Episode 147 - No Doubt - Tragic Kingdom - Part 2

[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 A: Foreign. [00:01:15] Speaker C: 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 and we go through a track by track. We talk about the music, the lyrics, the production, the arrangement and the melody and we give it scores. Again, just a bunch of friends who love music wanted to do a podcast and always we want to thank anybody who's listening, anybody who takes the ride with us. Again, spread the word. If you like it, say, hey, check out these idiots. They, they're pretty funny. They're kind of stupid, but you know, they really enjoy what they listen to and their opinions are kind of fun. Drop us a note, tell us what you like, what you don't like. You know, maybe some albums that you want to hear and we may add it to the list. I'm sure the stuff we don't have even as many as we have tonight, we are threesome again. We have Frank. My name is Frank and I'm Sex. [00:02:07] Speaker A: Foreign. [00:02:14] Speaker C: We have Mark. Oh, hi Mark. [00:02:16] Speaker D: What's up guys? [00:02:18] Speaker C: And I'm Sad. Ciao buena. Last week, the Wheel picked a big one again. I can't remember the last really, really big one we did, but this was big. No doubt. Tragic Kingdom, a massive album for them third album and really the the one that shot him into superstardom, one that I probably hadn't really listened to. I liked a couple songs that were already on the first side. I gave them some high scores. It's definitely not as scar as I thought it would have been. I'm not completely feeling it. Like I said a couple of times last week, I'm pulling for that song that I've never heard before and I'm like, cool. Like I, I like this one. Mark, I know you're a pretty big fan of this Overall, yeah. [00:02:50] Speaker D: Yeah. I'm a pretty decent fan of theirs. I like this album, the next two. I know most of the stuff that's on here. I'm curious to see what you think about side two. [00:02:58] Speaker C: I'm curious too, Frank. What do you think so far? [00:03:00] Speaker E: I like it right around that era where you started hearing ska coming up and those rockabilly also was up and coming. Big band sound. Really like it a lot for that time. [00:03:10] Speaker C: Yeah. There's definitely different elements, obviously. A lot of pop, some Broadway elements, obviously without the sky elements going on. Definitely some diversity. I'm looking forward to the second side because, like I said, I want to find that song that I didn't know, that deep cut that I'm like, cool. Before we do that, typically we do the new bets and we spin the wheel. However, we just caught wind that a band from the heyday of hair metal, they were kind of like one of the last ones to come out that actually were able to get some success right before grunge kicked in. And that's Firehouse. They have a new singer and I brought it up to the guys and they're cool with it. Mark. I don't actually remember the name of the song, though. If you have it queued up, it's. [00:03:45] Speaker D: Called Mighty Fine Lady. [00:03:46] Speaker C: Oh, okay. So we're going to get some poetry and philosophy. [00:03:50] Speaker D: Yeah, I'm sure we will. This is the new singer, right? Because the old singer passed away. [00:03:55] Speaker C: Yeah. [00:03:55] Speaker D: And I think this guy's been singing with them since 2023. I guess he was filling in while the other guy was sick. [00:04:00] Speaker C: Yeah. And I think he's from one of the. One of the singing shows. [00:04:03] Speaker D: Yeah, I don't watch those things and I'm no idea. [00:04:05] Speaker C: Me neither. I didn't know whether. I didn't know who he was. I just read it today, actually. I think I want to say American Idol. [00:04:11] Speaker D: All right, well, let's do this first. [00:04:13] Speaker C: In a world where new music is. [00:04:17] Speaker E: Not easy to find, welcome to New bets. [00:04:32] Speaker D: This is Firehouse. [00:04:33] Speaker A: Mighty Fine Lady, Sam. Yes, it moves. She's got me all wired? And the way she walks she makes me feel all right. Yeah. I ain't looking for nobody to waste my time? Got a woman that I want? All my mind is a real good looking? Got it in my sight? You better be ready for my love tonight? [00:05:49] Speaker D: I'm rock today? [00:05:51] Speaker A: Be ready. I got something to say? Let me tell you she's a mighty violin Driving me crazy? Let some mighty violated baby make me feel all right. Come on. She's got the power she'll put you to shame when the sun goes down I can feel that she's burning like a flame Nothing to be shy Come only give in to try With a man in a body Girl, you know we can't deny. [00:06:52] Speaker E: I'm Ro. [00:06:56] Speaker A: I've got something to say She's a mighty fine lady Driving me crazy There's a mighty fine lady Rocking on a Saturday night that somebody Driving me crazy Violated oh, yeah Come on, baby Driving me crazy what you I got you, mo baby Take me to the top all night long Driving me crazy Let some mighty fine lady Rocking on a Saturday night Let me tell you she's a mighty fine lady she such a mighty fine lady Rocket to the middle of the night She's a mighty fine lady it. [00:09:12] Speaker C: The beginning, drums reminded me a little bit of Everybody wants something. The production is kind of out of production, But I don't think you guys remember, even back in the day, they kind of had that sound to them that was a little bit different. They were always a little bit tinnier. I think it's fine. I don't know that I go back to it. It's definitely not the worst thing in the world. Mark, what do you think? [00:09:30] Speaker D: I mean, it sounds like Firehouse for me. That's not a great thing. [00:09:33] Speaker C: No, me neither. I was never a fan of theirs. [00:09:36] Speaker D: I mean, the songs were always catchy. His voice was super duper high. I think it was higher than this guy's. [00:09:41] Speaker C: I think so, too. And it was scratchier. [00:09:43] Speaker D: It was never my thing. By this point, I was just like, okay, I'm having enough of this is what's going to Happen new. Thank you. It's not bad. A bad song. No. Can they play their instruments? Yes. It's trying to recapture that thing. But again, what do I expect from them? Do I expect them to change direction? No, I expect them to do what they do. And if you're a fan of this band, you probably super happy with this. [00:10:03] Speaker C: Mike, what do you think, Mark? [00:10:05] Speaker E: Just took it right out of my mouth. If you're a fan of this band, you're loving this. Wow. They sound great. It doesn't sound like 25 years. No, actually longer than that at this. Closer to 30 years at this point. Right. [00:10:15] Speaker C: I'll let you do the math because I'm always wrong. [00:10:18] Speaker E: Okay. Let's just put it 30 years to still have that sound and like, you just released the album last week is great. The singer, I like him. He's awesome all the way around. A good song. I like it a lot. [00:10:27] Speaker D: Well, if you like it, let us know. If you don't like it, let us know. If you want to put a song on the New Bets list, you know where to go. Rockwellitpodcast.com In a world where new music. [00:10:39] Speaker C: Is not easy to find. [00:10:42] Speaker E: Welcome to New Bets. [00:10:54] Speaker C: Another one in the book. [00:10:55] Speaker D: Now we're ready to finish this album off. There's eight tracks on this side of the album. [00:10:59] Speaker C: Crossing my fingers and my Eyes. [00:11:02] Speaker D: The next song is 16 and not like what it would be that Savino always hates about rock bands doing teenage songs songs. This is from the girl's perspective. It's gonna be a little different. This is 16. [00:11:39] Speaker F: You've been a juvenile with a dolphin smile in the well ballroom with your body in bloom you've had your little backyard protecting my big wall you didn't dare look over cause you've been too small now you're 516 and you pick it up. They won't believe that you think I. [00:12:10] Speaker C: Wrong. I mean this is obviously kind of that rock and then goes into the sky thing, and I can definitely understand the sentiment behind the song. I'm not completely feeling it it. Even though I kind of like the starting riff. It was funny because I'm hearing the scream or whatever. It's like, wait, is that her? Did he put the right song on? Complimentary to the first side, I would say. [00:12:47] Speaker D: I always thought of this song as a sister song to Just a Girl. Similar themes. I like the song. I like the riff. I like that it switches up from the rock into the sky. They're very good at that. I like it. [00:13:00] Speaker E: I never thought of the song as being the kid sister to I'm Just a Girl. I haven't heard this song in quite some time, but I do like the opening so far. Can't wait to the rest. [00:13:09] Speaker D: Verse one is you've been a juvenile with a dolphin smile no elbow room with your body in bloom you've had your little backyard protected by big walls you didn't dare look over because you've been too small Chorus. Now you're finally 16 and you're feeling old but they, they won't believe that you've got a soul well no, oh no cuz you're only 16 and you're feeling real but you, you can't seem to cop a feel no oh whoa oh no not her best lyrics, I don't think. But not horrible lyrics either. [00:13:40] Speaker C: They're