Episode Transcript
[00:00:04] Speaker A: This is our musical reaction breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship and research.
These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now onto the Rock Roulette Podcast.
[00:01:14] Speaker B: Hey everybody. Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1, 500 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. So we go through it track by track, we talk about the music, the lyrics, the production, the melody and the arrangement and we give it scores. Again, just a bunch of friends who love music to do a podcast. Whoever you are, thank you so much. Spread the word. Again, just thanks for listening. Tonight we are a trio again. We have Frank.
My name is Frank and I'm Sexy.
[00:01:57] Speaker C: Hello everybody.
[00:01:59] Speaker B: We have Mark. Oh, hi Mark.
[00:02:02] Speaker D: What's up guys?
[00:02:03] Speaker B: And I'm Sav.
[00:02:04] Speaker E: Ciao, buena sera.
[00:02:05] Speaker B: Let's set the scene. Last week an album comes out that has Jimmy Page, Paul Rogers, Tony Franklin and Chris Lee. On paper you say to yourself, holy wow, I know these guys. Legends. This is gonna be some kick ass album. Having trolled through some YouTube sites of unappreciated gems, this one has come out recently and I remember I have this on vinyl. I tried listening to it a couple times, never stuck with me. And here it comes out on the Wheel. And Mark and Frank, you've never hear heard this, so I'm sure your expectations, no matter what I had said, were sky high. Let's talk about first and foremost on paper, the disappointment factor.
[00:02:45] Speaker D: Totally disappointed. I expected more. Even when I'm trying to distance myself from those two guys, Jimmy Page and Paul Rogers. I have that there and it sucks. That's basically what this is. I can't separate myself from it. And even if you can, the songs aren't great anyway, so it doesn't really even matter. I'm hoping side two has a little bit of redemption somewhere because that's the worst side we've ever had in this podcast.
[00:03:06] Speaker C: Yeah, and Frank, you know, Mark said in the beginning, either this is Going to really blow us away or it's going to be horrible. I was expecting more myself.
[00:03:14] Speaker D: I mean, you.
[00:03:14] Speaker C: You read that lineup, you read that. So who's who? And you're expecting something to be, wow, I'm going to rock out track one to track ten. And so far what we have is a bunch of, for me, a very middle of the road listen here. That doesn't resemble any of their sounds of who they are. And maybe that's on purpose. Maybe they just wanted to say, hey, we just want to do something different here, but it's so far off of who they are and what they. That honestly just added up to a big disappointment for me and Sam. I think you were the one who made the comment. It was like, even if you take out the names and put in another group, you're still not hearing a great album here.
[00:03:47] Speaker B: Exactly. That's my thing. I separated myself from it again, having listened to this record this year and A, not having remembered anything on it and B, liking it less than even when I listened to it. I don't know. I mean, again, we have to separate ourselves from. From what it is, and I think we can. My thought is this. They made the album they wanted to make. They didn't want to. As a matter of fact, I think we read about it. I don't know if we mentioned it on the podcast or not. I think when they went on tour for this, they didn't play any Zeppelin songs or any Bad Company songs, which is fine. Again, these guys can pretty much do whatever they want to. I think that this is the album that they wanted to make. It's of the time, without a doubt. I think we even mentioned how some of the songs would have been perfect in either 80s TV shows or 80s movies. Kind of odd that this is probably our lowest scoring side ever. I think on this podcast. And you would never think that again, like we mentioned last week, take all these people out of it and put four no names have never heard of before and we still don't like the songs. I don't remember the second side either. Like I said, I remember any of these songs clicking with me. I know it starts off with a cover and it ends with a Zeppelin relic or something that was unfinished. So who knows, maybe we'll find something on the second side that will actually put some of these on our playlist. We have, as always, New Bets in a world where new music is not easy to find.
Welcome to New Bets.
[00:05:23] Speaker D: Okie dokie. Here is the wheel. Here we go.
[00:05:38] Speaker B: Pelletieri Wrath Child. I was hoping we get one of these. I know, Mark, you mentioned that you had put them on the list.
[00:05:44] Speaker D: Yeah, I never listened to Impellitary back in the day.
[00:05:47] Speaker B: I have a couple of albums.
[00:05:48] Speaker D: Do you. How do you like them?
[00:05:49] Speaker B: Not bad. One of them has Graham Bond singing, I Believe, and they actually do since youe've Been Gone as a cover. I think I have two. And I want to say one is a little bit heavier and that one's a little bit more polished. I don't remember the name of the other one, though, but obviously guitar rock.
[00:06:03] Speaker D: Yeah. And this is going to be probably a little more heavier metal. Ish style, I would think. I'm thinking early 80s metal. That's what it sounds like.
[00:06:11] Speaker B: Or power metal. I'm thinking maybe.
[00:06:13] Speaker D: Maybe. All right, so here we go. This is Impellitary. Wrath Child.
[00:06:57] Speaker F: You will be the rams. I hope you will see the justice unfold. You will be the Ra.
