Episode 136 - Rage Against The Machine - Rage Against The Machine - Part 1

[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. [00:00:43] Speaker B: Would otherwise be infringing. [00:00:45] Speaker A: 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 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 it track by track and we vote on it based on music, lyrics, production, melody and arrangement. Again, just a bunch of friends who love music and wanted to do a podcast. First and foremost, we want to thank anybody who listens, which seems to be some pretty consistent listen. So you know who you are. Thank you so much. Whether you comment or not, that's fine. But if you want to, hey, send us a line and tell us what we're doing right, what we're doing wrong, make suggestions or tell us just to shut the up because we're kind of stupid, which we tell you. I kind of say every podcast, but again, we're just here having fun. And speaking of who's here, we have Frank. [00:02:00] Speaker A: My name is Frank. [00:02:07] Speaker B: And I'm sexy. [00:02:14] Speaker C: Hello, everybody. [00:02:16] Speaker B: We have Mark. Oh, hi, Mark. [00:02:19] Speaker A: What's up, guys? [00:02:20] Speaker B: And I'm Seth. [00:02:20] Speaker C: Ciao Buena. [00:02:22] Speaker B: Last week we wrapped up the second side of Led Zeppelin Presence. I think we kind of all agreed. Well, I know Frank. Frank was really digging the second side. So before I kind of turned it over to him, my main thing was some of the production I thought could have been a little bit stronger didn't affect me as kind of the stuff before, obviously, with some well written stuff, some cool breaks and things like that. Frank, you were really digging the second side. [00:02:44] Speaker C: Absolutely, yeah. To me, the musicianship really, I mean, they're a great group. Regardless, there's something about this side that was really great. That just shows you, man. You know, this is one talented band. For me, it sounded like the band just wanted a jam. They just wanted to play. It could have very easily been an instrumental album if they would just go Ahead and do it. It'll still sound great. [00:03:04] Speaker B: Yeah, I agree. I mean, some of the instrumental stuff I thought was really good on there. Mark, what was your overall take on the record? [00:03:10] Speaker A: For an album that I never really listened to much, I thought it was good. I mean, there's a bunch of good songs on there. You know, there was a couple things here and there. Production was a great. But I thought it was good. I liked it. I'm glad we got it. It's another weird album for us to get. So that's usually how, you know, the wheel is random, because who would pick that? [00:03:26] Speaker B: Yeah, we've gotten some mainstream stuff from big bands, and we've gotten some off stuff from. From big bands. So tonight is a wheel spin night, which is always great. We get to see what she picks for us. But obviously, before we get into that, we have the new bets, the little wheel. So, Mark, if you want to kick that off in a world where new. [00:03:46] Speaker C: Music is not easy to find, wel to new bets. [00:04:01] Speaker A: Can you see the wheel? [00:04:03] Speaker B: I see the wheel. [00:04:04] Speaker A: All right, here we go. New bets Wheel. [00:04:19] Speaker B: Cool. Smith Cotson. Adrian Smith of Maiden and Richie Cotson of many things, including poison, solo career, Winery dogs. I didn't even really know that they had done anything together, believe it or not, which is bad because I do really like Adrian Smith. But, yeah, I'm very curious to see how these two guys melt. [00:04:41] Speaker A: Yeah, I've heard of their stuff. I just haven't heard anything they've done. I know they're together doing things. I don't know who else is in the band when it's just studio people. I don't know. I. I only know that they're in here. [00:04:51] Speaker C: Cool. [00:04:51] Speaker B: Cool. [00:04:52] Speaker A: So this is black light. Smith Cotson. [00:05:13] Speaker D: Looking at your face I should have been more wary but said to myself whatever you be I guess that's a load I'm going to have to carry and you ain't looking out for no one but yourself yeah, she'd be the kind that lives in a die Baby that you took a little time Everything you saying is true But I can't deny them Kind of love it till the day I die Still I got to know what lies below what I see beneath the fancy clothes Is there a heart that knees Under a black light I see colors come through you I find way of hiding the truth Under a black light I see the devil in you I got a hard time cutting you loose Under a black. [00:06:16] Speaker A: Light. [00:06:19] Speaker D: Oh, yeah let's turn around just to see how you were doing I thought I'd give you the benefit of the doubt. Yeah. But keep it playing both sides of a cord and still love to play. I know I didn't wish I was a silly boy I know I'm not so I'll just be in love a broken toy still I got to know what lies below what I see beneath the fancy clothes Is there a heart that peace? Under a black light I seen colors come through you gotta find with hiding the truth Under a black light I see the devil in you I got a hard time cutting your nose under black light I see a curse go through I have a friend without the truth under the black light I see the devil in you I have a hard time cutting you loose Under a black light Under a black light Under a black. It's mystic it. [00:09:25] Speaker B: So, Mark, as a resident guitarist, do you want to go first? What do you think? [00:09:28] Speaker A: I really liked it. I could definitely tell there were two guitar players there. I think the first one was Ricky Cox and I think the second one was Adrian Smith. It was really good. And they both sing, I think, too well. [00:09:37] Speaker B: Adrian Smith used to sing well. He does background vocals in Maiden and then he had his own band asap. I thought it was a little sloppy. For some reason, I. I didn't think the rose in sync. I could be wrong. I like the pre chorus. The soloing was obviously really good. I wasn't crazy about the production. I also feel that it could be a song that on second listen may grow on me. I don't want to pass 100 judgment right now. Frank, what do you think? [00:10:00] Speaker C: I like it. I mean, the guitar was amazing and I. And I believe in the opening drums there. We heard a little cowbell action in the background, which is always nice. [00:10:07] Speaker B: There's definitely cowbell at some point. [00:10:09] Speaker C: I like it. I mean, you know. Definitely something I want to listen again. [00:10:12] Speaker B: That was pretty big names right there. Typically, I think we kind of get stuff. We're like, wait, who's this? So it's cool to get somebody that we know. [00:10:18] Speaker A: I believe both albums on the list. So who knows when we'll get it, if we ever do. I liked it. I'd like to hear more. [00:10:23] Speaker B: Definitely some great guitar playing, for sure. [00:10:25] Speaker A: Oh, yeah. Alrighty. Let's rubber stamp this. Here we go. [00:10:29] Speaker B: In a world where new music is. [00:10:33] Speaker C: Not easy to find, welcome to new bets. [00:10:47] Speaker B: Now we get to spin the big wheel. Last time I mentioned maybe of something like new new. Anybody looking for anything specific? Maybe something weird. What are you thinking? [00:10:55] Speaker A: I have no clue. I Keep thinking I want something. I don't know what I want. I wanted anything. And we got Led Zeppelin presence. I just don't know. I'm getting tired of trying to predict what the fuck this is gonna do. It's never right. [00:11:06] Speaker B: Before we do that, though, I do want to say one thing. The beginning of the song, once the vocals kicked in, the one we just listened to, it reminded me of Thin Lizzy. I wanted to make that comment and I forgot. If you guys listen to it again, maybe if he listened to this, thought it sounded like Thin Lizzy a little bit, and then not anymore after that. Frank, what do you want the Wheel to pick for us? [00:11:25] Speaker C: I. I was kind of hoping we'll listen to something like Shooty's Groove. That would have been great. Something like no one's heard long time ago out there kind of thing. Little metal funk. [00:11:34] Speaker B: Be cool. Something we haven't really done. [00:11:37] Speaker A: Yeah, I would like to have something weird maybe. Maybe that's what I want. Something weird. So now I've said that we're gonna get the most mainstream record possible. [00:11:44] Speaker B: You're gonna get rad again. [00:11:46] Speaker A: Oh, boy. [00:11:47] Speaker C: We're gonna get Offspring. Here we go. [00:11:48] Speaker A: All right, are we ready? [00:11:49] Speaker B: Yep. [00:11:50] Speaker A: All right, here we go. [00:12:11] Speaker B: Hey, Frank, that's pretty close, man. Rage against