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, 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 melody and the arrangement and we give it scores. It's a bunch of friends who want to do a podcast that love music. As always, we want to thank anybody who listens. I think we had a decent jump recently in the episodes. Hopefully some of the stuff that the Wheel is picking is, is getting interesting. And anybody who goes back to the back of the catalog, we want to thank you everybody. We thank anybody who's listening and, you know, drop us a note, tell us what you like, what you don't like. Maybe an album you'd like us to go over or a song for the baby Wheel and we'll, you know, we'll pay attention. Like I always say, Mark is great at getting back to people, so I always put him on the spot, but he's definitely great at that. So tonight we have Frank.
[00:02:03] Speaker A: My name is Frank.
[00:02:10] Speaker B: And I'm sexy.
[00:02:19] Speaker D: Hello everybody.
[00:02:20] Speaker C: We have Mark. Oh, hi, Mark.
[00:02:22] Speaker B: What's up guys?
[00:02:23] Speaker C: And I'm Sav. Ciao. Buona tira. Last week, as a little bit of a tribute to the passing of Ozzy Osbourne, we did a specific wheel which had only his solo alb on it. And the Wheel picked Osmosis, which I was happy about because I hadn't really heard it. I did know two of the songs, the Perry Mason and See you on the other side, but I don't think I know anything else. So I'm kind of excited for the second side. First I didn't go too, too great. Scores weren't that great, but I think overall Osmosis is generally one of his lower rated Records, even though it's got a superstar crew on it with Mark, what are you Some of your early thoughts.
[00:02:58] Speaker B: I like Perry Mason better now than I did when it was actually on the radio. For Thunder Underground, I liked a lot. So hopefully second side, I'm hoping it gets better. Hopefully the production gets a little bit better. I don't really like the production on this generally. So far, I think that really holds this record back more than anything. I don't think it's horrible.
[00:03:14] Speaker C: Production is a bit rough. I thought it was just me and then I asked everybody and everybody concurred. I think Thunder Underground musically was probably my favorite. His vocals weren't where I wanted them to be in that song. Perry Mason, I concur. I like better now than I did back in the day. Frank, what about you? What are you thinking so far?
[00:03:29] Speaker D: So far, I agree the production is a little bit on the rough side. The music is great. Some great musicians on here. Definitely that's a very huge plus here. But overall it's meh. I give that a 5, 6 range for me. Definitely not an album that I will probably listen to on repeat anytime soon.
[00:03:47] Speaker C: Yeah, the general consensus seemed to be kind of in the 6 or 6ish range, obviously. Before we get back to side 2, we have the new BET segment.
In a world where new music is not easy to find.
[00:04:03] Speaker A: Welcome to New Bets.
[00:04:15] Speaker B: All right, can everyone see the wheel? Well, at least Savino, can you see the Wheel?
[00:04:18] Speaker C: I see the Wheel.
[00:04:19] Speaker B: Frank never wants to see the Wheel. He likes to be surprised that I do. Here we go. This is the New Bets Wheel.
[00:04:38] Speaker C: Phil X and the Drills moving to California. I know Phil X. Don't know the song. Do you know his band at all, Mark?
[00:04:45] Speaker B: I've heard a couple things from him. I don't know a lot that his band does, but I think he's a really good guitar player. I think this should be good. He plays with Bon Jovi. This should be good. So this is Phil X and the Drills moving to California.
[00:05:03] Speaker A: I've got my reasons I'm moving to California the only thing that breaks the sweat and all I fear is regret I'm on my way My bags are packed outside See yeah what I do I have no idea I'm moving Get up for you My friends think I've lost my year but if I stay I'll soon be dead All I am is watching through that door Got a reservation for a hardwood floor Sam.
I've got my reasons Moving together down.
[00:08:12] Speaker C: Tell me if this makes sense to me it sounds like a band that existed in the 90s that just reunited and made a song together.
That's the vibe I get. It's okay. It's not terrible. That thing gets a little played for me. What do you think, Mark?
[00:08:27] Speaker B: I thought it's catchy. I thought it sounded good. I think it was produced well. Did you listen to the drums? What do you think about the drum?
[00:08:32] Speaker C: I'm not crazy about the production. Oh, no, I don't like him personally.
[00:08:37] Speaker B: I thought it was good. I liked it.
[00:08:38] Speaker C: Frank, what do you think?
[00:08:38] Speaker D: Definitely feeling those 90210 vibes in there. You know that classic song that belongs into one of those 90s sitcoms, to your point. Sounds like the band got together and made one more recording. Like it? Production is great. I think it's good. The music is good.
[00:08:51] Speaker C: I like it. Maybe it's just me in the production. We should make a list of songs that should be in movies or TV shows, because that's a comment that we've made many a time.
[00:09:00] Speaker B: I think that happens all the time. If you like it, let us know. If you don't like it, let us know. And let's do a stamp on this. Here we go.
[00:09:09] Speaker C: In a world where new music is not easy to find.
[00:09:15] Speaker A: Welcome to New bets.
[00:09:27] Speaker C: Another one in the books.
[00:09:28] Speaker B: Another one in the books. Okay, the next song is Tomorrow. This was written by Ozzy Osbourne, Zach Wilde Purdell and Dwayne Barron. Let's see how this starts off. Side two.
[00:10:06] Speaker A: Have you read the message?
The writing on the wall?
[00:10:12] Speaker B: Could it be the answer?
[00:10:16] Speaker A: The answer to no?
[00:10:19] Speaker B: What's going on in heaven?
I played with your hair.
[00:10:26] Speaker A: Don't believe them when they dare you.
You'd be better off yeah.
To take away the pain.
Walking on the water Going our best Feeling like I'm walking with no sho Brokenness.
You know you don't have to leave the light out.
I'm so used to being blind.
I give Tomorrow I'll see you tomorrow.
[00:11:40] Speaker B: Welcome.
[00:11:41] Speaker C: I think this is my favorite one so far. I think it's kind of strong. I'm not crazy about that tomorrow part too. Too much. The production is still muddy to me, but overall I kind of like this.