You will feel devastation no more.
Discover my lifetime. A call from the side. The fire is kindled. The passion is blind. Break from the prison that gives you a change. Retribution is coming. Releasing the pain.
Be the ra child.
You will see the justice involved. You will be the ra child.
You will feel desolation no more.
Are you, what do you believe in?
Who are you?
What are you conceiving?
Sam, you will be the last child.
You will see the justice of all. You will be the wrath child.
You will feel vindication.
[00:09:18] Speaker B: Power metal is what it is. I actually like the production. I think the drums sound pretty good. Mark, what do you think, guitar wise?
[00:09:23] Speaker D: That guy plays fast, huh?
It's very old school.
I liked it, though. I mean, if you can continue to do that through your career, this sounds like something that would be early to mid-80s. Good, though. And drums were actually drums, which was. Which was nice.
[00:09:37] Speaker B: Frank, what you think?
[00:09:38] Speaker C: They took an old sound and made it sound new again. Like Mark said, like, this is something we would have heard probably in the early 80s, mid-80s, maybe around there. And to hear it today and just have it sound so great and fresh is really good. And I like that a lot.
[00:09:51] Speaker B: I find power metal generally pretty. Pretty fun. It usually has some pretty good hooks, some pretty good playing. So, yeah, that was cool. I like it.
[00:09:59] Speaker D: Well, if you like it, let us know. If you don't like us, let us know. And we're gonna rubber stamp this one. Here we go.
[00:10:05] Speaker B: In a world where new music is not easy to find, welcome to New Bets.
And now we hold our breath.
We go back to the Firm.
[00:10:29] Speaker D: Yeah. I don't know what this is gonna be.
Well, I know the first one's a cover. How many tracks on this side? What is it? Four tracks on this side. One song is nine minutes. That's the last one. That's the Zeppelin song that they were working on, right? That never happened in Zeppelin.
[00:10:42] Speaker B: Yeah. As far as I know. During the Physical Graffiti sessions, I think.
[00:10:45] Speaker D: And this is a strange cover to do. This is. You've lost that loving feeling.
[00:11:00] Speaker E: There'S no tenderness like before in your face Finger.
[00:11:06] Speaker C: Tears.
[00:11:09] Speaker E: You'Re trying hard not to show.
[00:11:12] Speaker F: It.
[00:11:15] Speaker E: But baby, baby, I know it you've lost that love feeling W that love feeling.
[00:11:31] Speaker F: You.
[00:11:45] Speaker B: I've lost 11 feeling and my lunch.
[00:11:49] Speaker D: The fretless bass doesn't work in this either.
[00:11:51] Speaker B: I don't think it's bad, the bass that much. It's just boring.
[00:11:55] Speaker D: Man thought he was going to belt this out a little bit more. In some places he tries, but it feels like he's not giving it 100%.
[00:12:02] Speaker B: It could be coming. Who knows?
[00:12:04] Speaker D: I'm not reading lyrics because this is not their lyrics, so I don't really care.
[00:12:07] Speaker B: That's fine.
[00:12:08] Speaker D: We're just going to try to get through this. Before I go, Frank, what do you think so far, man?
[00:12:12] Speaker C: I mean, wow. You would think that the talent on this group would not have taken such a great song and make it sound horrible. Not for me. I lost it for them.
[00:12:21] Speaker B: This makes you appreciate a drunken maverick and Goose singing it.
[00:12:24] Speaker C: Absolutely. Yes. Absolutely. And to be honest, if this was the song back then, I think Top Gun would have picked another song.
[00:12:32] Speaker D: Yeah, no doubt. Let's continue. Here we go.
[00:12:52] Speaker F: I do.
[00:12:55] Speaker E: It makes me just feel like crying.
Something new.
You lost that love and feeling oh, that love and feeling.
[00:13:17] Speaker F: You love I.
[00:13:18] Speaker E: Stop loving feeling I was baby, baby, I get down on my knees for you.
[00:13:46] Speaker F: If you would only love me.
[00:13:49] Speaker E: Like I used to do we had.
[00:13:56] Speaker F: A love and love love you don't find every day.
[00:14:15] Speaker B: It felt that one little part where it got heavy for half a second. Everybody's like, no, no, stop that, Stop that. Keep it boring, Keep it boring. Don't do that.
[00:14:23] Speaker D: His vocals a little bit better in the second part, I think.
[00:14:26] Speaker B: But even when he tries to belt a little bit out, there's nothing supporting him. There's nothing behind him. Where's he gonna go?
[00:14:32] Speaker D: You're right. And the bass is not helping this at all. Fretless bass is not for everything.
[00:14:37] Speaker B: I don't mind it as much here again, I think the thing, though, that accentuates is that the guitar is pretty much doing the same thing as a bass. It's like.
[00:14:47] Speaker D: There'S not really much behind your right support. Anything.
[00:14:50] Speaker B: Yeah. And even if the drum does, like, some kind of big fill, it goes into nothing. It's like imagine, like, in the Air tonight Went into that after the.
