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.
[00:00:55] Speaker B: 1098-765-431210.
Happy Halloween.
[00:01:37] Speaker C: Hey everybody. Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1, 600 albums. That's right. We jumped up, stuck them in a list, stuck them in a wheel and typically every week we spin the wheel. She picks a record for us and we go through a track by track and we talk about the music, the lyrics, the production, the melody and the arrangement and we give it scores. Just a bunch of friends who love music want to do a podcast and and we want to thank everybody who takes this journey with us of discovery and rediscovery, as we call it. Week after week, man, this thing keeps going up and up. So whoever you are, we want to thank you so much. If you're spreading the word, thank you so much. And again, reach out to us, tell us what you like, what you don't like, albums you'd like to listen to. And we are a trio tonight. We've got Frank.
[00:02:22] Speaker B: My name is Frank and I'm sexy.
[00:02:38] Speaker D: Hello everybody.
[00:02:39] Speaker C: We've got Mark. Oh, hi, Mark.
[00:02:41] Speaker E: What's up guys?
[00:02:42] Speaker C: And I'm sad. Ciao bu.
We are doing the second half. We did a Halloween theme last week. We put a bunch of spooky albums and a wheel Halloween, Baby Wheel, Rosemary's Baby Wheel, we'll call it. She picked a record and the record was Rob Zombie Hillbilly Deluxe, his debut solo album. So far we're kind of meds and meds. As I say, I think we like some parts of it and other parts maybe not as much. A little former lake now it's kind of getting to be. It seems the heavy stuff is pretty good, but some of the other stuff and in betweens feel a little bit jammed together. Some of the arrangements are kind of odd. Mark, what are you thinking so far?
[00:03:18] Speaker E: I'm hoping that side two is going to Be better than side one. I like the first three, I think. And then after that it gets a little samey same. So I'm hoping that side two is better.
[00:03:26] Speaker D: And Frank, I like most of it. It was very on brand, very kind of like you expect from Rob Zombie. There were a couple of songs in there. Know they were kind of misses for me.
[00:03:35] Speaker C: I think the first two really hit us. It kind of went from there even though the last two seem to be kind of based on the first two. So like you said, Mark, I'm hoping that the second side kicks it in a bit to say the third song that I know you guys like better than I did. I discovered this week just to say that that's also a movie title, Living Dead Girl, which I told Mark the other day. I was like, oh, that's a movie title too. I just found out. Before we continue with our Halloween themed record, we have the Baby Wheel, the.
[00:04:01] Speaker B: New Betsy in a world where new music is not easy to find.
Welcome to New Bets.
[00:04:21] Speaker E: Okay, here is the new Bets wheel.
[00:04:37] Speaker C: We've got the Satch VI Band. I want to play my guitar. Woohoo Guitar two pyzons.
[00:04:47] Speaker E: I'm happy about this. I have no guitar in this record. Really? I'll be happy for a little bit of guitar before we go into Rob Zombie. I haven't heard this, so I don't know.
[00:04:54] Speaker C: Oh, it says featuring Glenn Hughes. Oh, he sings on it.
[00:04:58] Speaker E: That'll be cool. He's a good singer. He still has his voice, man, after all this time. Let's hear some guitar. This is a Satch vibe. And I want to play my guitar.
[00:05:09] Speaker B: All around the world where I can never renight Diamonds and pearls the beautiful sight Gonna take it too far I wanna play my guitar if I could change time oh I would if I could with this hill guitar oh just the wood I'm gonna take it too far I wanna play my dis turn I want to play my soul I want to turn it off I want play my guitar I don't a ste Sam all around the world in every blushing light I'm gonna take it too I want to play my guitar Play my guitar I want to turn it up and down I will make you crazy I will drive you wild I want to take it too far I want to play my guitar I want to play my guitar I want to turn it off now to make you cry now let me play.
[00:09:17] Speaker C: I hear a bit of Sammy Hagar in there. I could picture him singing this. I feel a little bit of his era. Van Halen in there a bit. They're just odd parts in there. Some of the guitar is cool. It's a bit odd to me. I think I'd have to go back and listen to it again to really get the full impact. Mark, what do you think?
[00:09:34] Speaker E: There's a lot of guitar. Glenn Hughes is a monster. He's 74 years old. I don't think he sounds any different than he did before. It's kind of crazy.
[00:09:43] Speaker C: I hear some difference, but he can obviously still sing difference.
