Episode Transcript
[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 it track by track and we talk about the music, the lyrics, the production, the melody and the arrangement and we give it scores. Again, just a bunch of friends who love music wanted to do a podcast and as always, first and foremost we want to thank anybody who's listening. We really appreciate, you know, you guys checking us out. Spread the word, tell us what you know, talk to us, tell us what you like, what you don't like. Maybe some albums that you'd like to hear, you know, throw some music. For the new bets wheel, which we do every week. Tonight we are a trio again. We've got Frank.
[00:01:55] Speaker D: My name is Frank.
[00:02:02] Speaker C: And I'm Sexy.
[00:02:09] Speaker E: Great to be back. Great to be back.
[00:02:11] Speaker C: We've got Mark. Oh, hi Mark.
[00:02:13] Speaker D: What's up guys?
[00:02:14] Speaker C: And I'm sad.
[00:02:15] Speaker E: Ciao. Buenos air.
[00:02:17] Speaker C: Last week we pulled an audible and we picked a record especially for Frank because he seems to have mentioned it in every single podcast and its influences overreaching in any era of music that we've done. We did Pretty Boy Floyd, Leather Boys with Electric Toys. I remember having some fun with the record when it first came out. This was definitely toward the the tail end of glam met metal. It was 89 when it came out. Definitely made some noise on MTV. I don't know so much on the radio and everything, but definitely some MTV noise. I know that Frank is desperately trying to get into Mark's mind to influence him and stating that this record is great. Mark, I don't think it's worked yet. Right?
[00:02:55] Speaker D: Just like a Jedi mind trick. He keeps trying to Jedi mind trick me.
[00:03:00] Speaker E: It's not a Jedi mind trick. Just listen to the Audio. I mean, we started the podcast. You saying, I have very low expectations. This is not what I want to hear. And then as we progressed, and I quote, the production is really good on this. I hear influence of Mick Mars and Cece the villain here. Those are your words.
[00:03:17] Speaker D: No, Jedi, I said shitty versions of those things.
[00:03:20] Speaker E: You didn't say shitty. I ain't hear the word shitty.
[00:03:22] Speaker D: But regardless, yes, the production's good. I can't say the production is bad. As far as the songs go, I think they can write songs, but lyrics are crap. The playing is whatever. Not my bag. I have to give credit where credit is due. If the songwriting is decent and the production is decent, doesn't mean I have to like it. I can just acknowledge that someone there knows how to write songs somehow.
[00:03:41] Speaker C: It's simple music. I. It was more about image, I would say. I would say the music fits the image. I mean, I've always liked the title track and Rock and Roll, which was the MTV introduction, at least how I got to hear about them. And I want to say that my favorite song, other than the title track, is going to be on the second side, but we'll see. I really haven't heard this whole thing, you know, stem to stern in a long time. So we'll see what happens. Obviously, before we get to that, we have our new Bets segment.
[00:04:10] Speaker D: In a world where new music is.
[00:04:14] Speaker A: Not easy to mind, welcome to New Bets.
[00:04:28] Speaker D: Okay, here we go. Here is the new Bets wheel.
[00:04:44] Speaker C: Counting Crows, Spaceman, and Tulsa. I didn't know Counting Crows was on our list.
[00:04:48] Speaker D: I didn't realize they're still doing music.
[00:04:50] Speaker C: I don't know when this came out, though.
[00:04:51] Speaker D: May 9, 2025.
[00:04:53] Speaker E: Wow.
[00:04:53] Speaker C: Decently recent.
[00:04:54] Speaker D: Yeah. All right, let's try it. Three and a half minutes. So let's say this is Spaceman and Tulsa. By Counting Crow.
[00:05:17] Speaker F: You're a spaceman in Tulsa so you cover it up in clown white.
All these elegant boys make such delicate toys and they know it.
He says, I know you wanna believe in something but if you could just see all the people in me.
Then the shadows descend from his eyes to his hands down to his naked all American needs.
Doesn't anybody wanna be a rock and roll queen? Dress yourself up in a diamond tiara Swishy little Reiki says, man, I'm gonna make em the same I'm a painkiller and I'm a caterpillar they can't break you, man Another well nigh butterfly found on a bus out of town Turning into a motherfucker Rock and Ro.
[00:06:19] Speaker D: Ally.
[00:06:19] Speaker F: Says she's one in a million Other people tend to agree from her fishnet lock to her platform chucks She's a fading Miss American Dream but her daddy couldn't keep his distance she says you can't keep him away if you try the saddest mistakes are the ones that we make Pushing away what's right in front of our eyes doesn't anybody wanna be a rock and roll queen? Leave em laughing when you wanna die Crazy little dreamer says man I can't believe I'm still alive I'm a painkiller and I'm a caterpillar they can't break you man can't break Another wild knock Butterfly Found on a bus out of town Turning into a motherfucker Rock and.
[00:07:13] Speaker A: Rol.
[00:07:20] Speaker F: Bobby he's such a rock and roller says everybody Somebody I used to know man I was the toast of the town Back when everyone knew where to go I was a spaceman in Tulsa but if you could see behind my eyes I'm just an empty smiling song I don't even know that I'm.
[00:07:45] Speaker C: Singing.
[00:07:49] Speaker F: Doesn't anybody wanna be a rock and roll queen? Light your rocket and burn right outta town Crazy little fucker says man I.
[00:07:59] Speaker A: Guess I see you around and I'm.
[00:08:01] Speaker F: A painkiller Superfly caterpillar They can't break you man can't break Butterfly Found on a bus outta town Turning into a.
[00:08:13] Speaker A: Motherfuckin rock and roll star I'm a.
[00:08:16] Speaker F: Painkiller yeah yeah yeah yeah I'm a rock and roll star I'm a painkiller and I'm a caterpillar.
[00:08:28] Speaker A: Rock and roll.
[00:08:29] Speaker F: Star yeah yeah I'm a rock and roll star yeah yeah.
[00:08:42] Speaker A: Fucking rock and.
[00:08:43] Speaker C: Roll star that was like the Brady Bunch, but with cursing.
[00:08:48] Speaker D: Yeah, it was.
[00:08:49] Speaker E: Didn't they do like a song for Shrek or something?
[00:08:51] Speaker C: Yes. Accidentally in Love.
[00:08:53] Speaker E: That's what it sounded like. The cursing version of that song.
[00:08:55] Speaker C: The other one's a little bit catcher. I mean, it's a terrible. I think their first two albums are very good. I've heard some other stuff that wasn't bad. I don't know. What do you guys think?
[00:09:03] Speaker D: I don't know if I like the fake drum thing. I know why they do it because it's very contemporary sounding. I just don't particularly like that. His voice. I don't know, it's. It sort of sounds like his voice, but it doesn't really sound like his voice.
[00:09:15] Speaker C: Well, it's like an older version, I think.
[00:09:17] Speaker D: Yeah, maybe that's what it is.
[00:09:18] Speaker C: Production overall isn't terrible.
[00:09:20] Speaker D: No. I'm not familiar with a lot of their stuff besides the hits, so I can't really tell you how this compares to some other stuff they've done. And I don't know anything past the 90s. I don't think I've heard anything they've done the last 20, 30 years.
[00:09:32] Speaker C: It's not horrible.
[00:09:33] Speaker D: I mean, it's like. It's okay.
[00:09:35] Speaker C: It's cute, right? It's cutesy. It's very Brady Bunch like you.
[00:09:38] Speaker E: I haven't heard really anything after 97. Probably 98. Catchy little diddy here. Very.
Don't hate it. Don't not love with it. It's there, you know, we heard it. It's good.
[00:09:48] Speaker D: Another one in the books. If you like it, let us know. If you don't like it, let us know. Let's rubber stamp it. Here we go.
In a world where new music is.
[00:09:58] Speaker A: Not easy to find, welcome to New.