the Machine. I assume this is debut album. [00:12:17] Speaker C: Oh, nice. [00:12:20] Speaker B: I'm not kidding. All two of them. [00:12:26] Speaker A: So this is the first album. Correct. [00:12:28] Speaker B: It's self titled. [00:12:28] Speaker A: I don't know, I'm looking it up right now. Yes, this is the self titled one. 1992. God damn, it's 33 years old. All right, Frank, so you know about them? Tell us about Raging the Machine. What do you know? [00:12:39] Speaker C: What do you mean? I know about them. I know they're great. [00:12:42] Speaker B: No, I really do. [00:12:43] Speaker C: Like, I mean, you know, listen, Tom Morello's guitar playing is insane. You want to talk about somebody who really experiments with sound and his style of guitar play, this is the guy. Rage is one of those bands that they're so politically charged, their music is like really in your face, punch you in the gut. They've done so many, so many great things throughout their career, especially for the political protest, I believe. I think it was during one of the Lollapaloozas. They were supposed to play and I think they, instead of coming out playing, they just kind of stood naked on stage in a protest. I don't remember exactly why, but I think that that was. Yeah, yeah. We have to look up the reason. What? They forgot the reason why they all came out Stood up naked on the stage, but didn't play. Yeah, man, this is awesome. I know that Tom Morello is part of another super band, right? [00:13:29] Speaker B: Well, he was part of Audio Slave. [00:13:31] Speaker C: Yeah, he was there, but then he was also part of. I think Chuck D from Public Enemy was in the blue. [00:13:36] Speaker B: Oh, yeah. Profits of Rage. [00:13:39] Speaker C: Yeah. Prophets of Rage was really great. [00:13:41] Speaker B: There was some good stuff on there, too. [00:13:42] Speaker C: So. Yeah. So I'm really excited about this. And there was some speculation that we're gonna get back together and do another. [00:13:47] Speaker A: Tour in a while since they reunited. Right. Did they reunite recently or in the last 10 years or something? I forget exactly when that happened. [00:13:54] Speaker C: Yeah, in the last 10 years, for sure. I think they did one, but they were supposed to get back together, I think, this year next, to do something else. [00:14:01] Speaker A: Yeah. So this was a number one album. It went three times platinum. There's at least one song that I know on here, maybe two. I've never really listened to a whole album all the way through. [00:14:10] Speaker B: I don't think I have either, believe it or not, which is odd. [00:14:13] Speaker A: Zach De La Rocca, vocals. Tom Morello, guitar. Tim Comerford, credited as Timmy C as bass. And Brad Wilk on drum. [00:14:20] Speaker B: Sounds like a freestyle singer. [00:14:21] Speaker A: Timmy C. I know this was a big album. I do remember when they came out because his guitar playing is so strange and that he mimics scratching on a record and does all cool stuff. I mean, when you hear him play, you know it's him. So that, to me, is always the mark of a great guitar player. If you can not even know who the the band is, but you're hearing him play and you're like, oh, there you go. That's Tom Morello. All right, well, let's get this done. The first song is Bomb Track, which is supposedly a slang, but cool. [00:14:47] Speaker B: So we are Bomb Track. [00:14:48] Speaker A: That's right. That's gonna be our new thing. Bomb track. [00:14:50] Speaker B: Yeah. [00:14:51] Speaker A: This is Rage against the Machine bomb track. [00:15:41] Speaker D: It goes to 1, 2, 3, and it's just another fun track. And something's be thinking that they can fake this. Put on my droplet at a higher level. Cause I'm inclined to stoop down and out. So beat downs go on. A trainer want to think they run my game. But I learned to burn that bridge and delete. Don't soon compete at a level that's not to lead. Instead I wore my hands upon the length of the flag. To recall our downfall in the businesses that burn us all. See through the news and abuse reality. You're not for better this destiny and molten power horns all my people they took turns Just built a suit tight at night and they watch a word with the thoughts from a militant mind Hard line Hard line after hard line Ammo and power horns all my people they took turns Just because you Giant night and then watch on Burn, burn, burn, burn, burn, burn, burn. [00:17:04] Speaker B: Exactly what I expect to hear from them. I think I know this song. I think. I'm not sure. I mean, the production, obviously is great. There's power there. I like the voice on it that. I'm not always crazy about his voice. Sometimes it gets a little bit high in this range and everything. I mean, I like it. What do you think, Mark? [00:17:19] Speaker A: Yeah, the riff is really, really good. It does sound a little Red Hot Chili Peppers sort of. Kind of in a weird way. [00:17:26] Speaker B: Yeah, I can hear that. [00:17:27] Speaker A: Yeah. But Frank, like, called it, like, he wanted, like a funky kind of, like, shoot his groove kind of thing. I mean, you couldn't ask for more of that kind of a song in this. And there's so many words. Oh, my God. I don't know if I can read all the words to your point. [00:17:40] Speaker B: This is. [00:17:40] Speaker C: It doesn't get any more funky metal ish than this, for sure. The song pretty much starts off the way you expected and it just kicks ass from there. Absolutely loving it so far. [00:17:50] Speaker A: Bass is great. Guitar, the riff is really awesome. His playing is really good. So you need me to read lyrics? [00:17:56] Speaker B: Let's see. Just have people read them online. [00:17:58] Speaker A: Oh, my God. It's very long. [00:18:00] Speaker B: Listen, with rap, you're gonna have a lot of lyrics, man. That's for sure. [00:18:04] Speaker A: Yeah, well, I'm not gonna do the whole intro. It's Ayo. It's another bomb track. And he does that a bunch of times. And 1, 1, 2, 3. Yeah, it's just another bomb track. So I guess this is the first verse. And suckers be thinking that they can fake this But I'ma drop it at a higher level Because I'm inclined to stoop down Hand out some beatdowns could run a train on punk fools that think they can run the game But I learned to burn that bridge and delete those who compete at the level is obsolete Instead I warm my hands upon the flames of the flag to recall the downfall and the business that burnt us all See through the news and the views that twist reality enough I call the bluff Manifest destiny Landlords and power Horrors on my people they took turns Dispute the suits I ignore and then watch them burn with the thoughts from the militant mind Hard Line hard line after hard line Landlords and power whores on my people they took turns dispute the suits I ignore and then watch them burn and the chorus is just burn, burn yes, you're gonna burn lots of burns. But even though it was very repetitive in the chorus, it didn't feel repetitive, which is kind of strange. It's a testament, music being so good and the production. So who produced this? This was gg Garth. [00:19:14] Speaker B: The only Garth I know is from. Well, no, Garth Brooks and Waiting. [00:19:18] Speaker A: He's the son of music producer Jack Richardson, who did Alice Cooper, the Guess who, Bad Finger, Poco. And a pioneer of the music recording industry in the 60s and 70s. Garth Richardson has done music engineering work for Red Hot Chili Peppers. There you go, Nickelback and MLE Crew, Mud Vein, Melvins. [00:19:34] Speaker B: A lot of 90s, big 90s names there. [00:19:36] Speaker A: He's doing a really good job, whatever he's doing here. Drum sound great, Bass sounds great. Guitar sounds great. Great. Everything sounds great. I'm excited to keep going on this. It's a four minute song. We're almost halfway through already. I assume we'll have a solo in here, right? He doesn't do a solo on everything. [00:19:48] Speaker B: I hope so. I never get tired of his solo. So I hope everything has a solo. [00:19:52] Speaker A: Yeah, me too. All right, here we go. [00:20:05] Speaker D: And now don't close the books Take another look My thoughts are here and you'll be interfere fear that you get pulled Shift to interfere with the dark From a militant, militant mind Hard line hard line after hard line Ammo and power holds all my people they took turns Just be the sweet high at night Then watch them burn burn burn yes, you're going to burn Burn burn Yes, you're going to burn Burn burn Yes, you're going to burn Burn, burn Yes, you're going to burn yes, you're going to burn Burn yes, you're going to burn Burn, burn burn yes, I'm going to burn Burn burn Yes, I'm going to burn Burn, burn Yes, I'm going to burn. [00:21:25] Speaker B: That was simple. He's like, listen, I'm gonna keep it simple in the first one. And then I'm