Episode 137 - Rage Against The Machine - Rage Against The Machine - Part 2

[00:00:00] Speaker A: Foreign. [00:00:04] Speaker B: This is our musical reaction breakdown and commentary analysis of this song. Under Fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only. Notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the Rock Roulette Podcast. [00:01:14] Speaker C: 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 rate it based on music lyrics, production, melody and arrangement. Again, just a bunch of friends who love music want to do a podcast. Nothing fancy, as always. First and foremost, you want to thank anybody who's listening. You know, it goes up and down, but it's still, we gotta listen. Because we never knew when we first started this whether we'd have anybody listening. But at least we're speaking to somebody. And whoever you are, thanks for listening. Drop us a note, tell us what you like, what you don't like, what you'd rather hear or hear more of, hear less of. So tonight we are a trio again. We have Frank. My name is Frank. And I'm sexy. [00:02:14] Speaker A: Hello, everybody. [00:02:17] Speaker C: We have Mark. Oh, hi, Mark. [00:02:19] Speaker B: What's up, guys? [00:02:20] Speaker C: And I'm Sevy. [00:02:21] Speaker A: Ciao. [00:02:22] Speaker B: Bu. [00:02:23] Speaker C: Last week, the Wheel picked a band that we've never had before in here, which is always cool. We asked everybody what they wanted and Frank said something funky, you know, something rough, something. Whatever. He said, man, when the wheel was spinning, he stuck his finger in that freaking roulette wheel and he picked Rage against the Machine, their debut album, which we did the Foresight last week, which has a massive song on there that everybody knows. And it got massive scores. One of the, you know, top scores. One of the only songs to get top scores overall. I mean, I think we're digging the. The production, the musicianship. One thing we definitely talked about was Tom Morello being out on the guitar. Three of the songs, I think on the first night, don't have kind of the weird funky shit that he does. They're just straight up solos Man. And, you know, he was pretty shreddy. So what do you guys think so far? [00:03:07] Speaker A: This was great that we got this album. Really super excited that we did. One of the things that I remember, Mark, being a huge Hendrix fan, always talks about how Hendrix was a pioneer when it came to experimenting with guitar play because technology wasn't there yet, so he invented it. So I feel a little bit like Tom Morello was doing that. And there was a couple of times where you sit down and you heard him shred it up and you'd be like, I'm sorry, was that a guitar? Was he just playing on the guitar? Was that something else? And that's what we're seeing now here. It's really super cool to be in this space, this generation, with such an amazing and talented guitar player and just listening to him just kind of create the technology or create the sound that he needs to get across with the technology not being there yet. [00:03:50] Speaker B: He's a guy that you know his guitar playing when you hear it. And that, to me, is always the mark of a great guitar player. The album's been good so far. The production's good. Drums, bass, everything. I have no complaints so far. [00:04:00] Speaker C: Looking forward to the second side for sure. But before we do that, as always, we have our newest segment, which is the new Bets wheel. The baby wheel. [00:04:09] Speaker D: In a world where new music is not easy to find. [00:04:16] Speaker B: Welcome to New bets. Let's spin the wheel. Here we go. [00:04:42] Speaker C: Black roses, the the God. No idea. [00:04:46] Speaker B: No clue. I have no idea. But we always want new stuff. So let's see. Black roses the God. [00:05:22] Speaker D: Once you born there comes your son shines your path it comes your time you're meant for the journey you're meant to be you meant to find yourself you're meant to be free to choose your journey to choose your path to choose who you name your own God you will be a man if you have got time it will pass fast if you wasted a weary mask you must face the fact that through wealthy outlast and no kingdom will ever last. One from God one through love once one in life your process to be so lessons from life make you feel the lessons must be learned the lessons meant to be. VD integrity the infinity the complete VGA 3D infinity the integrity complete DG God VD God VD. [00:07:24] Speaker C: I like the beginning riff. It reminded me of the Cure a little bit. I was kind of hoping it was going to go a little bit more into that. It wasn't bad. It felt like it just didn't Go anywhere. There wasn't a lot of dynamic, maybe because of his voice. I think I'd probably want to hear it again sometime just to kind of make a better evaluation, because it wasn't. It wasn't terrible. I like that. I don't know. What do you guys think? [00:07:45] Speaker B: I don't know. His voice is a little rough for me. [00:07:47] Speaker C: It reminded me of, you know who a little bit. The ghost guy. [00:07:51] Speaker B: Yeah, guys. [00:07:52] Speaker C: A little bit of that kind of monotone. [00:07:53] Speaker B: He's definitely not from the United States. It's definitely overseas. You can hear a little bit of accents there. It's okay to me. [00:08:01] Speaker A: Sounded like Richard Butler decided to join the. The crew from Cedar to form some kind of supergroup. That's what it sounds like a little bit to me. [00:08:07] Speaker C: When he first started singing, I was like, oh, it sounds like the dude from cedar. But then he kind of, like, stayed. You know, like the guy from seether has dynamics and. And listen, this guy may have more range. I'm just saying, within this song, he kind of kept it straight. [00:08:22] Speaker A: He sounds very rich, and Butler just very, like, steady Freddy kind of tone. [00:08:27] Speaker B: They can't all be winners. [00:08:28] Speaker C: Listen, it's better than some of the other stuff that we've gotten, I think, for sure. [00:08:33] Speaker B: All right, well, let's rubber stamp this. Here we go. [00:08:36] Speaker D: In a world where new music is. [00:08:40] Speaker B: Not easy to find. Welcome to new bets. [00:08:54] Speaker A: Thank you. [00:08:55] Speaker C: It just feels incomplete when you don't do that in Frank's song. [00:08:58] Speaker B: It's very true. [00:09:00] Speaker C: Cool. Well, another one in the books. [00:09:02] Speaker B: Yep, another one in the books. Second side, we're gonna start off with know your enemy. Maynard James Keenan is on this as well as Stephen Perkins. He's playing percussion. [00:09:12] Speaker C: Nice. [00:09:12] Speaker B: So that should be cool. Does anyone know this song? [00:09:14] Speaker C: Not by title. [00:09:15] Speaker A: Yeah, I don't remember it either. [00:09:17] Speaker B: Oh, here we go. Know your enemy. [00:09:50] Speaker C: Hey, y'all. [00:09:50] Speaker