[00:10:13] Speaker C: Now we get back to Pretty Boy Floyd. Frank, what's your prediction for the second side? Do you think Marc is going to like the second side better than the first?
[00:10:19] Speaker E: I think he is. He's going to say the production just keeps getting better. I hear a lot more Cece Deville here. I like it. Yeah. I'm Mark, and I'm giving this a great chance now.
[00:10:32] Speaker D: Okay, here is rock and roll outlaw.
[00:10:50] Speaker A: Take me to the next river Chilling, you and the animals Problem beyond night we're not muscle to add not treasures and trash Gypsies of the night the mascara masquerade rambles and render the gay aids we're breaking all the rules the wet wing rock shock rock Stop.
[00:11:30] Speaker C: I know I mentioned this on the first side. Lyrically, there's definitely a theme that runs through a lot of the songs. Obviously, shock is back in there. The fact that there's another song that has rock and roll in the title, this reminds me a lot of a tiger tail song. British climb ban. I always remember skipping this one.
[00:11:46] Speaker D: That guitar tone is really horribly bad.
Rest of production is not horrible, but that guitar town is. I think I know. Frank busted my hump on text that I got a Pretty Boy Floyd recommendation. My YouTube algorithm. Obviously you listen to music and it's listening all the time to you.
[00:12:03] Speaker E: Oh, that's what happened.
[00:12:04] Speaker D: No, that's what happened. It was a documentary and I didn't realize that one of the original, I guess, original guitar player or whoever it was wrote these songs. And they didn't credit him. They Settled out of court. And they only played seven gigs before they got signed. It was showing that the record company was taking anything. Anything that could have possibly sounded this way. And you're right, Sav. This is more about the visual. And I'm not against visual bands, obviously. One of my favorite bands is Kiss, and that's a very visual band. Lyrics are the songs are okay, but in 89, there's so much other better things to listen to than this. That's probably why I never wasted my time on that.
[00:12:38] Speaker C: Yeah, like I said, this just wasn't ever one of my go to's. I actually forgot how it went. I had an idea once it began, but in general, I don't even remember how the chorus went. That goes to show you it's my least favorite song.
[00:12:50] Speaker E: For sure. Yeah. We could just keep moving along with this one. You're not one clunker. This is it.
[00:12:55] Speaker D: Okay. I have to read lyrics, unfortunately. So here we go. Take me to the electric jungle where the animals prowl in the neon night we're like rhinestones to rat like treasure the trash gypsies of the night the mask and masquerade Rebels and renegades Were breaking all the rules the way we rock Shock rock shock yeah, yeah Or Rock and roll outlaws Always on the rock and roll outlaws we're just having fun we're rocking outlaws it's bad lyrics. No matter how good a song possibly could be, the lyrics are just pretty crappy. They like doing that shock rock shock thing. Didn't they do that in another song on the first side?
[00:13:26] Speaker C: Well, yeah, the first song.
[00:13:28] Speaker D: Oh, see, I didn't remember what song it was. All right, let's continue. Frank wants to move through this song, so here we go.
[00:13:37] Speaker A: We don't care we just keep walking round we'll shine our colors we'll shock the world and y' all music real now we're all dressed to Kiho Looking for a thrill we're breaking all the rules the way we rock sh. Rock sh. Yeah, yeah we're rocking rollout.
[00:14:16] Speaker C: More of the same solo covet.
[00:14:18] Speaker D: Yeah, and his voice is really weird. It's a bad version of Vince Neil. Vince Neil is better than this. And Vince Neil's not great. I'm not even sure if he can sing. I'm not even positive he can.
[00:14:27] Speaker E: All right, listen, listen, I'll go with you. That is not the most. It's not the best song. You saying that Vince is better than this is just disrespectful.
[00:14:40] Speaker D: Well, you know it's true. Because you're a big Motley Crue fan. You know that Vince Neil's better than him.
[00:14:43] Speaker E: Vince Neil, Sherka 1992. Yes.
[00:14:47] Speaker D: I have to give you that Vince Neil has not always been great.
I don't know what this does to me. It just doesn't make me feel good. I don't know why.
[00:14:55] Speaker E: Anyway, can you double up on this one? The speed play through fast.
[00:14:58] Speaker D: Oh, you want to speed it up. Oh, that makes me feel much better. Second verse is glares and stares. We don't care we just keep walking proud we shine our colors we shock the world and play our music real loud we're all just to kill Looking for a thrill or breaking all the rules the way we rock shock, rock, shock yeah, yeah we're rock and roll outlaws Always on the run Rock and roll outlaws we're just having fun we're rock and roll out outlaws there's terror in the town tonight it's you and me, baby Rock. And here is the solo.
[00:16:09] Speaker A: The table in the tail tonight is you and me.
[00:16:22] Speaker C: Yeah, he uses a it's you and me thing as well. That really wasn't much of a solo, wasn't there?
[00:16:27] Speaker D: No, it's very wannabe Poison. It's very first album. Wannabe Poison. That's all I can say. I'm not saying Poison's first album is great, but I think it's better than this. I don't know. What do you think?
[00:16:38] Speaker C: I would say probably? I think there's more memorable stuff, but I have to do like a back to back. Frank, what do you think? Which one do you think is better.
[00:16:47] Speaker E: When you're comparing to look what the Cat Dragged In. That's tough. Let me think about that. They're right there, but I might have to give it to Poison. But they're very close. They're very close.
[00:16:56] Speaker D: Oh, then why don't you go first, Frank?
[00:16:57] Speaker E: Not the best song on the album for sure. Lyrics wise, I'm gonna keep this simple. I think lyric wise, I'm gonna melody. I'm gonna give that five. I mean, they really love saying rock and shock a lot. I'm just starting to hear that. That's that common tune production. I'm gonna give that a six. I'm gonna give it a six the rest of the way. The production's okay, the music playing. Nothing really great about this song. That really stands out. How about you, Seth?
[00:17:20] Speaker C: I don't know if I want to be.
I've kind of already forgotten this song. I'll say five in production and A four on everything else. I'm not feeling this. It's very cookie cutter, I think. I mean, the arrangement isn't terrible. You know what? I'll say five in arrangement. I'll ump that up. I think arrangement wise, they're pretty good. I think that's one thing that they definitely have standing out for them. The rest of it is. Mark, what do you think?
[00:17:40] Speaker D: 2 in the lyrics, 4 on the melody, 3 on the music, and 5 on the production and arrangement. I agree. They're trying to write very memorable, hooky songs. It just doesn't always work. Sometimes the songs are just not very good, and that's because the lyrics aren't great. Not to say that Poison's first album lyrics are great, but I think to your note, what you said before, I think they have more memorable songs on that album. I think that's really the thing. And this is how many years later? This is four years later. Three or four years later, right?
[00:18:07] Speaker C: Something like that. Yeah.
[00:18:08] Speaker D: It's been done already and Poison has already moved on.
[00:18:10] Speaker C: I think that when you look at them and you put on that first song and you kind of hear the double bass going, you're like, oh, okay. Not that motley, crude into leather, black hair, blonde guy and double bass. And heavier. But then once you kind of get past that first song on, the rest of it really just fits the image. So I think it's good that they put that. I understand it's a title track, but obviously title tracks don't always need to be the first track on the record. Think it's a one and done kind of thing. That's my general opinion.
[00:18:38] Speaker D: Yep. It's really all about the visual. The visual that they're presenting is really falling away. Because even the bands that really presented this visual like this early on are totally past this already. All right, so next one is only the. On.
[00:19:04] Speaker A: No one seems to see what's inside of me When I believe they don't receive they can't relate to me Shaking there, that's enough.
In their eyes I see disgust we take the blame Cause we're not the same but that still won't change us I gonna fight for to be who I am There's a million just like us across this land Only the young understand what we mean Only the young know the hell that we see we'll deep be in the hearts of all the youth across the land I know we're only the young understand.