simple. You kind of understand what it's about. [00:13:43] Speaker D: Yeah, if you were a teenager when this came out, you would probably gravitate to a song like this. [00:13:47] Speaker C: Yeah. Especially a girl. A representation of what you're feeling. [00:13:50] Speaker D: I mean, there was a lot of girls out there, but there was a lot of singer songwriter stuff at this point. Mid-90s. [00:13:55] Speaker C: Yeah. It was a good. It was a good era. [00:13:57] Speaker D: Yeah, there was less band girls, but there were a bunch of band girls, but not as much as the singer songwriters. It was like every other day there was another singer, songwriter girl. [00:14:04] Speaker C: Something hits big. It's like, let's find the next one. [00:14:06] Speaker D: One and the next one and keep doing it. Here we go. [00:14:23] Speaker F: You'll be se. You're going to be closer. Your pillow and your green. [00:15:00] Speaker C: These children, they're not really bad. [00:15:04] Speaker D: Most of them just products of rotten. [00:15:07] Speaker C: Neighborhoods and bad family situations. I think, honestly, that's my favorite part. I wasn't sure if the song was ending, so I was like, let me wait. I was like, I don't think. I think it's too short to be over. But I like that little kind of guitar thing with the fuzz. It sounds like fuzz on the guitar. I could be wrong. [00:15:40] Speaker D: You're talking about the solo part. [00:15:41] Speaker C: Yeah, that little bo. [00:15:43] Speaker D: It was good. He injects a little bit of rock into this. It's not totally Scott. [00:15:47] Speaker C: Well, I thought that was kind of straight up. Right. [00:15:51] Speaker D: We weren't hearing a lot of guitar solos even then. So. It's funny that it's on the sky record, though. [00:15:55] Speaker C: Yeah. [00:15:55] Speaker D: Yeah. I like this. I always thought this was a good song. It's a good start for the of keeps up what they've been doing all along. I like it. [00:16:00] Speaker E: It's very Scott. It's more Scott sounding than I think the previous tracks that we've listed so far, or at least most of the tracks we've heard so far on this album. [00:16:08] Speaker D: Yeah, I agree with that. There's a little rock at the beginning. They've gone between rock and sky in this song. They do a good transition back and forth. Verse 2 is, why do they have to force us through this metamorphosis? A little butterfly no matter how hard you try you'll be segregated you're going to be closed off. Your callow and your green because you're caught between. Chorus. Yeah. You're only 16 try to cross the line but your little wings are intertwined oh, whoa oh no well, you're only 16 and you're such a tease and there's nothing you do that can really please Whoa, oh no and there's that little Interlude part, which I'm not sure what that's from. Obviously from a movie or something from older times. From this. Unless they did it themselves. [00:16:51] Speaker C: Could be. It's not like those 1950 videos like the black and white ones that taught you how not to smoke and not to drive and not to. This sounded like one of those. [00:16:59] Speaker D: I mean, I think her lyrics are pretty decent. Even in this where it's just not the best lyrics in the song. She does interesting things. Force us metamorphosis. That's an interesting rhyme. Her stuff tends to be not very stock. [00:17:09] Speaker C: Yeah. [00:17:09] Speaker D: Which I kind of like, could easily be stock in this. Easily. I don't know if you agree with that. [00:17:13] Speaker C: And it is both perspectives. In the beginning, I guess my assumption was that it was about a girl, but it's. It's about both. [00:17:19] Speaker D: Yeah. I think you can take it either way. [00:17:21] Speaker C: Well, even the fact too, that the interludes children. It Sundays specifically. Obviously 16 can be a big age for both sexes. There isn't. At least I'm not getting that it's only about a girl vibe. And just being that age. [00:17:31] Speaker D: Yeah, I can see that Coming of. [00:17:33] Speaker C: Age song from both. [00:17:34] Speaker D: Let's finish it up. Here we go. [00:17:38] Speaker F: So sit back and take it. You see you're just not right so don't try and find that you're probably 61. [00:17:49] Speaker A: Get your feet. [00:18:27] Speaker C: Vincent Neil. I'm back. Background vocals there. Sounded like him. That's cool. I like how I like screaming gang vocals sometimes. I think it works. [00:18:35] Speaker D: Verse three is. You know you can't forsake it so sit back and take it you see you're just not ripe so don't try and fight. Chorus that you're only 16 want to catch a peek but they. They look at you like you're such a freak Whoa, oh no. Or you're only 16 with a lot to say but they. They won't give you the time of day Whoa, oh, no. Know and the Outros is. Well, you're only 16. You're only 16. Well, you're only 16. Oh, you poor little thing. I do see that it can be done as either male or female. I think. [00:19:06] Speaker C: I think so. I could be wrong, but that's what I'm getting. I don't specifically think it's geared toward one. [00:19:10] Speaker D: Well, why don't you go first, since I'm not sure how you're gonna do this. [00:19:13] Speaker C: I was thinking six is across, so I'll stick with six as a cross. It's. Overall, it's probably one of my better ones. I'm still not crazy about it though. But it's not bad. I do like the sentiment in the lyrics. Lyrics and the rockier part of the music. I think if it kind of went that way the whole way, I probably would have liked it more. It was like, okay, that's cool. I think when I went back into the chorus, I liked it more. Not too bad. It's a. Definitely a good song to start aside on. [00:19:36] Speaker D: I'm gonna give it six for lyrics and seven across. I do like the song a lot. It's one of the songs I go back to who listen to. It's not a super popular song. I don't think it was ever a single or an album track. I don't think it's bad. I like the guitar playing. I like her vocals. I think the drums are good. The bass playing is good. Everything's pretty good on here. I'd like that. It straddles the line between rock and sky and kind of intertwines those two things. Pretty good. And there's a guitar solo, which in 96, I'll take any guitar solo I can get. [00:20:01] Speaker E: Frank and I think they do a great job of mixing Rock and Scott in this one for that time. That sound. Not a lot of bands was able to pull it off so great. They do it really well here in this song. I think all the instruments are well balanced. I'm gonna give it seven across. And the lyrics, I'm gonna give it a six. [00:20:16] Speaker D: Me and Frank are on the same page so far. [00:20:18] Speaker E: It's definitely a good album track for sure. [00:20:20] Speaker D: The next song is Sunday Morning. This is the fifth single released in 1997. Wasn't released as a physical single. I don't think so. It never could get on the Billboard 100. It still peaked at 35 on the mainstream top 40. And they sold 500,000. So it's still not bad. [00:20:36] Speaker C: I remember the courses, so I'm gonna remember the rest of it though. [00:20:39] Speaker D: Well, let's see what happens. Maybe like it better this time. Who knows? So this is Sunday Morning. [00:20:51] Speaker A: Sappy, pathetic little me. [00:21:19] Speaker F: That was the girl I used to be. [00:21:25] Speaker A: You had me on my knees. [00:21:34] Speaker F: I'd trade you places any day. I never thought you could be that way. [00:21:46] Speaker A: You look like me on Sunday morning. [00:22:10] Speaker C: You Honestly, I didn't remember the verses at all. I don't think I ever really listened to this song. I just know it by the chorus. The chorus isn't bad. I definitely remember the chorus. I mean, like I said, I had friends who had this record and listened to it. Whether or not I was always paying 100% attention. This song was clearly played on the radio, too. I mean, I remember this getting played quite a few times. And knowing now it's about. It's pretty obvious. [00:22:55] Speaker D: I like the song. I think they're still doing the Scott thing pretty good. I like his drums in the verse. Like, he's doing some cool hi hat stuff. And like off time things on the snare. I kind of like that a lot. There's a part later where he. He does a really cool offbeat thing. I mean, it's got some rock in it. It's not totally sca. [00:23:13] Speaker C: No, it's definitely got some rock elements. [00:23:15] Speaker D: And supposedly this is about an ex's regression. So he's now the parasite, begging for her to come back. Whether that's the bass player who she broke up with, I don't know if that's the guy she's referring to in here. I'm not sure. [00:23:27] Speaker C: Having lyrics up sometimes, that's the intimation that I get from people. [00:23:31] Speaker D: You know what this record's like. This is like rumors, but in 90s, because that was about those two. There was songs about that on that record. So this is very similar. Obviously. I think Rumors is a bigger record than this. Although this sold a lot still. But I don't know what Rumors sold. I'm assuming it sold more than this. Rumors was pretty big for the time. This is a very similar kind of thing, right? The two people in the band together, they break up, but now they're still in the band together and they're writing songs about each other, especially her. Then Stevie Nicks write the