Episode Transcript
[00:00:00] Speaker A: Foreign.
[00:00:04] Speaker B: This is our musical reaction breakdown and commentary analysis of this song. Under Fair Use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the Rock Roulette Podcast.
[00:01:03] Speaker A: Foreign.
[00:01:15] Speaker C: Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1, 600 albums, stuck them in a list, stuck them in a wheel. And 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. Just a bunch of friends who love music want to do podcast and anybody who takes this journey of discovery and rediscovery with us, we really, really want to thank you. Anybody who listens Again, the numbers keep going up and up. Hopefully we're doing something right. And if we are, let us know. Tell us what we're doing right, what we're doing wrong, what you like? Don't like any albums? You want us to go over any songs? Maybe we can throw in the baby wheel. Just let us know. We're pretty good at getting back to people it thinks. Again, we really appreciate that tonight we are a duo. We have Mark. Oh hi Mark.
[00:02:02] Speaker D: What's up guys?
[00:02:02] Speaker C: And I'm Sev. Ciao Buena said.
Last week the Wheel picked Fate Cruisin for Bruising to the point where I think Mark and I probably took 10 minutes of non recording to look up who the heck this was and couldn't even find lyrics for it. That's how rare this thing is. We know that it's their third record and that I think it's two members of Merciful Fate. Although it sounds nothing like Merciful Fate for anybody who knows or has listened to it. This is a band that people talk about on the podcast. Oh great hair metal bands you've never heard of. I haven't even heard of these guys on this list so far. Me personally. There's some good hooks, I think there's some stuff that's definitely pretty stock for the time and everything. And lyrics are what they are. Couple of good hooks, though. I mean, Mark, what's your overall takeaway?
[00:02:46] Speaker D: It's very glossy. It's very late 80s. It's very stock of what everyone thinks Hair band should be at the late 80s stage. Songwriting is okay. Melodies are okay. Everyone plays their instruments very well. It is what it is. Unfortunately, they could probably never succeed just because of there was so much good stuff out at that time. That's hard to Pete. Even though the songs aren't horrible, it's just is very stock and everything you expect is going to happen happens. And the lyrics are ooh. But maybe the lyrics have something to do with translation. I really think that's what it is. I tell the truth.
[00:03:20] Speaker C: It could be. But I also know that we've done. I may have mentioned it in the last podcast albums from people that spoke English pretty well. And we've some pretty bad lyrics there. I think it's a bit to do with the genre and not taking itself too, too seriously and writing about certain things. I mean, beneath the coconuts, right?
Was it underneath the cup? Forgot what it was. I think it's Beneath the coconuts.
[00:03:44] Speaker D: It's Beneath the coconuts. You can take that a couple different ways. If your mind goes into the double entendre of what that could possibly be.
[00:03:51] Speaker C: I'll tell you, this mind had that singing in my head for a couple of days. I will not lie. Like, okay, so it was bad enough or good enough to stick in my head.
[00:04:01] Speaker D: Or maybe they were onto something. We don't know.
[00:04:04] Speaker C: Could be it's a little subliminal thing going on.
[00:04:07] Speaker D: I got it.
[00:04:07] Speaker C: We have the second side coming up, but obviously before we do that, we have our new BET segment.
[00:04:12] Speaker D: In a world where new music is not easy to find, welcome to New Bets.
Okay, here's the new Bets wheel.
[00:04:42] Speaker C: Giant, hold the night. Didn't even know that they were still making records.
[00:04:47] Speaker D: Me either. Supposedly this is 2025, so it's new.
[00:04:51] Speaker A: I know.
[00:04:51] Speaker C: Nick had their first CD.
[00:04:53] Speaker D: I know the name. I just don't know anything they've done. Or maybe I do.
[00:04:56] Speaker C: See you in my dreams is pretty popular. It was a ballad. If you hear that one, you'll probably know that one.
[00:05:00] Speaker D: All right.
[00:05:00] Speaker C: From Giant.
[00:05:01] Speaker D: Well, here we go. This Giant all the Night.
[00:05:28] Speaker A: Found some peace of mind in me yeah, you cut me open Now I bleed My wound still aching deep within in me Even though myself went through Still I'm running back to you all the night Just a little long well, stay with me through the night Night all night Never little longer Make Believe it's all right over night I'm searching for a place to be Somewhere that feels like home to you and me let's build a home of family Create our future memories let's believe oh, let's believe in our step with you still around and back to your house all the night Just a little longer Stay with me through the night all the nights Live a little longer make believe it's all right all night Somewhere there, love tonight you're still a part of me we will fight till the morning light Together we'll be free Just a little longer Stay with me through the night all the light Live a little longer make believe it's all right Sam.
