Episode Transcript
[00:00:04] Speaker A: This is our musical reaction breakdown and commentary analysis of this song. Under Fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship, and research.
These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now onto the Rock Roulette Podcast.
[00:01:03] Speaker B: Foreign.
[00:01:14] Speaker C: Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1, 500 albums, stuck them in a list, stuck them in a wheel and typically every other week we spin the wheel. She picks a record for us and we go through a track by track. We talk about the music, the lyrics, the production, the melody and the arrangement and we give it scores. Bunch of friends who wanted to do a podcast. We really want to thank everybody who's listening again. We've had these really big listening upticks recently and whoever you are, thank you so much. Hopefully you're spreading the word. If you're catching up on the back episodes, I hope that means that you like us to listen to whatever we talk about, whether we know what we're talking about or not. Just really appreciate, spread the word and let us know what you like, what you don't like. I always put Mark on the spot, but he typically gets back pretty quickly because we really appreciate any type of comments. Again, thank you so much. And we are a duo again. Tonight we have Mark. Oh hi Mark.
[00:02:08] Speaker D: What's up guys?
[00:02:09] Speaker C: And I'm sad. Ciao Buena said Last week the Wheel picked a metal classic for us, Motorhead, Ace of Spades, which Mark and I, other than the song itself, had never heard. I know we mentioned it before and it's probably sacrilege not to know Motorhead when you're a metal fan, but sometimes the circles you travel in, they favors certain bands over the other ones. I'm really glad that we got this because we both thought it's a pretty strong side. So far it's simple metal. I think that the only thing we may have a little bit of criticism some of the melodies, but musically it's been pretty good, pretty solid production. I definitely like the guitar solos and what's going on. I think he's doing a really good job. I mean the bass playing and the drumming, they're all pretty good. It's a pretty solid side and I'm really glad we got it. What are your thoughts, Mark?
[00:02:55] Speaker D: Yeah, I was very surprised. I didn't know what to expect from this. I always heard the name Motorhead. I always thought it was kind of be cheesy metal. I mean, there's a little bit of that in there too. His lyrics, he writes about weird stuff. His road crew, spaghetti, western movies. I gotta say, he writes a lot of lyrics and everything's always different. Choruses are different, maybe to the detriment of having a chorus that's very memorable. He just writes and writes and writes and writes. He doesn't reuse anything. So from that standpoint, you have to give him props to be able to write that much lyrics so far. I think it's great.
[00:03:25] Speaker C: It's fun. It's. It's just pure metal. It's definitely got some punk influence. When you put it in the realm of what it is, I would say it's just kind of straight up metal. I'm excited for side two. Before we get to side two, we have the Baby Wheel and the New Bets.
[00:03:40] Speaker D: In a world where new music is.
[00:03:44] Speaker C: Not easy to find.
[00:03:47] Speaker B: Welcome to New Bets.
[00:03:56] Speaker D: Okay, here's the New Bets Wheel.
[00:04:10] Speaker C: Notice we've had on the Mama Wheel. The Pretty Reckless for I Am Death. I don't follow them, honestly, but. Did you know that this was out, Mark?
[00:04:19] Speaker D: Yeah, I seen some kind of a post. I didn't listen to it, but I did see a post that it was out. I think we liked them when we had their actual album on. I thought we liked them a lot.
[00:04:27] Speaker C: There was some good stuff on there from what I remember.
[00:04:29] Speaker D: You know, they're taking a little bit of time off, so I'm curious to see what this is like. It's a very foreboding title.
I wonder if it's going to be as heavy as the title indicates.
[00:04:38] Speaker C: I hope so.
[00:04:38] Speaker D: Yeah, me too. All right, so this is For I Am Death by the Pretty Reckless.