[00:15:01] Speaker D: All right, let's continue. Here we go.
[00:15:03] Speaker E: Bring back that love feeling.
[00:15:13] Speaker F: Bring back that love and feeling. Cause it's gone every.
[00:15:54] Speaker B: I don't know if you guys remember or watched it. There was a show called Stalker on cbs. It only lasted one season, and my wife and I liked it. Critics hated it. It got canceled.
Every episode had a version of a song that kind of dealt with some kind of stalker. Like, it had Every Breath youh Take. I forgot the other ones, but they were like these slow, creepy versions that were so good, and it wasn't even about whether they're better than original, but they're just like, wow. Like. Yeah. It emphasizes the creepiness of, like, the lyrics and everything. This is where you hear this version in a show or movie. Like, what the hell version is this? Who's this? Don't play this version. I mean, I don't know if it's gotten any better for you guys.
[00:16:30] Speaker D: His guitar solo is okay. He's using slide. That was interesting. Little change. It can't save this. The mix is not great. You barely hear the guitar. The bass is so up front. There's nothing support his vocal. I don't know what else to say about this.
[00:16:43] Speaker B: And even the background singers.
[00:16:45] Speaker C: The guitar solo I really like. I close my eyes. It sounds a little bit like Dick Dalish kind of surfer west coast sound. To your point, I don't think it's enough to save it.
[00:16:53] Speaker D: Well, luckily, we only have. Oh, geez. A minute and 15 to go. All right, here we go.
[00:17:04] Speaker F: We have love, love, love.
[00:17:13] Speaker E: So D and D.
[00:17:28] Speaker F: It.
Love and feeling.
More than love and feeling.
[00:18:10] Speaker B: The only way I see this kind of being salvaged Is if it isn't a movie. There's a scene in a movie that you like, and this is what's playing. You picture this happening probably in a bar, on a stage. It's kind of this impromptu thing, and you're kind of into the movie, so it doesn't spoil whatever. Separated from it, I just. I don't get it. And again, that.
And then it just kind of. I was like, okay, this is a big, loud fill. Is it gonna go into that big baby, baby? Which is the only part I like in this song anyway. Even the Original. It falls flat. And that ending was so weird.
[00:18:43] Speaker D: It was a bad choice. Bad cover of this song. You're right. Those big drums. You expect something to happen and nothing happened. I'm glad we're not doing any kind of review on this and rating this thing.
[00:18:53] Speaker B: Thing.
[00:18:53] Speaker D: Because I don't even know what we get. I think it'd be the lowest scores out of everything.
[00:18:56] Speaker B: Think about this. I don't know if they're gonna say a lot of bands, but there's a good handful of bands that are strictly known for the COVID that they've done. Just saying. Jimmy Page, Paul Rogers doing a cover of this song in the 80s. When was Top Gun right? Sin right. Wasn't that what made this song big again? I never heard this cover plate anywhere.
[00:19:15] Speaker D: No, never. Because the original song's good and this is not. Let's go to the next real song. This is Money can by.
[00:19:39] Speaker B: Once there.
[00:19:40] Speaker E: Was a poor boy Living from hand to mouth didn't have much of anything didn't love But I found out Money came by the love that I used to know Now I'll buy Are you diamonds and pearls from the Orient?
Now I live in a penthouse Sweet and I don't know Nobody can buy.
[00:20:32] Speaker F: The love that I.
[00:20:36] Speaker E: Used to know.
[00:20:44] Speaker F: Morning Came by.
[00:20:58] Speaker B: Hands down, the best song so far on this album.
[00:21:01] Speaker D: I was just gonna say that.
[00:21:03] Speaker B: Without a doubt. Holy cow. I think the production's a little thin. I can actually dig this song. They actually feel like they showed up and did a little bit of something, gave a little bit of an effort.
[00:21:15] Speaker D: The guitar and the verse was really weirdly mixed. It's so far back behind. I like the little riff at the beginning. His vocals are pretty decent. I don't know if I like the chorus. Melody. That's a little weird. It's definitely 100, the best song.
[00:21:28] Speaker B: There's zero competition.
[00:21:31] Speaker C: I do like the opening riff. Like, when it came in, I was like, oh, okay, this is gonna sound great. But again, it's thin. There's just a certain depth or element missing. I. I still can't figure that out. The lyric premise of the song is not that great. The music is good by far better. I think the lyrics is gonna bog it down here in the melody speaking lyrics.
[00:21:49] Speaker D: Once there was a poor boy Living from hand to mouth didn't have much of anything didn't know but I found out Money can't buy the love that I used to know Now I buy diamonds and pearls from the Orient Now I live in a penthouse suite and I don't owe nobody a cent Money can't buy love that I used to know Money can't buy Money can't buy. I do agree that it's not great lyrics, but as far as song goes, I think this is the best song on the album so far.
[00:22:16] Speaker C: I don't know.
[00:22:18] Speaker D: Compared to the rest of them, this is fucking Led Zeppelin.