D: So check this out. War with inside of the rage fist Witness of a slick fist as we move into 92 still in a room without a few. You got to know, you got to know. I want to say go, go, go. Ample amplified define I'm a mother with a furious mind that you must be taken. We don't need the key, we'll break it. Something must be done about thinking so badging a gun so rip the mic, rip the stage, rip the system. I was bor get so f You're facing a place and I'm about to stop clearly you're your enemy. [00:11:21] Speaker C: That's actually one of my favorite ones so far. I really like That I like the melody, I like the riff. I want to say it reminds me of something. It doesn't sound like Parasite, but that kind of. Kind of thing. I think the groove is like that. Even the notes are not. Or maybe it's something else. But it kind of gave me those vibes. Maybe. [00:11:39] Speaker B: I like the cool guitar thing at the beginning again, using things and making things sound like non guitar, which is cool. That verse, they like to do that because whatever they're doing in the verse, they've done that before. The way he plays the notes. And it's very similar to other songs they've done. It was good, though. I liked it. [00:11:56] Speaker C: Yeah, really strong. [00:11:57] Speaker A: Yeah. I love the sound of the beginning talent of Morello. It's just something that you know it's him the moment the song kicks off. So it's just amazing. I love it so far. [00:12:06] Speaker B: Okay, it's time to read lyrics. But before that, I have to say, I was going through the prior episode when I was editing it. So bomb track. I didn't put back together the thing. Bomb track with the bomb. Like, it's the bomb. It's good. I don't know why I didn't think about that when I was listening to it back. I'm like, why didn't I say something? Like, I understand. I know what the bomb means. I saw it again in here and I was like, oh, I have to say something. Now I show how stupid I am. [00:12:28] Speaker C: I saw the repetition of that too. [00:12:30] Speaker B: They're using a call back to the first track, right? It's a good idea. Here we go. More words. Yeah, we're coming back in with another bomb track, thinking, no, it's all of that. So check this out. Know your enemy. Come on. First verse. Born with insight and raised fist. A witness to the slit wrist as we move into 92 still in the room without a view. You gotta know, you gotta know that when I say go, go, go. Amp up and amplify, defy I'm a brother with a furious mind. Action must be taken, we don't need the key, we'll break in. Something must be done about vengeance. A badge and a gun. Cause I ripped the mic, rip the stage, ripped the system. I was born to rage against them. Fist in your face into place and I'll drop the style clearly. Know your enemy. And then back to the refrain again. Know your enemy, yeah, get with this. And then they're gonna go back to the verse. Are they referring to Rodney King? Because that was around this time, wasn't it? [00:13:25] Speaker C: Yes, I know that. There is some talk about that in. In this record. [00:13:30] Speaker B: That's what I kind of think that they're doing here. And he name checks 1992, so it knows exactly what this album is. Yeah, it's cool so far. I like it Different. [00:13:37] Speaker C: Yeah, it's really good. [00:13:38] Speaker B: But listen to the verses it list. It sounds like there are other verses that they do. It's just the way the vocal goes and the way the guitar is played. It sounds like other songs that they've done. Let's continue. Here we go. [00:13:55] Speaker D: Now I got no patience so Silicon Placent the T's the E, the F, the I, the A, the N the C the E Mind of a revolutionary so clear the lane, the finger to the land of the chains what? The land of the free Whoever told you that is your enemy now something must be done about things it's so bad can undone so whip the mic, rip the stage rip the system Coming forward now action must be taken we don't need the key we'll break it to. [00:15:04] Speaker C: Even if you didn't know he was on the thing, you would probably know that that was him. That was very Tool sounding his. His. His delivery. And that scream at the end was like, so clear. It was really. It was really, really good. [00:15:15] Speaker B: All of a sudden it was Rage against the Machine. Then it was Tool showed up. I was like, what happened? It was good, though. I like it. I like the riff. I like the. It's good. [00:15:23] Speaker A: Yeah, I like that. You know, Mark, when you play that, it sounds like Just Another Victim. And I think it was Iced Tea. Oh, damn. It was on the Judgment Day soundtrack. Just another victim, kid. No, it wasn't Iced Tea. Ah, but that's what it reminds me of, that sound. [00:15:40] Speaker B: Yeah, the song does sound like lots of other things. Or maybe just sounds like them. [00:15:44] Speaker A: Yeah, I. I gotta look it up now. Yeah, it's Helmet and House of Pain. That's what it was. Just another victim. [00:15:50] Speaker B: Gotcha. Well, I have to read words now again this is going to be the most tiring. I have to read words and album ever. Here we go. Word is born Fight the war the norm Now I got no patience so sick of complacence with the D, the E, the F, the I, the A, the N, the C, the E Mind of a revolutionary so clear the lane, the finger to land of the chains what? The land of the free Whoever told you that is your enemy Now Something must be done about vengeance A badge and a gun Because I ripped the mic, ripped the stage, ripped the system I was born to rage against them now action must be taken we don't need the key we'll break in Then there's Maiden. James Keenan's part. I've got no patience now so sick of complacence now I've got no patience now so sick of complacence now Six, six, six, six. Sick of you Time to come and play and back to know your enemy again and then we're gonna get. Guitar solo. I have a feeling this is going to be a rocking solo. [00:16:46] Speaker C: Yeah, like kind of the stuff that we're not kind of used to hearing until we've heard the first side. [00:16:52] Speaker B: Yeah, I think so. I think it's going to be that kind of solo. At least I'm feeling that's what it's going to do. I don't really know, though. All right, here we go. Guitar solo. [00:17:50] Speaker C: So I thought that was really cool. My only complaint, but I can understand why, is that there's no guitar behind it. I wish there was a guitar behind it to fill it out. Coming up to it is so powerful that when it drops out, it just hits you so hard and. But I understand, too, if they're doing it live, then there's nothing behind. You can do whatever he wants to do. But that would be my only complaint. But, I mean, that's. That's an amazing. So I thought that was really, really cool. Mark, what'd you think? [00:18:19] Speaker B: I was surprised. I thought it was gonna be more rocking at the beginning. I'm like, oh, he's making sounds now. Oh, now he's playing fast. It almost