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 Roc Roulette Podcast.
[00:01:03] Speaker B: Foreign.
[00:01:15] Speaker A: Welcome back to another episode of rock roulette podcast. That's right, the crazy ass podcast. It took over 1, 600 albums. Stuck them in a list, stuck them in a wheel. And every week we spin the wheel. She picks a record for us and we go through it track by track. 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 wanted to do a podcast. We take a journey of discovery and rediscovery. And everybody who takes this journey with us, we really want to thank you. Whoever listens. Really thank you so, so much. And spread the word. It seems like the word has been spreading because the listens keep going up. So we really, really appreciate it. Can't say it enough and reach out to us. We always reach back. Tell us what you like, what you don't like. Maybe suggest an album. Suggest anything. We're listening. And Mark always gets back to everybody. I always put him on the spot, but he is really quick and getting back to people. Speaking of which, we are duo. Tonight we have Mark. Oh hi Mark.
[00:02:06] Speaker C: What's up guys?
[00:02:07] Speaker A: And I'm set.
[00:02:08] Speaker B: Ciao. Buenos.
[00:02:10] Speaker A: Last week we wrapped up our Halloween episode with the second side of Rob Zombies Hillbilly deluxe debut album. I think we found the second side to be overall a little bit more interesting. It seemed like he experimented more on the second side. I think we all did agree that Dragula is probably the best song. Not bad. I might go back to it. Maybe next Halloween. I'll go back to it. What do you think overall, Mark?
[00:02:30] Speaker C: Second side was much better. I think Dracula is the best song on that album. The second Time had a little more interesting changes in songwriting and style. I like that a lot.
[00:02:40] Speaker A: It was fun. I think it was appropriate for Halloween. Without a doubt. And a good little chapter for us. Tonight we get to spin the wheel again. No specialized episodes. She gets to pick for us before we spin the mama wheel, we spin the baby wheel and the new Bets.
[00:02:54] Speaker C: In a world where new music is.
[00:02:57] Speaker A: Not easy to find.
[00:03:01] Speaker C: Welcome to New Bets.
Okay, here's the new Bets wheel.
[00:03:24] Speaker A: Cool Godsmack. Truth. I don't know this one. I'm actually looking forward to it.
[00:03:28] Speaker C: Me neither. I haven't heard anything from them in a while.
[00:03:31] Speaker A: Me too. I went back to the first two recently. Those are pretty strong albums. I had the third one too. I have to go back to all them. Honestly. Yeah, this is cool.
[00:03:39] Speaker C: Yeah, this should be good. All right, so this is God smack truth.
[00:04:09] Speaker A: You can tell me that you tried.
[00:04:18] Speaker B: But you told me as you said.
[00:04:23] Speaker A: Goodbye.
[00:04:27] Speaker B: And all those things you couldn't say.
[00:04:36] Speaker A: You just watched me walk away.
[00:04:41] Speaker B: Again But I was there for you till the end as your lover and your best friend so why'd you cross that line and destroy my life?
Please just tell the truth Cause it's a lot to defend and I can't understand how I'm still loving you.
[00:05:29] Speaker C: Why.
[00:05:30] Speaker A: Can'T you be by yourself now?
[00:05:38] Speaker B: Always needing to be with someone else so uncomfortable in your own skin I didn't realize that I'm alone meant I'm with him so why you cross cross that line and destroy my life?
Please just tell the truth Cause it's a lot to defend and I can't understand how I'm still loving you we only have one life to get it right we had our second chance and yet we it up again Sam.
So why you cross that line and destroy our lives?
Please just stay true It's a lot to defend I can't understand how I'm still loving you why am I still loving you?
[00:08:05] Speaker A: That was good. I liked it. I like the melody progression. What do you think of the solo? What do you think overall?
[00:08:10] Speaker C: I liked it a lot, actually. I haven't heard anything new they've done since the original early stuff when they first came out. Really good. I hope we get this album I'm going to have to put on the list if it's not there.
[00:08:20] Speaker A: Cool.
[00:08:20] Speaker C: Every once in a while we get a good one.
Doesn't always happen. What do you think about the drum sound?
[00:08:25] Speaker A: It was okay. It wasn't bad. I wasn't full blown into what I usually don't like. I think overall the production was very good. I really like the piano sound. It was crisp and I think it was pretty well produced.
[00:08:35] Speaker C: I thought it was good. All right. If you like it, let us know. If you don't like it, let us know. And Let rubber stamp this in a world where new music is not easy to find.
[00:08:48] Speaker B: Welcome to new bets.
[00:08:57] Speaker C: It's that time again. Time for the real wheel. What are you picking this time? I'm staying on my grunge thing. It still hasn't done it for me. It's teased me in the 90s a little bit. It really hasn't done what I want. Until I get it, I'm gonna stay grunge.
