Episode Transcript
[00:00:00] Speaker A: Foreign.
[00:00:04] Speaker B: 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 on to the Rock Roulette Podcast.
[00:01:14] Speaker A: Hey 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 other week we spin the wheel. She picks a record for us and we go through it track by track and we talk about the music, the lyrics, the production, the melody and the arrangement. Again, just a bunch of friends who want to do a podcast who love music. And as always, first and foremost, we want to thank the listeners. Mark says, I always say there's been a recent, a recent uptick, but I think there, there really has been, we have been going up little by little. Again, whoever you are, we really, really want to thank you. And if you really like it, spread the word, you know, get your buds into it and drop us some comments. Tell us what you like, what you don't like, songs you want to hear, albums you want to hear. Well, listen, you know, like I always say, I put Mark on the spot, but he's very quick in responding, you know, very happy. Thank you so much. And as mentioned tonight, we have Mark. Oh, hi, Mark.
[00:02:08] Speaker C: What's up guys?
[00:02:09] Speaker A: And I'm sad. Ciao, buena sira. Last week Mark said He didn't want 80s and he got some very 80s.
The Wheel Picked Rat Invasion of youf Privacy, which was a pretty big album for them and definitely well within the what is now considered the hair metal genre. We're thinking it was okay. I mean, obviously the lyrics are what they are. Some of the guitar work and I mean musical work is decent. I think we kind of agreed. What lacks a little bit is kind of dynamics and melody in his voice and the way he, I guess he sings. And I don't think it's bad for the music. I think just some of it doesn't really kind of go anywhere. I think that that's something they developed a little bit more in the later on. Yeah. Mark, what do you think overall?
[00:02:53] Speaker C: I think the melodies are kind of rough. His voice is very monotone, so it's hard sometimes to get into it. Yeah, they have a couple of good songs here and there. Guitar playing is fine. Drumming's fine. Bass, you know, we didn't hear a lot about that in the first size Movie. The second side, that'll change.
[00:03:07] Speaker A: Yeah, a couple of points I heard.
[00:03:09] Speaker C: Here and there for 1985. It's. It's not bad. It's not as bad as stuff I think that came later on down the line where everything started sounding the same kind of. Here is that right in the middle of everything. So their sound a lot of people probably copied in other bands after they came out, so. Was good. I liked it so far. You know, I mean lyrics could be better. Singing could be better. Melody could be better. Overall, you know, it's not horrible.
[00:03:32] Speaker A: No, I mean, I think what like we were saying, it's fine.
You know, it's not something that kind of sticks out, but it doesn't also suck.
I don't know if that's. That's going to be the. The tagline here, but. But I don't care. I mean, like I said, I do have this album on vinyl. I have listened to it in the past. I don't really remember anything other than. And the. The hits. There's a song on the second side that I. That I know that's pretty decent. I don't know if it was a hit or not, but I mean I definitely heard it on the radio. It probably was on the. On your favorite hair metal station that always plays Rat.
I think that's where. Where I heard it.
[00:04:08] Speaker C: Well, the tagline is going to be Rat. This doesn't suck.
[00:04:13] Speaker A: Yeah, obviously. Before we get to side two, as always, we have our new segment which is called the new Bets. The Little Baby Wheel which Mark has filled up with when I filled up. Nothing like the Other Wheel. We could actually see what's on here with stuff pretty much stuff that's been released the last year or so. Some of it. I mean most of it within the genre, some of it maybe a little bit outside, but whatever. I mean it's picked. Last week it picked Green Day. See, it's the non popular ones. I remember the ones I. Green Day, big name. I'll forget. But I think you may have liked the song a little bit better than I did. But it wasn't bad. And actually I told my son about it because he kind of got into Green Day. A little bit recently. So I told him to check it out. I told him. He says, oh, is it, like, tip? I said, no, it doesn't. It didn't really sound like him. It sounded like him doing weezer and Bennington from linkin park in the chorus. And I think overall, the production was better, too, than some of the other stuff we've heard. I was definitely happy about that.
[00:05:10] Speaker C: Well, anytime the drum sound is a little bit better. You like that?
[00:05:13] Speaker A: Yeah. Yeah.
Again, I don't like to, you know, harp on something, but again, we get this little baby wheel now, so I'm kind of curious. Let's see what it picks.
In a world where new music is not easy to find.
[00:05:31] Speaker D: Welcome to new bets.
[00:05:39] Speaker C: So can you see the wheel?
[00:05:40] Speaker A: I see it.
[00:05:41] Speaker C: All right, if you're ready, let's do it.
[00:05:57] Speaker A: Daughtry pieces. I don't know this song, but, Mark, I know that you. You actually got to see them live, right? For a little bit.
[00:06:05] Speaker C: Yeah. Not my favorite. I mean, his voice is okay and all, but I didn't like the songs very much. But, hey, listen, I have an open mind. I'll listen to it. Hopefully it's good. I would like it to be good.
[00:06:15] Speaker A: Yep. I like discovering stuff I like, you.
[00:06:17] Speaker C: Know, Daughtry to me, is just very stock. Two thousand and tens rock.
[00:06:22] Speaker A: He has a couple of good things. I never really got into it either. I didn't think the songs were bad. They didn't grab me out. I didn't say, like, oh, I'm gonna go out and get this, or it was one of those again songs. Okay. Songs aren't bad, but mid.
[00:06:38] Speaker C: It didn't do anything for me live at all. So hopefully this is better.
[00:06:42] Speaker A: Yeah. Let's check it out.
[00:06:43] Speaker C: Here we go. This is Dortry pieces.
[00:07:05] Speaker D: You never know what lies beneath the surface and what you'll find and if it's worth it.
Losing ground I'm getting nervous there's only so much I can control oh, even with the cracks in the mirror my reflection's getting clearer I'm trying to cope at the end of mar While I'm doing the best that I can to live with the broken princess of me that was sh.
Can't stop the bleeding I'm never getting terr to move but I'm learning to live with the pieces I made Pieces are made you never know who's coming for you into the storm without a war I like the cold of the morning oh, how it concerns straight to the flow it's the silence in the battle When I'm afraid of my shadow I'm reaching for hope at the end of my world When I'm doing the best that I care to live with the broken princess of me that was Sh.
Can't stop the bleeding I'll never get over it Move on But I'm learning to live with the pieces of me Pieces of me I can't change the past and I need to let go Learning to live with this holding my soul Losing grip and I'm just trying to the best that I can.
[00:09:46] Speaker A: I'm.
[00:09:47] Speaker D: Done oh, I'm learning I'm learning what I'm learning to live with the broken can't stop the bleeding I'll never get over it's hard to move But I'm learning to live with the broken pieces of me I was sh.
