Episode 144 - The Firm - The Firm - Part 1

[00:00:00] Speaker A: Foreign. [00:00:05] 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 onto the Rock Roulette Podcast. [00:01:03] Speaker C: Foreign. [00:01:14] Speaker D: Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1, 500 albums, stuck them in a list, stuck them in a wheel and typically every the week we spin the wheel, she picks a record for us and we go do it track by track. We talk about the music, the lyrics, the production, the melody and the arrangement. We again, just a bunch of friends who love music want to do a podcast and whoever takes the ride with us every week and listens to us, we thank you so, so much. Again, spread the word, tell us what you like, what you don't like, anything you'd like to hear. We're always interacting. Tonight we are a trio as usual as we have Frank. My name is Frank and I'm Sexy. [00:02:02] Speaker E: Hello everybody. [00:02:04] Speaker D: We have Mark. Oh hi Mark. [00:02:05] Speaker A: What's up guys? [00:02:06] Speaker D: And I'm Sav. Ciao Buena. Last week we wrapped up Music from the Elder Bite Kiss. Definitely a controversial album to Kiss fans and non Kiss fans. Typically I go to Mark first, but this time I think we're gonna start with Frank because Frank's reactions I think are probably what at least what we hear on the Kiss podcast and everything that Kiss fans had at the time of the release. And Frank obviously knowing Kiss and everything and never having heard this album. What are your overall thoughts? [00:02:35] Speaker E: I'm shocked that they were able to even rebound from this and still have a fan base. It was so out of their sound, experimental or not. Totally not what I was expecting and just totally. Oh man. Like I told you guys last, I tried to think of another group that was a far departure and I can't think of another. [00:02:53] Speaker D: Definitely not one of your favorite records I would say, right? [00:02:57] Speaker E: Not at all. I just didn't get it. And I'm a passive Kiss fan. I'll listen to that music. I listen. I can't imagine being like hashing a Kiss fan, how they must have felt. I don't know, I just didn't get it. [00:03:07] Speaker D: Mark, one comment. We had made a couple of times where there were songs that we thought we liked more but didn't like as much this time. And obviously Paul's falsetto stuck out I think more than other times we listen. And I think a lot of that comes with A, listening through headphones and B, I guess trying to be a little bit more critical with the listening as opposed to just sitting back and enjoying it. [00:03:27] Speaker A: The falsetto was a bit rough for me. The falsetto has always been rough for the last 40 friggin years of listening to that album. And there's not much more to say than what Frank said. Every Kiss fan who heard that said, I don't understand. I don't. I don't know what this is. Why is this here? I don't get it. And especially since there was no context and that the US version was tracked differently because from what I can gather, they brought it to the record company and they know what to do with it. So they stuck all the things out of order. But when you listen to it in order, it makes a little bit more sense, but not enough that you go, okay, this is great. [00:03:57] Speaker D: Yeah, I mean definitely listening it to the. The listing that we listen to, you can feel a story there. And I think without a doubt it makes a little bit more sense. It didn't make as much sense at the end. It probably never made sense. Especially when listening to the US track version again, it tells a story. I think at least half of the album is pretty solid. They experimented and overall it was okay. I think there were times when I've liked it better than last time. You know what? I'm glad the Wheel picked it. It's. It's a controversial record. They have a couple of other ones in their library that I hope come up where we can be maybe a little bit more critical, maybe even a less crit. So we'll see. [00:04:33] Speaker E: In closing, I do want to say in closing, Aces guitar playing was. Was great. [00:04:38] Speaker D: Yeah, there was some good guitar playing. Times where I wasn't even sure it was him. [00:04:41] Speaker A: He's the saving grace, I think, of the album in the parts that he does. And there's other stuff that supposedly never made it to the album. Put on the cutting room floor, I imagine what that stuff's like. [00:04:49] Speaker D: And Mark, where do you think that is? Is that like in Bob Edwards basement somewhere? [00:04:53] Speaker A: Who knows where it is? [00:04:54] Speaker D: Anyway, like I said before, I get back to the Mama Wheel for a brand new Record Tonight we get to spin the baby wheel in a world where is not easy to find. Welcome to new bets. [00:05:15] Speaker A: Okay, can you see the wheel? [00:05:17] Speaker D: See it? [00:05:17] Speaker A: All right, here we go. [00:05:32] Speaker D: It's your favorite band, Mark. [00:05:33] Speaker A: I don't know it's my favorite band. [00:05:34] Speaker D: Ghost Satanized. I know I'm busting your hoops. [00:05:38] Speaker A: I like ghosts. So this is brand new. [00:05:39] Speaker D: It's actually kind of funny. The new pope was picked today. We get Ghost on the wheel. Actually, he stopped being the pope character. Right. Was that the last one he did, or was that a few characters back? [00:05:49] Speaker A: Or is that the new character, the new catechist? Po? Yeah, there you go. The album just came out in April. All righty. So here is Ghost Satanized. [00:06:16] Speaker C: There is something inside me and they don't know if there is a pure A demonic Unlike any before It's a sickening heartache and it's slowly tormenting my. [00:06:40] Speaker D: Soul. [00:06:43] Speaker C: I've invested my prayers into making me whole I should have known not to give in I should have known not to give been where is he? Save me from the monster that is E I'm victimized Here is he Sa me from the bottom of my heart I know I'm Satanized I'm Satanized I'm Satan. [00:07:31] Speaker A: Devo. [00:07:37] Speaker C: Through a life of devotion I've been quelling my urges to burst I've been fighting the notion to my love be coerced I should have known not to give in I should have known not to give in Save me from the monster that is See I'm paralyzed Heresy Sa me from the bottom of my heart I know I'm Satanized I'm Satanized I'm Satan Like a deadly affliction that is twisting and bending my. [00:08:57] Speaker D: Core. [00:08:59] Speaker C: I beg God for the remedy But I'm no longer sure I should have known not to give in I should have known not to give in Heresy Save me from the monster that is See me Heresy Sat my heart I know I'm Satan Nice. From the bottom of my heart I know I say tonight I say tonight. [00:09:50] Speaker D: I feel that if King diamond and ABBA did a collab, it would probably sound like that. Oh, that was great. [00:09:58] Speaker E: That's a good one. [00:10:00] Speaker D: You like that one? Eh, Thought about that one. [00:10:05] Speaker A: But this one is supposedly more like the album we did and less like the newer stuff, which