[00:22:23] Speaker C: I don't know. Maybe it's like one of those situations you're starving for something and then you get a cracker and you'll be like, this is the best cracker I've had in my life.
[00:22:30] Speaker D: Oh, 100%. No, that's what I mean. As far as the rest of the album goes, this is the best song. Is it a great song? No, but it does feel like they kind of sort of showed up and said, hey, you know what we can do? We can put Led Zeppelin and Bad Company together and make a song.
[00:22:43] Speaker B: There's definitely a Bad Company vibe to this song. Without a doubt.
[00:22:47] Speaker D: Yeah. They're actually doing what everyone kind of thought that they would do, maybe. Or at least we thought they would do. Okay, let's continue. Here we go.
[00:23:06] Speaker F: Sam.
[00:23:44] Speaker B: That was good for me. Best solo on this.
[00:23:46] Speaker D: On the.
[00:23:47] Speaker B: On the record.
[00:23:47] Speaker D: They showed up. I'd like the solo. Is this the greatest song in the world? No. But as with the Elder, you take what you can get. If you get something decent, you're like, yes. This is what I was expecting to have happened, at least a little bit anyway.
[00:23:59] Speaker B: The way we said before that even if it wasn't these guys, we didn't think they were good songs. I think this is a decent song, not bringing any expectations into who it is. Production, to me, is a bit thin. Although I didn't notice it as much in the solo part. If the production worked, there got more oomph than the other stuff. You said, take what you can get.
[00:24:16] Speaker D: Take what you can get. All right, here we go.
[00:24:23] Speaker F: The love that I used to know.
[00:24:36] Speaker E: Running in the nightmare Waking in a cold sp the company just to keep from getting in Dead money can fly.
[00:25:26] Speaker B: I enjoyed it. Not only saying, oh, okay, yeah, like you guys could have done something more like this. But even if you didn't want to, whoever it is doing this song, it's a pretty good song.
[00:25:34] Speaker D: I like this one 100%. The best song on the album so far. Yeah. I'm going to read the last verse.
Running in a nightmare, Waking in a cold sweat. You sell your soul to the company payroll Just to keep from getting in debt. And then back to the chorus. I'm gonna let Frankie go first. Frank go first.
[00:25:51] Speaker C: I love the guitar playing, love the music. I'm gonna give that. The musicianship and the production, I'm gonna give that at seven eights. Actually, the lyrics, I'm not feeling it, man.
About you, but really not feeling it. So for me, I'm gonna give those fives. The melody of five arrangement. I'm gonna give that a seven mark.
[00:26:10] Speaker D: Wow. I was surprised you did that much. I almost. We're gonna do something similar. I think the lyrics are okay. I'm gonna say five. Melody, I don't like that much. I'm gonna say five. Music. I'm gonna say seven arrangement, I'm gonna say seven. And production, I'm gonna say six. I'm not a big, gigantic guy on this production. It's very thin, right? Thin. The guitar in the back, barely can hear it. It's not mixed the way I would like. I mean, seriously, this is the best song. So I'll take what I can get at this point. It.
[00:26:35] Speaker B: I'll say a six on the lyrics because I like that last verse and I gotta throw a bone somewhere. I'll say seven on everything else except for production. I'm gonna give that a six as well, because it is a bit thin. It's not terrible, but it's a bit thin. There is no comparison to me so far with anything else to this song.
[00:26:52] Speaker D: So what's gonna happen now? Are they gonna go back? Are they gonna continue to maybe do another song that's okay. Well, let's see. So this is Satisfaction Guarantee.
[00:27:18] Speaker E: There's a cloud above me and it seems to hide away I'm going straight ahead going but it's the only way I know I want to leave the past and live just for today now that you tell me, baby do you need my love?
Tell me, baby Are you thinking of me? Tell me, baby what it is you need what kind of satisfaction get?
[00:27:55] Speaker B: I was kind of hopeful. I didn't think the verse was that bad. But then the chorus just went nowhere. I'm gonna hold judgment because I kind of like the verse, but I'm wondering if maybe they're going to up the chords next time. Do kind of one of those things.
[00:28:09] Speaker D: I like the verse. I don't like the chorus at all. I don't know what they were thinking there. I had high hopes at the beginning. I mean, it's still, I think, better than some of the stuff in the first side. But the chorus is crappy.
[00:28:20] Speaker C: Yeah. I'm not feeling it at all. Start to finish.
[00:28:23] Speaker B: So Frank doesn't even like the first?
[00:28:27] Speaker C: No, I like nothing about it.
[00:28:29] Speaker D: So here are the lyrics. Mystery surrounds me and I wonder where I'm going There's a cloud above me and it seems to hide the way I'm going straight ahead because that's the only way I know I want to leave the past and live just for today Chorus now then Tell me, baby do you need my love? Tell me, baby, are you thinking of me?