It's hard to move on But I'm learning to live with the pieces I made Pieces I made with the pieces I made Pieces of.
[00:10:48] Speaker A: I wasn't bad. I thought it was a good chorus. It's definitely heavier than the stuff I've heard from him, which was the. The earlier stuff. I mean, again, I think the drums sound like. Obviously, it's got that modern production.
Yeah. Again, I thought the melody was decent. He's got a good voice and it definitely still sounds like him. So, I mean, overall, I think it could have been worse. Do I know if we're going to chase after it? No, but I'm gonna assume that you're gonna say it's stuck.
[00:11:18] Speaker C: I want to hear Rat. That's how bad that is.
[00:11:21] Speaker A: I need some. I need some 80s rock, man.
[00:11:23] Speaker C: No, man, it's just so mid. It's so mid. It's everything that everybody does. The intro, that little swell thing, the vocal sound, the drum sound, the guitar. It's just all that same. I mean, I wouldn't care if it was good, but, I mean, he can sing. That's about really the end of the situation. There's no surprise in anything that's going on there. There's no originality in anything that's going on there. Is it produced? Well, I guess for the times, I guess the drums aren't great. There was some interesting drum things going on, but they're destroyed by the same drum sound that everyone has.
[00:11:59] Speaker A: Here's the deal. When I hear stuff like that, I'm like, is that a drummer or is that a machine? And I understand that, you know, drummers and whatever, but I don't understand. I don't know if Daughter is really a band band or if it's just him and studio musicians, I don't know how it works. Obviously. Any doctor fans out there, this is not a. Whatever. Just. Especially if you're a drummer in a band, to not have that uniqueness about you, just to have that feel. I. Me personally, I don't. I don't get it. And again, like I always say, there's a lot of music that I like that has this kind of drumming in it, which I just. I was like, oh, God, I wish a drum sounded better. But I like the songs, so it doesn't fully ruin it for me. I'm just not a fan of it.
[00:12:40] Speaker C: For me, it's just the same it's been with him. It's the whatever sound is at that point. It's kind of what he does. He can sing, obviously. Other than that, though, there's nothing here that would drag me into grabbing this. There's 8 million thousand other bands that sound like this. Why go to him for, I don't know. Maybe something's better than this. It's just. It's very mid. It's very stock. It's every stock thing that you could possibly put into a modern song jammed into the modern song, hoping that it'll become a hit. I assume maybe the rest of stuff's not like this. I don't know. But for me. And again, we're old guys now. But I don't think that has anything to do with it. If it's a good song, I'm going to like it. Other than, you know, it just ends up being pretty basic. It's the same thing over and over. There's like four or five that we've gotten on this wheel that all sound the same. Is it the same producer? They're doing everything the same. You could switch them in and out. Only thing that's a little bit different is maybe vocals, but everything else is just crappy drum sound, crappy guitar sound. Everything sounds the same. They use the same vocal little tricks, the same intro things and the swell things. I'm surprised that we didn't get the microphone voice thing in the middle. That's the only thing it was missing.
[00:13:48] Speaker A: A megaphone voice.
[00:13:49] Speaker C: Yeah. Megaphone voice. Yeah. It's all was missing.
[00:13:51] Speaker A: I think that's what.
[00:13:52] Speaker C: Yeah, it pretty much did everything else, though.
[00:13:54] Speaker A: Another one down in the New Bets.
[00:13:56] Speaker C: That's right.
[00:13:57] Speaker A: In a world where new music is not easy to find, welcome to New Bets.
So now to cleanse your palette, we go back 30 years. Or is it 40 years?
[00:14:19] Speaker C: 40 years.
[00:14:21] Speaker A: 40 years. I think mathematically I'm not good at math, but I think math, I know what it is. You know what I mean? I know basic math like that. But I. It's. There's a part of the brain that says, no, it's not 40, it's 30. Mathematically I'm like, no, I think it's 40. And the other part's going, no, you're not that old.
[00:14:39] Speaker C: Well, think about it. In the 80s, if we went back 40 years, it would have been in the 40s. That's the kind of music you'd be listening to. So that's kind of crazy. Like I said, I'm almost happy to hear Rat now after this because I need something to. And I'm not going to say I'm going to love all this because I don't know what I know on the side. I think now I'm gonna have more appreciation for this as opposed to that because all I have to do is listen to something like that and go, yeah, I just don't. As much as I'm not a big Rat fan, I rather listen to Rat in that. I mean, yeah, this is mid for the 80s, but it's still better than that.
[00:15:09] Speaker A: I mean, the production's definitely better.
[00:15:11] Speaker C: Yeah, well, real producer, real drums, real drum sounds. Hey, listen, I'm sure they were all trying to get the same kind of sound, but there was still different sounds from different kits. They weren't using samples. It didn't sound the same here. It just feels like they just throw the samples on, they play whatever and then you just t the samples on it and they all sound. Oh, look how good it sounds. Not really. You said loses all the power.
[00:15:31] Speaker A: Yeah.
[00:15:32] Speaker C: Anyway, the first song on the second side is between the Eyes. Do you remember this song at all?
[00:15:37] Speaker A: I. Yeah, it sounds familiar. The next song is the one that I definitely know and have heard more recently. I. I may remember this one too. Like I said, I do have it, but just haven't listened to it full through in a while.
[00:15:47] Speaker C: Right, well, here we go. Between the eyes.
[00:15:59] Speaker D: I don't like your cheetah I don't stand for you some action Ask me why you say you want to keep me in your darkest sight can you see the world turn and hear the cries? Can you see above the right between.
[00:16:58] Speaker A: Kind of that standard, right?
Pretty standard.
[00:17:06] Speaker C: They have a guitar sound, though. That little like little extra little delay thing they have going on in the guitar sound. They do that on a bunch of songs.
[00:17:13] Speaker A: I. Yeah, I, I think they have a sound without A doubt I give them credit for that.
I'm not saying it's totally distinguishable from anything else. I think now, I mean, obviously, having gone through, what, six songs or five and a half songs at this point. If you listen to this and then you think about songs like kind of like Way Cool Junior. Right. So some of the bigger hits. Did you say, like. Oh, okay. Yeah. Like, I. I realize now that that sounds like rap. The sound, the guitar sound, and the drum sound. I mean, maybe tribute that to Bo Hill.
[00:17:44] Speaker C: And I think I know this verse. When it started, I was like, huh. I think I've heard this before.
[00:17:50] Speaker A: Yeah. I mean, this is a pretty big record for the time. Yeah.
[00:17:53] Speaker C: I didn't know what I knew on this side. I don't recognize the chorus, but I do recognize the verse. And they do a little bit of shoehorning. He likes to shoehorn.