it does sound that way. [00:10:12] Speaker E: I was gonna say. Well, like, you could tell this was. This was a ghost. Based on what we already did, yes. [00:10:20] Speaker D: Based on the album that I heard. I would now know without A doubt, I would say. Oh, that sounds like Ghost. Sounds like something that they would do or he would do. Assuming he's still kind of like the only one who's really writing. [00:10:31] Speaker A: Yeah, pretty much. Well, that was good. All right, cool. Well, we should rubber stamp this. If you guys like this or dislike this, reach out to us, social media. Let us know what you think about this song. And hopefully eventually one day we get this album. It'll probably be five years from now. That's just kind of the way the Wheel works. [00:10:47] Speaker D: That should be enough time. [00:10:49] Speaker A: Yeah, probably. [00:10:52] Speaker D: In a world where new music is not easy to find. [00:10:58] Speaker E: Welcome to new bets. [00:11:10] Speaker D: Cool. Now we get to spin the mama wheel. I will say it again. I'm pitching for two things today. I wouldn't mind something 80s again, believe it or not. Or something heavy. We keep asking for something heavy. Really. One thing we don't really seem to get. Mark, what are you hoping for? [00:11:23] Speaker A: I'm still pulling from really 90s grunge is what I want. [00:11:26] Speaker D: Frank, what are you feeling? [00:11:27] Speaker E: Something heavy. Like a Pantera. Or maybe an Anthrax would be nice. [00:11:31] Speaker A: Okay, here we go. [00:11:52] Speaker D: Wow. The Firm. This is what's his name from Zeppelin. [00:11:56] Speaker A: Jimmy Page. [00:11:57] Speaker D: Jimmy Page. Thank you. Couldn't remember his name. And I believe Tony Franklin, the bass player who wound up in Blue Murder, I think, is in this. [00:12:05] Speaker A: Yes. [00:12:05] Speaker D: I actually have this album, but I couldn't tell you anything about it. [00:12:09] Speaker A: This is 1985. Wow. Only nine songs. This is before, I guess, CDs were in the middle of taking everyone to 60 Minutes. So this is Paul Rogers on lead vocals, Jimmy Page, Tony Franklin and Chris Slade on drums. [00:12:23] Speaker D: I mean, a super group, pretty much. [00:12:25] Speaker A: I know nothing about this. [00:12:27] Speaker D: Here's what I know. It comes up a lot in great albums that you haven't heard. I've listened to it, and considering what it is, it hasn't hit me, but I've never listened to it like this. Maybe breaking it up and kind of really having to pay attention to it. It'll have a stronger reaction, which I'm hoping. I mean, this is. You would. You would think. Especially just the fact that Jimmy Page and Paul Rogers are together in a band. It should be awesome. [00:12:49] Speaker A: I mean, yeah, Tony Franklin's a great bass player. [00:12:52] Speaker D: Oh, yeah. [00:12:52] Speaker A: Chris Slade is from AC dc. I would assume this is going to be good again. It's weird. I've never hear this, even though obviously I was alive in 1985 as a teenager in 1985. But this never came on my radar at all. [00:13:03] Speaker D: Chris Slade Is a famous ball drummer when they put the live stuff out. Frank, do you know anything about this? [00:13:08] Speaker E: I do not. Really excited to hear it? [00:13:10] Speaker A: I have no clue. Let's do a little bit backstory. A little bit on this. Not a lot of information. Obviously. The first studio album, I don't know. Do they have more than one? I don't even know. I did. Gold United States. So that's not bad. It reached number 17 on the billboard 200. So not nothing. Obviously. Jimmy Page being in there and Paul Rogers being in there probably helped that out. Before we go, who actually produced this? Jimm Page and Paul Rogers. So that's either going to be good or bad. It's either going to be, yes, he's going to do like he did on some of the classic Led Zeppelin albums, or it's going to be bad because they're producing themselves. [00:13:40] Speaker D: Loud guitar, loud vocals. [00:13:43] Speaker A: Yeah, pretty much. Oh, actually they have two albums. The second one, it was in 1986 and then that was. They were over. So here we go. I'm excited. The first song is Closer. [00:14:06] Speaker C: Feeling good even though you give me fever Feeling good though you make me shake and shiver I get a feeling. [00:14:36] Speaker D: Definitely of the era. Kind of sounds like Paul Rudd, but it almost sounds like it isn't him. Maybe because it's just the style of music. The bass is really cool. I'm really digging the bass and kind of like that offbeat little drum thing that they were doing. [00:14:49] Speaker A: Well, for me, it started out Led Zeppelin a little bit. It was like Led Zeppelin in the mid-80s, which never happened. That's what it sounds like. But then you got the horn or whether it's horn or keyboard horns that everyone had to do in every genre, whether it was rock or pop. Everyone had those stabby horn things going on. I don't know yet. I still haven't got a feel for this. Whether I'm gonna like it or not like it. Paul Rogers can sing. I don't think we're gonna have an issue with really any of the musicians or the vocal stuff. I just don't know if the song is going to be there. I think that's really going to be the question. [00:15:20] Speaker E: I'm with you, Mark. It's very. Sam, you're right. You're spot on. It's very. For the time. You can hear the sound there. And yes, those horns that you've heard throughout mid-80s is definitely there. I'm curious to see how the song hashes out as they go along. You know, the musicianship is going to be there. It's just. Let's see how the song gets played out. [00:15:39] Speaker A: First verse is feeling good. Even though you give me fever. Feeling good girl, you make me shake and shiver. I get a burning feeling. Flames are getting higher and higher. You got my senses reeling. Come on, closer. Typical. I don't think you're going to be going for a major poetry in this album. All right, let's continue. Here we go. [00:16:56] Speaker D: I like that breakdown part. When it slows down, the bass is doing. That's my favorite part of the song. [00:17:01] Speaker A: Song. [00:17:01] Speaker D: I don't think the song is terrible, but it's. Considering who it is, I guess you can say it could be anybody. [00:17:07] Speaker A: The horn things are driving me a little crazy. I feel like it just muddles up the whole song. I want it to be a Jimmy Page song, but I want guitar, especially, like, coming right out of the gate. Those keyboards. I agree with you. Flames are getting higher and higher. That's my favorite part so far. I mean, everyone's playing well. Bass is great. Drums are great. He sings great. I don't know if the song is there. That's the question. So at least this song, I'm not feeling this too much. And I'd let it go two verses so I could read through it. Because I have a feeling this is going to be a quick in and out for us. [00:17:37] Speaker D: And that's the thing, too. There's not a lot of. Other than that part. Right. It's kind of verse and then chorus, verse and the chorus. Verse and then chorus. Kind of like where everything's really