[00:11:50] Speaker B: I do like this a lot. I like the guitar playing in this. I think finally the guitar is in the place it needs to be. It's not. Not push back too much. It's not taking all the frequencies up of everything. This may be my either first or second one. Either Thunder Underground or this. So far, I like the melody I wasn't sure about his range on the first verse. It sounded too low. But I liked in the pre chorus and I liked the chorus. I thought those were good.
[00:12:12] Speaker C: It did sound a bit odd. It sounded affected, though. It's like there's some kind of effect on it. I like his screaming. I think he screams well in this one. And it's screaming within his range, which was my issue with the other one in terms of the way he was.
[00:12:23] Speaker D: Using his voice, that you remember that voice, Classic ozy voice right there with that screaming. So far I'm digging the song, digging the vibe and the guitar playing. Great. Just loving it. Definitely that you hear that classic Aussie screaming there.
[00:12:36] Speaker B: Okay, so here, lyrics. First one is, have you read the message? The writing on the wall could it be the answer? The answer to it all what's going down in heaven? I'm playing with your head don't believe them when they tell you you'd be better off dead and then this is supposedly a pre chorus, but almost sounded like another verse to me. Living in the thunder driving me insane Can I get a witness to take away the pain? Walking on the water Going nowhere fast Feeling like I'm walking with no shoes on Broken glass, you know it. And the chorus is, you don't have to leave the lights on I'm so used to being blind no more goodbyes or yesterdays so it's I'll see you tomorrow I'll see you tomorrow I don't think it was too bad. Lyrics are pretty decent.
[00:13:14] Speaker C: It's definitely in his lyrical wheelhouse. He does have a lot of these kind of sentiments, I think, in his songs.
[00:13:20] Speaker B: Yeah, I think to me, the production here has changed a little bit. Like I said, the guitar yuzu is too far back here. It's right up front. I like the little either phaser or univibe or whatever he's using during the verses. Can actually hear squeals, Zak Wild's artificial harmonic squeals that he does more here than I think in anything else so far.
[00:13:36] Speaker C: To me it's more about when it all comes in. That sort sounds a little bit muddy to me when the drums and everything kick in. Because I do think the guitar sounds really good. And I like the riff. Simple riff, but it's strong.
[00:13:46] Speaker B: This is a good way to start. Maybe this will continue all the way through. Who knows? Let's continue. Here we go.
[00:13:52] Speaker A: Welcome to the sideshow.
I got to do the chase yeah, I can hear you thinking it's going.
[00:14:02] Speaker B: Out the way I don't mean to offend you?
[00:14:08] Speaker A: When I look you in the eyes?
What's all this commotion?
It leaves me misty? By eyes touching all the rainbows falling from the sky?
I know you already catch? Yeah, A bunch of lies?
I'm running out of patience?
Running out of prayer?
You better start to worry? Cause I may not make it back.
All right now you don't have to leave the lights on.
I'm so used to being light Wonder reason to blow me away?
So I'll see you tomorrow?
I see you tomorrow.
Can't wait till tomorrow.
[00:15:50] Speaker D: I never killed anybody.
[00:16:01] Speaker C: Strong for me. I like it.
[00:16:03] Speaker B: I think this may have taken over my favorite so far. I think it's really good. I think all the elements are there for a good Aussie song.
[00:16:09] Speaker D: Oh, yeah. 100. This is the Aussie that I remember. This is what I was hoping the entire album will be like when we first got it. But I guess this track showing up late is better than never. Really glad it's in there. This is great.
It's just classic. Classic. Classic.
[00:16:23] Speaker C: Could be one of those where you like the second side better than the first. It does happen. So far so good.
[00:16:27] Speaker B: Yep. So far so good. Verse 2. Welcome to the sideshow. I'll cut it to the chase here. I can hear you thinking it's all going to waste? I don't mean to offend you? When I look you in the eyes? What's all this commotion? It leaves me mystified? Chasing all the rainbows Falling from the sky? I know your intentions are all a bunch of lies? I'm running out of patience? Falling off track. You better start to worry? Because I may not make it back. All right now. And they changed the chorus up a little bit. You don't have to leave the lights on. I'm so used to being blind? One good reason to blow me away? So it's I'll see you tomorrow. I'll see you tomorrow. And then that little affected voice thing. Can't wait till tomorrow because tomorrow never comes. I've never killed anybody. It was the gun.
I like that little basing that was doing. See, another reason I why I like Thunder Underground. Very similar in that bass thing right before the solo.
All right, I know solo's coming because I heard it. So here we go.
[00:17:48] Speaker A: Sam.
[00:18:39] Speaker C: Touches of 80s in there. Definitely heard some little things.
The very beginning part reminded me a little bit of the solo from Time by Pink Floyd, but good. They gave him some room, which I like. I was wondering if it was gonna end too early.
[00:18:54] Speaker B: I think it Was the best solo on the record, I think. Had a beginning, middle, end. He used the wow. Well, his sound always has a little bit of a chorus on it. That's his 80s thing, I think, happening. I thought it was great. I think it was the best solo.
[00:19:06] Speaker D: Oh, 100. Oh, yeah. Wow. As always, he nails it. He plays the right solo for the song. It's just an art. He just manages to get it going. It feels a little bit of a throwback solo too, so makes it extra special.
[00:19:19] Speaker B: Alrighty. Let's continue. Here we go.
[00:19:43] Speaker A: Could this be the mailman knocking on the door?
I guess Another light, we finally know it.
You don't have to leave the lights on now I'm so used to being blind no one can find so yes, I I feel you tomor go.
[00:20:45] Speaker C: Didn'T really like that ending, But I won't be in a Realize it. This is definitely my favorite song on the record.
[00:20:50] Speaker B: Yeah, this is my. Definitely 100. My favorite song on the record. I think everything is done very well and it could have been a little bit different, But I'm not gonna really judge it on that.
[00:20:58] Speaker C: It doesn't ruin it for me now.
[00:21:00] Speaker D: Yeah, that's definitely. If this is not the highest rated song, I don't know what is gonna be.
This is what, as I said before, this is what I've been waiting for here, this song. Great start to the second half.