[00:04:58] Speaker E: Something wrong with me I could but I didn't breathe there's something wrong with me I like autonomy away from all Something wrong with me there's something wrong with me I can feel needles in my hands Feel the needles in my bones Crawling up my spine Where God only knows For I am deaf and I can feel I got my hands upon the wheel I am not lost For I have found the only one who put me down For I am dashed and I won't break I got a life I got to take when we're in endless suffering I blame it was nice to know you I'm not gonna have a feel from a Magaz there's something wrong with me there's something wrong with me I can feel the needles in my hands Feel the needles in my bones Crawling up my spine where God owns For I am dead and I can feel I got my hands up on the wheel I am not lost For I have found the only one who put me down down For I am death and I won't break I got a life I got to take when will it end this suffering of Bl it was nice to know you in the back of your mind Waving dark is blind Waiting for.
[00:07:20] Speaker B: Sign.
[00:07:22] Speaker E: Waiting for your time Time to come but you can For I am death and all alone so many years out on my own and everyone just runs and hides away Hides away from.
[00:07:49] Speaker B: Me.
[00:07:51] Speaker E: For I am dead and I can feel I got my hands up on the wheel I am not lost For I am found the only one who put me down For I am death and I won't break I got a life I got to take when will it Endless suffering of Blade it was nice to know you.
[00:08:20] Speaker C: If it makes sense. I like the parts better than the sum. Not all the parts, but there's parts that I really like and parts where I'm like that banana in it. The verse is something without a doubt. I can't think of what it is, but it reminds me of something. I really like the part after the solo where it gets really heavy and I like the outgoing chorus where just. It's heavy throughout. Arrangement wise, I think it's very interesting. It's not a bad song overall, I guess. I'd like to hear it again. What do you think?
[00:08:48] Speaker D: I was going to say same thing. I think the parts are better than the song. I like the beginning and then it got soft. That makes sense. It started off really good. Then when the verses came in, I don't know, it just changed. Even though they were playing the same kind of stuff, it was just weird. I like her vocals. I think she does a good job together. Whether I like it as a song, I do like a lot of the pieces.
[00:09:07] Speaker C: Exactly. She gets loud at some points too, I think. A little bit above distorted. I don't like the sound of the drums. I hate to keep saying this. That would be my thing. You know how you have your thing.
I hate to keep harping on that. There's times when the snare actually sounds ok. Not only her, it Gets distorted.
[00:09:26] Speaker D: At some point, I thought the drums were better. I thought that the snare actually sounded like something real. Now, whether that was real or whether that was sample, I don't know. I don't feel as if the drums were just like every other drum sound. So that's why I'm hoping it was real. Most of the time it sounds the same. This time I don't think the snare sounded the same. Thought it sounded a little different.
[00:09:44] Speaker C: I think that's what it was. There was one part where I thought it sounded really weird. But think the production is. That's what it could be ultimately too. Because there were times when I said, oh, what the hell is that snare sound? But then there were parts I was like, okay, it sounds cool. Now it's just odd.
[00:10:00] Speaker D: Maybe we'll get the album when it comes out. I haven't put it on the wheel yet. I haven't seen what the album is. Generally, I like what she does. I don't know if this will grow on me by listening to it a little bit more. If you like it, let us know. If you don't like it, let us know. Reach out on social media and let's rubber stamp this in a world where.
[00:10:17] Speaker C: New music is not easy to find.
[00:10:21] Speaker B: Welcome to New Bets.
[00:10:30] Speaker D: Let's continue. This is side two and we're starting off with Fire. Fire.
[00:10:51] Speaker B: Promise you. Do you have a light? Did you light me up tonight?
I'd like to see a burning down why don't you let me light your fire?
Why don't you let me stone you? Liar.
Holy cows. Give it up. And loud like. What should I do? I reach for you.
You're quick to learn. I love to watch you burn.
Come anytime. I've talked you out.
Only you can create a flame.
Only you can scot your dream configuration.
Strike six. Strike eight.
I think you're great.
[00:11:49] Speaker C: Oh, I like that. That's for sure. A little bit of drums on their own.
[00:11:53] Speaker D: That was cool. I liked it.