right on top of each other. [00:17:46] Speaker A: Just because you get a whole bunch of very talented people together doesn't mean they can make a good record. [00:17:51] Speaker D: Well, this sounds very intentional, at least this song. [00:17:54] Speaker A: I guess we'll see what happens in the rest. When you hold me tight? I feel my body slipping under. Lightning strikes hits me and I feel the thunder? I get a burning feeling. Flames are getting higher and higher? You got my senses reeling. Come on closer now, baby. There's a mighty power rising like a morning sun. It's the power of love, baby? And it's you that I want. I get a burning feeling. Flames are getting higher and higher. You got my senses reeling. I mean, nothing special there. I guess we're gonna have some kind of an instrumental. Is it gonna be keyboard? Is gonna be horns. Is it going to be a guitar? I don't know. [00:18:26] Speaker D: Saxophone sounded like, actually. [00:18:27] Speaker A: Or maybe sax. Yeah. All right, here we go. [00:18:48] Speaker D: Just a little breakdown with the saxophone. I mean, there's some cool stuff going on in the back. Kind of buried. I thought. I was trying to see who played the saxophone. [00:18:55] Speaker E: Sax. [00:18:55] Speaker A: Let's see. Tenor sax. Don Weller. I just don't know what to do with this. It's so 80s with the keyboard and the horns and stuff. I like his little riff that he's doing behind the back. That's kind of getting buried. [00:19:05] Speaker D: I feel like I've heard this song in every USA up all Night movie. [00:19:14] Speaker A: Yeah. You could stick this into any 80s comedy movie, I think. Yeah, stick it in there. [00:19:20] Speaker D: The beginning. Yeah. Or even like. [00:19:25] Speaker A: Frank, what are you feeling? [00:19:26] Speaker E: You know, every time I hear like a sax breakdown from an 80s song, it just reminds me of the sax player from the Lost Boys I pictured. That's the guy that everybody hires to play your sax for them. Definitely. Like you could put this in any kind of frat oriented comedy movie of the 80s. It'll be at home there. [00:19:46] Speaker A: Yeah, it is what it is, is. All right. Well, hopefully it can get better as we go. We'll see. Here we go. [00:20:10] Speaker C: Friends are getting higher and higher. Come on. [00:20:50] Speaker D: Mark, what do you think of that little guitari part? [00:20:53] Speaker A: That was pretty cool. I like that. I mean, the playing is really good. I just don't think the song is great. [00:20:58] Speaker D: I think the bass is the star in that song. I thought the bass was really cool. [00:21:02] Speaker A: Tony Franklin's a good bass player. [00:21:04] Speaker D: Yeah, he's great on Blue Mario. [00:21:05] Speaker A: Yep. Lyrics. Feeling good even though you give me fever Feeling good though you make me shake and shiver I get a burning feeling. Flames are getting higher and higher you got my senses reeling Come on, closer. Flames are getting higher and higher you got my senses reeling Come on closer now, baby Just a little bit closer now. Who wants to go first? [00:21:27] Speaker D: I think Frank should go first. [00:21:28] Speaker A: Yeah, Frank, go first. [00:21:29] Speaker D: Yeah, you go first. [00:21:30] Speaker E: I mean, whenever I hear this sound with the horns, it's like very Robert Palmer sounding, simply irresistible kind of sound. I like the sound, but the music, I like it a lot. I'm gonna give that a 7 arrangement of 7 production. 7. The lyrics. There's nothing special here. I'm gonna go with a five there melody. Five mark. [00:21:56] Speaker A: When I hear this, I get transported back to the 80s. Anytime I hear those keyboard things and horn things and not to maybe the good part of the 80s, which I don't particularly like that much. I don't know what to do here. I'm gonna say five on the lyrics, five on the melody, musicianship, seven arrangement four. Because there's no arrangement of any Kind and production. I mean, it's fine. It's middle of the road. I'm gonna say six. Saf. [00:22:19] Speaker D: Yeah, Frank. I wasn't expecting that high. I don't know what to say here. Lyrics for music. You know what? I'm gonna say a six on the music because of the bass. That, to me, is a Saving Grace production. I'm gonna say five. I think it's kind of flat arrangement. I guess. Five. There's. Because it's really kind of like straight through melody five. I mean, I'll probably never go back to this song again. [00:22:44] Speaker E: Well, yeah, you gotta remember the production matches for that era. [00:22:47] Speaker D: Yeah. But there's other stuff that. I mean, I was telling Mark 2 before, like, listening to, like, Fast Waves. We had talked about this and I found out recently was Eddie Kramer. I guess I didn't really realize it, even though I've heard the album so much and that was like 83. That album sounds amazing. Is it bad production? No, there are some weird things going on. I feel for what it is. Yeah, it's fine. I mean, this could be why I've tried listening to this record and it hasn't stuck with me. [00:23:14] Speaker A: You know what it sounds like? It sounds like similar to production that was on Presence. [00:23:18] Speaker D: You think so? Mm. [00:23:20] Speaker A: I think the same issues that were on Presence are here. [00:23:23] Speaker D: I mean, again, I think this song is very intentional for what it. [00:23:26] Speaker A: Well, let's see if the next song is intentional again. This is make or break. [00:23:45] Speaker C: It. It's getting kind of disconcerting. You got me so I can't tell the shade from the light the one thing I know that's for certain Baby, you got to make your mind up for you and I are going to wind up out of of love and in confusion Doing time for love's illusion. [00:24:34] Speaker D: I think Paul Rogers wrote this song and it kind of reminds me of Bad Company Light. That's kind of how I feel. I feel like I hear that in there. It doesn't have the oomph that a Bad Company song would have from, like, their heyday. [00:24:47] Speaker A: It's not very punchy. I like the guitar part. I think he's trying to do some slide stuff a la Zeppelin. It just doesn't hit the right way. And I think we're gonna probably say this through the whole album. The musicianship is good. They all can do what they do on their respective instruments and singing very well. I think the songs are gonna suffer just looking through the lyrics. It's the same kind of thing. It's very straight through and yet is kind of Bad Company Light doesn't have the kind of punch those albums have. And the melodies are a little weird here too. [00:25:19] Speaker D: It is a bit weird. And the bass is not as noticeable, I feel. No, I understand. It's got that bum bumps, bump, bump. [00:25:25] Speaker E: So far the only part that I like is that side guitar play. That's about it. There's something missing. And it is that punch mark that you're saying. It's very flat. [00:25:34] Speaker A: Even the singing is flat. That like, you expect Paul Rogers to have more of a punch to his vocal. And it just feels weird. It's real up front, the vocal. Like really up front too. Up front. [00:25:44] Speaker