[00:21:11] Speaker C: Mark. Are there any more words to read?
[00:21:13] Speaker B: Yeah. Living in the big house Dying by the rail if I wanted your opinion I call you up in hell could that be the mailman knocking on the door? Adjust another lightweight finally evening the score you know it. And of course, again, it's a little bit different. You don't have to leave the lights on. I'm so used to being blind no more goodbyes or yesterdays so it's I'll see you tomorrow. No more reasons to blow your way so it's I'll see you tomorrow. I think it's great. Who wants to go first?
[00:21:37] Speaker C: I can go first. I'll make it simple. I think I'll go.
I thought it was going to be simple.
I was gonna say sevens across. I'll say sevens across.
[00:21:47] Speaker B: Oh, yeah.
[00:21:47] Speaker D: Nikki titty baby.
[00:21:49] Speaker B: It's quintuple seven.
[00:21:50] Speaker C: Is that any trunk?
[00:21:51] Speaker B: Yes, it is. I like the sevens. Sevens are good. Mark, what do you think I'm gonna do? Eights across.
[00:21:56] Speaker C: Quintuple ocho bebe Ted Frank to me.
[00:21:59] Speaker D: The lyric and the melody. I'm gonna give them sevens. Everything else.
[00:22:02] Speaker B: Eights. I Wish everything on the record sounded like this. This is great.
[00:22:06] Speaker C: Definitely my favorite. Hopefully it continues or it doesn't get much worse.
[00:22:11] Speaker B: I hope so. It's a good start. So maybe we can continue with that. Okay. The next song is Denial.
[00:22:42] Speaker A: You are my only daughter I guess I made you twice you look inside my honor he'll give you bad advice I will tell you I'm okay with deep inside I'm afraid I don't drink holy water I'm not the son of Christ I ain't no black messiah and I don't know my Christ.
You can tell me you're alright but why are you so afraid?
You're in denial you never will believe in you denial you always inside you never believe it you never believe.
[00:23:50] Speaker C: I'm waiting it's not hitting me yet. The beginning reminds me a lot of something Sound Garden would do back in the 90s. I think the melody is okay during the verse. I don't really like the melody of the chorus. In general I don't feel it's as interesting as the first one.
[00:24:03] Speaker B: I think say it's very 90s. If I had to pick any decade where this came from. You can feels 90s. It does have that swirly sound garden guitar going on. I don't hate it. I still think I like it more than some of the stuff on the first side. I'm going to reserve judgment but I do agree that the chorus melody is not as good. The verse melody is okay. There's a couple of little lines there. You're like I'm not too sure that works. In general I think I do like it stuff.
[00:24:25] Speaker C: It's not bad. Like I said, I'm kind of like you said to to holding judgment back. I kind of want to write it out a little bit more.
[00:24:31] Speaker D: That opening I had to think about what it reminded me of and it was a song by Medicine Time Baby 3. Hear that song. If you watch the crow or listen to this crow soundtrack, you'll definitely hear it on there. It's very 90s sounding. Especially that beginning part. It reminded me of that song.
[00:24:46] Speaker C: Well we definitely agree it's very 90s. If nothing else.
[00:24:49] Speaker B: I think the swirly guitar does it because it gives you the sound garden feeling. That's a very 90s feeling. Verse 1. You were my only daughter I guess I made you twice you look inside my other he'll give you bad advice I will tell you I'm okay but deep inside I'm afraid I don't drink holy water I'm not the Son of Christ, I ain't no black messiah and I don't load my dice you can tell me your all right but why are you so afraid? And the chorus is, you're in the denial you'll never believe it's you Denial you'll always hide behind the truth you'll never believe it, you never believe it's you. I'm not too sure what this is about.
[00:25:23] Speaker C: It's about self deception, avoiding the truth, particularly regarding one's own identity and flaw.
[00:25:28] Speaker B: Okay.
[00:25:28] Speaker C: Lyrically, it sounds like something he would write, though, I think.
[00:25:31] Speaker B: Yeah, definitely. The writers on this one are Ozzy, Osbourne, Hudson, and Dudas.
[00:25:36] Speaker C: Dudas.
[00:25:39] Speaker B: Yeah. One thing I have to say, but I forgot to say, I thought the drumming on the last one was really good. I like the drum sound on this too. I don't know if it's getting better or I'm just getting used to it. I mean, I didn't like the production on the first side. I think it's a little bit better here.
Maybe they're figuring it out. Here we go. Let's continue.
[00:26:00] Speaker A: I don't think I'm amazing In fact I'm fucking fighting t to live inside my pocket without my plastic chains People tell me every time I look at the round all right, you denial, you never will believe in you denial you always hide behind the never believe it you never believe, you never believe.
[00:26:48] Speaker C: Not bad. I think I liked it better this time around. Again, not 100% crazy about some of the melodies, but the music itself isn't bad. And I would say about as good as anything that was good on the first side. Yeah.
[00:27:00] Speaker B: The one thing I don't like is that the guitar and the chorus. Chorus, for some reason, is not as upfront as it was in the last song. So it takes a little bit of the power away when the chorus comes in. I mean, I like what he's playing. I like that I can hear Geezer Butler actually on this song, which is good. I think what helps it too, is that the verse is half the length on this time, so I think that helps maybe the melody out a little bit.
[00:27:18] Speaker C: And whatever's coming up sounds cool too. Whatever it ended on and whatever's coming sounds like it's pretty cool.
[00:27:22] Speaker D: I'm not digging as much as the previous song. Still pretty cool. I like that 90s vibe and sound. Brawl. It's okay.
[00:27:28] Speaker A: Okay.
[00:27:29] Speaker D: Not as great as the first one, but still good. Better than we heard on the first side.
[00:27:32] Speaker B: Verse two is. I don't think I'm amazing In fact, I'm quite insane to live inside my bucket with all my plastic chains. People tell me every time I look at the wrong. All right. And chorus is the same as it was prior. I do like when they do double verses. That doesn't bother me too much. I do think that the melody does get help. Like I said before, being halfway, just a half and half. Maybe it's easier to digest. It's possible. All right, here we go.