[00:09:48] Speaker E: I mean, he's hitting things. Sammy Hagar still has his voice, but this guy pretty much still has his voice. Anytime Steve V is involved with any kind of guitar stuff, there's always going to be parts going to be a little bit weird. I think it takes a couple of plays for this thing to really sink in. It was good. It was played well. Everything sounded really good.
[00:10:04] Speaker C: It felt all over the place. But at the same time I said to myself, this is a song that only these kinds of musicians can write. If that makes any sense. If this is coming from upand cominging guys, you're like, maybe more men. But here it's like, okay, coming from them, I can understand it. I don't really know how to explain it if that makes any sense. The song itself, the lyrics and everything that's going on. It would have to come from these guys or somebody from the genre built up and already existing. That makes any sense to anybody.
It does because I guess it makes sense to me. You know what I'm hearing.
[00:10:39] Speaker B: I want to play my guitar.
[00:10:41] Speaker C: I'm like, okay, you know, if we hold up a no name band kind of doing something like this, we're like, wait, what? What is this from them? You're like, okay, Frank, what do you think?
[00:10:48] Speaker D: I agree with the two of you. Very Sammy Hagar sounding. Yes. Only certain artists can get away with that sound. And isn't that man, the voice is just solid all these years later. I mean, overall great. I like it.
[00:11:00] Speaker E: If you like it, let us know. If you don't like it, let us know. Let's rubber stamp it.
[00:11:04] Speaker B: In a world where new music is not easy to find.
Welcome to New Bets.
[00:11:23] Speaker E: Next track coming up is how to Make a Monster.
[00:13:04] Speaker C: It wasn't just me, right? The whole production was that megaphone thing.
[00:13:07] Speaker E: Yeah.
[00:13:08] Speaker C: I was hoping there was just me. I like that. That thing was full on. That would have been one of my favorite songs. I like the melody, I like the music. The weird shit that was going on during the chorus.
[00:13:18] Speaker E: This A full sound on it. I think it would be better. Yeah, it was cool, though.
[00:13:21] Speaker B: Yeah.
[00:13:22] Speaker D: I would have liked to listen to it just full on, not through a megaphone. That's a big disappointment.
[00:13:28] Speaker E: You can't always have what you want, unfortunately. I will read lyrics because it's very little. Verse 1. Is she freak out at a damaged life Like a jail bait in the park A teenage wolf with a bloody knife Going down in the dark how to make a monster baby how to get it on? How to make a monster baby how to get it on Chorus Go, go zombie Go, go yeah, yeah, yeah, yeah, yeah Go zombie go, go, go yeah, yeah, yeah, yeah, yeah Verse 2 Roots in hell and only time will tell if your baby is insane A child bride with bloody eyes Got Satan on the brain how to make a monster baby how to get it on how to make a monster baby how to get it on and then chorus again and out. One minute and change. I really wish it was old sound. It would be much better.
[00:14:11] Speaker C: Who wants to go first?
[00:14:12] Speaker E: Brian can go first.
[00:14:13] Speaker D: This is going to be a little challenging because the music I like. So I'm going to give that in seven. Now that whole part with the megaphone, I mean, how do you rank that production?
[00:14:21] Speaker C: I think so.
[00:14:22] Speaker D: Yeah.
[00:14:22] Speaker C: Right.
[00:14:22] Speaker D: I'm gonna give that a five lyrics. So the lyrics in the melody, five, it's okay. The arrangement, I'm gonna give that a six. Mark.
[00:14:29] Speaker E: I'm gonna say seven on the music because I do like the music. Five on lyrics, five on melody, five on arrangement. I'm gonna give it a four on production. I understand what he's trying to do, but it would have been cool if he would have stretched it out a little bit and maybe made the first part megaphone and then the rest of it full saf.
[00:14:46] Speaker C: I will say a six on the lyrics, a five on production, and seven on everything else. I was debating between five and four in production, but my first thought was five, so I'm just gonna stick with it. Maybe there's another version of this where just bangs it out.
[00:15:00] Speaker E: Yeah. I don't know. Strange though. The next one is Meet the Creeper.
[00:15:37] Speaker B: Yes. A dead. Yeah.
You can't break free with the living on your breath, yeah Meet the creeper Digging deeper Meet the creeper yeah, yeah See the thing, you're right.
Transforming the sk.
