Episode Transcript
[00:00:00] Speaker A: Foreign.
[00:00:04] Speaker B: This is our musical reaction breakdown and commentary analysis of this song. Under Fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the Rock Roulette Podcast.
[00:01:03] 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. Just a bunch of friends who want to do a podcast who love music and as always, whoever's listening, we want to thank you. Spread the word. You know, say, hey, check these guys out. They're kind of funny or they're kind of dumb. Whatever the hell it is. Whatever you like about us, spread the word. We really appreciate you guys listening. We are a trio again tonight. We have Frank.
My name is Frank and I'm sexy.
[00:02:04] Speaker D: Great to be back. Hello everybody.
[00:02:06] Speaker C: We have Mark. Oh, hi Mark.
[00:02:08] Speaker E: What's up guys?
[00:02:09] Speaker C: And I'm Sav.
[00:02:10] Speaker D: Ciao.
[00:02:11] Speaker E: Buenos.
[00:02:12] Speaker C: Last week we wrapped up kxm, the super group featuring members from King's X Daken, Lynch Mob and korn. The general consensus was the songs were either coherent or kind of incoherent, but interesting parts that were kind of slammed together. I think that was kind of the general thing. I mean, it was pretty decently interesting, I would say. Maybe melodies I think could have been the lowest of scores, but musicianship obviously was. Was really good. Whether or not we gave the overall song high scores, it's definitely one I'm glad came up because it wasn't something I was expecting. Mark, what do you think overall?
[00:02:44] Speaker E: I think the first two songs for me were the toughest and it got better as it went along. Second side seemed to be pretty decent. I think we gave pretty good scores and lots of that stuff. So it was good. I liked it.
[00:02:53] Speaker C: Frank, what was your overall view?
[00:02:55] Speaker D: I liked it. It worked really well. I mean, you have a whole bunch of musicians from different genres, mixed up and in the same album. And it came out really good considering that they were just there to jam what will come out.
[00:03:07] Speaker C: I liked it having read a little bit about it. It was something that was off the cuff. They were able to make two more records and I think they kind of followed the same formulas. We can definitely do a good comparison. If they ever come up again and say, hey, let's see how they improvise this time as opposed to last time. Before we say anything about what's going on tonight, we get to spin the baby wheel in the new bets in.
[00:03:28] Speaker E: A world where new music is not easy to find.
Welcome to New Bets.
Can you see the wheel?
[00:03:48] Speaker C: I see it.
[00:03:49] Speaker E: Alrighty. Let's see what this does. The new bets wheel is off.
[00:04:06] Speaker C: Sebastian Bach to live again.
[00:04:08] Speaker E: Wow.
[00:04:10] Speaker C: Frank, any idea about this one? You know this one or no?
[00:04:13] Speaker D: No, I haven't heard it.
[00:04:15] Speaker C: Mark, do you have any background on it or. I mean, obviously, I assume it came out at least.
[00:04:20] Speaker E: I have no background, but it's fairly new. Should be good, I think.
[00:04:23] Speaker C: Curious.
[00:04:24] Speaker E: Yeah. I haven't heard any new Sebastian Bach, so I don't know. Let's see how it goes. This is Sebastian Bach. To live again Sa.
[00:05:02] Speaker A: Fail mistakes let them fall to the floor just walk.
[00:05:09] Speaker C: Away.
[00:05:14] Speaker A: You still young so much more you're meant to be Close your eyes and hear these words it's not too late Some are lost until they're found h among the clouds Even shooting stars burn out along the way Lost in our it won't be us this time around to love him back to live again he flew too high a touch the sun Eternal truth you cannot roll Every angel in the earth can fall from grace I know it hurts in the end we have to love There are some things in this life we cannot change Just a million the found won't be you this turn around It's a loving rain to live again.
[00:06:52] Speaker E: I.
[00:06:52] Speaker A: Know it's hard to face forever there's some things in this life we cannot it won't be you this time around now to love and rain oh, to live again I know it's hard to face forever hunted the ghost of your mistakes we cannot change to Sam Stairs. Thanks.
[00:09:14] Speaker C: Frank. I'll let you go first. What do you think?
[00:09:15] Speaker D: Not what I expecting. He's kind of mellowed out. His vocals haven't changed a whole lot. It sounds like him, if that makes sense. But overall I like. I like the guitar playing. Of course. We're listening to the Bach.
[00:09:26] Speaker C: Overall, I like it it's of his time, I would say. As far as a ballad, it reminds me a little bit of something of a slave to the grind. No, it kind of has a little bit of that vibe, but a little bit modern Y, I guess. I mean, the productions actually wasn't terrible. All right, Mark, what do you like?
[00:09:43] Speaker E: I mean, it was fine. I don't know. Something's weird about the vocal. It's pushed back a little bit or there's some studio trickery going on there. I mean, I know he can sing because I've seen live clips of him. I don't think he sings the way he used to sing. But again, we're talking 35 years later. Whatever it is, you know, he can still sing and I think the song's okay. Unfortunately, I don't think he was a big songwriter in the other band. So most of those good songs that were written by other people and he was just singing them. This is partially written with Miles Kennedy.
[00:10:09] Speaker C: Oh, okay.
[00:10:10] Speaker E: It's a mid tempo. It's sort of kind of pseudo ballad. That was fine. If you like it, let us know. If you don't like it, let us know. And I guess let's rubber stamp this. Here we go.
In a world where new music is.
[00:10:24] Speaker D: Not easy to find, welcome to new Bets.
[00:10:39] Speaker C: Okay, typically at this point, we spin the mama wheel. You know, she picks a record for us, blah, blah, blah. You know, the intro, what we do. Mark and I decided that for shits and giggles, we would pull an audible, which we do every once in a while, and we would actually go through an album that Frank has mentioned more than anyone else on this podcast. Probably what he thinks has influenced everything.
[00:11:00] Speaker D: Before and after, according to him, because.
[00:11:03] Speaker C: He hears this album and almost everything we've done. For anybody who listens and pays attention, it's Leather Boys with Electric Toys by Pretty Boy Floyd.
[00:11:12] Speaker A: I wanna rock.
[00:11:13] Speaker C: Frank, how down are you to do this record on the podcast?
[00:11:17] Speaker D: You kidding me? I'm excited. I can't wait. And you're gonna hear it. This album, I'm telling you, you hear a little bit of everybody in it. It's kind of like that guy when you're looking for a fake id. Back in the old days, there was this one guy that looked like everybody.
It's gonna be good.
[00:11:35] Speaker C: So, Mark, how familiar are you with this record?
