Episode Transcript
[00:00:04] Speaker A: This is our musical reaction breakdown and.
[00:00:07] Speaker B: Commentary analysis of this song. Under fair use, we intend no copyright.
[00:00:11] Speaker A: Infringement and this is not a replacement.
[00:00:13] Speaker B: 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.
[00:00:27] Speaker A: Limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting.
[00:00:37] Speaker B: 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.
Hey everybody. Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1,400 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 a track by track and we talk about the music, the lyrics, the production, the arrangement and the melody and we give it scores. 1 out of 10. Nothing fancy. Just a bunch of friends who love music. Want to do a podcast. As always, you want to thank whoever's listening. We're getting a lot of listens to our back catalog so hopefully that means that people like the newer stuff. And going back to the older episodes, we're getting some interaction on there. So obviously we want to thank you for that. We got a repost from Chris Sinzak today. Want to thank him for that. Whatever interaction is man, we really appreciate it. It's nice to know that someone's listening to us because we honestly thought that we'd get nobody listen. This was all just for fun. So it's pretty cool. So we are a threesome again tonight we have Frank back.
My name is Frank and I'm sexy.
[00:02:25] Speaker C: Hello everybody. Great to be back.
[00:02:28] Speaker B: We have Mark. Oh, hi Mark.
[00:02:29] Speaker A: What's up guys?
[00:02:30] Speaker B: And I'm Seth.
[00:02:31] Speaker C: Ciao, buena sira.
[00:02:33] Speaker B: So last week the wheel picked one of the most famous. Actually no one of the least famous.
Just being playing, playing around, man. It picked Presents by Led Zeppelin. And as we mentioned last week, it proves the randomness of the wheel. It doesn't pick from the big big ones, it picks from the smaller ones. Which is cool though because again, we haven't memed a mentioned in a while but this is a journey of discovery and rediscovery and we kind of knew what was going on there. I don't think Mark and I specifically remembered everything and I mean I think we said obviously the music is Good. Maybe the production could stand a little bit more oomph. I think we said some of that and a little bit maybe if the songs were slightly shorter and this could be sacrilegious for some. I don't think it was in the music. It could have been some of. Some of the choices they made in lengthening this song. What do you think, Mark, so far?
[00:03:16] Speaker A: I think that I liked it better listening to it again. I listened to it one more time. I like it better. It's long. The six minute song is long. The ten minute song is really long. When you don't break it up like we broke it up just listening to it straight through. It's a long song. Super long. I think I like it better the second time around even more than I like it the first time around.
[00:03:34] Speaker B: And again, I think it comes back to when you do break it up. Yeah, it makes it shorter, but sometimes it cuts up the flow. So even though listening to it, you are listening for 10 minutes, you may appreciate it more in that sense because it sounds more cohesive that way. So we could have missed some of that, I think too, in listening to it the way that we did. Frank, did you get to listen to the first side?
[00:03:54] Speaker C: Yes, I did.
[00:03:55] Speaker B: What are you thinking so far?
[00:03:56] Speaker C: I like it. I mean, you know, the first two songs you're like, wow, you know, will this ever end? What is it, 10 minutes? And then the other one was like close to seven minutes. I like it a lot. I mean, you could definitely those two songs for specifically, I think is one of those songs that the band really enjoy playing. It just sounds like it's something that they really had fun playing. Really fun. Experimenting. You hear a lot of those Middle Eastern sounds in there. And overall I just like how it just rocks. It's just. It's just a song that they're clearly jamming to. And I can only imagine what it sounded like live.
[00:04:27] Speaker B: Achilles Last Stands is a pretty famous song. We got a couple of famous ones coming up on the second side. Before we get back to that, obviously we have our new BET segment. In a world where new music is.
[00:04:40] Speaker C: Not easy to find.
Welcome to new Bets.
[00:04:54] Speaker A: Okey dokey. Can you see the wheel?
[00:04:56] Speaker B: Yeah, I see it.
[00:04:57] Speaker A: Let's spin the wheel. Here we go.
[00:05:12] Speaker B: Oh, Bon Jovi. Legendary. I was hoping we'd get. We get something from this because I think we kind of listened to it and kind of spoke about it. I don't really remember it. I. I will not pass judgment until I listen to it again.
[00:05:25] Speaker A: Yeah, that was off podcast. That. That happened. Frank, have you heard this at all?
[00:05:30] Speaker C: Not at all. Never heard of it. First time.
[00:05:31] Speaker A: Okay. All right, here we go. This is Bon Jovi. Legendary.
[00:05:57] Speaker B: You.
[00:05:57] Speaker D: And who am I to think that we could ever fly? You don't need even try we're getting paid and just get by Songs and sons bricks on bricks what's broken you don't try to fix Downhill There ain't no Y's and ifs you don't pick up what you can't lift I raise my head to the sk.
Don't need more to tell me I'm alive.
Got what I want cause I got what I need Got a fistful of friends that'll stand up for me Right where I am is where I wanna be.
Friday night comes around like a song Sweet Caroline and we all sing along I'm about our.
He believes in me Legendary.
I know this town like the back of my hand Baby crack in the sidewalk tells me who I am. Giving you love is the law of land. These are our dreams that's where we stand. Raising my hands and tear the sky don't need more to tell me I'm alive. I got what I want cause I got what I need Got a fit full of friends that'll stand up for me Right where I am is where I want to be.
Friday night comes around like a song Sweet Caroline and we all sing along I'm a wild eyed girl and she believes in me Legendary.
Who are you? And who am I to think that we could ever fly?
Got what I want cause I got what I need. Got a fist full of friends and a stand up me Right where I am is where I want to be.
Friday night comes around like a song Sweet Caroline and we all sing along I'm about that girl and she believes in me Legendary.
[00:09:35] Speaker B: I almost like that.
I don't know if that makes any sense. I don't dislike it. What I think is this. I think if this had been done in their heyday with that band, it would have sounded better because it is catchy and there's obviously reminiscent lines and things that we could probably relate to. It's a little. I think they would have given it more life. And obviously, with him being able to sing at different pitches, I think, and obviously Richie Sambor adding background vocals, I think it would have been a stronger song. Like, if this is New Jersey era Bon Jovi, it probably would have been a really kickass song. What do you guys think?
[00:10:13] Speaker A: You can definitely hear he's having problems singing. I'M sure there's a little bit of studio wizardry going on here. He misses Richie Sambor's voice. He misses Richie Sambor's playing. I'm not saying that the later stuff with him before he left was great, but to me, this is like, house is not for sale, Bon Jovi. This is like the John Shanks version of Bon Jovi because that's the guy who produces all this stuff now. And it kind of sounds this way. I don't know if I'm a big fan, but I do agree that if this was New Jersey Bon Jovi time frame, it would be a way better song. 100.
[00:10:45] Speaker B: Not bad. What do you think, Frank?
[00:10:47] Speaker C: Same thing. This is clearly post renaissance Bon Jovi sound kind of a thing. And, I mean, it's not a terrible song, but it's just not the song like, like. Like Bon Jovi Bon Jovi that we knew. Like you said in New Jersey, like, that level, that height. I don't know. I don't know how to label it. It's just that amazing, I guess.
[00:11:06] Speaker B: I think it has good bones. Without a doubt. It means catchy all the way through. I'm not crazy about the production. Again, I don't like the. The way the drums sound. I think there's a little bit of weakness. His voice is very high in the mix, too. And the whoa, whoa, whoa. I think could be stronger. It's not bad. And I think if. I mean, Mark, I don't know if this is one of the ones we have spoken about. Probably is. I want to say that I definitely like it better now than the first time I heard it. If this is that one.
[00:11:32] Speaker A: Yeah. I don't remember which one we played.
[00:11:34] Speaker C: His vocals cannot possibly sound the same anymore.
[00:11:36] Speaker B: No.
[00:11:37] Speaker C: After so many years. Right. I mean, what are we talking about, 30 years now? 40. Almost 40, right?
[00:11:42] Speaker B: Yeah. I honestly thought he, like, he couldn't sing any more, period.
[00:11:45] Speaker C: Oh, yeah.