[00:20:08] Speaker C: So this is my second favorite song. Maybe my favorite. I always had a soft spot for this song, I just like the way it's done. I think it's catchy. Again, it's about the youth and everything.
I always found this one catchy enough to kind of sing along to.
[00:20:21] Speaker D: Chorus is catchy. So I gotta say they can write a catchy chorus. And wannabe.
No, no, no, wait, hold on. Lyrics still suck. So this is not any different than anything before. I understand what they're trying to do. Kind of find it funny. No, understands me. It's that thing. Funny part about it is that this has all been done before, though. The way they're looking, everyone looked like that. You're not really the outlaw anymore. You're the mainstream thing that's happening.
I just find it funny. They're just very out of touch with where the music is at this point in the 80s. I think I have to give credit that the chorus is sort of catchy. It's not gonna make me like this thing, but I have to give credit. Can't lie and say, oh, that's not a catchy chorus. Because it is a catchy chorus. And again, the guitar sound is horrible.
[00:21:06] Speaker C: Yeah, well, I mean, the guitar sounds been the same throughout.
[00:21:09] Speaker D: Yeah, yeah, it's shitty.
[00:21:12] Speaker C: It's got that low end.
[00:21:15] Speaker D: Yeah, that's not a good sound.
This is bad.
[00:21:18] Speaker E: It sounds like straight out of like 80s kind of movie. I love it. Great sound. Okay, yeah. I'll give you. The lyrics are not the best, but overall catchy. Little Diddy over here. I'm liking it.
[00:21:27] Speaker D: Here are the lyrics versus no one seems to see what's inside of me While I believe you don't receive you can't relate to me Shaking their heads at us in their eyes I see disgust we take the blame because we're not the same that still won't change us. That's pretty bad. The pre chorus is. I'm gonna fight for the right well to be who I am There's a million just like us across this land and the chorus is. Only young understand what we mean Only young know the hell that we've seen While deep in the hearts of the youth across the land I know only the young understand. I mean, it is a sentiment that's been used forever in music. Going back forever probably.
[00:22:03] Speaker C: It's the whole rock and roll thing.
[00:22:04] Speaker D: Yeah.
[00:22:05] Speaker C: Kind of the rebellious. What do you listen to? And so we call it flack too, for listening to stuff. I just think on the record, besides the first one, it's my favor song. I don't know. Just always kind of clicked. I Don't like the way he says disgust, though. That is always bothering. He's like, in their eyes, I see disgust. That always irked me.
[00:22:23] Speaker D: Yeah, he has that weird wannabe California.
[00:22:29] Speaker C: It's like California by way of London. Sometimes he has this British accent.
[00:22:32] Speaker D: It sounds fake. It doesn't sound genuine. That's really, I think, what the problem is now. Have you seen him recently? He's still trying to sport the same kind of stuff. Makeup and stuff. You know, at a certain point, you gotta go, dude, it's time that you don't need to dress like that anymore.
And if your music's good enough, you don't have to. You don't see Poison dressing up like the first album. They don't do that.
[00:22:50] Speaker C: Closest one, I'd say is probably Michael's. Right? Not the first. I mean, obviously not like that, but kind of a little hinted to some of them. Maybe Ricky Rocket, too. But he's always that kind of that skater look.
[00:23:00] Speaker D: They don't look like the first record with the kind of makeup.
[00:23:02] Speaker C: No, no, no.
[00:23:03] Speaker D: Realistically, they hadn't looked like that right after the first tour is over. Change. They knew that it couldn't stay like that then. And what's the second record? 87, 86.
[00:23:12] Speaker C: Yeah, but I mean, on the third record, Unskinny Bop is still pretty glamm video.
[00:23:17] Speaker D: No, I'm just talking about the heavy makeup. Like this.
[00:23:20] Speaker C: Yeah, they weren't as maked up as this, but they were still rocking the glam thing.
[00:23:26] Speaker D: But everybody was. Everybody was. I mean, that. That didn't go away. I'm talking about the really super heavy, like, girly makeup that was on the first album. It was not really now. And these guys. This is 89. And they're looking just like that.
[00:23:36] Speaker C: Well, I mean, this is the music they made, right?
[00:23:39] Speaker D: This is true. All right, let's continue. Here we go.
[00:23:46] Speaker A: They always despise the things they see in the night there's no hard time we're just coming find it's not hard to make a night when they try to destroy the things that we enjoy like rock and roll A hairy clothes when they'll stop no one knows It's a cry of our nation Seeing our nation There's a million you just like us across this line Only the other Understand what we mean Only the hell that we see we'll deep be in the hearts of all the youth across the lion I know without me living understand.
[00:25:13] Speaker C: The solo is definitely out of the CC Mick Morris playbook. And actually, I think he hit A wrong note in there, too. I never realized. I'm pretty sure there's a bad note in there towards the end. It's fine. It's a little weird sounding, I think, in the sense that the tone of it is a little odd. And actually, one funny thing that I didn't mention before is that I never realized that he said, deep in the hearts of all the youth across the land. I thought he said, do you hear the hearts of all the youth across something like that? For what it is, the solo fit.
[00:25:40] Speaker D: Your lyric is better than his lyric.
It's the truth. Solo's okay. I mean, it is what it is, and it wants to be that style of guitar playing again. For me, at this point, I was listening to other. The guitar players I was listening to now at this point was different than this. So I can't really take this as being anything more than what it is. I wouldn't be listening to this especially for guitar playing. I mean, you can listen to it for the song, but as far as the guitar playing, I know other guitar players in this time frame got slagged on a little bit. I know CC Deville got slagged on. On for him. Luckily. I think his stuff, even though there was some of this kind of stuff in his playing, I think overall he came out on the. On the better side of it after, like, even stuff around Unskinny Bop is a little. You're like, oh, I'm not too sure about that.
[00:26:22] Speaker C: That's three albums deep. They were also a little bit older. I mean, these guys are a little bit younger.
[00:26:26] Speaker E: They're loving it. It's catchy. I do like, the guitar played better in this one than the previous song. Overall, great improvement. And I think they were in their early to mid 20s in this one. Pretty sure.
[00:26:37] Speaker D: I could be wrong. I know nothing about this. So meanwhile, here are lyrics. They always despise the things we symbolize there's no harm done we're just having fun it's not hard to recognize well, they try to destroy the things that we enjoy like rock and roll Our hair in clothes when they'll stop, no one knows It's a cry of our nation the young generation There's a million of us across this land Only young Understand what we mean and back to the chorus again. All through that.
[00:27:03] Speaker C: Yeah, I mean, the singer was 20 or 21 at the time.
[00:27:05] Speaker D: Was he? Okay, so they were young. They were probably inspired by earlier glam stuff. They were older than us. I would expect them to be older. See, I know Nothing about this. I don't know how old they were, where they came from. I know nothing. Like I said, I probably heard this album maybe one time. Maybe I don't remember any of these songs. I probably just listened to it and went, yeah. Why would I want to listen to this? For so much better stuff out that I can listen to. Wasting my time on this. All right, let's finish it up. Here we go.
[00:27:35] Speaker A: Me.
Only the young know the hell that we see Only the young understand what we mean Only the young know the hell that we see we'll keep in the halls of all the youth across the lions Way down.
[00:28:26] Speaker C: Go ahead, Mark. Talk about the fate. Out.
[00:28:28] Speaker E: Let's go.
[00:28:29] Speaker C: You know what you're going to compare it to?
[00:28:31] Speaker D: What am I going to compare it to?
[00:28:32] Speaker C: You weren't paying attention.
[00:28:33] Speaker D: What am I comparing it to?