[00:17:59] Speaker A: Yeah.
[00:18:00] Speaker C: But his voice doesn't have a lot of range, so he. No does what he does in the voice. And I think, again, like we said last week, I think that's what holds them back a little bit. The melody and the vocal being a little monotone from being, you know, getting out of that second tier.
[00:18:13] Speaker A: Yeah.
[00:18:13] Speaker C: You know, glam metal into the more popular stuff, I think that held them back a little bit. So let's listen to some lyrics. I don't like your cheating misfit way I don't stand for giving it away so do you want some action? Ask me why you say you want to keep me in your target site. That was a little shoehorn. Target site was. I was like, ooh, how are they gonna fit that in there?
[00:18:34] Speaker A: Yeah.
[00:18:35] Speaker C: Then the chorus is. Can't you see the world turn and hear the cries? Can't you see you're burning me Right between the eyes Lyrically, Right.
[00:18:44] Speaker A: This is. Definitely. A lot of it is just so generic.
[00:18:47] Speaker C: This is some of his better stuff, though.
[00:18:50] Speaker A: Are we. You gonna go five on this one?
[00:18:53] Speaker C: Well, I'm saying it's a little bit better than some of the other stuff I heard, at least trying to be a little interesting, I don't know.
[00:18:58] Speaker A: And. Well, even though it's like that, that one line is kind of catchy. You know what I mean? There's. There's definitely parts in there that could be. I mean, again, I think maybe it's just. It was hard for him. Again, I've heard a couple of rat lovers on the intern that he just. He was never good live.
[00:19:12] Speaker C: Let's continue. Here we go.
[00:19:33] Speaker D: Can you see the world Time. And if I Can't you see a burning between the eyes?
You hardly notice can't you see a burning? Be right between the eyes But I seen you burning me between the eyes.
[00:20:04] Speaker C: That was a rough chorus.
[00:20:05] Speaker A: Yeah, he's straining a bit here.
[00:20:07] Speaker C: That's not even that. It's that part in the middle. What's that about?
Why did he do that part? I'm gonna read it. So this is like one verse. I guess they counted as one verse. I guess the other one was two verses in a row. But it's so short.
[00:20:19] Speaker A: Yeah.
[00:20:20] Speaker C: I don't like your hot and cold device.
You know I'm the only one this time.
And the chorus. Can't you see the world turn and hear the cries? Can't you see the burning me between the eyes? You hardly notice. Like, that little part was so bad. Can't you see you're burning me right between the eyes? Can't you see you're burning me between the eyes. I don't know why he needed to add that in there. Cut the knees right out of the chorus. Whatever was catchy got totally destroyed.
[00:20:46] Speaker A: Oh. Maybe it's like trying to go for something or try to spice it up.
[00:20:52] Speaker C: I guess it's just not put together very well. The melody is just not very good. I like the playing. I think the guitar stuff is okay for the time. It's very 80s. Drums are good. Again, I'm not hearing a lot of bass or anything. I would say. Oh, it stands out.
[00:21:06] Speaker A: One other thing, if you notice kind of like the fills that I do notice that Bohill does with them is sometimes the tom. Like, if he does a tom roll, it kind of sounds like he's starting in the back of the room. And then he kind of like comes across, comes around to the front. It's kind of like panning in the background. The fill. It starts in the background, then it kind of comes around toward the front, which I think adds, again, a little element to the rat sound.
[00:21:30] Speaker C: Yeah, I don't think the production is bad, just the songs are not super strong. I'm not expecting second side of this album to have super strong songs. I think they shot their load on the first side. The first two songs that was. That were bigger. I think this is just going to be filler track for me. But I could be wrong. It's only the first song. I don't know.
[00:21:47] Speaker A: Yeah, I think the next song is pretty decent from what I remember. But, yeah, this one's just kind of like. Again, it's got that stock.
I mean, there's There were certain rhythms. Right. That again, we always talk about the.
The pseudo blues kind of thing and the. The chugging thing. Right.
Like, there were definitely. Not everybody did them, but some of them were a little. Got around a lot.
[00:22:13] Speaker C: I think if the melodies were better and if he had a little more range in his voice, this could be a little bit better of a song. Now, the playing's not half bad.
[00:22:19] Speaker A: Yeah.
[00:22:20] Speaker C: All right, so solo time. I don't know who wrote this, but I guess we'll see who the solo person is. Maybe we can figure it out. Here we go.
[00:22:54] Speaker A: What'd you think?
[00:22:55] Speaker C: I thought that one was good. I think that's Oren D. Martini. Probably the more legato kind of fluid kind of playing. That's what it feels like to me. Is him not a big enough fan of rat to know that one way or the other?
[00:23:09] Speaker A: Yeah. I mean, there is feeling to the solos. Right. It isn't really about shredding. And so, I mean, I give them credit for that. I think that they. They play with feel, which is nice. It isn't just, hey, look how many notes I can play. I think in some of these songs, I mean, the solos have kind of been the best parts.
[00:23:26] Speaker C: I would have to agree. I enjoyed that a lot.
[00:23:29] Speaker A: Short, Short, this one. I almost thought they were gonna be.
[00:23:32] Speaker C: A little bit longer for the kind of song that it is. It sounds. That's about the length. It's no.
[00:23:38] Speaker A: Yeah.
[00:23:38] Speaker C: No shorter than Eddie Van Halen. Songs from the last two records we heard they're about to, say linked. All right, let's continue. Here we go.
[00:24:05] Speaker D: Can you see the the world time and hear the cries can you see burning me between the eyes?
You hardly notice can you see a burning Be right between the eyes.
You are the you notice can you see a burning me Right between the eyes Right between the eyes Right between the eyes.
Can you see.
[00:25:24] Speaker A: I mean, that part was cool. I like the kind of. They threw at that acoustic sounding thing.
[00:25:30] Speaker C: And I wasn't expecting acoustic stuff. And then I don't know if I'd like the end of it where everything dropped out and the acoustic stuff was by itself. I think I would have liked to fade.
[00:25:38] Speaker A: Yeah.
[00:25:39] Speaker C: And again, that you hardly notice thing in the chorus really mucks it up for me. I wish they would have just kept repeating. Because the chorus isn't horrible, really.
[00:25:47] Speaker A: No, it's not.
[00:25:49] Speaker C: All right, why don't you go first?
[00:25:51] Speaker A: I mean, lyrically, I'm gonna say four again.
There really isn't much either. Right. There's barely any lyrics to these songs when you really look at it. Music.