[00:11:46] Speaker B: I felt like right after they said that this album came out, like, oh, okay. Is this.
Wow, that was quick. Isn't the album called Legendary Forever?
[00:11:54] Speaker C: Forever.
[00:11:54] Speaker B: Forever. Okay.
[00:11:55] Speaker C: That was the one that came out last year. Summer. Last year?
[00:11:58] Speaker B: Yeah, last year. Fuck. When? 2025. Yeah, yeah, yeah.
[00:12:02] Speaker C: It was like. It was like come out spring, summer.
[00:12:05] Speaker A: I don't remember when it came out.
[00:12:06] Speaker C: Because I was shocked to see it when it was released. I was like, really?
[00:12:09] Speaker B: Yeah. I thought he wasn't gonna sing anymore.
[00:12:11] Speaker C: I thought he was retired. Yeah.
[00:12:13] Speaker B: Yeah.
[00:12:14] Speaker A: He did have surgery, though.
[00:12:15] Speaker C: Did he?
[00:12:16] Speaker A: Yeah. I don't think it's really done what he wanted it to do. I give him one big credit. He said, if I can't tour and I can't be good, I'm not going to tour. So he's not going to use tracks. He's not going to do any of that kind of stuff. He said, if I can't be as good as I can be, then I'm not going to tour. Which I give him 100% credit for that.
[00:12:33] Speaker C: Yeah. And thank God for that. He has that mindset, because that's the last thing you want to do is just go over there and just listen to a track or something else. I'm really happy he has that mindset.
[00:12:44] Speaker B: Clearly, right at this point. I haven't heard the rest of the record, but he's very subdued here, so you know that if he goes live and all of a sudden he sounds older. Jon Bon Jov. People like, wait a second. What's going on?
[00:12:56] Speaker C: Yeah. Hey, listen. Yeah. 40 years. 40 years. You know, some bands wish they will last at least 10, 20 years of doing hits. Go for them.
[00:13:05] Speaker B: They made their mark, man. They. You know, the haters will be haters, the lovers will be lovers, but they made their mark no matter what, no matter who you are. You've heard of this band, so. Yup.
[00:13:14] Speaker C: And you definitely rocked out to one of their songs at some point. Don't me. I know you did.
[00:13:19] Speaker B: Yeah. Whether you want to admit it or not.
[00:13:23] Speaker C: Yeah. Whether you admit it or not. Don't me.
[00:13:26] Speaker B: Somebody rocked at least one Bon Jovi song, even if it was runaway in the beginning, so.
[00:13:31] Speaker C: Exactly. You know, just like everybody has at least one Justin Bieber song they like. Don't me. I know you. Do you know who you are?
[00:13:39] Speaker A: I know that. We played Wanted there alive from when it was new, so that shows you how far back we go with that.
[00:13:45] Speaker B: What Wanted Dead or Alive, we played from when it came out.
[00:13:48] Speaker A: All right, let's rubber stamp this. Here we go.
[00:13:50] Speaker C: All right.
[00:13:50] Speaker B: Awesome. In a world where new music is.
[00:13:55] Speaker C: Not easy to find, welcome to new bets.
[00:14:09] Speaker B: Okay, so now we go from Bon Jo. Oh, my. Bon Joji.
[00:14:14] Speaker C: Who's Bon Joji?
[00:14:16] Speaker B: Don't edit that. We go from Bon Joji. Legendary Bon Jovi. Legendary. To one of the most legendary rock bands of all time, presence by Led Zeppelin. Like we mentioned before, we're going to tackle the second side here all together. I'm excited. I think the. The music is strong. The production is a little meh, but it's still Zeppelin at the core. It's still Zeppelin. It's still the strong riffs, the songs musicianship, obviously the drumming, the guitar playing, the vocals, the bass. Mark, I know you and I mentioned that the bass is really strong on this album.
[00:14:48] Speaker A: Oh yeah. John Paul Jones is great. He's awesome. The next song is Nobody's Fault But Mine, which is a Blind Willie Johnson song that's been interpreted by lots of different people. Now, I'm not sure if they gave him credit at the time. I'm assuming they did. I know there are some other songs that Zeppelin didn't give credit to that they had to after the fact.
[00:15:07] Speaker B: Yeah.
[00:15:07] Speaker A: This song. A lot of people have done this song in different things. Nina Simone, Ry Cooter, Grateful Dead, lots of people. This is their interpretation. This supposedly changes. I guess there's some lyrical changes. I guess we're gonna see how those go. Nobody's fault but mine.
[00:16:51] Speaker D: Oh, it's nobody's father Sat.
[00:17:34] Speaker B: Mark, are we saying that the original Blind Willie Johnson version did not have electric guitar with finder on it?
[00:17:39] Speaker A: No, I don't think so.
[00:17:41] Speaker B: You know, do you guys know this song's a pretty popular song?
[00:17:43] Speaker A: Yeah. Now after I hearing the parts, Yes, I know the song.
[00:17:46] Speaker B: It's cool. I mean, it's a basic riff, but it's cool.
[00:17:49] Speaker A: Yeah, I think it's cool. Like I said, I don't know what parts of the lyrics are original and what part he changed.
[00:17:54] Speaker C: Well, the slide guitar part is original for sure. That was back in that era during Billy Willy Johnson. I like that whole sliding part.
[00:18:01] Speaker B: Maybe we could look up the other version.
[00:18:03] Speaker A: I don't know what the other version is like, so I can't really tell you. I'm assuming there's parts from everything. They changed some other stuff. I'm assuming. Hey, at least they give him credit. So that's good.
[00:18:11] Speaker B: Yep.
[00:18:12] Speaker A: Let me read lyrics. So the chorus is just the Oz that ah thing is the chorus and then verse one is, oh, nobody fault but mine Nobody's fault but mine Trying to save my soul tonight oh, it's nobody's fault but mine verse 2. The devil he taught me to roll the devil he taught me to row oh, oh how to roll the lot you like it's nobody's fault but mine and this is a 6 minute 27 song. They go all out of the first song. Man. They don't give you a quickie at the beginning. They drag it out.
[00:18:40] Speaker B: No.
[00:18:41] Speaker A: All right, let's continue. Here we go.
[00:20:20] Speaker B: That was crippled Robert Plant on harmonica. Pretty good.
[00:20:23] Speaker C: Oh, was it?
[00:20:24] Speaker B: Yeah. The music is great. The breaks, the Things behind it comes in powerful.
[00:20:29] Speaker C: The specialty is blues. Makes perfect sense.
[00:20:31] Speaker A: The only thing I'm not too thrilled with is the odds are too much. I wish they cut them in half. That's the only thing I can say. I mean, it's not bad, but it feels like it drags so much. That part. Half of it would be good. I think for me, the original version may do that. For all the fuck I know. I don't know.
[00:20:45] Speaker B: It sounds very rubber plant ish. Especially what we heard on the first side.
[00:20:48] Speaker A: Yeah.
[00:20:49] Speaker B: Or in general. He's always.
[00:20:53] Speaker A: Harmonica solo was great. He did an awesome job on that. The one thing I was going to say during the Ooh and the Oz, there was that weird beat. I couldn't catch where the one was for a second. I was like, he like held off for like a quarter note or whatever the fuck it was. I was like, oh, that's weird.
[00:21:06] Speaker B: Yeah, they're known for kind of doing that. Some of the. Some of the off time stuff. And again, Bonham has this thing I may have mentioned in the first episode, and I'm pretty sure everybody said it. It sounds like he's playing right behind the beat. Not exactly on time. It's just slightly behind, but it's not off time. It's this weird thing he does.
[00:21:26] Speaker C: Really? I thought he was driving it, especially in the first.
[00:21:28] Speaker B: No, he does, but he just has this thing. And I'm not saying he does it all the time. There's this weird thing he does. I think even when Drumeo did a video about him, they said the same thing. There's this thing he does where it's almost not perfect, but it becomes perfect because of the way everything blends together. Even on the first side, they did a bunch of these cool little stops and weird things. These guys are amazing musicians and I'm really enjoying the music. I like the general melodies of what he's singing. But again, there is a lot of these kind of like you said, Mark Ooze and Oz that carry on a bit. Hey, if you're gonna do that, just do another jam.