[00:28:32] Speaker A: Ram.
[00:29:12] Speaker C: That was actually my favorite solo. I think he showed off in the best way possible. It was melodic. It reminded me a little bit of something George lynch may have done, too, for a solo there. That was my favorite one.
[00:29:21] Speaker B: Yeah, that one was probably just as good as the last one. He's on a roll so far. I hope this side can continue doing this because it could save the album for me. And then there was that little. I don't know if it was a break or verse. Going to read what it says.
Secrets told you. Dreamland holds you. Secrets told you. You wouldn't believe it, you couldn't conceive it. Secrets hold you, you want to receive it, you got to believe it's you. Then it goes into the solo. And I think the solo is great. Again, I still think the guitar is a little bit. Not as upfront as it needs to be, even on the solo stuff. But I like it. I still think it's great drumming, guys.
[00:29:51] Speaker C: Obviously, he's in the pocket, but it's very simple for him. So I'm not sure what any instructions were given or if he was like, hey, man, I'm just going to go along with the groove. But he's definitely keeping it pretty simple. Or somebody that we all know can beat the out of these drums. I definitely will say that. Yeah. Great solo.
[00:30:06] Speaker D: I think it's going to be a 1B to the first song's 1A in terms of which one I like the most, if that makes sense to you guys.
[00:30:12] Speaker C: It does. It's grown on me.
[00:30:14] Speaker B: All right, let's continue. Here we go.
[00:30:25] Speaker A: Justice. And all the time Denial, you never will believe me to denial, you always hide behind the clue Denial, you never will make me do Denial, you always hide behind the throne yeah, yeah behind the truth yeah, yeah, it's true.
Yeah, yeah behind the truth, yeah, yeah.
[00:31:43] Speaker C: I can hear Mark saying, please fade. Please fade. And you got your fade. Mark, you like the fade?
[00:31:49] Speaker B: I like the fade. Yes. I wish that the end wasn't as long as it was, but, yes, I do like to fade.
[00:31:54] Speaker C: I mean, I know we're doing scores. But obviously if you have more words and everything. But I can't go first this time because I just want to hear what you guys have to say about certain parts of it. I don't know if there's any more lyrics, Mark.
[00:32:04] Speaker B: Yeah, I'm going to read what's left. You're on a trip already. I'm tripping out. All right, I'll get this. Slow and steady Just sit and hold on tight and the outro, which is the chorus. Chorus. I think this is a better chorus than the actual chorus was. I wish they would have done this is the chorus. So it's denial you will never believe it's you Denial you always hide behind the truth Denial you never will believe it's you Denial you always hide behind the truth yeah, yeah behind the truth yeah, yeah, it's true yeah, yeah behind the truth yeah, yeah it's you yeah, yeah Find the truth yeah, yeah it's gonna be all right Just hold on tight I'm gonna go first. I'm gonna say I don't like this as much as the last one. One, I am gonna say seven to cross. I do think. I do think it's very good. And it's definitely better than some of the stuff on the first side. There's only one way to rock and it's Quinniple seven. Nikki Titty Baby Frank.
[00:32:49] Speaker D: I gotta be right there with Sevens all the way across. I really do like the music in this one. Not as great as the first one. As the other song that we keep referring to. Still really good. The lyrics, I like a little bit better melody. Everything about it definitely Sevens across from me.
[00:33:04] Speaker C: Yeah, it's Steve and it's Quintuple seven. Nikki Titty Baby. Fortunately, we didn't have sevens last week, so you never got to play that for him.
[00:33:12] Speaker B: Yes, I know. I was waiting.
[00:33:13] Speaker C: First and foremost, I will bump up the music to eight on the last one. I'm saying that because I'm gonna say seven on the music, five on the melody. I didn't really like the melody in this one. Six on the production, seven on the arrangement and lyrics. I'll say a six as well. It's a toss up between this and Perry Mason. I think right now is my second favorite, but a good one, too. So far. Definitely better than the one two. I think on the second side.
[00:33:35] Speaker B: 100%. Yes. This is so far going good. The next one is My Little Man. And this is Ozzy Osborne and Steve V. I didn't even know they ever wrote Stuff together. Here we go. This is my little man.
[00:34:22] Speaker A: Don't you know I love you more than life and self?
Don't you know that you're my pride And I would not have you walking through this world without me by your side?
Go to sleep, my little mess.
[00:34:45] Speaker B: Don'T.
[00:34:46] Speaker A: You we find it away?
I'd like to keep you with me all your life But I know I can't do that so I must try teaching you the wrong right to keep the vultures from your back Go to sleep, my little man don't you win.
[00:35:27] Speaker C: Call me crazy. I think the song would fit on the elder.
There's a vibe there. Not the very beginning, but the verses and the chorus are kind of remind me of something that could be on the elder. The melody is not bad. I'm just not too sure about this one yet. I'm kind of hoping it just starts ripping soon. It's okay.
[00:35:45] Speaker B: You can definitely tell that Steve Vai wrote. Wrote this because it's a little weird. Just kind of the stuff he does. I'm assuming this is about Jack Osborne. Even though at this time he'd be about 10 years old. I don't know if this is about him. It feels like it's about a personal thing. Feels like it's about his son. I like the sentiment in the. In the lyrics. It's a little on the weirder side. I don't hate it.
[00:36:05] Speaker D: Not liking it so much. Sound a little almost like one of those new wave 80s songs was about to kick off. There's something very different about the song for sure. Not my favorite favorite.
[00:36:14] Speaker B: It's the sitar is doing it. Very Ravi Shankar 60s sitar. Verse one is don't you know I love you more than life itself? Don't you know that you're my pride And I would not have you walking through this world without me by your side. Chorus Go to sleep, my little man don't you weep, my little man. Verse 2 I'd like to keep you with me all your life But I know I can't do that so I must try teaching you wrong from right to keep the vultures from your back Chorus Go to sleep by the land don't you weep, little man. The sentiment's good. I just don't know how it's going to continue. Definitely not as strong as the last two songs. But just it's. It's a weird little song. Let's continue. Here we go.
