Episode 129 - Ghost - Meliora - Part 2

[00:00:04] Speaker A: This is our musical reaction breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now onto the Rock Roulette Podcast. [00:01:14] Speaker B: Hey everybody. Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy Ass podcast. It took over 1,400 albums. Now, put them in a list, put them in a wheel, and typically every other week we spin the wheel. She picks a record for us. So we go through it track by track and, and we talk about the music, lyrics, production, melody and arrangement. Again, just a bunch of friends that want to do a podcast that love music. Nothing fancy here. And as always, first and foremost, we want to thank our listeners who's ever listening. We really, really appreciate it. Again, we've been having a steady increase lately, a lot of people going back to some of our old episodes. So hopefully that means that you liked us in some things and you're like, hey, let me go back and check out these idiots on some other stuff and see what they talk about. So again, thank you very much. Tonight we are a duo. We have Mark. Oh, hi Mark. [00:02:00] Speaker C: What's up guys? [00:02:01] Speaker B: And I'm sa. Ciao buona. So last week, the Wheel picked Maloria by Ghost, an album that Mark knew better than either Frankie or I. I think it's okay. It's two songs that definitely stood out to me more than the other ones. I think overall, I think my biggest gripe is, is more about the monotony of the vocals, the production. I think it could stand if, if some of the. Especially the forgot the pendulum to the pit song I thought really could have used if had some heavier production, it probably would have been a standout song. Again, some decent playing and, and obviously there's something going on here in terms of what they sing about. I know, Mark, you're saying you don't know whether it's real or not or who knows. But overall, I mean, it's definitely theatrical. I think he's doing exactly what he wants to do and obviously they've. They're big enough where they've been One of the standout names, I would say, in rock in the last probably decade. What do you think? [00:02:53] Speaker C: Yeah, they've been around for a while. I mean, I think that, you know, they have a good idea what they're doing. They got to have a good stick. You know, the music's not bad. It's kind of metal. Like, even though there's metal aspects to it, it can be very poppy at times. And the guitars are heavy, but they're not so heavy like in your face. I think it's accessible to some people who may get thrown off by the lyrical ideas that they use. Other than that, though, I think it's good. [00:03:15] Speaker B: Yeah. I mean, obviously, let's say someone like King diamond, you kind of. You kind of see it, and I think the. The music f. The imagery maybe a little bit more of what. What you're expecting, but again, whatever. I guess he's having fun. So at the end of the day, that's. That's what matters. And obviously they got a pretty big following. But obviously, before we go to part two, we're going to spin the baby wheel. We're going to do our newest segment, which isn't as new, but still pretty new. It's called New Bets. [00:03:40] Speaker D: In a world where new music is not easy to find. Welcome to New Bats. [00:03:55] Speaker B: No horn tonight because Frank's not here, so. [00:03:58] Speaker C: Yeah, see, I can't forget it this time. That's a good thing. All right, so can you see the wheel? [00:04:02] Speaker B: I see it. I'm very curious. I know last week was the Black Crows, pretty. Pretty popular band that just released something new. So there's a lot of new stuff from old people that's been coming out. [00:04:12] Speaker C: I thought this was pretty good. [00:04:14] Speaker B: I liked it as. As it progressed. I liked it more and more, I think, toward. Like, toward the end, like, once it got to that kind of. With the vocals and everything, that's what it kind of had me. [00:04:21] Speaker C: So I'm. [00:04:21] Speaker B: I'm definitely going to go back and listen to it. Try not to hear the rest of the record in case it comes up. I'd like. I'd like it to be fresh when we do it. [00:04:28] Speaker C: Yeah. Well, let's see what we get this time. Here we go. [00:04:42] Speaker B: Wow. Friends of ours here. BlackBerry smoke, Other side of the light. I think we do. Didn't we have one of theirs already that came up on the wheel or. No, my Miss. [00:04:51] Speaker C: Yeah, we did. [00:04:52] Speaker B: I don't remember if we liked it or not. [00:04:53] Speaker C: I think we like what they do generally. [00:04:55] Speaker B: Yeah. I think they're you know, again, even when they do country. I wasn't really upset with the country stuff, so I am. I'm curious again. Let me just repeat it in case I didn't say it clearly. BlackBerry smoke, Other side of the light. [00:05:06] Speaker C: Yeah, I'm excited. I like what they do, so I want to see what this thing is. So here we go. This is BlackBerry smoke. Again. Other side of the light. [00:05:33] Speaker E: Take a look out in the distance See the firelight of the night Will it ever come this far moment or will we make it all right the embers are rising the ashes fall like rain I'm blinded by the smoke I'm praying for daylight again Can I take your hand, Mama, don't let go if the sky is falling and the mountains all shake Will you be my shelter Till the new dawn breaks? Walking through the shadows Till we make it through the night don't worry about the darkness it's just the other side. [00:06:19] Speaker D: Of the light oh, yeah. [00:06:30] Speaker C: As I. [00:06:31] Speaker E: Look back in my memory I guess I made it through Somehow I've stumbled through the valley Halfway up the mountain now Another storm on our