[00:28:34] Speaker C: Cry tough. Oh, I mean, listen. Not that that's original. No, that Doom Do Doom. Obviously, that's not original.
[00:28:42] Speaker D: Yeah, that's what it does sound like.
[00:28:44] Speaker C: A little bit of a nod to Poison. I always kind of took it that way.
[00:28:48] Speaker D: I'm sure it probably was.
[00:28:50] Speaker C: Or maybe even a nod to the Doo up stuff.
[00:28:53] Speaker D: And that part after the solo was definitely so stock. I'm like, oh, they're definitely going into that. I'm like, wow, that's cr. Frank went first last time. Sam, you go first.
[00:29:01] Speaker C: I'm gonna say sevens. I'm gonna make it easy. Here's what I say to myself, and I ask this question. I know I've asked this question to you guys, too, especially on the no Doubt stuff. If this song comes on the radio, probably leaving it on. I'm gonna shout it out and kind of like shout it in its glammy, catchy glory. I think it's a fun song. And just to make it easy, I'll say all seven.
[00:29:21] Speaker E: It's great to be here. Thank you. It's quintuple seven just for Nicolo. Nikki Titty, baby. That's not funny.
[00:29:28] Speaker D: What happened? You liked it?
[00:29:29] Speaker E: You're stealing my image and likeness.
[00:29:32] Speaker D: That's right.
Get used to it. You go next. Go ahead.
[00:29:36] Speaker E: I give the lyrics 6, 7, across the board. For everything else, I will. I will say that the writing hasn't been the best. This song, it's okay. But I do like the music a lot. Everything else, I like. So you, Mark.
[00:29:47] Speaker D: I don't know what I'm expecting from the lyrics. Am I expecting better? I don't know. Am I? I don't know. Regardless, for in the lyrics, I do think the melody is strong in the chorus. I'm going to say six and then five on everything else. It is probably the best in the last five songs.
[00:30:01] Speaker C: I don't think I've given seven to anything. This is like. I figured that to make it onto the playlist I should do that. There was a CD I had made. I borrowed a whole ton of CDs from Nick at one point and it was this latter day stuff. And I picked like one or two songs from everything. And this was the one that I picked. This and the first one were the two that I picked. Put on that cd.
[00:30:21] Speaker D: Okay, we're going to continue on. Well, this is the last kiss.
[00:30:39] Speaker A: You'Re now you.
It's something I can't wait to do when we're together the world could stop forever One enough, It's time to go the last kiss it's always the hardest one to overcome the last kiss it's always the.
[00:31:18] Speaker C: This was never one of my. I think of again, an 80s movie and maybe a talent contest in the 80s movie where the band is kind of playing this song and people are like digging it and dancing to it. Or a school dance kind of thing. That's kind of what, again, they have this vibe, this youthful vibe, which they kind of go through throughout the whole thing. So they're not that young. They're not teenagers. I don't think. I. I mean, the singer wasn't. I didn't look up the rest of them.
[00:31:45] Speaker D: Mark, in this scenario, when they're in this movie, do they lose the battle of bands?
[00:31:50] Speaker C: No. That's what I'm saying. Maybe a school dance because everybody's taking it.
[00:31:53] Speaker D: Oh, okay. Yeah. This is not a good song. It's just not a good song. The lyrics and there's some janky, weird, trying to rhyme things. I don't know. But it sounds like something else too. And I was gonna mention in the last song, I heard a little bit of Twisted Sisterish stuff going on in that one too. I'm sure they're taking a little bit from them as well.
[00:32:11] Speaker C: There's nothing here that's. Whoa, this is glam. Done a different way other than when that first song kind of kicks in. You hear that double bass. Not something you really heard in Glenn. Metal.
[00:32:20] Speaker E: I agree with Sav. I can see this being an 80s movie in the gym for a school dance, Karate Kid vibe going on here. Like that kind of thing. It's okay. I like it. I like everything except for that one song.
[00:32:32] Speaker C: But you're the best around.
You gotta Sing that to Mark, man.
[00:32:36] Speaker E: I know.
[00:32:37] Speaker C: You gotta put that in his head.
[00:32:38] Speaker E: You're the best.
[00:32:39] Speaker C: This is the best around Pretty Boy Florida. Take it down.
[00:32:44] Speaker E: Who was it that sent the meme with about Tommy Lee's? Like, it's not fair. Of course, he's a great jumper. He's got three. Three legs.
[00:32:50] Speaker C: Oh, supposedly, yeah.
[00:32:53] Speaker E: Oh, he did.
[00:32:55] Speaker D: That's pretty funny. The verse is. Going out with you is something I can't wait to do when we're together the world can stop forever why do nights like this go so fast? They never last long enough of course our love will have to be postponed it's time to go. See, that part right there is very bad. I don't know what he was trying to do there.
[00:33:10] Speaker C: There is a few janks here and there.
[00:33:12] Speaker D: Oh, yeah. It's like Swing and a Mission.
[00:33:15] Speaker C: Yeah, there's some of that.
[00:33:17] Speaker D: Yeah. And the chorus is. The last kiss is always the hardest one to overcome the last kiss is always a lonesome one it means that love is done as much as I can say any other bands. You can pull up any of the glam things. Poison, Motley Crue. I still think in general the lyrics were a little bit better than this. I don't know, maybe it's just me. Maybe I'm.
[00:33:34] Speaker C: Again, this is written like a kid in a sense. It's not written from a 20 year old standpoint, I don't think. Wait till you get to the last song.
[00:33:41] Speaker D: Oh, great. All right, let's continue. Here we go.
[00:33:47] Speaker A: It puts me into wonderland I could just drop lemon Living and stay here with you Caressing you the town is running up again.
You know, it always seems to end the night just as it starts.
It's under bar.
The last kiss. It's always the hottest one.
[00:34:43] Speaker C: That was kind of almost the same solo as the last. So song I think it reminded me of.
[00:34:48] Speaker D: Did sound the same.
[00:34:49] Speaker C: Definitely the tone.
[00:34:50] Speaker D: Yeah.
[00:34:51] Speaker C: It does fit though, right? Whether you like what he's playing or not. It fits. I mean, these songs are. I'm not gonna say product, but they almost are in a sense for glam band. They're pretty good at getting that sound going and what to play and how to play it. They're very harmless songs, I think, other than maybe the first one.
[00:35:09] Speaker D: Yeah. The solo didn't do anything for me. It's not great. And this verse is so up. It's so bad. Nothing rhymes. Nothing's in. I don't know. Was trying to do here. He was trying to jam as much lyrics as he could. In not very good ones, by the way, altogether. But the chorus again is catchy. But the verses who. That's not his strong suit. Here's verse two. Holding your hand it puts me into wonderland I can just drop everything and stay here with you Caressing you the time is running out again you know it always seems to end the night Just as it stars it's time to part that sounds better the way I'm reading it than it actually sounded. When he did the verse, though, it was bad. Ooh. And then, you know, the poppy syrupy chorus comes in. You're like, oh, I forgot about the verse already, for one thing. Right. Deep, decent melody. You're right. Their arrangements are very good in the fact that there's not very many jarring parts. They do kind of just flow. So if you have to give them credit for anything, their arrangements are good. At least they're trying. I know Frank. Frank's like, see, you're coming around right here.
[00:36:02] Speaker E: I'm recorded. All being recorded.
[00:36:03] Speaker D: I'm not coming around. I'm just. I'm giving them props in the places that I can give them props because there's very little to give props about.
[00:36:10] Speaker E: For me, I think that they embrace who they are and it's shining in this album.
[00:36:15] Speaker C: You know what's gonna happen? It's gonna be like when Eddie Murphy was the fifth Beatle and he played the stuff backwards.
SNL show. He was Clarence. I think it's like, oh, let's get rid of Clarence and steal all his good ideas.
It's gonna happen to you, Mark, on this.