[00:08:57] Speaker C: I wish the production was a bit better. What's not bad? Very aor. Catchy. Good musicianship. I'm not saying this because it was written by two Italians, by the way. And I'm pretty sure it was recorded by an Italian band called Sunstorm first, which I discovered as we were listening to it. But, I mean, the guy has a good voice. Musicianship is good. That's not bad. What'd you think?
[00:09:16] Speaker D: It was so 80s. Wow. It could have been in, like, an 80s movie.
[00:09:19] Speaker C: It was so 80s, but it's fun. Think it's melodic. I don't think it was that bad. The production, I'm not crazy about.
[00:09:25] Speaker D: Yeah, it wasn't great. The playing was great. I thought the guitar player was really good. I mean, really good in the fact that he can play. I couldn't pick him out of a lineup. You know, that's the stuff that was happening back then. It's just interesting. We got this song because of what we're doing right now. Fate. You could put this song on this album almost most.
It's very similar. It's very similar, but it was good. If you can make songs that are in that vein that really remind us of that time, if that's your thing, you're doing the right thing, man.
[00:09:51] Speaker C: Yep. Because you could take it two ways. You take it one way, saying, oh, yeah, that reminds me of stuff that I listened to in the 80s and I like. Or that reminds me of in the 80s that I didn't like.
[00:10:02] Speaker D: I think that's a little bit of both for me. It's not a bad song, but I also understand what it's trying to be. And it's trying to be late 80s. Very AOR, very plasticky. There's very little personality in that. That's the only problem I have with it. Anybody could be on that band. Pluck Anyone out of the bands from then stick them in there and the same song would happen.
[00:10:21] Speaker C: I think it's just what they write, ultimately.
[00:10:23] Speaker A: Yeah.
[00:10:24] Speaker D: Yeah, it was cool. All right, well, if you like it, let us know. If you don't like it, let us know. And let's rubber stamp this.
In a world where new music is not easy to find.
[00:10:37] Speaker A: Welcome to New Bats.
[00:10:45] Speaker D: Back to our regularly scheduled programming. We are on to the next song from Fate. This is Babe, you Got a Friend.
[00:11:09] Speaker A: I wanna reach ecstasy.
Don't wake me up if I'm dreaming.
Cause I want more than just a memory I wanna make you happy, satisfied?
I wanna make sweet, sweet love. Every day and every night.
I got a sudden feeling. It's devotion Something that I can't explain.
The sudden feeling has become my deep devotion. I will see you to the end.
Bab, you got a.
[00:12:13] Speaker C: This one reminds me a bit of Europe. I feel the production is better on this one, though, than anything on the first side. I don't know if it's coming through better. It sounded a little bit more alive. Decent melody. It's not great. It's catchy.
[00:12:24] Speaker D: It sounds really like REO Speedwagon.
[00:12:26] Speaker C: Is that what you get the vibe? Oreo?
[00:12:28] Speaker D: I'm getting a really Oreo, speed working vibe out of this. It's not horrible. If you put this on and then you put Giant on, let's say, back in the day, you wouldn't know who the either of those things were. They gave me the same band.
That's my really only thing about late 80s hair metal. Or even someone trying to do new hair metal or pop rock or glam metal, whatever you'd like to call it. There's very little personality. I think that's really where a lot of people started to get frustrated because I think all the producers did the same thing and they signed all the same bands. It sounded just like that. I think that's really my frustration too. Not that I hate the song or I hate the playing. It just became too much. It was a very glossy, Put a lot of lipstick on and let's make everybody sound the same. And maybe that's not the band's fault. Maybe it's more the production fault and the record company fault. Again, like I said last week, this is why it ended, because it was just too much of this.
[00:13:16] Speaker C: I am curious to know if their first two albums are in the same vein. Be funny if we get the first one one day and it's straight up metal.
[00:13:25] Speaker D: Nah, I doubt it.
[00:13:26] Speaker C: Wait, wait, who's this I know. I doubt it too, but it'd be funny.
[00:13:29] Speaker D: It would be funny if it was 85, I think the first one. Or 84, whatever it was, I don't remember. I would think it's probably the same music that was going on then. Mid-80s hard rock. A little less glossy than this. But I don't have to read words, so I'm happy. Let's continue.
[00:13:43] Speaker A: I wanna be inside your body Always be on your mind I'm gonna fill you up with loving all you gotta do is give me a sign Whoa.
I wanna make you happy Satis. I want to experience with love Every day and every night I got a certain feeling It's a strange emotion Something that I can't explain this sudden feeling has become a deep devotion I want you babe, you got a man Sam.
I want to make you happy.