freaking Yalls minds. Definitely in the next song. It was more of a kind of a bridge, but it was still a cool little riff. [00:21:36] Speaker A: I was expecting it to be bigger and longer and more effects and stuff. It was very simple for him. [00:21:41] Speaker B: Him. [00:21:41] Speaker A: But it was good. It was to the point. I mean, I don't think it was anything spectacular. The song is so strong. That's. I was expecting A little more of his signature sounds and scratching and all that kind of stuff. But you're right. In the next song, he's going to do it. [00:21:53] Speaker C: Listen, sometimes simplicity is elegant. He played just enough there to be like, wow, amazing. And. And that's it. It's great. [00:22:02] Speaker A: It's great. So far. This riff is very familiar to me. I think this was a single, I believe. I think this is the third single off the album, so I probably heard it somewhere in past sing back in the 90s, but I didn't remember what song it was. All right, let's continue. We're almost done. Here we go. [00:22:39] Speaker B: Did a little. Little thing there at the end. Subdue it in the background. But maybe it's purposely kept calm in the first one. Because the next one people probably like, what the hell. [00:22:50] Speaker A: Yeah, he teased you a little bit. He teased you with. Is that an actual record scratching or is that. What is that? Actually inside in the sleeve, it says there's a famous thing, the statement. No samples, keyboards, or synthesizers using the making of this record. [00:23:03] Speaker B: He doesn't need it. [00:23:05] Speaker A: He didn't want to confuse anybody either. Yeah, very cool. All right, Frankie, he's got to go first. Frank, go. [00:23:10] Speaker C: This opening song right here, it's going to give you a taste of what the rest of it's going to be. Just nothing short of amazing, Mark. Like you said, the lyrics repeat themselves, but it does sound that way, which just tells you how great the song is that you don't even notice that. And, of course, what are you going to say about the guitar playing? Nothing short of amazing so far. I really like it. I'm going to give the lyrics here at seven. Musicianship, arrangement. I'm going to give those an eight. Production an eight. And the melody, I give a seven. Mark. [00:23:35] Speaker A: This is tough for me. I want to give this thing, like, really, really high marks. But I know that the next song, I think, is probably even better than this song. So I don't know what to do here. I'll do seven on the lyrics, seven on the melody, and then eight on everything else. The music's great, production's great. If the production stays this way all the way through, I can't see giving anything less than eights on this whole thing, you know? I know there's probably some people turned off about the political nature of his lyrics and all that kind of stuff. I'm not a really big political lyric kind of guy. I think you can take the song and if you've just ignored the lyrics, the song is great. I think it's awesome. Awesome. What do you think, Saf? [00:24:10] Speaker B: So I'll say seven on the lyrics. They'll do eight on everything else. I was actually thinking of doing a nine on the production. You know what? It nine in the production. It can't be produced any better technically. I could probably give it a 10. I'm gonna hold some of my tens. [00:24:23] Speaker A: It's. It's produced great. I don't even know if I even need to say what song this is. If you grew up in the time frame that we grew up in, you definitely heard this. Just in case you haven't. This is killing in the name. [00:25:12] Speaker D: Will it in the name of Some of those that work forces are the same that bar crosses so some of those that work forces are the same that bar crosses Some of those that work forces are the same that bar crosses Some of those that work forces draw the same that bar crosses Killing in the name of Killing in the name of. Now you do what they told you now you do what they told you now you do what they told ya now you do what they told ya and now you do what they told ya and now you do what they told ya and now you do what they told ya and now you do what they told ya and now you do what they told ya and now you do what they told ya and now you do what they told ya. Whatever you do when they told you. Those who died are justified forever the bad j that trolls in white you're justified those inside forever in the bad. Take a chosen wife Those who died are justified forever in the bad Take your chosen white you're justified those who died but wearing a bag chosen white. [00:26:55] Speaker B: I can give you my score now. Now. I love that song. Always have, always will. Just kicks in the ass. [00:27:02] Speaker A: If you'd like rock music at all, you cannot like not like that. But again, a lot of repetitive words. Yep, it feels like there's a lot of words here, but there's really not. [00:27:13] Speaker B: There really isn't. It isn't like the first song. It's really pretty much the same thing over and over. It just works. [00:27:18] Speaker C: See your point. [00:27:19] Speaker B: If. [00:27:19] Speaker C: If you like rock and roll and you like metal, I mean, how do you not like this song? I can pretty much give you my score as well. Already to your point about the repetitiveness. One of the things I'm wonder when you really think about sometimes the psychology of music and when you want a message to be delivered, the best way to deliver that message is through music. Because how many times do you Hear someone walking in the street and they sing in this song and they repeating the lyrics over and over and over in their heads and singing it out. And eventually they become believers of that. Right. One of that repetitiveness of wording is just to ingrade the message that they're trying to deliver in you. [00:27:53] Speaker B: And the way to teach is they tell you sometimes write just repetition and just repeat things over and over and it'll. It'll stick with you. Just like learning a new habit. [00:28:01] Speaker C: Exactly. So I'm wondering if that's why that repetitive nature of the lyrics is. Is all about. It's. We have this message, we're going to repeat it. The lyrics. So it ingrains in that. In that person's mind. [00:28:12] Speaker A: Makes a lot of sense. Makes a lot of sense. Yeah. If you keep saying it over and over and over. That's why the song is so memorable. It's burned into your head because it was bashed over your head enough times. Okay. Lyrics. Killing in the name of. And the verse is basically the same thing over and over. Some of those that work forces are the same that burn crosses. And he says that a bunch of times. And then killing in the name of. Killing in the name of. Then the pre. Chorus. And now they do what they told you. Now you do what they told you over and over. And then. Chorus is those who died are justified for wearing the badge. They're the chosen whites. You justify those who died by wearing the badge of the chosen whites. And they just. That continues pretty much think it's the same thing to the rest of the song. So I really don't have to read very much because I think it's. Except for the end part. If you know the song, you know what the end part is. [00:28:57] Speaker B: You only have three. That line once too, because that's repeated over and over as well. [00:29:01] Speaker A: Over and over and over and over and over and over and over and over. [00:29:04] Speaker B: This song made it cool to curse at the end. [00:29:09] Speaker A: What happened in the radio edit? I don't remember. [00:29:11] Speaker B: Oh, God, it's hysterical. [00:29:14] Speaker A: Is it just beats F? [00:29:15] Speaker B: No, basically you hear the F and the K. So it's like you. I won't do what you tell me. It's like you. If you hear it, it's like a you I want. [00:29:24] Speaker C: Yeah, it sounds like. It sounds like he's hiccuping. [00:29:26] Speaker B: Yeah. Basically between the F and the K. It's hysterical. I was like, just leave it in. It's so bad. You can. It's so blatant. [00:29:33] Speaker A: Well, of course. Well, you Know what he's saying? That's the funny part. [00:29:35] Speaker B: But it's funny. But it's not bleeped. It's not cut out. It's like Adele, when she says, I'll lay your ship there. It's like, I'll hear I'll lay your bish bear there. Like what? I guess they kind of reversed it a little bit, but in this you hear the F and the K. It's like, what a funny edit. [00:29:50] Speaker A: I'm surprised they didn't just mute the whole word at the beginning. [00:29:53] Speaker B: Yeah, at that point. Let it play. [00:29:55] Speaker A: Well, that was never going to happen on mainstream radio in 92, but it was just hysterical. [00:29:59] Speaker B: It's so close. [00:29:59] Speaker A: But that wouldn't happen now either on radio. Not on radio. There's no way