sounded like a keyboard, right? Like a. It didn't almost sound like guitar. It sounded like a synthesizer of some sort at one point. [00:18:31] Speaker C: Yeah, it was like Deep Purple. So. [00:18:33] Speaker B: Yeah. And then he used the Kill Switch and doing the Kill Switch stuff a la Ace Freely, sort of, kind of, in some strange way. Yeah, it was good. I liked it. Again, he always makes you think. He's always not doing something that's typical. I really like that. [00:18:49] Speaker A: I really do like it a lot. It's one of those songs that, like you said, Mark, you can hear a little bit of everything in there from other songs. But I. I enjoyed the beginning of it overall, the melody, everything about it. It's really strong. [00:19:01] Speaker B: Yeah, it was good. Let's continue. Here we go. [00:19:12] Speaker D: Come on. Yes, I know my enemies they're the teachers who taught me to fight me Compromise, conformity, Assimilation, Submission, Ignorance, Hypocris, brutality the elite all of which are American dreams All of which are American dreams all of which are American dreams All of which are American dreams All of which are American dreams All of which are American dreams All of which are American dreams All of which are American. [00:19:55] Speaker C: Dreams that's actually cool. It's basically like a. Like a protest at the end. You know, when you get that person. It would have been cool if they had, like, a crowd repeating what he was saying. My other complaint is that I felt the song was a bit. I kind of wanted it to keep going a bit. I was. I was getting into it. I was like, oh, that's it. Oh, man, I could have done with more. [00:20:12] Speaker A: What do you can hear how you say that? You can hear it, like. Sounds almost like a protest at the end of the song. If you had the crowd, that would have been an extra touch there. Overall, I like the ending of the song. No complaints there. Just really like it. [00:20:23] Speaker B: He's very angry. He's very, very angry. It's what he does. I mean, at this point, six songs in. If you don't understand what this is and what he's doing here, you either like this or you don't like this, or you can get past it. It's right in your face. He's not trying to hide anything. And I know because I have to read all the lyrics, which I have to do again. Here we go. Here, the lyrics. Come on. Yes. I know my enemies they're the teachers who taught me to fight me Compromise, conformity, Assimilation, Submission, Ignorance, Hypocrisy, brutality the elite all of which are the American dreams and he just repeats that to the end. It was an interesting ending, though, I have to admit. Frank, why don't you go first? [00:21:00] Speaker A: I like the lyric. I'm gonna give those an 8. The melody I like a lot as well. I'm gonna give that a seven. Music. Give those a nine. In production, I'm gonna give a nine as well. [00:21:11] Speaker B: Are you making up your own category now? Composition. [00:21:13] Speaker A: Oh, I'm sorry, hold on. [00:21:15] Speaker C: Do you mean arrangement? [00:21:16] Speaker A: Arrangement. Sorry. Arrangement. Sorry. [00:21:18] Speaker C: I like composition better. It sounds fancier. [00:21:22] Speaker A: Yeah. Arranged. That. I give that. I give that. [00:21:24] Speaker B: Yeah, sorry, Yeah, I think the lyrics are good. I'm gonna give them an 8. Melody is very similar to some other stuff which I like. I'm gonna give that an 8. Music. I'm gonna 8. Arrangement. Like that middle part with Maynard James Keenan. So I'm gonna give that a nine. And production is great. Eight. Zach. [00:21:39] Speaker C: I will say eight on the lyrics and eight on the melody and a nine on everything else. That's probably my second favorite song on this record so far. I really like that one. And just a quick little tidbit. Maynard James Keenan was the voice of the little pigs in the Green Jello song. Three Little Pigs. Remember that song? Little Pigs, little pigs Let me in. [00:22:00] Speaker A: No way was he really. [00:22:02] Speaker C: Huh. Because it said he was part of the band. I'm like, really? He was in that? It's guest voice of the Three Little Pigs. [00:22:09] Speaker B: Wow. I didn't know that. [00:22:11] Speaker C: I didn't know that either. Meanwhile, people were like, you idiots. You didn't know that? [00:22:15] Speaker B: Yeah. We don't know a lot of stuff. [00:22:16] Speaker C: Danny Carey played drums on it, I think the whole album. [00:22:19] Speaker A: Wow. Really? [00:22:19] Speaker C: Yeah. I gotta go back and listen to the drums now. [00:22:22] Speaker A: Wow. [00:22:22] Speaker B: Next song is called Wake Up. [00:23:46] Speaker D: Fist in the air in the land if it plus movements Come and move let's go of change when he spoke out on Vietnam he turned the power till the have nots they changed a shot. Yeah. Yeah. Back in this. [00:24:35] Speaker C: This one reminds me a little bit of Killing Them in the name of. It's a little variation, I think, on that riff, but it's still cool. And I like the fact, too, that one thing that they do also do a lot is they kind of start the song one way, but then it completely changes kind of more to accommodate the lyrics. Because when it first started, I'm like. I'm curious to see how he's gonna rap over this. And then it changed. I was like, okay, I see it now. [00:24:58] Speaker B: It sounds very familiar. I think I have heard the song some places. I did look up. It's not a single ever. Pretty positive. I've heard this. It hits me a certain way. I'm like, I know I've heard this some. Somewhere before somehow. Like the little. I'm not sure if he's using flanger. Phaser. It could be phaser. I think on the guitar part. It's good. Yeah. He changes it up like it's one thing and then it changes to another thing. [00:25:21] Speaker C: Yeah. Just like the song before. [00:25:22] Speaker B: He's really good at that. [00:25:23] Speaker A: I like it a lot. Although I would say the beginning. [00:25:26] Speaker B: I don't know. [00:25:27] Speaker A: It does sound very familiar. Does it sound like Cashmere by Zeppelin? A little bit in the beginning. Is that what I'm hearing there? [00:25:34] Speaker B: I was gonna say that. Yeah. The beginning has a little bit of cashmere ish to it. [00:25:37] Speaker C: You could be right. [00:25:38] Speaker A: Right. [00:25:38] Speaker C: I definitely heard something. [00:25:41] Speaker A: I think it has a little bit cashmere. It sounds a little bit cashmere ish to me. In the beginning. There because I was. I was like, wow, I've heard this. I was, like, really digging it. I was like, like, wait a minute. This sounds familiar. So. And I think. I think it says. I think it's cashmere ish. Very sounding in the beginning there. [00:25:57] Speaker B: I wonder if they'll redo it again. [00:25:59] Speaker C: Yeah, I'm gonna listen to it. [00:26:00] Speaker A: Yeah, we have to play it again. But I do like. I do like it, though. But I think it's very cashmere ish sounding in the beginning. [00:26:07] Speaker