecting the chorus, which is fine. You know, then they do that. Give it all, give it all, give it all, give it all kind of thing. Like, oh, no, why'd you do that?
[01:01:34] Speaker A: That doesn't bother me that they change it up a little bit. I just. I don't think the song's great anyway. All right, here we go. Let's finish it.
[01:01:48] Speaker C: I give it all, give it all, give it all to give you all my love tonight Just give a sight to me I'll make it right Give it up.
[01:02:13] Speaker A: I like the end.
[01:02:14] Speaker B: End, yeah.
[01:02:14] Speaker A: Okay, I'll go first. Lyrics 4. Melody, 5. Musicianship, 6. Arrangement, 6. Production was fine. I'm gonna say give that a 6, too. It's not horrible. It's better than number two. It's not as good as lay it down or you're in love. The chorus at the end was pretty good.
[01:02:31] Speaker B: Yeah, that's what I'm saying. I like. I liked it and I wish I kind of use it more. Yeah. Four on the lyrics. I mean, what's six on the music? I'm gonna say seven on the production. I actually like the way it's produced. Arrangement I'm gonna say five on arrangement. They kind of pissed me off.
I wanna. I want to appreciate what they did and I kind of do. But I just feel in the context of a song where I like one part and then they skip it and I kind of get disappointed. Melody. I'll say six on the melody. You know, I think of to myself, okay, if I'm. If I'm putting this album on and I'm listening to it, what. What do I think of the song? Am I skipping it? I'm like, nah, probably. I'll probably listen to it. Like, I think it's a decent song, but I know next time what song I'm skipping if I ever listen to this song again.
Number two.
[01:03:21] Speaker A: All right, so now we're at the end of side one. And this is closer to my heart. I assume this is gonna be a ballad.
[01:03:26] Speaker B: They're not really a ballad band. Think about it.
[01:03:30] Speaker A: This is true.
[01:03:31] Speaker B: Yeah, I don't. I don't really think they have a ballad. Ballad. Ballad.
[01:03:35] Speaker A: Okay.
[01:03:35] Speaker B: I mean it could be a mid tempo type ballad. They don't have that every rose or.
[01:03:41] Speaker A: You know what, you're right. I don't remember them having something like that.
[01:03:44] Speaker B: Yeah. So, I mean, give them credit for that.
[01:03:46] Speaker A: Yes. We would have been the easy thing to do to have the ballad. Right.
[01:03:48] Speaker B: Yeah. I mean, I know they have that song I wanna love you tonight. But even that, I mean, isn't really still more of a kind of like mid tempo power.
[01:03:56] Speaker A: Here we go. Closer to my heart.
[01:04:14] Speaker C: I listen to you. Are you listening to me?
The way that you are? It's easy to see feelings for you. Now I feel free.
I'm lost in time. Time.
It's not the way that you hold me.
It's not that I really care.
It's not to say that your love is to own me. You take a love in my laugh.
You broke your promises falling out of love.
You broke your promises falling out of love.
When you cross the line.
You're one step closer to my heart.
Closer to my heart.
One step closer to. To my heart.
Closer to my heart.
[01:05:28] Speaker A: If it's a weird arrangement.
[01:05:31] Speaker B: Oh yeah.
[01:05:32] Speaker A: It's like one big run on sentence.
[01:05:34] Speaker B: Yeah. I mean, I'm not feeling this one.
[01:05:36] Speaker A: So far it is mid tempo the only part. For whatever reason, I'm going to read the words and the part I remember somehow either they used it again or I remember this song somewhere. I'll read it and I'll tell you. So the verses. I listen to you. Oh, I guess it's the verse. I don't know what the fuck all this is. I can't tell you what's verse, what's pre chorus, what's whatever. I'll just read words. I listen to you, are you listening to me? The way that you are is easy to see? Feelings for you Now I feel free I'm lost in time now this part I remember, I think. It's not the way that you hold me me. It's not that I really care. It's not to say that you not to say to. I can't read that. It's not to say to. Love is. You own me. You're tangled up in my lair. You broke your promises, falling out of love? You broke your promises? Falling out of love? When you cross the line? You're one step closer to my heart? Closer to my heart? One step closer to my heart? Closer to my heart. It's just like a big run on sentence, like I said, some weird melody.