you can do that. [00:30:03] Speaker B: No, no, you can't do that. Satellite you can do, but you can't do it on regular radio. Definitely not. But I'm saying for that to be that way, way. It's just the way it's done is so funny because you hear the F and the K and like Frank said, it's like he hiccups in the middle. [00:30:17] Speaker A: And if I'm not wrong, there's two different kinds of cowbell at the beginning. It's like a higher one and a lower one. [00:30:21] Speaker B: Yeah, it sounds like. Yeah, there's a percussion. [00:30:23] Speaker A: Yeah, it's exactly what the 90s is. It's angsty. They get to use the microphone effect at the beginning that everything in the 90s did. So it's great so far. I don't know how much better it can be produced. This is just as good as the last one, if not better. Drummer is good, bass player is good. Everybody's good. You know, you don't really pay attention to the drumming and the bass player in this band because the other two guys are so out front. But they're doing a great job. [00:30:43] Speaker B: Well, I mean, if you think about it, right, the first song, the. I think the intro was kind of was. Was the bass. And even this one like that. It's really the bass that's driving it. And then the guitar comes in with that. But it's kind of the bass that drives the beginning of it. [00:30:58] Speaker A: Yeah, they're doing great. Let's continue here. [00:31:00] Speaker D: We forces all the same that some of those that work forces are the same that borrow crosses Some of those that work forces are the same that born crosses Some of those that work forces throw the same that burnt crosses Killing in the name of Killing in the name of now you do what they told you. Now you do what they told you. And now you do what they told you. Now you do what they told you. Now you do what they told you. Now you're under control. Now you do what they told you. Now you're under control and now you do what they told you. Now you're under control and now you do what they told you. Now you're under control. And now you do what they told you. Now you're under control. And now you do what they told you. Now you under control. And now you do what they told you. You never do what they told you. Don't you die or justify you're wearing a bag they get trolls in white you're justified. Jolts and died preparing the bag Then you're jolted white don't you died are justified. You're wearing the bad take your trophy white you're justified. Don't they die for grabbing the bad Take your tropes in white Trouble. [00:32:50] Speaker B: Just love it. First time I heard that, I'm like, what the hell? I was like, that is so awesome. I give him credit. We've spoken about kind of like some of the mantle. I think he's a mantle because he used the technology to his advantage. Completely to his advantage. Do you remember kind of hearing this the first time saying, what the hell? [00:33:12] Speaker A: Well, yeah, because you think it's not a guitar. Which is probably the best compliment you can give him. This is not a guitar. What the fuck is this? He's doing whammy pedal with cutting the volume off and on. He's the first person I really heard do that. Good of a job at that. And you're right. He took the technology of things that were new then and, you know, made his own style. If anyone does this now, they're just gonna think it's him. Oh, you're just copying him. So in that case, yeah, he created a whole notch of style for himself that no one can really do. It's like when you hear tapping, people tap. Oh, it's Eddie Van Halen. When you hear people do this, it's Tom Morello. It's his style. You can't have. [00:33:48] Speaker C: You know, it's kind of funny that you're saying all of that, that you. You just hear this, you just know it's Tom Morello sound. That's him. That's who he is. And he. And he's using the technology that he had available at that time to create his own individual style and sound. Which kind of reminds me of when we did the Hendrix album many moons ago. Mark, you may mention of how nobody was doing what he was doing back then. Just think about it. Move over decades later, and here we are, the same way. We're in awe with or the way Tom Morell is playing. I could only imagine what people were saying back then when Hendrix was doing the same thing. Experimenting, creating sounds and using the technology available to him to create his own Sound. [00:34:24] Speaker A: Yeah, 100%. It's the same kind of stuff. If you can notch out a sound that everyone attributes to you, you've pretty much done your job as whatever kind of musician you are. Just like we talked last week about John Bonham's sound and what he does. And if you may not even heard Robert Plant, you may know it's Led Zeppelin just by hearing the drums. Same thing. We're almost done here. Let's play it out. Here we go. [00:34:55] Speaker D: Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me. [00:35:40] Speaker B: I mean, what a strong ending. This was the kind of song that had everybody singing it, no matter what they believed or didn't believe. I think. I think maybe not everybody paid attention to everything. This was one of those songs that kind of had everybody singing just because of how strong it was. I mean, not much more to say, really. [00:35:58] Speaker A: You can separate yourself from the lyrics. I think you may not agree with everything he's saying in the lyrics. Or maybe not all things, maybe parts of it. I think it kind of has changed, you know, whatever his idea about what he's saying there. I think it's changed a little bit just because people have taken it a certain way or whatever way they want to take it. The end part, everyone screams that part, even if they don't like the song. [00:36:17] Speaker B: Who doesn't like cursing? [00:36:19] Speaker A: Yeah, of course. All right, Sam, you go first. [00:36:21] Speaker B: 10 tens. Done. I mean, me personally, that's where I'm going. I never get tired of hearing this song. Love the solo. I'm. I'm gonna leave it at that. [00:36:30] Speaker A: Wow. Tens, huh? [00:36:31] Speaker B: Quintuple 10 the best of the best. [00:36:35] Speaker C: Frank, you know, one of the best part of that whole song, it's that momentum building up to the end of the song where you can actually visualize someone sitting in a room, first thinking to themselves, you know, fuck you, I won't do what you tell me. Fuck you, I won't do what you tell me. And then that little voice becomes louder, louder, louder, louder, until they exploded out verbally and start fitting into a rage of anger. To me, is that kind of theatrical ending of the song. You could just visualize someone doing that. And to Sabina's point, me personally, tens across the board for this one. [00:37:05] Speaker B: Quintuple 10 the best of the best. [00:37:09] Speaker A: I don't think there's anything else besides tens for this. Everything you guys said is 100% true. The repetitiveness to kind of beat the point into you and just the very lack of lyrics, because there's really no lyrics here. Really. There's like four lines of lyrics. It's just so powerful. How could you not give tens to that? It's just crazy. [00:37:27] Speaker B: Quintuple 10 the best of the best Whether you agree with everything or not, you can even have it inspire you just as a. Hey, fucking work and fucking this. You know what I mean? It just. It's a song to let loose to. [00:37:41] Speaker A: You take the lyrics away. The music is great. It's the whole package. But the music is so good. And his technique in the middle is so revolutionary for the time that it's just one of those things. [00:37:50] Speaker C: It definitely. When you heard it, you stopped and rewinded the tape to listen. Listen to it. You just be like, what the hell was that we just heard? [00:37:58] Speaker B: I mean, this is 92, right? So what are the contemporaries? [00:38:00] Speaker C: Although I don't remember this song in 90 for whatever. I don't remember the song in 92. I remember a little bit later on 93, maybe. Maybe early 94, but I don't remember in 92. [00:38:10] Speaker A: It was released in November 2nd. 92. [00:38:12] Speaker C: Okay. This song or the album? [00:38:14] Speaker A: Yeah, the song. I don't think it was on the mainstream chart, but the rock and metal charts, it was number one in the uk. [00:38:19] Speaker B: It wasn't on the mainstream charts. I'm surprised. [00:38:21] Speaker A: Was on the hot rock and alternative song chart at 25. [00:38:24] Speaker B: Hot rock, rock. [00:38:26] Speaker A: It's bigger than 25 as far as I'm concerned. [00:38:29] Speaker B: Yeah. [00:38:29] Speaker C: What was going on at that same time? What else was out? [00:38:32] Speaker A: Nirvana. [00:38:33] Speaker C: There you go. [00:38:33] Speaker A: That makes sense. [00:38:35] Speaker C: There you go. [00:38:35] Speaker A: We ready? So the next