Tell me, baby what is it you need? What kind of satisfaction guaranteed I think he's singing it better. I don't really like the melody there. I don't know what they're trying to do there in that chorus. It sounds very jammed together and rhyming just because it's trying to force a rhyme through. But maybe you're right. Maybe it'll get better in the second time. So I'm willing to give them the benefit of the doubt. They surprised me in the last song, so who knows?
All right, let's continue. Here we go.
[00:29:16] Speaker E: Head wrapped in my hands I've been drinking all night and I just can't stand the pain it took an awful lot of trouble Just to make me understand now it's clear to me when will it ever be the same?
Now when you tell Baby, do you need my love?
Tell me, baby, are you thinking of me? Tell me, baby what it is you need what kind of satisfaction Guarantee.
[00:30:23] Speaker B: This song really reminds me of something, and I can't think of what it is, especially the chorus. The melody reminds me of something, but I can't think of what it is. And even that. That solo bit reminded me of something.
I mean, it is of that era. I would say it's not too bad of a solo again. I just. I feel like they could have elevated this song just by changing the chorus or even putting a little bit more oomph in the course. I do like the verses. The words aren't terrible and the melody isn't bad, but it hits that chorus and it just dies.
[00:30:51] Speaker D: That chorus needs big chords. That arpeggiated chord thing he's doing is not good for it. It just drags it down. It needs big chords for the chorus.
[00:30:59] Speaker B: They need something.
[00:31:00] Speaker D: I mean, solo was okay. It wasn't bad. I mean, it's typical for what he does. I don't think it was bad. Chorus really drags the song down. Drags it down just.
[00:31:08] Speaker C: Again, I'm not that crazy about it at all here. We had a great song and you were hoping, like, all right, great. Now we're gonna go somewhere. This one just kind of follows suit with the rest of it. So far to your point, the song just doesn't go anywhere.
[00:31:20] Speaker D: I can't argue with that. Last song at least had some possibility that it was gonna change. And the verses here are decent. It's just the chorus, I think, really kills this. Just drags it down. You expect it to be big chords coming up, just nothing. Read the words here. Sitting in the gutter with my head wrapped in my hands I've been drinking all night I just can't stand the pain it took an awful lot of trouble Just to make me understand now it's clear to me but it'll never be the same Then the chorus, then the solo, and now we're out of the solo, and let's see where we go.
[00:31:59] Speaker E: Tell me, baby what it is me what kind of satisfaction guarantee?
Head up on the highway Just as fast as I could go I rode through the night and headway through the.
[00:32:16] Speaker F: Day.
[00:32:19] Speaker E: I had no direction I didn't even want to know Know where I was going the only thing I knew.
[00:32:27] Speaker F: Was that I had to get away.
[00:32:32] Speaker E: Now that you tell me, B Do you need my love?
Tell me B Are you thinking I Tell me, B what it is you need what kind of satisfaction guarantee.
[00:32:49] Speaker F: You tell me, baby Tell me, baby Tell me, baby It.
[00:33:47] Speaker B: I like the moodiness of the guitars Again, like the verse, the chorus is bad. And that boom. You heard that thing going on?
[00:33:54] Speaker D: Yeah. I didn't know what that was for a second.
[00:33:55] Speaker B: Is somebody knocking at the door? Somebody tell him to stop knocking. We're recording here.
[00:34:00] Speaker D: Then in the verse, they had to put the keyboard thing, like, out of the blue. Just came there.
[00:34:04] Speaker B: Yeah.
[00:34:05] Speaker D: Stab the keyboards. I was like, what's that all about? I heard that bump. I wasn't sure what it was for a second. I was like, is something in the room making this noise?
[00:34:11] Speaker F: Is.
[00:34:11] Speaker D: It's very strange.
[00:34:13] Speaker B: It's rubber plant knocking, saying, let me sing this one.
[00:34:17] Speaker D: No, he's doing a good job singing this one, I think. I think. I think this is a little more engaged than this one.
[00:34:21] Speaker B: Yeah. Yeah, he's fine. Yeah, definitely on the verses.
[00:34:25] Speaker D: Well, the chorus is very low energy. The verse is, head upon the highway just as fast as I could go I rode through the night and halfway through the day I had no direction I didn't even want to know where I was going the only thing I knew was that I had to get away Then all the rest of the stuff's the same. I'll Go first, I guess. I mean, lyrics are okay. I'm gonna give them a six. I think the melody is really where I have the problem, especially in the choruses. Music, I'm gonna give that a six. Arrangement, I'm gonna give that a five because I don't like what they did in the chorus. I thought the production was decent on this, so I'm gonna give that a seven. I think that's one of the better produced parts of this. At least you can hear almost everything.
[00:35:00] Speaker C: Frank, for me, is gonna be music and production. I'm gonna give those sixes the arrangement. I'll give it six as well. The lyrics and melody. I'm gonna get fives again. Just very flat and doesn't really go anywhere.