[00:15:16] Speaker C: Not my favorite solo. I thought he could have done a little bit more. It felt a bit empty. I like the end of it though. I was actually hoping that it went on a couple more bars. Cuz that's when I feel he came into what I was hoping he would do. What do you think of the solo?
[00:15:29] Speaker D: It's okay. It was fine for the song, I assume. But there was some lyrics in that second verse. Something about being inside you, fill you up with my love of like, wow.
[00:15:37] Speaker C: It could be a little more subtle.
[00:15:39] Speaker D: Subtle?
[00:15:40] Speaker C: Subtlety was not a thing in this kind of music.
[00:15:44] Speaker D: I hate to keep going back to this because everyone's gonna think I'm such a shill. You take the David Lee Roth, the way he wrote lyrics and he's talking about the same exact stuff. Except he's much more creative in how he presents it generally. Not all the time, but most of the time he's much more creative. And here I feel whether it's the translation happening, it's just very literal. Okay. You could. You guys could make it a little, you know, a little less blatant.
[00:16:06] Speaker C: Babe, you got a friend who wants to be inside you.
[00:16:13] Speaker D: That's just too funny.
[00:16:16] Speaker C: Penis.
[00:16:17] Speaker D: This song is not hitting me as much as some of the other ones. I don't know, I just think it's a little lazy.
[00:16:22] Speaker C: I think it's. I think it technically, it's one of the better ones so far. I think when they write in this vein, this catchy vein, they do pretty well. Those two songs on the first side that we said were really stuck, it's like, oh, this is that type of song. Those were really unimaginative. Not that this is breaking new ground they write a decent hook, which I think is a good thing to be able to do in this kind of music. And I do think production is better on this one, I feel, than some of the stuff we heard on the first side.
[00:16:49] Speaker D: I could agree with that. I think production is okay. I don't hate it. The worst part is I don't hate it. It just sounds like so many other things. And that's really the part that I just don't like with everybody, not just them, there's lots of bands that the songwriting is just not as good and just very stock and it just comes out the same way. You know exactly where it's going to go because this has been done prior this so many times. Anyway, let's continue. Here we go.
[00:17:25] Speaker A: Something that I can't explain Something that I can't explain this sudden feeling has become our deep diversity ocean I will see you to the end Babe, you got a feel I got a certain feeling It's a strange emotion Something that I can't explain Something I can't explain this certain feeling has become a deep devotion I will see you to the end Babe, you got a friend Sam.
[00:18:51] Speaker C: I wasn't crazy about that ending, but I did find it interesting. If I'm telling somebody, hey, here are the songs that I would. Someone says, okay, if you had to go back and listen to this record, what songs would you listen?
Me, I'd probably go back to this one. It caught my attention enough, I think, to go back to it.
[00:19:07] Speaker D: It's not horrible. As much as I would like to hate this. It's not bad. It's decently written and all the instrumentation is played very well. It just sounds like everything else in that time frame, that's all. Why don't you go first, then I.
[00:19:17] Speaker C: Will say a four on the lyrics. I guess a five on arrangement, and let's say six on everything else. I would tell somebody I would go back to this one.
[00:19:27] Speaker D: What are you going to give it? I think I'm going to do four and then five on melody, six on music, five on arrangement, and six on production.
It's not horrible. It probably is one of the better songs so far. The next one is lock you up.
[00:20:28] Speaker A: When I know I cannot hide you Still I know I'd like to like you I want you for myself like you are I don't want no one else.
[00:21:03] Speaker C: I wish the drummer were doing something a bit more interesting. At least accenting somewhere. I think it would improve the song. The riff isn't bad. It's the straight Line. I think though this song, I like.
[00:21:16] Speaker D: The riff before the drums came in. And as soon as the drums came in, I'm not feeling this at all. It changed the way it felt. Belt.
[00:21:22] Speaker C: Agreed. No, it's a switch to riff. He's not doing anything. The last thing you did right before, I guess it went back into the verse. That was a little bit interesting. That failed. There's no oomph behind this. It needs something. And I think the drums were better. It would be a better song.
[00:21:36] Speaker D: Change the. The tempo. It changed the way the riff felt. And it has some weird effect that he's turned on and off. I think it's the phaser. It might be flanger and it's in weird spots. It does nothing for me so far. And I don't like the melody. The melody is a little janky. I knew what lock you up was going to mean. I actually thought it was gonna be worse. So I'm actually happy that it is is because I thought it was gonna be way worse than that. Let's continue. Here we go.
[00:22:13] Speaker A: But you don't really need up.
You wanna prove your freedom.
I know this.
It's the game you I want you for myself.
[00:23:33] Speaker C: Solo is my favorite part of the song. Without a doubt. I liked it. Although one point it sounded like the tape cut. It was weird. It could have just been the way it came through. But at one point it switched to like. Another part was like, I like the first part.