D: Oh, very upfront. I was just about to say that. It is very upfront. I mean, he's got a good voice. [00:25:49] Speaker A: He has a great voice. [00:25:51] Speaker D: Yeah. I mean, one of the most recognizable voices in rock and you can kind of tell it's him. [00:25:56] Speaker A: No, it's Bad Company Light lyrics. You got me so I don't know my left from my right it's getting kind of disconcerting. You got me. I can't tell the shade from the light but the one thing I know is for certain Baby, you got to make your mind up or you and I are going to wind up out of love and in confusion Doing time for love's illusion we gotta make up or break up It's a weird timing, it's weird melody. It doesn't play to his strengths as a singer at all. [00:26:22] Speaker D: I don't think this to me, is actually a very good follow up to Music from the Elder. I say that because what people were saying, what the hell back then. This has got to be wild. If I have this on vinyl and I've heard people talk about it and it's an unrecognized classic and blah, blah. And listen, maybe this stuff is going to pump up later. When you hear that Jimmy Page is getting together with Paul Rogers. As a rock and roll fan, you're like, holy hell. And then you put this on, you get the 80s movie theme, and then you get this little bum, bum, bum, bum. I'm like, wait, are you sure? Is this Jimmy Page or lob page and Mr. Rogers? I don't know, man. [00:27:04] Speaker A: I agree. I think that the Led Zeppelin and Bad Company people like, yes, look what we're gonna get. This is gonna rock. And then this happens and you go, no, this is not what we want. [00:27:13] Speaker D: Damn, this is the wrong record. Can you give us some more? Jimmy Page and Paul Rogers are on. [00:27:19] Speaker A: All right, here. [00:27:26] Speaker C: Fight from my own it hurts me and I know you're. [00:27:31] Speaker A: Hurting. [00:27:34] Speaker C: Got me so I don't know if I'm coming All the one thing I know that it's for certain. [00:27:45] Speaker D: Got. [00:27:46] Speaker C: To make your mind up for you and I I going to ride time out of love and in confusion. [00:28:13] Speaker D: I hear that Jimmy Page slide, which is reminiscent of Zeppelin. I hear it there, but there's no punch. The punch is completely missing from this production. If this thing had a little bit more punch, I mean, the lyrics are what they are. I just think it would have been a completely different song. It's so flat. [00:28:32] Speaker A: His singing is very flat. I don't know if this was a song that got rejected from his other bands. I don't know where he was at this point. You'd have to look it up while we're playing solo. Maybe let us know where. Where he was. Was Bad Company done at this point, I assume. Right? [00:28:45] Speaker D: Right. [00:28:45] Speaker A: I don't know. [00:28:46] Speaker D: I don't know. [00:28:47] Speaker A: That's a possibility. I mean, the song is not great. But I do hear the Led Zeppelin thing. Of course, we're missing a very big piece of Led Zeppelin, which is John Bonham. And I think it's maybe missing a little bit of that backbeat that John Bonham would put into this. Even though Chris Slade's a great drummer, it doesn't look like he's doing anything but being like, exactly on time. This thing needs a little bit of swagger of some sort. It doesn't have. And production is not great. [00:29:09] Speaker D: Yeah. [00:29:09] Speaker A: Again, presence, production. I think we said the same thing on Presence, too. Things got mixed around. Things were too high, Things were too low. Who knows? Jimmy Page could be going deaf here. He's been playing loud guitar for the last decade and a half. Who knows how that's working out for him? [00:29:22] Speaker D: Yeah, that's what we'll say. That's what it is. That's what it is. [00:29:24] Speaker A: Yeah. He can't hear. [00:29:26] Speaker D: He can't hear. [00:29:27] Speaker A: Lyrics. You got me so I can't tell my right from my wrong it hurts me and I know you're hurting you got me so I don't know if I'm coming or going but the one thing I know is for certain certain is baby, you got to make your mind up or you and I are going to wind up out of love and in confusion Doing time for love's illusion we gotta make up or break up. I hear this solo happening. I think it's going to be guitar solo. [00:29:50] Speaker D: Yeah. Just so you know, in 85 they released a compilation, Bad Company 10 from 6. Which is funny because I was gonna say, I wonder if that 10 from 6 was out in 85. I actually had that on vinyl. [00:30:00] Speaker A: Yeah. So they were done. [00:30:01] Speaker D: I don't know if they. What they had done. [00:30:03] Speaker A: I will say I'm gonna play solo and then you can look, here we go. [00:30:29] Speaker C: Sam. [00:30:59] Speaker D: I refer to you, Mark. What do you think of that? [00:31:01] Speaker A: I don't know what to feel about that. It's not bad. It's got some cool stuff in it. It's very strange. It's like the song. It feels like it should be better. It feels like it should have a little more punch, but it doesn't. It's not bad. I don't think anything Jimmy Page does is bad. I think the problem is you have two big guys with gigantic catalogs of really a level shit. And when you put them together and it's not a level, I think you're just automatically disappointed. It. [00:31:25] Speaker D: I mean, I don't know what the press was for this. If they put out any promotion saying, hey, listen, this is not going to be Zeppelin meets Bad Company. You know, we're getting together. We just want to do something different. We're just, you know, messing around. It's going to sound a little bit more of the time. I mean, they could have been press release where they laid out the plan. Who knows? Because that's kind of what it sounds like. It sounds like, hey, here's what the kids are into this. Let's do this. [00:31:49] Speaker A: Well, but this is not a typical 80s thing, though. What's going on right here. [00:31:52] Speaker D: Still think it's an 80s, these soundings. Like I said, it sounds like kind of, you know, Bad Company light. And in this sense, I don't know if it's even that at this point. It feels like it started out that way and then it kind of faded. He was out, by the way. In 1986, they released another album and he wasn't. The singer was a different singer. [00:32:10] Speaker A: There you go. Frank, how's it going for you so far over there? [00:32:13] Speaker E: I don't know, man. Like you guys have said, very flat. Very man. Let's just get through this. That solo sounded rushed, like he just wanted to get it over with. I don't know. I'm just kind of disappointed to hear this. [00:32:24] Speaker A: Frank's in shock. He expected more from this. [00:32:27] Speaker E: I. I really did, actually. [00:32:29] Speaker D: Frank is the Eric Carr of the Elder. Two weeks in a row, he's like, I joined this band to rock. [00:32:39] Speaker E: Eric Carr, man, that guy I can just imagine, like, when he drove home. He must have driven home at the end of the studio sessions in silence. Just let it all sinking in. He's like, what did I do? What is this? [00:32:52] Speaker