[01:06:38] Speaker B: You're tangled up in my lair.
[01:06:40] Speaker A: These might be the worst lyrics so far.
[01:06:43] Speaker B: I don't know if they're the worst.
[01:06:44] Speaker A: They're close.
[01:06:45] Speaker B: They're so disjointed. Like, even the meaning of the song is. Wait, what is Wait. Who? What?
It's one of those.
[01:06:54] Speaker A: I like the drums, though. He's doing a good job. Yeah.
All righty. Here we go.
[01:07:01] Speaker C: Indecision, it's all been heard.
No more confusion, the page has turned. Still with the darkness of the night?
I always seem alive.
It's not the way that you hold me?
It's not that I really care?
It's not to say that to love, it's to hold me. You tangled up in my lap.
You broke your promises falling out of love?
You broke your promises, falling out of love.
When you cross the line then you'll find that you're. Watch that.
[01:07:56] Speaker B: Of the two.
[01:07:57] Speaker C: My heart closer to my heart?
One step closer to my heart?
Closer to my heart.
[01:08:15] Speaker B: The bass is pretty good. Some cool stuff doing on the bass. There's some keyboard going on back there too, I think.
[01:08:20] Speaker A: And some weird background vocals, too.
[01:08:22] Speaker B: Yeah, I mean, I think it could be a more interesting song, but I don't think it's fleshed out.
[01:08:32] Speaker A: It's a weird song. It's a little disjointed. So the verse is. Indecision, it's all been heard. No more confusion, the page is turned? Still with the darkness of the night? I will always see the light. That's not horrible.
[01:08:45] Speaker B: No, that's. Honestly, that's probably the best. 4 lines so far in the whole album, I think.
[01:08:50] Speaker A: Yeah, probably. And then I think everything's pretty much the same here again.
[01:08:55] Speaker B: Yeah.
[01:08:55] Speaker A: It's not the way that you hold me? It's not that I really care? It's not to say that love is to own me. You're tangled up in my lair? You broke your promises? Falling out of love? You broke your promises? Falling out of love? When you cross the line? Then you'll find that you're one step closer to my heart? Closer to my heart? One step closer to my heart? Closer to my heart. Well, I'm gonna see what the solo has in store here. Hopefully that can save it a little bit for us.
[01:09:43] Speaker B: I mean, me personally, I think that was the best part of the song.
[01:09:46] Speaker A: It was good.
[01:09:47] Speaker B: Yeah. And that's what I'm saying. I think there's a good song here. Right. Maybe it's just the oddness of the melody. I don't know. Like, once that solo came in, I'm like, oh, this is good.
I like that. I really like this part of the song.
[01:10:00] Speaker A: It's the melody. The melody's throwing you off. It's weird melody. It's weird arrangement.
[01:10:05] Speaker B: Yeah. Plus, he's very monotone, right? I mean, like you said before, he is very monotone. So there isn't a lot of.
There's nothing. He's. Yeah. I mean, he's singing straight across, so that doesn't help either. When it comes to differentiating between what's what.
[01:10:22] Speaker A: There's very little dynamic in his voice. He's so straight and so monotone. Because I don't think he can sing that well. Yeah, that's what I really think it comes down to. He probably had the look. He didn't really have the chops to sing this correctly. And his melodies aren't great. I don't know who. I'm assuming he's writing the melodies. I don't know if it was. I'm assuming he is.
[01:10:41] Speaker B: I mean, ultimately, it's probably his band. I think maybe he could have. You know what I mean? He was probably the originator. And again, I mean, it does.
It fits. It's not unlistenable, but I think in times like this where maybe some valleys, you know, some peaks and valleys could make it a different song.
[01:11:01] Speaker A: Yeah. Like you said, when the solo came in and it was playing by itself with nothing else, no melody and just a solo was good.
[01:11:07] Speaker B: Yeah, I really like that part. I mean, I like the. The music stood out behind it and everything was playing the stud that was really good. And once the verses come, the voice, you know, it's like, okay, can we go back to a solo? And then it was really short, too. They cut up my. Right. I mean, I thought they could have got at least two or four bars more, but it was really short.