I'll say six. On the music. I was gonna say five. I'll say six just because of the. I like that end piece, and I like kind of what's going on underneath. And again, the chorus wasn't terrible. Production. I'll say six. Melody. I'll say five. And arrangement. I'll say six. On arrangement, too. I mean, do, like. They kind of brought in that thing at the end and everything. What do you think?
[00:26:25] Speaker C: I'm gonna give five. On the lyrics. I thought it was better than some of the other stuff. On the first side, I'd like the melody a little bit more, so I'm gonna give you that a six. Musicianship. I like the acoustic thing. I think the solo is good. I think the music was good. So I'm gonna give that a seven. I'm gonna dig it. On arrangement, I'm gonna give it a six. I would have given it a seven if they didn't throw that stupid thing into the chorus. Because I liked the arrangement. I liked the parts at the end. I liked the acoustic thing. What they did, I didn't like when they faded out, and it just was acoustic, so I thought they should have just faded it out all the way through. And production. I like it. I'm gonna give it a seven. I mean, this is not a bad song. There's some weird choices. That part in the chorus, I think, just messes the chorus up. I don't know why that needs to be there.
[00:27:07] Speaker A: I'm thinking he. I mean, he would probably be in control of that. Probably plays a big part in what's going on, and maybe two. Sometimes it gets played behind it, or I could be wrong.
[00:27:16] Speaker C: Whatever the case may be, I think it was a bad mistake. I would like the chorus a little bit better without that piece. So this is the one you said. You know, Right. What you give is what you get. I mean, that sounds familiar to me, but I'm not too sure if I know it or not.
[00:27:28] Speaker A: Well, I mean, that phrase is. It's probably how many songs, so.
[00:27:33] Speaker C: Yeah.
[00:27:33] Speaker A: This is written by the bass player. Yeah.
[00:27:35] Speaker C: I didn't look it up. Is it?
[00:27:36] Speaker A: Yeah, I think it's written by the bass player.
[00:27:38] Speaker C: One crucier. All right, well, let's see. All right, here we go. What you give is what you get.
That's definitely a guitar song. Whatever they got going on there with that little bit of slapback delay thing, they do that every play. So that's their guitar sound.
[00:27:55] Speaker A: Yeah. Yeah, Which I mean, is good. I mean, you got to credit them whether you like them or not. Just the fact they're like, hey, this, this sounds like. Right. It's always a good thing to be able to send that at least a little bit.
[00:28:03] Speaker C: Yeah, true. All right, I'm gonna back it up. We go.
[00:28:30] Speaker D: I keep it light I take command of the scene because for me there's no in between I keep holding on, holding on through the night I keep holding on, holding on the die Cuz it's so easy to forget what you give is what you get it's so easy to forget what you give is what you get.
[00:29:18] Speaker A: I thought this was a. This is a pretty decent song. I like the production on it. Like when they're all comes in after the opening riff, it's got the little mini solo going on in the beginning. What do you think so far?
[00:29:29] Speaker C: I like the verse a lot. I think the verse is maybe one of the best verses he's had in this record.
[00:29:34] Speaker A: Yeah.
[00:29:35] Speaker C: The pre chorus is. I don't know about that. There's a big gap in between because it's easy to forget what you give is what you get I wish I would like that to be more together, not have the gap in between. Maybe. I don't know. It's not bad.
[00:29:46] Speaker A: Yeah. I mean the melody on the verse probably is one of the better ones. That's funny because there's actually time. He reminds me of Dave Mustaine with the. Eh.
[00:29:54] Speaker C: So here are the lyrics. I make my moves, I make them right I don't refuse I keep it light I take command of the scene because for me there is no in betweens I keep holding on, holding on through the night I keep holding on holding on through the night because it's so easy to forget what you give is what you get it's so easy to forget what you give is what you get it's not bad. Or like a second track on the second side. It's pretty good.
[00:30:22] Speaker A: Yeah. Yeah. I mean, like I said, I. I didn't really remember this one and then I heard it within the last few years or so, I was like, oh, this song isn't bad. So I kind of like. You know, I've listened to it a few times away from the record in the last few years.
[00:30:35] Speaker C: So let's continue. Here we go.
[00:30:46] Speaker D: I take my time and I don't care that's proving right what's fair is fair if you just ask you will receive Give me the task I deplete I keep holding on holding on through the night?
I keep holding on holding on through the night?
Cause it's so easy to forget?
What you give is what you get?
It's so easy to forget?
What you give is what you get.
[00:31:41] Speaker A: One. One thing I will ding is you kind of hear the bass, but I think the bass should be up a little bit more. I think if the bass was a little bit, you know, especially in that you can kind of hear the bass, but it kind of gets lost in the guitar sound.
[00:31:54] Speaker C: Yeah, I agree with that. I like that they put a little acoustic in the chorus. That's interesting. The pre chorus and the chorus are growing on me a little bit the second time around.
[00:32:02] Speaker A: Yeah, me too.
[00:32:03] Speaker C: All right, so the verses. I take my time and I don't care? This love ain't right? What's fair is fair? If you just ask you will receive Give me the task I aim to please.
[00:32:15] Speaker A: There was a lot of aiming to please in the 80s.
[00:32:19] Speaker C: Yeah. And then pre chorus and chorus are the same. So I guess we're gonna have solo. So let's see what they're gonna do. I'll back it up. Here we go.
[00:32:29] Speaker D: It's so easy need to forget what you give is what you get.
[00:33:17] Speaker A: I think that sounded more like Crosby.
[00:33:20] Speaker C: I was going to ask you. I think it is him. I think I'm starting to figure out who sounds like who now.
[00:33:24] Speaker A: I do like too. They did kind of like that bridge before the chorus, the. The solo. Because I thought that that was going to be the solo, the way it kind of started. But then he kind of realized, okay, I think they're going to stop and then go back into the melody of the chorus under the. The solo, which I like. Would you think of the solo?
[00:33:40] Speaker C: They use that same thing after the first course into the second verse. That little part there, which I really liked. I didn't mention it last time, but I like that part a lot.
[00:33:48] Speaker A: Yeah, I like that part too.
[00:33:50] Speaker C: I like the solo a lot. I thought it was great. I don't think that's Warren demartini, just Warren demartini's. Feels a lot more flowy and more legato. There's a lot more hammer ons, a lot more pull offs here. He seems to pick a lot more notes, but it's good, though.
[00:34:02] Speaker A: Yeah, yeah. Fit the song. It's airy in the production.
[00:34:06] Speaker C: Yeah, I like it. Let's finish it out.
[00:34:15] Speaker D: It's so easy to forget what you give is what you get but it's so easy to forget what you give Is what you get it's so easy to forget what you give is what you get so easy to forget it what you give is what you get.