[00:11:55] Speaker C: Slightly similar to Ace of Spades. The melody is a little bit different. Maybe it's just the progression of the song. It's bit of the melody I'm not crazy about because I do like the music, but it's not terrible.
[00:12:06] Speaker D: Yeah, the melody is a little bit. Not as strong as Ace of Spades. It's very Ace of Spadesy, if that's a new term.
I think it's. The tempo is very similar. Maybe even the drum ports are a little similar. So here we go. Foxy, do you have a light? Foxy lady. Fire. Fire. Is this a Jimi Hendrix reference?
[00:12:22] Speaker C: You know, I didn't even put that two together. Isn't that funny? Foxy and fire.
[00:12:26] Speaker D: Yeah, so foxy. Do you have a light? Can you light me up tonight? I'd like to see you burn me down. Why don't you let me light your fire? Why don't you let me stroke you higher? Is a Doors reference, too. I think the chorus is Fire. Fire. Holocaust. Fire. Fire. Giving up for lost. Fire. Fire. Strike one. Strike two. Firefighter, I'm a match for you. Verse two. You're quick to learn. I love to watch you burn. Come anytime, I'll torch you out. Only you can create the flame. Only you can scorch my brain. Fire. Fire. Conflagration.
Firefighter. Hellfire. Damnation. Firefighter. Strike six. Strike eight. Firefighter. I think you're great. I think you're great. I don't know about that.
I do like the chromatic chord thing up into the little drum part. All right, here we.
[00:13:36] Speaker C: I like that as well. These musical breakdowns are really my favorite part of everything. It's loud, it's aggressive.
[00:13:43] Speaker D: One thing I've noticed, he's very clean. For someone who goes in with reckless abandon, there's not a lot of flubbing going on. He's super clean.
[00:13:49] Speaker C: I agree.
[00:13:50] Speaker D: Yeah, I thought it was good. I thought it fit exactly where it should be. Sounds very off the cuff, which I like. Awesome. So far. It's a good way to start. All right, here we go.
[00:13:57] Speaker B: You get. Put me out.
There ain't no doubt.
You ain't nowhere near safe with me.
You ain't the first dude, turn me down.
You ain't the first to turn me around.
Big black smoke ain't no joke.
Out again.
[00:14:55] Speaker C: That is super short. How long is that?
[00:14:57] Speaker D: 1, 2? 43.
[00:15:00] Speaker C: I didn't think it was that long.
[00:15:02] Speaker D: Verse three is, you can put me out, but there ain't no doubt. You ain't nowhere safe with me. You ain't the first to turn me down. You ain't the first to turn me around. Fire, fire. Big black smoke. Fire, fire. Ain't no joke. Fire, fire. Strike nine. And then fire, fire. You strike out again. I like that. At last, two lines. Those are cool. I'll go first. I'm gonna say six on the lyrics, five on the melody, seven on the music, six on arrangement, and seven on production. I thought it was pretty good. It's a good opening start. I'd like that. There's possibly Jimi Hendrix and Doors references in there. I thought it was pretty cool. I liked it. What do you think?
[00:15:35] Speaker C: Four on the lyrics. Sorry.
I'll say five on the melody. Six on music and arrangement, seven on production. Oh, you know what? I'll say seven on a ranger, because they did that little back in the day. You're flipping this over and you're putting this on as you're going into side two, and you're like, okay, that's cool.
[00:15:56] Speaker D: Yeah, so far, it's starting out good. Now the next song is Jail Bait. We've talked about this. A lot of bands have done this. This is 1980, so this is still going on.
[00:16:05] Speaker C: He just fucking named the song the Effort, though. He didn't even try to hide it. Let me tell you what this song is about.
[00:16:11] Speaker D: He's not hiding anything.
This is what it is, all right. This is jailbai.
[00:16:36] Speaker B: Hey, baby, you're a sweet young dam still tied to mama's apron strands.
I don't even dare to ask your age.
I'm just happy that you're backstage.
You're a jail bait J.