[00:37:11] Speaker A: Try to steal your breath away.
You can't believe that. No, my spirit will be standing by your side.
[00:38:01] Speaker C: Solo was, to me, the best part of the song. That's my favorite part of the song so far. I actually like the song Lesson less. Less as it goes. But I really like that solo.
[00:38:10] Speaker B: Yeah, I like solo a lot. Now, are we assuming that solo is Zach Wilde? I think it is.
[00:38:17] Speaker C: I didn't see anyone else playing. I looked it up. I was very curious to see if he played. I don't think he. Steve Vai plays on this. I think he just wrote it, at least from what I saw.
[00:38:26] Speaker B: Yeah. I'm not too sure. There's no real thing saying what it is. And other people are saying they're not sure if it's Zach or Vi. I really think it's probably Zack Wilde. Usually I can tell by certain things he's doing. So I didn't really hear very Vi stuff in there. All the backing part. That's so Steve. I like all that stuff behind there. I mean, that's kind. Kind of how he writes.
[00:38:47] Speaker D: Yep. It saved the song for me for sure.
[00:38:49] Speaker B: Okay. Here's what they call a verse, but I don't know if it's a verse or not. And when you're dreaming you can talk to angels so wipe the tears from your eyes and if there's a demon that try to steal your breath away but you can't believe that no, my spirit will be standing by your side. It's very positive. I'm upbeat. Yeah.
[00:39:06] Speaker C: I mean, the lyrics are always sweet. It's the kind of song around that I'm not digging as much.
[00:39:11] Speaker B: The guitar stuff behind it. It's really well done, played well. There's definitely that weirdness that Steve I gets in his writing from just on that. I still think, even with the weirdness, I still like it better than some stuff on the first side.
[00:39:23] Speaker C: I like it better than see you on the other side. I know that. And that other ballad that was on the first side.
[00:39:27] Speaker B: I do like the weirdness, strangely. All right, let's continue. Here we go.
[00:39:36] Speaker A: Believe in the greatest gift of all Believe in Believe me There ain't no mountain that's to come I would gladly get your Take your pain away but what I can carry is my love for you beyond my D.
So be strong, my little man.
You got to be my little man, don't you we.
My little man.
[00:41:21] Speaker C: Kept thinking loneliness will haunt you Will you sacrifice?
That's what kept popping into my head. It's fine. It's okay.
It's okay. It's not terrible. I kind of liked it a little bit. Better as it progressed. Again, Marcus, you were saying the. The stuff kind of going on in the back was a little bit more interesting. Part of the melody I like.
[00:41:41] Speaker B: So Meds Ahmed, since there's all that sitar in there. And Ozzy's a huge Beatles fan. What songs have sitar on the Beatles? There has to be something, right?
[00:41:49] Speaker C: Oh, yeah. The one on Sgt. Pepper, he.
[00:41:53] Speaker B: When I draw blanks, it's okay. I figured that maybe that has something to do with it. Maybe he liked the song because he heard it and had that in it and it reminded him of the Beatles, and that's maybe why I did it. Now when I read the words, it's going to be a little freaky. So I get Frank first, and then I'm going to read the words.
[00:42:06] Speaker D: I don't know. It's okay because I do like the guitar play in this one. Saves the song. The lyrics are. They're nice, but everything else about it's just a little bit different. I don't want to say, say weird. It's just different. To Mark's point, maybe it's that weirdness that makes it really unique and stand out on this side. So far, for me, it's kind of on the fence about it.
[00:42:25] Speaker B: So I'm going to read these words, and now it's going to be freaky because of what just happened. So here we go. You saved me. You gave me the greatest gift of all. Believe me, believe me. There ain't no mountain that's too tall. I would gladly carry your cross for you and take your pain away. But what I can't carry is my love for you beyond my dying day. And the chorus is basically so be strong, my little man when I'm gone, my little man, you got to be my little man. So don't you weep, my little man. Go to sleep, my little man. Don't you weep, my little man. You got to be my little man. So don't you weep, my little man. Go to sleep, my little man. It's kind of freaky that we got this album and this lyric is here. He just passed away. That's kind of weird, don't you think?
[00:43:03] Speaker C: Yeah, a little bit.
[00:43:04] Speaker B: Yeah. It's very strange. Frank, why don't you go first?
[00:43:07] Speaker D: Yeah.
Again, it's one of those songs that I feel that if you listen to it a second and third time, it'll start to grow on. On you. Mark. When you put in that perspective, it's like, okay, well, this gave the song a different look, a different dimension. I'm gonna give it seven on the lyrics, seven on the melody, eight on the music, and then seven on production and arrangement.
[00:43:25] Speaker B: Seven, what do you think?
[00:43:26] Speaker C: I will say six on the lyrics, five on the melody, six on the music, six on production, and six on arrangement. Within you without you was a big sitar song for the Beatles. And if that's the one that I was thinking about, couldn't remember the title. Mark, what do you think?
[00:43:41] Speaker B: I don't know. I mean lyric wise now that it's freaking me out that having those lyrics on there and we he just passed away and obviously this is something you would be thinking of that you're going to tell your son to be strong and blah blah blah. It's kind of just a little freaky. So I'm gonna say seven on the lyric, six on the melody. The solo was great. I'm gonna do seven on the music and the weird sitar stuff behind it. I kind of like that 6 on arrangement, let's say 7 in production. I don't think the production is bad at all. It's just so weird. Like I started to read the lyric, I'm like, well that's kind of weird like how this is just happened to be kind of Coming up. The next song is my Jekyll Doesn't.
[00:44:13] Speaker A: Hide Sam Condemned to violence Arrested by pain inside the soul As a man Insane Conceiving anger Addicted to.
[00:45:26] Speaker C: Day.
[00:45:31] Speaker A: Beware the contradiction beneath the crimson void it's.
[00:46:17] Speaker C: Probably the most sabbat sounding song I would say on this rock record. It's a good riff. I actually like the production of this. Whatever it is, I think it works. My only complaint so far is like what I assume is the chorus. It doesn't go anywhere. It feels like a pre chorus. There should be something after that. And then Mark, I'm sure when you read the words there's a weird thing that he's doing. I don't know if it's supposed to rhyme or just doesn't matter but it's kind of odd.