[00:11:38] Speaker E: I don't know how familiar I am with the record, but I'm familiar with them a little bit. All rock and roll. I don't know how much I'm gonna like this, but I'm willing to give it a shot because Frank loves this thing. He pulls it out every time. You could be playing Led Zeppelin. He goes, you know what that sounds like?
Pretty Boy Floyd.
[00:11:56] Speaker C: Yeah, exactly. I know. At least I'd say three songs, maybe four that I like from this record. Could be more.
[00:12:03] Speaker D: This was ranked, I would have to say, top 25 glam rock albums of all time. Like legit.
[00:12:09] Speaker C: We'd have to think about it. I mean, listen, I give them credit. This album came out in 1989, right before the change. They made a little bit of noise on MTV because that's actually where I remember discovering them. On videotapes that were made by people who actually had cable that weren't living in the Bronx.
I remember the second song is the one that I'm pretty sure was the first single. And the one thing that I do remember about them is the guitar was very bassy sounding. It's actually a little bit heavier sounding as far as glam rock guitar.
[00:12:36] Speaker D: And the drums are good too. Drums are pretty good.
[00:12:38] Speaker C: Yes, yes. Well, it starts off with double bass, but I'm sure we'll get to that pretty soon.
[00:12:43] Speaker E: So this album reached 130 on the Billboard charts. The personnel on this is Steve Sex Summers vocals, Christy Crash Majors on guitars and backing vocals, Vinnie Chaz on bass and backing vocals, and Carrie Kane on drums and backing vocals. I believe this is all their real names. I don't think they changed it for anything. I think that's their names.
[00:13:13] Speaker C: You gotta find people with unique names to form a band. It's like. What's your name? John Thomas. Nope. Sorry. What's your name? John Smith. Nope. What's your name? Christy Crash. Yeah, you're in.
[00:13:22] Speaker E: The producer was Howard Benson.
[00:13:24] Speaker D: A couple of see their albums. See there, Daughtry. He did a lot of that new metal stuff, right?
[00:13:29] Speaker E: Pod, Hoobastank rejects, Santana, 3 Days Grace.
[00:13:35] Speaker D: Really?
[00:13:35] Speaker E: Kelly Clarkson. Oh, no. Yeah, he's produced lots of.
[00:13:38] Speaker D: Oh, wow. Okay.
[00:13:39] Speaker C: Well, I remember the production be pretty decent on this record.
[00:13:41] Speaker E: So it's gonna be interest thing. This is in the area of glam slash hair metal that I'm not a big fan of. I don't know if this is going to be worse than Black and Blue. Better than Black and Blue. I don't know from memory.
[00:13:55] Speaker C: I think it's definitely better than Black and Blue.
Musicianship wise, maybe not songwriting wise.
[00:14:02] Speaker D: I think I'm gonna tell you, you gotta get ready. Get ready.
[00:14:05] Speaker C: All right, we'll see. I haven't heard this in A while. It's been a while since I've actually listened to this.
[00:14:08] Speaker E: And I'm gonna have to read these lyrics, aren't I?
[00:14:10] Speaker D: Yeah, that's part of the deal.
[00:14:11] Speaker E: Oh, geez. Where's Steve when I need him?
Okay, this is the title track. Leather boys with electric toys.
[00:14:40] Speaker A: It's Sam.
Incest and tie One boat of boys Walk away the song and fly Here we come from rocking like a roll of sound now the money stopped them I'm knock on down Little girls on the road Screaming the dream's not so kind of horrible we're so screaming Chop rop, chop bop hey, let's go we're making noise tonight we're the leather boys with electric toys we're making noise tonight we're the leather bo With.
[00:16:32] Speaker C: Mark, you go first. What do you think so far? Do you remember this song?
[00:16:35] Speaker E: I do remember this song. Unfortunately, it has been stored in my brain for 35 years. I was hoping it never got out.
[00:16:42] Speaker D: That's how good it is.
[00:16:43] Speaker E: Oh, my God. The guitar sounds so shit. It's a shit guitar sound. The drums are okay, and his vocals.
You know what it sounds like? It sounds like a bad Vince Neil impersonation. But they do come from Hollywood. This is kind of the sound that a lot of bands had after Motley Crue came out. It's a. I don't know what else to say. Oh, this is rough.
[00:17:05] Speaker C: I mean, I've always liked the song.
It is. What it is is. We had this discussion already. I was not listening to this stuff at all anymore. This was something Nick bought, I listened to. I was like, oh, I kind of like this song. I mean, listen, as a drummer, having listened to a lot of glam metal, you don't. First and foremost, you don't get a lot of double bass. So that was cool. Just from the get go. Like, oh, wow. Cool double bass. And I felt the guitar sound. It's not great, but it's slightly heavier because it's kind of got that. That kind of deeper bass. Like, wait till you get the beginning of the next one, then it really stands out. Doesn't stand out as much here as I remember, but definitely on the next one. I mean, listen, the lyrics are stupid as hell. I don't know. I just. I always kind of like this song.
Frank, where does this rank for you?
[00:17:46] Speaker D: I mean, it's up there, man. I mean, this was one of my favorites at the time. That build up. At first you're like, what the hell is this crap? And then once you hear that double bass drum kicking in. You're like, wow. Followed by the guitar. I don't know what Mark is hearing. I just hear genius.
[00:18:07] Speaker E: Oh, my God. We'd listen to a totally different song. I don't even know what to say.
[00:18:11] Speaker C: I am not saying genius. I am not saying genius. I'm just saying stupid, stupid catchy. That's all I'm saying.
[00:18:18] Speaker E: Let me read these words because I have to get through this. We're black on black We're Sex Attack we're the Bullet Boys we're rocking the Sonic Blast Here we come rocking a wall of sound Line them up, stack them up and knock them down Little girls all in a row Screaming rock shock pop they're dressed like some kind of horror show Screaming rock shock pop hey, let's go. Chorus. Where leather boys with electric toys Were making noise tonight where leather boys with electric toys we're making noise tonight where leather boys with electric toys Are making noise tonight A little louder now. It's like Shakespeare.
You're saying this is better than Black and Blue, huh?
[00:18:59] Speaker C: Okay, yeah, listen, I told you, I don't think. I don't think the musicianship. I don't think they're as good musicians. I just think they write. They can write a better song, in my opinion. Listen, we all have our little. What do you call the Picadillos or whatever you want to call those things. You're like, oh, my God, I never thought you would like this song, but I always kind of have.
It's just one of those things as.
[00:19:20] Speaker E: Far as the catchiness and. And putting it together. Yeah, okay. I give them that. I don't think that the guitar sounds very heavy at all. I think it's very thin and razor fingers on a chalkboard sounding guitar tone.