song about Lizzie Buckingham. [00:24:00] Speaker C: He wrote Go youo Own Way, you make love and fun. I don't know if it's on that one, but Chrissy McVie wrote it about the guy she was cheating on her husband with. They may have already been kind of on the outs. I don't know if they were divorced, though. There's some stories to that band. [00:24:13] Speaker D: Definitely. [00:24:15] Speaker E: I've always liked this song. Again, it was just one of those classic hits by them. I know that it still gets great today. I just like that balance. They carry that balance of rock and sky into this one as well. [00:24:24] Speaker D: Yeah, there's a little reggae there. There's a little Motown going on there too. Kind of mixed up. Verses are sappy, pathetic. Little me, that was the girl I used to be. You had me on my knees. Verse 2. I trade you places any day. I never thought you could be that way. But you looked like me on Sunday Chorus, you came in with the breeze on Sunday morning. You sure have changed since yesterday without any warning I thought I knew you I thought I knew you I thought I knew you well, so. Well, it looks like this is a song where they do, like, two verses in a row, then chorus. Then the third time they do a verse and then chorus, which I always like that format of song. Sometimes there are songs like you wish that did that and then didn't do it, and you're like, ah, you could have done better there. [00:25:04] Speaker C: And sometimes they do it and you're like, oh, God, just get to the chorus. [00:25:08] Speaker D: Sometimes. That's true. All right, let's continue. Here we go. [00:25:14] Speaker F: You're trying my shoes on for a change. They look so good, fit so strange Lot of fashion so I can compare. [00:25:29] Speaker A: Place on Sunday morning. You sh. [00:25:48] Speaker F: Without any warning I'm. [00:25:55] Speaker A: I thought I knew you I thought I knew you well. [00:26:03] Speaker F: Somewhere. [00:26:12] Speaker A: Now who I am. [00:26:13] Speaker F: But who are you? You're not looking like you used to. You're on the other side of the. [00:26:20] Speaker A: M. [00:26:25] Speaker F: Thank you for turning on the lights. [00:26:27] Speaker A: Thank you. [00:26:37] Speaker C: I think, honestly speaking, the bass is probably my favorite part of this record. I think he does a pretty good job of holding things down. And I do like the. The bass parts in this. But, yeah, the bass, to me, is what really kind of has stuck out. Which is cool, because I know I mentioned before, a lot of times we would bring up bass because we weren't really paying attention, obviously, especially having Nick and Steve on being bass players. Even in the song before, I think there was something going on with the bass and sounded like there was some effect on the bass, that he was kind of holding it down, almost sounding like a guitar. [00:27:04] Speaker D: What did you think about the drum part in that third verse? [00:27:07] Speaker C: Yeah, it was cool. No, he's. I mean, he's good, too. I mean, here's the deal. You have to have feel to this stuff. You can't just do these four fours because it is about the rhythm. And obviously reggae is always. If anybody's ever seen Stuart Copeland especially, he always talks about third beats on the third. The third. Yeah, he's pretty good. I like the sound of the drums. I mean, that snare is tight. If we were recorded again, that's how I'd want mine to sound. [00:27:30] Speaker D: He seems to have a very recognizable drum sound. This is definitely not like the drums that happen nowadays. It would never sound this way. I think they sound really good. I think he does a really good job. Bass is really good. I think everyone's doing a good job. I do like the Bridge too. I thought that was an interesting little change up the little rat part. Yeah, a little talking thing. It wasn't bad. I kind of liked it. Not as stock as it could be. And maybe that's why. They were one of the bands that kind of stood out and stayed the test of time a little bit more than some of the other bands. We just were kind of the same. They were good at mixing everything up. And I think they knew they needed to mix everything up. Was a straight sky record going to go 15 million copies? Probably not. You mix a little pop in, you mix a little rock in, you get the guy who's very poppy as producing this, so that doesn't hurt either. [00:28:13] Speaker C: Definitely came out at a good time for. For. For it. [00:28:15] Speaker D: Yeah. There was that couple of years between 95 and 97 ish. 98 ish. Where sky was big. Yeah. [00:28:20] Speaker C: And stretching it out pretty much three years too. [00:28:23] Speaker D: Yeah. Seriously. I mean, this album came in in 95 and left the charts in 98. And they toured for a couple years and then they need to take a couple years off so they could write, probably Decompress, and then come back out in 2000. This was a five year thing. By the time they came out on the other side sold great. I guess they were afforded the ability to do whatever they wanted to after the this verse. 3. You're trying my shoes on for a change. They look so good but fit so strange out of fashion so I can complain. Chorus again, then bridge. I know who I am but who are you? You're not looking like you used to you're on the other side of the mirror so nothing's looking quite as clear. Thank you for turning on the lights. Thank you. Now you're the parasite I didn't think you had it in you and now you're looking like I used to burn good. I have no problems with her lyrics at all. [00:29:08] Speaker E: The lyrics are great. Very playful lyrics, yet very impactful. Someone who's clearly scorned. Angry, if you will, but she does it really well. I like the lyrics a lot. And again, we have that nice balance as it was we've been saying all along of Rock and sca, which this group really knew how to do it really well. Better than a lot of other bands during that time. [00:29:27] Speaker D: All right, let's finish this out. Here we go. [00:29:33] Speaker A: On Sunday morning Sure. [00:29:36] Speaker F: I changed since yesterday I went about. [00:29:39] Speaker A: It morning and your morning met me I find new you I've Got a new view, I've got a new oh, well on Sunday morning, Sunday morning, Sunday morning. [00:30:31] Speaker F: Sunday morning. [00:30:44] Speaker C: There are definitely parts I like, parts I'm not crazy about. But I mean, overall it's pretty memorable. I think it's the most memorable since Just a Girl for me. [00:30:53] Speaker D: Yeah, I can't complain about that. I liked it. I like that she changes up every once in a while. The chorus is not the same. The last chorus is different. Different. I think they reused that little riff part where you bring it back in certain places. You know, it was smart. It's a well written song. Chorus is. You came in with the breeze on Sunday morning. You sure have changed since yesterday Without a warning and you want me badly because you cannot have me. I thought I knew you but I've got a new view. I thought I knew you well, oh, well. And the outro is. Oh, on Sunday morning without a warning Sunday morning I thought I knew you Sunday morning Oh, you want me bad. You cannot have me. Sunday morning, Sunday morning, Sunday morning It's Sunday morning. Frank, why don't you go first? [00:31:34] Speaker E: I like the play on the lyrics here. The message that she's trying to deliver. It's heard loud and clear again. I really do like that whole mix of Scott reggae, all the sounds. They do it so well on this track. For me, I'm giving this seven all the way across. Just the guitar playing is great. Drums are great. All the instruments just sound great. Lyrics of voice. Everything's still Blame it, Nikki Titty baby quintuple seven. How about you, Seth? [00:31:57] Speaker C: I'm gonna say a six on the lyrics and I'll go seven on everything else. I mean, again, to me it's the most memorable since Just a girl on the first side. Mark. [00:32:05] Speaker D: I think I'm doing sevens across. I think it's a very memorable song. I agree. It's one of the better ones so far. I think it's very memorable. I think it's written very well. I like the mix between rock and rap and reggae and motown, all the pieces they put in. So, yeah, seven's across for me. Nikki Titty Baby Quintuple 7. Zippity Bippity Bop up. Now we get to the song that Savino doesn't like. [00:32:26] Speaker C: Yeah, Even my son says, like, even I like that song. Like, I don't know, I just. It never hit me. So I was listening to it like this in this format. I may like it better than usual. I don't think it sucks. I've never said something. Oh my God. This song is terrible. I'm just like. It's a mass song for me. [00:32:41] Speaker D: This is obviously another single. I think it was another one of those singles that wasn't released as a physical single in that time frame. If you didn't release it as a physical single, it couldn't go on the Hot 100. It was on the Billboard Top 100, Airplay as number one for 16 weeks. And it was never physically released as a physical single, but it still sold 3 million cop in the United States by itself. I know the video is a little different than I think what the actual song is about, because I know the song is about their breakup, but in the video, it shows parts where she's being isolated by herself, and they get the camera to her and they push everyone else to the side. So it