[00:17:16] Speaker D: Baby, all.
[00:17:17] Speaker B: That means made up my mind like miss me?
I don't even want to know your name.
It's enough to know you feel the same.
You're jailblaze and you feel just great.
Jailbreak, baby, come on.
Oh.
[00:17:48] Speaker C: Oh, boy.
Musically, I think it's really good. I like the riff and actually don't mind the melody, but. Oh, let me.
[00:17:56] Speaker D: Again, a different time. Not that this was acceptable then.
[00:18:00] Speaker C: Hey, listen, it's not as if people aren't singing about this now either.
[00:18:03] Speaker D: But he's not even trying to hide this.
[00:18:05] Speaker C: Oh, no.
[00:18:05] Speaker D: This is not even like Christine 16, which is not hiding it either. Technically, yeah, it's just as bad, probably. Except he's actually calling the actual name that you would use.
I think some of the words here are incorrect on this transcription, so I'm just going to read what's here, But I think they're wrong. First one. Teenage baby, you're a sweet young thing still tied to your mama's apron strings. I don't even dare to ask your age. It's enough to know you're here Backstage chorus, you're jail bait and I just can't wait. Jail bait, baby, come on. Verse two, one taste, baby, all I need my decision made at lightning speed. I don't even want to know your name. It's enough to know you feel the same. Jail bait, I just can't wait. Jail bait, get down. I don't think that's correct. I think that's wrong. You get the gist.
He hasn't said age yet. Technically, could this be 17 and a half year old girl? In some states you would be legal. He's not saying you're 14, you're 13, you're 15.
[00:18:55] Speaker C: Well, he's called her jail bait, so she cannot be legal, right?
[00:18:59] Speaker D: Yeah, I guess not.
Yeah. Well, to see the underbelly of the rock world. Let's continue.
[00:19:10] Speaker B: Youngster, it Jail base, baby get down.
[00:21:03] Speaker C: It's heavy. The arrangement, I think, is great. Musically, it's one of my favorite. Lyrically, I'm assuming it's going to be my least favorite. It's heavy. I like the production.
[00:21:12] Speaker D: The music is great. Production is good, but the lyrics are cringe, cringe, cringe. So you can go first.
[00:21:18] Speaker C: I have to say zero on the lyrics. We'll go sevens on everything else. It's gonna do eights, but I'm not sure. So I'll say sevens. Musically, it's up there really good. What do you think?
[00:21:27] Speaker D: I'm gonna do the same thing. He's not even trying to hide it. Try to hide it a little bit. If you try to hide it, I might give scores a little bit over zero if you tried to hide it. But there's no hiding going on here. He's just calling her jail bait.
Okay, the next song is dance.
[00:22:11] Speaker B: Give it all you got ready or not if you want to shake it up if you want to feel so cool get down with them girls get down your dancing pool Tilly bones are tired Tilly feel inspired get your hormones fired.
You dance in Wired.
[00:22:42] Speaker C: I like the riff. I don't like the melody in this one at all. The verses or the chorus. The main riff is pretty cool. The drums are very Beatlesque. If you listen to it, the production and the sound of what's going on, they sound very Beatlesque.
[00:22:55] Speaker D: I have to agree. Yeah, the melody's not great. The riff is good. I like the music behind it. I mean, he likes to do the one word chorus thing. Damn. Fire. Fire. I didn't read the third verse of Jailbait, but it's fine. We're good. We all understand what that is.
[00:23:08] Speaker C: Before you get to that, I just have to say something funny. I had lyrics up for that song. There's a picture of Lemmy with his hand around a teenager. I'm assuming it's AI unless it's real.
But I'm like, really? You had to drive that point home.
[00:23:21] Speaker D: Well, he's not hiding it, dude.