[00:09:10] Speaker A: I wasn't thinking about what I wanted. I was thinking of what she would pick. And I'm thinking either classic or glam. That's where my head is. Okay, but who knows?
[00:09:20] Speaker C: Alrighty. Here's the wheel.
[00:09:42] Speaker A: I don't know where you get these. Fate Cruising for a bruiser.
[00:09:46] Speaker C: I must have picked it up off some obscure list somewhere. What is this? It's the third album by Danish rock band Fate. Who Even is fate? 1988. Is this glam? Like you were saying, hard rock? Is it? It says it's glam metal. It was on Capitol. Oh, they're still playing right now? 2004 to the present. Oh, boy. This could be either really good or really bad. And they're using weird, stupid names. Jeff Locks. Limbo on voc.
The mysterious Mr. Moth on guitars. What the is that?
Fleming Roth House on keyboards, Pete Steiner on bass and Bob Lance on drums. What do you think there's gonna be lyrics for this?
[00:10:25] Speaker A: The band Fate formed when former Merciful Fate guitarist Hank Sherman. So I guess where fate comes from is Merciful Fate.
[00:10:33] Speaker C: Okay. Oh, look, there's no lyrics. Oh, darn. I don't get to read lyrics.
[00:10:37] Speaker A: That means you really have to pay attention.
[00:10:39] Speaker C: Yeah, I know. All right.
[00:10:40] Speaker A: Okay.
[00:10:41] Speaker C: My assumption is this thing didn't really go anywhere because I've never heard of them. This would have been somewhere in our wheelhouse in 88. Maybe Nick knows about these guys.
[00:10:50] Speaker A: I don't think so. They made an album in 2024.
[00:10:54] Speaker C: Yeah, I said they're still together. Not the same people, but the band's still around.
[00:10:57] Speaker B: Yeah.
[00:10:58] Speaker A: Still making music.
[00:10:58] Speaker C: But we're gonna have vocals that are like Klaus Mind Thing where you're like, oh, boy. I hear the accent.
[00:11:04] Speaker A: I think he has a good voice. It's just.
[00:11:06] Speaker C: Is the accent and the voice. I like his voice, actually.
Yeah, we.
I know nothing about this. You know nothing about this.
This is gonna be. I don't even know. The first song is called Benita Coconuts.
[00:11:20] Speaker A: Of course.
[00:11:21] Speaker C: Yaman Beneath that coconut here.
[00:12:00] Speaker B: And the radio was blasting out our favorite, too. You.
You were smiling a big Smile on your face and me I was gone.
You found our romantic place.
Find me thy nice heart by means I couldn't go.
Sweet.
[00:12:39] Speaker A: It's of the era. The chorus just comes out of nowhere, though. It reminds me, that opening riff, a little bit of a Kingdom Come song.
They put you to sleep.
[00:12:55] Speaker C: It weirdly sounds like something from Skyscraper, from David Lee Roth, especially in the chorus.
I don't know if it's all the keyboards and stuff, but.
[00:13:04] Speaker B: Wow.
[00:13:06] Speaker C: I don't know what to say so far. I don't think the playing is bad. Again, I think most of the playing, even on the stuff I don't particularly like, I think they're actually decent players. And the riff sounds a little earlier 80s than it does late 80s.
Same thing with the guitar tone. I think it's very much mid-80s more than it is 88.
[00:13:25] Speaker A: Production isn't bad, though. I mean, it's clear.
[00:13:27] Speaker C: Yeah. I just don't know how you go from Merciful Fate to this.
[00:13:30] Speaker B: This.
[00:13:30] Speaker C: That seems like a big jump.
[00:13:31] Speaker A: Maybe he just really liked both styles of music. Because Merciful Fate was pretty big.
[00:13:36] Speaker C: No, I know. And it's much heavier than this.
Darker at least. Anyway.
[00:13:39] Speaker A: Oh, yeah. I can't imagine King diamond singing Beneath the Coconuts.
[00:13:44] Speaker B: We need the coconut.
[00:13:46] Speaker C: I was trying to listen to a little bit of lyrics, but something about car and something. It sounds very translated. You know what I mean?
[00:13:55] Speaker A: It's basically a party thing, right? The car. I heard the blasting. Our favorite tune.
[00:14:01] Speaker C: Yeah, guess so. I don't have to read lyrics, so that's cool. Let's continue.
[00:14:17] Speaker B: Had a so exciting Rose tassel on your side and it could have been the wine or the ocean breeze I swear I heard you say you weren't up and me we were singing all the songs we knew Sweet as a holly pie Cute as a little baby.
[00:15:13] Speaker A: I like the first part of the verse, the melody, those last two lines. And I mean, beneath the coconuts.