[00:19:33] Speaker C: Yeah. You'll hear it more, I think, in the next one because it starts off with the. The guitar sound.
[00:19:37] Speaker E: All right.
[00:19:38] Speaker C: And it could be different. I mean, listen, it may just not be the same sound. Maybe I thought it carried through because of that, because that was the first song I heard, which is the next one. So that could be it too. Just what's sticking out of my head.
[00:19:48] Speaker E: All right. All right, let's continue. Here we go.
[00:20:03] Speaker A: Scream it up.
Some kind of horror show screaming up my chat box. Hey, let's go with a hello. Boys with electric toys we're making noise tonight with lello Boys with electric toys we're making noise tonight with another voice breaking night.
[00:21:02] Speaker C: What'd you think of the solo part?
[00:21:04] Speaker E: What would you like me to say about That I was wait.
[00:21:06] Speaker C: I was waiting for a sound bite.
[00:21:07] Speaker E: Oh, you wait for a sound bite. Wait, hold on.
[00:21:09] Speaker C: Well, you didn't say anything right away. And then I was like, oh, boy, what's he gonna play now?
[00:21:15] Speaker E: I don't even know what to say about that. It's a shitty copy of. Of somebody wanting to play Ace Frehley. That's what that is. It's shitty. I don't even know what to say. I don't even think I have a clip that I really would want to play for that. Oh, it's shitty. This is definitely not the same as Black and Blue. Black and blue. Music, music. Musicianship is way better than this. I can't believe I'm saying that.
[00:21:36] Speaker C: Well, no, we said how the musicianship was good, but the songwriting wasn't really there.
[00:21:39] Speaker E: Yeah. Can we take their musicianship and their songwriting and put it into one band? They may be better.
Wow. That was just shit. I don't know how long this guy's playing guitar when they're recording this. Has he been playing a guitar? Six months? Like, I don't know, it's just not very good. So, Frank, was that Eddie Van Halen for you on guitar?
[00:21:56] Speaker D: I didn't say that. I didn't say that. What I did say was, you know, how do you not like that whole sequence right there with the double bass drum going at it? I mean, the drum playing in this song is just great. Absolutely great. And the guitars, they come roaring in. I mean, classic glam rock is perfect.
[00:22:12] Speaker E: Oh, my God.
[00:22:13] Speaker D: Perfect.
[00:22:14] Speaker E: Must not be listening to the same thing, I guess. Holy verse 2 is with every night screaming it's out of control. It's like a rock house whorehouse. Hey, let's go. We'll strut your stuff every night and day Like a high speed stampede getaway Little girls all in a row Screaming rock, shock, pop. They dress like some kind of horror show Screaming cock rock, shock, rock. Hey, let's go back into the chorus.
[00:22:39] Speaker C: I mean, you know, you're not going to get great lyrics on this.
[00:22:41] Speaker E: I know, I understand. I understand that there's crap lyrics and then there's this.
[00:22:46] Speaker C: There's other stuff that has been just as bad.
[00:22:48] Speaker E: It's as bad as the bad gets, though. It's as bad as the bad gets. Okay, let's see where we're at. Here we go.
[00:23:27] Speaker A: We love the boys we're rock we're gone and we rock it up. Shocking, Shocking, Rocking, shocking. I'm a boy we're leather boys with electric toys we're making noise tonight with leather boys with electric toys we're making noise tonight with leather boys with electric toys we're making noise tonight we're leather boys with electric toys Noise, we're making noise Making noise Make some noise tonight Tonight, tonight We're all right.
[00:24:14] Speaker C: Hell, yeah.
Yeah. Come on.
[00:24:18] Speaker D: Yeah. You see? You see? You're getting into it. How about the base? The base was greedy.
[00:24:22] Speaker E: That part too, man.
[00:24:24] Speaker C: Frank is going to try to manipulate your thoughts into giving this high score.
[00:24:28] Speaker D: I don't need to. I don't need to. He already proved the point. Thirty years later, he remembers the song and the lyrics and the guitar playing. 30 years later. You know what? If I watch shit, I'm not gonna remember 30 years later. I'm just not.
[00:24:40] Speaker E: He's trying to Jedi mind trick me. Just like a Jedi mind trick.
[00:24:43] Speaker C: He is.
[00:24:43] Speaker D: I'm not trying to Jedi mind trick. You mind tricking yourself, bro.
[00:24:47] Speaker E: This is not the band you're looking for.
[00:24:49] Speaker C: I'm telling you, man, you're gonna three songs down the road, you'll be like, I remember this song too. I like this song. I will give.
[00:24:57] Speaker E: Oh, my God. I guess I have to read the next little part here.
[00:25:00] Speaker C: I didn't even realize there's more.
[00:25:01] Speaker E: Oh, there's more. There's always more. Don't you know we're leather Black leather we're leather boys and we scream together we're leather boys Whoa, oh, oh we're leather boys Then the chorus, and then tonight Tonight tonight We're all fucking right yeah, yeah.
[00:25:17] Speaker D: You know, what have been great ended with a huh. That's what's missing in this song.
[00:25:21] Speaker E: It was close. They got a yeah. At the end.
[00:25:23] Speaker D: It's close, but we didn't get a huh.
[00:25:24] Speaker C: One of you has to go first. Become in the middle. The middle. And you guys are at the opposite ends of the spectrum.
[00:25:28] Speaker E: Oh, I want Frank to go first. Frank's gotta go first. Go, Frank. Ten, ten, ten, ten, ten, 10.
[00:25:34] Speaker D: No, I'm not gonna say that from a lyrical standpoint again. It's glam rock, 1989. It's kind of like a popcorn movie. You're not going there for the plot. You're going there for the action. You're going there for the costumes and all that other stuff. With that in mind, I'm gonna give the lyrics a six. Musicianship, I'm gonna give that an eight. Production, an eight. Melody, I'm gonna give that a five. I mean, I'm not that crazy about it. And the range, I'm going To give a set mark.
[00:26:02] Speaker E: Lyrics 2, melody 5 musicianship 4 arrangement 6 production 6. Is that better than you thought it was going to be?
[00:26:11] Speaker C: Yes.
[00:26:11] Speaker E: I have to say the melody is okay. The musicianship is whatever the arrangement, it's actually arranged very well. And the production is not bad. I've heard worse. I mean, the guitar sounds shit. But the drum sounded good. And his vocals, you know, or whatever.
[00:26:24] Speaker D: And the bass.
[00:26:24] Speaker E: I didn't even hear the bass.
[00:26:25] Speaker D: That's how good it is.
[00:26:28] Speaker C: Well, the bass was kind of playing with the drums when the music fell out.
[00:26:31] Speaker D: Yeah, exactly. Hear that?