B: I was gonna say that. I totally forgot. I got lost in the other part that I thought was familiar, and I totally forgot about the beginning. Good catch, Frank. Okay, here we go again. Come on, Come on. Although you try to discredit, you'll still never read it. The needle, I'll thread it. Radically poetic standing with the fury that they had in 66 and like an E double. Ah, mad still knee deep in the system Hoover, he was the body remover he'd give you a dose but you can never come close to the rage build up inside of me Fist in the air in the land of hypocrisy Movements come and movements go Leaders speak, movements cease when their heads are flown because all these punks got bullets in their heads Departments of justice, what the judges, what the feds. Networks at work keeping people calm. You know, they went after King when he spoke out on Vietnam. He turned the power to the have nots and then came the shot and then interlude. Yeah, yeah, back in this. He makes me tired reading lyrics. It's just lots of words, man. [00:27:05] Speaker C: Just post it up on the. Post the link to the site and like, you guys read these yourselves. [00:27:10] Speaker B: Seriously, where's Steve when I need him? [00:27:13] Speaker A: Yeah, he would have been perfect. He would have been perfect to narrate this. [00:27:19] Speaker B: Oh, no, seriously, it would have been great. It would have taken a lot longer to get through it, but it would have been good. Here we go. [00:27:36] Speaker D: To shake your up to break the structure up his blood still flows in the gutter I'm not taking photos. Bad boy kids open the shutter set the group just thinking move like I was crashing drop the starter stepping bomber left upon the factions yeah. With several federal men reports keeps on retreat and brought it to an end y'all better beware look at your future with my war 20, 20 digits and murals with metaphors Networks at work keep when people come, you know they murder X you tried to blame it on Islam. [00:28:57] Speaker C: That was cool. Little talk box action right in the solo mark. [00:29:01] Speaker B: I didn't hear talk box really I'd say was that. [00:29:03] Speaker A: I thought that was a talk box. [00:29:04] Speaker C: Yeah, I thought that was too. Sound like. [00:29:14] Speaker B: I don't think it was talk box, though. [00:29:16] Speaker C: No, No. [00:29:17] Speaker B: I think it was some kind of a. Wow. More than talk box. I don't think it was talk box. At least I didn't hear that. That it was interesting. Again, that's more what I expect from him. Like, weird noise stuff. And he did it good. It wasn't super interesting, but it was just cool in the fact of what it was. I think he's done better stuff than that. [00:29:34] Speaker C: I liked it. I mean, I understand, too, what you're saying, but I kind of liked it. I liked it, too, because it was loud in the back. The stuff behind it didn't fall out. I think if that stuff had fallen out, it wouldn't have been as interesting. Cool. I mean, I'm really digging this song, too. [00:29:47] Speaker B: Yeah, every song's pretty good. I can't really complain. Do I have to do this again? I do. Huh? I'm getting tired with poetry my mind I flex flip like Wilson vocals never lacking that finesse. What do I got to. What do I got to do? To wake you up, to shake you up? To break the stricture up? Because the blood still flows in the gutter. I'm taking photos. Mad boy kicks open the shutter, set the groove Then stick a move like Cassius rep the stutter step and then bomb the left upon the fascist. Yes, several federal men who pulled schemes on the dream and put it to an end. You better beware the retribution with Mind War 2020 visions and murals with metaphors Networks at work keeping people calm. You know they murdered X and tried to blame it on Islam. He turned the power to have nots and then came the shot. And then solo. And then we're gonna go to a bridge. I'm just gonna back it up a little bit so we can do the bridge. [00:31:34] Speaker D: I think I heard a shot. Embrace black nationalized potential. Wake up, Wake up, Wake up. How long? Not long. Cause what you reap is what you saw. [00:33:21] Speaker C: I heard that. That cashmere rhythm. It's that whole. Right? I guess I kind of. Once you do that, everybody's like, wait, I know that rhythm. But, yeah, I thought that was pretty strong. [00:33:33] Speaker A: Just as they went into it. You heard the cashmere right there for sure on this one. But it's on the very tool versus, you know, me, Zeppelin, cashmere kind of thing. When they did that whole bridge transition, I liked it. [00:33:45] Speaker C: Yeah, there's a lot of. A lot of Dynamics in this song mix really, really well, I think. I really like this one too. [00:33:51] Speaker B: It's hard to pick which one's the best at this point to just keep getting better and better as they go along. [00:33:56] Speaker C: Yeah, the side start off really strong. [00:33:59] Speaker B: Ridge. What was the price on his head? What was the price in his head? And then he said, I think I heard a shot. He did all that. And then there's a bridge with just a whole bunch of stuff being read behind it, which I'm not going to bother reading at this point because you go listen to it and listen to it and read it. [00:34:14] Speaker C: I think it's a quoted speech probably. [00:34:17] Speaker B: Yeah, it sounds right. [00:34:18] Speaker C: Luther King quoted speech. [00:34:19] Speaker B: So is that what it is? Okay. Yeah. So everyone could go listen to that, then wake up a whole bunch of times. I know. Funky little guitar solo, which I think he's using the whammy pedal again. And then the outro is, how long? How long? Because what you reap is what you sow. There's nothing bad to say about this. I even thought I heard like a little bit of a Metallica riff thing. Somewhere between like the second verse and the solo, I was like, hey, that sounds like Metallica. [00:34:42] Speaker C: Do you want to go first, Mark? [00:34:43] Speaker B: I guess so. I'll go first. I don't even know what to do with this. I mean, I think everything's good in the song. I'm gonna do eights across. [00:34:50] Speaker C: Quinto plecho, Bebeta, taniki, Frank. [00:34:52] Speaker A: I think you have to play it again. It really is a good song. Oh, my God, it's so solid. Yeah, I give it eight across myself. [00:35:00] Speaker C: This one's hard. I'm gonna bounce around on this a little bit. I'm gonna say a nine on the arrangement because I think everything really flowed well. I'll say a nine in the production. I like the melody. I'll say an eight on the melody. I'm gonna say a nine on the music and an eight on the lyrics. I thought this was really, really strong too. I mean, this is a really good one two punch so far on the second side. [00:35:20] Speaker B: Yeah, no, they're doing a really good job. The next one is Fistful of Steel. [00:36:29] Speaker D: Silence. Something about silence makes me sick. Cuz silence can be violent. Sort