[00:16:22] Speaker C: I like the verse melody. I think it's common at this point that he definitely has a style when it comes to the verses. Without a doubt. The chorus, I wasn't too crazy about it didn't build up as much, I feel, as the other ones. There wasn't as much contrast between the verse and the chorus. That post chorus thing was cool. I will say that I wish the production was a little bit louder because this all seems straight across. There's not as much dynamics, and I think this song would be better served. But overall, it's not too bad.
[00:16:52] Speaker E: I like the riff a lot. When the riff came on, I was like, yes. See, this is how the record should start. The second side, if there was a second side, this would be a good starting second side. I like the verse melody. The course is okay. And the post chorus was cool. I like all his little sound effects. He still uses that very well. I guess that's the industrial part.
[00:17:09] Speaker B: It's cool.
[00:17:09] Speaker E: I like, liked it.
[00:17:10] Speaker D: I'm liking it. I'm digging it. Can't wait to listen to the rest of it. Definitely better than what we just finished hearing.
[00:17:15] Speaker E: I like this a lot. Hopefully it continues. Verse 1. Creature core you can't ignore I've got a 5000 fingers of dead yeah. A rats are we. You can't break free when they're living on your bed, yeah Chorus, meet the creeper Take it deeper Meet the creeper, yeah, yeah and the post chorus is. I see the dead in your eyes I transform in disguise let's continue. Here we go.
[00:17:42] Speaker B: And you're falling on your baby Feel the kill I know you will be the monster and the lady make that creeper Dig it deeper make the creeper yeah, yeah See the day, you're right.
Transforming the.
[00:18:36] Speaker C: I mentioned it on the first slide. I'll mention it again. This is a song to me that if you're at a rock club just kind of waiting for the show and they pump these songs out before, this is a song that's like. Yeah, you hear it? Come on. You could just tap it on the bar as it's going. Because this song just needs to be played at full volume. And I think at full volume, you really get the impact of it. That's pretty good. I like this one. This. This is probably my favorite since Dragula.
[00:19:01] Speaker E: He definitely has a style. I can see what you said about the verses. The way he does that stuff in the verse, everything drops out and kind of has the loop going on during the verse. That's pretty cool. That guitar is pretty cool. I. I like that guitar riff a lot.
[00:19:12] Speaker D: Very on brand. This is the Rob Zombie I enjoy listening to.
[00:19:16] Speaker E: It is cool. All right. The next verse is stabbing out the city's crowd like a Dagger falling on your baby Thrill the kill I know you will Feed the monster and the lady Chorus again, post chorus again. And let's run it out. It's a very short song. It's only 3:15, but it's packing a lot into a small time frame. Let's go.
[00:19:47] Speaker B: You can't break free with the living on your bed yeah Meet the creeper Dig it deeper Meet the creeper See the thing, you're right.
Transform in the More Maniac.
[00:20:35] Speaker C: I like that one. In and out.
[00:20:37] Speaker E: I don't know if I'd like the end chorus. Tell you the truth, I didn't like.
[00:20:39] Speaker C: That mix either too much. It was quick. If he really kept going with it, it probably would have bothered me more. That mix of the ah and the Meet the cre. Creeper. I wasn't crazy about it either. It was quick. Okay. In and out.
[00:20:50] Speaker E: I would just like Meet the Creeper. That would have been fine. I think we just would have done that over and over a bunch of times. That'd be fine. That verse was the same verse as the first, Second verse, same as the first. Same chorus, post chorus, and the outros. Meet the Creeper.
I'm gonna go first. I'm gonna say six on the lyrics and seven on everything else. I thought it was done pretty well. I like the guitar riff. I like the melody. I liked everything in it. I thought it was.
[00:21:15] Speaker B: Was good.
[00:21:15] Speaker E: Frank.
[00:21:16] Speaker D: I'm doing sevens all the way across. I definitely enjoyed this one. I thought the music has been solid on this one. Sevens for me. All the way across.
[00:21:24] Speaker B: Yeah, it's Steve and it's Quintuple seven. Nikki Titty Baby Seth.
[00:21:29] Speaker C: I had to let Steve speak before I could give my scores. I'm gonna go sixes across. I mean, I like the title the Creeper too, because that reminds me of Scooby Doo.
[00:21:37] Speaker E: The next one is the Ballad of Resurrection and Joe and Rosa.
All right, here we go.
[00:22:33] Speaker B: Through the seventh dial. And feel the pillow over your head.