[00:26:33] Speaker C: Yeah. That's basically what the bass was. It was like.
[00:26:37] Speaker D: Yeah, it was that good. He was that good. He had you think it was part of the drums.
[00:26:40] Speaker C: Okay, I like this song.
I will say a three on the lyrics. I'm gonna say a seven on the music. I mean, I listen. I've always liked this song. I can go back to it and listen. Do I know if I had never heard this song what my reaction would be now? I don't know. I might still like it. I'll say a seven on arrangement. I think it's arranged pret six on the melody and a six on the production. It's stupid as, but I think it's fun.
There's no other way to explain it.
[00:27:07] Speaker D: Glam Rod, Come on. Supposed to be goofy and fun.
[00:27:10] Speaker C: That's what I'm saying. There's bad goofy and there's good goofy. I think to me personally, this is good goofy.
[00:27:15] Speaker E: I wish I can make this like a guilty pleasure for me. There's no way in creation I could ever do that.
[00:27:20] Speaker C: That's a guilty pleasure for me, especially in this era. Was a guilty pleasure.
[00:27:24] Speaker D: No guilt here. I rock this all the time.
[00:27:26] Speaker E: He's got a pre Boy Floyd playlist. All right, the next one is Rock and roll is going the night on fire.
[00:27:50] Speaker A: 1, 2, 3, let's go it's time Tonight we're gonna be here Tonight it's you and me we're gonna rock and roll all right.
It's Saturday and there's just no way we're gonna see it. All right, now we all know.
Let me take you once and fire.
Rock and roll it's gonn rock and roll it's gonna sit on fire yeah.
[00:28:40] Speaker C: Do you remember this? One more.
[00:28:41] Speaker E: I unfortunately do remember this. I know there was a video for this.
[00:28:44] Speaker C: I believe that guitar tone in the beginning. I've heard like it on the same tone on like an Overkill record. I mean that's for.
It's A heavy tone for this type of music. It's a little bit heavier. I'm not saying the song is heavy. Just that intro kind of guitar thing. And then I think once all the music comes in, it kind of fades to the background. Background. Catchy, though. I mean, stupid catchy.
[00:29:06] Speaker E: I mean, the chorus is not bad. It's catchy. The verse is. You say you want to set the night on fire but there's just one thing that you need to take you higher 1, 2, 3, let's go rock and roll It's Friday night and we're gonna hit the lights it's you and me we're gonna rock and roll all night It's Saturday there's just no way we're gonna sit home alone well, oh, no Let me take you one step higher Rock and roll is gonna set the night on fire Rock and roll is gonna set the night on fire yeah, yeah, yeah, yeah his voice is so.
[00:29:34] Speaker C: It's odd.
[00:29:35] Speaker E: It's not even odd. I think it's like a California over the top. It's very Vince Neil sounding.
[00:29:40] Speaker C: It is. It's Vince Neil. And then every once in a while, he throws this British accent in. There's some songs where it really comes out. I'm like, what?
[00:29:47] Speaker D: I mean, what can I say? It's great. Starts off with that nice guitar.
You know, it sounds a little like cutting crew. I was just thinking about that. I just looked it up just to make sure. Dying in your arms yeah, that, that, that, that, that, that, that, that, like, that just died in your arms tonight get in the guitar. That's the brilliance of him. He could replicate things on the guitar.
[00:30:02] Speaker C: Just great guitar players. But I think I could replicate this.
[00:30:07] Speaker D: Just dying in your arms tonight Listen to the opening. Opening of that. Listen to this. He replicated the guitar. That's how brilliant he is. Great. Love it.
[00:30:16] Speaker C: Do we have to do cutting crew next? Because they influenced Pretty Boy Floyd.
[00:30:21] Speaker D: I'm just saying that.
[00:30:22] Speaker C: I'm busting balls.
[00:30:24] Speaker D: Somebody. Somebody copy somebody.
[00:30:26] Speaker E: And he's fucking trying to Jedi mind trick me. He is.
[00:30:31] Speaker D: These aren't the droids you're looking for, Mark. Go back and listen to cutting crew. Just that and your arms tonight Listen to the opening of that. And then listen to the opening of the song. You say, oh, yeah, you did a really good job replicating that.
[00:30:40] Speaker C: This is like.
And that one's like.
Frank's like, see? Exactly the same.
[00:30:50] Speaker D: Exactly what I was saying. He sped it up a little bit, so.
[00:30:54] Speaker E: Oh, my God. Okay, let's continue. Here we Go.
[00:31:05] Speaker A: All right.
In Hollywood wake up the neighborhood all the boys and girls they're going to scream and shout Let me take you what's in fire Rock and roll Rocking roll oh, it's going Set the night on fire with the baddest boys making noise break the giants what do you say?
[00:32:08] Speaker C: I won't even ask because I didn't think that was as good as the first one.
[00:32:12] Speaker E: It's bad. CC Devel is what that is. It's CC Deville on crack.
[00:32:16] Speaker C: It's just that stereotypical right. Ban and whatever that is, that rock and roll kind of thing. Just sped up that. Bam, bam, bam, bam, bam.
[00:32:24] Speaker E: Yeah, I guess so. Wow. I don't know if this is all the words here. Not that it really even matters at point. This point. Here we go. Where the burning flames too wild to tame yeah, yeah, yeah we're gonna shock the world all right. In Hollywood wake up the neighborhood all the boys and girls are gonna scream and shout hey, let me take you one step higher Rock and roll is gonna set the night on fire Let me take you one step higher Rock and roll's gonna gonna set the night on fire where the bed is Boys making noise break the chains what do you say? Rock and roll. Roll and then whatever. I guess that solo is supposed to be. And then now we're at this part coming up. This is everything I hate about this time.
Especially this song. I think worse than the last song. I don't know.
[00:33:09] Speaker C: I knew you would have fun with this record.
[00:33:10] Speaker E: Woo. Yeah. Frank's going to keep trying to Jedi mind trick me though. He's going to keep trying and it's probably going to end up working by the end of this. Watch.
That's the tricky right there. See, there it is.
[00:33:21] Speaker D: I don't need to trick you into brilliance. You just recognize. You just recognize his CC Devilless. I mean, can I say no?
[00:33:28] Speaker E: No, I said Shitty Cece Deville.
[00:33:30] Speaker D: But you made a connection to CC deville.
[00:33:32] Speaker E: Okay, but what does that have to do with anything? I can make the connection to anything.
[00:33:37] Speaker D: I mean, because you hear the brilliance, you already compared them to a great guitarist already.
[00:33:41] Speaker E: Jesus.
Okay, all right, let's continue.