[00:34:57] Speaker A: I didn't like those little extra bass drum parts he was doing. It sounded like he was going to go into double bass pattern, but he didn't. And I felt like the ones he added were louder than anything else.
[00:35:08] Speaker C: It's weird I didn't even notice that.
[00:35:11] Speaker A: Yeah, kind of weird.
[00:35:12] Speaker C: Well, I'm going to go first.
[00:35:13] Speaker A: Yeah, good.
[00:35:14] Speaker C: This is going to surprise you. I'm going to do sevens Across. I think this might be my favorite song on the album. Even past the two singles. I think I like this better, so that's strange to me. I wouldn't think so, but I think it's the most almost complete song put together.
All right, so if I do quadruple sevens, I got to do this.
[00:35:31] Speaker A: Music can change the world because it can change people. And it's quintuple seven. Nikki titty, baby. Is that Bono?
[00:35:39] Speaker C: Yes, it is.
[00:35:41] Speaker A: Nice. We haven't heard him yet. That's a new one.
[00:35:44] Speaker C: He's a new one.
[00:35:45] Speaker A: So not to muck it up, I. I don't think I could give seven to the lyrics. I'm gonna say four lyrics again, but I am gonna go sevens across on everything else. I mean. Yeah, I told you I heard this song more recently. Within the last years or so. The fact that it stuck out to me then, I'm like, oh, I don't remember this song. It's pretty good. So. Yeah, I mean, I think it's. It's a really good song.
[00:36:06] Speaker C: It might be my favorite, honestly.
[00:36:08] Speaker A: It could be my favorite, too. I think it probably is at this point.
[00:36:11] Speaker C: Yeah. I was expecting the second side to just be more filler through everything, you know, you got to the two singles on the first side. You don't have much expectation on the second side for it to be anything even as good as that, because that's kind of where it was.
[00:36:23] Speaker A: Yeah.
[00:36:23] Speaker C: The next one is Got Me on the Line. This is a short song, like 306.
[00:36:27] Speaker A: This sounds familiar to the. The title.
[00:36:30] Speaker C: No. Let's see. Here we go.
[00:36:33] Speaker D: Hello, you. It's on one right after now.
Whenever I'm alone I still pick up the phone, give a call she's so hot to heaven to hold me she said I'll be on one and only.
I know what it means to be alone.
You got me on the line Ready for the night?
You got me on the line.
Now you can twice.
[00:37:36] Speaker A: Yeah, that's so funny. When the phone rang, I want to say Minecrame.
That was a fun. I was like, hello.
[00:37:46] Speaker C: I should have known. Got me on the line. They were going to use a telephone sound. They like sounds.
[00:37:50] Speaker A: Yeah, I know. I didn't. I didn't think that I. I guess I wasn't thinking that line. Just like a line, you know what I mean? Like a fishing hook. Like you. You caught me on the line kind of thing. That's where I was going with the. The title.
[00:38:00] Speaker C: It's much more straightforward than that. There's no hidden meaning in this.
[00:38:04] Speaker A: Yeah.
[00:38:05] Speaker C: One thing, though. The verse, it sounded like the Vince Neil, like, melody. Did you notice that, like, in the first one?
[00:38:11] Speaker A: I didn't. I did notice the bass in this one, though. I think there's some pretty good bass playing going on, but I didn't. I'm gonna listen to it for it on the.
[00:38:17] Speaker C: I mean, I don't know if he's gonna do it again. Okay, so the words are. Well, the cocktails for two, me and you. It's some fun hot afternoon. Whenever I'm alone I sit and pick up the phone, give a call. That's a little shoehorned in there, too. She's so hot to have and hold me she said I'll be your one and only. I know what it means to be alone. Got me on the line Ready for the night. You got me on the line now you'll think twice. It's not as good as the last song again.
[00:38:45] Speaker A: There's parts that I kind of like, and it's very rat like. Again. I think they also have a style, but I don't know. This one's not really grabbing me. I feel like I could like it more, but I'm not. It hasn't really grabbed me.
[00:38:58] Speaker C: I'm gonna leave my ideas for about this until after the second chorus. Because sometimes it works better the second time. So I'm gonna see what happens. All right, here we. Here we go.
[00:39:10] Speaker D: You like your home sweet home alone? You will be coming back.
I put the news around the town up. You're not going to hang up on me.
She's so hot to heaven to hold me. She said I'll be a one and only.
I know what it means to be alone Got me on the line Ready for the night.
Long distance.
[00:39:53] Speaker A: Here's what I think about this song sitting here now in the critical mode. It's okay. I think it's the kind of song that if you were just hanging out, your buds kind of drinking, and this was Playing in the background. You'd be bobbing your head to it whether you were really paying attention or not. That's kind of like how I feel. Like if this was us back in the day or even now, we'd have this on and like. Yeah, whatever. You know what I mean? Like, we'd kind of be bobbing our heads to it without paying too. Too much attention.
[00:40:20] Speaker C: Yeah. I don't think rap music is really things that you're paying too much attention to. The lyrics on.
[00:40:25] Speaker A: Oh, no. Yeah.
[00:40:26] Speaker C: His melodies aren't great, though. I mean, this is a little bit better. It's all right. This is a very filler track to me. So the verses. You like your home sweet home all alone, you will be calling me. I've heard the news around town. You're not going to hang up on me. I don't even know what the fuck that's supposed to mean. Because he's trying to get her attention, I guess.
[00:40:45] Speaker A: Yeah.
[00:40:46] Speaker C: And then the only thing in the chorus that changes, he goes, Long distance kept me holding on that doesn't date this. Too much. Long distance, huh?
[00:40:52] Speaker A: Yeah.
[00:40:53] Speaker C: Got to pay extra for that. Long distance.
[00:40:54] Speaker A: But it's weird because it's like in the beginning, it's. It's obviously him calling her, but then I was switches as if she called him. I. I don't know.
Hello? Yeah.
[00:41:07] Speaker C: Hello, Hello.
[00:41:10] Speaker A: Yeah.
[00:41:10] Speaker C: Solo time. Here we go. I'm going to back it up a little.
[00:41:55] Speaker A: Who do you think that was?
[00:41:56] Speaker C: I don't know.
[00:41:58] Speaker A: Because Crosby wrote this song.
[00:42:00] Speaker C: Oh, it might be him. I don't know. I thought I could figure it out, but I can't figure it out from that. It could be him.
[00:42:05] Speaker A: I mean. Yeah. I mean, listen, he was supposed to. If you watch, like, the things a lot of people say, that he didn't get enough credit for his part in the band. Demartini became the focus.
[00:42:14] Speaker C: I understand that, though. I liked it, though. I thought the solo was good. I don't know about doing the end part.