horizon Another axe about to fall I can't go back the way I came Just pour through it all I'll take your hand no, I won't let go if the sky is falling and the mountains all shake Will you give me shelter Till a new dawn breaks? She said, I'll walk you through the shadows Till we make it through the night don't worry about the darkness Just the other side of the line can you open up your arms and cover one another? Can you shine it out the way for your sister and your brother? If the sky is falling and the mountains all shake Will you give me shelter Till a new dawn breaks? She said, I'll walk you through the shadows Till we make it through the night don't worry about the darkness this is just the other side of life. [00:08:25] Speaker D: Oh, yeah. [00:09:15] Speaker B: I felt I wasn't safe. Bob Dylan, the Black Crows and the Elman Brothers kind of had. Not necessarily a son, but maybe a nephew. [00:09:23] Speaker C: It was good. [00:09:24] Speaker B: It wasn't bad. It wasn't bad. I wasn't crazy about that second part of the course, kind of the. The note that they took it into. But, like. All right. Like, it kind of. It didn't hit me as hard the first time. The second time, I mean. But, yeah, not, you know, not. Not too bad. [00:09:39] Speaker C: I mean, I've heard a lot worse than that. Thought it was good. It is very Allman. Brother Ish. [00:09:43] Speaker B: Yeah. [00:09:43] Speaker C: Maybe because of the slide Guitar. Maybe. [00:09:45] Speaker B: I mean that on part. I mean, I know it. It's. Sometimes maybe we attribute too much to one specific thing. Yeah, that's. That's what I kept thinking Almond Brothers with. With the slide and. But I definitely heard some of the Black Crow and even his. His inflections reminded me of. Of Bob Dylan, the way he was singing. [00:10:03] Speaker C: Yeah, I thought it was really good. [00:10:04] Speaker B: Well, I mean, it's definitely up the rally. Not too bad. Not too shabby. I'd probably listen to it again. So. [00:10:08] Speaker C: Yeah, I would be excited to hear the rest of the album this comes from. It's fairly new. There it is. New Bets. [00:10:13] Speaker B: Cool. Another one of the books. [00:10:15] Speaker C: Yep. [00:10:16] Speaker D: In a world where new music is not easy to find. Welcome to New Bets. [00:10:31] Speaker B: Cool. So now we go back to the second half of the Ghost album. Hopefully we do not have as many odd occurrences. Obviously people don't know about the odd occurrences because Mark is a great editor and you won't know, but we've had some. Some funky stuff happen. Getting disconnected. Who doesn't get recorded? Who has to record over. So I'm hoping that little sign of the cross here and that everything goes well tonight. [00:10:55] Speaker C: Told you. Get it. The holy water. Start spraying it around before we start. [00:10:58] Speaker B: Yeah, yeah. Got to get it. [00:11:00] Speaker C: I'm saying it's your stick, but who knows? Could be wrong. [00:11:02] Speaker B: I don't know. Yeah. [00:11:03] Speaker C: The next song is Mummy. [00:11:44] Speaker D: I was carried on a wolf's back to corrupt humanity. I will follow it with populace with corpulence and creed. Dear. [00:12:13] Speaker B: I like the riff again. I wish the production was slightly different. And I. But I don't really like his. It's not the melody. It's his delivery. I just. I feel like it needs a little bit more. But I do like the main riff and even the beginning part of it. I like Mummy Dust. I think of a mummy farting when I hear that. [00:12:29] Speaker C: I figured you would like the riff a little bit better. It's a little heavier. It's not as produced as sheeny. Feels a little heavier with the guitar. [00:12:35] Speaker B: I think the drums are always for a little bit. And again, I'm not crazy about his vocal delivery. [00:12:39] Speaker C: Well, this one's a little bit different though. [00:12:41] Speaker B: Yeah. It's a little bit more consistently heavy. [00:12:43] Speaker C: I would say his vocals are very. On this one. They're different than the. The other ones. I don't think it's as pretty. [00:12:48] Speaker B: No. Any. I mean, he does change things around a bit too, with his voice. I mean, I do give him. Whether or not I always like the way he sings, I do give him credit. It does seem that he does try to do something different with each song. Whereas, I mean, people who know Ghost probably will pick this out in the crowd no matter what. But I feel that I may not know it was him because it doesn't necessarily sound like all the stuff he's been doing before. So I will give him credit for that. [00:13:11] Speaker C: Right. So the lyrics are, I was carried on a wolf's back here to corrupt humanity. I will pummel it with opulence, with corpulence and greed. In God you trust. My mummy dust, dust, my mummy dust. [00:13:26] Speaker B: Yeah. So it's supposed to be about greed and corruption. The worship of money is a God. Yeah. [00:13:30] Speaker C: I don't think his lyrics are bad. Puts a little thought into his lyrics and uses them to say something. So, you know, as far as like lyrics go, I don't think he's horribly bad. I mean he is playing to the thing that they do with the Satanism. But he might be saying other things in there besides what you think he's saying it about. [00:13:44] Speaker B: Well, I mean this is pretty obvious. I mean the choice of words are not bad. Definitely. I think it's different in terms of that because it is specifically about something. And listen, even some of the other stuff from what I was reading when I was looking at lyrics and then meanings they said it really is kind of comparing it to religion. Some of the criticisms he has of it, it's just draped in a different mean Again. We also spoke about how Black Sabbath