[00:23:38] Speaker C: During the verses. When that heavy guitar does a little.
I think it's going to kick in to be as heavy as that. And it doesn't. It disappoints me because I think that would elevate the verse. And I'm not really digging the melody overall on this one. So we'll see if it maybe grows with me. I don't think it's terrible, but I'm not fully grabbing on to it.
[00:23:58] Speaker B: To it.
[00:23:59] Speaker E: It's definitely different. It's not following his pattern that he's done in this album. This is Tommy Lee on the drums. And the last song was Tommy Lee on the drums too, as well. By the way, I was wondering why I'd like to drum so much in that song. Prior one. Because it was Tommy Lee. Made a lot of sense. This one is a lot more looping going on, a lot more sound effects. I don't like the verse vocals. I do wish there would be more guitar. And even on the chorus when the guitar comes in. I don't know. It's a weird melody in the chorus chorus because he's using very strange vocal effects. The jury's out so far. I like the difference, though. I like that he's changing it up a little bit.
[00:24:34] Speaker C: This is also based on a movie. I knew I knew the names. I just couldn't remember, so I had to look it up. These are characters in the movie Corridors of Blood.
[00:24:41] Speaker D: The opening sounded very chemical brothers. 90s chemical brothers. That opening. Yeah, I definitely heard it. I'm digging it. Different from what we've heard and very unique. I like that. And he said it was Tommy Lee playing on this one.
[00:24:52] Speaker E: This one and the Creepers both. Tommy Lee.
[00:24:55] Speaker D: Oh, he sounds good.
[00:24:56] Speaker E: He's a good drummer.
[00:24:57] Speaker C: It's funny, I was going to say that I feel that they're all machines. I guess I haven't really associated the drumming to be real. Although there are drummers on here. In my head, I just see it all as machines.
[00:25:08] Speaker E: It's mixed up with loops. I think that's why it makes it hard to tell.
[00:25:11] Speaker C: Yeah. Other than if the beat is strong. In terms of the volume. I haven't been paying attention to what's being played. It's so funny in my head. I really forgot that there are drummers on this record. I assume that it was just machines. It's all programming.
[00:25:23] Speaker E: It does sound that way. Okay. Verse one. Insane blues at the Green Man Inn Cut the lights and pray the that you're dead Opium dreams through the seven dials and feel the pillow over your head. Rachel hides for Ned the crow Keen eye on peelers experiment from 53 and no scratch for the dealers Chorus. She wants some more sweet Rosa Whore. She wants some more sweet Rosa. I say hell is love. I say I must suffer. She's a resurrect me. I say hell is love. You say I must suffer, She's a resurrect me me. Do you know anything about the movie? This is referencing about what this is about.
[00:25:59] Speaker C: I haven't seen the movie, but I knew the character. I was played by Christopher Lee. It's one of the Hammer films. I haven't seen it yet. I'm going to try and get to it. I've actually really haven't seen it on streaming either. I watched a bunch of Hammer films. I don't remember this one coming up. So I don't know if this is a little bit obscure.
[00:26:13] Speaker E: All right, let's continue it. Here we go.
[00:26:22] Speaker B: Give a chicken show some life Favor for a favor don't step away.
[00:28:20] Speaker C: I like the chorus more the second time than I did the first. There was definitely some cool drumming going on. And Mark, let me know if you agree. That little guitar part that came in after the chorus, before it went quiet and then went back into the chorus again, did that had any Mick Mars vibes to you? Maybe that one little piece. I was like, this reminds me of Mick Martin Mars. It's very small, but I was like, I think I can picture him doing something like this in a song like this.
[00:28:46] Speaker E: It's possible. I wasn't really paying attention to the truth. I was paying attention to the drums. Now that I heard that in the second part of the chorus, the drums come in, I'm like, oh, that's definitely Tommy Lee. Like, you can hear it just the way he plays. But it's so interspersed within all the loops and stuff.
It kind of takes away from it a little bit. I like the pieces in there. I just. Overall, I feel so much looping takes away from the power of the song.
[00:29:08] Speaker C: Sometimes times I feel that if the chorus was half and half in terms of. If it had that subtle. Because it's long, the verses are long. They would lend themselves to kind of have quiet and then a little bit. It doesn't have to be as loud as the chorus, but maybe just a build up and then even more of a build up as it goes into the chorus. I would have liked the song overall better. I wasn't crazy about the chorus the first time, but then by the second and third time, I was like, okay.