A: I should go back to fixing stoves. Stoves is better than doing this. [00:32:55] Speaker D: Give him credit. He contributed a song, though, so. [00:32:58] Speaker E: And here's the thing, okay? [00:32:59] Speaker D: Right? [00:32:59] Speaker E: I'm gonna come back to you guys and be like, yo, I made kids. I'm gonna be the drummer. We're gonna hit the studio. Then you hear that, and then you hear the next one, you'd be like, frank, you. You make kids suck, bro. What's wrong with you? Like, what did you do? [00:33:14] Speaker A: All right, here we go. [00:33:20] Speaker D: You. [00:33:22] Speaker C: Yeah, you Got to give me freedom Got to give me freedom Baby, don't you know I need you now? But don't you know I need your love? Got to give me a little freedom Satan. [00:35:05] Speaker D: I mean, there definitely was a little bit more oomph at the end. Not that it would have made it a great song, but I think at least if it kind of had whatever was going on there at the end, it would have been a better song overall, right? It's not just me. It did get a little bit more pumped at the end. [00:35:17] Speaker A: Yeah, it picked up at the end. There was some good guitar playing at the end. I still think it's missing the backbeat that John Bonham would have provided there. I think that's holding it back a little bit, too. But that end part was better, I have to say. If the whole song was like that. Even his vocals were a little bit better. [00:35:31] Speaker D: Yeah, he got a little bit more into it, I think. [00:35:33] Speaker A: So you want me to read the end parts? Because it's just. [00:35:37] Speaker D: Nah. [00:35:40] Speaker A: He'S just ad libbing in between everything here. [00:35:42] Speaker D: That's what it sounds like to me. Yeah. [00:35:44] Speaker A: All right, Sav, you're gonna go first. Go ahead. [00:35:46] Speaker D: Well, here's the deal. Five on everything. Lyrics. I gotta say a four again. I just feel like there's no inspiration here whatsoever. Mark, you can go down. [00:35:58] Speaker A: I think I'm doing the same thing. Four and then fives. I don't feel a lot of inspiration short of that end part. And very few little parts in there. You're like, oh, that's Paul Rogers. Oh, that's Jimmy Page. The whole song together, not much Frank. [00:36:11] Speaker E: Right there with you guys. Fours and fives. It's very flat. You expect so much more. It's almost like that Slow Burn movie that you're like, okay, this is the part where it gets good and it just doesn't. That's this song right here. When I heard the slide, I was like, all right, it's gonna pick up from here. Nope. The solo just sounded so rushed. Let me just get this over with kind of a thing. Very surprising so far. [00:36:34] Speaker A: Just like all the listeners. Can we just get this over with, please? Get to the next song and hope it gets better. Speaking of that, Here is someone to love. [00:37:18] Speaker C: Trouble disappear I found someone to love and I will always want you nearer that's when I know it's got to be Got to be so right, yeah. [00:38:28] Speaker D: Michael Bolton technically, at one point, was kind of considered rock kind of correct. He was kind of mixed up in that crowd a little bit, I think. I've only heard one or two songs. But I would think he would probably do something like this. This. There's something that could be there. There's kind of this groove. I think the production definitely doesn't do it any favors. I don't know, man. I'm kind of over three. [00:38:49] Speaker A: I don't know what's up with that bass thing. I don't like the tone of that. I understand what he's trying to do. [00:38:54] Speaker D: Yeah. I'm not crazy about him. [00:38:55] Speaker A: I don't understand why it sounds that way. And why it has to be so prevalent that way. It's just too much in the mix. It just throws you off. His vocals are a little bit better here. It feels like he has a little more passion going on. And some of the guitar stuff is pretty cool. It does sound very Zeppelin, the style stuff he's playing. And maybe that's just because it's Jimmy Page and that's the way he plays guitar. This is like over three, almost. [00:39:14] Speaker D: I hear the tones of Zeppelin. I was going to say something about the bass, too. Because he kind of did something similar in the first one. But for me, it worked in the first one. And now here, when I hear it, I feel like that's like my stomach when I have to go to the bathroom really badly. I don't know, man. [00:39:30] Speaker E: I don't know. [00:39:30] Speaker D: That's it. That's all you need to say? [00:39:33] Speaker E: Yeah. You know, so far, I'm not liking what I'm hearing. I feel like we're going for another heartbreak. [00:39:40] Speaker D: This, to me, is the Bart scene of the 80s movies. This is playing right before the fight happens. [00:39:46] Speaker A: Frankie's wishing for the elder right now. [00:39:48] Speaker E: I won't go that far, but I'm definitely not expecting this. [00:39:53] Speaker A: As much as the elder isn't great. Just because of that, what happened? This is worse. I think this is even worse. I don't know what this is supposed to be. [00:40:01] Speaker D: Like I said, at least I know the times that I've tried listening to this. I wasn't being over critical. It didn't stick with me then, it's not sticking with me now. [00:40:08] Speaker A: And this is why I've never heard this, obviously. Lyrics. Love Sweet music that I hear I found someone to love all my troubles disappear I found someone to love and I will always want you near I found someone to love I found someone to love and when the darkness falls that's when lover calls and in the shadow light that's when I know that's what I know it's got to be it's got to be yeah oh yeah Listen now, baby Weird arrangements of songs. It feels like just run on sentences. There's no parts breaking up. Wow. Okay, here we go. [00:40:58] Speaker C: Never let this go oh baby she just has to let it show. [00:41:22] Speaker D: Wow. [00:41:26] Speaker C: To love and when the darkness falls that's when your love comes and in the shadow light this When I lower that's when I know Got to be so. [00:41:57] Speaker D: Here'S what I'll say having listened to it the second time. If you put this song through a 70s sensibility and feel this would have been probably a kick ass song. I like what he's doing in the melody. I mean, the words are what they are. If you think about the two of them, and I understand it's 1985, they probably say, listen, I don't want to sound like whatever again. I don't know what the press was for this. This. If you put the two of them together, you put this. Not only the two of them, the four of them together, let's say mid to late 70s, and they're doing it in that era with that kind of feel, this would have been a massive song, I think. [00:42:31] Speaker A: You know what this is like? This is like you go click on this picture or whatever on the Internet and you get this. [00:42:45] Speaker D: I wish we got that. [00:42:47] Speaker A: We got Rick rolled, man. [00:42:48] Speaker D: We got Roger rolled. [00:42:50] Speaker A: We got Roger. We looked at it