[00:22:02] Speaker A: We're at 3:59, so we got over two minutes to go. I think there's a guitar solo coming up too. After the next verses. I'll see how far I let it play before I stop it. Here we go.
[00:23:52] Speaker B: I do like pretty much all the soloing on this record, which is funny considering the. The comment I made on the first thing. It was good. It's clearly Zeppelin. We spoke about Van Halen where you heard the Drums and you know that it was them. Even if you didn't hear Eddie playing. I mean, that's just bottom sound. I mean, yeah, you can pick out Jimmy Page for sure, but if you kind of caught this somewhere and you're like, if you know them and let's say you just didn't know this song for whatever reason, you're like, oh, that sounds like Zeppelin. And I think his drumming sound has a lot to do with it. Mark, would you. What'd you think of the solo?
[00:24:26] Speaker A: I thought it was good. I think some of the stuff in the first side was a little bit better, but it wasn't bad. I mean, it's a bluesy jam solo. It's totally fine. I have nothing wrong with it.
[00:24:34] Speaker B: It.
[00:24:34] Speaker A: I'm not going to really critique that. I think it was good. Have I heard other guitar players, I think play better blues than that? Probably, but for what he does and all that, everything else he brings to the table, it's not like the solo is bad. So I'm not really banging on the solo at all. I think it was good. Although I think the harmonica solo was better than guitar solo, though.
[00:24:53] Speaker B: I agree.
[00:24:54] Speaker A: What do you think, Frank?
[00:24:55] Speaker C: I was just gonna say the best part of that whole song was that harmonica solo, the way he just wailed in on there.
Really good. Yeah, I like it. You know, like when you think about. When I've always talked about Zeppelin, this is the kind of song I always thought about them. You know, that very bluesy, kind of guitar driven. And a lot of those oohs and ahs kind of thing. I like it. Thought it was great. And the guitar playing, of course, always awesome.
[00:25:15] Speaker A: Well, Jimmy Page is good, generally everything he does. Verse 3. Brother, he showed me the gong Brother, he showed me the ding dong Ding dong How to kick that gong to life oh, it's nobody's fault but mine Got a monkey on my back Monkey on my back Back, back, back Gonna change my ways tonight Nobody's fault but mine I'm gonna play this out. We only have 45 seconds. Here we go.
[00:26:24] Speaker B: They went back. It's funny, like, hearing him do that last piece, Rubber Plant. You can just hear some. His influence right on the front. Men of the 80s. There's so much of what he does. Not everybody, but a lot of them. And in what they did, I think a lot of them kind of try to replicate that. For sure.
[00:26:41] Speaker A: Yeah. 100. You can hear what a lot of the 80s bands got that from. And even 70s bands early.
[00:26:47] Speaker B: Yeah.
[00:26:47] Speaker A: Left Franco first. He wasn't here last week. Frank, you go first.
[00:26:50] Speaker C: To be honest with you, I'm gonna give this pretty much nine all the way across to me. Like, I shared. I've always considered Zeppelin like that very bluesy kind of band that. That's what drew me to them from the first place. So them doing this cover is really great. I love the guitar sound. That harmonica wailing in was great. I give this nine. Well, let me rephrase that. I'm gonna give it nine across for their part of what they did. So the music, the production, definitely gonna give that. I mean, the lyrics, you have to go back to the original writer. So they're gonna give that a 9 to that product person. Is that.
[00:27:19] Speaker B: I mean, lyrically, Mark, like you were saying, I don't know what was rewritten, what wasn't rewritten. The gong and the ding dong, ding dong stuff. I'm gonna say five on the lyrics. Definitely an eight on the music. I'll say a seven on the production. I'll say a seven on the melody arrangement. I'm trying to see where to ding a little bit. Like you were saying, Mark, a little bit less of that. I'll say seven on arrangement. I do like the breaks and everything like that. So I'm not gonna really ding it too much. Obviously. It's a really good song. Song, like, really strong. What do you think?
[00:27:51] Speaker A: I'm gonna say I'm not gonna kill the lyrics that much because it's written in 1927. It's kind of blues lyrics. I'm not taking this as anything more than that. So I'm gonna give it seven on lyrics. I think the melody's fine. I'm gonna give it seven. I'm gonna give it eight. Because I do like the solos, both of them. Guitar and harmonica arrangement. Yeah, that's where I'm gonna ding it a little bit. I'm gonna say six on that because there's too many odds. I like that they cut half the odds at the end of the song. So I like that better. And production, I'm gonna stay at 7 because I don't think it's any better or worse than the other ones. So that's what I'm gonna do. That's the best rated song so far, Sabrina.
[00:28:23] Speaker B: Oh, yeah.
[00:28:24] Speaker A: Yeah. Okay, so now we get a short song. Four minutes. It's short. Candy store rock.
[00:28:43] Speaker D: Baby, you want a man like me oh, baby, baby Just.
[00:28:48] Speaker A: As soon as everybody can be.
[00:28:56] Speaker D: Baby down the street oh, baby, baby, you're.
[00:29:14] Speaker A: Looking good enough to you.
[00:29:35] Speaker B: Not feeling this One to me, this is a throwaway. And I know some people are like, what? It kind of reminds me of Robert Plant post Zeppelin for some reason. Not necessarily the music and stuff, but the way his vocal sounds. I don't know. I'm. I mean, me personally, I'm. I'm not feeling this one. Mark, what do you think?
[00:29:52] Speaker A: I feel a 50s vibe in there, weirdly. Maybe it's because of that weird slapback delay that's on his voice.
[00:29:58] Speaker B: No, absolutely.
[00:29:59] Speaker A: That's what I kind of get out of it. Right. That's not just me.
[00:30:02] Speaker B: It's a little rockabilly.
[00:30:03] Speaker A: Yeah, kinda. It's not the strongest here so far for me.
[00:30:08] Speaker B: I'd say it's the weakest for me.
[00:30:11] Speaker A: Well, maybe it'll get better. I don't know. We'll see. You know what? Other parts of it, maybe they'll pull it out, but I don't know. What do you think, Frank?
[00:30:17] Speaker C: I hear a lot of Elvis influence in there. Like, if you sped it up by one, one more beat up, you're gonna have an Elvis song in there.
[00:30:24] Speaker B: Agree. I. I hear that. I was actually gonna say Elvis.
[00:30:29] Speaker C: Yeah, It'll be great. It would be great, Mark, if you took this song and put into some AI and have Elvis's voice come out and see what it sounds like. It'll be a hit.
[00:30:41] Speaker A: Yeah, it has a big 50s vibe, but I'm sure that was influential on them. My sonsha would be. So that makes sense. Okay. Lyrics. I mean, you know, it is what it is. Well. Oh, baby, baby, don't you want a man like me? Oh, baby, baby. I'm just as sweet as anybody could be. Oh, baby, baby. I want to look into your eyes of blue. Oh, baby, baby. It's more than anyone else could do. Verse two. Well. Oh, baby, baby. You know when I see you walking down the street. Oh, baby, baby. While you're looking good enough to eat. Oh, baby, baby. I don't believe I've tested this before. Oh baby, baby, I want it now in every mouthful more.
And the chorus is talk about you, you talk about you. So again, so far they haven't said the name of the song, which I guess we always like. I don't know if this is gonna get any better for me. We got a little bit more.
[00:31:34] Speaker B: Even the. The lyrics and the pairings are very reminiscent. Right. Of the old songs.
[00:31:39] Speaker A: Oh, maybe that's what they wanted to do.
[00:31:41] Speaker B: Yeah. This is intentional, obviously. So.
[00:31:43] Speaker A: All right, let's continue here.
[00:31:50] Speaker D: Oh baby, baby, baby.
Ra.
[00:32:53] Speaker B: I will say that the drum beat is really good. It's not simple. He's doing something really, really cool. I do really like that he could be playing this much more simple and he's not. To me, that is the best part of the song. And not that the guitar is bad. Again, clearly it's an intentional song. They did something a little bit heavier over what was going on in terms of melody. Not this vibe. It would have been probably a better song because it is driving kind of in the back. I'm just not taking what's going on over it. So, Mark, are you still in the same ballpark? Have you.