Whatever. I would have been like, guys, hold on, hold on. Even that part after the chorus isn't bad, I guess. He says, sweet as honey pie, Cute as a little baby. I mean, but whatever that Benita Coke.
[00:15:36] Speaker C: I noticed that he's doing the David Lee raw thing. Especially during that Skyscraper time. It's one line at a time and it overlaps each other because he's not doing a full take. Have you noticed that?
[00:15:47] Speaker A: No, I didn't actually.
[00:15:48] Speaker C: And that makes it even sound more like David Lee Roth to me. This song reminds me of Skyscraper. Just not in a good way, though.
[00:15:55] Speaker A: I don't think the verses are that bad. The first part, there's the last two lines that go into the chorus. And I think with better words. I don't think the chorus is that uncatchy. I just laugh when I hear it and maybe that's the point.
[00:16:09] Speaker C: Bonita. Coconuts.
[00:16:11] Speaker A: Yeah, I don't know. Maybe that's the point.
[00:16:13] Speaker C: My assumption is this is supposed to be party music. No one's really taking this seriously. The album was called Cruising for a Bruising.
[00:16:19] Speaker A: Yeah.
[00:16:20] Speaker C: Does Beneath the Coconuts really surprise you?
[00:16:22] Speaker A: I guess not.
[00:16:23] Speaker C: Oh, boy. Let's continue. I guess we got a guitar solo. Here we go.
[00:17:14] Speaker A: I didn't like the first part of the solo. That finger tapping thing, it sounded forced. But then when it kind of came back in, I thought it was really good. It was very melodic. The music underneath it was good. I really like that part. What'd you think?
[00:17:25] Speaker C: Everybody's got to do the finger tapping. And some people do it better than others. And this is not that case. This is not Red Beach, Steve Vai, Joe Satriani, Vito Brada tapping, or even the guy from Night Ranger. It's the stock thing that you have to do because it's the 80s and if you're on hand taps, you have to tap. The second part was better. I do like that. Even the way it came out of it was so stock. Late 80s, hair metal. And that's what we're gonna do. Technically, it's proficient. Besides that, though, I don't know.
[00:17:56] Speaker A: I liked it.
[00:17:57] Speaker C: It wasn't the worst, it wasn't the best, but it was very stock. Alrighty, let's continue.
[00:18:25] Speaker B: Cute at us A little baby like a butterfly all around Sweet as a honey pie Cute as a little baby Baby like a butterfly up and down Baby, you are Sweet as a honey pie Cute as my little baby like a butterfly.
[00:19:23] Speaker A: I would have liked it better if they did another solo in the fade out instead of repeating that over and over. Even though I didn't mind that melody, I just felt it was too much of that. They must have thought something as well, because the song is Beneath the Coconuts, but they use that sweetest honey pie thing way more than they use the chorus.
[00:19:40] Speaker C: Yeah, I was listening to that.
[00:19:42] Speaker B: So.
[00:19:42] Speaker C: Sweet as a honey pie Just like a little baby Something like a butterfly.
[00:19:48] Speaker A: I think it was.
[00:19:48] Speaker C: Cute as a little baby up and down. Come on, you're not even trying to hide that? Are they on vacation in the Caribbean? Is that what this is? Ooh. Oh, boy. Do you want me to go first? Would you like to go first.
[00:19:59] Speaker A: Go first. I'll say a two on the lyrics. I mean, obviously they are what they are. I didn't think the music was that bad though, honestly. I'll say six on production five in arrangement. I didn't like that ending. I'll say five on the melody. Say a five on the music. Overall, it's kind of silly, but the music behind it I didn't think was. Was that bad. I wasn't shaking my head at any point saying, oh my God, what the hell is this? What do you think? Ooh.
[00:20:24] Speaker C: One on the lyrics. Sweet as a honey pad number one. I have no idea what the that means. Cute as a little baby. Swift as a butterfly up and down or wherever the he was trying to talk about sex there, I guess. I don't know. It's bad now again, there's probably a big language barrier here. And I don't know if they're just trying to translate so it comes off a little weird. Melody wasn't bad. 5 Music Music 5 Arrangement 5 Production 6. Technically they can play their instruments. Even the name Beneath the Coconuts. Oh, geez, who said that that was good? They could have changed that to anything and it would have been better.
[00:20:57] Speaker A: Unless it's a goof. It could be. Who knows? We don't know enough about them to really know anything.
[00:21:03] Speaker C: My assumption is they're trying to jump on the bandwagon at the time, so that kind of makes sense. I don't know if you would like something as far as title goes, that's just as bad. Love on the rocks rox88 yeah baby here we go. Love on the roc box.
[00:21:49] Speaker B: It'S such a shame. Cause every night I'm standing there in faith Again and again I wanna love you I wanna be the one tonight I wanna feel you.
If you put out Love on the rocks.