uses Satan and it wasn't because it was the Satan, but it was comparing it to other government, military. [00:14:11] Speaker C: Yeah, he uses that very well, I think. Let's continue here. [00:14:27] Speaker D: Here come out. Your opulence to this beast of peracity. I'll bury you in treasures just to feed your incapacity In God you trust. [00:15:33] Speaker B: What do you think of the solo part? [00:15:35] Speaker C: Ah, a keyboard solo. This is a very proggy sounding. I even was going to say like the beginning keyboard stuff is very rainbow. You can see where that influence happens here. And even this part was super proggy. The keyboard was super prog. [00:15:47] Speaker B: It reminded me of some genesis which I also mentioned in the. In the first half of the record. He definitely likes to use that combination. I don't. I don't know. Not that it doesn't sound like me, but isn't he doesn't do that kind of keyboard guitar solo mimicking thing that they are very famous for. He just kind of does separate things that kind of remind me you have Stuff that they've done. So, I mean, it was interesting. [00:16:08] Speaker C: Yeah, we said that last week. That it's familiar in ways that you're not sure why it's familiar. [00:16:12] Speaker B: Well, I think you know why it's familiar. It isn't necessarily where, but it's more of a combination of. [00:16:16] Speaker C: Well, now. [00:16:17] Speaker B: Yeah, I know we were saying. Oh, I've heard that before, but. So it could just be like that. Where it's. Maybe it isn't specifically one thing, but it's like a combination of things, so that could be what. What it is. [00:16:27] Speaker C: Well, this is an interesting verse. Your cavalier of crapulence to this feast of rapacity. I'll bury you in treasures just to feed your incapacity. Rapacity. Incapacity. That's interesting rhyme. And then back to the chorus twice. His words aren't bad. You sometimes have to go out of a dictionary, though. [00:16:44] Speaker B: Yeah. I just looked up crapulence to see if it was a real word. I guess it is. [00:16:47] Speaker C: You need to have a book out. [00:16:48] Speaker B: Feeling of sickness or indisposition caused by excessive drinking or eating. I felt crapulence in my time. [00:16:55] Speaker C: Oh, I felt crappiness before. [00:16:56] Speaker B: It's never been for money, though. That's. That's for sure. [00:16:58] Speaker C: Yeah. [00:16:59] Speaker B: Too much of the other stuff, but not money. [00:17:00] Speaker C: Let's continue. Here we go. [00:17:07] Speaker D: You're the mustess, the avarice. I'm the ruler of the earth. I was fond of you and riches till you choke us on and burn. You were summoned in cupidity from your loves and lust. I've enlightened forced humidity ended by you for my thrust. Pain us, mama, we trust. [00:18:44] Speaker B: Mummy dust. [00:18:46] Speaker C: It got a little softer at the end with the keyboards. That's the part I don't particularly like as much. I like the idea. I think it's so upfront, though. It kind of washed everything out at the end. That's what I thought. [00:18:56] Speaker B: Yeah. [00:18:56] Speaker C: But I don't hate the drum sound. I think if the drums were a little bit louder, it would have been nice. I appreciate that. This is before the time of, like, real lot of samples probably happening. I mean, there could be some in there, but it sounds better than the newer stuff to me. [00:19:08] Speaker B: Agreed. [00:19:09] Speaker C: All right, so verse three is. You're the possessee of avarice, I'm the ruler of the earth. I will smother you in riches till you choke on sordid mirth. We're summoned in cupidity, purulence and lust. I'm the magnet for stupidity and divine. You feel my thrust and then back to the chorus. [00:19:27] Speaker B: Yeah, pretty good. I mean, overall, these are probably the best lyrics I've seen on the record so far. [00:19:31] Speaker C: Okay, well, in that case, why don't you go first, then? [00:19:34] Speaker B: Yeah. So I'll start with I'll give him a seven. I was thinking sick, but I'll give him a seven. I mean, there's some pretty good use of words and rhyming. So I say 7. Music, I'll say 6. Production, I'll say 5. I'm not crazy about the production. Again, I know some of the stuff sounds better. Personally, me, I think it needs a little bit more oomph, and I think it would make this song better. I'll say five. On melody, I didn't. Yeah, I'll. I'll incorporate that all together. Something has to suck because the melody is not horrific. But again, I don't like his delivery. We don't have a delivery category, so I'll have to say that. And I'll say six. On arrangement, I mean, it's. It's arranged well. I mean, it's interesting, for sure. I don't think I like it as much as the. The one on the first side, but I think it could have been a contender if some things were done differently, but not bad. What do you think? [00:20:23] Speaker C: I like that it felt heavier. It wasn't as sheeny until the end. So on music, I'm gonna give it a six. Melody, I'm gonna give it a five. The melody wasn't great. His lyrics. I'm gonna give a seven. I thought his lyrics were good. Like I said, I have to go out and look at a dictionary to read his. At least on this song, to read his actual lyrics. What did he say? I have an idea what he's saying, but I need to look that up. Arrangement, I thought it was fine. I'll give it a five. And production, I'm gonna give it a six. It was okay. I didn't like the end part. I didn't like that. That thing just took over everything. I like the idea of the part. I just think it then took all the heaviness away from the rest of the song, and it just ended up being a mush because they put the keyboard so loud. I do like the keyboard parts. I like the keyboard solo. I thought