The twice in a ride. I would have liked if it ended, like, at the first one. I generally like the solo, though. I thought it was good.
[00:42:27] Speaker A: Yeah.
[00:42:27] Speaker C: Again, solo, the best part of the song.
[00:42:29] Speaker A: Yeah. She's a credit to the guitar players.
[00:42:31] Speaker C: Yeah. And the bass is good on this. It's the first time I'm actually hearing bass.
[00:42:35] Speaker A: Yeah, the bass is pretty good.
[00:42:36] Speaker C: So that's a little different. Let's finish it out. Here we go.
[00:42:44] Speaker D: You got me on the line now you can twice got me on the line Long distance kept me holding on.
You got me on the line.
Ready for tonight, Tonight, tonight.
Nobody hates upon me.
[00:43:22] Speaker C: Nobody hangs upon me.
[00:43:24] Speaker A: That didn't sound like the guy answering the phone in the beginning. That. Hello?
[00:43:29] Speaker C: The course is sort of catchy, though.
[00:43:31] Speaker A: Yeah. Yeah. Like I said, I don't. I think if you're paying attention to it, it's one thing, but if you're not, like I said, it's. It's. I think it's a good background song. That makes any sense.
[00:43:42] Speaker C: Well, why don't you go first, then?
[00:43:44] Speaker A: I mean, I think all these lyrics are just so bad. I've been giving fours, but I can give lower. So I'm gonna say four again. Honestly, I could probably say three on this. I'll say three. I mean, again, I could see threes on all of them. Almost all of them. All right. Production, I'm gonna say six. Melody, five, Arrangement. I'll say six. And music. I'll say five. It was okay. Like I said it was. To me, it was one of those background songs that you leave on, and it's not bad, but, I mean, especially compared to the one before, which I try not to compare. What do you think?
[00:44:15] Speaker C: I'd say Lyrics. I'm gonna be a little generous. I'm gonna give a five. Melody. I'm gonna give a five. Musicianship. I liked it. I'm gonna give a six. Arrangement. It was fine. Six. And Production, six. I could have went almost sixes across if I wanted to. His lyrics are not great. You know, the melody is okay on some of the chorus stuff. It's a little catchy. Again, like you said, it's the background song. Just to listen to it and not pay attention, it'd be fine. So the next one is. You should know by now.
[00:45:13] Speaker D: My blood is thicker than water.
I'm living out my life. Life.
I'll have my friends forever.
We'll walk the sands of time. You should know by now. You should know by now.
You should know by now. You should know by now.
I.
[00:45:48] Speaker A: It's so funny if I feel like it starts one way, right? But then it goes into that. What I want to say is that Ellie sounding. It doesn't even do it in the verse. It kind of starts off one way and then it's got that thing, and then it's kind of different in. In the verse. You should know by now. Just four times out of nowhere, and it's like, did you guys need another song? Is that what it was?
[00:46:09] Speaker C: I think that's one of the better choruses. I know that that's super. To sound.
Well, just because some of the other ones are so disjointed and add such weird shit that I almost appreciate them not trying to do something like that and just trying to keep it simple. Maybe just.
[00:46:24] Speaker A: Yeah, just doing it.
[00:46:26] Speaker C: And he has an actual good line in here. My blood is thicker than water? I'm living out my life? I'll have my friends forever? We'll walk the sands of time. So he can write good lyrics if he wants to, but he can if he wants to. I don't think that's bad. And then you should know by now. At least he doesn't say, you should know by now the same way. Four times he breaks it up. Every other one he changes it. So that's not horrible.
[00:46:49] Speaker A: Yeah.
[00:46:50] Speaker C: We've had songs where they just say the same thing over and over.
[00:46:52] Speaker A: Oh, yeah.
[00:46:53] Speaker C: So he's been trying again. I appreciate that he's not throwing some weird, like, melody in there that didn't really belong. Yeah, I mean, my bar said very low. First it was Daughtry and now it's this. So the bar is not that high today for me. Okay, let's continue.
[00:47:07] Speaker D: I never take no chances?
Don't ever compromise?
I'll find the hidden treasure I'm only passing by. You should know by now. You should know by now?
You should know by now by now? You should know by now.
[00:47:37] Speaker A: Is this a quick song? Is this the one you said was 301?
[00:47:39] Speaker C: No, that was the one before was 306. This is 3:30.
[00:47:42] Speaker A: Oh, surprise. Sounds like it's going to be ending soon. Sounds like one of those songs.
[00:47:48] Speaker C: It's more I'm tempo. That's why it feels like it's going by faster. So versus I'll never take no chances. Don't stand for compromise? I'll find the hidden treasure I'm only passing by. I mean, that's not horrible.
[00:48:00] Speaker A: I don't know what the fuck that means.
[00:48:02] Speaker C: I don't think it means anything.
I don't know what it means. But his other lyrics are not great. So this isn't horrible. I think as far as the writing of lyrics, at least he's kind of staying with some kind of a pattern so you don't feel so thrown off. So I give him credit for that. Some of the other songs you're like, why is that even there? So who wrote this? Do you know?
[00:48:22] Speaker A: According to this, it was Crosby again, crochet and piercing.
[00:48:26] Speaker C: Well, then maybe Robert Crosby's doing the solo again.
[00:48:28] Speaker A: He's another one Right. It's like Piercy. It is Stephen. Piercing, Right? That's what.
[00:48:33] Speaker C: Yes.
[00:48:33] Speaker A: I was always piercing Percy growing up. Just like Neil. Pert. Pert. And all of a sudden it's like. No, it's Pierce. Oh, I gotta change the way I say it. So even with him, I was like, oh, Stephen. Percy. Percy. That's piercing. Okay.
[00:48:45] Speaker C: Piercing, sir. That's what it is. That's the way I always said it.
[00:48:48] Speaker A: I think I said Percy in the beginning. I could be wrong. I think I had a Percy face, which was nowhere as long as my pert face.
[00:48:56] Speaker C: Oh, yeah, there you go.
[00:48:57] Speaker A: Yeah.
[00:48:58] Speaker C: That's like Ace Rayleigh. Ace Freely. He's Freely Freely.
[00:49:01] Speaker A: Paul Stanley always said fraley, though, right?
[00:49:03] Speaker C: Mr.
[00:49:03] Speaker A: Ace fraley. Right. He always said it.
[00:49:05] Speaker C: Yeah. It's Friday. It's not Freely. Yeah, it's the H. Fairly well, even.
[00:49:09] Speaker A: He says it right. Hey, friendly, friendly. Let's not be silly.
[00:49:13] Speaker C: I hope he knows how to say his name, otherwise we're all in trouble.