and went, wow, look at all the people that are on this. This is gonna be so awesome. It's gonna be great. How can this be bad? And then that's what happens. [00:43:02] Speaker D: It could have been a standout song, but because it's done in this vein, just like, no, I don't, I don't. I'm. I can't feel it. It's hard to feel. I wouldn't listen to any of these songs again. And I feel badly saying that. And I'm sorry for anybody who loves this record. Obviously, that's why we're here. You can criticize us and tell us, but. [00:43:19] Speaker C: System failure. System failure. [00:43:26] Speaker A: I haven't used these things in a long, long time. [00:43:29] Speaker D: And if someone told you you'd be using it on a Jimmy Page, Paul Rogers collab, what would you think? [00:43:34] Speaker A: No, I don't understand. I don't understand. [00:43:37] Speaker E: It's shit. [00:43:40] Speaker A: I want to like it. I want to be. Yes. I'm like, here we go, two great musicians. They're going to put them together, and they got two other guys that are really good, and we're gonna have something really good. [00:43:50] Speaker C: Denied. [00:43:52] Speaker A: That's what's happening. All right, let me read. I've even lost track of where the. I am here. Okay. She gives me music in my soul I found someone to love and I will never let this go I found someone to love oh, baby she just had to let it show she found someone to love yeah, she found someone to love when the darkness falls that's when your lover calls and the shadowed light Right, that's when I know that's when I know it's got to. It's got to be so right. That's the best part. That little thing right there. I don't know what's going on. The little riff is going on. That's the best part of the song, and that's not saying a lot. Okay, let's do solo. Here we go. [00:44:38] Speaker C: Sam. [00:45:23] Speaker D: Mark, what'd you think of that? [00:45:24] Speaker A: I mean, I don't think it's bad. If it wasn't a real Led Zeppelin song. I don't know. It's not horrible. It's his style of soloing. It's fine. It's just that bass thing is throwing me off, man. It doesn't work in the song at all. [00:45:36] Speaker D: I know. I did make a comment when we were listening to Presence. I didn't always think he did the best of solos, but I thought the solos and that were actually really good. [00:45:43] Speaker E: Better. But still, I don't know. It's. It's still like, there's something missing from Jimmy Pager. [00:45:49] Speaker A: I think there's something missing with everybody here. The super group in the worst form. All right, let's play that. Here we go. [00:46:00] Speaker C: My dream let go. [00:46:57] Speaker D: I'm glad that it's over But I didn't like that ending. That's all I have to say. [00:47:00] Speaker A: Yeah, I'm gonna go first. I don't really know I think his vocals were a little bit better in here. I don't know where to give that. So I'm gonna do fours and five on the music. I think I might hate this more than the other ones. I don't know. It wants to be something. What the that is? I don't know, Frank. [00:47:15] Speaker E: Lyrics and melody. Five across again. There's just something missing, and you're just expecting a little bit more than what we're getting right now. I guess that's what I got. [00:47:24] Speaker D: Seth, this is one of the hardest albums to do so far. I'm usually at least clear about certain things, but I just. I fluctuate between fours and fives, which sucks. Mark, what did you do? [00:47:34] Speaker A: I did fours and then music five. [00:47:36] Speaker D: I'm just gonna say a five on the lyrics because I'm glad he's happy, and I'm gonna say I'll do fives in the row. I feel like 4 is low, but, I mean, I. At the same time, I could probably give it all ones. You know what I mean? It's weird. It's like I should never, ever be giving these people anything like this. So there's part of me that maybe is doing it a little bit out of effect. To me, it's 0 for 3. I mean, I would never go back to any of these songs at all. So maybe those scores are high. Got to be low enough not to make it on the playlist. And this. This could be one of the lowest playlists we have. [00:48:07] Speaker A: We're gonna have to lower down the criteria, I think, just so we can get some songs on the playlist. [00:48:11] Speaker D: Oh, I don't know, man. Hey, you gotta be tough sometimes. Tough love. [00:48:16] Speaker A: Well, we need a playlist. So what are we gonna do? We need to have something on there. Here's the next song. This is Together. And let's hope they're together on this, because we need something. [00:48:46] Speaker C: Now that I'm a man I understand need someone to share this wonderland together A woman and a man should find romance so come on, take my hand we'll learn to dance together Living in dreams Making them real the art of means when they say now that I'm. [00:49:43] Speaker D: And if you could see my expression it looks like I smelled the fart for like a minute and a half or whatever. How long that was? Oh, my Lord, man. [00:49:51] Speaker A: Oh, my God. The melody is horrid. It's horrid. [00:49:55] Speaker D: I mean, when it first started, I thought, you know, it was the video would be them on a train. It made me, like the open Cart in the train, jumped on the train kind of deal. And they're dressed in, like, ripped jeans, like, short jeans, overalls, and. And flannel shirts. I don't get it. [00:50:10] Speaker A: I heard the acoustic, and I thought, okay, Jimmy Page acoustic. This could be all right. And then again, his singing is fine. The melody is horrible. That might be the worst melody I've heard in a long, long, long time. [00:50:23] Speaker E: Hold on. I'm just trying to get up off the floor on that one. Hold on. I don't know what the heck. [00:50:28] Speaker D: Like, flush the toilet. [00:50:33] Speaker E: I gotta think of what to say. I'm just gonna skip my part. [00:50:35] Speaker A: All right, you can think about it. I'll read some words. Now that I'm a man I understand I need someone to share this wonderland together A woman and a man should find romance so come on, take my hand we'll learn to dance together Living in dreams Making them real Know what it means when they say the way I read that that is better than the melody. [00:50:56] Speaker D: You gave it more life. [00:50:57] Speaker A: It's horrible. And the bass thing is happening again. [00:51:01] Speaker D: You know, I didn't even hear it. I think I phased out at one point. [00:51:04] Speaker A: Did you like going to some outer body experience somewhere? [00:51:07] Speaker D: No, but you know when they say if you make that expression too long, God's gonna freeze your face expression? [00:51:14] Speaker A: I had. Oh, no. It's horrible. Oh, God. Come on, guys. This is just so. And somewhere, I think for. I read that in Kerrang, they made this the 20th best album of 1985. [00:51:28] Speaker D: Oh, my God. Well, we gotta look at the list. [00:51:30] Speaker A: What were they smoking? And where can we find some? [00:51:32] Speaker D: God, Crane's like a metal magazine, too. [00:51:35] Speaker A: Oh, Jesus Christ. It was just people