[01:11:31] Speaker A: It was short. And this is the problem I always had with Rat. The vocals really were the issue for me, and the melodies weren't great. So this is why I never really listened to this stuff very much. I just. I knew it was around because it was around. You saw the videos and you heard them on the radio, so, you know, it was there. But I would never buy this.
[01:11:50] Speaker B: No, I mean, I do think. And again, people may argue with me. The last two albums for Robin Crosby died. I think the melodies were stronger. I think the songwriting was stronger because I bought Reach for the sky, which is one week old. Junior. I remember buying it. I don't remember what store it was, but it doesn't exist anymore. It was a department store. It was one of those. I wanted to buy something. They had nothing. I was like, oh, it. Let me just buy this. Like, oh, that's actually. It's not terrible. There's some good stuff on here. You know, Detonator, which was the last one, I think, with him, Some popular songs in there, too. And it maybe was more intentionally done that way, where it's like, hey, let's try to do a little bit more of something catchy. And some people I know don't like it for those reasons.
[01:12:29] Speaker A: I think it was him and Robin Crosby that started the band, right? I would assume.
[01:12:33] Speaker B: I. I don't know. I mean, I. I should know because I've seen the behind the Music a couple of times. But like I said, I'm pretty sure it started on his Mickey Rat, and then it turned into Rat.
[01:12:42] Speaker A: I mean, they've been around for a while.
[01:12:44] Speaker B: Yeah.
[01:12:44] Speaker A: He started a band in 73 called Fire Dome, and then Mickey Rat was changed some point in 76 or 77 to rat, and then Robin Crosby became a member somewhere along there. Jakey Lee was in this band at one point.
[01:12:59] Speaker B: Yes, that's right. Yep. I know that. I remember that. I think he was in Mickey Rat, wasn't he? Or was it Rat already?
[01:13:05] Speaker A: Mickey Rat, I believe.
[01:13:06] Speaker B: But, I mean, it was Piercy right from the beginning.
[01:13:09] Speaker A: Yeah, you're right. All righty, let's finish it out. Here we go.
[01:13:26] Speaker C: Falling out of.
When you cross the line Then you, you find that you. One step Closer to my heart Closer to my heart One step Closer to my heart?
One step closer to my heart Closer to my heart?
Closer to my heart?
Your step Closer to my heart Closer to my heart?
Closer to my heart.
[01:14:39] Speaker B: I mean, I was thinking, like, oh, if the song was that temple, the whole time would have made it any better. I don't know. But again, I mean, the instrumental stuff at the end was good, too.
[01:14:49] Speaker A: The best part of the song. I like that a lot better. The guitar playing was really good at the end. I liked it. And the chorus was a little bit better at the end when they kept repeating. Maybe it was just. It was those weird phrases before the chorus. Chorus is not horrible.
[01:15:01] Speaker B: No.
[01:15:02] Speaker A: When you hear it in context at the end. Right. Repeated. It's not that bad.
[01:15:05] Speaker B: Yeah.
[01:15:06] Speaker A: I don't know what to do with this now.
[01:15:07] Speaker B: But they do that a lot too, though, right? I mean, that is a stylistic choice that they do where they kind of not improvise, but kind of change the chorus up a little bit where they. Instead of kind of going exactly what the chorus does, they kind of repeat kind of like one mine. I've noticed that they kind of do that.
[01:15:21] Speaker A: Pound it into your head.
[01:15:22] Speaker B: Yeah.
[01:15:22] Speaker A: I mean, it's not a bad idea. Something you should be doing, I think. You want to go first? Want me to go first?
[01:15:26] Speaker B: Go first.
[01:15:27] Speaker A: Okay, go ahead.
[01:15:27] Speaker B: So I'll say five on the lyrics because of that one part. I mean, I've given four to everything else, and I don't necessarily think the rest of it is. But that. That one part, I think is the best. So I have to throw him a bone there. See, music is hard. Actually, I'll say a six on the music because musically I think they're playing well. Production is fine. I'll say six on production. Melody. I'll say five. Arrangement. I'm gonna say five as well. I mean, it's weird.
[01:15:54] Speaker A: It's.