Frank's gonna cut and paste everything.
[00:36:32] Speaker D: They already did it, though. They stole all this guy's good ideas.
Then he was out of the band. They still stole their stuff. So they did the same thing. I don't know what his name was. It wasn't Clarence, but I forget who it was. This is not one of the better ones. This is. This is tough. All right, let's finish it out. Here we go.
[00:36:49] Speaker A: To overcome the last kiss is always the most kiss. It's always the highest one.
To overcome the last kiss is always the awesome one.
[00:37:34] Speaker C: Mark, will you give him props for the fade out?
[00:37:36] Speaker D: I do like the fade out. I like fade outs, so I have to give him a little bit of props for that. I guess I'll go first on this one. Lyrics. I still. I'm gonna say 3. 3. Melody. I'll say 5. Musicianship, 4. Arrangement, 5. Production 5. This is kind of standard for me. Doesn't seem like I'm wavering very far from there. I just think that in all the good ways that they try to make a chorus good, the verses seem to be the parts where really it's a problem for them. So what do you think?
[00:38:02] Speaker C: I'm gonna mimic your scores exactly. That sounded very good to me. Let's just do that.
[00:38:08] Speaker D: Wow.
[00:38:09] Speaker E: What numbers did you give me?
[00:38:10] Speaker C: What did you see, Mark? Three. Five.
[00:38:12] Speaker D: I gave three. And the lyrics. Five in the melody, four in the music, and five for production and arrangement. What are you thinking, Frank?
[00:38:18] Speaker E: I'm gonna go six of the cross again. It's just a follow up what we've heard the previous two songs. Trying to do that midfield vibe. I will say that the lyrics fall short from that. Overall, I like it a lot. I think six is great for this.
[00:38:28] Speaker D: Wow. Sixes, huh? All right.
[00:38:30] Speaker C: Deep, man, deep.
[00:38:31] Speaker D: Yeah, I guess.
[00:38:32] Speaker C: I think this next song is straight up Poison.
[00:38:34] Speaker D: I'm looking at the lyric maybe. All right, so here you go. Your mama won't know.
[00:38:58] Speaker A: Now that you on the spot it was getting hot, you were just about to echo?
We were in my town wheel way too far but you stop fast when you stand up.
Your mama taught you even right so you won't.
Every time that we get close you say no. She told you what to say to keep the moments away. But your mama won't know if I hold too tight. Your mama won't know if we can't. Right.
[00:39:54] Speaker C: Again. Obviously written from a youthful perspective. I don't know if it's the whole Mama, please let me go to the show Poison thing or Gentleman General. I mean, the bass. The drummer's doing a little double bass stuff, which isn't bad. The production on this one is actually a little bit worse, I think. Mark, I know you've been talking about the guitar tone, but I think even in the bass drum, the way it's doing, if he hits that double bass, it kind of gets louder. This one's never been one of my favorites either. I guess technically it's one of the heavier ones.
[00:40:21] Speaker D: No, no, no, no. I don't know what the this is. It's just. It's just not good. It's not good. Even the chorus here is not great, great. It's kind of a do opiel in the way the melody is going. Poison had sentiments like this. Obviously, this is the sentiment of a lot of rock songs, but it's just not very good. Usually I'm pro their melody and pro their chorus, but here I just don't think it's very good. It doesn't hit me the right way.
[00:40:45] Speaker E: I'm gonna have to agree with you.
[00:40:46] Speaker C: Wow.
[00:40:48] Speaker E: Not hearing something that I'm liking over here.
[00:40:50] Speaker D: Who's Jedi Mind tricking who now?
[00:40:54] Speaker E: You know sometimes you gotta give Critter a it is due.
[00:40:56] Speaker D: I want to bash them every chance I get. I do say that usually their choruses are strong and usually the melodies in the choruses are good. And here it's just bad from the verse to the pre chorus to the chorus, not very good. And it's going to sound even worse when I read the lyrics. Verse one is I hit you on the spot. It was getting hot, you were just about to let go. You were in my car. We almost went too far but we stopped fast when you said no. Give him props for stopping when she said no.
If you're gonna give him any props, there's the props. Pre chorus. Your mama taught you it ain't right so you won't. Every time we get close you say don't. She told you what to say to keep the boys away Chorus. But your mama won't know if I hold you tight. Your mama won't know if we kiss tonight. Your mama won't know if we do or we don't. All I want to know is if you will or you won't. I mean it's a pretty basic teenage sentiment, but it's just not in a strong song. I actually think the chorus that I read sounded better than the chorus.
I don't know what it is. Usually they're stronger in this.
[00:41:52] Speaker C: I like the background vocals. I do kind of like that. The gang vocals that they're doing.
[00:41:56] Speaker D: Yeah, I can give them that. I can give them that. It's really not a strong song. Production is a little crappier here and the guitar tone's crappy.
[00:42:03] Speaker C: Well, yeah, you haven't liked that, so that's not going to change. That's definitely be consistent. If you don't like that, you're not going to like it in any song.
[00:42:10] Speaker D: No. Pretty much.
Let's continue. Here we go.
[00:42:18] Speaker A: And I know that you feel it too cuz you are great and I can't repay you make it so hard to do.
Your mama told you that it's right just to it every time I we get close to hesitate she told you what to say to keep the guys away you. But your mama won't know if I hold you tight. Your mama won't know if we kiss tonight. Your mama won't know if we do it we don't want mama know Is.
[00:42:58] Speaker C: If you will rip you out we're the same.
Guess the tar solo's coming.
[00:43:04] Speaker D: Yeah. Verse two is, girl, you turn me on Temptations getting strong and I know that you feel it too he had to stretch that out because it doesn't fit with the first line. So you have to kind of stretch it out, which just didn't really work very well. Cause it's you I crave I can't behave you make it so hard to do. And then they actually changed the pre chorus up a little bit. And I think maybe if you have to give any props on the song, pre chorus, maybe the best part of the song. I guess your mama taught you that it's right just to wait Every time we get close, you hesitate she told you what to say to keep the Floyds away oh, boy. And then chorus.
[00:43:37] Speaker C: Pink Floyd.
[00:43:39] Speaker D: Yeah. Let's not even say Pink Floyd in the same words as that. These guys. That's good Floyd is bad Floys. Let's see what the solo goes. Here we go.
[00:44:11] Speaker C: Fine. For the song. Well, let me ask you this. I mean, there's a lot of CC on this record. Is it cc, do you think? Can you draw a line to him and his style? Would you say it's more just a glam style? What do you think?
[00:44:22] Speaker D: I think it's more the glam style. I think cece is a better guitar player than him. He likes the trill.
He does that. The ends of all the things, like those two solos that sound the same. He likes to do that. How am I trying to say this?
[00:44:33] Speaker C: Stock.
[00:44:34] Speaker D: It's not even stock. It's what you would do when you don't know what to do.
Does that make sense?
[00:44:38] Speaker C: Yeah.
[00:44:39] Speaker D: And maybe it's partially being stock and of the style, of what he expects it to be. I don't really get anything out of that. If I was learning guitar, which I was at this two years into it, I would never look at this and go, this is what I want to play. Like, I know we played a couple of Poison songs when we first started, and I think overall, they were just better songs. I think he's a better guitar player. It was probably one of the better solos, I think. Then he got to the end, and then he didn't know what to do, so he just went.
He just trilled the notes, and I was just like, okay.
[00:45:06] Speaker C: It's like basically doing a snare roll in a film of something else. Like, oh.
[00:45:16] Speaker D: All right, let's. Let's finish it up. Here we go.
[00:45:36] Speaker A: Sometimes you hesitate Tell me yes no do we stop and go?
But your mama won't know if I hold you tight. Your mama will know if we kiss tonight. Your mama to rip me down.