[00:35:14] Speaker B: That's the thing. I like half of the song. I like half of the lyrics because I think the verses aren't bad, but the chorus is just cliche kind of things. I like half of what the guitar is doing. I like when it's soloing. I think he's doing that pretty well. My thought was six on the production and five on everything else. I think I'm just gonna stick with that.
Again, not a song I think I'd ever go back to.
[00:35:35] Speaker D: The funny part about this is that it gets the exact same overall score as the last song. I like that.
[00:35:41] Speaker B: That's because you guys it up. You scored it too high, I guess.
[00:35:45] Speaker D: Fives and sixes. I mean, it is what it is.
[00:35:47] Speaker B: Hey, listen, we're honest here.
[00:35:49] Speaker D: I'm just excited. Anything that sounds like a song here, I think that's what it is. So now gets to the song that I think Savino and I are looking forward to. This is a song that was written. Written during Led Zeppelin time, I think, called Swan Song. It was Physical Graffiti, right?
[00:36:01] Speaker B: Yeah. If I remember correctly, it was from Physical Graffiti.
[00:36:04] Speaker D: Okay, cool. Maybe we'll get lucky here. Maybe it'll save the album for us. I don't know. It's nine minutes and 15 seconds. Long song, Frank. Buckle up.
[00:36:11] Speaker C: Oh, boy, here we go.
[00:36:12] Speaker D: This is Midnight moonlight.
[00:36:49] Speaker E: She flies through the night Only silver wings with a smile no obligation she says walk with me I'll take you down through the storm to your destination she says pouring out I'll take you there to the dawning of a new creation Midnight More.
[00:37:39] Speaker F: Night later.
[00:37:47] Speaker E: She is flying to green she is flying to me.
[00:38:03] Speaker B: I'm not sure yet.
I can hear Zeppelin in there. I can hear them in the lyrics as well. Lyrically, it sounds like something that they would have done not sure. Once it gets to that bird on the wing part, to me it sounds like a different song. And the Zeppelin kind of ends. I'm not sure yet.
[00:38:21] Speaker D: There's definitely Led Zeppelin in there. There's a lot of different parts going on. I don't know if the melody was the same on this song as it was on the Zeppelin song. Probably not, because he doesn't sound like Robert Plant. Neither of them sound like each other, so I don't know. I'm gonna hold my judgment.
[00:38:34] Speaker C: Maybe there's a little Zeppelin in there. I think the first couple of verses you hear, I'm gonna hold off like Marcus, too, see what we get.
[00:38:40] Speaker D: So far we have. She flies through the night on silver wings With a smile no obligation she says, walk with me I'll take you down to the storm to your destination she says, hold me now I'll take you there to the dawning of a new creation Midnight moonlight lady Bird on the wing she's flying to greet me Bird on the wing she's flying to greet me the lyrics aren't bad.
[00:39:01] Speaker B: Kind of reminds me of something Zeppelin to think about.
[00:39:04] Speaker D: Yeah. I mean, again, I don't know if the words made its way this way or it's just music. I'm not too sure.
[00:39:09] Speaker B: It says it was written by Paige and Roger. I don't know if it's who wrote what.
[00:39:13] Speaker D: And we have a lot to go, so let's continue. Here we go.
[00:39:40] Speaker E: The night is waiting she must know.
[00:39:46] Speaker F: How I feel.
[00:39:51] Speaker E: In the neon darkness she is all that energy.
[00:40:03] Speaker F: I know.
[00:40:04] Speaker E: It must be a dream Will she be gone tomorrow?
But tonight the world is still and I can feel no sorrow but tonight the world I can feel the.
[00:40:41] Speaker F: Midnight.
[00:40:43] Speaker E: Moon she is flying to green she is flying to me.
[00:41:02] Speaker B: My favorite part of the song, honestly, is that Midnight moonlight Lady. I don't really like anything else.
And that bird on the wing part just. It feels like. Comes out of left field. That Midnight moonlight lady sounds like it's building up and then just completely cuts off. So this bird on the wing part, I'm thinking something's coming because it sounds like there's a little silence there. Either this song is going to turn around and become incredibly interesting or just go down this path. I just say to myself, if Zeppelin had done this back then, this song would have been more interesting already. Like, it kind of would have gotten to that point that this song hasn't gotten to.
[00:41:37] Speaker D: Is that verse the same as the first verse?
[00:41:40] Speaker B: No, it's not.
[00:41:41] Speaker D: Yeah, it's weird. I think so, yeah, obviously the drumming would be different and the bass playing would be different. The scene would be different. So it can't be Zeppelin, but, I mean, there's Zeppelin in parts of this, obviously. You can hear that.
I'm just not too sure where this is going to go. I think you're right. It's either going to go really good or it's going to go down this meandering path, like a lot of the songs on this album do.
[00:42:01] Speaker B: And this song really has nothing to do whatsoever with the rest of the album. It stands out, even just so far. However minutes there are, it stands out so much.