has a little bit of that in it. So I remember that from the video a lot. Where it's not only about their breakup, but how they take the girl and. Or even the guy who's the lead singer and they bring them as the focus and they push the rest of the band away. I always like this song. I thought it was done very well. And I love the guitar solo in here. This is don't speak. [00:33:39] Speaker C: You and me. [00:33:42] Speaker A: We used to be. [00:33:44] Speaker F: Together Every day together always I really feel feel that I'm losing my best friend I can't believe this could be. [00:34:01] Speaker A: The end. [00:34:04] Speaker F: It looks as though you're letting go and if it's real I don't want to know don't think no about what you s so please stop explaining don't tell me cuz hurts don't speak I know what you're thinking I. [00:34:35] Speaker A: Don'T need your reasons don't tell me cuz hurry. [00:34:46] Speaker C: Fine. [00:34:47] Speaker D: Still hasn't changed your mind Same reaction No, it's. [00:34:51] Speaker C: I mean, it's. It's exactly as I remember. I've heard this song 15 billion times. I feel so I But like I said, I I. It just never. It never clicked with me. I don't think it's a terrible song. I just kind of never clicked with me, that's all. I can't tell you why, but. [00:35:16] Speaker D: Well, listen, not everything clicks with everybody. I think it's a really, really good song. I like the riff in the beginning. I like the little picked riff. I like the way his drums come in on the chorus. Her background vocals backing herself up are good. I just think it's good. It supposedly was supposed to. Supposed to be a love song, but then they broke up. Ended up being a breakup so song. Because her and her brother wrote this as a love song initially. So obviously they changed it up after they broke because they were. They were dating since high school for like seven years. So it's a long time. And then of course, when you get to be the biggest band in the world, right, that's when this happens. Pretty typical. Frank, what do you think? [00:36:04] Speaker E: I mean, this was a monster hit. I remember that much from it. And it's one of those songs that no matter where you went during that time when it was released, you were hearing it. So I like it. I. I thought. I. I don't. I thought it was more the breakup of the whole group and not just the boyfriend, girlfriend part of it. But. But overall it's definitely about changes in lot in people's lives and the events that lead to breakup. So I like it. [00:36:32] Speaker D: I think you thought that because the video was very much like that, the video pushed it more into that direction of the band and her as opposed to just them too, as breaking up. Maybe that's why. [00:36:46] Speaker E: Got it. [00:36:47] Speaker D: All right, so verse one is you and me we used to be together Every day together always I really feel that I'm losing my best friend I can't believe that this could be the end Pre Chorus it looks as though you're letting go and if it's real well I don't want to know Chorus don't speak I know just what you're saying so please stop explaining don't tell me cause it hurts don't speak I know what you're thinking I don't need your reasons don't tell me cause it. [00:37:16] Speaker C: Hurts. [00:37:18] Speaker D: Very straight to the point. There's no beating around the bush here, here. But. But I think in a song like this, it needs to be straight to the point. I think having any kind of weird double entendre or anything weird here just wouldn't work. But. All right, here we go. Let's. [00:37:48] Speaker F: They can be inviting but some are all together Mighty frightening With my head in my hands to see if we. [00:38:07] Speaker A: Cry. [00:38:10] Speaker F: Don'T make no tear what you say so please stop explaining don't tell me cuz I know what you're thinking and I don't need your reasons don't tell me. [00:38:36] Speaker A: It'S all ending. [00:38:38] Speaker F: You got to stop I'm pre who. [00:38:42] Speaker A: We are. [00:38:48] Speaker C: I have this song memorized. I think I may even know all the words. Believe it or not, we heard it so much, it does kind of sink in. My wife likes this song, so I've definitely heard it from her. It's not bad. It wasn't something I ever gravitated toward as a song, is what it is. It's definitely not bad. I mean, lyrically, music, the change there was pretty cool. [00:39:08] Speaker D: I find it funny that you don't really like this song that much with, you know, all the words to it. [00:39:13] Speaker C: Yeah, that's how many times I've actually heard this song. I think the only time I haven't heard this song is if I've been by myself because I won't listen to it. [00:39:21] Speaker D: That's just a testament of how good of a song it is. Is even people who don't particularly like it that much know all the words to the song. You can't have a better compliment to a song than yeah. Who don't like it know all the words to it. [00:39:32] Speaker C: Well, I mean, that's how many times I've seen heard it. I didn't say I wanted to hear it that many times. It's just so many times I heard it. I never said in my head, oh, my God, this song is effing horrible. No, it's like, ah. Like it's not bad. Like I said, it was more of a mass song for me. [00:39:44] Speaker D: Verse 2 are memories they can be inviting but some are altogether mighty frightening Pre chorus As we die Both you and I With my head in my hands I sit and cry and the chorus is the same this time. And then the bridge is. It's all ending. I gotta stop pretending who we are I like the little orchestra in the back there too. I like the chainsaw change up. And this is probably my favorite part of the song. It reminds me weirdly of Kiss Forever. Could have done more of a electric solo here, but you decided to do an acoustic solo. And I think it was the right choice in that song. I think it's the right choice in this song. So here we go. [00:40:44] Speaker C: Yeah, I do like the solo. The sound of it, the cleanliness of it. It's definitely a good solo. It sticks out. I agree with you there, Mark. [00:40:51] Speaker D: Yeah, it's a great solo. It's the right choice. It was the perfect thing to do. I mean, you could have done it a lot of different ways, but that's the right way. What'd you think, Frank? [00:40:58] Speaker E: Yeah, Mark, I agree with you. That's the perfect solo for the song. And even the solo is just right to the point. Here it is, clean cut, done, really like it. And you're right. When someone who's not a fan of the song remembers all the lyrics, it's Great. Yes. It got a ton of airplay. It still gets a lot of airplay. Just stands the test of time. A real classic here all the way around. [00:41:21] Speaker C: One thing I did want to say. I always really like the way she said mighty me for frightening. I always like the way she phrases that. That I've always liked. I was like, oh, like that always stuck out to me as something very cool, the way she did that. [00:41:31] Speaker D: Yeah, that's good. All right, here we go. [00:41:34] Speaker F: You and me. I can see us dying so please stop ignoring don't tell me cause it. [00:41:53] Speaker A: Hurts no, no, don't speak I know. [00:41:59] Speaker F: What you're thinking and I don't need your reasons don't tell me cause. [00:42:07] Speaker A: Don't tell me cause I know what. [00:42:12] Speaker F: You'Re saying so please stop explaining. [00:42:23] Speaker A: I. [00:42:23] Speaker F: Know what you're thinking and I don't need your reasons I know you're good. [00:42:30] Speaker A: I know you're good. [00:42:32] Speaker F: I know you're real good. [00:42:41] Speaker A: Sam. [00:43:12] Speaker C: The snare sound is different in the song, too. I'm pretty sure that's a different scenario, Just a different way of doing it. It sounds different. So not as tight. I mean, it still sounds good. There's a different sound to it. [00:43:22] Speaker D: They knew this was going to be a single, so they probably produced it a little bit different. [00:43:25] Speaker C: So you said wasn't officially a single. [00:43:27] Speaker D: It was officially a single, but they never released a physical single. It was a single, but they never released physical singles back then. If you. If you didn't release the physical single, then you couldn't get on the top 100. It would have been number one in the top 100. If that was a physical single. There's no doubt. See what I did there? No doubt. [00:43:43] Speaker C: There you go. [00:43:43] Speaker D: I'm gonna go first to the lyrics here. Just repeating over and over and over. I kind of like the hush hush thing at the end. I think they changed it up really good. I'm gonna give eight across. I probably could go higher. It's a good song. It's obviously a very popular song. It sold 3 million copies of just a single. It's very well produced, very well arranged. The melodies are good. Good. The guitar solo was really good. I just like it a lot. I'm going to give it eights. I probably could do nines if I wanted to. Frank. [00:44:10] Speaker E: I'm going to have to give it nines. It's just well produced. The lyrics are so straight to the point. The music is just clean. The production is great. You hear all. It's just all the way around. Just an awesome Song and still play today. And for someone who doesn't like it, like Savino, and they still know the lyrics, that goes to show you to how. How