that idea was good. So, yeah, it wasn't bad. It's a good way to start the first side, I think. [00:21:06] Speaker B: Yeah, absolutely. [00:21:07] Speaker C: All right. The next song is. [00:21:57] Speaker D: A higher power on the ground. From Skies and Now to Chaos Bound Me Sitting Sacred and profound in instances clicking up. You kiss his crown Pathetic of humans in despair Deface if flower now to death devout a fallen angel who is glared in the midst of sinners kneeling down before it. Cloud master all will be nice within you. [00:23:35] Speaker B: There are parts of this that I like, but in general, I'm not really feeling this one at all. Again he comes in. It's just. It has that cool intro. I like the music. I feel it. It's very rainbowy. And there's a little almost AC DC in there in the beginning riff. But then once everything comes in, it just completely loses me again. It's the melody. It's the way he's delivery. [00:23:54] Speaker C: What do you think his delivery is? The way his delivery is. It's not as bad for me. I don't hate it as much, but I can see why it does at some point. Could almost take away from the music. Because the music, I think is composed very well. But the vocals sometimes, you know, it's like you said, it's very monotone. This a little bit. Not as monotone, but generally he has like one level like this I don't think is good. The vocals in the prior song, like, I think he did something different there. This is more like it was on the first side, I think. [00:24:23] Speaker B: I mean, he has. Obviously has a bit of range when a song comes in like this. And also I don't think the drum sound is good either. They sound a little almost electronically, the snares, like. It's kind of weird, but I just feel that a little more oomph would. Would just help in general. And this to me really suffers from that monotone delivery. Let's see if anything gets more interesting or different. [00:24:45] Speaker C: Verse 1. A higher power underground from seraph skies and now to chaos bound he's sitting sacred and profound in midst of sinners Looking up to kiss his crown Pathetic humans in despair the face deflowered now to death devout A fallen angel in his glare in midst of sinners kneeling down before his clout Chorus is old one master and all beauty lies within Old one master all beauty lies within you so they're leaning heavy into the Satan thing again. [00:25:16] Speaker B: I mean, I don't. I didn't see any metaphor here. Anything that was supposed to be a metaphor? [00:25:21] Speaker C: No, I don't think so. It's about what it's about. And the little guitar breaks are okay. And hate those. They're pretty good. [00:25:27] Speaker B: The music itself, the beginning is interesting, but it doesn't go anywhere from there. I think that's my Problems. That's my criticism. [00:25:47] Speaker D: Exile here in hell in the midst of sinners Is rocking up like so is she all you. [00:26:36] Speaker B: Again, those build ups and things like that are pretty cool. It isn't the music that I'm particularly complaining about. When he's not singing. I like it more. [00:26:43] Speaker C: Me, personally, I like the bass in the chorus. That's pretty good. Good. I don't know if you heard it. It was doing some cool stuff. And that chorus is very familiar, but I'm not too sure what I know it from. [00:26:51] Speaker B: Again, we said it in the. In the first part where there are things that if we sit and listen, I think we'll. We'll start saying, oh yeah, oh yeah. I think we can pick the influences and what it sounds like. I think some of it sounds very familiar. Where we can start picking out that sounds like this song or that sounds like this song. Even the beginning of the song, this riff sounded very familiar to people. [00:27:13] Speaker C: Yeah. Well, familiar in a way, but I don't think a rip, though. [00:27:16] Speaker B: No, influenced. But again, I think that if we go back and listen to it, some of these things that we're saying, wow, this sounds really familiar. We might be able to start picking away at what it sounds like and say, okay, it's unnecessary. A rip. It's kind of a variation. I would say. [00:27:30] Speaker C: Yeah, they do that well, I think. I think they take their influences and make it their own. I think that is a good thing that he does. Verse 3. This oasis is a poisoned well A rotting carcasses that clog the deep deep A prince in exile here in hell in midst of sinners Flocking up like soulless sheep Chorus again. So obviously the prince in exile is Satan, right? That's what I assume, yes. [00:27:52] Speaker B: Prince of darkness. I'm Ozzy Osborne. [00:27:54] Speaker C: And I'm the prince of darkness. There's nothing different here. It's not trying to make it be something else. It's exactly what it is. [00:28:07] Speaker B: No, I mean, if anything, that Mummy Dust song was kind of the outlier there. [00:28:10] Speaker C: All right, guitar solo time. Let's see if they can salvage this. Here we go. [00:29:17] Speaker B: That was okay. I feel he's done more interesting stuff in the other songs in that one. And not that it was bad, it followed suit. I feel that he's done more interesting things overall in the. In the solos. What do you think? [00:29:27] Speaker C: That was my least favorite. So I think of all of them. Like the bass playing, though. Bass playing was good. Good. I assume that's him again playing everything. I don't know if he plays drums, but I'm sure. Pretty sure he plays bass and guitar. So the bass part was really good. I thought it was doing some cool stuff. Yeah, he tries to make it interesting. I mean, I give him credit. He's not going crazy on the guitar playing, but I think it a little more interesting to know what it was. It's fine. I guess it's not played poorly. I mean, badly. It could be better. Let's run the outro. Here we go. [00:30:02] Speaker D: Master all. Master all. Master all. Heavy O Master all. You feel right? [00:31:03] Speaker B: It's funny. I do like the way the tom sound, but I don't like the way the snare sounds. [00:31:07] Speaker C: The tom sounded good. I like that little pattern thing he did at the end. That was good. [00:31:10] Speaker B: Yeah. [00:31:11] Speaker C: I'll go first, I guess. I know you're not gonna like it, I'm sure. I mean, I don't think the words are bad, you know, I think he could use a little more interesting words in this, like he used in the prior one. So I'm gonna give it a 5. 