[00:34:10] Speaker A: Rock and roll it's going to set the night on fire Rock and roll it's going to set the night on fire.
[00:34:43] Speaker C: I can say that I'm going to say at the end of every song. Kia.
[00:34:47] Speaker E: Yeah, yeah.
Okay, you can go for a sav.
[00:34:51] Speaker C: What do I say here? Three in the lyrics again, obviously nothing special. Music is five, melody is six. Arrangement Is six, I think it's arranged well. And production is six. Again, just a goofy catchy song to me, that's all. Frank.
[00:35:08] Speaker D: Actually, I'm gonna go six on the lyrics, six on the melody, and seven the rest of the way. Again, it's glam rock. They do a really good job of delivering that sound. And listen, the guitar playing is just really, really good here. It's very fitting. So. And like, to Mark's point, you hear influence of CC Deville here, so it's great.
[00:35:25] Speaker E: That's not exactly what I said, but okay.
Lyrics 2 melody, 5, musicianship 4, arrangement 6 because it is arranged well. Production 6 because it doesn't sound shitty now. Guitar stone's still shitty, still horrible guitar tone. It's like my like first PV shitty amp that I had. That sounds like crap. That's what it sounds like. I think the PVM sounded better than that. Wow, it's rough.
[00:35:49] Speaker D: In case you. In case you're wondering, they're going to be at the Whiskey with enough, enough on the 30th of December. Enough time to plan and get out there.
[00:35:58] Speaker E: I'm running right now. I'm going to get my hotel room so I can go see them.
[00:36:00] Speaker C: Give it till the end of the record, mark. You never know.
[00:36:03] Speaker E: Are you trying to Jetta mind trick me now?
[00:36:04] Speaker C: Oh, I'm not, but Frank might have you. I know this record, so he ain't doing shit to me.
[00:36:11] Speaker E: All right, so this is Wild Angel.
[00:36:38] Speaker A: Set the skies on fire tonight.
It's you and me.
We'll run away to Hollywood.
We're rocking roll all night long like we never could.
Cause now I love free.
We're gonna come out screaming like a siren in the sun at night we'll dance on a raceless catch. I won't be there, not near the spotlight.
You, you and me. When wild angels will set the skies on fire.
You and me.
[00:37:58] Speaker C: Clearly there's a lot of rock and roll and fire around these guys was.
[00:38:01] Speaker E: Just gonna say that.
[00:38:03] Speaker C: There's a common theme. I think one of the things they play up. I don't know how old they were when they wrote this. They do play up the youth angle. I remember in some of the songs, without a doubt, like this one, you know, they signed counter young. There's another one, Only the young. And there's another one too. And talk about like the girl in school. It could be wrong. It could be one of those. But I think he's also supposed to be the same age kind of thing. I don't know how old they were, but they do kind of play it up.
Think it's terrible, but it wasn't one I ever really gravitated toward. What do you think, Mark?
[00:38:31] Speaker E: It's kind of stuck. Third song, we're gonna slow it down. That's kind of what they do. I think in some strange, weird way the lyrics are a little bit better than the ones prior, but not by much. And you're right. There's a lot of fire and rock and roll in every song. It's so funny.
[00:38:46] Speaker C: I mean, this tells a little bit of a story. I think it can kind of see what's going on type of deal.
[00:38:51] Speaker D: Yeah, Mark, I'm gonna agree with you there. Very stock at the time. Third song is usually where you get that slowdown or that ballad coming through. Not surprised to.
I kind of always like this song, but not like their other ballad. That's going to come much later on. That's a lot better. And I think one of the better ballads of that time overall is okay so far.
[00:39:08] Speaker E: Here's the verse. Hey girl, let's run away we'll set the skies on fire tonight it's you and me we'll run away to hollywood we'll rock and roll all night long like we never could because now we're free we're going to come out screaming like a siren in the starlit night we'll dance on the razor's edge and we'll be there be there under the spotlight and the chorus is you and me, we're wild angels we'll set the skies on fire you and me were wild angels we're going to set the skies on the tonight. And the chorus isn't horrible.
[00:39:33] Speaker C: Yeah. Lyrically, I think this is the best.
[00:39:34] Speaker E: One o this one might get a three from me maybe or four. Watch out. All right, here we go.
[00:39:58] Speaker A: Hit the streets and we'll take the town.
Rocking down to the solid sounds. It's you and me, you know we're water free all together we're a thunderstown we're raining everywhere we go oh, we won't stop until we see the top of the rainbow. Baby we not out you and me we're wild angels we'll set the skies.
[00:40:43] Speaker E: On fire.
[00:40:45] Speaker A: You and me were wild nature and we couldn't save it.
[00:41:22] Speaker C: I think it's the best one so far because it was melodic but definitely out of CC's playbook. What do you think, Mark?
[00:41:27] Speaker E: It is the best solo so far. I mean, that's not saying a lot. It's fine. I mean, you're not going to get a lot of big guitar thumbs up from me probably on this.
It's the best so far.
[00:41:35] Speaker D: Coming around.
[00:41:36] Speaker E: Don't do it to me. Don't keep trying.
[00:41:38] Speaker C: You're gonna use one of your Jedi.
[00:41:39] Speaker E: Mind tricks on me?
[00:41:40] Speaker D: You just said it was the best one so far.
[00:41:42] Speaker E: Yeah, I didn't say it was good.
[00:41:43] Speaker D: There you go. Because now you're starting to see the brilliance, that's why.
[00:41:46] Speaker E: Oh, geez.
[00:41:47] Speaker C: Oh, Mark, this is your favorite record?
[00:41:50] Speaker E: Pretty much.
All right, let's continue. Here we go.
[00:42:11] Speaker A: Wild every could see it this gu's on fire tonight the sk's on fire tonight Wild angels the skies are on fire tonight Wild angels the skies are on fire we said tonight on fire Tonight wild angel Night on fire tune. Yeah.
[00:43:30] Speaker C: So they kind of did that. That.
But then they went back kind of into the rhythm of that with the time that it was before. But it didn't flow well. It threw me off a little bit. Whatever. I mean, this song is all right. Never one I really gravitated towards.
[00:43:43] Speaker E: Well, let me read the second verse because I've missed it. Well, hey, girl we can run far away with a night so young the city lights is where we'll be we'll hit the streets and we'll take the town Rocking down to the solid sounds it's you and me, you know we're wild and we're free oh, together we're a thunderstorm we're raining everywhere we go oh, we won't stop until you see the top of the rainbow Rainbow Know, you know Everything else is kind of the same. That's tough. Frank, you go first.