song is Take the power back. [00:38:53] Speaker D: Up. Bring that in, yeah. The movements in motion with massive militant poetry. Now check this out. In the right light study becomes insight With a system that dis us teaches us to read and write so called facts of fraud he wants to elect J Pleasure Bounce out into their God lost the culture, the culture lost Spawn on a blast minds and through time ignorance is taking over. Yo, we gotta take the power back. Bam. Here's the plan, motherfucker go. Sam's get back. I know who I am. Raised up the ear, drop the style and clear. It's the beats and the lyrics they fear the rage is relentless we need a movie with the quickness, you are the witness of change at the counteract we gotta take the power back. We gotta take the power back on, Come on. We got to take the power back. [00:40:26] Speaker B: Oh, there you go. Talking about the bass, right? It was all intros, bass, nice little slap again. Production is great. Cool riff. What do you think, Mark? [00:40:33] Speaker A: It's super powerful. Drummer is really good too. [00:40:36] Speaker B: Yeah. I mean, in a music like this, you got. You got to be in that pocket. You got to hit that groove. You have to. Or else it's going to sound like. [00:40:42] Speaker A: Like he's doing great. I never really paid attention to him because it's more about the other two guys. In your face. Bass player and the drummer are holding this whole thing down. Cool little sounds in the beginning. [00:40:51] Speaker C: This is what you call a Tutin Pacha song. All in your face, you got the bass that comes out. Then he comes right in with the guitar, the drums. I mean, come on. It's ridiculous. It's just amazing. [00:41:02] Speaker A: Here's some words. Crank the music up. Bring that in. Yeah. The movement is in motion with massive militant poetry tree. Now check this out. Verse 1. In the right light, study becomes insight. But the system that dissed us teaches us to read and write. So called facts are fraud. They want us to allege and pledge and bow down to their God. Lost in culture, the culture lost Spun our minds and through time ignorance has taken over. Yo, we got to take the power back. Bam. Here's the plan. Uncle Sam, step back, I know who I, I am. Raise up your ear, I'll drop the style and clear. It's the beats and the lyrics they fear the rage is relentless. We need a movement with the quickness, you are the witness of change and to counteract we got to take the power back. And then the chorus is. Yeah, we got to take the power back. Come on, come on. Yeah, we got to take the power Back. [00:41:52] Speaker B: Mark, I think this is going to be the most cursing you've ever done on this podcast. As far as reading lyrics, I don't. [00:41:57] Speaker A: Have much of a choice. [00:41:58] Speaker B: There haven't been that many. But still. [00:42:01] Speaker A: No, there's a reason why he does it too. It's shock value too, I'm sure. [00:42:04] Speaker B: Yeah, but it's too accentuated, right? Because he doesn't do it a lot. Like, okay, obviously in the last song, but I mean, the first one in this one, it's not constant cursing. It does it knowingly. I'm not. Knowingly is not the word I'm trying to think of. But purposefully, yes, I would say yes, exactly. Thank you. [00:42:20] Speaker A: All right, here we go. Let's continue. [00:42:27] Speaker D: I put my fist in Em. Eurocentric. Every last one of them. See right through the red, white and blue disguise Let your rough puncture the structure of lies Dolphin our minds and attempting to hold us back We've got to take it back Holes in the spirit causing tears and fears One sided stories for years and years and years I'm inferior. Who's inferior? Yeah, you need to check the interior of the system who cares about only one culture and that so we gotta take the power back. We gotta take the power back. Come on, come on. We gotta take our power back. We're gonna have to break it, break it, break it down. Oh. [00:43:57] Speaker A: Oh. [00:44:00] Speaker D: Come on. [00:44:11] Speaker B: Mark. I'll let you chime in because that was really a solo. Solo. I thought it was pretty good. [00:44:15] Speaker A: No, it was great. Yeah, he didn't use any tricks there. Really? Yeah, he was just playing good riffs and good lines. If you're a guitar player, you have to kind of like that. Goes to show he's not just about the scratching and making things sound like other things. He can actually play other things too. All right, I got to read more words. This takes a lot of work. Verse two, the present curriculum. I put my fist in them. You're eccentric. Every last one of them. See? Right. To the red, white and blue disguise with lecture I puncture the structure of lies Installed in our minds and attempting to hold us back We've got to take it back. Holes in our spirit causing tears and fears One sided stories for years and years and years I'm inferior. Who's inferior? Yeah, we need to check the interior of the system who cares only about one culture? And that's why we got to take the power back. And then he goes in the chorus again. And then the interlude is I.O. check. We're gonna take. We're gonna have to break it, break it, break it down. Oh, then guitar solo. And then I guess this is an interlude part. And like this. Come on. Yeah. Bring back the other way. And then we're gonna go into the third verse again. Jesus. A lot of words. It's tiring. Here we go. [00:45:29] Speaker D: The teacher stands in front of the class but the lesson plan he can't recall the student's eyes don't perceive the lies mounting up every wall Closure is well kept I guess he failed playing the fool. The place that students sit and listen to that bullshit that he'd learned in school. Cheer up, eat my rope to swing on can't learn a fake from it Then we hang from it. Gotta get it, gotta get it Like a motherfuckin weatherman Expose and close the doors are those who try to sprinkle and mangle the truth. Cause the circle of hatred continues unless we react. We gotta take the power back. Yeah, we gotta take the power. Come on, come on. We got to take the power back. No more lies, no more lies, no more lies, no more lies, no more lies, no more lies, no more lies, no more lies. Yeah, Take it back, y'all Take it back I take it back and take it back, y'all, Come on. Take it back, y'all Take it back I take it back and take it back. Yo, come on. Yeah. [00:47:31] Speaker B: I think that bass riff sounded familiar. Really do. Like how they incorporated that into. Into the song and then they kind of went back into the heavy was cool. What do you guys think? [00:47:40] Speaker A: Yeah, they made a lot of changes in riffs. They had a couple riffs at the end that were different. I thought it was good. I don't think I've ever heard it before unless I don't remember hearing it, which is possible, I guess. [00:47:50] Speaker C: Wow. What else can you say about it? The lyrics are just so powerful. They really are like you, Mark. I don't remember the song that much, but now that you're playing it, listening to it, diagnosing, just analyzing, it's just. [00:48:03] Speaker A: Wow. [00:48:03] Speaker C: That's all I have to say. [00:48:05] Speaker A: I think even Frankie's surprised at this, and he's the one that wanted this. [00:48:08] Speaker C: Yeah. You know what it is like, sometimes you forget how good something really was when you don't hear it for a long while and how advanced it was for its time. If you really think about when this first came out, a lot of the music that was out at the time, that was very. A mix of depressing lyrics. This year is just ready to kick ass and be like, wake up kind of a thing. So it's amazing. [00:48:31] Speaker B: I do find it funny though, that whatever song I know about them, I like, but I've never gone through their albums. I've always thought about that. Like, I go back to their hits all the time, especially if I just want to, like, rock out. And then I say to myself, I've never really listened to full albums. I then like things we always talk about. Just like bands that we never went to see in their prime. This is one of those things where I was like, I don't understand why I never listen to everything. And people I know own these things for whatever reason. It wasn't played in the car. It was kind of like, I know everybody's listen to it at home in that sense too. I'm glad we got this. [00:49:05] Speaker A: Yeah, I agree 100%. It's something too, that I generally like the stuff that I've heard from them. So I don't know why I never listened to anything else, like full albums or anything. It's just strange. All right, here we go. More lyrics. The teacher stands in front of the class but the lesson plan he can't recall the student's eyes don't perceive the lies bouncing off every wall his composure is well kept I guess he fears playing the fool the