[00:29:31] Speaker E: It was definitely different than the other songs on the album, which I appreciated. Verse 2. Sleep well in your killing bed Give a jig and show some life Favor for a favor don't separate the pain from the knife all the doctors sing you gotta suffer for the cure as the world fades away you wonder where you were. Chorus is the same. Outros the same as the chorus. I thought it was pretty cool. Sav, why don't you go first?
[00:29:52] Speaker C: I will say a six on the lyrics, six on the music, five on arrangement. Because I liked Half of it, six on production. Actually, I'll say seven on production. I think it was produced well for what it was. I'm gonna say five on the melody. I liked half of it. Frank, what do you think?
[00:30:07] Speaker D: I mean, lyrics and melody. I'm gonna give fives. Everything else I'm gonna give sevens. I really do like the music a lot. I really do like that whole Chemical Brothers vibe that they got going on. The drumming was great. Yeah, I thought the production was really good overall.
[00:30:20] Speaker B: Mark.
[00:30:20] Speaker E: I don't know. I think I'm gonna do six on lyrics, five on the melody, six on the music, five on the arrangement, and six on production. I wish they would made some different choices in the verse. When the heavy part comes in, I would like it to stay or at least have come back a couple of times before. It went into the chorus, but it didn' that. It just felt like it came in, went just jig, then disappeared. I would have liked a little bit better with a little bit of changes. I like that it was different. And it's not the same formula he's been using. The next one is what lurks on channel X.
[00:31:09] Speaker B: 13 acres of hell.
Ladies and gentlemen. Ladies and gentlemen. Ladies and gentlemen. Ladies and gentlemen.
Statement. I would like to make the following statement.
The young generation and sick generation. The young generation and sick generation, You, Brutal Armstein, will be shown on this screen. Brutal Arms will be shown on this screen.
The young generation and sixth generation. The young generation and sixth generation.
You.
[00:33:16] Speaker C: Ambitious. I like it. Odd. I like certain parts better than others. I definitely reminded me of Industrial of the time.
[00:33:22] Speaker E: Definitely Industrial. I like the Channel X part. That's the part I like the best. What are those drops from? Do we even know where those drops are from?
[00:33:29] Speaker C: I don't.
[00:33:30] Speaker E: I assume it's from some movie, I would guess.
[00:33:32] Speaker C: Sounds like a speech. I was trying to look it up. Maybe I can find that. To me, it sounded more like speeches.
[00:33:37] Speaker E: No clue. It's definitely ambitious. It's definitely different.
[00:33:40] Speaker D: I don't know what I just heard, but it was good.
I think I might be digging a little bit. It's one of those songs you want to hear again.
[00:33:46] Speaker E: Yeah, it's pretty cool. It's definitely different than the other stuff. Two in a row already he's tried to change it up, which I appreciate because the first side was very samey same. And here he is changing it around. Definitely a lot of industrial in this song. Well, let me read what's going on here because it's not that much. The intro is 13 acres of hell. Ladies and gentlemen. Ladies and gentlemen. Ladies and gentlemen. Ladies and gentlemen. I would like to make the following statement. I would like to make the following statement. The young generation, that sixth generation the young generation that sixth generation Corporation chorus. What is lurking? What is here? What is lurking? What you fear what is lurking? What is here? What is lurking? What you fear? Channel X. Channel X. Channel X. Channel X. Then the next verse of some sorts or interlude, whatever they call it. Impressionable young people Four times. Brutal honesty will be shown on this screen twice. The young generation, that sick generation, twice. Back to the chorus. Back to the channel X postcard.
Not a lot of lyrics, but I'm just curious where that stuff comes from. I don't even know. Frank, why don't you go first?
[00:34:46] Speaker D: I'm still trying to figure out what I heard.
Definitely like Savino highlighted. I think about as original industrial as I can remember it to be. This is like the early sounds for me that I remember it being of industrial. I'm gonna give these sixes across. Who produced this one?
[00:35:00] Speaker E: The album was produced by Rob Zombie and Scott Humphrey. Scott Humphrey, he's a record producer. He began his music career as a keyboard player and Program Grammar, his best work. He's best known for Rob Zombie. He's done keyboards, producing, engineering, mixing, remixing with Motley Crue, Metallica, Fuel, Methods of Mayhem, which makes sense for the Tommy Lee stuff. BT, Monster Magnet, Tommy Lee, Powerman 5000, the Cult, NSync.