5 melody. I like the chorus. I'm gonna give that a 5. Musicianship. I'm gonna give that a 6. I don't think it was bad. I think he did great. I didn't like the solo that much. Like the keyboard part. I like the riff at the beginning. That was cool. I like the end part. The arrangement was typical. There was nothing spectacular here. Two verses in a row, then a chorus. So I'm gonna say five. In production, I didn't think the drum sounded that bad. At least they were a little louder for me. So I'm gonna give that a six, I think. What do you think? [00:31:46] Speaker B: I'll say. Bore on the lyrics. They're okay. I mean, some of this stuff, considering the. The subject matter, it's not written badly. Because if you're Satan, you're like, hey, man, it's pretty cool. Thanks. Music. I'll say five. Production. I'll say five as well. It wasn't terrible, but again, it's. It's. Overall, I feel like the production is lacking on this record. Melody, I'll say four. And arrangement, I'll say five. I thought this could have been better. Overall, when it first started, I was like, okay, I hear some. Some stuff that's kind of cool. But then once it all. All came in, it just came in. What is. They come in like a lion and leave like a lamb, whatever it is. But that. This kind of happened as soon as. To me, all the music came in mid to M. Yeah. [00:32:27] Speaker C: It's not my favorite on this record at all. All right, so the next one is Devil Church. [00:32:30] Speaker B: So this is instrumental? [00:32:32] Speaker C: Yeah, it's instrumental. Let's see what they do. Devil Church. [00:33:38] Speaker B: Is that it? [00:33:39] Speaker C: That's it. [00:33:39] Speaker B: I don't want to jump in. And then all of a sudden it comes in with whatever. [00:33:45] Speaker C: It's bad. [00:33:45] Speaker B: I mean, it's. No, it's fine. [00:33:47] Speaker C: I like that they used, like the church organ thing at the beginning. I'm like, all right, I see what you're doing. [00:33:50] Speaker B: It sounds like an intro to Castlevania. [00:33:53] Speaker C: So the next one is Absolution. Absolution. Sorry. [00:34:30] Speaker D: Ever since you were born you've been dying Every day a little more you've been dying. Dying to reach the setting star. As a child when you're min Arising over closest to the prize and kept your eyes trying to be the chosen things that you desire, you will find it. The fire Put your hands up and reach for the sky. Cry for absolution. You be down on your knees and you cry cry for out to show. [00:35:50] Speaker B: Again, that riff reminds me of something a little bit more 80s, I feel kind of heavy. 80s, it sounds like. But again, I feel like there's nothing in the melody. There's nothing in the delivery. I don't like the chorus. I'm really not liking this one. Me personally. What do you think? [00:36:06] Speaker C: I like the riff. The riff is good. The one thing I didn't like is that first verse. Like, they split it up and then they did the little riff in between. I wish you could just would have kept going through the verse. I didn't like that. He broke it up in the middle. It feels like it needed to go together. And this thing has a pre chorus, which no other song. I don't think very few had a pre chorus in them. Read the word. Ever since you were born you've been dying Every day a little more you've been dying. Dying to reach the setting sun. As a child with your mind on the horizon over corpses to the prize you kept your eyes on trying to be the chosen one. Pre chorus. All those things that you desire you will find here in the fire Chorus. Put your hands up and reach for the sky. Cry for absolution. You'll be down on your knees and you'll cry cry for absolution. Now I can say that I think there is a little more melody in here. And I think he's given a different delivery than some of the other songs, so I do enjoy that a little bit. I don't think it's as monotone as some of the earlier stuff. I think there's a little bit more. Not a lot, but a little bit. He's trying. [00:37:10] Speaker B: I mean, I'll listen for more as it goes along. Who knows? I mean, sometimes, obviously, we do things and we listen to songs and the first time around we say, and then comes around again, like, yeah, you know what? It wasn't as bad this time, so, okay, let's see. [00:37:25] Speaker C: Maybe I can win you over. Who knows? The riff is strong and it is very familiar Again. [00:37:30] Speaker B: Yeah, it's a good riff, but again, once that music kicks in, it just. It gets boring for me. It takes away any heaviness of the riff. [00:37:38] Speaker C: I mean, maybe that's his idea of doing that. I mean, this is on purpose. Like he wants to sing this way. I'm assuming that's what it is. [00:37:43] Speaker B: Yeah, he's listen. He's very consistent, that's for sure. I mean, there is a consistency in. In what he does and everything. There is a. There is a plan here. It isn't as if, oh, well, this song sounds like this, this sounds like that. I mean, there's definitely a similarity in his delivery and the production and the sound of everything. I don't