[00:22:21] Speaker A: Not terrible. I think the melody is not bad. It's okay. I think the production is clear. I wish it did have a little bit more oomph. That's one thing. I wish it were louder. That makes any sense. It's very straight across with everything. The chorus is catchy.
It's not terrible. I don't think it's terrible.
[00:22:38] Speaker C: It's very plasticky sounding. They're doing everything that you would do in the late 80s to try to fit into this mold about what you want hard rock to be. And this is one of the reasons why it imploded on itself. You can say grunge did it to it. You could say whatever that was. More raw. It's this that caused it eventually to implode on itself. Because you just can't have a lot of this syrupy. All the same, it's gonna be in anybody. Is it bad? No. Is the melody okay? Yes. Is a musicianship okay? Yes. But you had so much of this that you really didn't need this. How many bands can you have? It all sound the same. That's the problem. I don't notice a crazy accent on him. The only thing I've heard is the again, again, again and again.
[00:23:16] Speaker A: Have you?
[00:23:17] Speaker C: That's the only thing I heard. But I haven't really heard a bad accent on this, though.
[00:23:20] Speaker A: No, not really.
[00:23:22] Speaker C: Let's continue. Here we go.
[00:23:40] Speaker B: Little l ain't much to say I wanna you, I want to be the one tonight I want to feel you.
You put our love on the.
[00:24:01] Speaker A: It's catchy. Would it necessarily stick out? Maybe, maybe not. I don't know. I don't know the 88 me how much I would be listening to this. I listen to it and I say, oh, this isn't bad. And then I say, back then, would I have been, hey, you bought this CD Fate and this song is good. Or if you heard it on the radio, is catchy. Without a doubt. They can write a hook.
[00:24:25] Speaker C: Supposedly this is 1988 version. Because on their day debut album, Love on the Rocks was on there too. So they tried to release it again a la White Snake, taking songs from older albums and releasing them. Hopefully it's going to be big. Unfortunately, that didn't work like it worked for White Snake.
[00:24:41] Speaker A: I don't know if it was a hidden urban Europe. I've never heard of these guys.
[00:24:44] Speaker C: No, me neither.
[00:24:45] Speaker B: All right.
[00:24:46] Speaker C: I was trying to listen to some of the lyrics. It's hard to hear them. They're mixed fairly low. I think he's not really standing out. And maybe that's on purpose, too.
[00:24:53] Speaker A: He has a good voice, though.
[00:24:54] Speaker C: Yeah. They were on emi. It's not like they were on some small little label. They heard something there, they figured they could sell.
[00:25:00] Speaker A: I think it's sellable. I don't think you couldn't market something like this. It's catchy. I think the words are probably better here than the first one. I don't hear mention of any tree fruit.
[00:25:11] Speaker C: No coconuts. All right, I guess we're gonna get guitar solo. Let's see what he does. Here we go.
[00:25:44] Speaker B: Listen here.
[00:25:45] Speaker A: It fits. I'm not crazy about those little things he was doing at the end. It's written I think perfectly for this song. He's not trying to, hey, it's a solo time, so I'm going to pay 15 billion notes just to impress everybody. He's writing something that is for the song.
[00:25:58] Speaker C: I can see that aspect of it, but I also see the aspect of, oh, let's make the sounds. We have to play harmonics now. Cuz everybody's doing it. Very few guys did that very well.
One guy we haven't heard on the podcast yet, I think probably did it better. And I think he's very underrated, which is Bruce Kulik in Kiss. He did it very well. He melded the blues and the technique together.
[00:26:18] Speaker A: I like it. I think it's melodic. I kind of like the notes and things up there. Poor Dan knows a little bit too much of that. Like you're saying the noises and things like that, which didn't fit to me.
[00:26:27] Speaker C: No, that's what you're supposed to do here. You're an 80s guitar player. You have to do the stuff. That's what it came down to. You took all the wrong things from Eddie Van Halen. You didn't take the right stuff. You took the stuff that you thought made you stand out. And meanwhile, that's not really what it was. Is he proficient? Of course. I don't think we've heard any of these glan metal records that they weren't somehow proficient. Probably more proficient than anybody in the grunge side, except for a couple people.
[00:26:50] Speaker A: Would you. Who would you say is the worst that we've heard so far? Would you say what's his name from Pretty Boy Floyd?
[00:26:57] Speaker C: Yeah, that wasn't great at all.
[00:27:00] Speaker A: I just say it enough because Frank isn't here if he jumps in next week. I was curious to hear who you would think that was the first place my mind went to.
[00:27:09] Speaker C: Yeah, I would probably say we haven't gotten to a lot of it. Luckily. I can't wait till we get to the wart ones because the wart ones. There's a lot to talk about about that. That I didn't know back then, that we found out later on. But anyway, let's continue this. Here we go.