complacent students sit and listen to that that he learned in school Europe ate my rope to swing on can't learn a thing from it yet we hang from it Gotta get, gotta get together Then like the weatherman Expose and close the doors on those who try to strangle and mangle the truth because the circle of hatred continues Unless we react we gotta take the power back Back to the chorus, the bridges no more lies, no more lies and then the outro is. Take it back, y'all Take it back I take it back I take it back, y'all and he does that to the end. I guess I'll go first. I just don't know what I'm gonna do here. I mean, it's. It's a great song. Not better than Killing in a Name. I think I'm gonna do. I don't know what I want to do here. I see. I shouldn't went first because I don't know what to do. I really want to just throw it sevens. I can't really throw it sevens across because the production's too good. I'm gonna do eights across. I guess I gotta do eights across. There's a great guitar playing, great Blaze playing, great drumming. Even if you don't agree with his lyrical content. You can't deny that he can write lyrics. I don't think he's a great singer. He's not really singing. Right. He's kind of rapping more than he is singing. I mean, he can scream, so he has a scream kind of fry singing thing going on. He's more rap than it is sing. Guess I'm going to do eight. So if I did that, that means I got to do this. [00:50:46] Speaker C: Frank, the lyrics, really like them. Really, really do like them. I'm going to give those a 10. Musician ship. It's so good. That bass and the guitar. Me, it's so well put together. I'm going to give that a 10. The melody, I don't know. It's okay. So I'm going to give that an 8. And the production, I got to give a 10. I mean, it's just so. [00:51:06] Speaker B: Well, t. I'm going to say eights across. So, Mark, I hope you kept that sample up. [00:51:11] Speaker A: Frank, the one thing you didn't tell me was arrangement. What's your arrangement score? [00:51:15] Speaker C: I'm going to give arrangement eight. [00:51:17] Speaker A: All right, the next song. I assume if we never heard this, we probably never heard the next one. Settle for Nothing. Has anyone ever heard that? [00:51:25] Speaker B: Not by name. Not that I remember by name. [00:51:27] Speaker A: Me neither. All right, here we go. Settle for nothing. [00:51:50] Speaker D: A jail says Freedom from the pain in my home Hatred passed on, passed on, passed on A world of violent rage but it's one that I can recognize Having never seen the color of my father's eyes Yes, I dwell in hell but it's a hell that I can grip I tried to grip my family But I slipped to escape from the pain in an existence mundane I got a 9A sign, a set and now I got a name Creep up why not? They go the wall. [00:52:50] Speaker B: So this is definitely different. This is almost kind of new metal style in a sense. Not exactly, I would say, but definitely a bit. A bit different from the other ones. And again, it's the bass leading the rift. What do you think, Mark? [00:53:03] Speaker A: Yeah, the bass riff was really good. I mean, that's a very big staple of 90s music is the bass intro. That happened the whole time. I think we wrote songs with bass intro back in the day. I mean, that's kind of what it is, but it's really good. And the chorus was so friggin. I don't even know what the hell to say. [00:53:19] Speaker B: Happy? [00:53:21] Speaker A: No, but the riff is just so powerful. It's very Black Sabbath, the riff. [00:53:25] Speaker B: Yeah. [00:53:25] Speaker A: So you can see where some of his influence and stuff come from. This feels like it's more on the rock side or the new, I guess, would be new metal back then, sort of, kind of. I dig it so far. [00:53:35] Speaker C: Yeah, I agree with Seth. This is kind of like that nu metal, that new metal sound of that time that was coming. I like it so far. [00:53:41] Speaker A: Hey, at least there's a little bit less lyrics. Well, sort of, kind, I guess. First one. A jail cell is freedom from the pain in my home Hatred passed on, passed on, passed on, passed on A world of violent rage but it's one that I can recognize Having never seen the color of my father's eyes Yes, I dwell in hell but it's a hell that I can grip I tried to grip my family But I slipped to escape from the pain in the existence mundane I got a nine, a sign, a set and now I got a name Choruses Read my writing on the wall no one's here to catch me when I fall Death is on my side Suicide I mean, he can write lyrics. You got to give him credit. [00:54:17] Speaker B: I mean, again, within that kind of rhyming, right? Even though it's not rapping, he's still doing that, the couplet rhyming thing. [00:54:23] Speaker A: All right, here we go. Let's continue. [00:54:36] Speaker D: From the pain in my home Hatred passed on, passed on, passed on A world of violent rage but it's one that I can recognize Having never seen the color of my father's eyes Yes, I dwell in hell but it's a hell that I can grip I tried to grip my family But I slipped to escape from the pain in an existence Distance Montaigne I got a 9A Sina set and now I got a name ring I'm riding on the wall no one's here to catch me when I fall Joined between my culture and the festival of genocide we running on the wal what was it against me? When I fall your ig is bliss they knock a smile off my face. Yeah. [00:56:31] Speaker B: If we don't take action now, it's funny. He's known for the cool, weird that he does in the solo and kind of it seems like the big hits that he has. That's what he does. Even if you think about Claudio Slave like a stone. He does something cool and weird, and then you listen to the record and you hear stuff like this. You're like, okay, he can play with soul. He's got chops. It's not just about that. And again, obviously, people who know their stuff for saying, yeah, you Idiot. Of course he can. Not having heard the full record for whatever reason, it's cool to hear stuff like this. [00:57:01] Speaker A: I was not expecting that. The song is so powerful in the chorus. I was expecting was going to stay like that, but he just like turned it back. It was a lot of out notes. Very little jazzy stuff going on in there too. So he has chops, he can play. But you're right, I don't ever think of this kind of playing. When I think of him, I think of the noises and all the other stuff. Not that I didn't know he could play because I hadn't feeling he could and haven't listened to enough of his. I guess you recall this is like. This is not filler, but this is. This is album track stuff. I've never listened to the album track stuff, so I wouldn't know. But it was a weird twist. And to take this really heavy chorus y thing and then play over, like the intro bass stuff. It was a cool idea. I liked it. Frank, were you surprised to hear that as the solo? [00:57:42] Speaker C: Yeah, I was. I guess it's just one of those things that just say, hey, listen, you know, I'm gonna. I'm gonna show you all my range and styles. And like you said, Mark made some track stuff. Still good. Just surprising how subdued it is. [00:57:54] Speaker A: Okay, well, as far as words go, the verse is the same, exact verse. The second chorus is Read my writing on the wall no one's here to catch me when I fall Cooperate between my culture and the system Genocide Read my writing on the wall no one's here to catch me when I fall if ignorance is bliss then knock the smile off my face and then. So I'm just going to tell you. So basically the outro that's coming up is if we don't take action now, we'll set it for nothing later. He basically says that over and over and over and over and over over, trying to reinforce that in your head. So I'm kind of curious, like, what's the rest of this going to be? I assume it's going to be a big long outro. So here we go. [00:58:38] Speaker D: Settle for nothing later Settle for nothing now and we'll settle for nothing later if we don't take action now, we're settle for nothing later we'll settle for nothing now we'll settle for nothing later if we don't take that now we'll settle for nothing later we'll settle for nothing now we'll settle for nothing later as we go take action now now we're settle for nothing later. We're settle for nothing now and we'll settle for nothing later. [00:59:52] Speaker B: For what it's worth, even though they were repeating the lines, it was cool that it started off quiet, then became loud. And then the beats behind it changed in between as well. I think for what it's worth, they made it interesting. And then there's that, I guess, guitar noise that he's doing over the riff. So he's thrown a little bit of that stuff in there. [01:00:11] Speaker A: For an album track. It's a really strong album track. I thought it was really good. [01:00:15] Speaker B: Heavy. [01:00:16] Speaker A: The chorus