just happy that Jimmy Page is making music. I don't know. [00:51:40] Speaker D: Yeah. [00:51:41] Speaker A: And it's weird because even you can hear some of the things that Zeppelin would do. Strange. Then it just gets wrapped up in shit. These guys together can't make music together. And that's it. Let's continue. [00:51:50] Speaker D: You. [00:51:50] Speaker A: You're gonna make that face again. So here you go. [00:51:52] Speaker D: I am. [00:51:56] Speaker C: Now that I. I understand. A woman needs a man to share this Living in dreams Making them real Know how it feels when they say yesterday Shadows on my mind Yesterday love so hard to find now today giving me the sign Telling me just what you. [00:53:12] Speaker D: I don't think it was as bad that time around. I still don't like it, but I thought it was better then I guess. The other thing I don't understand is kind of like those four lines that they just added. They Were all the same. There wasn't any variation to them, which was odd. Yeah. And I picked up on the bass thing that time too, which is kind of a thing he does. Like, obviously did in the first song. And it kind of worked. That's the only reason I think I gave that song a second six. And I hear it on Blue Murder, too. But, yeah, it's not working within those two songs because the second one was nothing. But, yeah, these last couple of songs, it's kind of sticking out like. I don't know. I'm not feeling that thing. I don't know, man. [00:53:46] Speaker A: Here's the problem. Like we said, it's either going to be good or bad if you produce yourself. And this situation is bad because they don't have anybody to say, this doesn't work. Don't do that. This is not happening. What the Is this melody? Change it up. Do something, something. This can't be this way. The guitar player and the singer go, yep, we know what we're doing. We're gonna produce this. And that's it. And again, Jimmy Page has a long bunch of production for Zeppelin and stuff that are great, but here. No, no, no, no. [00:54:11] Speaker D: But this album went gold, you said. [00:54:13] Speaker A: Yeah. [00:54:13] Speaker D: I wonder if we gold in the day or if it. You know what I mean? It's one of those that took a while too. Like I said, I've seen this on a couple of lists of albums that rock that you may not know of. I don't know, maybe it wasn't albums that rock. Maybe it was albums that suck. [00:54:25] Speaker A: Sucked probably. [00:54:27] Speaker D: I got. I gotta go back to my library. [00:54:29] Speaker A: And YouTube lyrics are. Now that I'm a man I understand a woman needs a man to share this life together Living in dreams Making them real Know how it feels when they say and I guess this is a bridge of some sort. Yesterday Shadows on my mind Yesterday love so hard to find now today giving me the sign Telling me just what you need Frank, have you gathered your thoughts yet from the last time? [00:54:54] Speaker E: I mean, you know, I'm with you guys right here. I mean, hey, listen, you know, they can make music. It's not the music that we were hoping it would be. Maybe I don't. Like I said, you know, it's clearly an experimental situation for them. I just expected more from these two powerhouses. For me right now, this has been just one big giant letdown thing is too. [00:55:12] Speaker D: I don't sit here saying that if someone else did this, it would be good if I didn't know who these people Were I wouldn't be sitting here saying, oh, this is cool. I think you get past the fact of who it is and what maybe what your expectations were and feel. Assuming they were trying to just do something kind of different. They didn't want to be Zeppelin. They didn't want to be Bad Company. They want to put out an album that sounds like it came out in 1985 with a little tinge. Because you do still feel some of those tinges. I'd just be like, I don't like this. [00:55:38] Speaker A: Whoever it is, if it was me, I'd want to use all those things from both of those things to make it great. The good parts of Bad Company, the good parts of Led Zeppelin, make this a mush together of those two things. Things this I. I don't get. [00:55:50] Speaker D: But that's the thing, right? You hear the tinges of it. Yeah, but it's put through this blender. [00:55:57] Speaker A: But it's not even, hey, this is a 1985 blender at that first song. Yes. And maybe a little bit the second song. But this. This stuff is just not good. It's just not good. All right, let's continue. Here we go. [00:56:31] Speaker D: I mean, fine. [00:56:34] Speaker A: Yeah. That's all you can say is fine? It's probably the best sort of song, but it's not great either. Is it passable? Yes. Doesn't make you remember this. I would never remember what he played here. And I remember so much more the other stuff he's played. [00:56:46] Speaker D: Without a doubt. I would say that Slade and Franklin are trying. I feel that Age and Rogers are phoning it in, I guess. [00:56:53] Speaker A: I don't know. I think everyone's trying. I just think that maybe these four guys together shouldn't be making music. And that's it. All right, let's play this out. Here we go. [00:57:09] Speaker C: Day yesterday Shadow on my mind Yesterday love so hard to find now today give me the sign Are you telling me Just what you need. [00:57:58] Speaker D: At least the slums aren't too long. Long. That's a plus. [00:58:01] Speaker A: God. Thank God. Frank, go first. [00:58:05] Speaker E: This one. I'm gonna go. Fours across. I just don't get it. It's not what I thought it would be. It's not the sound. Well, that's what I'm gonna give it, Mark. [00:58:13] Speaker A: Okay, lyrics for melody. One. Nice fours across. Zaf. [00:58:19] Speaker D: I'm gonna say four is across again. Like I said, I don't care who this is. This point, you have to get past the fact of who it is. I just don't like these songs. Songs. [00:58:27] Speaker A: Well, the Next song was a single. And supposedly Paul Roger still sings this song in his solo stuff. This is Radioactive. [00:58:53] Speaker C: Turn Me On Tonight. Cause I'm a radioactor Radioactive. Well, it's not a fight and I'm not your captive Turn me loose tonight I want to stay with you I. I want to play with you, baby I want to play with you and I want you to know. Got to concentrate. [00:59:32] Speaker D: Wow. I don't know what else to say. At the beginning, I was like, oh, did Aerosmith sample this for ragdoll? [00:59:39] Speaker A: That's what. That's what it was. Oh, my God. It sounded just like the drums. [00:59:43] Speaker D: Yeah. Oh, I don't know what to say. This could be even worse. And again, when he does that, I. There's part of it where you hear kind of like the rock and roll fantasy thing going on. [00:59:55] Speaker A: Yeah. But there's not much to say. Frank, do you have anything to say? Because I don't have anything to say. [01:00:02] Speaker E: I don't have anything to say. [01:00:04] Speaker A: Yeah, Savino's right. This is bad no matter who does it. [01:00:06] Speaker D: Yeah. [01:00:06] Speaker A: Because the part. I want to stay with you. That part. Part sounds a little bit like rock and roll fantasy. Sort of. Kind