[00:27:21] Speaker B: Listen here I'm talking to you.
Our love used to be so good.
Oh, I know I was a fool maybe once or twice but that's all over now it's time breaking ide I want to love you.
I want to feel once a night I want to feel you.
You put our life on the right.
I want to love you.
I want to be the one Tonight I want to feel you. I want to feel you. You put the.
I want to love you.
I want to be the one tonight.
I want to feel you. I want to feel.
Be the one tonight.
[00:28:45] Speaker A: You got your fade.
I think it's catchy.
I think at some point in whatever many years ago this is. What is this? God, is it 47. How many? 37 years ago.
[00:28:58] Speaker C: It's a long time ago.
[00:29:00] Speaker A: 37 years ago. Us. Maybe if this came on, you can picture people singing along to it. The chorus, I think.
[00:29:07] Speaker C: I think the melody is good. I think there were people that knew how to write songs like this. Do you need that many bands all sounding the same? That's the problem. Whether they're good songs or bad songs, that's really irrelevant. If everybody sounds the same, then the scene is pretty much done again. That's why it imploded. Got all this same over and over. Regardless of whether the guitar playing is good. The drumming's good, the singer can sing. I can't take that away from him.
[00:29:30] Speaker B: Him.
[00:29:30] Speaker C: It's very samey same. Why don't you go first this time?
[00:29:33] Speaker A: I will say three on the lyrics, I guess. I mean it sounds like all pretty much the cliche lines. I'm going to give a six in the melody. But I'm going to bump up the melody because I really like that chorus. I do prefer Poison's Love on the Rocks, but that could be my favorite Poison song. Production. I'll say five.
[00:29:49] Speaker C: I think the.
[00:29:50] Speaker A: The first one was produced a little bit better. Arrangement was good. I'll say six on arrangement and music.
Say five on the music again. It's. It's a cute little song. It's unoffensive.
What do you think?
[00:30:03] Speaker C: I'm gonna say three on the lyrics. Just like you. Five on the melody. It wasn't bad. Music five. Arrangement, five. Production, six. I think production's good. The drums are very late 80s drums. A lot of that gated reverb, which is of the time frame. Again, is it produced bad? No. Is it a bad song? No. They have a fade out. I like fade outs. There are parts of this thing that I can't say are horrible, but. Are you going to get this from another band? Yes. Are you going to get it better from another band? Yes. That's really what the problem was with all this stuff. There's exceptions in the late 80s, I think warrant to me is an exception in the late 80s that I liked a little bit more. And that was maybe because his songwriting was a little bit better. It's very cookie cutter and very inoffensive. This is probably why they got signed this song, because this is on their debut album. All right, Next one is Knock on.
[00:30:47] Speaker B: Wood, Looking for Red Won't Lose.
[00:31:40] Speaker A: This is where.
This is where it ends. It's funny because that intro riff, the drums didn't go where I thought they were going to go. I thought it was going to be a little groove and it didn't. And I think that speed makes it worse. I think if it at least had groove to it, it would be better. This is. We've mentioned this before, where you're watching one of those B movies and it's somewhere in a bar or whatever or some kind of party and the band is playing a song and this is it. I'm not feeling this one.
[00:32:11] Speaker C: Not feeling it at all. You're right. This is the teen 80s movie where this is playing. They're doing something. They're in a car or getting chased by the police or something's going on. It's so cliche, just not very good.
[00:32:22] Speaker B: Good.
[00:32:22] Speaker C: Can they play their instruments? Yes. I want to keep reiterating that. We're not saying that music wise. They're bad players. It's just songs aren't great and this is just bad. And the lyrics. I even listen to the lyrics and try to figure out what they're doing, but I can't even tell you what's going on. I don't know.
All right, let's try to get through this. Here we go.
[00:32:49] Speaker B: Carries me from down on the floor Straight into the grave Loose lips figure out that propeller Got a bad, bad case I'm magnesium Don't need no object that I better knock on board My body would be too good I better not go for I think I won't if I.
[00:33:36] Speaker A: The lyrics could be better in this one, believe it or not, than the other ones. Even though the chorus is just a cliche line. Like, I didn't think the solo was that bad.
[00:33:45] Speaker C: This is the wannabe Skyscraper Steve Eyes guitar playing. I don't know.
[00:33:50] Speaker A: I heard that.
[00:33:51] Speaker C: Yeah, just not as good. That's problem. I was trying to listen to the lyrics. I'm trying to say something about a fortune teller, but I have anesthesia. Amnesia. Whatever. It could be anesthesia. For all I give a anesthesia. It could be amnesia. I don't think it matters what you say.
This bad mid tempo 80s hair metal thing. Just bad. All right, let's run this out. Here we go.