[00:46:39] Speaker B: The riff is really good.
The writers on this are Ozzy Osborne, Geezer Butler and Zach Walter Wild. So that's maybe why it sounds like sad.
[00:46:49] Speaker C: There you go.
[00:46:50] Speaker B: It's really strong. It's melody aside, the riff's crushing. It's great.
[00:46:53] Speaker C: I like the melody in the verse. I really like it goes along with the riff. The chorus is not terrible. Just feels like a pre chorus. There should be something after that. So maybe there's going to be a bridge or something that kind of brings it to the Next level later on. But yeah, I mean riff wise, this is strong. This is like Frank was saying. 1A, 1B.
[00:47:09] Speaker D: For me, my thoughts are right on par with all of you. This is very savage sounding. After hearing the writers, makes a ton of sense that it does sound very Sabbath.
Wait to listen to the rest of it. Like you said, Seth, this might be my one beat.
[00:47:22] Speaker B: Verse 1. Condemned to violence arrested by pain Inside the soul lies a man insane Conceived in anger addicted to hate the mutant child of a twisted state Chorus Beware the contradiction beneath the crimson void Cuz in this world of fiction my gel doesn't hide I think that's the part right there that throws it off. It's just cuz that part doesn't rhyme and everything else is rhyming. Maybe. I don't know.
[00:47:43] Speaker C: That's the devil to me. The rhyme stood out, but just in general, feels like the chorus didn't go anywhere really further than the verse. Let's see what he does later on.
[00:47:52] Speaker B: Yeah. All right, let's continue. Here we go.
[00:48:13] Speaker A: Behind the mystic that what they see Unholy soldier, disciple of sin what kind of fire are you living in?
You're breaking rhythm solution don't you make genocide behind this resolution Sam.
Waiting to die for the very first die all right, that's right Waiting to die for the very first die all right, that's right.
[00:50:13] Speaker C: I actually like his scream there. It reminds me of him screaming in the first song of the side. It was within his range, it was powerful. I think it elevated melody to me in the chorus and even that are the only things that are holding me back a bit. But again, overall, just a great riff.
[00:50:30] Speaker B: Yeah, I think that the riff is great. I think the playing is great. Not even saying anything about the drumming. He's doing a great job on the drums.
[00:50:36] Speaker C: Everybody's doing a great job. Yeah, I mean, it's production wise, I think to me this is the best produced song for me personally. I'll also say that this is going to get my highest production score. There's just something about it that's just sounding all right to me.
[00:50:49] Speaker B: Guitars are way up front. I think that that's a good thing. One of the songs prior, that wasn't the case, but I do think they're doing a really good job on this.
[00:50:56] Speaker D: This one checks all the boxes. This song right here, again, you can't just say enough about the guitars. It's just so good. And this one here, the bass and the drums are up front. Simple. But they're still. They're Right there in the pocket keeping things going. The production is great.
[00:51:10] Speaker B: Verse 2. A killer smile with a psycho star dream behind the mask Things aren't always what they seem Unholy soldier, disciple of sin what kind of mind are you living in? Chorus, you're preaching revolution don't you mean genocide? Behind this resolution My Jekyll doesn't hide that's at least a little bit better. Definitely that does fix the chorus. If they can continue to do that.
[00:51:30] Speaker C: Genocide and hide better rhymes.
[00:51:34] Speaker B: Now the bridge is a little freaky, too. Waiting to die for the very first time all right, that's right Waiting to die for the very first time all right, that's right Waiting to die for the very first time I don't give a damn I think it's my time.
[00:51:46] Speaker C: My time that I part I could do without personally.
[00:51:50] Speaker A: Yeah.
[00:51:50] Speaker C: And there's certain things where they kind of ruin the song in sense of. Well, I kind of wanted to do this, and it kind of stayed here. It's not ruining the overall vibe, but to me, the riff and the verses are really carrying the song. I'm really digging that part of it.
[00:52:05] Speaker B: All right, let's continue. Here we go.
[00:52:10] Speaker A: Ram Sam.
[00:53:03] Speaker C: Beginning part of that solo sounded as if there were three Zach Wilds playing at the same time. Said, let me cram it everything I do into the beginning of the solo. It was really cool, though, the way it was done.
[00:53:12] Speaker B: I can't tell you if there was more than one guitar going on, because it felt like there was two guitars playing different things on One on the right side, one on the left side. I was trying to listen to both. I'm like, are they playing the same thing or. They're not. I'm not too sure. It's another great solo. Perfect for the song. I don't know what else you could say.
[00:53:26] Speaker C: I felt like Rocky. He's like, I see three of them. Punch the one in the middle. That's what it was like.
[00:53:30] Speaker D: There was solo guitars all around me. It was surrounding sound.
[00:53:33] Speaker B: Let's play it out. Here we go.
[00:53:58] Speaker A: Dementia, subversion, ideals, God only knows what your secret concealer in your.
[00:54:57] Speaker C: I know you prefer the fade mark, but I think that song ended exactly how it should have.
[00:55:00] Speaker B: No, that needed to end that way. And I gotta say, he needed to write this whole record with Geezer Butler. Whatever happens when the two guys write the better songs realistically, you know, except for the first two on this side, one on the other side. Thunder Underground and this. I think the album would have been better if he was Involved on all the writing. That's just my opinion. Verse 3 is the symbiosis of murder and lies what do I see looking through your disguise? Fourth Reich, dementia, subversion, ideals God only knows what your secret conceals. And the last chorus, again, better because the rhyming is better. Who will be the first offender? Who will be victimized in your perverse agenda? My Jekyll doesn't hide. I think it fixes the chorus for me anyway.
[00:55:38] Speaker C: I agree. I'll go. I'll say seven on the lyrics, eight on the music. Music ain't on. Production, six melody, six arrangement. I wasn't too, too crazy about that part in the middle, but I mean, overall this is probably my second favorite song on the record, I would say. Mark, what do you think?