Verse one. If you want to feel good, if you want to feel all right. You want to shake your stuff? Get some rock and roll tonight. Chorus, Dance till your shoes are hot. Dance to your nerves are shot. Dance, give it all you got. Dance, dance, ready or not. Verse 2. If you want to shake it up if you want to feel so cool get down with them girls. Get down, you dancing fool. Chorus. Dance till your bones are tired. Dance till you feel inspired. Dance, get your hormones fired. Dance, dance. We're dancing Wired. Yeah. I mean, the birds are all right, I guess. He likes dancing. He likes gambling.
[00:23:51] Speaker C: A lot of dancing in metal music.
[00:23:53] Speaker D: I bet you he wouldn't call himself metal, though. He probably calls himself rock and roll. He's dancing, he's gambling. He's a cowboy and he has jill bait.
This is what I'm getting. Oh, let me. All right, here we go.
[00:24:23] Speaker C: That was okay. That was very short. That could be my least favorite solo.
[00:24:26] Speaker D: It was fine, though. I don't think there's anything wrong with that. No, no. Similar to what he does.
[00:24:30] Speaker C: It didn't hit me like the other ones. And.
[00:24:32] Speaker D: Yeah, that's okay, though. Can't win them all. I'm happy with that. I don't hate that at all. I think it's fine. I think there's gonna be another solo coming up anyway. Let's see.
[00:24:44] Speaker B: Losing your mouth, Am I just your.
What you looking for?
If you rich and more can't take no more.
[00:25:40] Speaker C: I like the main riff. I like the bam, bam, bam, bam, bam. The rest of it, it fits, but I don't really like it. It wasn't where the other ones. Sometimes I didn't like it in the beginning, then it kind of grew me to the point where it didn't bother me anymore. But this one, probably my least favorite, I have to say.
[00:25:55] Speaker D: Overall, I agree. I think it's the weakest so far. Riff's okay. I don't think it's as good as the stiff fire. Let me read lyrics. You're driving feeling right. You're diving in the crowd. You're dancing till you drop. Rock and roll music's good and loud. Chorus, dance, you like your score. Dance what you're looking for. Dance if you're rich or poor. Dance, dance. Can't take it no more. And he get a big solo at the end. That's cool, too. I'm gonna say four in the lyrics, four in the melody, six on the music, six on the arrangement, six on production. It's not my favorite out of this so far. What do you think?
[00:26:25] Speaker C: I'll make it easy. I'll say the same. I was gonna go lower. I think that's really the melody more than anything. That kills it for me. This is my least favorite so far.
[00:26:33] Speaker D: You gotta have some filler someplace, somewhere. What are you gonna do? It is what it is.
The next one is bite the bullet.
[00:26:58] Speaker B: Step it out, I'm leaving here.
No you trying climbing up there and I'm sn up.
Believe it's true.
Bite the bullet I'm leaving you Beside goodbye I left a note then I don't remember what I wrote the same old word to say what I do I just believe I'm leaving you.
You know that's the way it always ends.
Get sympathy from all your friends.
Seems there's nothing nothing else to do but the bullet I leave with you.
[00:28:17] Speaker C: I like the music. The melody is okay. I like that solo part.
[00:28:22] Speaker D: They've used that riff over and over in a bunch of times already. Starting to get a little wearing on me.
That's still not my favorite. It's short. It's a minute 35.
I'm just gonna let the whole thing play through versus stepping out. I'm leaving here. No use crying, crying in my beer. Enough's enough. Believe it's true. Bite the bullet I'm leaving you. I said goodbye I left a note but I don't remember what I wrote the same old words to say we're through. Bite the bullet I'm leaving you. You know that's the way it always ends. Get sympathy from all your friends Seem there's nothing nothing else to do. Bite the bullet, I'm leaving you. I don't think the words are bad. I just am a little tired of that same riff. I think they've used it a bunch of times again. Not one of my favorites. Why don't you go first?
[00:29:04] Speaker C: Say fives across. Make it simple. Maybe six on production. Let's do that. Fives and six on production. It's okay. These last two sound more filler musically. Good filler. I do believe that if the melodies were stronger in both of these songs, we would be giving them better. I think that they're really suffering here with that and absolutely, like you said that.