[00:42:11] Speaker D: Lyrics are. The night is waiting she must know how I feel in the neon darkness she is all that is real I know it must be a dream Will she be gone tomorrow? But tonight the world is still and I can feel no sorrow but tonight the world is still and I can feel no sorrow Then back to the chorus. I do like the Midnight moonlight lady. But then the bird on the wing. You're right. Kind of comes out of nowhere. I would have wished they would have used Midnight moonlight lady again somewhere.
[00:42:36] Speaker B: Yeah, it just stops.
[00:42:37] Speaker C: If it was, Zeppelin would have gotten right to the point already. It would have been there already, and the song would have been fully built out. This is like a slow burn that.
[00:42:45] Speaker B: I don't know.
[00:42:46] Speaker C: Hopefully it doesn't burn out before it burns. We'll see.
[00:42:48] Speaker D: All right, here we go.
[00:43:11] Speaker F: Sam.
She says, take me from this wilderness.
[00:43:52] Speaker E: I want to be where I won't.
[00:43:55] Speaker F: Be lonely.
[00:43:58] Speaker E: Take me from this world.
[00:44:01] Speaker F: And I want to be where I.
[00:44:07] Speaker E: Can see Take me from.
[00:44:16] Speaker F: I want to be where I can be free.
[00:44:31] Speaker E: See the shadows dancing across the moonlight in her eyes See a vision falling.
[00:44:38] Speaker F: And it comes as no surprise could it be a warning that love goes before it dies?
[00:45:02] Speaker E: See the shadows dancing could it be a warning that love hurts before he gets out this.
[00:45:34] Speaker B: I want to like this more, I think. I mean, this is very Zeppelin. The sound of the guitar, even what the guy's doing on the drums at this point, I can hear it. It feels like a bunch of ideas. And everyone's kind of doing their own thing. It doesn't feel unified. And you hear that kind of thing going. And I say to myself, whether or not I like this, this is a little bit more of what I kind of would have expected from these guys. There's. To me, there's no cohesiveness. I think this part is a little bit better. It's not as exciting as what it could be.
[00:46:06] Speaker D: For me, It's a totally different song. It went to some other song that's not the same song. I don't hate that. This is even more Zeppelin than one part before.
It's just a totally different song. I don't hate it. It's just going in lots of different directions. Maybe I. This song never ended up on a Zeppelin record for. Because they just couldn't figure out all the parts and put them all together. There's lots of good playing. Obviously, he has great acoustic playing on this. Just. I don't know what to make of the whole song, really, because there's nothing that's cohesive to the whole thing.
[00:46:32] Speaker B: But even that acoustic part, you know, where it stopped and he did his little acoustic thing. Like, even that, it felt was so long. It's not his Zeppelin acoustic playing that you can kind of listen to and really appreciate. I think it's good what he does, maybe because I'm so anxious. I'm saying, all right, come on. What. What's. What's going on? Is this song going to rock? You know what I mean? Maybe that's it. It's the anxiety of having to wait for the next part. I'm just like, all right, come on. It's like the slow burn, and I'm not sure if it's paid off. I think that's the issue.
[00:46:59] Speaker C: Sounds a little bit like free rock instead of free jazz. You have free rock going on here where everybody's just playing something different. It ties in somehow. Like Mark said, it just feels like a much different song than what we started off with.
[00:47:10] Speaker D: Yeah.
[00:47:10] Speaker C: I don't know. Maybe that's why he didn't make the album. I like the guitar playing, though.
[00:47:14] Speaker D: Okay, here are the lyrics. She says, take me from this wilderness I want to be where I won't be lonely Take me from this wilderness I want to be where I can see Take me from this wilderness I want to be where I can be free See the shadows dancing Cross the moonlight in her eyes See a vision forming and it comes as no surprise could it be a warning that love grows before it dies?
See the shadows dancing across the moonlight in her eyes See a vision forming and this comes as no surprise could it be a warning that love hurts before it satisfies?
It's just lots of different parts all jammed together, and it's not very cohesive. I feel if it was a Zeppelin song, would have been more cohesive. Even though it has a lot of parts, I think they could have figured where those parts were gonna work a little bit. Better.
[00:47:58] Speaker B: It's kind of some of the criticisms we had of presence, where some of the songs were very long. We said this song was a little bit. Bit shorter. Right. It would have been better, but maybe even that was a little bit more cohesive. It was just a matter of certain parts that were going on too long. Everybody's kind of doing their own thing.
[00:48:13] Speaker D: I could agree with that. Let's continue. Here we go.
[00:48:23] Speaker E: She keeps us secrets with her eyes like the moon behind a silver cloud she holds my memory with her smile Am I dreaming now?
Spinning round Let her take it all.
[00:48:47] Speaker F: Away.
[00:48:53] Speaker E: Every time I turn, turn around I know she is there Every time I turn around she is everywhere.
[00:49:22] Speaker F: Moonlight layer.
[00:49:25] Speaker D: Midnight.
[00:49:29] Speaker F: Moonlight Lady.
[00:50:22] Speaker E: Good night.