[00:55:53] Speaker B: I don't know if it's my second favorite, but it's in the top three definitely. I'm gonna give seven on the lyrics, seven on the melody, eight on the music, seven on the arrangement, and eight on the production. I think it was produced very well. It's very Sabbath sounding. Again, if you could have him co write with Geezer Butler on this whole thing, I think the album would have been awesome. There probably would be a lot less dead spots than there are. Frank.
[00:56:13] Speaker D: Seven on the lyrics, seven on the melody, eight. Everywhere else the music is just great. The one thing I have to say that even on the other side, it wasn't that great. The music was still there, the musicianship showed up. That's what I've liked so far about this album. But this song, for me, it's really great. And to your point, Geezer Butler was involved. We would have a much different looking album probably.
[00:56:33] Speaker B: Okay, so the last song is Old LA Tonight. Osborne, Wild and Purdell. Here we go. This is the end of the side. See how they ended strong.
[00:57:06] Speaker A: Sam.
Look into the future look into my eyes and tell me everything's all right Tell me where we're going I'm so afraid Cause I don't know what's going.
[00:57:54] Speaker B: On with my life.
[00:58:24] Speaker C: If this song was sung by Elton John in the 70s, it probably would have been a good song. I mean, right now I'm not feeling it.
[00:58:30] Speaker B: It's a little mushy. I don't think it should have ended this way. I would have rather they flopped the songs. And this would have been right before and ended on my Jekyll doesn't hide. It's okay. It's not horrible. No, it is very Elton Johnny.
[00:58:43] Speaker D: I was really hoping for a different ending. Yes, I Agree with you, Sam. This was Elton John in the 70s. Would have been great. But after hearing so many great songs on this side to end like. Like this, I don't know. A bummer.
[00:58:54] Speaker B: Verse 1 Look into the future look into my eyes and tell me everything's all right Tell me where we're going I'm so afraid because I don't know what's going on with my life, of course. But it'll be all right tonight Will it be all right tonight? Are we doing all right in old LA tonight? I don't know why this is on here. I just think he could have done something better at the end of this. No. Hold my criticism until I hear more of it. Maybe there's going to be parts of it that I'm going to go, oh, this is great. I don't know yet. I'm just not feeling it right yet. Here we go.
[00:59:22] Speaker A: Sitting by the ocean Mapping out my plans of action Baby, they include you I wish you'd send a message maybe I'm just better off not knowing who knew?
Brave be all right tonight I'm going to be all right tonight I'll be doing all right I'm falling to the be and I never know why I'm.
[01:00:32] Speaker C: I don't know what to say. It's a terrible middle of the crown. I mean, even that part, the next part. What if. I don't know if that was a chorus or whatever the that was. It's not bad. It's catchy. I'm kind of shaking my head side to side with a little make believe lighter in the air I probably wouldn't go back to. Do you have to put a gun to my head to listen to it again? No. I like this better than see on the other side for whatever reason. It's okay. Just the ballad Mark, what do you think it has it grown on you or you still kind of middle ground?
[01:00:57] Speaker B: It's middle. I don't hate it. I just don't think it's his song. It doesn't feel like his song. Just some of the words and stuff. Doesn't feel like it's something he wrote. I don't know how. How much he had involvement in this. It just feels like, hey, we got this song. It's very catchy. Maybe we can get some airplay with it. Doesn't feel like a song that he did.
[01:01:13] Speaker D: I definitely won't be going back to this one anytime soon. So far it's kind of like what we're expecting. Not a strong finish to what has been Otherwise, a great side beat.
[01:01:23] Speaker B: Agreed. Verse 2 Sitting by the ocean Mapping out my plans of action Baby, they include you I wish you'd send a message maybe I'm just better off not knowing who, who knew but it'll be all right tonight I'm going to be all right tonight Are we going all right in old LA tonight? They say this is the chorus, but doesn't sound like the chorus. Those summer nights might look into your eyes I'm falling to pieces Pieces out of my mind I never know why I'm falling to pieces Pieces doesn't feel like an Aussie song. I don't know why. It's really strange. Well, let's see if there's going to be some kind of solo. Here we go.
[01:02:49] Speaker C: Whatever reason that reminded me of the build up of November Rain, I was waiting for that solo to come in. Not that this song sounds like it, it just. There was something about it.
[01:02:57] Speaker B: I was thinking the same thing and I do think that because maybe it sounds like something that Elton John would do and I think November Rain sounds like something Elton John would do, that they kind of sound the same. Maybe that's why I just think it's so generic for him. I think this was pushed on him. Keep saying that doesn't feel like something he would would do.
[01:03:14] Speaker C: But he's into the ballads though. I mean, he's always kind of been right. He's always kind of had that ballady thing. I don't think it's off from him. And I think technically, since See you on the Other side was played, this could have been played on the radio. I don't know if it was a single, he still could have squeezed an Aussie ballad onto the radio. I've never been a massive fan really though, when he kind of slows it down, especially coming in from the song before, it's just generic to me. It's like kind of a generic ballad.
[01:03:38] Speaker D: I don't think balance is in Sporte. You should just stick to his traditional signature screaming, getting out there, getting in your face kind of music music and just leave the ballot to somebody else. I do hear the similarities with November Rain, now that you mention it, with that build up to the solo and the epic finish to the song in November Rain. I wonder if we're gonna get that here.
[01:03:59] Speaker B: I don't know. I mean, the solo was great. I mean, he's always doing a good job on that. He could almost save the song with the solo, possibly to make it at least feel like it's not just a Waste of time. I don't hate the song. It's just like Frank said. And like you said, it's just very generic. All right, let's finish it up. Here we go.
[01:04:16] Speaker A: Who could imagine such a thing could happen to you?
It's going to be all right I When I look in your eyes I fall into Princess out of my mind and I never know why I'm falling to pieces P It's going to be all right get out.
[01:05:12] Speaker C: I'm glad it ended there. I really thought it was going to be one of those things where it kind of kept going and going. I didn't see how long. The song was not a terrible song.