[00:34:21] Speaker B: House is Ben need complex powder and pill I will find be My home institute of my friends Will be the riding on my tomb Better not got one My money working together I better knock on wood I think I would if I could When I got on I better not go I better not go Good.
I better not go W.
I better not go.
[00:35:22] Speaker A: I like the way the drums ended there. Sounded better than they did in the rest of the song.
[00:35:25] Speaker C: A little, yeah.
The lyrics are so cliche. I'm trying to even listen to it. You better knock on wood I would if I could.
[00:35:33] Speaker A: Yeah. The chorus was the worst part. I mean, there was some cool lines I think I heard in the verse, though.
[00:35:37] Speaker C: What does it save it? That's the question.
[00:35:38] Speaker A: Give him credit for that. This is a song that. If I had this or if I was listening to it on my own, I probably would have gotten to the first chorus and then skipped to the next song.
[00:35:48] Speaker C: I might have stayed to the solo to see what happens, and then I would probably give it.
[00:35:51] Speaker A: It didn't have any of the charm or patchiness of the first two. I mean, the first one, okay. Beneath the Coconuts is. There are things that I didn't like, but it still had. At least some of it was catchy.
[00:36:01] Speaker C: I'll go first. Three in the lyrics, four in the melody, four in the music, four in the arrangement, five in the production. It's mediocre at best, just not very good. I could probably do it lower, but there are things that are okay. That buildup right after the solo, it didn't even build up. It started to build up, and then it just went no place. It flattened out.
[00:36:18] Speaker A: Yeah, it flattened out. What do you think I'm saying? Fours across. I'll make it easy. I may even be able to do lower in some spots. And four could be the highest these lyrics get.
[00:36:28] Speaker C: The next one's called Lovers. I assume this is another song that they point out. It's featured. It has a video clip. Was a video. This was a single, I assume. Here we go. Lovers.
[00:36:43] Speaker B: It.
Without a war Taken by surprise.
You were lifting up your sky.
To all the other guys I could not help but smile.
Cause I was very love.
And I knew that we were too overcome.
Now when lovers love us we're calling an unknown dimension. When lovers love us.
And no one can take that away.
You may not.
[00:38:04] Speaker A: This one's better than the last one. That riff, beginning, keyboard, sounds really familiar. I can't place it. So if they go back to it, I'll try to think. The production is so thin, though. It's. It's clear, but it's thin. I think it needs. It really needs more oomph. I mean, you think about some keyboard bands like Europe that had keyboards were pretty prevalent in. In the music. But I think the production was more solid and it was more in your face. I think the song would sound better that way. What do you think so far?
[00:38:30] Speaker C: This, to me, is just as bad as the last one.
[00:38:32] Speaker A: Oh, is it? I think it's better than the last.
[00:38:35] Speaker C: I just don't get anything out of this. What was the album we did where Don Daken was helping them out with the lyrics? Yeah, this is. Feels like that way as well.
[00:38:43] Speaker A: Xyz?
[00:38:44] Speaker C: Yes, xyz. And this feels like that to me as well. He can't sing in English and they're doing this trying to make him sing phonetically through the words. And the words don't make any sense. There was a line there. I forgot even what the line was. I heard it and went, what does that even mean? Do I need to hear a song like this again? No. In 1988, you had a lot more choice choices for better stuff than this. And you're not going to stand out. So you're one other hair metal band hoping to get a hit. I assume that's what it is. And listen, I get it. You want to have a hit. You want to do what everybody's doing. And that happens in every genre. Whether it's grunge, whether it's disco, whether it's. Pick a genre of any kind. There's always going to be the beginning. People who start all this thing, and then there's going to be this. The glam rock, air metal thing lasted for a good 10 years. That's a long time, really, if you think about it. So when you get to this part now, now it's just regurgitating the same stuff over and over, just not as good. It's like when you give dogs food. The dog food is not great at the beginning anyway. Then when they throw it up and it comes back out, it's even worse.
[00:39:38] Speaker A: I'm not sitting here listening, saying, wow, that's not it. But I don't think they're necessarily any worse than some of the other stuff we've done of the genre.
[00:39:46] Speaker C: It just shows you how bad it got in the late 80s. Okay, here we go.
[00:39:55] Speaker B: But baby, I'm no saint we may only stay together until our modest F But we're gonna have a good time Enough you can rely Gonna love you till the day I say goodbye now we're lovers Love us We're calling Unknown dimension Love us, love us and no one can take that away and days go by we love and decide Higher no matter what Our love takes us higher Sam.
[00:41:49] Speaker A: What'D you think of the solo?
[00:41:50] Speaker C: Maybe the best solo so far. I think. It had some. A little bit of cliche stuff while on it, but it wasn't as bad and it was blatant as some of the other stuff.
[00:41:56] Speaker A: I liked it. I think he plays with feel, if nothing else. Like you said, he has that thing, you know, do this, that there is melody in the solo. It isn't just notes to be notes, and they complement the song.