Mama wanna know is if you win or if you w. But your mama won't know if I won't tight. Your mama won't know if we kiss tonight. Your mama won't know if we do if we don't. All we wanna know is if you win or if you won't.
[00:46:43] Speaker C: I like that ending.
It's fine. I mean again, not never. One of my favorites. I do feel the production listening to it now through headphones and everything was slightly worse and more muffled than the other side songs.
[00:46:55] Speaker D: I don't think the production was as good. And the bridge is. You know she's going to say did you go all the way? She'll never know the hours getting late so don't you hesitate Tell me yes or no do we stop or go? That bridge was a little rough too. Frank, why don't you go first?
[00:47:09] Speaker E: I'm giving this song a four throughout. And the reason I'm giving it a four that high of a score is because the drums and the bass do carry the song. Everything else. The guitar play, the production, the lyrics, everything else. I just not crazy about so force for me all the way across. How about you, Seth?
[00:47:25] Speaker C: I'll say three on the lyrics.
Four and everything else. It's in a good spot on the record. And it's actually kind of funny that the last song is the ballad, which I guess give them credit for. For not following the formula. At least that kind of formula technically for putting the ballad somewhere on the third or fourth slot. This is how you end the record. To me, I would have been fine had they ended the record with this mark.
[00:47:50] Speaker D: I was thinking the same thing. This is definitely end of the record. Song lyrics 3 Melody 3 Musicianship 3 Arrangement 4 Production 3. Here it is. The end. I want to be with you.
[00:48:12] Speaker A: Was walking out of class the other day at school I saw you don't think I've ever seen you around here before.
You must be new.
What your name? Away from my conversations just beyond. Maybe we you talk more after school.
I know that we just met but maybe you like to let me go out with you.
I want to be with you. I want to be with you.
I want to be with you. I want to be with you.
I want to be with you. I want to be with you. Be with you and only you.
[00:49:13] Speaker C: Obviously a nod to youth. Again, he's in the same school. Unless he's been left back a few times. I'm assuming they're around the same age. A very catchy chorus. I mean, even the drummer's doing some interesting stuff. He's not just playing kind of straight beats, so I give him credit. I don't think the drumming's been bad in this record. I think he tries to keep it a little bit more interesting. The chorus is obviously repetitive, but definitely catchy. You can see this maybe two years prior, I think, probably being a bigger hit than it was. I mean, I don't remember any of these songs ever being played on the radio for. Was it for. I actually. I don't remember this song. Be on mtv. You guys may remember. Frank, you may remember. The only one I ever remember is rock and roll. Frank, do you remember this ever, like radio or mtv?
[00:49:52] Speaker E: I do remember this song on the radio. May have been one of Those C cut, 120 minute kind of deep cuts where they play these songs that should have been a single kind of a thing. Maybe there.
[00:50:04] Speaker C: You mean Headbangers Ball, right?
[00:50:05] Speaker E: But not regular music play. No, ye. Something like that. I don't recall it. Have regular music play, for sure. I don't remember a lot of these songs getting singles. I don't remember them getting a lot of relay.
[00:50:14] Speaker C: I don't remember any radio play, honestly.
[00:50:16] Speaker E: Yeah, I do remember hearing it. It was a mainstream radio for sure. It had to be like. What was the Seton hall radio station? What was that one called?
[00:50:22] Speaker C: So you.
[00:50:23] Speaker E: Yeah, maybe there could be. Could be, yeah, something like that.
[00:50:26] Speaker D: I sort of remember the chorus when it came in, maybe. So maybe it was a video thing. I don't remember this being on the radio, if any kind. So I don't really know. There was obviously a video for it for rock and roll and for I want to be with you. Obviously we might have seen this on some kind of new music thing. It's not really saying here where it ended up on any musical thing on any video stuff. So I don't really know. Chorus is catchy. This whole album is aimed toward the teenager. So you know this whole thing about, you know, you just came into school, who are you, blah, blah, blah, blah, blah, blah.
[00:50:56] Speaker C: I mean, for what it's worth, these songs could have been written when they were whatever years old. I know, don't know how long ago, like the guy wrote them. I guess at 20 I'd be like, hey guys, maybe we can change the lyrics a little bit. But again, this doesn't give the same creepy factor Just in the sense that he's in there with her. So it's kind of written from that perspective. And again, this guy. I don't know how old they all were. Assuming they wrote this or whoever wrote it, maybe when they were like 18, even then. But I guess I see it as a high school. Technically. You could say it's college as well. He doesn't say what school.
[00:51:25] Speaker E: Yeah, but you wouldn't do that. Crush. Sounds more like a crush kind of a thing. You wouldn't have a crush in college, I don't think.
[00:51:31] Speaker C: I mean, you could. I mean, you're still young, right? I mean, still 18. 17. 18 going into college, right? Yes, I see it as high school. I'm not trying to defend this clearly, though. A lot of the. The album is geared toward youth.
[00:51:44] Speaker D: I think it's high school.
[00:51:45] Speaker C: Yeah. I mean, that's the vibe I get.
[00:51:46] Speaker D: I don't think in a creepy way. I think he's a teenager, she's a teenager. They're in the same school.
[00:51:51] Speaker C: Yeah.
[00:51:51] Speaker D: Here are lyrics. As I was walking out of class the other day at school I saw you don't think it was. Ever seen you around here before? You must be new, what's your name? Where are you from? Our conversations just begun. Maybe we can talk more after school. I know that we just met but maybe you'd like to let me go out with you. I want to be with you, I want to be with you Blah blah blah and only you. So I think the production is decent. Better than the last song. I think the chorus is catchy. I question why you would end the album with this. I guess they were trying to break a little bit of the mold. It would give them too much credit. Maybe they just thought this was a decent song, ending the record with it. Or maybe they had nothing to do with it.
[00:52:25] Speaker C: Oh yeah. I mean, somebody else could have arranged it. But listen, even. I mean, love it for first thing granted. That's like 83, 84. Their ballad is at the end too. That could have been before that whole, hey, let's put this three or four. Because these songs are getting played massively.
[00:52:38] Speaker D: Yeah. Let's continue.
[00:52:55] Speaker A: If you got nothing else to do.
Being that you're new in town, you probably want to look around But I could tell you if all you do Cuz you really mean a lot to me and you don't have to look no more Cause I found the girl I'm looking for I want to be with you, I want to be with you I want to be with You.
It's only you.
[00:53:41] Speaker C: Same scenario. Getting the number from someone else, kind of being shy. It's a cute little, cutesy song. It's a cutesy song, and from the perspective that it's told, it's relatable. It's. It's fine.
[00:53:54] Speaker D: The lyrics are very simple. They're so simple, you have to think that someone wrote this way before this, because it sounds like a song you would write when you're first starting to write songs. It's like stream of consciousness almost. When you listen to it this way, you go, yeah, this is just someone just not knowing how to write lyrics. I got your number from a friend so I called you to talk to you I don't live far we could walk down to the park if you got nothing else to do Being that you're new in town, you probably want to look around But I could tell you before you do because you really mean a lot to me and you don't have to look no more Because I found the girl I'm looking for. As far as he's concerned, this is already his girlfriend. He just met her.
[00:54:28] Speaker C: Oh, yeah. Yeah. This is very. Hey, I'm the best you're gonna do in this town, baby.
I mean, because you really mean a lot to me. Yeah, it's the crush, right? It's that. Holy cow. You know, you saw this girl, he thinks she's really pretty. He doesn't really know anything about it. It's almost pre high school at some points.
[00:54:48] Speaker D: It's super naive.
[00:54:49] Speaker C: Yeah.
[00:54:50] Speaker D: I question how long ago this was written prior to this. And like you said, we're 20 now. Or 21. Or 20, whatever we are. Maybe we need to, like, revisit this a little bit. The chorus is okay, so maybe we need to look at the verses and, like, change it up.