of like a split wrist. The vibe was suicide, Then you would push the button, put your bowing down, then let me do the cutting. So speak the sounds, but speaking silent voices like rain. Radio is silent though it fills the air with noises. Transmissions bring submission. You want to be unreal yet bad Boy crystal microphone With a fist full of steel With a fist full of steel With a fist full of steel With a fist full of steel. [00:37:32] Speaker C: That main riff is so 90s. It reminds me more of the 90s than maybe a lot of the other things on here. But just the rock of it and the sound of it and even the tone of the guitar. And I like how in the verse everything drops out, but tomorrow just adds that one little. That reminds me of like Public Enemy and something like terminating Terminator X would do back, you know, some kind of sample. [00:37:57] Speaker B: So 90s. The bass sound is so 90s. The bass is really good too, which is in this song is really up front, very strong. And production again is really good. It's funny though, they start the songs very much the same almost every time. Like it's always him doing something intro wise, right? And then they go into the verse. Generally every once in a while they'll switch it up and put the chorus at the beginning. But that doesn't happen very often. So the intro is. Huh? Check it. Silence. Something about the silence makes me sick because silence can be violent, sort of like a slit wrist. If the vibe was suicide then you would push the button. But if you're bowing down to let me do the cutting. Some speak the sounds but speak in silent voices like radio is silent Though it fills the air with noises Its transmissions bring submission as you mold to the unreal and mad boy grips the microphone With a fistful of steel Then the choruses and the mad boy grips the microphone With a fistful of steel with the fistful of steel Because I know the power of the question with the fistful of steel With a fistful of steel I won't stop Because I know the power of the question in. And the melody and the rhyming of this is pretty good too. It's in his wheelhouse. They don't stray too far from what this is. They know where their wheelhouse is and they use it to their fullest. [00:39:10] Speaker A: I think to your point, they all sound kind of like in the beginning, the same, but they eventually create their own identity. Sav. Good call out. Typical 90s song. Love it. [00:39:19] Speaker C: Yeah, it's good. [00:39:19] Speaker B: Let's continue. Here we go. [00:39:26] Speaker D: If you're willing. That will spilling then you're out Just as quick as a tame Not a silent one but a defiant one Never a normal one Cause I'm the bastard sun with the fishes of the move Focus got the super to ignite and put in flight my sense of militants goofing playing that game called survival the status, the elite the enemy the rival the slimeless sheep Slipping, whipping, dripping Give you a glimpse of the reality I'm gripping Stepping into the jam and I'm slamming like Shaquille that one lifts the microphone With a fist full of steel Yeah. A bad boy grips the microphone With a fist full of steel With a fist full of steel With a fist full of steel With a fist full of steel. [00:41:03] Speaker C: Definitely something more that we're used to hearing from him. I wish it was a little bit louder, though, but it was a little bit low in the mix. It should have stood out more volume wise. [00:41:13] Speaker B: I'm just trying to figure out how he's doing that in my head. I have an idea what he's doing, but I'm not really positive. I'd have to see him do it. I mean, I know he's flicking volume off and on, but after that I'm not sure what else he's doing to make the noise sound like that. Because it does really sound like record scratching. Yeah, but not in like a cheesy way. Like it sounds like the actual thing. You know what he's like? He's like the guy from. What was that movie back in the day? Police Academy. And the guy made all the sounds with his mouth. [00:41:38] Speaker C: Michael Winslow. [00:41:39] Speaker B: That's what he's like. Except on guitar. [00:41:42] Speaker C: Yeah, agreed. Yeah, that is. That's a good, good analogy. [00:41:46] Speaker B: Verse 2 It's time to flow like the fluid in your veins if you will it I will spill it and you're out just as quick as you came Not a silent one but a defiant one Never a normal one Because I'm the bastard son and with the visions of the move Vocals not on the soothe but to ignite and pull the flight of my sense of militants grooving Playing that game called survival the status, the elite, the enemy the rival the silent sheep Slipping riff and tipping Give you the glimpse of the reality I'm gripping Stepping into the Jan. I'm slamming like Shaquille Mad boy grips the microphone With a fistful of steel and back to the chorus. And then the post chorus is part of the first chorus and then solo or whatever that's supposed to be there. And I'm hearing stuff that's going to sound like. I think I'm gonna hear Metallica ish stuff again. You tell me if I. If I'm wrong. At least the way it started, I paused it, but we'll see. Yeah, we're coming up. All right, here we go. [00:43:00] Speaker D: Yeah. What's the cutting. [00:44:29] Speaker C: I could hear that. Metallica be cool if, like, Lars guest starred and did a little bit of rap over it. [00:44:36] Speaker B: It's like partial Metallica. [00:44:38] Speaker C: Yeah. I mean, once you get that kind of. That chugging. [00:44:41] Speaker B: Yeah, that's what I thought. That riff at the end is real strong. All the rifts here are kind of really strong. [00:44:46] Speaker C: Yeah. [00:44:46] Speaker B: And then the weird other guitar stuff he was doing. I'm trying to think. My head's starting to hurt. Trying to figure out what he's trying to do. You want to know the worst thing to be? If you were in a Rage against the Machine cover band or tribute band, that would really suck. [00:44:57] Speaker C: Yeah. You got to play that stuff. [00:44:58] Speaker B: Yeah. You have to figure out how to do it. That's the part. It's easier now because you watch on YouTube, I guess. [00:45:03] Speaker C: Yeah. [00:45:04] Speaker B: Imagine back in the day trying to figure this out when you didn't see anyone doing anything. [00:45:08] Speaker C: Me, in an era where. Wait, like, the whole rap rock thing was. That was hot for a minute. People are actually using DJs with turntables scratching like, oh, this. Wait a second. What? [00:45:19] Speaker B: I don't need a dj. I can just do this myself. All right. Bridge one. And if the vibe was suicides Then you would push the button but if you're bowing down Then let me do the cutting yeah. Come on. And then the bum, bum, bum, bum I think this is that part. A 44 full of bullets Face full of pale eyes full of empty A stare full of nails the roulette ball rolls alone on the wheel and mindful of fire and a fistful of steel and if the vibe was suicide Then you would push the button and