is my favorite part. The chorus is so heavy. This other parts are great. I don't know what I'm gonna do with this, but I'm not going first. Sav, you can go first. [01:00:23] Speaker B: So what I was thinking of is probably sevens across production. Say an 8 on the production. I mean it's pretty. It's. It's pretty strong. Technically it's my least favorite. But I say still like it. I would still go back to it for what it's worth. And I'll let Frank go next. Mark. So you have time to think this time. What do you think, Frank? [01:00:41] Speaker C: I think that's really important that we set the tone of what a track song is, what a filler song is. This is not a filler song. This is a track song. Mark, do you agree? [01:00:49] Speaker A: Yeah. It's not filler. [01:00:50] Speaker C: No, it's not a filler. Okay. Yeah. It's not so different what we heard so far, right. I can actually see listening to this song like some. In some dorm room, maybe with a. With a little hashish or something like that hanging out. Right. And just listen to lyrics and let it all sink in. I really like it different what we heard so far. Got my favorite track on the album, man. It's still so good and it's something I'm definitely going to revisit. I'm going to give it seven across, Mark. [01:01:15] Speaker A: Seven across, huh? [01:01:17] Speaker C: Just such a good mood kind of setting song. It draws you in. Just the guitar playing is so great too. It's just something you just sit down in the. Like in a dark room and just listen to it and just let it set the tone and put you into that mindset. Hey, Mike. For all I know is setting you up for what's coming up next. [01:01:33] Speaker A: I've been waiting to play this seven thing for like four weeks. Here, Frank, this is for you. [01:01:38] Speaker C: It's great to be here. Thank you. It's quintuple Seven. Just for Nicolo. Nikki Titty baby. [01:01:45] Speaker B: No reaction. [01:01:46] Speaker A: Frank. [01:01:46] Speaker C: That's not nice. That's not nice. That's not nice, bro. [01:01:53] Speaker A: Well, I had Steve. I'll give you Steve. Here, this is just for you, Steve. [01:01:58] Speaker B: Yeah, it's Steve. [01:02:00] Speaker A: And it's Quintuple Seven. [01:02:03] Speaker B: Nikki Titty baby. [01:02:05] Speaker A: I can see doing seven. It's not my favorite, but I really do like it, though. I wouldn't skip it. It's not something I would skip, definitely. And do sevens across. I don't know if I can do sevens across, though, because I think the production is really good. So I'm going to do eight sevens across. An eight. It's really strong. Even though it's an album track. Super strong. We're at the end of side one. So this is Bullet in the Head. Has anyone ever heard this? The name sounds super familiar, but I'm not sure if I've heard it. [01:02:27] Speaker B: It does sound familiar. [01:02:28] Speaker A: Okay, here we go. Bullet in the Head. [01:02:52] Speaker D: Come at you said it was blue when your blood was red that's how you got a rolling blast through your head Blasted through your head Blasted through your head I give a shout out to the living dead Stood and watched as the feds co centralized so serene on my screen you was mesmerized Cellular phone sounding a death tone Co parate that's cold turn yet I stole before you realize and all the clip is on me color said they packed a nine they fire at that prime time the sleeping gas Every home I black out the trash and motherfuckers lost their minds Just victims of the in house drive by Fixing Tokyo say how high? Yeah Just victims of the in house drive by they say don't be see how high? [01:03:47] Speaker B: Yeah Definitely more back to the style that they kind of started. More A little bit of the rap and the rock again bass doing it. And it's funny, when the chorus came in and I heard that riff, I'm like, wait, that kind of sounds like. And then he kind of changed it a bit. I want to say Radar love that bur kind of thing. But he changed it so it didn't sound like. But it kind of reminded me of that. [01:04:08] Speaker A: Is it weird for me to say, did I hear a little Beastie Boys in this? Is it weird? Is it just the way he raps? Maybe is very similar. I don't know. Obviously Beastie Boys were doing this a little ahead of him too. I don't know if there was any kind of influence there. Maybe it's just because of it's the rap rock thing. Maybe that's what's making me feel that way. I don't know. I like the cool noises he's making during the verses and stuff. He's using the technology again to do stuff, so that's pretty cool. And his riffs in the chorus in the last couple, so it's been really super heavy. It really cool. All right, more verses. It's time to bullet cold rockia a yellow ribbon instead of a SWAT sticker Nothing proper about your propaganda fools follow rules when the set commands you said it was blue when your blood was red that's how you got a bullet Blasted through the head Blasted through your head Blasted through your head I give it a shout out to the living dead who stood and watched as the feds cold centralized so serene on the screen you was mesmerized Celia phone sounding a death tone Corporation operations cold turn you to stone before you realize they load the clip in omnicolor Said they packed a nine they fire at prime time the sleeping gas Every home was like Alcatraz and lost their minds and chorus. Just victims of the in house drive by they say jump, you say how high? Just victims of the in house drive by they say jump, you say how high? Run it. He's a good lyricist. He paints a picture of everything he's trying to do. All right, let's continue. Here we go. [01:05:59] Speaker B: So back to that. And then a little bit of riffing at the end. A little bit of Hendrix in there, maybe, I think. [01:06:04] Speaker A: I don't know about that. [01:06:05] Speaker B: Medsa meds at the end. [01:06:07] Speaker A: I don't really hear Hendrix in that. Just the fact of how he uses all the technology to make interesting sounds and not make it just a solo. Then again, the prior songs, he really wasn't doing that. He was just playing straight guitar. He's very versatile. I didn't know that about him. I mean, I knew he could play, and he sounded. Sounds like he can play when he talks. Like he. He listened to all the people I listened to. He filtered it through a little bit different. I'm sure there's some Hendrix he listened to. I mean, I could maybe possibly see that he has a style and it's him. I don't really. Have we heard anyone else really do that kind of stuff? Since I'm trying to think, has anyone copied him? I don't know. [01:06:41] Speaker B: Mainstream. I don't know. When you have such a definitive sound, even if you're like, I want to do stuff like that, it's so cool. Listen, I'm sure there's people out there that do it. I can't imagine imagine nobody has kind of piggybacked off of this or, you know, even done their own spin on it. At least as far as I know. I don't think so. Plus, he's into a lot of. I mean, like Frank was saying, like, prophets of rage. But even like the Night Watchman, I think, is the name of the other thing he did. Which was really cool. If you guys haven't heard that. He's into a lot of things, but I don't think I've heard anyone specifically do stuff like him. [01:07:11] Speaker A: Yeah, I haven't heard it, so I don't really know. That's why I was asking. You know, I bring it back to Eddie Van Halen. Everyone copied the tapping stuff right after he did it. Even though he didn't invent it. But he brought it to the mainstream. Like, he brought this to a mainstream audience. No one else copied him. That's very strange. Maybe they felt that it was so unique that as soon as you did it, like, everyone's going to think you're just copying him anyway. All right, let's continue. Here we go. [01:07:39] Speaker D: Just victims of the in house drive by they say joke, you say how high? Check it checka, check it out they low look clip in all the color Said they pack the nine they fire it at prime time the sleeping gas Every homer's like Alcatraz and motherfuckers lost their mind no escape from the mask my way Play a ducking jack Then they rewind the tape and then play it again and again and again until your mind is working Belief in all the lies that they're telling you Buying all the products that they're selling you they say junk and just say how high? You break dead, you're gonna fuck the bullet in your head Just victims of the in house drive by they say joke, you say how high? Yeah Just victims of the in house drive by they say jump, you say how high? Yeah. [01:09:28] Speaker B: That'S what I was waiting for. This whole song, I felt that it was too subdued. I like the chorus, but the verse was. I just. I wanted a little more oomph in there. And then when this part came in and they kind of opened it up wide. I wish, even if they didn't do