[00:55:01] Speaker C: This isn't Domino.
[00:55:04] Speaker D: Well, no, not even domino, but Christine 16. You mean more than. That's more.
[00:55:08] Speaker C: Doesn't he stalker at school in Domino?
[00:55:11] Speaker D: Yeah. Domino is a little bit stalky, I guess. That's very blatant stalky. Just like Christine 16 is very blatant stalky. Although, again, we have to say that in the 70s, that was a theme that was in a lot of bands in the 70s and 80s, apparently the 80s as well.
[00:55:24] Speaker C: There's a lot of very cutesy lyrics on this record.
[00:55:26] Speaker D: Yeah, this, to me, is the most simply naive, very childish out of almost all of them.
[00:55:32] Speaker C: Like, Hanson could have rocked these lyrics on their first record.
[00:55:35] Speaker D: Frank, what do you think of this?
[00:55:36] Speaker E: I'm digging it. This Is one of my favorite all time ballads. Must have sang it a thousand times along the way. I don't get the creepy vibes. I do get the crush vibes. I don't see the creepy vibes. Definitely liking it.
[00:55:46] Speaker C: I don't get that sentiment. He's not stalking this girl there. Equals.
[00:55:50] Speaker D: All right, here goes solo.
[00:56:15] Speaker C: Fine for the song, I think.
[00:56:17] Speaker D: I just don't think it's very much memorable. That's the problem. I think it needed a better solo. Maybe that's just the best they could have done.
Take any of the big ballads of the time frame and listen to the guitar solos and those things. There's a big gigantic gap between those and this. Take Home sweet Home, take every rose. Take whatever big gigantic ballad. I remember you. You take any of those things and the guitar playing and soloing is a million times better than this. It hurts it. Because if it had more of an iconic solo. But maybe that's just not in the guards for that.
[00:56:50] Speaker C: I mean those songs have iconic solos.
[00:56:52] Speaker D: Yep. All of them. All three of those songs. You can hum that. So you know exactly what the solo is going to do here. There's really nothing to latch on to. They're trying. They do the little harmony thing at the end. They're trying to do it. It's just not very good. In a big ballad. That's something that's someone's going to remember 40 years from now. It's not very memorable.
[00:57:07] Speaker C: It's harmless. I've said that a few times about these songs. It's harmless kind of.
It doesn't offend you. It's not like, oh my God, that was so bad. But you're not sitting there going, oh shit. Okay.
[00:57:18] Speaker D: They want to be offensive though. They want to be like, oh, where the outcasts. Oh, where the people. They want to be that but they're just not. They're not dangerous enough and they're not nice enough. That's kind of like in a wishy washy kind of place.
[00:57:29] Speaker C: I think they kind of do it in the first song and then the rest of it isn't as much. A lot of it is mostly, hey, rock and roll with you. And I know they say shock and stuff.
[00:57:38] Speaker D: Jock rock, shock rock. Let's see what happens after the solo. Here we go.
[00:57:57] Speaker A: If I could do anything, anything I wanted to, it wouldn't be too hard to choose.
[00:58:07] Speaker C: I never knew what the hell he said there at the end. Hard to choose. Is that what he says?
[00:58:12] Speaker D: That's a very weird verse. Maybe because it's not acoustic anymore. It's just heavier guitar. It's just weird. I didn't like that at all.
[00:58:20] Speaker C: I made up my own.
[00:58:21] Speaker D: What were your lyrics for that?
[00:58:23] Speaker C: Read it and then I'll tell you.
[00:58:24] Speaker D: Okay. If I could have any girl in school I wouldn't take but one the only girl I want is you if I could do anything Anything I want Wanted to It wouldn't be too hard.
[00:58:33] Speaker C: To choose when he says I wouldn't take but one I know it doesn't make any sense, but it's like, I wouldn't take a walk. And now it sounded like he said, I wouldn't take a wall. I'm like, I can't be what he said. What the hell is he saying there? And then at the end when he says, I wouldn't be hard to chew, I was like, what?
Chew.
[00:58:51] Speaker D: It's hard to chew, but it's a weird lyric. If I could do anything anything I wanted to, it wouldn't be too hard to choose, I guess then he goes, I want to be with you. So I guess that's. That makes sense. But it's just a weird verse because it's not acoustic anymore. It sounds very weird.
[00:59:07] Speaker C: Yeah, but it's still kind of catchy.
[00:59:09] Speaker D: I think the chorus is catchy.
[00:59:11] Speaker C: I think as an 80s hair metal ballad, it's good. I think it's a decent version of it. I again, I think it's a harmless, cutesy kind of thing. Does it necessarily stand out? No, but it does what it needs to do in terms of. It's catchy enough and it's. The sentiment. Is love dovey. I've always kind of liked. I thought as a. As a hair metal ballad, this one was always decent to me.
[00:59:33] Speaker D: Okay, let's finish it up. Here we go.
[00:59:53] Speaker A: You I want to be with you I want to be with you.
[01:00:23] Speaker C: At the end was always pretty good. I had like, forever vibes, I think. I'm not saying it's as good as that solo, but it's pretty good.
Again, arrangement wise, it's pretty well arranged. I mean, even that weird stuff when I think he wants to chew her, it's still kind of a decent part. And I think that end part is decent. There's repetition in the chorus because there's nothing other than what they say, but they don't carry it out too far. They kind of stop it. And it's a catchy way. You can picture people singing along to it. Again, maybe two years prior, this would have been a bigger hit, or at least kind of made some noise. 89. You're kind of getting to the point where it's a little bit hard. Unless you're, I guess, like Firehouse, who just nails it with the ballad.
And obviously Guns and Roses. But they're Guns and Roses.
[01:01:11] Speaker D: I don't know what that part was where it was like the hard guitar so then it just cut. It was so up. What the was that? Who decided that was a good idea was bad?
[01:01:20] Speaker C: I think it is something different and it is a little bit.
[01:01:22] Speaker D: Whoa.
[01:01:23] Speaker C: But I'm like, okay. But I like where it ends up with the acoustic solo. I like the way it ends out and the fact that they're not carrying the chorus throughout the whole fade out.
[01:01:31] Speaker D: I didn't think that part was bad. I just think it came in weird and it just threw me off totally. I think it could have came in better. They could have done something better with that. They didn't have to do what they did. Just didn't sound good. Usually their arrangements are good in that part. No, not so much. And the guitar playing behind it didn't sound bad. That little acoustic solo thing. It just was weird how it came into it. And then it just felt wrong that it went to that. And did they do the whole modulated chorus up a whole step a la Bon Jovi at the end?
[01:01:54] Speaker C: Yeah, yeah, yeah.
[01:01:55] Speaker D: All right. Why don't you go first, say five.
[01:01:57] Speaker C: On the lyrics and six on everything else. Judging on a curve, I would probably put this on a playlist. I think I have three songs that I would put on a playlist overall from this.
If someone's like, oh, you got to pick three songs, I may think this would be it. I think it's catchy. It does what it needs to do for. For an 80s hair metal ballad.
[01:02:14] Speaker E: Frank, I'm going eight across on this one. I think it's a classic 80s ballad. The lyrics is good. The music is great. I get what Mark was saying. The guitar solo was missing there. That iconic solo that really makes the song memorable and stand out and test the time. Even with all of that, it's still a really good ballad. Eight for me.
[01:02:34] Speaker D: Mark, obviously, I'm not going to be the person that's going to go to say those same things. Lyrics from 4 melody 6. Just for the chorus, musicianship 5 arrangement just because of that ending. 4 and production 5, which is basically what I've been saying through the whole thing. This doesn't stand up to any ballad of the time whatsoever.
[01:02:53] Speaker E: Wow.