of, but it's just not as good. It's rock and roll fantasy light. [01:00:14] Speaker D: And, I mean, the lyrics are just lyrics to rhyme and. Yeah. I mean, some of them are nice in a sense, like, whatever. But I don't know. Just. I feel like there's no inspiration so far on this album whatsoever. [01:00:24] Speaker A: This is Flat two lyrics. Well, I'm not uptight, not unattractive Turn me on tonight Because I'm radioactive Radioactive there's not a fight and I'm not your captive Turn me loose tonight Because I'm radioactive Radioactive I want to stay with you I want to play with you, baby I want to lay with you and I want you to know. What do you want us to know? That's my question. [01:00:43] Speaker D: Would you ever think you'd argue that Gene Simmons would write better lyrics to a song called Radioactive than this? [01:00:47] Speaker A: Well, Gene Simmons, Radioactive is way better than this. [01:00:49] Speaker D: I don't even know what those lyrics are, but I have to assume that they're better than this song's. [01:00:53] Speaker A: Better than this. [01:00:54] Speaker D: Yes. [01:00:54] Speaker A: Okay, here we go. [01:01:02] Speaker C: Sam. [01:01:33] Speaker D: One thing I do think, just like the last one, the second time around, it wasn't as bad as the first. It's not great, but for whatever reason, it's not as bad. I don't know what. That little thing that went on too many times. It's like, how Many times did he lose at that video game before he reset it. That's what it sounded like. Like he kept dying in a video game. [01:01:53] Speaker A: It's purposely out to be out in this song. Why? I just don't understand. This song doesn't need that. This so needs more something to make it so you like it. [01:02:02] Speaker D: It needs to rock. [01:02:03] Speaker A: Yeah. But weird outside things like Radioactive. You figured that's gonna be a rocking song. Nope. [01:02:07] Speaker D: And it could be whether or not you like the melody or the lyric. If this thing had power behind it, instead of kind of like a weak acoustic and whatever is going on, it would have a little bit more feel to it. It feels almost like. I don't even want to say a demo, because I don't even know if it sounds like a demo. It's missing. There's nothing going on. And even the way he's singing, if you hear the way he's saying the words, it sounds odd. [01:02:28] Speaker A: God. [01:02:28] Speaker D: Because I cut the concentrate. Don't. It's weird. It's weird. [01:02:33] Speaker A: Yeah. I just don't get it. Lyrics Is got to concentrate don't be distractive Turn me on tonight not radioactive. That's that. Whatever effect that is, I don't particularly like too much either. And then radioactive, that weird part in the middle. Then radioactive. You know why it doesn't bother you as much? Because it only happens once. That's probably why it is. Continue. [01:02:59] Speaker C: I want to play with you I want just to play with you and I want you to know have to concentrate don't be distractive Turn your moves tonight oh, yeah, yeah oh, oh yeah don't you stand Stand too close, you might catch it don't stand too close oh, yeah Radio, radio, radio, radio, radio. [01:04:05] Speaker D: Hearing that part over and over, here's what I imagine. Somebody who is in the band doesn't like the song, does that part over and over. And they keep telling to stop it, but he just keeps doing it over and over. You know, Know, like, shh, shh. That's what I picture. But they just kind of keep doing it. Yeah. I mean, I wonder if he soups it up live, maybe live. It takes on a different kind of feel again. I think if there was some. Oof. Behind it. More on the drum, just the guitar, just something. Even if it doesn't start out that way, if it develops into that, but it's really the same thing over and over. I don't know, man. This is one of the worst first sides I think we've ever heard on this podcast. And I feel Badly for saying that. [01:04:43] Speaker A: No, that's what it is. Well, go first. [01:04:45] Speaker D: Oh, I don't know what to do here. Like, you're gonna have to edit that out because I've said it every time. I'm gonna say three on the lyrics. You know what? Maybe three on everything else. I mean, this is just bad. I don't know what else to say. What do you think, Mark? [01:05:00] Speaker A: Threes across, baby. Threes across. This is possibly worse than everything else. I don't know how to say that it's bad. [01:05:07] Speaker D: You're gonna have to come up with samples for this one. [01:05:09] Speaker A: One what? Sucky samples? [01:05:12] Speaker D: No, but like, threes and fours across. You know how we have the highs across, we need lows across. [01:05:17] Speaker A: Yeah. [01:05:17] Speaker E: Seriously, Frank, I don't know what was going on there. It was weird. The whole thing just sounded weird. The lyric, everything. The whole thing. I'm giving it fours. You know, again, I hate to keep saying this, but it's just not what you're expecting. Such talent. [01:05:31] Speaker A: I wasn't expecting this at all. I thought we were going to get something decent, considering who was involved. If anyone's saying, like, this is a hidden gem, I don't know what crack they're smoking. Broken. This is bad. It's horribly bad. [01:05:42] Speaker D: And I told you I've tried this recently because of videos I watched and nothing stuck. And honestly, this is worse than I remembered it. [01:05:49] Speaker A: Next week we'll get to finish this off. It's only four songs on the second side. Hopefully the second side will be better. I'm not holding my breath. And there's one cover on the second side, too. Sav, why don't you do your thing? [01:05:59] Speaker D: We are part of the Deep Dive Podcast Network. Again, like I always say, great bunch of guys took us right in. If you want individual podcasts about bands, check it out. Out. You get Zeppelin, you get Rush, Judas Priest. But I don't think you get the Firm, and it's probably for good reason. And Mark, where can they find this? On the Interwebs. [01:06:16] Speaker A: Rock with that pod on all the socials. Rockwelletpodcast.com Leave a new bets, Throw us an email, put us on an auto download. So you get us every week. Rate us, and wherever you do your podcast, give us five stars. That's great. Share us out if you like what we do. Hopefully you're not too disappointed on what's happening right now with the Firm, because we're just as disappointed as you are. If you haven't heard this either, I don't know what to say. We're all sucking it up together there. [01:06:39] Speaker D: I'd rather hear from the people that love it. Tell us what we're missing. [01:06:43] Speaker A: Yeah, we must be missing something, because I don't know what it is. And if there are people that love this, I want to know why. [01:06:48] Speaker D: Yeah, tell us. [01:06:49] Speaker A: Yeah, I have no idea. [01:06:50] Speaker D: It's their own. [01:06:50] Speaker A: Seriously, it's obviously not to us three at all. All right, guys, we'll see you next week. [01:06:55] Speaker D: Ciao. Ciao. [01:06:56] Speaker E: Have a good night, everybody. [01:06:57] Speaker A: Later. [01:07:05] Speaker C: It.