it in the first verse, but in the second verse, they opened it up like that with, like, the open hi hat and everything, I would be liking this song more. I love this part. And it's not even the melody. It's just kind of the subtlety, you know, the drums and the. So what they're playing is cool, but I just wish it was a little bit heavier. And that's why, like, when this part came up, I was like, yeah, man, that's it. [01:10:01] Speaker C: To your point, Zav, you were just waiting for something to come out and kick you right in the balls. And we just got it right now. So I like it. [01:10:07] Speaker A: I like that part a lot. I like that they changed it up a little bit. Gonna read some more lyrics for you. Choruses are all the same, so I'm just gonna read a verse. Check it, check it, check it out. They load the clip in Omnicoff color Said they packed a nine they fire at prime time the sleeping gas Every home is like Alcatraz and lost their minds no escape from the mass mind rape Play it again, Jack. And then rewind the tape and play it again and again and again until your mind is locked in Believe all the lies that they're telling you Buying all the products that they're selling you they say jump and you say how high? Your brain dead, you gotta build it in your head now the funny part about that is you could take some of this stuff he's saying back 35 years ago or 30. Whatever years ago ago it is at this point, 33. And it's the same thing. It shows you stuff doesn't change. [01:10:50] Speaker B: There's. There's a lot of relevance in lyrics. Without a doubt, without getting into specifics. There's definitely relevance. [01:10:57] Speaker A: You can take some of that stuff and say, oh, wow, that's right now. Well, let's just take a couple lines like the one that says play it again and then rewind the tape and play it again and again. That happens all the time. But now it's not tape. Now it's on the phones and whatever. You know what I mean? It's the same kind of thing. It's just so funny how it kind of translates from then to now. I thought that interlude part was really cool. I'm glad they jacked it up. I do like the chorus, though. I have to say, the chorus riff is pretty good. [01:11:19] Speaker B: Yeah, I really like that too. [01:11:20] Speaker A: I still think it is a kind of a black Sabbathy kind of thing. So let's continue. Here we go. I guess there's a bridge coming up. [01:11:38] Speaker D: In line. Leaving the lies, you're bowing down to the flag. [01:12:51] Speaker B: I wasn't expecting them to go double time. I'm glad they did. I liked it and I really like that part, which Further accentuates the fact that I wish it was a little bit more open in the two verses the way it was in the chorus and. And all that. And all that music. Mark, any more lyrics or opinions and. [01:13:08] Speaker A: That really, you know, basically, it's a bridge. There's only bridges. You're standing in line believing the lies you're bound down to the flag. You got a bullet in your head. And then he repeats that again. And then bullet in your head all the way kind of out. He does like the repeat. He uses the repeat all the time. He does have a style when it comes to that. You can, like, hear five songs now and you can feel his style, the way he writes. [01:13:29] Speaker B: Mm. [01:13:29] Speaker A: Yeah. I mean, I think in general, you know, they do a great job of melding the two styles together in a very legitimate way. It doesn't feel like it's forced. So that's. That's great. Frank, why don't you go first? [01:13:41] Speaker C: I like this song a lot. The lyrics. I'm gonna give the lyrics a seven on this one. The musicianship gonna give that a seven as well. [01:13:49] Speaker B: As. [01:13:49] Speaker C: Well, the arrangement. I like seven production. Give that an eight. And the melody. I. I mean, I guess it's nice, this one. I'm not so crazy about the melody, but it's still a great song. I. I don't. I. Anything less than a seven would be disrespectful. So I'm gonna give that a seven as well. Mark. [01:14:06] Speaker A: Yeah, I'm gonna do very similar. Seven on lyrics, seven on melody. I'm gonna give the musicianship an eight because I really like the end riff part, so I think that kind of saved the whole song for me. Seven on the ring arrangement, eight on production. The production's been great this whole time. I think it makes the record so great that they kept the same production all the way through. They're not changing it up. It's really powerful. Everything. You can hear everything really well. The drums sound awesome. They sound like drums. Like they spent time to actually sit down and record the drums correctly. I think it's great. Saf. [01:14:37] Speaker B: I'll say seven on the lyrics. I'll say an eight on the production. I'm going to bounce around a little bit here. Music seems. Music is. Is a little bit hard for me because of the. It's like half and half. I'll say seven. Seven on the melody arrangement. I'm trying to think if I want to kick it up a notch because of what. You know what? I'll say an eight on the Arrangement. I do like that they went strong and they kind of kept it there for the rest of the song, so I was happy to hear that. I wish it was more throughout the rest of the song, but at least for that, I. I'll say that. So, yeah, another decent, decently strong track. [01:15:08] Speaker A: And the one thing we didn't talk about is the album cover of the Monk on Fire. That's a kind of controversial thing to put on your front of your album. [01:15:15] Speaker B: Yeah, Well, I mean, that was a really famous photo. [01:15:17] Speaker A: Yeah. I wonder what it cost to license that. [01:15:19] Speaker B: I don't know. I don't publish that. I mean, I've seen it before. Before, I think, was a protest of Vietnam War, I think. Right. The Monk set himself on fire. [01:15:26] Speaker A: Yeah. 1963. That's how long ago that was. [01:15:29] Speaker B: Yeah. It ties in with the record, though. It really is a perfect cover. [01:15:33] Speaker A: Oh, yeah, it's a perfect cover for the album. I'm really glad we got this because, again, it's a band that I like the singles that I've heard, but I never really ventured into their albums. This is a good discovery for me, you know, discovery. 33 years later. So funny. Oh, wow. This thing. This record's good. Oh, how old is it? 33 years old. Oh, great. I should have known this when it was new. Not that I didn't know it. I just didn't listen to it the whole thing through. Crazy. All right, well, I guess the next week we get to finish it out. This is a long album. It's almost an hour. But this is typical for the 90s. Once they started to get into the CD stuff, everything started to get at least an hour. All these songs are for five, six minutes. So there's nothing short either. [01:16:09] Speaker B: No, I mean, we've spoken about that. [01:16:11] Speaker C: Yeah. And if he didn't do an hour, you got. What? If he didn't do an hour, what was it, an EP at this point? [01:16:16] Speaker A: People went more than an hour, too. They pushed to the 70 minutes of the CD, too. All right, well, very cool. I'm glad we got this. Frankie did it and he called it out. It didn't exactly get the one he wanted, but he got the style. Yeah, you willed it. But he got the style you wanted. [01:16:29] Speaker B: Yeah. Holy shit. [01:16:30] Speaker C: Yeah, exactly. Willed it. I will did it. [01:16:32] Speaker B: Do you have any predictions for the lottery numbers, Frank? [01:16:37] Speaker A: All right, Sav, why don't you do your thing? [01:16:39] Speaker B: So we are part of the Deep Dive Podcast Network. Like I always say. Great bunch of guys took us right in. If you want individual podcasts about bands. Check them out, you name it, it's probably on there. And Mark, where can they find us on the interwebs. [01:16:50] Speaker A: Rock with that pod on the interwebs. All our social media rockwithpodcast.com on the websites. Put us in your automatic downloads. We release every Tuesday day. Go onto the website, put a new bets in, send us an email, do whatever, talk to us on social media. We want to hear what you think and if we could do something better or if there's album that may not be on the list of the 1400 we have we'll stick it on there if it fits in in our style of things we want to do. And next week we can finish this all up. And here's some more stuff. I'm more excited about the second side because I think there's songs I don't really know on the second side at all. So I'm very curious to see what's there. If it's anything like the first I think I'm going to be happy because there's really no filler here area. This is all album track as far as I'm concerned. Deep track stuff. And we will see you next week. [01:17:34] Speaker B: Ciao, ciao. [01:17:35] Speaker C: Take care. [01:17:36] Speaker A: Later. [01:17:54] Speaker D: It.