And I've definitely heard this before.
Whittier score.
[00:29:28] Speaker D: Course I'm going to do the same. They've used that riff a bunch of times already. And the first couple times it's not bad. But now it's getting a little bit much so far. Not liking this side as much as I like the first side. I think there's a little more Filler here. Hopefully we can turn this around. Let's see. This is. The chase is better than the catch.
[00:30:00] Speaker B: You know I'm bad times I land I got a bad reputation I don't care, I get my share don't feel no deprivation I don't.
The more I get, the better it is.
I like it fine I like a little wisdom, my ladies.
[00:30:46] Speaker C: I like the main riff. Actually reminds me a little bit of Neil Young.
I think one issue with him, I like his voice, but he doesn't use a lot of dynamics in his voice. That's one thing. It's very straight across, like the tone of it. But sometimes I think if you just added a little high and low, it would improve on the melody. I do like the music, and I think the production's a little bit better on this one. It doesn't sound as old as the other stuff.
[00:31:11] Speaker D: His voice can get very monotone. Have you noticed the James Hetfield in this sometimes? So you can definitely tell that James Hetfield got some vocal styling from this. I like the riff. I thought that's good. I like the premise of the song where chasing the woman is more the thing that you get out of it than the actual catching the woman.
That's a real thing. I appreciate him putting that into words.
I think it's better than the last two songs. I like that they changed the riff up a little bit, too. Verse one is, you know I'm bad the times I've had I've got a bad reputation I don't care, I get my share I don't feel no deprivation I don't chorus more I get the better it is I like it fine I like a little whiz Treat them like ladies, that's a fact, you know the chase is better than the catch, you know, and it's kind of weird. He goes from Jail Bait. He's saying he treats him like ladies. It's a big dichotomy between those two things. And this is like the longest song here. It's like four minutes. I don't know what to do with a Motorhead song. That's four minutes. Let's continue. You. Here we go.
[00:32:07] Speaker B: The Silver Tong, Devil, Demon. L.
I know just what I'm doing.
I like a little innocent, you know I ain't just screwing, I ain't.
I love you, baby know you too much I like your mind, I feel your touch that your appearance don't hold all class, you know the chase is better than the catching snow.
[00:32:56] Speaker C: The real kind of funny There's Just no differentiation here. And because the riff is more. More simplistic, it's like.
And he's kind of singing along to that. It throws it off a bit for me. I don't think it's bad. I just wish he used any type of highs and lows. Even screaming. I'd be okay with that because I like the music. There's just no differentiation between what's going on there and what he's doing at all. There's no. Unless I'm missing a differentiation between the verses of the chorus.
[00:33:28] Speaker D: No, I think you're right. But in this song. I just don't like the melodies in this song at all. I like the music. I think the music's not bad. I think that's the general gist, the whole thing. I think the music is the best part. I don't know if he has the ability to do what you want him to do, though.
[00:33:41] Speaker C: He kind of does it in Ace of Spades. I think I could be wrong.
[00:33:44] Speaker D: Very little. It's a little bit, yes. I think in most of the songs it's very monotone.
[00:33:49] Speaker C: Maybe screaming more there.
That could be it. And that's what kind of separates it for me, maybe. I hate to give low scores on certain things when I'm definitely liking the music, but then when the singing is going on. Bass playing wise, he's been good.
[00:34:05] Speaker D: Everyone's doing a great job.
[00:34:06] Speaker C: I do like his voice, you know, it's him, which is great. And you know, too, maybe it's easier than he has to sing and play live. And this is one record.
[00:34:14] Speaker D: I just don't think he has a lot of range. Some other songs, it's not as bad on this one. It just feels a little plotting because of the lyrics. Verse 2. The Silver Tongue, Devil, Demon Le I know just what I'm doing I like a little innocent, you know I ain't just screwing, I ain't. Chorus I love you, baby I know you're too much I like it fine I feel your touch but your appearance don't hold no class, you know the chase is better than the catch, you know. Then the super fast guitar solo. That was the shortest one ever. There's got to be another one coming up, though.