[00:44:07] Speaker D: I'm gonna give this one six on lyric six in the melody, seven across the rest of the way. The music is good. Production is great. Arrangement is really good. That's one thing I think we all agreed on. The arrangement has been pretty good so far for me. The lyrics and the melody just continue to be a weak spot. So my least favorite part of it here set.
[00:44:23] Speaker C: I'll say a four on the lyrics, I guess. Five on everything else. It's. I mean, it's okay. I don't think it's a terrible song, but meds are meds, Mark.
[00:44:32] Speaker E: 3 on the lyrics, 4 on the melody, 5 on the music, 6 on the arrangement, 6 on production.
[00:44:37] Speaker C: Gave it better than I did.
[00:44:39] Speaker E: Kind of is out of the three, the best one so far. I don't particularly still like it, but if I had to be objective, I have to say, out of the three so far, it's the best. Okay, let's continue. So the next one is 48 hours.
[00:45:04] Speaker A: It's running now and I wanna rock I got 48 hours on the block from my mail till 6am waiting Monday starts that grind again I spend 5 days a waiting for two put down the things that we'll tell them to just the next two days but not to go rock rock 48 hours, 48 hours to run to rock we got 48 hours, 48 hours to run.
[00:45:43] Speaker C: So yeah, again say goodbye say to the boss goodbye the teachers too it's definitely a theme that runs throughout. This one is probably the most stuck to me so far. I would say again, this is also one I never gravitate on it toward. I actually forgot how it went.
[00:45:58] Speaker E: It super wants to be some other song that was done prior to this. I don't know. It's very Sunset Strip. Can we be the same as everybody else in the Sunset Strip? This is just not my jam.
[00:46:06] Speaker D: You know what? I love how you set the scene. I could picture myself Sunset Strip, 1989, just walking around, hanging out. This is blasting in the background. I like it. It's great. They captured that time frame perfectly.
[00:46:18] Speaker E: I'm so shocked that you like it.
[00:46:20] Speaker D: Listen. It's not one of my favorites for sure, but, you know, it's okay.
[00:46:24] Speaker E: At least this time they didn't put cheesy sound effects into the. They said words like in the last song. They said siren. They put siren. They said thunderstorm. They put thunder in. I guess they're like, ooh. We got like sound effects we could use. Let's put those in. This is very. Stop. Here are the words. It's Friday night and I want to rock I got 48 hours on the clock we're running till 6am When Monday starts that grind again I spend five days waiting for two we'll all do the things that we want to do we'll tell the boss goodbye the teachers too and next two days belong to you chorus rock rock 48 hours, 48 hours to rock rock we got 48 hours, 48 hours to rock I think they got 48 hours to rock I.
[00:47:01] Speaker C: Think that's a weekend.
[00:47:02] Speaker E: Oh, yeah, it's a week. That's right.
Oh, boy. Okay, here we go.
[00:47:19] Speaker A: Monday moves around too fast it's like money to burn no time is bad People go fast I'm a wild deer don't want to sleep don't want to stop There ain't much time on my clock rock, rock 48 hours, 48 hours to rock to rock. We got 48 hours. 48 big house.
Oh, yeah.
[00:48:24] Speaker C: Mark, I will speak on your behalf. I think that was the worst solo so far. I think there was actually some things that were out of key. I'm going to play devil's advocate and say his rhyming in that verse where he goes from fast, I think, to weekend. He does this weird thing. It's like, wait, were you trying to rhyme that?
There was something really weird in the melody that he did a over there.
[00:48:44] Speaker E: I read it as I was going through him. Like, he didn't try to just rhyme fast with Weekend, right?
[00:48:48] Speaker C: Yeah. I was like, mark's gonna nail that one.
[00:48:51] Speaker E: Holy shit, that sucked. That's like, boy, if you want to fucking jam things together, that's a fucking jammer together. That was. Yeah. Whoa. I mean, you want to complain about other hair metal lyrics and stuff. This is. Stuff is just. It's really kind of bad. I mean, I understand what they're trying to do. They're trying to play up the teenage youth, whatever. This is why this stuff started to burn out. Because this is what. What was happening. This is why There was some decent stuff in the late 80s. I think skid row was late 80s. That was pretty decent. I think Warrant was pretty decent in the late 80s. Then you get this and you got a whole other slew of bands in that same time frame that this is what they put out. That's my problem with it. If you put it out in the mid-80s, I'd be like, okay, that's kind of what's happening. But at the late 80s, I can't wrap my head around this at all. All right, verse two is the weekend world is another place we put on a different face we live it hard and play it fast Because Monday rolls around two too fast. It's like money to burn no time to spare we both go fast on a wild weekend I don't even know how the. You think that rhymes. That's bad. Want to sleep, don't want to stop There ain't much time on the clock Clock stop. I mean, that's better than fast. And weekend, though, it's not much better, but it's a little bit better. And then chorus again and then solo. That's all. It's fine. I don't know if it was the worst one. I don't think it was the worst. I think the first one was the worst one. I think this one had at least a little bit of trying to make it not just four notes together and just bad Ace Fraley.
[00:50:12] Speaker C: I don't know. There was something to me that just sounded weird.
[00:50:15] Speaker E: Some of his bends get to the point sometimes where they're really not in tune, and maybe that's kind of what it is. I don't think it was as bad as the first one as far as technically wise. Like, I think there was some interesting things he tried to do, but, I mean, it's not anything. I would go back and go, ooh, let's listen to the solo in 48 hours. That's like the best solo in the world.
[00:50:34] Speaker D: I can't disagree with the movie. You're saying on this song, this is not their strongest. I'm not quite sure when they wrote this song or when they went ahead and recorded Attracted, but it's definitely not in cue with everything else we've heard so far. So definitely one of their weaker songs here. I mean, listen, you know, you're gonna have a weak song here every now and again. This is it.
[00:50:54] Speaker E: Wow.
I'm surprised about that. Let's finish this out. Here we go.
[00:51:05] Speaker C: Ready?
[00:51:06] Speaker A: Let's go.
We're coming to rock, rock 48 hours, 48 hours to rock, to rock 48 hours, 48 hours to Rock up to rock, rock, rock hours 48 hours to ride, to ride 48 hours, 48 hours to ride, to ride48 hours, 48 hours to ride, to ride we got 48 hours, 48 hours to ride Sugar.
[00:51:56] Speaker C: Any more lyrics to read? More?
[00:51:57] Speaker E: Not really. It's kind of the same over and over. I'll go first. Lyrics are still too 2. I just can't get past that melody. There are parts that. This are super catchy because they want to be super catchy. I think that's what they're trying to do. It's just unfortunate for them that this is not five years before. That's the problem, I think. Needs to be black and blue territory in that same time frame. The melodies, I'm gonna say 5. The musicianship for arrangement again, I think they do a good job with that. 6. And production. 6. I think that's a little bit better. The guitar tone wasn't as bad on this one as the prior one, so maybe they're getting a little bit better as they go along. Frank.