[01:02:53] Speaker D: Pick any ballad of the late 80s. That was really Popular. It doesn't have a guitar solo that's memorable. The only thing it has going for it is the chorus, really. But that can't sustain the whole song. That's the problem. I'd have to look at what things were out in 1989 ballads. Then we could say, is it better than any of those? And that's my question. Besides its chorus, it falls short in a lot of places.
[01:03:17] Speaker C: 18 in life. So Skid Row was there. So it's funny. Like, Is this Love was released in 87, but it said it didn't become a hit until 89.
[01:03:24] Speaker D: Okay.
[01:03:24] Speaker C: Every rose was released in 88. It went into 89 saying, don't know what you got. So it's gone.
[01:03:29] Speaker E: How about Take Me Higher by the Damiankis? That had to be around, right around this era.
[01:03:34] Speaker C: I think that was later.
[01:03:36] Speaker D: Well, that's what I'm trying to say. Take any of those songs, right? If you put any of those songs against the song, there's no way this song is anywhere near those songs. It just is not.
[01:03:44] Speaker E: I wouldn't say he's that far either. Love Song Tesla is right around this time.
[01:03:49] Speaker D: Yeah, it's a better song too, I guess.
[01:03:51] Speaker C: I'm not a fan of that song.
[01:03:52] Speaker E: Hey, listen, you know, if you were to take all those songs and put them onto one cd, Be with you would be. The last track is making the cut. It's just maybe not going to be on high in the playlist.
[01:04:02] Speaker D: I don't know. Are you saying that there weren't 12 songs better than this in that year during that time? No, I don't think I would argue, yes, there was.
[01:04:09] Speaker C: I mean, it's not really comparable comparison thing because, I mean, if that's the case, you start comparing things you're not you. You know what I mean? Then even stuff that's good, you'd be like, well, it's not as good as this. Again, I think it's a harmless little song. It's fine for the era. I think a lot of times we do forget, though, how late some of those other songs were. We kind of think they're mid-80s and they're really not. I mean, without a doubt. I don't think it stands up to some of the stuff we just talked about for what this album is and what the ballad is, because there were some hair metal ballads that just weren't that good.
[01:04:36] Speaker D: Oh, yeah, of course.
[01:04:38] Speaker C: So, I mean, it's fine.
[01:04:40] Speaker A: It's.
[01:04:40] Speaker E: The Ballad of Jane is not very good.
[01:04:43] Speaker C: What, by LA Guns?
[01:04:44] Speaker E: I don't Think it's that great? I don't know. I mean comparing to the other one, it's good. But when you compare it to the other one we just mentioned, you think it lines up like that?
[01:04:52] Speaker C: I think it's a great song. Frank, you're a LA Guns fan and you don't like Ballad of Jane?
[01:04:57] Speaker E: I didn't say I didn't like it, I just didn't compare to the other ones we just mentioned.
[01:05:00] Speaker C: I like it better than this one.
[01:05:02] Speaker E: Mark, let me ask you this song or you're All I Need by Molly.
[01:05:06] Speaker D: You're all I need.
[01:05:07] Speaker E: Oh my gosh. Really? Wow.
[01:05:09] Speaker D: Kiss Forever was out then. Forever destroys this song.
[01:05:12] Speaker E: Was it really? Chris was out during that time.
[01:05:15] Speaker D: 89.
[01:05:16] Speaker E: Oh wow.
[01:05:16] Speaker D: It destroys this song.
[01:05:18] Speaker C: I'll take your All I Need over this as well.
[01:05:20] Speaker D: Yeah.
There are just too many good songs. So if you had to make a hair metal ballad for 89ish time frame, there'd be too many other songs that would knock the sound thing off.
Because if it's a record, right, you would maybe get. If you're lucky, let's say you got five aside, which is probably not true. Let's say five. There's no way there's not 10 songs better than this. There's no way.
[01:05:42] Speaker E: I'm going to have to look that up.
[01:05:43] Speaker D: Yeah, well, that's your homework. Look it up. We mentioned maybe six already. All you need is four more. And I'm sure there's four more.
[01:05:49] Speaker C: There's a possibility that if I got Hair Nation on and this comes on, I may leave it on. I don't know for sure. You know, I may have hit my quote of having heard it now that I've heard it now.
But if Love Songs comes on, I'm not listening to that song. I've never been a fan of that song.
[01:06:04] Speaker E: Wow, what a kick in the balls.
[01:06:06] Speaker C: I know. I just never been a fan of that song.
[01:06:09] Speaker D: I'm not saying I love that song. I still think it's better than this though.
[01:06:12] Speaker C: Musicianship wise. Yes, I would say that. But I mean the way it kind of hits me in terms of actually wanting to listen to it. Like if I had to pick. I know it's odd, but I would probably pick this one. And it's not because it's a better song, you know, it's not composed or whatever. I just never felt fan of. But that other one too. There was another ballad that they did on that record. I forgot what it was called. But if we ever get that album, it's gonna be like four episodes.
[01:06:34] Speaker D: That's the unfortunate part of the CD era. Let's put 80 minutes of music on here and you get maybe 10 good songs out of like 15 that are on it.
Anyway, that's the end of this. Frank got his Pretty Boy Floyd.
[01:06:47] Speaker E: Amen.
[01:06:48] Speaker D: We will probably still be hearing about Pretty Boy Floyd after this and on its influence on everything.
Hopefully I can get some kind of a palette cleaner. I had black and blue and then kxm. Now we have this. So I need some kind of a palette cleaner. Come up.
[01:07:03] Speaker C: One last question for Frank. Frank now having to listen to it piece by piece and really critically, does it still hold up to you as much less more same.
[01:07:11] Speaker E: I say a little less. For sure a little less now that you listen to it. We're analyzing it. We have it on our headset. Does sound different than it did back then. I still like it. I still think it influenced a lot of bands.
[01:07:25] Speaker C: I think ultimately, like I've nicely said a few times, it's a fun, harmless record and it fits the image. Mark, I didn't think you were coming into this thinking like this is gonna.
[01:07:33] Speaker E: Change my mind, but it did.
[01:07:36] Speaker D: No, it didn't. The only thing I can say is, is that I give them a little bit of respect for their melody and arrangement. It's not as bad as I remember it. Do I ever want to listen to this again? No. I could go another 40 years without listening to this. I could care less. I have to give credit where credit is due on the things that I think that they doing okay. To me, there was just too much better music to listen to than this. I said that four times already. I just. There would be no reason for me to listen to this. There was so much good stuff out in 1989 that I would have much better things to listen to than wasting my. How many 40 something minutes or whatever this thing runs to say how long? That's not even saying here. No one even cares.
[01:08:12] Speaker C: It's short. It's got to be 30 something minutes.
[01:08:14] Speaker D: I bet they don't even put the running time on here because no one cares. Sav, why don't you do your thing?
[01:08:20] Speaker C: Yes, we are part of the Deep Dive Podcast network. Like I always say, great bunch of guys took us in right away. If you want individual podcasts about bands, then check them out. I'm pretty sure Pretty Boy Floyd is not on there, but you've got Rush, you've got Judas Priest, you've got Uriah Heap, you've got Zeppelin, Van Halen, you name it, it's probably on there. So definitely check them out. And mark, where can they find this.
[01:08:42] Speaker D: On the Interwebs Rockwood pod on all the social media rockwoodlight podcast.com put a new bets in. Submit an album that we may not have on our list. Go put us on your auto download so you get us every week and rate us 5 stars wherever you rate your podcast because that helps us out. And next week we get to spin again, which is awesome. Hopefully I'll get some kind of a cleansing record to make this thing go away in my memory.
[01:09:04] Speaker E: Oh geez.
[01:09:05] Speaker D: We'll see you next week.
[01:09:06] Speaker C: Ciao Ciao.
[01:09:07] Speaker E: Good night.
[01:09:08] Speaker D: Later.
[01:09:15] Speaker A: It.