[00:42:07] Speaker C: Yeah. There's not just speed and flur of notes just to do that. It is a little more melodic. I think this is the best one so far. You could tell exactly what was going to happen. There was no surprise when they came out of the solo where it was going.
[00:42:17] Speaker A: Actually, I was going to say I wasn't expecting that kind of thing. Was that in the other part of the song?
[00:42:22] Speaker C: I don't know if it was, but it felt like that's where it should go. This may be the best song so far. Even though it's very generic, it's got.
[00:42:29] Speaker A: Some feel to it. I think. If nothing else, the one before this, to me, felt very generic. Without a doubt. It had nothing. There was no soul to that song whatsoever. It's not even about breaking new ground. But at least the other songs have some part that have something you can sing, whether you enjoy it or not. Tomorrow morning or you might be like Lovers Lovers like.
[00:42:48] Speaker C: Damn it, damn it. It's in my head now I can't get out of my head.
[00:42:51] Speaker A: Yeah, it's catchy enough to kind of stick.
[00:42:54] Speaker C: All right, let's finish it up. Here we go.
[00:42:56] Speaker B: We're calling an unknown dimension but love us, love us and no one can take that away Love us, love us, love us, love us we got the world Love us, love us, us I.
[00:43:42] Speaker A: Don'T think it was that bad.
[00:43:43] Speaker C: First Love Lovers, probably the best song on the record. I think that's the question now, what am I going to do here? I have to look at my other scores and figure out where I can make this higher than the first song, which is Beneath the Coconuts, which is five. It's mostly fives and fours. I still think the lyrics are very crappy. I'm gonna say five on the lyrics and six on everything else. Would that get me higher? Yeah, that's probably good. There is some melody, there's some catchiness. I can't say not. The lyrics are tough. Even though I'm giving it the best score for. For lyrics, there's not much you can do here about that. I just think the song is probably the best one so far. And I enjoyed the guitar solo. That wasn't bad. What do you think?
[00:44:17] Speaker A: I'll say four on the lyrics and six on everything else.
I don't know if I'd go back to any of these things, but here in the moment, listening to it, it's not bad.
[00:44:26] Speaker C: Okay, we're at the end of the first side. It's a weird song title. Shamino. You ready?
Dead Boy Cold Meat. What the does that even mean?
[00:44:35] Speaker A: No, but maybe it's spooky. Maybe Alice Cooper wrote it for them.
[00:44:38] Speaker C: I just think. Again, bad translation, I think.
I mean, it's gotta be.
[00:44:42] Speaker A: Hey, listen, don't forget what he's is in Merchant Fates. Maybe some of that rubbed off.
[00:44:46] Speaker C: Okay, here we go. Dead boy, cold meat.
[00:45:35] Speaker B: You won't turn cold When I'm way down with wedding Gonna be a dead boy throw me by then Going to be a dead boy throw me by then.
[00:46:03] Speaker A: Well, if you wanted to draw a David Lee Roth line, that was it. I mean, he was scatting. Bibbidi bobbidi boop.
[00:46:11] Speaker B: Bop city bop.
[00:46:15] Speaker A: Yeah, and that intro with the. With the hi hat. Unless I stand corrected, the timing was off at one point. With the guitar, I'm pretty sure. Wait, is it off? It sounds weird to me. Like with the timing is weird. Sometimes they do the little head shake, the cringe.
I don't know what to say about this one.
[00:46:33] Speaker C: It's a bad Van Halen shuffle. It wants to be a Van Halen shuffle. This is another really generic one in a weird way. No, because not a lot of people tried to. I mean, I guess they did try to do that. It just feels like, oh, we're going to do the Van Halen thing. Except none of you can do it correctly.
I was really bad. I think the words here might be worse than the worst I've given, which I think is the Beneath the token. I just want. I think my lyrics going to probably be the. The same. I still don't know what Dead boy Cold meat means.
[00:46:59] Speaker A: I have to say one thing that I did realize in this episode, if you're not reading the lyrics, maybe it's because of what it is. I'm not really paying as much attention.
It's funny, I try to pick out lines and. And stuff like that. I mean, I understand what he's Saying, I guess once it started, I said to myself, all right, pay more attention as it goes along.
[00:47:21] Speaker C: Well, let's see here we.
[00:47:29] Speaker B: I've been drinking, you may smile But I ain't joking I just laugh. Cause I've been so gay and it's been like this for a thousand years And I ain't gonna waste my dream Gonna be a dead boy Throw me by then Gonna be a dead boy Throw me me by then.
[00:48:47] Speaker A: That was my least favorite solo. That, to me, was the opposite of what I was saying before. Felt that. Yeah, his solos had his little, like you said, marks of 80s guitar playing in the genre, but he kind of played with some feel. I'm not saying he plays badly, but he played note for note exactly what a generic solo in this song sounds like.