if you're bowing down Then let me do the cutting yeah. Hey, roulette is on this. [00:45:53] Speaker C: Nice. [00:45:54] Speaker B: Yeah, we're rock roulette and there's roulette in the words. Me also. [00:45:58] Speaker C: Have we ever had a roulette in the words? [00:46:00] Speaker B: I don't think so. [00:46:01] Speaker C: Son of a. [00:46:02] Speaker B: And I wouldn't expect it to be in this album, actually, but there you go. [00:46:06] Speaker C: Take it. [00:46:06] Speaker A: That's what the. [00:46:09] Speaker B: Oh, you wanted to. Okay, hold on. [00:46:18] Speaker A: There you go. [00:46:19] Speaker B: Oh, Frank, why'd you go, yeah, you. [00:46:22] Speaker A: Know, I didn't hear the Metallica part until you guys pointed it out with the. It would have been great if he ended the song with Give me four. [00:46:29] Speaker D: Give me five, give me. [00:46:30] Speaker A: You know, like that he's so famous for. But overall, I thought it was a great song. Lyrics. I'm gonna give that a seven melody, a seven music, an eight Composition, an eight and an arrangement. I have to give that an eight as well. Seven, seven and eight across. Sav. [00:46:48] Speaker C: I think I might do the same thing. Seven, seven and then eights across. Make it simple. I mean, it's good. Three in a row. I mean, this is a really strong side so far, Mark. [00:46:56] Speaker B: So we're gonna have to change our arrangement to composition now that Frankie changed it up. [00:47:00] Speaker C: I think composition is more overall and arrangement is individual. That's how I look at it. It's kind of like the breakdown of how they mix things. [00:47:06] Speaker B: Well, that being said, I'm gonna do the same thing you guys did. 7, 7, 8. 8, 8. I remember last time we actually all aligned to the same exact thing. [00:47:14] Speaker C: Yeah. [00:47:14] Speaker B: Doesn't happen very often. Okay, we got two more before the end. So this is township rebellion. [00:47:31] Speaker D: Come on. Seeing what's at stake. Action for reaction. If you're minded of some of them bleepings, they get a checkup. This is a stick up on freedom or your life Lord, I wish I could be peaceful but there can be no sequel not feeling be fundamental into handsborne of South Central on the mic of someone Jertilla the kick in the tower yeah, what about that sucker? [00:48:22] Speaker B: Yeah. [00:48:23] Speaker D: So you thought you could get with the hard rhyme to fill your mind Fox battles fought less is taught yes, I'll explain the fitness Then flip like a gymnast Raise my fist to resist sleep Though we stand in the midst of a wall Gotta get by gotta get warm Keeping the mic warm against the door Just what does it offer me? I think often it's nothing but a coffin Gotta get right till I next Never swing on a rope from here to the Cape of no harm now Freedom of the fundamental In Johannesburg or South Central on the right cause someone should tell them to kick in the township rebellion why stand on a silent platform? Fight the war, fuck the norm why stand on a silent platform? Fight the war, fuck the norm why stand on a silent platform? Fight the war the norm why stand on a silent platform Fight the war the norm. [00:49:25] Speaker C: So I think this is a variation of that. The killing in the name of Right. That I think he kind of does a little bit. That a bump, but not as strong in this one. Not bad. But just like I don't feel it's as strong as the ones before. [00:49:45] Speaker B: Me personally, it can't be perfect all the way through. Although I do like the riff. I do like the riff. I think the riff is still strong. [00:49:52] Speaker C: It is. [00:49:53] Speaker B: Again, this is the 90s. Everyone has to make an hour long album could they have maybe stopped it or maybe didn't? 10 songs or. It's only 10 songs, though. But they're just long. That's really what the problem is. I mean, it's not a lot of tracks, but that's a lot of music and a lot of time. Time. That's what they did back then. They had 70 minutes on the CD. Some people got all the way to the 70 minutes. They didn't stop. First one is rebel, Rebel and yell. Cause our people still dwell in hell Locked in a cell yes, the structure's the cell Mad is a story I tell how long can we wait? Come on. Seeing what's at stake Action free reaction if your mind's in a somewhat complacent state Get a checkup this is a stick up. Our freedom or your life Lord, I wish I could be peaceful but there can be no sequel and this is the pre chorus, supposedly. Now freedom must be fundamental In Johannesburg or South Central on the mic because someone should tell them to kick in the township rebellion and then what about that sucker? Oh, Verse two yet so you thought you could get with the hard lines that fill your mind Thoughts, battles fought and lessons taught yes, I'll display the fitness and flip like a gymnast Raise my fist and resist Asleep though we stand in the midst of the war Gotta get mine Gotta get more. Keeping the mic warm against the norm because what does it offer me? I think it's nothing but a coffin Gotta wreck to your necks Never swing on a rope from here to the cape of no hope and pre chorus again. And then I guess this is the chorus. Why stand on a silent platform? Fight the war Fuck the norm and he does that four times. I don't think this is the strongest of the songs here so far. [00:51:29] Speaker A: This may be my least favorite song so far that we've heard. I'm hearing a little bit of Faith no More in there. Somewhere along the way. I'm just trying to figure out what part of it. That's what I hear here. Overall. Not my favorite. [00:51:42] Speaker C: Yeah, I mean, definitely on this side. I would say it's my least favorite so far, but again, not bad. Still something I'd probably go back and listen to just to show how strong the three before it were. [00:51:51] Speaker B: It's kind of crazy how strong pretty much the whole album is, really. Maybe they're running out of steam. Who knows? Here we go. [00:52:31] Speaker C: Tom Morello doing some Marty Friedman. Egyptian Man. That was cool. I liked it. What'd you think, Mark? [00:52:38] Speaker B: It's not my most favorite sound. The Harmonizer thing, it wasn't bad. I mean, for him and what he does, it kind of makes a lot more sense. So it doesn't bother me as much. But still not as strong as some of the other stuff he's done and was fine. [00:52:49] Speaker A: I love the bass so far in this. The basis, I think for me has been the star of the song so far. [00:52:55] Speaker C: The bass has been really strong overall in this record. [00:52:57] Speaker B: I was gonna say, I think the bass has been really strong the whole record, pretty much. Even the drums, like, you're not paying attention to the drums. That at least I'm not Sabino probably is because he plays drums. He's really good. [00:53:07] Speaker C: Yeah. He's in the groove. [00:53:08] Speaker A: Yeah. [00:53:09] Speaker C: You know, I mean, with music like this, you have to be, or else it really