[00:33:26] Speaker A: I was just gonna say that the drums, to me, are the best part of this song. Guitar's fine. Bass, I'm not really catching a lot going on here that stands out to me. But the drums are the best part. You know, the lyrics to me, I think. And the vocal. Not that his voice is bad.
[00:33:38] Speaker C: Bad.
[00:33:38] Speaker A: I think they're the weakest part of the song. No, just because of the way the melody is. I'm not a big fan of the melody. I'm not a big fan of the way the vocals are going on. And whatever arrangement is going on here. And whatever guitar solo that was, that wasn't bad. Again, not the best. I think the last song was better and I didn't like that as much as I liked some on the first side. I think that solo is better than this. This feels like filler. Led Zeppelin has any kind of filler. This feels like filler.
[00:33:59] Speaker B: I agree.
[00:34:00] Speaker A: We think, Frank.
[00:34:00] Speaker C: I'm liking it. I think that right now they have that classic 50s rock and roll sound. Like I said, if they were to go up one tempo up, they're gonna sound like an Elvis song. Or they could have Zaz and they got a Rockabelli song going on over here. So I'm kind of liking it. I agree.
[00:34:14] Speaker A: 100.
[00:34:15] Speaker C: This has that filler song kind of vibe. But unlike other filler songs that suck ass, this one is pretty rocking. I like it.
[00:34:23] Speaker A: Well, we said last week too, that Led Zeppelin has so many a tier songs that when you get a song that's not a tier, even though it's good, you feel it's missing something. Because their a tier songs are so good.
[00:34:33] Speaker C: Yeah, listen, it's like that quarterback that throws six touchdowns a game, and all of a sudden they have one game, they throw three. It's like, oh, he sucked. For me, this sound right here just shows you how great musicians they were. They really. This is like. Like I said this to me sounds classic 50s rock and roll potential rockabelly sound. I like it for a filler song and it does have filler song vibes. It's still a great song. So just think about that. Like their filler songs is still better than most bands. Better songs.
[00:35:00] Speaker B: They were accomplished musicians and going through their whole repertoire. They do have different sounding songs in different styles. I totally understand what you're saying in terms of what they can do.
[00:35:12] Speaker A: Frankie might be turning me around on this. He's making a very good argument.
[00:35:15] Speaker B: He won't turn me around.
He won't turn me around because I don't like Elvis either.
So that vibe too. I've never been a fan. Yeah.
[00:35:26] Speaker C: Really? Wow.
[00:35:30] Speaker B: I've never been. I can count on one hand the songs by Elvis that I know and like. I kid you not.
[00:35:35] Speaker C: How about any rockabilly? Do you like any rockabilly band? Any rockabilly songs?
[00:35:39] Speaker B: Not. Not a. Not a big fan.
Not a big fan of rockabilly either. Honestly.
I'll listen to anything and I'll like anything. So it isn't as if. No, I don't. I've heard rockabilly alike and rockabilly. It's not something I seek out.
[00:35:53] Speaker A: Here's the verse three. Oh baby, baby you know that I wanted it more oh baby, baby I'm about to kiss goodbye to the store oh baby, baby it ain't the wrapping that sells the goods oh baby, baby I got a sweet tooth, tooth. When my mouth is full of you. Chorus talk about you. Oh, you talk about you you talk about you oh, you talk about you. He says you weird in the chorus too. And then bridges. Oh, oh baby, it's all right, it's all right. Oh oh baby, it's all right, it's all right. Song's taking forever. We're only halfway through this. I don't know why. It's only four minutes and 31 or whatever it is. Four minutes 11. Let's continue. Here we.
[00:36:31] Speaker D: Me sa.
[00:38:25] Speaker B: Is that it? That was a quick two minutes. They do repeat things a lot on this record. Probably more than they've done in the past, unless I stand corrected, which is possible. Don't have everything memorized or exactly remembered. But there's definitely seems to be a lot of repetition of poor parts and those parts are cool. And I also picked up on the bass doing some pretty cool fills in there. Obviously the drums are really good. The timing of the stuff that they're doing. I mean for that part I think it's good. Mark, any. Any mind Change.
[00:38:52] Speaker A: Caught a little things here and there. I heard the bass a little bit more now, you know, lyrics are what lyrics are. He's reusing things that have been used forever. Verse four is, oh, baby, baby oh, you sting like a bee. Oh, baby, baby I like your honey and it sure likes me. Oh, baby, baby I got my spoon inside your jar. Oh, baby, baby don't give me too much, don't make me starve. That stuff's been used a lot. All over the place. Honey, spoon, jar, garden.
[00:39:19] Speaker B: Logging your fireplace.
[00:39:20] Speaker A: Logging your fireplace.
This is better than logging your fireplace.
[00:39:25] Speaker D: You like that, huh?
[00:39:26] Speaker B: I do like that sweet tooth line. I thought that was clever.
[00:39:29] Speaker A: Not much better than logging your fireplace, but it is better.
[00:39:32] Speaker B: Yeah. Yeah. I mean, the same kind of. Right, metaphor.
[00:39:36] Speaker A: Yeah, pretty much. Verse five is, oh, baby, baby Sugar sister on a silver plate oh, baby, baby I need a mouthful and I just can't wait oh, baby, baby I see the shaking in my hand oh, baby, baby don't mean to fumble but it tastes so grand Tastes so grand, Tastes so grand. There's a lot of repetitive and then the outro just, oobe, ooh, ooh, oohs and babies. It's all rights all the way to the end. Sometimes I think, do they do it just to make the song longer or they really want to do that?
I don't know. On this album, it feels like they put those things there just like in the last song, just to stretch it. Did they not have a lot of material for this? Just the way this thing ended up being, maybe. I don't know. And they were trying to stretch songs out, you know, four minutes, where it really wouldn't be a four minute song. This is, to me, like a two minute song. Three minutes, maybe. The mere fact that it's 4:11. It's a lot.
[00:40:26] Speaker B: I mean, unless they just sat there jamming, saying, oh, I just want to keep going. I mean, again, the bass and the drums are really cool. It was a really cool beat.
[00:40:33] Speaker A: There are good parts of this song.
[00:40:35] Speaker B: Yep.
[00:40:35] Speaker A: You're gonna go first because I know you're gonna slam this. So go ahead.
[00:40:38] Speaker B: Let's see. I'm gonna say a seven on the music because of the drums and the bass and that cool little breakdown that they were doing, which, again, I think there's a lot of cool breakdowns on this. On this album. Typically, they are very good at breakdowns. The lyrics, I'm gonna say a five again. The melody, I'll say five as well. Arrangement, I'll say six. Just because of the Breakdown. Even though I went on too long, I don't know if I want to give 5 or 6 for the arrangement because of some of that stuff. You know what? I'll say five on arrangement because I, I gave the music what it was, production. I mean, for what it is, it's fine. But I'll say six. I mean, this is hands down my least favorite song on this record so far. Frank, you were digging it. Maybe you can go up and then we'll see where Mark goes.
[00:41:20] Speaker C: Yeah, you know what? So like I shared. I mean, to me, this is classic rock right here, right 50s vibe. And they just went up a little bit in the tempo. And you put Elvis's voice in there. This is. Okay, maybe not with the lyrics, the innuendos and stuff, but you put Elvis's voice in here. All of a sudden this is like this song is. Is scoring a lot higher because it's Zeppelin, you expected more, whatever. And it has that filler vibes. It to me, as far as arrangement, music composition, I'm giving that sevens, the lyrics and the melody. I think they could have done a little bit better here. So I'm giving those sixes. Clearly, so far, what I got from this album, this is a. This is a band that wants to jam and they're just trying to figure out where does robber plant fill in in there. It's kind of like, all right, maybe you should speak less and let us jam, you know, and sing less. And maybe perhaps that's where you hear a lot of the extended oohs and oz. Because there's someone that wants to fit in to that jam session a little bit.
[00:42:16] Speaker B: Could be. I mean, especially the situation.