[00:49:16] Speaker A: I don't know, man. I wouldn't be surprised.
He's had his moments.
[00:49:20] Speaker C: All right, here we go.
[00:49:57] Speaker A: I mean that. I thought that was pretty good. That was my favorite part of the song. They did pretty good. I know you're not always a fan of kind of like the doubling up of stuff, but I. I think overall was pretty good. I think there was two different solos there.
[00:50:08] Speaker C: First one, I think was Crosby. Second one, I think was DeMartini.
[00:50:11] Speaker A: I think so, too.
[00:50:12] Speaker C: And in this case, I do like the dual guitar thing. When it's done right, I like it.
[00:50:17] Speaker A: Yeah.
[00:50:17] Speaker C: Sometimes it's just not done right. This is done right. Yeah, it was good.
[00:50:21] Speaker A: I really like that solo. Yeah, it was a good. It was. You know what I mean? Like, well done, thought out, written.
[00:50:25] Speaker C: Alrighty, let's go.
[00:50:38] Speaker D: By now don't just get in my way get in my way by now you should know by now you should know by now you should know by now you should know by now you should know by now you should know by now you should know by now you should know by now you should know by now you should know right now you should know by now.
[00:51:51] Speaker A: It seemed like there was this weird thing with the you know, you should know by now, you should know by now. But there's a couple of times where it sounded like you should know, but no, I felt like there were two times he said it lower.
It sounded weird. I was like, has he been doing this the whole time? And then, like, as he kept saying it over and over, it Wasn't like that. That insole was pretty good, too.
[00:52:11] Speaker C: Usually some really good stuff in the end, so all the time. That's why I like fades sometimes.
[00:52:16] Speaker A: Some good drum fills, too. Get lost in that fade out.
[00:52:19] Speaker C: Well, I'm a fan of the fade when it's done correctly. I mean, that was a good fade. It wasn't too quick, wasn't too short. And then he did that weird thing and I think. Guess it's a verse. You can't hear me telling you I've got something to say hey, don't you know it's nothing new don't you get in my way get in my way so he can't help himself. He could have just left that.
[00:52:37] Speaker A: Yeah, that hay was allowed. Too.
[00:52:39] Speaker C: True. But overall, I don't think it's bad. I'm going to go first. I'm going to give it sixes across, I think. I just think it's thought out, which some of his stuff isn't thought out. I appreciate the simplicity in the chorus. I just think that's what he needs to do. And it's better for him to not throw weird melody choices in there. So I thought it was. That's one of my favorite songs on here. I didn't think that that was gonna happen.
[00:53:02] Speaker A: So the second side's hitting you, huh? It's doing okay.
[00:53:04] Speaker C: I wasn't expecting that. These two songs in a row here, I kind of like. What do you think? I know it's not gonna be as good as mine, so have a good time.
[00:53:10] Speaker A: Yeah, I mean, I'm gonna say a four on the lyrics again. I just. I don't know. Melody. Five in the melody. I'm gonna say. I'll say seven on production. I'm going to say six on arrangement and six on the music. I wasn't the massive fan, but I really liked the solo. I like the way the solo was arranged. Again, it's not. It wasn't. It wasn't bad.
[00:53:29] Speaker C: No, I thought it was okay. I was surprised. Well, as always, we're at the end. So this is dangerous but worth the risk.
[00:53:42] Speaker D: Sa but dangerous but love the risk.
The things you do to get your fix. You'll hit the fun. You're on a list List and love will give you this I know something, you know that is true I can't feel it when I'm next day in now.
[00:54:52] Speaker A: I like when bands have a riff playing and you think when the beat comes in, it's going to do one thing, but it does something else. And I like the like the stuff he does on the ride. Again, I think the music is decent, but the melody and especially in the chorus, it's just one flat line going across.
[00:55:09] Speaker C: This is definitely a Warren demartini song. I looked it up. You can tell it's him. The riffs are way different when he writes. I still don't hate this. I know this is weird for me to say, like, I'm not the biggest rap fan in the world. The second side, I think, is better than the first side.
[00:55:23] Speaker A: Yeah, I think the music is good. I just, again, I just wish he had something more. And at least in the chorus, he's.
[00:55:29] Speaker C: Always a weak link. It's the way it's going to be. I don't really hate the verse. The pre chorus is okay.
[00:55:35] Speaker A: Yeah, the pre chorus is pretty good.
[00:55:38] Speaker C: Maybe the chorus will be a little bit better for me. I don't know. As it goes on. Lyrics are dangerous but worth the risk. The things you do to get your fix you'll head for fun you're on my list Live for love will get you this. I mean, listen, is this Bob Dylan? No, it's not. But comparatively to some other stuff that's on this record, this is like what you give is what you get is he's doing the right thing, he's trying to make it cohesive. Or in some of the other songs, it's not as cohesive. So I don't hate this Pre choruses. I know something, you know that is true I can feel it when I'm next to you Chorus is dangerous, but worth the risk. Your life is not threatened, but your loving is dangerous but worth the risk. I would have preferred one more line there to fill out the four things for the chorus. Well, maybe he'll change that as it goes on. I don't know.
[00:56:27] Speaker A: Yeah, I was weird too, right? That he started out with dangerous but worth the risk. I. I didn't think it'd be repeated in the course. I thought the chorus would have been.
[00:56:34] Speaker C: Something different, but it's an interesting thing to do.
[00:56:37] Speaker A: Yeah, it's fine. I'm not. I definitely wouldn't say, oh, I hate that he did that. Like, no, it doesn't bother me. You don't expect it?
[00:56:43] Speaker C: No, you don't expect it. All right, here we go.
[00:56:50] Speaker D: Pressure's on. You're on the run, you're getting loose. You're having fun.
Speech of code. But remember this, we all need to miss. But what? The risk. I know something, you know that it's true I can't feel it When I'm next to you Dangerous, dangerous but worth the risk.
[00:57:31] Speaker A: Just again, that. That chorus, I just wish it did something differently. But again, it's. It's not. It's not bad, though. I like the musicianship. The bass is actually doing some really cool stuff, too. He's really low on the mix. The bass.
[00:57:44] Speaker C: I was gonna say the bass. And the chorus is doing some.
[00:57:47] Speaker A: Yeah, but it's so low, right? It's not just me. It's low in the mix.
[00:57:50] Speaker C: It's low in the mix.
[00:57:51] Speaker A: Maybe that's what it is. It's. It's not that you don't. Whatever. It's just the way they're kind of mixing him in.
[00:57:56] Speaker C: The verse is, the pressure's on. You're on the run, you're getting loose, but you're having fun. Streets are cold. But remember this. We're dangerous but worth the risk. I'd like that he used it again in the verse.