stands out. [00:53:13] Speaker A: So far, I mean. I mean, our conversation been around Tom Morello and his guitar playing in this song. For me personally, the bass really does shine through too. And the drumming been great. I haven't paid as much attention. Yes. Now that you mentioned, they have been great. It's just really good. Great musicianship. [00:53:26] Speaker B: This unfortunately, is a song that feels as long as it is. It's over five minutes. I mean, only maybe getting to three minutes right now. This is not flowing as easy as some of the other stuff. I don't think we're like, oh, that was six minutes. It doesn't feel like six minutes. This is feeling like 5:14 or 5:24 or whatever it is. Let's continue. Here we go. [00:53:51] Speaker D: Why stand on a silent platform Fight the war, fuck the norm why stand on a silent platform Fight the war, fuck the norm why stand on a silent platform Fight the war, the norm what's it gonna Shackled our minds when their beds are the cross When I do it strains Life is lost Shackled our minds when they're left on the cross within the ignorance reigns Life is lost Shackled our minds when we're bent on the cross Ignorance reigns Life is lost Shackled our minds when they're left on the cross when ignorance reigns Life is lost Was lost Shackled your mind and you left on the cross we need the rich rains Life is lost the shackles don't mind when they're bent on the point we ignorance rage Life is lost, lost why stand on a silent platform Fight the war, fuck the norm why stand on a silent platform Fight the war, fuck the norm why stand on a silent platform Fight the war, fight the norm why stand on a silent platform Fight the war the door. [00:56:30] Speaker C: That didn't feel like as long as what was left for me. Anyway. I thought that went pretty quickly. They changed it up a little bit. Then they went back. I like the way it ended. Thought it was pretty strong. After this solo, I felt it was. [00:56:41] Speaker B: A little bit draggy compared to some of the other songs. There's not a lot more lyrics. There's the one part where shackle their minds where they're bent on the cross when ignorance reigns life is lost Then he does the chorus back at the end. I don't know. It's not the strongest out of all of them. And that's really weird because really I've liked almost everything on here. Not that I hate this. I don't think it's as strong. And that's just because all the rest of the stuff is so strong. [00:57:03] Speaker C: Yeah. [00:57:04] Speaker B: I'll go first. Sevens across. That's the easiest I can do here because there's parts I like and there's things that I like. That's what I'm doing. That also gives me a reason to play this. [00:57:14] Speaker A: It's great to be here. Thank you. It's quintuple 7 just for Nicolo. Nikki Titty Baby. [00:57:20] Speaker C: I. I think that one makes me laugh more than Steve. Frank, do you want to go again? [00:57:26] Speaker A: No, you go first. [00:57:27] Speaker C: You know what? I think I'm going to do the same. But I'll do an 8 on production. I'll throw an extra bone there. So close. Frank. [00:57:35] Speaker A: I don't know. I'm gonna get lyrics and melody. 7 and they're 8 across for the rest. [00:57:39] Speaker B: It's hard because you want to like it more. But I don't just think it's not as strong as the other stuff. Stuff. And even though it's only 524, it dragged for me. Is this going to end? And I don't really have said that, really, on anything else. Here. We've got one more. And this is the end. This is called freedom. [00:58:04] Speaker D: Come on. Solo. I'm a soloist on a solo list All I ever on a floppy disc Bottle of yeah, Come on. Set up like a deck of cards they're sending us to Only great for all the diamonds they'll use a pair of cups to beat the spades with poetry I paint the pictures that hit more like the murals that fit don't turn away get in front of it, brother. Did you forget your name? Did you lose it on the wall PLAYING Tic Tac Toe yo, check the diagonal Three brothers gone Come on. Doesn't that make it three in a row? [00:59:28] Speaker C: Funny thing, when the song first started, I thought you cut off the song before and it just started playing again. I was like, wait, is this that last one? [00:59:36] Speaker A: I know. [00:59:36] Speaker C: It just kind of reminded me. I mean, it's a strong riff. It just kind of reminded me of the last one. [00:59:41] Speaker B: I was gonna say, isn't it the same riff? I don't know. See, now it's starting to lose me. It's really similar. There's something else on this side. I don't know if it's the last one. The one before it is very similar. Verse one solo. I'm a soloist on a solo list. All live, never on a floppy disk. Inca. Inca. Bottle of ink Paintings of rebellion Drawn up by the thoughts I think and then. Yeah, come on. The militant poet in once again. Check it. Verse 2. And set up like a deck of cards Descending us to early graves for all the diamonds they'll use a pair of clubs to beat the spades with poetry I paint the pictures that hit More like the murals that fit don't turn away get in front of it, brother, did you forget your name? Did you lose on the wall playing tic tac toe yo, check the diagonal. Three brothers gone Come on. Doesn't that make it three in a row? What do you think of this so far? What do you think about the verses? [01:00:35] Speaker C: It's. It's not bad. It just reminds me of the other thing. I mean, I like the lyrics, and. I mean, the riff is strong. Whatever he's doing is strong, but it's. Wait, didn't it just end that way? Or. It reminded me of something. [01:00:46] Speaker B: It's one of the prior riffs somewhere. [01:00:48] Speaker A: Holy. Did we just score before the song ended? It sounds so familiar. Not quite sure, huh? It just seems like a continuation. [01:00:57] Speaker B: I think they're starting to lose a little bit of steam. I sort of feels like, well, if. [01:01:01] Speaker C: You'Re gonna lose it, this is the last song, right? [01:01:03] Speaker B: Yeah, true. All right, here we go. Let's continue. [01:01:12] Speaker A: Anger is a gift. [01:01:16] Speaker D: Come on. Drop that. Come on. Yeah. [01:02:29] Speaker C: I like that part a lot. That whole, like, they change it up. The guitar toll, I thought was pretty cool. I think that instrumental part, everything, was so far the best part. Not that the rest is bad, but I just. I. I like how they kind of ripped it up right there. [01:02:42] Speaker B: I think that's my favorite part of the song so far. It's just that the riff is so reminiscent of another riff. Unless they're doing that on purpose to pull that riff back into this. Possibly. I don't Know, might be on purpose or starting to get a little long. It's starting to get to the end again. We don't know what order these things are recorded in either. Maybe this riff came first. [01:03:01] Speaker C: I mean, I like to the bass. What the bass was doing before the solo started. It just reminded me of something