[01:05:21] Speaker B: It was 4:51, so it was about the right length that it needed to be. I'm glad it didn't extend past the end of that. I just don't think it feels like an Aussie song to me. I know he does ballads. He's done other ballads. Do you remember any other song he's written about LA ever in your life? I don't know. Weird sounding.
[01:05:36] Speaker C: That summer night stuff is odd. That really struck me as odd.
[01:05:39] Speaker B: I'm going to read the last part. Who could you imagine such a thing could happen to you? It's going to be all right in old la. And then back to that summer nights thing again. Yeah, that part doesn't feel Aussie either. It's very strange and it's not bad. The melody and stuff is not bad. Done by someone else. I think it could be better, but by him it's just like, eh. I'll go six on the lyrics. I like the melody. It's a good melody. 7. I think music wise it's played very well. I'm going to say seven. Arrangement. I'm going to say six. Six and production. I think it wasn't produced bad. I'm gonna say seven is getting higher scores than I would think it would get because the song itself is okay. Just. I don't know about him singing the song. I don't know. I mean, I can't give it bad things because it's not bad. It's just not for him. Frank.
[01:06:17] Speaker D: Not a terrible song if it was sung by somebody else. For Ozzy, for me, it doesn't make it good. The solo definitely saves it for me all day long. I think they could have finished on a stronger song than this one. Hate to do this, but the lyrics, the melody. I'm gonna give those fives the music. I'm gonna give that a.
Give that a six. And arrangement of Six.
[01:06:37] Speaker B: I'm starting to question my scores right now.
[01:06:40] Speaker C: Do you want to question them even more?
[01:06:42] Speaker B: No, I. Before you go, I think I'm gonna go back and revise. I'm gonna do five on the lyrics, five on the melody, seven on the music, six on the arrangement, and I'm gonna leave seven on production because I think it is produced very well. I have to think it someplace. I gave it too high of A scores for things that I can't really justify. It's just not a bad song. Like Frank says, it's not a song for him. All right, now you can go six.
[01:07:00] Speaker C: On production, five on everything else. Nice and simple. I don't think it's horrible. Okay. With him doing ballads again. I just feel it's kind of generic in the summer night thing and the LA thing. Listen, he can sing about anything, especially whatever number album this is. It's not about him. The second side, I think, was definitely better than the first side. And this one was very generic compared to everything else that was going on on this side. I mean, even the Steve V song, which was kind of slower, was definitely more interesting.
[01:07:24] Speaker B: It definitely was a better side. I think it was a much stronger side than the first side. I'm happy about that. Overall, the album got a six, so it's not horrible. Second side, to me, is super strong. There's a bunch songs on that second side. I could see a couple songs from the first side and three songs from the second side getting on a playlist. It's not the worst thing I've heard. This is 95 too. This is in the middle of grunge. To have an album like this. That does have some 90s influence on it, though. It's definitely a different Aussie. There's nothing wrong with that. I think it was all right.
[01:07:51] Speaker C: I'm always happy when the second side is better than the first. I find that a cool thing to happen because second sides do get some bad raps in music, especially if something is front heavy. I don't think feel that this look really was because we didn't know it as well, other than the two signals. And Mark, you didn't even remember see on the other side. But I remember that it's cool when the. When it kind of flips like. And that's kind of what I was hoping after being a bit disappointed in the first, there would be some standouts on the second, and it definitely were.
[01:08:17] Speaker D: The second site definitely saved. It makes me wonder, again, one of the questions we sometimes ask, which songs got recorded first and placed where and why they got placed in that location.
[01:08:26] Speaker B: Location.
[01:08:26] Speaker D: Definitely a second size. Saved it. I think Mark had made mention of it the last time we were together that it's an Aussie song. You can't like them all. You can't like all of his albums. You want to, but you just can't. And I think this is one of those that you don't hate it, you don't love it. It's just one of those middle of the road kind of recordings albums that he dropped on us.
[01:08:45] Speaker C: I watched a couple of rankings after we did the first side. It's pretty funny. Some people actually place this toward the top. Pretty much everybody says Blizzard of Oz is their favorite. This one. Some people had number two, some people had toward the bottom. It's very divisive. Not too many people had it in the middle. It seemed they really, really liked it or they didn't really like it. I think we fall in between. I'm glad we did this for the Prince of Darkness who was supposed to be a nice guy.
[01:09:09] Speaker B: He's not around anymore so this is all we have for him. You know, I'm hoping we get in a regular spin. I hope we get a actual Ozzy Al, which would be nice too if we do get a regular spin. Ozzy Admiral have to take it because this was a one off just because of his passing and stuff. So hopefully we did some kind of justice to some kind of tribute to him. And hey listen, in general he writes decent stuff. This is a middle of the road album. But that's not a bad thing. You know, at this point in his career in the middle of the 90s, nothing to be ashamed of here. It's not a bad album at all. Not great. It's not Blizzard of Oz. Can't have every album be Blizzard of Oz. Alrighty, Sav. Do you think we are part of.
[01:09:42] Speaker C: The Deep Dive Podcast network? Like I always say, a great bunch of guys took us in with right away. If you want individual podcasts about bands, check them out. We got Uriah Heap, Judas Priest, Rush Rash, you name it, it's probably on there. So definitely check them out. Remark. Where can they find us on the.
[01:09:58] Speaker B: Interwebs, rock with the pod and all the social media. Rockwithlightpodcast.com go over there, buy some merch, vote on the polls, shoot us an email about an album we could put on the list or a new bets and put us on auto download so you get us every week and give us five stars wherever you rate your podcast. Podcast. Next episode is our three year, so we'll be doing a Hendrix album. Which one? Who knows? Next week we'll have our third anniversary. I can't believe it's three years.
[01:10:21] Speaker D: Oh, my goodness. Already?
[01:10:23] Speaker B: Yep.
[01:10:23] Speaker C: Huh.
[01:10:25] Speaker B: All right, I guess we'll see you next week.
[01:10:27] Speaker C: Ciao. Ciao.
[01:10:28] Speaker D: Take care.
[01:10:29] Speaker B: Later.
[01:10:39] Speaker A: It.