[00:35:25] Speaker D: So what? What did you say?
[00:35:28] Speaker E: I said NSync.
That's what it says.
[00:35:31] Speaker C: I was just about to say, so this is all in his wheelhouse. And you're like. And then I was just with Wheelhouse.
[00:35:39] Speaker E: What the fuck?
Okay.
[00:35:41] Speaker C: It'd be funny if NSync has this underground industrial album that nobody knows about, huh? That'd be awesome.
[00:35:48] Speaker E: I'm gonna go sixes across two because I don't know what the fuck I just heard. I liked it, Saf.
[00:35:52] Speaker C: I'll keep it simple. I'll say the same. I'll say sixes across. I found it interesting without a doubt. Hold on. I have about 95 tabs open here, but I had some knowledge to drop.
So it's the opening. 13 acres of hell is last house on the left. And supposedly the rest the of of the thing comes from the Undertaker and His Pals, another movie from 1966. If this is correct.
[00:36:15] Speaker E: I was right. It was from a movie. It sounded like it was from a movie from, like the 50s. That's what it sounded like. Or 60s, early 60s.
[00:36:22] Speaker C: I thought it was kind of a this generation ST speech.
[00:36:25] Speaker E: Well, it was for the 50s or 60s.
It was cool. This side is much more eclectic than the first side. I'm almost liking this side better because it's not the same stuff. Now, is there anything as good as Dragula on here? Probably not. Again, Dragula is his most popular song as a solo artist. I don't know. Now we get a long song. This is. This is Return of the Phantom Stranger.
[00:36:59] Speaker C: The David.
[00:37:24] Speaker B: Sam.
All you know is alone.
[00:38:26] Speaker C: The chorus sounds like it's being sung by Marilyn Manson.
[00:38:28] Speaker E: I was gonna say that.
[00:38:30] Speaker C: I couldn't think of it at first. I'm like, I know this voice. It sounds like him. I don't see him mentioned on the thing. I mean, obviously he can do different voices. And when he comes in with that scream, I'm like, yeah, that's what I want to hear. I'm not feeling this one at all. I mean, this one's actually kind of boring me. This one really has no dynamics. The core of it is interesting. Sure. It's not going anywhere.
[00:38:52] Speaker E: I like the keyboards in the beginning. I like what I assume is Latin at the beginning.
[00:38:57] Speaker C: Yep.
[00:38:57] Speaker E: Maybe you want to try to read that, because I'm not going to even give that a try, you know.
[00:39:03] Speaker D: Still mixing it up. That was.
[00:39:04] Speaker C: I was expecting.
[00:39:05] Speaker D: I'm liking it so far.
[00:39:06] Speaker C: The intro is Requiem maternum donna a Domine. It looks perpetuated. Artois luciat a requiscat impache. Amen. Anima eos et animum omnium fidelium difunctorum Per mesericordium DEI rescuat impache. Hopefully I have not summoned any demons in the house, but if you hear any voice changes or something, call a priest, please.
[00:39:34] Speaker E: Exorcism time. Exorcism time.
[00:39:36] Speaker B: The power of grace helps you that the power of Christ compels you.
The power of Christ compels you.
The power of Christ compels you. The power of Christ compels you. Your mother sucks in hell.
[00:39:52] Speaker C: No, it's actually from a Latin mass I was reading.
[00:39:55] Speaker E: Uses werewolves in this thing. So this is a very on brand for what we're trying to do today.
[00:39:59] Speaker C: Traditional Roman Catholic funeral prayer.
[00:40:01] Speaker D: I'll tell you that. Wasn't on my bingo card.
[00:40:05] Speaker B: Bingo.
[00:40:06] Speaker E: Bingo. Verse 1. Shape Shifting High and a haunted eye falling. Plastic and paper demons no trace of time I'm branded sly. I'm your ghost master Baby, free me Chorus. All you know is alone. You see a phantom stranger down you go all alone. You love my Phantom Stranger. Phantom Stranger is a DC superhero that has powers dealing with the occult and the supernatural. So it makes sense that he uses a comic book thing in the. This again, very ambitious. And I've noticed that most of his drum beats are very danceable. Have you noticed that, too?
[00:40:38] Speaker C: Well, industrial is basically heavy dance music when you think about it.