very 70s to me, which I thought was cool. So, you know, even that changed it up a bit. [01:03:11] Speaker A: Yeah, let's mark on this one. It sounds like a little bit that they're running out of steam. The fact that we don't know the order they recorded in. So this could have been their warm up for what we know before they got into the tight stuff. It's not terrible. It's definitely not as good as the other ones that we've heard so far. [01:03:26] Speaker B: I think that part in the middle, you listen to, you know what it sounded like to me? Led Zeppelin. [01:03:30] Speaker C: Oh, you think so? [01:03:31] Speaker B: It was very Zeppelin. [01:03:32] Speaker C: I was gonna say who. Believe it or not, it gave me a who vibe, but you could be right. [01:03:37] Speaker B: Did it. It gave me a Zeppelin vibe. Just like we're coming off the other album. And I heard that and I was like, oh, I don't know why. It was the way the guitars were played together with the bass and stuff that showed what it sounded like. I don't know why. Let's continue. [01:03:56] Speaker D: Sit on the wall playing Tic tac toe yo, check the diagonal 3 million going come on. Cause you know that I'm counting backwards to zero Environment, the environment exceeding on the level of our unconsciousness. For example, what does the Billboard say? Come and play, come and play. Forget about the move There is a. [01:04:34] Speaker B: Gift. [01:04:49] Speaker D: Bring that in. Yeah. Freedom. Yeah, right. [01:05:35] Speaker C: Freedom. [01:05:39] Speaker D: You great up. Yeah, greater. Yeah, it. [01:06:58] Speaker C: I heard the Zeppelin this time. I definitely agreed. And that end piece I feel like I've heard before. Someone use that as a sample in something because it sounds so familiar. I don't know, man. I mean, I like those parts. I really like those extra parts. I like the end how it got heavy and kind of sludgy. So, I mean, overall, I like this one better than. Than the last one. Once he kind of got out of that thing where he said, oh, did we hear that before? I thought the other parts were really, really strong, in my opinion. [01:07:27] Speaker B: I thought the extra parts were better. I think. Overall, I don't know if I like it any better than the last song. To me, I think they're kind of on the same level. There are good parts in here that I do like. Neither the songs are bad. It's just you're coming for some really strong songs prior. It's hard to, you know, take this and say it's better than maybe some other songs we heard. But I think overall the album's good. Verse Three's brother did you forget your name? Did you lose it on the wall playing Tic tac toe yo, check the diagonal 3 million gone. Come on because you know they're counting backwards to zero. Environment, the environment exceeding on the level of unconsciousness. For example, what does the billboard say? Come and play, come and play. Forget about the movement and then the part. Anger is a gift. And then the freedom stuff all at the end. I thought it was good. Maybe not as strong as the earlier stuff, but still not bad. Frank, why don't you go first? [01:08:16] Speaker A: I think that maybe from the previous two songs, this might be the better one. I guess I'm gonna give lyrics and come in Melody A7. I really do like the ending of the song too, by the way. It seems like almost like a TV when you go into, like, the end of a movie back in the. Like, in the 70s and the 80s when. When the programming was done, you just had that static kind of thing. That's what that the end reminded me of. Like, hey, you reached the end of the album. And here's that static sound. I'm gonna give everything else an 8. 8 for me. How about you, Seth? [01:08:45] Speaker C: I'm gonna say an eight on the lyrics. I thought they were pretty strong. I'll say seven on the melody, I'll say seven on the music. But I'm gonna say an eight on arrangement and an eight on production. It kind of was losing me. And then once they went into that other stuff, I thought it was really strong, and I thought if it fit really well with it. And that was even cool with the screaming at the end. I liked it better than the one before. [01:09:05] Speaker B: Overall, Mark, I think there are parts in here I like better and then parts that I don't like better. So I'm just gonna throw sevens across. Because I kind of think that is fair for me. The way I feel about the songs. I think those parts of each of them I like better than other parts in the other song. And plus, if I do sevens, then I get to make sure Steve is on this episode too. [01:09:25] Speaker C: Yeah, it's Steve and it's quintuple seven. Nikki titty baby. [01:09:31] Speaker B: I never get tired of that. You're right. It sounds more like Steve than Steve. [01:09:34] Speaker C: I wonder if Nick would be turned on by hearing him say that. [01:09:38] Speaker B: Wow. We got to the end. [01:09:40] Speaker C: Nice. [01:09:40] Speaker B: Yeah, it was a good album, man. I mean, you can see why this thing did what it did. [01:09:44] Speaker C: Yeah. Good stuff. Strong again. One of those things where you know the hits and sometimes you go deeper and sometimes you don't. And that's why we do this a lot of times. I always say discovery and rediscovery. I'm glad this came up. And, Frank, you nailed it, man. Tell us what you want to hear next week. [01:09:59] Speaker B: Yeah, obviously you know what the Wheel's gonna do. [01:10:02] Speaker C: Yeah, you definitely do it this time. Without a doubt. She was listening to you. [01:10:07] Speaker A: Oh, I'm glad that it came out. We got two great albums. Albums back to back. Not often that we get these, so it was awesome. [01:10:13] Speaker B: That's how I want you to do your thing. [01:10:14] Speaker C: So we are part of the Deep Dive Podcast network. Like I always say. Great bunch of guys took us in right away. If you want individual podcasts about bands like Rush, Judas Priest, Uriah Heap, you name it, it's probably on there. So check them out. And mark, where can they find us? [01:10:27] Speaker B: On the Interwebs Rock roulette pod. On all the social media. Rockwellpodcast.com leave a new bets idea. Leave an album idea. Buy some merch, Drop us a note. Tell us what you like, what you don't like, how sucky we are, how much you do like us, how much we know nothing about Rage against the Machine or whatever band that we're doing at that point, put us on your auto download so you get us every week and rate us 5 stars wherever you do your podcast. That way, it helps us get out to more people. Next week is Wheel spin week again, and Frankie will be the only one saying what he wants because he's the only one that can control the Wheel. [01:10:59] Speaker C: Well, he definitely nailed it this week, so. [01:11:01] Speaker A: All right. [01:11:02] Speaker C: Absolutely. [01:11:03] Speaker B: Yes, sir. All right, we'll see you next week. [01:11:05] Speaker C: Ciao. Ciao. [01:11:06] Speaker A: Thank you. [01:11:07] Speaker B: Later.