[00:42:17] Speaker C: This is a great up tempo song for the 50. Or they could have gone the other way and done some crazy stuff with the bass. And this is belly song.
[00:42:24] Speaker B: Big upright bass Mark.
[00:42:25] Speaker A: I don't know. I think I'm gonna go somewhere in the middles with everybody. I'm gonna say six on lyrics. There's some interesting innuendo there. That's fine. Melody. I'll say five. I'm not a super big fan of the melody. Seven on music. I do like the drums. I do like the bass. Even the guitar is fine. I just think there's other stuff on this album I like better. And this so far is my least favorite arrangement. It's fine. Six and I'll give the production a six. Not my favorite on Here Here Again, like Frank said, even Led Zeppelin's filler song is probably better than a lot of bands. Good songs.
[00:42:55] Speaker C: Yeah, it really is. I mean, we've heard Phyllis songs on this podcast before. And what do we rank them? Threes, twos, maybe fives. And look at this band's filler song. And they're in the sixes and sevens.
[00:43:07] Speaker A: Oh, yeah. No, 100%. This is hots on for nowhere.
[00:43:19] Speaker D: I've got to burn in the heat of the moment no one's going to be in the heat of the day When I learn how my time I've been wasting Dear fellas I turn away I got friends who will give me the shoulder Then I should have to go the time and if I go older Got friends who will give her flop.
[00:43:58] Speaker B: It'S funny, when I heard the title, I said, oh, that sounds like a song that David Lee Roth would write, a title like that. And I could absolutely picture him singing over this, like, without a doubt. Even the lyrics is something I think he could write.
[00:44:11] Speaker C: Oh, my God, SAP, I gotta tell you, I'm not kidding you. I was thinking the same thing. Or Poison, Brett Michaels or Poison, you know, like doing the same thing with that. And it's also to show you, like, how influential they were for generation that you can actually hear some of our more modern rock bands say, I can hear David Lero doing this. I can hear Brett Michaels doing this. I keep Bobby Doll playing this baby baseline.
[00:44:34] Speaker B: You know, in the world of rock, it's Beatles, Zeppelin, Sabbath, depending on how heavy they went. I mean, these are names that just come up all the time. Even now, God knows how many years later and who knows how many more after. You have to give these people credit. Whether you like this song or not, or, I mean, whatever it is, you always have to give them credit.
[00:44:55] Speaker A: You want to know something, though? While that was going on, I had Flashbacks of bad-80s bands trying to do songs like this.
I heard it and went, oh, wow. I've heard bad hair metal bands, the B and the C and the D level hair metal bands. Toward the end, this is a song that they would try to do. This is a groove that they would try to do. And I didn't make the connection really all the time between those two things until I heard it right now. I was like, wow, they're trying to do that, but they can't really do that. It doesn't really work for them. It's like trying to do the blues thing. Every hair metal band tried to do the blues thing, and it just came over off feeling very fake.
[00:45:31] Speaker B: Y.
[00:45:31] Speaker A: The same thing with this. I hear bands trying to do this thing. Back then I'm like, wow, I didn't make the connect. But now hearing this, I was like, ooh, yeah, there you go.
[00:45:39] Speaker C: And how many vocalists put all the efforts to try to sound like Robert Plant? Sorry, how many? How many change the pitch of their voice just to sound like Robert Plant as much as possible?
[00:45:47] Speaker B: I mean, think about it. Hey, you sing like Robert Plant. Wow, thanks.
[00:45:51] Speaker A: This the worst people to sing like.
[00:45:53] Speaker C: Mark, was it you that sent that Instagram one time when someone said, why can't guys look like this guy here? And there's a picture of Robert Plant when he was young. And then Robert Plant today wrote back, oh, that's me. It was like, don't be crazy. And I was like, no, seriously, that's me. Was that. You said that?
[00:46:09] Speaker A: Yeah, I sent that.
[00:46:11] Speaker C: That was the most hilarious thing. She's like, don't be a perv. No, seriously, that's me.
[00:46:18] Speaker A: It's too funny. Verse 1. I was burned in the heat of the moment Moment Though it could have been the heat of the day When I learned how my time had been wasted Tear fell as I turned away Now I've got friends who will give me their shoulder When I should happen to fall the time and his bride growing older I've got friends who will give me all La la la la la la yeah La la la la la My baby La la la la yeah La la la la he always throws those in there. He likes ooze laws.
[00:46:47] Speaker B: The lyrics are pretty good, though.
[00:46:48] Speaker A: I like the lyrics a lot. All right, let's continue. Here we go.
[00:47:05] Speaker D: Deer searching hot Trying to find a day Turn around and look for the snowman late I don't ask at my feet full of clover I don't roll at opportunity.
[00:48:02] Speaker B: Again the music is strong. I think the groove is strong. I can do without the la la was. I was trying to think if they had, let's say, like a little gospel choir, kind of like the female vocal doing that part. I think I would like it better if it wasn't just him doing it. It sounds almost funny when he does it. And Mark, like you were saying before, if they're adding some stuff to make the song longer because there is a lot of oohs and las and las all over this thing. And I think the song would be better served without that even just play it on guitar like banana.
I think that part would be better served for me.
[00:48:42] Speaker A: What do you think they do add that little extra thing here and there. I mean, I like the groove. I like the riff. There was that drum part toward the fifth and sixth verse that he changed up, like he stopped playing, but the guitar went. That was great. And I'm not really talking a lot about the guitar, but the guitar is good in this too. I like everything in this. I have a lot of stuff to read, so let me get through this because it's too much. I have like four verses here. First three. Corner A bleaker in no way in the land of not quite day A shiver runs down my backbone Face in the mirror turns gray so I looked around to hitch up the reindeer Searching hard trying to brighten the day I turned around to look for the snowman to my surprise he melted away and a chorus. And now the next verse. The moon and the stars call the order inside my tides Dance to ebb and sway the sun in my soul sinking lower While the hope in my hands turns to collect I don't ask my fields full of clover I don't moan an opportunity's door and if you ask my advice Take it slower Then your story be your finest reward I actually like. There's a lot of good words in there.
[00:49:44] Speaker B: Lyrically, I think this is one of the best songs. Without a doubt. Yeah. They feel like they have a lot of meaning. There's some good stuff. Like Achilles Last Stand had some pretty good words from what I remember this one, too. I like it.
[00:49:54] Speaker A: We're only 152 into this. A four song. Something. I don't know how. It's only that little bit.
[00:49:59] Speaker B: It's the La La, man. I'm telling you, man.
[00:50:02] Speaker A: Seriously.
[00:50:03] Speaker B: Yeah.
[00:50:04] Speaker A: Here we.
[00:51:07] Speaker B: The way that's played and the drum plays, it's reminiscent of Black Dog. That's kind of what it reminds me of because it's after the. That's not that part. But the. The part after that. I want to say I'm drawing a blank on Black Dog, which is sacrilegious. I want to say that's what it reminds me of.
[00:51:26] Speaker A: You know what I was thinking to that whole song? Early Aerosmith.
[00:51:29] Speaker B: I hear that.
[00:51:30] Speaker A: Just the guitar tone, that little reverb thing that's going on. The tone and everything behind it just felt like a. I felt like an Aerosmith break in the middle of earlier Aerosmith album. Album. Which they probably got from Led Zeppelin, I'm guessing.
Even though this is later on. I just think that that's what it sounds like to me. I don't know. Maybe because it's the 70s and maybe that's the reason why. I don't know. But I couldn't get that out of my head.
[00:51:52] Speaker B: But it still sounds Zeppelin.
[00:51:54] Speaker C: I was going to ask you, wasn't this after this Aerosmith debut?
[00:51:57] Speaker A: Yeah, right.
[00:51:59] Speaker C: Maybe it's that style during that time. This song just highlights. It's a band that wants to jam. How do we get Robert Plant part of the thing? And that's where you get the Oola and stuff like that. Because like Savino said, you can very easily get rid of a lot of and just do a lot of guitar in there. It'll be an awesome song.