[00:52:30] Speaker D: It pains me, but what's right is right. Fives across. Everything about it, it's just. It's very.
Not a lot of effort gone into it. It's just off here on this one. Definitely one of the weakest songs here.
[00:52:39] Speaker E: All the way around.
[00:52:40] Speaker D: And I'm not quite sure what he was trying to do there as you two highlighted with the lyrics and the singing. Now I don't know what they were trying to do there. It was a little bit weird.
[00:52:47] Speaker C: Seth, I will say a three on the lyrics just because I can appreciate the weekend going by fast. Four in the music, four on the melody, five in arrangement, and five on production. So, Mark, your scores are beating.
[00:52:59] Speaker E: Wow. Not really.
I think the production is not bad. I don't think he's doing a bad job for producing it. What else are you going to do with this? You only can shine something up so much. I think the production here is better than Black and Blue a bit.
[00:53:11] Speaker C: I mean. A bit. Yeah, I guess.
[00:53:12] Speaker E: You know, I mean, it is five years later too.
[00:53:15] Speaker C: Yeah.
[00:53:16] Speaker E: Or four years later, whatever it is.
Okay, so now this one is the interesting one, which I don't understand. This is Toast of the Town. This is a Motley Crue cover. I just don't know why you would do that.
[00:53:25] Speaker C: I think it makes a lot of sense.
[00:53:27] Speaker E: If you're going to cover something and you're in the glam thing, why don't you cover the suite or something back?
[00:53:32] Speaker C: Yeah, but this was unreleased, though. I think that's what it was, right? Molly Crew never officially released.
[00:53:37] Speaker E: It was released. It was a bside, wasn't.
[00:53:39] Speaker C: Oh, cuz I only ever heard like a weird demo.
[00:53:41] Speaker E: It was a bside on Stick to your guns. But it was on the original pressing, which was in 81. It was before they were signed to Electra. So it was on Leather Records that when they released their own stuff. Here we go. Toasted the town.
[00:54:05] Speaker A: Hey, hey, kids, you're born now. Stitches, wake up tonight it's Ronnie inside.
Well, wait, kids. The one that's going crazy Let you know it won't last too long, you know it won't last too long.
You know it won't last too long, you know it won't last too long.
[00:54:49] Speaker C: I think it's the best produced one, for what it's worth. I always thought it was a decent cover. I mean, especially after having heard the original one. His voice is a bit much, I think, here, and maybe in some of the other things. And I guess it just maybe depends on the song in this. For whatever reason, even though he's not technically doing a horrible version of Vince Neil, it's kind of grating to me a bit. I've always thought this was a pretty decent cover, especially after having heard the original.
[00:55:12] Speaker E: It's decent. It doesn't stray too far from the original song. His voice is very over the top. Vince Neil. Other than that, I don't think we're going to go through lyrics and stuff here. This is not their song. I think it's written better. I think, in general, Nikki Sixx is better than these guys are in general overall, so that's not surprising. This was never a big song for me on Motley Crue, anyway. I don't think it's bad.
[00:55:32] Speaker C: I actually didn't know about this song until this came out. Honestly, I knew it was a Motley Crue cover. I hadn't heard the original yet, and then someone had it somewhere and was like, oh, it's pretty good.
[00:55:43] Speaker E: Yeah. It wasn't easy to find those things back then. If that was out as a single in 81, it's not like you could just go to Spotify and type it in and find it.
[00:55:49] Speaker C: Exactly.
[00:55:50] Speaker E: You probably heard this before you heard the actual Motley Crue version.
[00:55:52] Speaker C: Oh, I did, absolutely.
[00:55:54] Speaker D: I think they did a better job of the song here that Motley Crue did. A little bit Weird that they chose to do this cover song from Motley Crue when there were so many other they could have choose from. That's always been a mystery to me. But overall, I think it's a better version, well produced. Liking it, really?
[00:56:07] Speaker E: You're saying that this is better than Motley Crue? Oh, my God. I don't know. Are you feeling okay?
[00:56:11] Speaker C: I kind of agree. Yeah.
[00:56:13] Speaker D: I think this is a better one.
[00:56:14] Speaker C: Than Mother Crue, at least based on the version that I heard. And listen, my favorite, Motley Crue, which is the first two records, without a doubt. But when I heard this and then I heard theirs, I'm like. And I'm not saying that Motley Crue's version is bad. I think this is just because this was modernized, just sounded better. It's kind of the sound that I think is better. So. Not that they're doing a better version, because they're pretty much doing exactly the same thing from what I remember. I don't think they're straying at all. I just think because it's kind of updated and better sounding, it's better than that one. So take it any way you kind of want to.
[00:56:43] Speaker D: Good point. It's more polished. It's a more polished sound, probably.
[00:56:47] Speaker E: Well, yeah, because Motley Crue's thing is probably just like a demo.
[00:56:49] Speaker C: No, but I know that's all I have to compare it. But that's what I'm saying. I'm not saying their version is Better. I just think it's a better sounding version of that song.
[00:56:56] Speaker E: That makes sense.
[00:56:57] Speaker C: Had Motley Crook, they really put it out on Too Fast for Love, it probably would have been better than this.
[00:57:02] Speaker E: Yeah, it probably does sound better. Production wise, I would think.
[00:57:04] Speaker C: It has a little bit of the old sound to it. It's a little bit raw, I think, than the other songs before it, purposely. That's why I think, honestly, it's my favorite production so far, other than the first one, maybe.
[00:57:15] Speaker E: All right, let's continue here. We.
[00:57:26] Speaker A: Won'T. Nasty to know, you know it won't last to know you know it won't last to know you know it won't last to.
Hey, kids, we going to toast to the T.
[00:57:48] Speaker C: We.
[00:57:53] Speaker A: You heard me say a babe I don't need to pull through I got news for you I keep on dancing Be my gold feet I pull through now crashing down on you down on you down on you down you.
Sam.
[00:58:48] Speaker C: Do you remember the solo in the original?
[00:58:50] Speaker E: No. I think it sounds like that, though. I'm getting a weird deja vu thing, so it's probably a copy of it, I would assume.
[00:58:55] Speaker C: But to me, it sounds like CC again, maybe CC doing Mick Mars.
[00:59:00] Speaker E: It's cc first album. Poison.
[00:59:03] Speaker C: Absolutely. First album.