[00:58:07] Speaker A: Yeah, I do. I do like what he's doing with it. Then the first one, it started with it, and this one, it ends with it. I think he's doing something a little bit more interesting. Whether or not the actual words are the one, but the way he's writing them, I guess you could say.
[00:58:20] Speaker C: Well, I'm assuming we're going to get Warren D. Martini solo. All right, here we go.
I would say that was a. Oh, yeah, 100%. You can hear the difference.
[00:58:46] Speaker A: I felt like it was too short. Like it should have gone a little bit further. I felt cut off. Like, really cut. Off. To me. I mean, again, hey, listen, it's a compliment to the guitar player, right? If I'm. I'm. I'm not a guitar player. If I ask you to give me a couple more bars of solo, that means I'm enjoying what I'm hearing.
[00:59:04] Speaker C: Yeah, he's good. This wasn't bad. I liked it. I mean, obviously, obligatory whammy bar stuff for the 80s there. So he's more the guy that does that stuff. Thought it was good.
[00:59:14] Speaker A: Yeah, he's got soul, I think. You know what I mean? He's definitely got a little bit of soul to his playing, which. Which I like. A little bit of feel. It's not just cold notes and whammies and taps.
[00:59:23] Speaker C: All right, so here we go. Let's finish it out.
[00:59:26] Speaker D: I know it's true.
I know it's you, it's you, it's you.
Dangerous but worth the risk.
Dangerous but worth the risk.
You like my friend?
Dangerous but worth the risk. I can't feel it when I'm texting you. Dangerous but worth the risk.
[01:00:40] Speaker A: A decent way to. To end the record. I thought they had a little bit of dynamics going on at the end too.
[01:00:47] Speaker C: Yeah, no, I like the song a lot.
[01:00:49] Speaker A: Do you want to go first on this one? I guess there's no more lyrics for you, right? I think it was all the same.
[01:00:53] Speaker C: No, the only thing that's different is that they added that fourth line at the end of the chorus. So dangerous were worth the risk. Good. Life's not threatened but your loving is dangerous but worth the risk. I can feel it when I'm next to you. So you change that up a little bit. I'm going to say five on lyrics. I'm gonna do six on the melody. I'm gonna do seven on the music because I can hear the bass and the bass is doing some cool. I like Warren D. Martini's riff. I like his solo stuff. So I'm gonna give that a seven arrangement. I think it's fine six, and I think the production's gonna give that a six. It's not a bad song.
[01:01:23] Speaker A: I'll do a five on the lyrics, too. I mean, I. Again, I don't think they're great lyrics, but I do like how we kind of bookended the dangerous but worth the risk music. I'm gonna say six production. I don't know. I'll give him a seven on this one. I feel like it may have been a bit lower than the other ones.
Melody. I'll say.
I'm not sure about the melody arrangement. I'll say six. Melody. I'm gonna say five.
I know that some of these scores are really low. I don't necessarily think the songs are as bad as some of them. Again, when you're picking out certain things as a whole, they're fine, clearly. I mean, they're. They're good. They're good musicians for what. What it was. Obviously, the guitar playing is. Is good. The drumming is. Is good. The bass, when you can hear it, is good. I wouldn't. I know. You would definitely rank this side higher than the first one.
[01:02:16] Speaker C: Yeah, I think so. I didn't have much expectation the second side. I thought that I was gonna like the first side. There's two bigger hits on the first side, but I think they did a good, good job on the second side. I thought it was good. Again, I'm not a big rat fan as far as, you know, listening through this, it gives you a little more appreciation for them, I guess. I mean, his vocal and his lyric choices and melody are a little suspect. And I think just some of those things not being as tight as they could be, I think hindered them as being a bigger band maybe. But they do have a sound. They got a guitar sound. I mean, his voice is very unique. So you know it's Rat by listening to him.
[01:02:50] Speaker A: Oh, yeah.
[01:02:51] Speaker C: So that's one thing. So you got to give him credit. I mean, listen, if I had to listen to a whole Daughtry record or listen to this, I rather listen to this.
[01:02:57] Speaker A: There you go.
[01:02:59] Speaker C: That's the biggest compliment I can give you tonight. Second side I liked better. I think the two songs in the first that I like. Like the second half of the second side I liked, you know, past the first song. The first one was a little bit. Everything else, I think was pretty decent. It got pretty decent scores.
[01:03:12] Speaker A: Yeah. I will say that after Rhett, he. He did a band called Arcade with Fred Corey, the drummer from Cinderella. I don't know if I bought it because I knew it was them and I was just kind of curious. I don't know if that's on the list. There's Arcade and there's a two, which was the second one. And I thought it was really bad, but I really like the first one.
[01:03:30] Speaker C: I'll put it on the list.
[01:03:31] Speaker A: I wanted to mention that because we were talking about him and he might be more melodic on that. Again, this was after the. The breakup of Red, after Crosby died. I think, as I mentioned, he was kind of getting a little bit more melodic and I think a little bit better with the voice and there's some of that going on there. I just. That for the first side for sure. I mean, I used to listen to that all the time. Straight through.
[01:03:52] Speaker C: That's interesting. I want to hear that if it comes up. I'm glad we got this. I like that we got Rat.
[01:03:56] Speaker A: Yeah, me too.
[01:03:57] Speaker C: I didn't know if I want more 80s again, but that's okay. I'm good now. Maybe now we'll get some other decade. The Wheel, probably. It's going to give me a big middle finger. It's going to give me like Brittany Fox or Steelheart or something. I really want to hear Steelheart could.
[01:04:12] Speaker A: Be rough, but again, who knows? We are part of the Deep Dive podcast network again, like I always say, great bunch of guys who took us in right away. If you want individual podcasts about bands, you name it, it's on there. Rush, Judas Priest, Uriah Heap. Like I said, you name it, it's on there. So definitely go check them out. And mark, where can they find us on the Interwebs rock with that pod.
[01:04:32] Speaker C: On all the social media, rockwoodlightpodcast.com go there, put a new bets in, send us a note if you want to put an album on the list. Well, if we don't have it there, we'll add it on. If it fits the format of the show. Put us on auto download and, you know, do reviews for 5 stars anywhere that you listen to your podcast because that helps move us up the algorithm. And hopefully you guys are doing that because we're getting a little bit of uptick, which is awesome. We appreciate everybody who's listening to us. And I guess next week we get to do a wheel span.
[01:05:01] Speaker A: Yeah. Cool.
[01:05:02] Speaker C: All right. We will see you next week.
[01:05:03] Speaker A: Ciao. Ciao.
[01:05:04] Speaker C: Later.