[00:40:42] Speaker E: Yeah, I guess so. I just noticed that here. And definitely chorus is all sounding like Marilyn Manson or Marilyn Manson sounded like him. I don't know who came out first. I assume it's around the same time.
[00:40:51] Speaker C: Well, they were out a while. I mean, White Zombie. But in terms of the actual singing, Marilyn Manson, we're not going to say has that original. Original voice or whatever. We've spoken about times where someone, even though they're doing something that we've heard before, it's kind of attributed to them. You know what I mean? I can check the dates while you play the next thing.
[00:41:08] Speaker E: Yeah, I'd be curious to know who came out first.
[00:41:10] Speaker C: Also based on a movie.
[00:41:11] Speaker E: There you go. That's what he does. All right, let's continue.
[00:41:14] Speaker B: Here we go.
Sam, I.
[00:41:50] Speaker C: Down you go.
[00:41:58] Speaker B: Stranger.
[00:42:32] Speaker C: She lies there.
[00:42:40] Speaker B: Sam made forever Destroy the things you love and see how you remember all you know is alone down you go.
[00:44:06] Speaker C: Just so you know, I was trying to Google as much as possible. Does Marilyn Manson sing on Phantom Stranger? And at first I misspelled it, so it didn't know what the hell I was saying. I guess it's saying it's not him. White Zombie actually released their first thing in 1987, which I knew because actually after we did did this, I was trying to do an album ranking to see where this album fit with people for him. And then I saw somebody that did all of them, including White Zombie. So I knew that they had these two before, which, I mean, I thought Le Sex Mercito was the first one. Goes to show they actually had 287 and 89. The people said it was a little bit more punky. And Marilyn Manson's first album was 94. Technically, White Zombie was first. But solo wise, when you think of when this comes out, Marilyn Manson kind of had voice thing we're all saying it sounds like him. So that's technically was before this.
[00:44:56] Speaker E: You know what? It sounds a little bit like corn too. In some weird strange way.
[00:44:59] Speaker D: Porn sounds like that or whatever.
[00:45:01] Speaker E: You know what I mean? It sounds like him a little bit in the lower register Now. I get that Rob Zombie was out first. I get it. Yeah. More of the same. Although this is Very Halloweeny to me. The keyboards and the werewolf sounds and all that kind of stuff. It sounds more Halloween. I don't know if that makes any sense.
[00:45:18] Speaker C: Corn was 94, guys.
[00:45:19] Speaker E: Okay, there you go.
[00:45:21] Speaker C: Yeah.
[00:45:21] Speaker E: Come on, Frank. Stop messing me up. See, was right.
[00:45:23] Speaker D: Horn was 94. I thought they were 98.
[00:45:26] Speaker C: Well, since 94, 96, 98, 99, 2002, they put on a bunch of albums.
[00:45:32] Speaker E: There you go. Learn something every day. All right, let me finish words up and then we can vote on this. Verse 2. My sinister sounds sweep the grounds Stillborn, I lie beneath it I throw it away the freaks all stay deformed and laughing, screaming A chorus again. And then there's a little sample in the middle of that instrumental part, which comes from the 1973 Hammer horror film, the Satanic Rights of Dracula. Dracula. And the part is, she lies there waiting for the sacrifice And I didn't.
[00:45:58] Speaker C: Remember the clip, but I've definitely seen the movie.
[00:46:00] Speaker E: Verse 3 is a Richard Hart in the dark decay Dominate forever Destroy the things you love and see if I remember and then chorus all the way out. Gotta say, this side is very experimental compared to the first side.
[00:46:12] Speaker C: I don't know if it's more experimental. Maybe just some of the writing is better.
[00:46:16] Speaker E: I don't know. It's a little less straightforward. It's a little less. The same thing over and over. That's what I get out of it. Like the first size, the very same. A lot of the same stuff over and over. And here you get one song. Maybe that second song is a little like Dragula, sort of, kind of, not really. And then it changes totally. I'll go first on this. I'll probably just across. I think sixes across is the right thing to do. I just don't know what else to do. I feel that it's very different. I like the Halloweeny aspect, especially for what we're doing right now. Can't really go against anything that. I mean, I could take musicianship down a little bit because it's not a lot of musicianship technically. Here, I'm gonna do sixes, just so I feel that's the right thing, the deal.