impactful, impressionable the song is. So for me, it's lines. How about you, Seth? [00:44:31] Speaker C: Yeah, I'm going to go sixes across. I don't think it's a bad song. I can probably tell you. Like, I'll probably. Unless somebody else puts it on, I'm not going to listen to it. Feel badly because again, I don't think it's a bad song. It just never really clicked with me. The lyrics are fine, the music is fine. I'm sure everybody has that song, bro. You're like, I don't hate this song, but I don't particularly like it. I compliment that. Think it's well written. The solo is good. The transitions are good. Good. You know that hush hush 2 at the end, I like. [00:44:56] Speaker E: I just think you want to hate it. No, but you can't. [00:45:00] Speaker C: I could give it lower. All right, let me ask you guys this. If this song comes on the radio, let's say mark you first. Are you turning it off or playing it? [00:45:06] Speaker D: No, I leave it on. I won't turn this off. [00:45:07] Speaker C: Okay. Frank, what would you do? [00:45:09] Speaker E: I'm leaving it on. Maybe even cry all over myself a little bit. [00:45:12] Speaker C: I wouldn't leave it on. And I'm not trying to be controversial here because it's just. Again, it's not a bad song. It's well written. Even at the end. The other thing I wanted to say, the way she says on Aren't We. I think that's really cool. This is as good as a song as I don't like. Does that make sense? I think that makes sense, right? [00:45:30] Speaker E: Single releases, what did this one come in? [00:45:31] Speaker D: 3. [00:45:32] Speaker E: And they still had that many more singles that were still that big. [00:45:35] Speaker D: I mean, it's kind of funny. This is the same thing as they would have done the hair metal days. They released two, and then the third one is what the ballad. So this is still using the same formula they used in the 80s. [00:45:46] Speaker C: Yeah. [00:45:47] Speaker E: Great song. [00:45:48] Speaker D: It's a great song. I never turn it off. If it comes on, I don't turn turned off. I leave it on just for the solo. Solo's really good. The next thing is you can do it. [00:46:21] Speaker F: Since you've been gone since you've been undone it's up to figure out your next move or many here the. [00:46:30] Speaker A: Next. [00:46:37] Speaker F: For you it's hard to take I got the feeling still has an awful taste. Just open up and sl down once it is bottom things me turn around. [00:46:51] Speaker A: Unfortunately, this is my. [00:47:11] Speaker F: Everything you say has been taken long enough to say It's a sad, sad song they can understand that you meant to do good like you could say you're misunderstood I know your meaning well but you've been trying to know how Just come back and join now I know that you know how you got to get up. [00:47:46] Speaker A: In my Stretching yourself out. You can do it, you want to. [00:47:55] Speaker F: Do it, don't be through it. [00:48:01] Speaker C: This is hands down my favorite since just a Girl. [00:48:03] Speaker D: I knew that. I said, Sabino's gonna like this. [00:48:06] Speaker C: Yep. I like the disco feel, the funk feel. My only criticism is that I feel like when it gets to the chorus, it dies down a little bit. I think the chorus should be fuller and it's not. I'm not crazy about the chorus, but I'm really digging the music and the verse and everything. I feel okay. You guys did this kind of Disco y funk thing and it's working. The instrumentation is great in the back. The lyrics are whatever. I'm not really. The lyrics I think are kind of. But I'm diggin the music. [00:48:30] Speaker D: I enjoy the music. It's played very well. If you were to ask very young Mark, who lived through the disco era, whether I would like the song, you would say, no, this sucks. But it's done well. I can't on it because I think it's done very well. All the chicka chicka and the bass playing is good. And the drumming's good, the beats good. Not gigantic disco fan, but you have to give credit where credit is due. They're doing a great job with this. [00:48:51] Speaker E: What is it that you're hearing again in the background? The what? [00:48:53] Speaker D: The chicka chicka chicka chicka chicka chicka. [00:49:02] Speaker C: Chicka chicka. [00:49:03] Speaker D: All right. [00:49:03] Speaker E: I hear the chicka chicka. [00:49:05] Speaker D: It's the chicka chicka. [00:49:06] Speaker C: Yep. [00:49:06] Speaker D: They're doing a good job. [00:49:07] Speaker E: They get it. Very idly brothers. Very Isaac Hayes. A lot of funk. Love it. Like the Chicka chicka, as you pointed out. Yeah, like it a lot. All we need is a little mixing of a DJ there, like scratching, and we're good to go. [00:49:18] Speaker D: Well, that would take it out of the disco thing then, if you did that. [00:49:20] Speaker E: True. That's right. Let's not do that. Let's keep it as is. [00:49:23] Speaker C: Well, that's the chicka chicka, right? That's almost like. Like the. The DJ scratching. [00:49:27] Speaker D: Yeah, I guess so. I'm trying to think of what band this sounds like, ah, I mean, you. [00:49:31] Speaker C: Can name a bunch. [00:49:34] Speaker D: Oh, I know who it sounds like. Le Freak. That's who it sounds like. You know who they are. If I tell you what song. And the guitar player in that band, he kind of started a whole chicken shake it thing. C H I C Chic I think so, because it's like a funky disco kind of thing. Nile Rogers. That's what is now. Rogers. That's what it sounds like to me when I think about it. I got a lot to read. Verse 1 Since you've been gone since you've been unglued it's hard to figure out your next move One minute here, the next you're gone let's make an end to this sad, sad song for you it's hard to take because the pill has an awful taste Just open up and swallow down Once it hits bottom, things turn around Chorus unfortunately this is the case. You've got to catch up and win the race. Straighten yourself out. You can do it. Verse 2 One minute here, the next you're gone let's make an end to this sad, sad song they can't understand what you mean to do Good, good I guess you could say that you're misunderstood I know you're meaning well but you've been shot to hell Just come back and join us now Cuz I know you know how. And then back to the chorus. It's very well done song for this. And again, there's no real Scott in this, right? This is disco. [00:50:40] Speaker C: I was. I was waiting for it because if they did, I would have been pissed off. I was like, please don't go into anything else. Just let this ride out. [00:50:47] Speaker D: I can tell you that. I think later albums had more of this kind of stuff. They leaned into this a little bit more. Not a lot, but they leaned into a little bit of this, which they seem to do very well. All right, let's continue. Here we go. [00:51:29] Speaker F: I know it seems you're messing with your mind but you don't have to go forward blind don't let the bag on be bygone and let's make it sad, sad song. [00:52:07] Speaker A: Day every day. [00:52:33] Speaker C: It. Those strings in the background are reminiscent of the Spinners, I think. I don't like the fade on this one. I think because that last part was just a bit too long for me. I think it would have been a stronger if they just kind of was like one of those. [00:53:13] Speaker D: A shorter fade would have been better. It was too long. Let me read the last part of the lyrics and then you can go. The bridge part was. I know it seems they're messing with your mind but you don't have to go forward blind. So let the bygones be bygone and let's make an end to this sad, sad Sa song. All right, Sav, Go. [00:53:29] Speaker C: I mean, lyrically, I don't think it's that great. I'm gonna say five on the lyrics, but I'm gonna say eight on everything else. Hands down, my favorite song since just a girl. Frank, my funk brother. What do you think? [00:53:38] Speaker E: Yeah, I'm gonna give it the same ones. You know, you and I have very similar taste when it comes to this kind of 70s funk and disco sound. So, yeah, five of the lyrics, eight across. Everywhere else, it was a little bit of a long, drawn out fade. That's the only thing for me other than that digging it. How about you, Mark? [00:53:54] Speaker D: It's so funny. I'm gonna give way different scores to this. Six on the list lyrics. Six on the melody, seven on the music is like. The music's done really well. I'm going to ding the arrangement to six because the fade was way too long. And they could have cut that out and done something different or shorten the fade out. But seven on production. I still think it's a good song. I mean, again, it's not my thing. I'm a little more tolerant of the disco stuff. The older I've gotten. If this was 1979, Mark, he would have been all over this and it would have been way, way lower. I can appreciate the musician relationship and they're doing the song very well. Yeah, I find it funny. This is the song that Savino likes. [00:54:29] Speaker C: Well, I mean, think about it though. Honestly, Technically it is the most different, I would say. [00:54:34] Speaker D: Oh, no doubt again. [00:54:35] Speaker C: Yeah. Drinking game, drinking game. [00:54:38] Speaker D: Every time Mark says no doubt, take a drink. [00:54:40] Speaker C: Not referring to the band though. [00:54:41] Speaker D: Now the next song is World Go Round. [00:55:15] Speaker F: You correctly