[00:34:41] Speaker C: Very quick.
[00:34:42] Speaker D: Let's see. Here we go.
[00:34:43] Speaker B: A little beauty. I love you madly Come on home with me.
I know you're hot. I know what you got.
No, I want to shake your tree.
They know.
Come on, Lonnie, just be right there.
Come on, Lonnie. Don't you get scared.
Come On Lonnie, let me get you in the.
You know the chase is better than yet Sam.
Let me hear you.
Let me hear you.
Let me hear you.
Let me ram.
[00:37:05] Speaker C: I like that part. I think he got better. There's the scream, that breakdown. I love that kind of the bass and drum thing. That's like.
We have said this before. Arrangement wise, I think they're pretty good. Even in the simplest of songs, they tend to throw in at least one little curveball that's always a little bit more interesting whether or not you like what was going on or was like, oh, okay, well, that's cool.
[00:37:27] Speaker D: I think that's the best part of the song. I think it saved the song for me. Do you want to go first? You want me to go first?
[00:37:31] Speaker C: I'll go first. I'll go two on the lyrics because it's pretty bad.
I'll say a six on the music, a seven on the arrangement because I like that part at the end. I'll say a seven on the production and melody of four.
What do you think?
[00:37:47] Speaker D: I'm going to do? Four on the lyrics. I like the premise of the lyrics. I'm going to say four on the melody, six on the music, seven on the arrangement because I do like that little outro part with the drums and the bass. And he changed his vocal a little bit there. And seven on production. Think production is pretty good on this. It does sound a little newer and not as old. I think that's kind of cool. This is not that bad. Lyrics could be better. But again, this guy's writing a lot of lyrics, so sooner or later he's got to run out of steam.
Just a lot of lyrics. We're at the end. This is the hammer.
[00:38:30] Speaker B: Let your killers go don't let your mother know they'll go out tonight don't even try to fight and I can see I got the thing you need and I'm here to say it's going to be that way Ah knows how to run don't try to scream Believe me the hammer's got a special dream I'm in your life Just might be in your wife Put me behind your back I might be on your track and it might be true I might be on to you I'll tell you how to death I'll take away afresh Ah don't try to see don't you try to hide Believe me.
[00:39:38] Speaker C: So you saying to yourself, here it goes again, that rhythm a little bit.
[00:39:43] Speaker D: Except this time he's smashing people in the head with a Hammer Serial killer song at the end and then you call it the Hammer.
What the. Oh, my God. A very similar riff. Not exactly, but it's real close.
They like that riff, boy. That's their go to, I would wager, to say.
[00:40:00] Speaker C: And I could be wrong, because I don't really know the other stuff. There's probably quite a few songs that have that rhythm throughout their albums, and if I'm wrong, call me out on it. I don't mind. I think there's quite a few Motorhead songs that have that rhythm, whether they're on this album or not.
[00:40:17] Speaker D: Probably. I cannot think that there's no other albums that have the rhythm on it. They used it like five times a year.
[00:40:22] Speaker C: Yeah.
[00:40:23] Speaker D: Verse 1 Let the killers go don't let your mother know don't go out tonight don't even try to fight because I can see I've got the thing you need and I'm here to stay it's going to be that way Chorus don't try to run don't try to scream Believe me the hammer is going to smash your dream Dream the hammer verse 2 I'm in your life just might be in your wife could be behind your back I might be on your track and it might be true I might be hunting you I scare you half to death and take away your breath Chorus don't try to see don't try to hide Believe me the hammer is going to make you die Ain't that right?
Then comes the hammer I'm so the hammer.
You make a serial killer song you call the Hammer Hammer.
[00:41:05] Speaker C: It's like, oh, how did that killer get that nickname? Duh.
[00:41:08] Speaker D: It's funny. All right, here we go. Guitar solo.