[00:46:53] Speaker D: Frank, I'm going to go with you on that. All sixes all the way across. This one, to me, felt a little bit all over the place. Still keeping with that same unique. Doing something different sound that he did, but for me, just didn't sound very coherent. So I'm going to do sixes.
[00:47:05] Speaker C: S. I will say six on the lyrics and a five on everything. Else. This one just didn't stick with me. I can appreciate it. I was waiting for the end of this one. I'll be honest with you.
[00:47:13] Speaker E: There's not a lot of dynamic. It's very flat. Now that you say that, I'm going to change my scores to 5 just because I don't think it's as good as the last song. I like the interesting parts that he's changed, but that doesn't make the song better technically. Okay, we're at the end, and as would she be at the end. It's the beginning of the end.
[00:47:44] Speaker B: It's in a.
[00:49:19] Speaker C: It sound like a mistake at the end. It's like, no, stop, stop.
[00:49:23] Speaker E: Yeah, I don't know what we're going to do with that. I mean, it was cool, I guess, for his album. That's the right way to end the album. She's doing all this stuff already. I just. I don't know.
[00:49:32] Speaker C: I don't think I would have ended with that. That should have been an interlude somewhere with something coming after that.
[00:49:38] Speaker E: Yeah.
[00:49:38] Speaker C: I don't feel like that was a good closer. I liked it. It was kind of okay. This is cool. But knowing that there was nothing else coming, I'm like, I don't know if I would have ended it this way. Rob put this before the last song, maybe.
[00:49:50] Speaker E: What do you think of this album as being our Halloween album? You think it was appropriate that we. We got this?
[00:49:54] Speaker C: I think so. Clearly, he has the horror vibes. He's got some of the samples that he uses. I would think so. Really? When you think about Halloween, you think about guys like Rob Zombie enough just because of the movies, you know, you think of, like, people like King Diamond. Right. Merciful Fade, stuff like that. I think so. I mean, what do you think?
[00:50:12] Speaker E: Yeah, I think it's fine. I think there are parts of it that definitely fit the Halloween vibe. I mean, he definitely likes horror movies, and that's through this whole album. It's not something I would listen to all the time. As a Halloween thing, I think it's. It's pretty good.
[00:50:23] Speaker C: Judge it like this. We were on the outside looking in, and another music podcast was doing a Halloween episode, and you saw that it was Rob Zombie Hillbilly Deluxe. What would you say?
[00:50:33] Speaker E: I'd say, yeah, that makes a lot of sense.
[00:50:35] Speaker C: I think so, Frank, what do you think?
[00:50:36] Speaker D: I think so. I think. Can't get anybody spookier than him. Throughout the whole album, he kept his common theme. I. I personally like that last track. I like the fact that he ended it that way because it didn't end the album. In other words, he's just like, hey, there's more to come kind of a thing. And in anticipation of the follow up album, at least that's I'm listening it as. I think overall this was a great pick for Halloween.
[00:50:58] Speaker E: One more Halloween in the books. We'll see what happens next year. We'll put more albums on the wheel and we'll do a little another mini wheel spin. And next week we get to our regular wheel, which now has 1600 albums on it. We don't seem to be going down, we seem to be going up. The wheel just keeps adding more stuff to itself because it's like, you're never going to finish this. It's going to keep adding albums to it.
[00:51:16] Speaker C: You'll keep finding things. And that baby wheel is going to get bigger, too.
[00:51:19] Speaker E: Yep.
[00:51:20] Speaker C: No, I think it's a toddler wheel. It's at this point at least.
[00:51:23] Speaker E: All right, so I. Why don't you do your thing?
[00:51:25] Speaker C: 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, check them out. You got Tom Petty, Rush, Judas Priest, Megadeth, Queen, Zeppelin, you name it, it's probably on there. So go check them out. And mark, where can they find us?
[00:51:41] Speaker E: On the Interwebs Rock roulette pod on all the social media. Rockwelletpodcast.com do a new bets, drop us a line, do the merch. You know what to do. Put us on your auto downloads. You get our episodes every time they come out and rate us 5 stars wherever your podcast player lets you, because that helps move us up and gets us more people to listen, which is awesome. Next week we'll be back to our regular format. Happy Halloween, everybody.
[00:52:04] Speaker C: Ciao. Ciao.
[00:52:05] Speaker D: Good night.
[00:52:05] Speaker E: Later.
[00:52:11] Speaker B: 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, 0.
Happy Halloween.