[00:59:05] Speaker E: Yeah. He did some better stuff later on. It does have a little bit of the same kind of raw product. I don't know what it cost him make this album. I mean, I know the Poison stuff was cheap because it was just a demo, pretty much. All right, let's run this out. Here we go.
[00:59:36] Speaker A: Hey, hey, hey.
[01:00:05] Speaker C: He had to get it in a. Yeah, he just was away from the microphone. Yeah, I think it's a pretty solid cover of. Of that song.
[01:00:11] Speaker E: I'm gonna play a little bit of the Motley Crue one because I need to reacquate myself really quick. Let's see how much difference this sounds. Here's Mle Cruz versus.
[01:00:53] Speaker A: Just.
[01:01:21] Speaker C: The version that I heard. Wasn't. Didn't sound like that. It sounded like it was recorded in a basement somewhere. That's actually a better sounding version than I've ever heard, without a doubt. And maybe it was just the quality of the tape that I heard it, because I remember it was on somebody's. And honestly, Frank, this could have even been you. Because every once in a while, Frank used to pull bootlegs out of his ass. I'm like, the fuck? Where'd you get this?
And it could have been. But that is definitely better sounding. I like the music better, actually than I Remembered because it's heavier. Obviously it's not as well produced at this, but still it's stronger sounding. His voice, though, Vince Neil is just odd, maybe because, like, they're kind of doing effects. It's almost like a scratch vocal. And I do remember his own last. He does, like that weird lump thing. The one that I remembered wasn't as good sounding as this one because it.
[01:02:08] Speaker E: Was probably on a shitty tape. Probably how many generations I was probably copied from. Probably wasn't sounding great. It's a little slower this one too.
[01:02:14] Speaker C: It is slower.
[01:02:15] Speaker E: It is better.
Now. I'm curious what the solo is going to be like. Let's see if I can find the solo. Hold on, let's see.
[01:02:41] Speaker A: Sam.
[01:03:23] Speaker C: Way more shred in this one.
[01:03:24] Speaker E: Yeah, Mick Morris has that. Very frenetic, especially in this time frame. Early, like, too fast for a lot of time. It's very frenetic sounding. The other one seems very tame compared to this.
[01:03:35] Speaker C: It's more melodic. It fits their version better. I think he definitely tried to bring a melody in and almost like a single solo, I think, as opposed to this one, this one's just a little bit more shred. Well, it's a lot more shred, actually. Not a little bit. This guy's not doing any.
Any of those things on there. That doesn't sound like CC to me. Whereas the solo in this one did.
[01:03:53] Speaker E: This sounds like McMars.
And I'm not saying I like that a lot either. I'm not saying that's my favorite thing in the world. It's a totally different vibe.
So it's kind of close and it's not kind of close. It's a clean, dumb version.
[01:04:06] Speaker C: It's a polished version of it.
[01:04:08] Speaker E: Yeah.
[01:04:08] Speaker C: And it fits the record.
[01:04:10] Speaker E: That's the end of side one. So next week we get to do side two and see if Frank can still try to Jedi Mind trick me to like the rest of this album.
[01:04:17] Speaker D: Say what you want. All I gotta say is this. The two people who like this at the start of the podcast was myself and Savino. And towards the end tonight, your scores have been higher. I just want to highlight that I.
[01:04:28] Speaker E: Don'T know if my scores have been higher compared to Sad.
Well, hold on, hold on.
[01:04:32] Speaker D: Than Savino's. Yeah, they've been higher. They've been high. Savinos. That's number one. And number two, you're now starting to see. Oh, I hear McMar style. I hear Cece in here. Next week you're gonna say, oh, I hear a little Zack Wild. Like you're gonna start saying those things.
[01:04:49] Speaker C: Oh, boy.
[01:04:49] Speaker D: And then before you know it, be like, you know something that's not that bad.
[01:04:53] Speaker E: You know what this sounds like? It sounds like Eddie Van Halen is what it sounds like.
[01:04:56] Speaker C: You're gonna be all up. Oh, my God.
[01:04:57] Speaker E: Steve V.
Joe Satriani. When did he complain? With a three, Boy Floyd.
[01:05:02] Speaker D: All right, here we go again.
[01:05:03] Speaker C: Wait, wait, wait. I caught some Hendrix in there.
[01:05:06] Speaker E: Guys being clowns now, wait, so hold on. Savino's score for the first song was a six and mine was a five. Me and Savino were the same on the second song, same on the third song? Actually, yes. 48 hours, I was a five and he was a four.
[01:05:22] Speaker D: And you were the guy who said, I hated the song. I hated this album then and I hate it now. But, yeah, here we are.
[01:05:28] Speaker C: Are we rating this one, by the way, or. No, we're just leaving it alone. We just talked enough about it, right?
[01:05:32] Speaker E: I think we should talk about it. Yeah. I don't think we need to rate this. Not their song.
[01:05:35] Speaker C: Yeah, we already talked about it.
[01:05:36] Speaker E: Yeah. No, I don't think we need to do that. As far as, you know, my ratings, really, my ratings are production and arrangement. I'm saying, can they write a song? Yes. Is the production good? Yes. Do I like the music? No. Do I like melody? A little bit. Lyrics? Not much. My things are all back end. Heavy arrangement, production. And that's really not them. The arrangement may be. I don't know. So. Yes. I'm not giving it twos. Would you like me to give it twos? Because I could. I'm trying to be a little bit respectful. I could say twos across if we want that the second side could go really? Sure. Shitty.
[01:06:05] Speaker C: I think you're being fair.
[01:06:06] Speaker E: I'm being fair.
[01:06:07] Speaker D: I think you're being fair and being truthful. What's deep down inside that baby? Perhaps you like it more than you thought you did.
[01:06:13] Speaker E: I don't know about that.
Anyway, Sam, do your thing.
[01:06:17] Speaker C: We are part of the Deep Dive Podcast Network. Like I always say, great bunch of guys who took us in right away. If you want individualized podcasts about bands, check them out. I'm pretty sure Pretty Boy Floyd is not there, but Van Halen, Rush, Judas Priest, you're right. He, Tom Petty, you name it, it's probably there. So. So check them out. And Mark, where can they find us on the interwebs?
[01:06:35] Speaker E: Rock with that pod on all the social media, rockroletpodcast.com, put in the new bets, go into the polls, buy merch, do all the stuff, put us on auto download so you get our episodes when they release and give us a five star rating wherever you rate your podcast because that does help us out. And next week we get to finish this up. Oh boy. We'll see you next week.
[01:06:53] Speaker C: Ciao. Ciao.
[01:06:54] Speaker D: Good night, everybody.
[01:06:56] Speaker E: Later.
[01:07:03] Speaker A: It.