[00:51:04] Speaker B: That part was cool, but it felt. It took quite a bit to get to it. I could have used a little variation on it too. Maybe like a solo. I think, kind of just to separate it too, even from what was going on. I mean, it wasn't bad. The song was shorter. More in that vein, I think I would have liked it more.
[00:51:18] Speaker D: You should have gotten to that part way before that. That's. I have my criticism. They could have used that way earlier. It feels like just a whole bunch of parts just jammed together and nothing's real cohesive. I like the end part. I wish it would have got to that five minutes in, four minutes in, and not drag through everything else that we did.
[00:51:33] Speaker B: Because they tease it every time they do that Midnight moonlight lady part during the. The rest of the song, it's teasing and just stops. And then it finally gets to it. And I don't know what minute mark that was.
[00:51:42] Speaker D: It was late. And they should have faded that out. And they shouldn't ended it the way they ended it. Should have faded out with the hard part and not went back to that acoustic thing with the one line. Let me read the last part of words. She keeps her secrets with her eyes like the moon behind a silver cloud she holds my memory with her smile Am I dreaming now? Spinning round Let her take it all away Every time I turn around I know she is there Every time I turn around she's everywhere Midnight moonlight lady Midnight moonlight lady Come on, shine your light on me, baby I want to learn the secrets of the night Let the moonlight smile on me, baby show me the secrets of the night Midnight moonlight lady Bird on the wing she's flying to me. You go for a set.
[00:52:23] Speaker B: I'm gonna say a five on arrangement and a six on everything else. I think I have to ding the arrangement because it has These ebbs and flows that could be more interesting, but they're not. But at the same time, expectations to the side. But again, this song is from a completely different wreck. Stands out so much from beginning to end. And it's so funny that it's, you know, we talk about, well, this is the album they probably wanted to make. They didn't want to make anything like whatever. And then you get this. It's blatantly Zeppelin put through a different filter. Other than skipping to kind of like that last part. I don't think I'd go back to this one either personally for this.
[00:52:52] Speaker D: Right.
[00:52:53] Speaker C: The arrangement I'm gonna get, I'm gonna be very similar. Five in arrangement, five in the melody. But I give six. Is everything else like the two of you said? I mean, there are elements of Zeppelin here. Towards the end there just kind of like they went their own way to make it sound different, I guess. Or maybe, perhaps, like Mark said, maybe, perhaps it was an incomplete song. So they're just trying to figure out, all right, well, let's do this part and that part and somehow it all will tie in. And it does tie in nicely. You can still tell it's a completely different song than it started. And it just went in a completely different direction than I thought it was going to.
[00:53:22] Speaker D: Mark, I'm gonna do the same as arrangement six on everything else. This is a Led Zeppelin song that didn't get finished. It probably had a whole bunch of parts. It really didn't go cohesive enough together. I like the end part. Other than that, it didn't need to be nine minutes. Similar to some stuff that happened on Presence, but the stuff on Presence I think was better than. This is 100% not part of this record. Like Zav said, I could have lived with the end part and maybe get into that at maybe four minutes in making a six minute song, not a nine minute song. Get some of that acoustic stuff in, have a solo. A real solo I think is better than the stuff on the first side. But this is a little more are disjointed because I think it's just a lot of pieces that he was trying to jam all together. Unlike Led Zeppelin, the filter is not the same. So it didn't end up the same.
Well, there's not much more to say about this album. We got it. It's probably going to be the lowest ranked album we've ever had. And for good reason. As much as you want to take yourself away from the main two guys, you can't. Then you get this and you say, wow, this is not what I'm thinking about either because this is too much Zeppelin size. The best song is money can't buy. There's not much more to say.
[00:54:25] Speaker B: I mean, I'm glad we got it. For people who really listen to us, I think they'll really have an opinion either way. If you think this is a hidden gem that we missed or just were sleeping on, please let us know why. If you agree with us that this album isn't that great, please let us know why. We'll agree with you 100%, no questions asked. That's for sure.
[00:54:47] Speaker D: Sab, why don't you do your thing?
[00:54:48] Speaker B: Thing. So we are part of the Deep Dive podcast network again. Like I always say, great bunch of guys took us in right away. If you want individual podcasts about bands, check them out. They're not all mishmash like we are.
And Mark, where are we on the.
[00:55:00] Speaker D: Interwebs rock roulette pod on all social media? Rock RoulettePodcast.com Check out the polls, do a new bets idea, buy some merch, do whatever over there. Put us on auto download so you get us every week and give us a five star rating where everybody you rate your podcast because that way it moves us up and more people get us, share us out. Do the normal social media things. If you like what we do, share us to other people so more people get to see us and then, and hopefully next time the wheel will be a little more kind to us than this time.
[00:55:28] Speaker B: Yep.
[00:55:29] Speaker D: All right guys, we'll see you next week.
[00:55:30] Speaker B: Ciao, ciao.
[00:55:31] Speaker C: Later.
[00:55:32] Speaker D: Later.
[00:55:40] Speaker F: It.