know if the other albums are all like this. [00:38:03] Speaker C: Maybe I'll get another one coming up. Who knows? All right, here we go. [00:38:14] Speaker D: Even now when you're here you are moving hysterically Seeking out what needs improving and you're still asking for the sun? All those things that you decide you will find in the fire. Put your hands up and reach for the sky. Up you be down on your knees and you cry. Cry for. Lift your hands up and reach for the sky. Cry for absolution. You be down on your knees and you'll cry. Cry for absolution. Put your hands up and reach for the sky. Cry for our solution. You be down on your knees and you cry. Cry. [00:41:00] Speaker B: I was going to say that was a bit of an odd ending where it just stopped. Then it had kind of that little piece come back in. I was about to speak right before it came back in. I like that solo part. I think it's a. A good standalone part again. Reminds me of some Journey stuff, some 80s kind of thing. I'm not really feeling the rest of. Of the song. I don't know how you feel about it if you like that part. [00:41:23] Speaker C: Can't wait to hear the scores on this. I like the middle part. I'm going to read verse and then we can go over it. I don't really like this verse too much. I don't think it stands up to the other verses, whatever reason. Even though while you're here, you are moving hysterically, seeking out what needs improving, and you're still asking for the sun. Like, that doesn't fit with the other lines. I don't know. I mean, the rhyme scheme does, but I don't think they're as good as the other lines. And then there's the little bridge. You'll cry, you'll cry, you'll cry. And then chorus is out, out. I'll go first because I'm gonna wait for yours. I don't want to be influenced by your bunch of negativity that's gonna be coming down on this. [00:42:00] Speaker B: Okay. [00:42:01] Speaker C: Five lyrics, five melody, six music, five arrangement. Because I don't like the two verses in a row with the break in the middle and production, you know, I want to say six. It's fine. It's not horrible. I mean, there's some good stuff in there. I like the solo parts. I like the music. I think the music's the best part. You have to get used to his delivery. Once I think you're used to what his delivery is, then maybe it's not as is of a Debbie Downer. Because, you know, if you're expecting something else from him, I don't think that's gonna happen. I don't think that's what he does. I mean, he has a decent range. I don't think his voice is super powerful. And maybe that's what you're expecting. Maybe if Dio was singing over this, it would be better. That's not him. What do you think? [00:42:38] Speaker B: Well, I mean, I think it's reminiscent of when we did King diamond, right? He delivers the way he delivers. If you don't like it, he's not going to do anything different. Like, he does kind of have. He really only has, like, two sets of voices for the high, and sometimes he sings lower, but even the low isn't that low. So it's kind of the same comparison, I would say. I know that a lot of us were saying, well, you know, after a while, if you don't like the way he delivers, you've really. It's really gonna grade on you. Which I can. I can appreciate. I don't always like everything. I think some of the music I get into more and whatever. I mean, lyrics. I mean, they're simple. They're not horrific. There's a point. I would say five in the lyrics. I'll say five on the Music production. I'm gonna say four. I mean, I've kind of had enough of this whole little. Little intro, whatever, where it sounds like it can do something and then it just really doesn't go anywhere. There's no umph. Melody. I'll say four arrangement. I'll say six. Because I do like that metal part. So I'll give him a something there. I just feel that overall, a lot of this stuff would just sound better with a little bit more oomph. And I understand if that's not what he's gonna do. That's cool. It won't make me, like. Would make me like some of the stuff better. So. [00:43:44] Speaker C: No, I can understand. I think I like his delivery better than King Diamonds delivery. That's for me. I was never a fan of his, like, super high thing. I think when we did that, that was part that, like, killed me. [00:43:56] Speaker B: A lot of people said it. Yeah. [00:43:58] Speaker C: No, I mean, it's just tough. This I feel I have a little more patience for. But he's not going to do big, powerful vocal. Like, that's not him. [00:44:06] Speaker B: No, but not even powerful. Just he's. I just feel it's so monotone. That's the thing with King Diamond. He's not monotone. He's definitely very similar with the high delivery, but it's not monotone. Whereas this is okay to me personally. It takes away from the music and what's going on and what could be better songs. Me personally, that's just my. So I'm not expecting different. This is his thing. That's cool. It's kind of. After a while, it's like, okay, do a little bit. Because he can. He's proven that he can. And there's that one song where he kind of hits that. That high note. I forgot which one it was, but it nice. I mean, he definitely has. And listen, he doesn't have to do it to please me. This is his thing, this guy. God bless. I mean, they're popular. They. So it's not taking me. I'm just saying. Me personally, trying to listen to it and trying to get into it and like it a little bit more. That's what's detracting from me personally. [00:44:58] Speaker C: I get. I understand. Yeah, it makes a lot of sense. We're at the end. Deos in absentia. [00:45:10] Speaker D: In this your time of need. You're turning to the light. You have just begun to explore the dark in the urban night the world is on fire you are here