do exist. So wipe the grime off of you and take a closer look. Environmental bandits up to the shenanigans Rules, disguises Rules disguises we're going to find another way to make the world go. [00:55:33] Speaker A: Round. [00:55:37] Speaker F: We got to find another way to make the world go round. [00:55:44] Speaker D: And. [00:55:44] Speaker C: Just like that they lose me. I'm not digging this at all. This sounds to me, Mark, kind of like when you make your late 80s metal comments. I just feel like this song is so stock. Not a fan of this one so far. I don't know, Mark, if this is one of your go to's, it's not. [00:56:00] Speaker D: One of my go to's. It's. It wants to be very reggae, but maybe not in the best way I know it's got. Is reggae technically sort of kind of. [00:56:08] Speaker C: Well, it's a part of it. Yeah. [00:56:09] Speaker D: A. I mean, this feels like more like a wannabe Bob Marley reggae. This was never my favorite on this album. I don't think it's bad. This is filler track to me. There's too many things on here. This is 12 of 14. If you cut this out of here, I wouldn't be crying. [00:56:22] Speaker C: I mean, this isn't the case of where we say, well, back in the day you had to have that kind of the bluesy beat song and you had to have that chug song because obviously there's elements of this. But I just feel it's the simplest form of it so far. [00:56:34] Speaker E: It sounds like college bar reggae, kind of like the house band and the bar that's just playing some reggae for you. This is what it sounds like to me. It's decent follow up to what we just finished hearing. But yeah, I think maybe perhaps they could have not had this on the album. [00:56:47] Speaker D: Let's fill a track feels that way. I haven't heard a little bit, so it might change up, but I wouldn't think so. Verse one in the quickness of our haste it seems we forget how to live the old blueprint no longer manifests itself as the correct way to exist so wipe the grime off the view hole and please take a closer look Environmental bandits up to their shenanigans Crooks disguised as as crooks disguised as Chorus we got to find another way to make the world go around we got to find another way to make the world go round I do like the backing vocal in the chorus a little bit. When she doubles herself. That's not too bad. [00:57:19] Speaker C: The sentiment obviously is cool. It's just kind of so on the nose. It's kind of like man in the Mirror by Michael Jackson. You can appreciate what he's saying, but the lyrics are just so on the nose, which is fine. I mean, some people can appreciate that. And I think she's done it better lyrically on this record. She probably could. Could have said some of these things a little bit more interestingly. You don't always have to write the same way. You don't always have to write metaphorically. Could do something on the nose. There's nothing wrong with it. I'm just saying I appreciated some of the. The way she versed other things that were obvious but kind of A little bit more interesting than this. So I'm giving her credit in that regard. [00:57:51] Speaker D: I do agree with that. She has better lyrics on here. All right, here we go. Let's continue. [00:58:05] Speaker F: Individual roles we think not so important to the plot the big picture on scene living life in between Destroy and over there's no need to point the. [00:58:20] Speaker A: Finger we understand who takes the place. [00:58:25] Speaker D: Wind. [00:58:57] Speaker F: See, there's many, many, many, many. [00:59:00] Speaker A: People in the world and I'm not. [00:59:05] Speaker F: Sure if I like what I do. [00:59:11] Speaker A: I'm not sure if I like what I do with myself I'm not sure. But like how we'll turn, I will turn on. [00:59:56] Speaker C: That part wasn't bad. That bridge was. Was kind of different. That's my favorite part of the song. I. I also like that she kind of brings in herself. I think she said I'm in violation. I do like that kind of. Hey, I'm criticizing people, but I'm kind of part of the issue too. [01:00:09] Speaker D: I like the bridge a lot. I think it's nice they changed it up. But even the words in the verses, they're not bad. But you're right, they are right on the nose. She's not really using very common rhymes or common words, which I appreciate, even in a song like this. [01:00:22] Speaker C: Like I said, Michael Jackson, My man in the Mirror. I mean, it's. It's a great sentiment. Look at We Are the world. Beautiful sentiment. But I'm saying, if you don't like lyrics that are on the nose. [01:00:30] Speaker D: Yeah, that's true. Verse. Two individual roles we think not so important to the plot the big picture unseen Leaving life in between Destroyed and overwrought there's no need to point the finger we understand who takes the blame Delinquents caught red handed in the act Crooks disguised as you and I and back to the chorus. And then the bridge part is. You see there's many, many, many, many, many people in the world from end to end from pole to pole I'm not sure if I like what I've heard Far and near, far and wide I'm not sure if I'd like what I'm doing myself I'm not sure if I like how the world turns how the world turns oh, degradation, great big word I'm in violation Unexcusable exploitation It's the dawning of a new era People consciously don't care how unfair I do think that the bridge is my favorite part. [01:01:15] Speaker C: Yeah, they change it up a little. [01:01:16] Speaker D: Bit, but it is still very. If you want to call stock reggae, it's really stock reggae. But even the parts where degradation comes in in violation, the way they slam into that. You've heard that before in bigger songs and better songs. But I think very similar to the disco thing. They're taking. Taking all the things of the disco thing and sticking that in there. They're doing the same thing for the reggae. [01:01:35] Speaker C: I think I probably just like that sound better. [01:01:37] Speaker D: Yeah. [01:01:38] Speaker C: I mean, there's definitely reggae stuff that I like, but this is. It's kind of clean again. I feel it's a caricature of a reggae song. [01:01:47] Speaker D: I think they do better when they mix the Scott up with the rock, personally. Let's continue. Here we go. [01:01:56] Speaker A: Around. [01:01:59] Speaker F: We got to find another way to. [01:02:01] Speaker A: Make the world go round. [01:02:52] Speaker C: It'S funny because I think I mentioned another song. If you notice there at the end, it speeds up and then it slows back down. And there was a song at the end, the First Light, too. I think I had mentioned that. I thought they were going to. That's the way they were going. But it kind of then went back to the tempo. So I was like, oh, I don't know if that was intentional or they just kind of sped up like, okay, well, you got to play it. [01:03:10] Speaker D: That's called no click track. Chorus is pretty much the same. The outro is. In the quickness of our haste we forget in the quickness of our haste we forget how to live so find another way to make the world go round World go round World go round. [01:03:24] Speaker C: I think I want you to go first because if you're saying it's not one of your favorites, I want to see where you are. I'm not exactly sure yet. [01:03:31] Speaker D: I've heard worse songs. I'm gonna say five in lyrics, five on the melody, six on the music. I mean, the arrangements kind of stock. I'll say five. Production is pretty good. I'll say say six. It's kind of where I'm at. I don't think it's horrible. I don't think it's a caricature Because Scott is kind of based on this kind of music. So they do use this beats in certain other things. Overall, I can see where you say this is a stock reggae song, and that's where I'm at, Frank. [01:03:55] Speaker E: My least favorite so far for sure. Lyrics, Melody. I'm going to give those a five. The music I like. I do like the music. I think they do a great job here in the bass. So I really do like that there. I'm going to give that a 7. The arrangement. I give a 7 production. I give. Give that a 7 as well. So I can't wait to hear. [01:04:12] Speaker C: I've given fours to anything or just fives is my lowest. [01:04:15] Speaker D: I think fives are the lowest. I'm gonna think, oh, no, that means he's gonna do fours. [01:04:20] Speaker C: I mean, I was thinking fives across and six on production, but I don't know if I want to do that because honestly, I really don't like this. But I feel it may not necessarily warrant fours. I'll just stick with that. I'll just say six on production and five on everything else. Definitely not feeling this one. Especially after the one being before. I feel like it's a massive let down, me personally. [01:04:39] Speaker D: You still haven't found that song. That's going to be the song yet. [01:04:42] Speaker C: Well, I mean, listen, I would probably go back and listen to the one before this. I dug that one. [01:04:46] Speaker D: Well, the next song is called Ended on this, which is kind of funny because it's not the end of the record. I don't know if that's on purpose. [01:04:54] Speaker C: Tongue and cheek. [01:04:55] Speaker D: It feels like it's very tongue in cheek to me. But we'll see. This is ended on this. [01:05:28] Speaker A: Me I. [01:05:29] Speaker F: Thought that we would last. Come on, little family. [01:05:34] Speaker A: 1, 2, 3, 4. [01:05:37] Speaker F: The years