[00:41:33] Speaker B: There ain't no way you'll see another day I'm shooting out your light Bring you eternal night and your eternal tricks Begin to make me sick the only thing I know is that you touch it down Ah, don't you panic, babe don't look around Believe me the hammer's gonna bring you down Leave me the hammer Come in.
[00:42:30] Speaker C: I like the way he uses voice in this. That was a little bit more dynamic, kind of straining a little bit, but I don't mind that. I think it gives it some dynamics and highs and lows that he wasn't necessarily doing in the other things. I thought the solo is cool. It definitely fit the song.
[00:42:44] Speaker D: Yeah, he did change his vocal a little bit. He had a little dynamic, which was nice. He doesn't really do that very much. Maybe it strains him too much. Maybe he can't do it. I'm assuming maybe that that's why Solo's cool. I think it was a strong ending. It's a weird premise. Strong ending. Verse 3. There ain't no way you'll see another day I'm shooting at your lights Bring you eternal night and your eternal tricks Begin to make me sick the only thing I know is that you've gotta go Chorus don't you panic, babe don't look around Believe me, the hammer is going to bring you down Believe me, the hammer is coming down. I knew they were going to do that thing at the end. You could tell that it was coming off that way. I guess I'll go. The premise of the lyrics are interesting. I'm going to give them a four. Five. The melody was a little bit better. I'll say six music, six arrangement, six production, seven. I think that's kind of fair. It was better than some of the other ones on this side. The side's not as strong, though. What do you think?
[00:43:30] Speaker C: I'll say a five on the lyrics. It reminds me of a B horror movie. Maybe not even be. Maybe a C horror movie from the 60s. That's what I kind of expect, this figure of the hammer music. I'm only going to say five on the music because of the repetition of it, of that whole Baron M M. I never ding them. I'll ding them on it. On this one. Arrangement. I'll say six production. I'll say six as well. Melody. I'll say five. There was an okay ending. It almost makes sense that it goes back to that rhythm. When you think about it, considering that the song before this was so different. Could have maybe got on a little differently.
[00:44:06] Speaker D: It's cool to hear again a band we've heard a lot but we never really listened to. It's always a cool thing. I'd be curious to see if some of the newer stuff that came later was any different than this and how they changed or around. I doubt his vocals got much different. I think that's just kind of way he sings. But it's fun, fun little record.
[00:44:22] Speaker C: I've heard of other albums that people have rated highly that say some of their heavier stuff. I'm sure, obviously production. This could have been with different production. Would have been a much heavier album. Without a doubt. We gave good, good scores. I think the production fits. But obviously if it had a little bit more punch to it, it would have been even heavier.
[00:44:38] Speaker D: All right, SAP, why don't you do your thing?
[00:44:39] Speaker C: So we are part of The Deep Dive Podcast Network. Like I always say, create a bunch of guys, suck us in right away. If you want individual podcasts about bands, check it out. They have Hawkwind, which any Motorhead person knows that bands Van Halen, Led Zeppelin, Judas Priest, Rush, you name it, it's probably on there. So check them out. And mark, where can they find us on the interwebs, rock with lid pod.
[00:45:01] Speaker D: On all the social media rockwoodlightpodcast.com put a new bets in. Go to the polls, do the merch. You know what to do. Put us on the auto download so you get our episodes every week and rate us 5 stars wherever you do your podcast because we need the five stars. It helps us out. Next week we get to spin again. Hopefully we can get Frank or Steve on. That would be awesome too. We'll see what happens.
[00:45:21] Speaker C: That'd be great. And then hopefully Steve can read a bunch of lyrics for you.
[00:45:25] Speaker D: He has a lot of lyrics. It wasn't bad reading him. It's just a lot. One of the positives I see is that he doesn't make it easy on himself. He writes lots of lyrics. They're not always great, but he tries and he does a lot. Alrighty, we'll see you next week.
Later.
[00:45:51] Speaker B: Sam.