[00:52:15] Speaker A: It's part of their style, though. They've always done that. Even in the A tier of songs. There's some of that. I think here it's meant to stretch things out. I think, as maybe in the other songs, it's more of a compositional thing and an arrangement thing. That's why I feel about this album so far. Not that it's bad, but again, you know, you have a song that's 10 minutes, you could have had three songs or two and a half songs in that same timeframe.
[00:52:38] Speaker B: Going back to what you said about like some of their A tier songs, I don't remember hearing a Zeppelin a tier song where I said this part goes on too long. I don't remember ever saying that in any of those songs. You know what I mean? Whereas here I'm saying it's kind of goes on too long.
[00:52:53] Speaker A: Yeah, well, that's true. I can't disagree with that.
[00:52:56] Speaker B: That's my criticism. And I think the production. I don't. Overall, I think the production is a little bit weak on this record. I know Jimmy Page produced it, but I do feel it's a little weak. And I don't know if it's. Because, I mean, if this is still the remastered version, if that really makes much. If there is much of a difference. I'm not sitting. I will not sit here and say, oh, oh, Richard Master. So it doesn't sound. I don't know. I don't have anything. I. Like I said I had this on cassette, but I don't remember what that sounded like. I don't really have an audio memory in my head to compare it to.
[00:53:22] Speaker A: Yeah, me either. Let's continue. Here we go.
Sky.
[00:54:06] Speaker D: Hey baby hey baby hey baby I lost my baby hey baby hey baby really, really hey.
[00:55:17] Speaker B: It'S almost as if. If Zeppelin is doing a caricature of themselves, if that makes any sense. Because I do hear the classic Zeppelin in there. But just like I had mentioned in the Bon Jovi, I think that two or three Albums ago, this song would be a different song. It might even be a classic. Whereas now I. Again, I almost. Not that it's a throw, it's not a toy, because the musicianship is still good, but I think the song itself as a whole is. It's not really a standup. I don't know. What do you guys think?
[00:55:48] Speaker A: I agree. There's got to be other factors here that made this thing the way it is. It's the fastest recorded album since the first one. I don't think they were expecting to do this. I know he got hurt and then they couldn't go out on tour, so they had to do this. And some of them were in exiling in the USA because attack stuff in the uk and they can't go back. All these things together maybe just made this album the way it is. There were really good parts of this album. I'm not saying I even hate this song, but you're right, it does feel like, oh, who's trying to delete Zeppelin? Oh, they're trying to do themselves. That's what it comes down to, really. Some things are just so strung out. Even that little guitar part where he did it and then they went back to the thing again. Then they did the part again. Did you really need to do that? Probably not. Maybe they just didn't have a lot of material and they were trying to stretch out the material. They did have to fit one album's worth of stuff.
[00:56:34] Speaker B: It's possible there's a story somewhere, I'm sure.
[00:56:36] Speaker A: Oh, I'm sure There's a story. 100%. I'm gonna read lyrics and then we'll see what Frank, verse 7. Lost on the path to attainment Search in the eyes of the wise When I bled from the heart of the matter I started bleeding without a disguise. That's great lyrics overall.
[00:56:51] Speaker B: Good lyrics on this song.
[00:56:53] Speaker A: And then the next is now that everything's fine under heaven and now and then you've got to take time to pause when you're down on the ground don't be messing around or you'll land on the boat without oars Even that they fit that rhyme in there is great. And then there's the La la's and the hey babes and the O's toward the end. Well, we'll let Frank go first. Frank, what did you think of this?
[00:57:11] Speaker C: Like we talked earlier, right? You take out the word Zeppelin, Led Zeppelin, and put in like, let's say, the Blimpies. And we're talking about this song in a Much different tone. We're like, wow, this is amazing, right? But because of Led Zeppelin, they're much higher level and you expect something different, more higher tier. I like the song. I like it a lot. As far as the album itself, I think this is a band that's just trying to stay tight during their exile, if you will, of sorts. And it's still good. Even their filler songs are still good. And I just like it a lot. I thought especially this song here and that. That guitar break there. I liked it a lot. But again, I don't think it's terrible at all, by any means. And still better than probably most people's, you know, A game, even though this is their B game. I'm gonna give this seven across. The lyrics are really good. You know what? I'm gonna give the lyrics and the melodies an 8. Everything else, I'm gonna give sevens across. I really do like it a lot. Great arranged, good lyrics, as you said. Production, arrangements, they're all great. Saf.
[00:58:05] Speaker B: I will start by saying I'm gonna give the lyrics an 8, especially since I dinged the ones before 4 music. I'll say a 6 on the music. Production, again, I think it's weak. I'm gonna give a five in production, especially since that last part, we kind of came back in with that kind of bluesy thing with the. With the guitar. It got louder and I think it sounded good. And I kind of wish the whole song had that. It. Just when that volume came in, I was like, yeah, you know, where was that volume before? On everything. Melody. Melody's fine. I'll say six. Six an arrangement. I'm gonna say five again. Parts that are repeated even though they're cool when they're done too many times doesn't become as cool. And again, that La LA thing I thought was kind of laughable. And I feel bad saying this. I. I am a Zeppelin fan, without a doubt.
[00:58:52] Speaker C: Wow. All I gotta say before you go, Mark Savino, don't. Don't walk to the parking lot alone. Might get jumped by whoever's listening tonight.
[00:59:01] Speaker A: Yeah, yeah, I think. Eight on lyrics. I like the lyrics a lot. Seven on the melody, seven on the music. The arrangement's fine. Seven on the arrangement, six on the production. Yeah, I agree that that guitar part was nice and loud. And you wish some of the parts would be that way. Again, like Frank is saying, the filler stuff is better than some people's A game. Because really, this song, even with all your things, it's still seven. I think the only One that got a six is the prior one. Candy Store Rock. I mean, this whole album is basically going to be on the playlist.
[00:59:30] Speaker B: Is it? I mean, I know that you had read before that it kind of. It's more appreciate now than it was before. I'm not trying to be sacrilegious because I am a Zeppelin fan and I can name pretty much every song on every album before this. Ultimately, I know, knowing then that their last two albums are not necessarily considered the best ones.
[00:59:48] Speaker A: Well, no, but almost all those songs are a level songs. That's the problem. It's not easy to compare these songs to those songs and not make that comparison, even if you don't want to. It's impossible. They have so many good a song.
[00:59:59] Speaker B: And listen, the musicianship is that there. Right? We're not. We're not dinging their plane. It's not that musician wise, I think they're still firing on all cylinders. Some of the breaks that they're doing, the bass parts, obviously, the drum parts, guitar parts. I mean, I'm liking the solos considering that I said typically I don't always like his solos, but I think soloing is doing a pretty good job. I think it's just maybe in the. The general kind of thing where that we kind of say over and over, like the production. Yeah, maybe with. With a different production too. Like a louder production. There's stuff previous to this. It would make more of an impact. Even the guitar though. There's some stuff I think he's doing in the background that's cool. That's kind of gets buried.
[01:00:35] Speaker A: Yeah, I agree.
[01:00:37] Speaker C: You know, like I said, I think that this is a album where the band just wants to jam. I think if you let the rest of the band jam less singing this, this would have been a kick ass album.
[01:00:47] Speaker B: I can agree to that. There's parts where I said to myself, I almost wish this was an instrumental for a few of these.
[01:00:52] Speaker C: Definitely.
[01:00:52] Speaker A: Well, the next one coming up is 9 minutes and 25 seconds. Seconds.
[01:00:56] Speaker C: Jesus Christ. You know what? Just the length of these songs. This is a band that wants to.
[01:01:00] Speaker A: Jam or a band that didn't have a lot of material. One of the two. This is T for one. I'm going to try to like get through this. I'll stop it in strategic places. T for one.
[01:02:12] Speaker D: It 24 hours living a day oh, 24 hours, baby sometimes seem to sleep in a day one minute seems like a life Sitting looking at the cloud I've been watching for the hands to move Until I just can't look no more I got 24 hours oh, baby Sometime slipping today.
[01:04:41] Speaker B: A.
[01:04:41] Speaker D: Minute seems like a long time Feel this way.