to stay and burn with me a hero fire and we Are here to rebel forever more. You're so God damn frail Failing for a change. You just have to know all about the world but you will never know. Cause no one ever told you how. The world is on fire and you are here to stay and burn with me a hero fire. And we are here to revel forever. The world is on fire and we are T1 eternally our funeral forever more. [00:46:47] Speaker B: That part. The world is on fire. I mean, that is absolutely something else. If nothing else, I will listen to this record again just to pick out what the hell hell I'm missing where I'm like, now I know what it is. Now I know what it is. I'm. I'm not feeling this one either, honestly. What do you think? [00:47:04] Speaker C: I wasn't thinking you were going to. I don't know. I think it's a little bit different. [00:47:08] Speaker B: It's different. [00:47:09] Speaker C: It's a little less monotone. [00:47:11] Speaker B: It is, it is. I'll give credit for that. I. I don't think this was sufferings as much from that, but I just find it boring. [00:47:18] Speaker C: All right, here's the verse in this your time of need. You're turning to the light. You had just begun to explore the dark in the urban night. The world is on fire and you're here to stay and burn with me Our funeral pyre and we are here to re and we're here to revel forevermore. Verse 2. You're so goddamn frail Failing for a change. You just had to know all about the world but you will never know because no one ever told you how. And then back to the chorus again. Now there's gonna be a bridge part here, which I'll read, and then we're gonna go into the solo before it comes. So Deus deos. All of your imaginations are now running down your face. All your imaginations are now running down your face. And then gonna be guitar solo. So let's see what they do. Here we go. [00:48:17] Speaker D: All of your imagination are now running down your face with all of your imagination are now running down. [00:49:20] Speaker B: I say boring as a compliment to. I think overall there. What are there 10 songs on this record? I would say a good six or seven of them probably have interesting solo bits. So when something like this comes where he doesn't really do much, then it's like, oh, you know, I kind of expected a little bit more because of other stuff he's done. I think in general, I have found most of the solo parts pretty interesting. I don't know if this reminds me of the beginning of Dr. Dr. From UFO that. What do you think of that part? [00:49:51] Speaker C: It was boring. [00:49:52] Speaker B: Yeah. [00:49:52] Speaker C: I didn't like the solo at all. Just so meh. You're right. I do like the solo parts most of the time. Probably like you said, probably five out of the songs. Four or five. Maybe. The solo parts are really the standout for me. [00:50:05] Speaker B: Yeah. [00:50:06] Speaker C: Now again, I get the vocal thing where people don't like that. The solo stuff is usually where it's better. It's just this wasn't very interesting or. It was so simple. Too simple, I think, if that's possible. [00:50:17] Speaker B: Read. [00:50:18] Speaker C: All right, let's. Let's continue. Here we go. [00:50:30] Speaker D: And you're doing fine. Worshiping your Lord, standing in his grace Cuz no one ever told you how the world is on fire and you are here to stay and burn with me a healer of my eyes and we are here to Forever Forever the world is on fire and we are tied as one eternally Our hero fire and we are here forever more. Sa. [00:52:57] Speaker C: I give him credit for that end part. Hard to compose something like that. It's just. It's so catholic sound. I mean, it's not easy to make that sound that way, but it's not. It's not easy to do. [00:53:08] Speaker B: I mean, it's probably my favorite part of the song. [00:53:10] Speaker C: There you go. All right, so let me read verse three. Oh, you are looking good. Bareback in disgrace and you're doing fine Worshiping your Lord, standing in his grace. You know, the lyrics are what they are. I do feel that at least on this song, he tried a little bit to not be as monotone. So I'm going to give him credit for that. The solo I didn't like that much. So when I give my. My rankings now, I'm sure I'm going to take that into consideration. So lyrics 5, melody 5, I guess musicianship 5. Because I don't like the solo arrangement. I'm gonna give it sixes. I like that end part. I like that he kind of went out of his way to kind of make that whole grand ending thing. But again, I think all the records are a progression of this whole Satan and falling from grace thing. So I think this is like a progression of the whole story, I think. So this is a story. I think all their stuff is some sort of a concept production. I thought the production was bad. I'm gonna give that a six. It's not horrible. I do think the two middle songs on the first side are my favorite. Maybe the first song here was good. I Don't think it was as strong on the second side as it was on the first side. But I don't think he's looking for singles out of this, is he? [00:54:18] Speaker B: I doubt it. [00:54:19] Speaker C: I wouldn't think so. Who you think? [00:54:21] Speaker B: I'll say. I don't know about the lyrics yet, but music on it say four. I just found it really boring. Production five, like melody four, arrangement five and lyrics five. I guess I'm not really sure. I mean, this one really, really lost me even more than the one before. Again, I don't like giving bad scores to things overall because again, I do give them credit. Whatever they're doing has worked for them. So cool. And having seen him too, in a couple things, he seems like a nice guy. Guy. He seems kind of like. Like a fun guy, honestly. And. And