[00:49:08] Speaker C: Yeah, it's trying to be Eddie Van Halen and not being able to do that correctly and just using the things that everyone thinks that you need to use to do that. It's just bad. It's bad, bad, bad.
[00:49:19] Speaker A: The guy can play.
[00:49:20] Speaker C: Yes. No argument.
[00:49:22] Speaker A: The fact that he didn't do something a little bit more original is disappointing to me because I have overall liked his solo. I've liked that part of the. The song. This was off.
Yeah. I guess this is what you would play in this kind of song. But there was no goal to it.
[00:49:35] Speaker C: No, it's the shuffle. It doesn't have swing. It wants to have swing, but there's no swing. That makes sense.
A bad rendition of Van Halen. He even did a little David Le Ro thing. And I don't understand the lyrics like that for a thousand years. And whatever he was saying in there, I just. I don't understand anything about the lyrics. It makes it even worse when I don't read them because I want to say stuff and I'm like, oh, I'm going to say something about that. But then it goes on and I just blank out because it's so unmemorable, but I can't remember what he says. All right, let's finish it out. Here we go.
[00:50:26] Speaker B: Me by that.
[00:50:54] Speaker A: Dead meat. Cold meat body.
[00:50:55] Speaker C: So what does he say? It's a dead boy. Cold meat what body? I think cold meat body. Is that what he's saying? Yeah. I don't know.
[00:51:03] Speaker B: Wow.
[00:51:04] Speaker C: Okay. You want me to go first? Do you want to go first?
[00:51:06] Speaker A: I'll go first. I will say three on the lyrics because of the title. I mean, what the hell?
I will say guess of four on everything else. I don't even want to say it's. Not played badly because it's not played that well. This one. I feel there's times where in the beginning it was off, and I think it felt off at another part. It's a three in the lyrics and four and everything else. Because the production, especially on something like this, it really needs to. You got to pump the production on something like this. A song like this needs more power. What are you going to give it?
[00:51:37] Speaker C: It needs the right players, which they don't have. It needs the right feel, which they don't have. Needs a lot of things. I'm just going to say threes across. I probably could do twos and ones across if I want. Wanted to. I hate this song. I hate it. I hate it. I hate it. So I'm gonna say threes. This is what I was expecting. I was expecting Gibbit to be bad, and I'm getting exactly what I expect. I'm curious to see what side two does.
[00:51:57] Speaker A: I think there's some good things in there.
[00:51:59] Speaker C: And this is a 2007 remaster. This is not even the original one. It was probably worse than this before they remastered it.
[00:52:05] Speaker A: Either that or was better. I mean, maybe there was a rawness to it that's not here. Sometimes they clean things up too much. Maybe always think about smashes and thrashes. Think of what they did. To imagine you have that you never heard I love it loud. Somebody says, oh, you know, buy this. It' like greatest hits or whatever, right? And you hear I love it loud on there, right? And then you go back and you buy Creatures of the Night and you hear it. What could be better sounding than the original? Who knows? I think there's some decent stuff here in terms of they can write a hook. I've definitely heard worse. Is it something that's going to stay in my playlist? Probably not.
[00:52:37] Speaker C: I'm trying to try to forget these songs as soon as this episode is.
[00:52:39] Speaker A: Over with a text you tomorrow, Lovers. Lovers.
[00:52:42] Speaker C: Yeah. That's the best song. Okay, well, that was interesting. Let's see what happens next week with Second Sigh. Why don't you. You do your thing.
[00:52:48] Speaker A: We are part of the Deep Dive Podcast network as well as the Boneless Podcast Network.
[00:52:53] Speaker C: Boneless, you know, like those chicken wings.
[00:52:55] Speaker A: Without the bone, which incorporates a lot of our buddies from the Deep Dive. Rush Rash is on there. You got the Deep Purple guys, dlr, Tom Petty, Uriah. He just another place for us to get together and promote each other. Definitely check it out. And Mark, where can they find us on the Interwebs Rock roulette pods on.
[00:53:14] Speaker C: All the social media. Rock RoulettePodcast.com See the merch Merch. Do the polls, submitted new bets. Send us an email. You know what to do. Put us on your auto downloads and give us five stars wherever you rate podcast, because that helps move us up and get to more people. And hopefully that's why we've been getting a little bit of an uptick, because you guys have been sharing this out. And next week we get to finish out this stellar album by Fate. And hopefully side two is a little bit better than side one, but I don't have much faith that that's gonna be the case.
[00:53:41] Speaker A: Faith? Not faith.
[00:53:45] Speaker C: I don't have any fate or faith in this album at all. All right, we will see you next week.
[00:53:50] Speaker A: Ciao.