[01:15:54] Speaker B: It's almost like the song never really gets going. It's kind of going, but it doesn't. You know, he's kind of pulling you, and you're like, oh, here it goes. No, it feels weird to me. But again, I mean, those two musical interludes are definitely the best part. I mean, they're really good. And it's not just because, oh, well, the rest of the song sucks. And. And those. I. I generally think that they're really good parts. What do you think?
[01:16:15] Speaker A: Yeah, I'm gonna say five on the lyrics. I'm gonna say five on the melody. I'm gonna give him a bone. I'm gonna say seven on the music. I think the guitar stuff is really good. I think the drum stuff is good. The instrumental parts were great. Those are the best parts of the whole song arrangement. Yeah, I'm gonna say six on that. I'm gonna give him a little bit of a bone because I think the end part saves it a little bit. I like the production. I'm gonna give it a seven. I don't think it was bad. I mean, it was a stronger ending than I would have thought for this side, especially the way everything is on this album so far for me. So, I mean, you know, I mean, I guess I like three songs out of the five. Yeah.
[01:16:46] Speaker B: I mean, listen, it's. It's listenable, right? It's not. It's an album you can. I mean, so far, other than really number two. And I mean, this one was a bit. Whatever. It's not horrible. And I think it's regarded as one of their. One of their best.
[01:16:59] Speaker A: I'm looking at song titles.
[01:17:01] Speaker B: Yeah.
[01:17:01] Speaker A: And they're really long on the second side, so I don't know if that's a good thing or a bad thing. Because the first ones are really short and these are really long. So I don't know what happens.
[01:17:10] Speaker B: It is funny, though. And when you see stuff like that, just like when you see a lot of. Of together, like Maiden. I forgot what album is, but it's like four or five songs are all of us.
[01:17:20] Speaker A: Well, I'm glad we got this. Even though we've had a lot of 80s. I didn't really want 80s again, but I'm okay.
[01:17:26] Speaker B: But this is very 80s. 80s. Like 1984 is 80, but. And, yeah, it's. It's got some of that glitz and whatever, but I think this is hair metal, which we really haven't had since Winger, which wasn't that produced by Bo.
[01:17:40] Speaker A: Hill, I believe it was.
[01:17:41] Speaker B: Son of a. Look at that.
Yeah, I. Listen. I think. I think it's listenable. I don't think it's a bad record. I don't think it's horrible record. You know what I mean?
[01:17:50] Speaker A: Yeah. I'm glad we got it. I haven't really listened to this, probably. If I did listen to it, it's probably 1985, so I don't remember anything. I never had it. So unless Nick had and I borrowed it from him, I wouldn't have had this. I wouldn't have owned this.
[01:18:01] Speaker B: I'll be honest. I don't even know if Nick had it.
[01:18:03] Speaker A: I was never a fan of them.
[01:18:04] Speaker B: I know. I got it as a 10 cent special. I know my cousin had it, that's for sure.
[01:18:09] Speaker A: Well, why don't you do your thing?
[01:18:10] Speaker B: So we are part of the Deep Dive podcast network again, like I always say. Great bunch of guys took us in right away. Just check them out if you want more individual podcasts. I don't think there's a rat podcast, but there is Queen, Zeppelin, Aerosmith, Tom Petty, I mean, you name it, it's. It's pretty much on there. So check them out. And Mark, where can they find this.
[01:18:29] Speaker A: On the interwebs, Rockwelletpod, all the social media. Rockwelletpodcast.com Go over there, vote on the polls, drop us some new bets that we can play. Put us on your auto, download on whatever podcast player you use. That way we get downloaded automatically every Tuesday when we release. And if you can review us, give us a five star review because as usual, that moves us up on the rankings and puts us out to more people. Hopefully that's been going on because we've been getting a little bit of an uptick. So that's cool. And I guess next week we get to finish this out.
[01:18:57] Speaker B: Yeah. Curious. From what I remember, I know I know at least one of the songs on the second side that I, that I like.
[01:19:02] Speaker A: I don't think I know anything on the second side at all. I don't think so. This is going to be interesting for me. Alrighty, well, we'll see you next week.
Later.
[01:19:20] Speaker B: It.