[01:05:02] Speaker B: I wasn't crazy about the intro again. I felt more caricature, them doing like a caricature of themselves. But then once it kicked into this thing, I mean, I think this is. This part's really, really good. I think they do this really well, really authentically. I like the melody. I like the way he's using his voice. I actually really like the production on this one so far. I think this is the best song on the second side. Me personally.
[01:05:25] Speaker A: 100 now. Do you know what this sounds like, though? Who it sounds like or no, what this sounds like? What other song of theirs? This sounds like a few.
[01:05:35] Speaker B: I mean, they've. They've done stuff like this before. For which one are you thinking specifically?
[01:05:40] Speaker A: This is basically Since I've been Loving you. And they did it on purpose. He said he wanted to hear what a band would sound like now, comparatively to when they did that all those years before.
[01:05:50] Speaker B: That's on the first one. Yeah.
[01:05:52] Speaker C: Yes. Yeah. How many years was it at this point? Let me see. That was 72.
[01:05:57] Speaker B: No, no, I think it was 69 there, their first album.
[01:06:00] Speaker C: I thought it was 72.
[01:06:02] Speaker A: Regardless, it's either four years, six years, whatever it is. So that's what it is. Yeah, they do this very well. All the guitar is really good. His vocals are great. The drums are great. The bases. This is in their wheelhouse. And the mere fact that they were using the same progression as Since I've been loving you just to kind of see how it would change and how it would be different now. I still think Since I've been. Love you is a better song overall. This is going to have a lot of instrumental. This is going to have a lot of guitar solos. And I'm sure it's really good. This, to me, is definitely the best song on the side.
[01:06:29] Speaker B: Yeah.
[01:06:30] Speaker A: For me, anyway.
[01:06:30] Speaker B: It was on Zeppelin 3.
[01:06:32] Speaker A: I'm sorry, it was on 3. Okay.
[01:06:34] Speaker B: Which. So the first one came out in 69. Zeppelin 3 came out in 1973.
[01:06:40] Speaker A: Albums that quick.
[01:06:41] Speaker B: Crazy.
[01:06:42] Speaker A: So the chorus is. How come 24 hours, baby sometimes seems to slip into days? Oh, 24 hours, baby sometimes seem to slip into days When a minute seems like a lifetime oh, baby when I feel this way Sitting looking at the clock oh, time moves so slow I've been watching for the hands to move Until I just can't look no more how come 24 hours, baby sometimes seems to slip into days I mean, it seems like a lifetime, baby when I feel this way and that's really it. The funny part about this is that the part we're out here is almost the whole song of Hots On For Nowhere. That song felt like it dragged all the way through the four minutes. Minutes. And this song, we're already almost four minutes already. And it doesn't feel that long.
[01:07:25] Speaker B: Is it really? I never would have thought that it's 3:48. I thought we were at the two, two and a half minute mark.
[01:07:30] Speaker A: So I think we're gonna get some kind of instrumental here. So here.
[01:07:46] Speaker D: It.
[01:10:02] Speaker B: What do you think, Mark? I'll let you go first on that part.
[01:10:05] Speaker A: There are parts I really like and there are parts where it feels like I can't hear what he's playing because it's either so low. And I don't think it's the production. I just think he's hitting so lightly because he's trying to make dynamic feel in that that doesn't work as good as I think he wants it to work. Work. I mean, realistically, it's really hard to play that long of a solo and be interesting. There's very few people who can do that. And especially in the. In the blues thing, there are people that just come to mind. I'm not going to say who, but do that much better.
[01:10:36] Speaker B: David Gilmore.
[01:10:38] Speaker A: David Gilmore. Stevie Ray Vaughan in something like this. Hendrix probably in something like this. Probably Jeff Beck in something like this.
[01:10:46] Speaker B: This.
[01:10:47] Speaker A: Eric Clapton in something like this. I don't always feel that's his strength. And there's parts I really like. And I think overall it's fine. It's just. It's so long that you almost start to repeat yourself because you don't know what to do because you've ran out of things to do. And some of the light stuff was so light. Am I actually listening to guitar? Like, where are those notes? I can't hear them. They're so light.
[01:11:06] Speaker B: I mean, overall it was good. I kind of did the whole. I kind of closed my eyes and listened to it. My first thought was, was. And again, not that it was bad. I be like, God, David Gilm would be ripping this right now. That was my thought. I could have heard Hendrick on this as well. And yeah, now then you mentioned, like, Stevie Rayvon, obviously, again, I think he plays what he wants to play and. And it's what he wanted to do. I think it's the vibe of the song that I like and obviously not that it's anything different. But whatever this is, they do it well.
[01:11:33] Speaker C: I agree with the two of you right here. Right? So, so many great guitarists. And you just think, Steve Ray von for sure. I can hear it ripping it up on this one. I'm digging it. Sav, to your point, you just close your eyes and just get into the groove of it. I didn't hear that low point until Mark pointed it out. I'm gonna have to do a re listen, but, yeah, I could definitely hear it in a way from what I remember. But I like it by far. This is definitely one of their best songs on the. On this side.
[01:11:57] Speaker B: I think it's their best song on this side, personally, so far. I like the way they do this. I like the vibe, the simplicity of it. The vibe of it. Like, that's what it is, is ultimately.
[01:12:06] Speaker A: And I just want to reiterate. I'm not saying it's bad. I liked a lot of what was going on in the solo. I just heard other people playing it going, okay, they. They just would have done it better. And that's not a slight on him. The guitar players that I'm saying, they're legend guitar players. If we're saying that David Gilmore would play this better, that's not a slight on him whatsoever. It is what it is. And it still was good. I would listen to this. I wouldn't shut it off the groove. I like the slow blues of this. I don't hate this at all. I'm generally a sucker for slow blues anyway.
[01:12:33] Speaker C: Me too.
[01:12:34] Speaker B: Hey, listen, I've complimented his solos on this record. Reiterated me the comment in the first one where I said, I don't always appreciate his soloing, but I think he's done some pretty interesting stuff overall here that fits with the song and still interesting. No slide. I mean, come on. How do you slay Jimmy Page?
[01:12:50] Speaker A: I know, right? No, the only thing you can do is just compare him to himself of his own songs. And that's the only thing that goes on.
[01:12:58] Speaker C: I know one of the things that you used to play around is like, who would be a super group and who will you pair them with? Who would you pair Jimmy Pay with in your super group?
[01:13:04] Speaker A: I don't really know. I'd have to think about that a little bit. All right.
[01:13:07] Speaker C: Think about it.
[01:13:07] Speaker A: Oh, I know who them with.
[01:13:08] Speaker B: John Bonham and John Paul Jones.
[01:13:10] Speaker A: I think I was gonna say that.
[01:13:16] Speaker C: Just take him out of there. Just like. So I wanna. I definitely want to see that documentary that's out right now about them. You want to talk about A super group that just happened organically. In a way, this seems. I mean, I haven't seen the documentary yet, but it just feels like these are just four very talented people that just happen to get together at the same time at the same place. I don't know if they were scouted and put together by someone. It just. It's amazing how these four individuals, so great at what they did.
[01:13:43] Speaker B: Not too many groups have legends at every position. Even like the Beatles. Legends at every. Every position. Listen, Kiss, whether you like them or not, legendary at every position.
[01:13:53] Speaker A: Yeah, it's good. Believe it or not, we're already six minutes into this already. I felt like the last song drags so much, so much. And this is nine minutes and we're already three quarters of the way through.
[01:14:04] Speaker B: Agreed. I would never think that we were at six minutes in. It's definitely not.
[01:14:08] Speaker A: Let's continue. Here we go.
[01:14:14] Speaker D: Sing a song for you I recall you oh, baby this one's for we do.
There was a time that I stood on in the eyes of resonance.
[01:15:35] Speaker A: But my.
[01:15:36] Speaker D: My own choice I left to me and now I can't get back again I've got 24 hours some days like a life A minute seems like a life Dance I feel this way.
[01:17:21] Speaker B: That felt half as long as some of the shorter songs on this side. I thought he was going to go into maybe another solo. He's kind of building up and. And then again, he does these things where he brings out these parts that he hasn't played in any other part of the song. He just throws them in at the end.