were flying by the soul and it's my gut feeling it's not. [01:05:43] Speaker A: Happening for me so let a little. [01:05:48] Speaker F: Give me one more kiss. [01:05:58] Speaker C: Oh, boy. It's another miss for me. I don't feel like this one, Mark. Sorry. [01:06:04] Speaker D: No, I do like this, actually. I like the second chorus better than the first chorus. I like the riff, I like the guitar playing again. You can't take this from me because I've heard this record a whole bunch. So after a certain amount of time you almost start to like everything because you've heard it so many times. I mean, is it as strong as just a girl? No, of course not. That'd be silly. But I don't hate it. Of course. Could be a little stronger. [01:06:25] Speaker C: Well, you said the other one's better, right? [01:06:27] Speaker D: Yeah, it's a little long. I mean, it's similar, but they do some different stuff for me. [01:06:30] Speaker E: More filler track syndrome going on. It's not terrible, but I just feel like they could have left it out if the album was ending here, then great, but it's not. I'm not digging it so far. [01:06:38] Speaker D: Verse 1. You see in the past I had a dream, a fantasy I thought we would last Become a little family then 1, 2, 3, 4. The years were flying by they soared and it's my gut feeling it's the not happening for me so let's end it on this give me one more kiss let's end it on this let's end it on this all right, let's continue it Here we go. [01:07:06] Speaker F: Constantly I've been here before But I'm never ever selfish sure and now I know I I've been dreaming Interactions have inspired me so let's end it on this Give me one more let's end it on this let's end it on. [01:07:29] Speaker A: This. [01:07:31] Speaker F: Just one, one last kiss. [01:07:37] Speaker A: Let'S. [01:07:38] Speaker F: Sing it on this leg and we. [01:07:40] Speaker A: On you I open up, you ignore me oh, you're not the same at. [01:07:50] Speaker C: All. [01:07:54] Speaker A: And if I turn back the. [01:07:58] Speaker F: Pages of time I rewrite your point of view oh. [01:08:06] Speaker C: Yeah still not feeling this one. This could be my least favorite song overall, if I remember correctly. I don't know what I gave on. [01:08:14] Speaker D: The first side probably gonna be I. [01:08:16] Speaker C: Would think I wasn't feeling the one before this, but this one even less. [01:08:18] Speaker D: I think the chorus the second time around is better. [01:08:21] Speaker C: It's more of what I don't like. And this is not to whatever but it's a little silly, cartoony to me. And again, listen, I've said it before and I'll say it again. Sometimes when we listen in this context, it's better and it's worse. Sometimes you break up a song, you don't get the full whatever of it and you kind of like rush to make decisions sometimes. And sometimes things don't hit you right away. So in that moment you're like. And then who knows, right? And sometimes you go back and I'm sure it happens the opposite too. There's songs we've heard on here that we've liked. You and I did a mark on the the Elder where we made comments where wow, that didn't sound as good this time. I mean, I'm just not, not feeling. [01:08:59] Speaker D: This one Verse two. You see it's hard to face the attic that's inside of me I want to fill my glass up with you constantly I've been here before but I've never felt this sure Now I know I've been dreaming and your actions have inspired me Chorus. So let's end it on this let's give me one more kiss let's end it on this let's end it on this Just one more wish one last kiss let's end it on this let's end it on this and the bridges I open up you ignore Me oh, you're not the same at all and if you could turn back the pages of time I rewrite your point of view I don't think the words are bad. I just think that the melody's not great. I think it's kind of dragging the song down. Here we go. [01:10:15] Speaker A: One. [01:10:32] Speaker F: Last chance to try some more. [01:10:40] Speaker A: Sash. [01:11:03] Speaker C: They had ended it before this. The solo part was kind of cool. That first part reminded me of the Beastie Boys. I actually had wished that it got on longer because that was my favorite part of the song so far. Not a fan of this one. [01:11:19] Speaker D: The stuff behind the solo is way different than the rest of the song. That was good. Okay, so verse three is washed up on the shore Give me one last chance to try some more But I'm tired, I'm freezing we'll stop and call it history and then ended on this, Ended on this all through the whole, whole thing. Toward the end. For the outro, I'll go first. I'll get myself out of the way. I'm gonna say I like the lyrics. Okay. I'm gonna say six and I'm not gonna do five on everything else. I think that's fair for this. It's not my favorite on this album at all. Frank. [01:11:46] Speaker E: I'm gonna give the lyrics seven, and the melody is seven. The music itself to me, just doesn't match the lyrics. I didn't have an issue with the music. I think it was pretty okay. I'm gonna give those sixes. I'm gonna give everything else a six. [01:11:58] Speaker C: Six. Just. [01:11:58] Speaker E: Just the. I think the lyrics and the melody were really good on this one. [01:12:02] Speaker C: So I'll say a five on the lyrics, five in the production, I guess, and a four on everything else. I mean, none of the productions are bad. I can't ding the production. I don't think any of the songs sound badly for what they are. I think the bass playing to me overall is the standout on this record. Cuz even here, I think he was doing some interesting things. I mean, not for me. [01:12:22] Speaker D: Now we're at the end of the album. Finally. Finally. 14 tracks. This is an over five minute song. It's written by Eric Stefani. It's called Tragic Kingdom, as the album is called. It's about the famous theme park in Disneyland. How, in his view, it was once a great place that became worse and worse over time due to poor direction and management. The name was a nickname for Magic Kingdom, one of the theme parks at Disney World Resort. And that's what it's about. It's called the Tragic Kingdom. Here we go. [01:12:51] Speaker C: Remain seated, please. [01:13:15] Speaker F: Of the kingdom is locked up in its a. The castle has in tracks with cor by a step back decoy bio Jeez. Now the drawbridge that lifted as millions they drop to their knees they pay homage to a king who dreams are. [01:13:36] Speaker A: Buried in their mind. [01:13:46] Speaker C: Not a massive fan of this either. Honestly. [01:13:48] Speaker D: I kind of like the music, though. I think the music's good. It's interesting, the riffing that's going on behind there. I thought it's pretty good. Bass is good. I don't hate this. It's different. I mean, it's weird what it's written about. I don't know if I'd write a whole song about the Magic Kingdom, turning it into the Tragic Kingdom because he really likes Disneyland. [01:14:06] Speaker C: Yeah, I. I guess you could probably use it as a wider metaphor though, right? Technically, I don't know if he meant it that way. You could just write about a personal experience. [01:14:18] Speaker E: I'm not too sure yet. I want to listen to a little bit more. I just can't go by her so far. [01:14:22] Speaker D: Verse one Once was a magical place over time it was lost price increased the cost now the fortune of the kingdom is locked up in its dungeon vaults the castle floor lies in traps with coil wires set back decoyed by old cheese now the drawer bridge has been lifted as the millions they drop to their knees pre chorus they pay homage to the king whose dreams are buried in their minds his tears are frozen stiff Icicles drip from his eyes. Interesting lyrics. I don't know what the it means. [01:14:50] Speaker C: I mean, the lyrics aren't bad. [01:14:52] Speaker D: No. [01:14:52] Speaker E: Was it Walt Disney? Frozen. Frozen. [01:14:55] Speaker D: That's funny. [01:14:56] Speaker C: Supposedly. Anyway, I don't think he really was. I'm not sure I heard it was. Than truth. [01:15:00] Speaker E: Yeah. [01:15:00] Speaker C: Who knows one of those things? Yeah, the lyrics aren't bad. [01:15:04] Speaker D: It reminds me of something, though. Can't place where that's from. [01:15:10] Speaker C: I'll listen to it. [01:15:11] Speaker D: Yeah, maybe you can figure it out. All right, here we go. [01:15:26] Speaker F: But now it's written in stone the king has been overthrown by just a leaf and the power of people shall come to believe they do prove they belong to a king who dreams welcome. [01:15:52] Speaker A: To the tragic kingdom. [01:16:48] Speaker C: I think if you didn't know what the song was about, you can figure out what the song is about. I mean, it makes some pretty damn clear references that you can kind of figure it out. And again, if it's a. You may think it a larger better for. For things. Maybe it wasn't. Maybe he was just pissed at this, which is fine. The lyrics aren't bad. I mean, the music isn't terrible. I definitely think it's better than the one before. It's definitely more. More interesting and more ambitious, without a doubt. Ah, does that count? [01:17:13] Speaker E: It's got to be like Peewee's Playhouse every time you say it. [01:17:17] Speaker C: Yeah, exactly. [01:17:19] Speaker D: I think it's very theatrical. Like Frank said. This is a very theatrical song. [01:17:24] Speaker C: Oh, absolutely. I can almost picture this in like a Tim Burton animated musical. [01:17:28] Speaker D: Oh, yeah. It's very grand sounding. Or it wants to be grand sounding. Verse two is the cold wind blows as it snows those on those who fight to get in on heads that are small disillusioned as they enter they're unaware what's behind the castle walls but now it's written stone the king has been overthrown by gesturely fools and the power of the people succumb to believe they do rule. And back to the pre chorus. And the chorus is welcome to the tragic kingdom. Cornfields of popcorn have yet to spring open. Then the verse is, have they lost their heads or are they all blind mice? We've heard all the stories one too many times Hypnotized by fireflies that glow in the dark and midgets that disguise themselves as tiny little dwarfs the parade is electrical. It serves no real purpose it just takes up a lot of juice just to impress us. Interesting lyrics. [01:18:16] Speaker C: I mean, the lyrics are good. I think you get the point of what it is if I didn't know what it was. It's a. Is this about Disney? [01:18:23] Speaker D: Yeah. Well, the parade is. That's electrical. It's the electrical parade that they do. So it's interesting. He's really pissed. I guess he's mad at this. This place sucks now. All right, let's continue. Here we. [01:19:03] Speaker C: Before I forget, it's not the same chords. I don't know if the song you're thinking of. It reminds me a little bit of Moving out by Billy Joel. That thing. [01:19:13] Speaker D: Maybe that's what it is. [01:19:14] Speaker C: I don't think it's exactly that. It kind of gives me that vibe. That thing that he just did in the solo was so something. Was absolutely something. [01:19:21] Speaker D: Yeah, it's Eddie Van Halen tapping is what it is. [01:19:23] Speaker C: No, no, no. After that. That. What he just played. Oh, without a doubt. It was absolutely something. SOS by abba. I'm pretty sure that's what that is. [01:19:36] Speaker D: What part? The whole thing. [01:19:37] Speaker C: No, no, no. Would he just play that band whatever the hell he was doing? [01:19:41] Speaker D: Oh, okay. [01:19:42] Speaker C: Cuz I'm trying to think. I said that melody is so obvious. It's it Disney. Where. Where am I here in this. And I'm pretty sure that's what it is. [01:19:49] Speaker D: I don't know if enough Abbott to figure that out, but I'll take your word for it. [01:19:52] Speaker E: Yeah, we'll take your word for it, bro. [01:19:54] Speaker D: Let's continue. We got another 229 of this and let's try to get through it here. [01:20:36] Speaker A: Night. Welcome to Magic Kingdom. Heart feels a. [01:22:22] Speaker C: I mean it's definitely ambitious. I think it's done well for what it is. [01:22:26] Speaker D: Got a little Star wars thing at the end too. Did you hear that? [01:22:29] Speaker C: Oh, was that it? I thought it was Taps. [01:22:32] Speaker D: Yeah, there was. I'm going back to the end. Listen to it. Ready? It was Taps in that. Hold on. Here you go. [01:22:55] Speaker C: I hear it. [01:22:56] Speaker E: And talk about having foresight because Disney didn't own the rights to Star wars then. I don't. I don't think. [01:23:03] Speaker C: I don't think so either. [01:23:05] Speaker E: Nope, they didn't because Lucas released episodes one, two and three. Yeah, that sounded like Dumbo. I was like, huh, that's great. [01:23:13] Speaker C: I give them credit. The last one on the first side was pretty theatrical. And they can get away with it. I think they're good at doing the arrangement and whatever is going on in the background to get away with it. Which is funny because some of the Scott stuff to me felt so simplistic. Reggae so simplistic. And they come to something like this and they can throw some shit against the wall and it sticks again. I probably won't go back to this one. I appreciate it it though. [01:23:39] Speaker D: And the chorus sounds like carnival music. [01:23:45] Speaker C: Yeah, there's absolutely an element of carnival. Without a doubt. I mean it's on purpose. This is something I think they should have been happy with the way it came out. [01:23:53] Speaker D: Yeah, it's very ambitious. Very theatrical. Sabino, you go first. [01:23:56] Speaker C: I'm going to say five on the melody. I didn't really like the melody. Production. I'll say seven on production. I'll say seven on arrangement. Six on the music. Music. Six on the lyrics. Right. I didn't give lyrics yet. Not necessarily a fan of it. I'm very appreciative of what they tried to do and I think they did it well. So from that standpoint, I think if the melody had been better, really, that's one of the things that really drags it down for me is the melody. I don't feel like there's something to really hold on to. They can do a song like this. You have to appreciate that. Without a doubt. Mark. [01:24:29] Speaker D: Yeah, I'm going to do very similar. I'm going to say six on the lyrics. I like the melody and the verses better than I do the chorus because the chorus kind of follows the chords down. I'm not always a big fan of that, so I'm gonna say six on that too. Musicianship, I think they're doing a really good job. I'm gonna say seven arrangement. I'm gonna give a six and production at seven. Yeah, I agree it's not my favorite song on here, but it's very ambitious and I give him credit for actually trying to do something so ambitious. Frank. [01:24:53] Speaker E: I'm gonna go sevens all the way around. I like the lyrics. I like what they're trying to get at with the messaging here. A lot of metaphors in there. The sound was very different, unique. And like Sav said, this is something I would expect to hear like in a Tim Burton movie. I dug it. Seven's all the way across from me. [01:25:10] Speaker C: Yeah, it's Steve and it's Quintuple seven. Nikki Titty baby. [01:25:16] Speaker D: So we're finally at the end. [01:25:18] Speaker C: Wow. [01:25:19] Speaker E: Should have been a three part miniseries. [01:25:21] Speaker D: It's a long album. [01:25:22] Speaker C: Yeah. This has been a big, big one. [01:25:24] Speaker D: This is what's wrong with albums of this time frame. It's just they want to fill the whole thing up. And this is close. 60 out of 70 minutes they filled out. This is long. I think the first side is pretty good. I think part of the second side is good. It starts to jump the shark as it gets toward the end because it's too long. I think you could have cut three or four songs out of here and it would have been a better record Overall. Still sold 15 million copies. What do I know? [01:25:45] Speaker E: And seven singles. [01:25:48] Speaker C: Yeah, I mean, that kept them in going, but. But hey, again, you can release as many singles from an album if you want. If people don't listen to it, it's not going to matter just because this schmo says, I don't really like this record. Millions of people say the contrary. And at the end of the day, that's what matters, right? Everybody has their own opinion. I do give them credit. I mean, the bass player especially. Without a doubt, I think he is the best one in the band. He was really, really good. [01:26:10] Speaker D: And the drummer, I think too. [01:26:11] Speaker C: Yeah, I don't think he was as good as a bass player. I think that he was good in following and keeping in with it, which is good. Because you do have to have groove. So I think he was good. Without a doubt. Number two, I would say. But the bass player did a lot of fills, which I like. There was some stuff that sounded straight up. Getty Lee reminded me on a couple of songs, but I really like the way he filled the spaces with some cool little accents and little things. A line of some massive albums we've actually gotten here compared to some ones where people like, oh, what? [01:26:41] Speaker D: Yeah, it's a big album and there's lots of big singles here and there's a bunch of good songs. I do like this album a lot. Glad we got it. We got at least some kind of a 90s thing. Still not grunge. It's still not giving me what I want. Eventually it will. Who knows when that'll be, though? I have no idea. All right, so I want you to do your thing. [01:26:55] Speaker C: We are part of the Deep Dive podcast network again, like I always say. Great bunch of guys took us in right away. You want individual podcasts about bands, check it out. You got Rush, Judas Priest, Van Halen, Zeppelin, Tom Petty, even Uriah Heap. So check them out. And mark, where can they find this. [01:27:10] Speaker D: On the Interweb rocket pod, all the social media, go to rockwellpodcast.com, put a new bets and shoot us an email. Tell us what you want to hear. If it's not on the list already and it's part of the genres that we're doing, we'll add it on. Put us on your auto download so you get us every week. Give us five stars. We you rate your podcast because that helps us move up the ladder. And next week it shall be Wheel spin again. And let's see what it comes up with. Maybe we won't get obscure album or maybe we will. Who knows? The Wheel does what it wants. Just because it gave us this album doesn't mean the next one's going to be as big. It could be a very obscure record for all we know. [01:27:42] Speaker C: Yep. That's why we do it. [01:27:43] Speaker D: This is why we do it. All right, we'll see you next week. [01:27:46] Speaker C: Ciao. Ciao. [01:27:47] Speaker E: Bye again. [01:27:47] Speaker D: Later.