this has nothing to do with what he's writing about. I think overall, in. [00:54:57] Speaker D: In. [00:54:57] Speaker B: In general, there's some stuff. Some good stuff that I think could be, like, pulled out more. I think that's more of where I kind of. It's more of a frustration in a sense. I mean, you know, the lyrical content is what it is. Obviously I don't really agree with whatever. Some of the music. There's some lyrics and stuff in there. And again, like, we just talked about some of the stuff is the solo is the best part of it because it's very interesting and it shows. I mean, he has capacity to. To write some cool things. I just wish overall the production was better and the delivery was better. That's my biggest. My gripes with. With everything. I think there are things in there that would be better if they were just fleshed out a little bit better. I don't know how it progresses or what. Yeah. What was before this or after this? [00:55:37] Speaker C: Hopefully we get another album to see what the differences is. Whether it's a before album or an after album album. See if you'd like it better. I don't know. I'm glad we got it because I've been waiting to get a ghost thing. And again, I haven't listened to any of their records straight through. I've heard singles and some of the songs like Pinnacle to the Pit I liked and Cerise I liked Prior, even though I didn't know how to say the name of the song because, you know, like I said, I'm doing a good job at that on this. But I'm glad we got it. I'm glad we got it. I'm glad that we finally got a ghost album. Hopefully we'll get another one somewhere along the line to see the change, either. Either prior or post. Yeah, I mean, this is, this is a big album for them. [00:56:12] Speaker B: Yeah, they listen, they're. They're a big band. So again, no matter what the hell I say, they have enough. They got the fan base and everything going and it isn't, it isn't even, oh, well, look at the way they look. So they have this big presence and blah, blah, blah. I mean, having grown up in this, in. In let's say the metal scene, I mean, that's what I put these guys in. I would think ultimately, whether or not it's heavy metal sounding, but I think the foundation of what it is is, is that I've heard their names. I mean, I remember their name coming up too a lot on, on that metal show with Eddie Trunk. Even Sebastian Bach one time referred to it when they had asked him. I don't remember how long ago this was or. But Eddie Trunk said, oh, you need new bands and stuff that you like. And he specifically mentioned them. And clearly they're. They have a good, A big fan base. Kudos to them. Satanic kudos to them. [00:56:54] Speaker C: And this song too has clean keyboard thing, which is a little off putting in this. I understand why it's there, but I don't know if it fits all the time. It's a lot of keyboard, but sometimes keyboards in places that I wouldn't have put. Know again, like, what do we know? Like, he's a gigantic band, so he's doing something right. You know, their look does make you want a certain type of music, but if you don't get that, you almost feel like, well, this is not what I really want. Does that make sense? Frankie said that last week too. [00:57:20] Speaker B: Yeah, but I don't care about the look. It is. I mean, the look is what it is. I. But I think that ultimately there is stuff there that should sound. It's. It's not the way it's written, it's the way it's come kind of delivered. I do think that there's a lot of stuff here that matches their look. I mean, there's a lot of kind of like that creepy keyboard. I don't necessarily think that the look is too far removed. I mean, look, first of all, look at the lyrical content for sure, that matches. And I do think that some of the music matches too. I think ultimately it's the delivery and not necessarily his delivery because I think that when I see him, when I think about the way he looks, I do think, okay, I I see him delivering like this. I just think that the production itself for me is what does it. And his delivery, not to harp on, but at the same time, this. Clearly he does everything, he's doing exactly what he wants and it sounds the way he wants it to sound and it's grabbed a lot of people. So at the end of the day I'm like, hey man, cool, you're doing something right. Who am I to tell you how to producer or sing? I'm just sitting here at my desk commenting on shit. Meanwhile you're out there fucking touring and selling millions of albums. [00:58:27] Speaker C: This is true. Alrighty, why don't you do your thing? [00:58:29] Speaker B: Yeah. So we are part of the Deep Dive podcast network again, like I always say, great bunch of guys took us in right away. If you want individual podcasts about certain bands, you name it. Rush, Judas Priest, Tom Petty, Queen. It's probably on there if you name it. So check them out. And mark, where can they find this? [00:58:45] Speaker C: On the Interwebs rock roulette pod on all the social media, rockroletpodcast.com, leave us a new bets idea, Leave us an album idea. Put us on the auto download so we get our episodes every Tuesday and if you can review us because the five star rating does help us and we would appreciate that if you like what we do, pass it along to someone else who likes music podcasts and maybe don't like to listen to the other albums we have on here because we have a whole spattering of 60 plus albums we've done and I guess next week we shall be spinning again, which is always the exciting part. [00:59:18] Speaker B: Yeah, I'm looking forward to see what it picks. [00:59:20] Speaker C: All right guys, we'll see you next week. [00:59:22] Speaker B: Ciao, ciao. [00:59:23] Speaker C: Later. [00:59:29] Speaker B: It.