[01:17:37] Speaker A: Yeah. Like we said in the first side, he throws some riffs in, which would be riffs for other people's songs, but he just throws into a song.
[01:17:43] Speaker B: Yeah, yeah. Just have this little piece.
[01:17:45] Speaker A: And I have to be remiss if I didn't really say anything, like, about his guitar tone on here. I generally like his guitar tone on this. This song especially. But the whole record, it's not bad. Like, he has very interesting change and sound and different guitars and different things. He's doing a really good job, but that's par for the course for him.
[01:18:01] Speaker B: He's a Les Paul guy, right?
[01:18:03] Speaker A: In the studio, I think it was a lot more Telecaster live. He played Les Paul's. But I think Telecaster was a lot in the studio, from what I gather for this album.
[01:18:13] Speaker C: I think he played a lot of the Telecaster.
[01:18:15] Speaker A: Yeah, he always has. I think on all those recorded things, it's almost all Telecaster. I think I'm not 100% up on that, but from what I remember, everyone always thought it was Les Paul, but I think it was Telecaster. I'm not saying there wasn't Les Paul on stuff, but I think there's a lot of Telecaster.
[01:18:29] Speaker B: Telecaster has a lot of that higher trebly thing, right?
[01:18:33] Speaker A: Yes. And really Les Paul's actually have a lot of that, too, believe it or not. The older ones, they have very telecastery sound. Even though they're not the same kind of guitar. It's just very strange. Yeah.
[01:18:44] Speaker B: No, because Springsteen's a Telecaster guy.
[01:18:46] Speaker A: Yeah. A good Les Paul has a Telecaster sound to it, which is kind of weird. Say it does. All right, let me read the last of the verses and then we can. We'll have Sabina go first, verse two to sing a song for you. I recall you used to say, oh, baby, this one's for we too. Which in the end is you, anyway. And then, of course. And then verse three is. There was a time that I stood tall in the eyes of other men but my own choice I left you woman and now I can't get back again and then chorus outro. Well, what do you think? So what are you going to give this half?
[01:19:20] Speaker B: I'll say eight on the production. I think it's produced perfectly for what it is. And I'll say seven on everything else. I do think it's the best song on this side. It definitely felt like the shortest song on this side. I must have been definitely into it. And I know you let it play more than some of the other stuff. It wasn't maybe cut up as much. When you were telling me there was 2 1/2 minutes left of something else or whatever was on the other side, I said, are you kidding? Kidding me? When you said it was six minutes in, it's like, wow, it didn't feel like that long. So what do you think, Mark?
[01:19:48] Speaker A: I think I'm gonna do eights across. I like the song a lot. I think it is the best song on the second side. It's really good. So that means I have to do this.
Frank, what do you think?
[01:19:59] Speaker C: Mark, you're gonna have to play that again, because for me, this is eight across. And let me tell you, if we were listening to this song on vinyl, I might give it 10 across. Wow, this is so great. By far the best song that we've heard on this side. It moves so fast because it's so good. It's so slow and wow. It's just amazing. Love it a lot so, yeah, eight across for me.
I definitely want to hear this song on vinyl. I definitely want to hear now on vinyl. See if there's a different. If it comes up with a different vibe, it definitely will.
[01:20:31] Speaker B: I think the album in general would come across differently on vinyl, you know.
[01:20:35] Speaker C: And that's one of the things that I sometimes wonder when we do these podcasts. Like, there's certain bands that you want to hear them on vinyl. And if we heard them on vinyl, would our score rating be different?
[01:20:45] Speaker B: It would affect the production sound for sure, yeah.
[01:20:48] Speaker A: Well, I'm glad the Wheel picked this because it could have picked any Led Zeppelin, but it picked this to throw at us. And I think it's an album that we probably wouldn't have chose on our own. Or you probably won't go, I'm going to go listen to Presence today. I mean, unless you're a gigantic Zeppelin fan. You listen to them all the time, which I don't listen to them all the time. If a song comes on, I leave it on. I would never have picked this for myself. So again, it's that discovery thing for us. Like, wow, we know some songs on here, but you know, there's a bunch of songs we don't know.
I thought it was great.
[01:21:16] Speaker B: Yeah, I'm glad we got it too. I was actually happy when I saw it come up.
[01:21:19] Speaker A: All right, so I want you to do your thing.
[01:21:21] Speaker B: So we are part of the Deep Dive podcast network again, like I always say, great bunch of guys took us in right away. If you want individual podcasts about bands, check them out. You name it, it's on there. Queen Zeppelin's got to be on there. Maybe they'll have something to say about our scores and ratings, good or bad. And yeah, so go check them out. And mark, where can they find us on the interwebs.
[01:21:42] Speaker A: Rock with that pod. All the social media. Rockwithpodcast.com is our website. Go buy some merch. Go put a new bets in. Throw us an email to say you want to put an album on the main list if it's not there already. Tell so much. We suck and know nothing about Led Zeppelin. And we should know why this sounds the way it is and why it's as long as it is. And all the things that we don't, we don't know.
[01:22:01] Speaker C: And for the record, Savina was the one that gave the negative marks, not me.
[01:22:05] Speaker B: Negative, right.
[01:22:06] Speaker A: Like this.
[01:22:06] Speaker B: And I gave some lower scores to the other stuff. We try to be honest.
[01:22:09] Speaker C: I just saying if someone's gonna be Somebody's ass. Don't. Don't baby mine.
[01:22:14] Speaker B: I'm not trying to disrespect Led Zeppelin by any means.
[01:22:17] Speaker C: Sorry, Mark.
[01:22:18] Speaker A: Put us on your auto download so you get our episodes every week. And please give us five stars wherever you rate your podcast, because I just out to other people that want to listen to very similar things if you like what we do. And next week is Wheel Spin week again, so we see what we're gonna get.
[01:22:33] Speaker B: I feel like we haven't gotten anything new, really. Right. When's the last time we got something really new?
[01:22:39] Speaker C: Like in the 2000s. New, you mean?
[01:22:41] Speaker B: Yeah, like really, like recent.
[01:22:43] Speaker C: Yeah.
[01:22:43] Speaker B: Really?
[01:22:44] Speaker C: Yeah, like in the 2000s. I. I don't. I don't remember last time we got something in the 2000s.
[01:22:48] Speaker A: We just got ghost.
[01:22:50] Speaker B: No, but I'm saying. What year Was that Mark?
[01:22:51] Speaker A: 20Th, 14, 15, something like that.
[01:22:55] Speaker B: No, but I'm talking really more recent. Like let's.
[01:22:57] Speaker C: Like the last few years, like 20, 21, 22.
[01:23:01] Speaker B: Yeah, like baby, baby stuff. Not stuff that's as old as we are.
[01:23:07] Speaker A: Now that you want it, that we'll never give it to you. Now that you actually express that to yourself and out into the world, it's going to be like you now you're never getting this. You're going to be listening to from 1965 until you die.
[01:23:18] Speaker B: Exactly. But that's what you need to say. You know what? Next week I hope it becomes something classic or 80s or 90s or 2000s, and then you're right.
[01:23:25] Speaker A: No matter what, it's listening to you now and it knows exactly what you're trying to do.
[01:23:29] Speaker C: You know what I hope we get?
[01:23:31] Speaker A: What?
[01:23:31] Speaker C: I hope we get like Black Label Society or something like that. That'll be great.
[01:23:36] Speaker A: I know nothing about them.
[01:23:38] Speaker B: Really. I only had one record.
[01:23:40] Speaker A: I know Zach Wilde is the guitar player in the City sings. Other than that, I know nothing. I know no songs by them. I know nothing.
[01:23:45] Speaker C: All I know is that we had to leave before Zach Sabbath can hit the stage and I'm very pissed about it.
So I didn't get to see Zach Zabit.
[01:23:56] Speaker A: Alrighty. Well, I guess we will see you next week.
[01:23:58] Speaker C: Take care.
[01:23:58] Speaker B: Ciao. Ciao.
[01:23:59] Speaker A: Later.
[01:24:12] Speaker B: It.