[00:23:45] Speaker D: The second part I didn't like. And what did he say? This is the 80s. 80s. I heard some lyric, this is the 80s.
[00:23:50] Speaker C: And something I won't share my lady.
[00:23:53] Speaker D: Is that what he said? Oh, that's a horrible rhyme.
[00:23:55] Speaker C: No, it's a being. Well, I was gonna say two things. One, he's reminding you that it's the 80s.
Two, is that what happened in the 80s?
Was that a thing?
[00:24:04] Speaker D: Do I need him to remind me this is the 80s? I don't think so. I think I can figure out this is the 80s all by my lonesome. I didn't like the solo. Second part. I like the first part. The second part, I don't know what happened happen and maybe that's what you heard. Is the change up? I didn't hear a breakout. That's not what I really want to hear. This is definitely not one of my favorites. And the guitar during the verses is real low in that pre chorus. It was low. It wasn't mixed very well.
[00:24:25] Speaker C: He's louder in this one. The melody of the verse isn't Terrible. That's, I guess, my favorite part. Other than solo.
[00:24:32] Speaker D: I don't like any of it. I don't like any melody here so far. It doesn't do anything for me. Let's continue. Here we go.
[00:24:39] Speaker A: Baby, baby, you may find that I got I I Jealous mind only l Sleeping with the nature like you are I want you for myself like you are I don't want no one else like you I want you for myself like you want I don't want no one I don't need nobody I don't need no one like you are I want you for myself I.
[00:26:00] Speaker C: Lock you up.
[00:26:03] Speaker D: Please, somebody lock me up from ever hearing this again. Can you lock my ears up? Is that what you can do?
[00:26:09] Speaker C: I guess. You go first.
[00:26:10] Speaker A: First.
[00:26:10] Speaker D: Oh, thanks. Three on the lyrics, three on the melody, five on the music, four on the arrangement, four in the production. I don't like anything about this song. It doesn't do anything for me. It's probably the worst song so far.
[00:26:23] Speaker C: You think so?
[00:26:24] Speaker D: For me, yeah. I don't know what it is.
[00:26:25] Speaker C: Just pissed you off?
[00:26:26] Speaker D: Doesn't even make me mad. It's just not good. As much as I didn't like the stuff that came before it, this I don't like at all. What do you think?
[00:26:32] Speaker C: It's not my least favorite. I think there's a better song there that isn't fleshed out, but I'll say the same as you, except I'll say a five in the production. I think. The production that bad? I mean, it was okay, but like I said, I'll give it a 5 instead of a 4. The opening riff is a little ratty. Kind of reminds me a little bit, maybe.
[00:26:50] Speaker D: I like the opening riff and then the rest of the band came in and just sucked it to nothing.
All right, next one. Cupid Shot Me.
[00:27:16] Speaker A: I'm surfing out a wave I call my fantasy Thinking about you and me and how it used to be maybe I'm double long gone down the road But I still love it so I can't let go.
[00:27:54] Speaker C: This could be my least favorite. This is pretty bad. The beginning. It reminds me of. There should be a buddy cop movie starting or something. Something. The melody in the verse is okay, but the chorus. Holy moly.
[00:28:05] Speaker D: This may be the worst one.
[00:28:07] Speaker C: Yeah, this is pretty bad.
[00:28:08] Speaker D: It's a really bad Van Halen boogie again. It's sort of like the full bug from Diver Down.
That riff is very similar, but it's just in the most sucky possible way. Way. It's just bad Bad, bad. The melody's bad.
[00:28:31] Speaker C: The full bug with the flu bug.
[00:28:33] Speaker D: Yeah, it's the flu bug. It's horrible. It's really bad. This is maybe worse than Lock you Up. I thought Lock youk Up was the worst one, but maybe not.
[00:28:39] Speaker C: Pretty good compared to this, huh?
[00:28:41] Speaker D: Yeah. I think Lock Me up is like, you give up a bad name compared to this. This is horrible. We're getting toward the end of the album, so who knows how this is going to change. I think this is not going to be. Second side is better than first side.
All right, let's muddle our way through this. Here we go.
[00:28:58] Speaker A: You with your turning upside down, your teeth are in the loo.
How could I stand you if I were in love with you?
Always on a diet, never lost a pound But I just love when you're around I can't let go.
You been shot.
You've been shot.
[00:30:18] Speaker C: It reminds me, actually, even a bit of Judas Priest, that riff, for whatever reason, I'm pretty sure he said, always on a diet, never lost a pound But I still want you around.
[00:30:28] Speaker D: He did say that.
So, you know, I really think this is a translation thing. I'm serious. I think that it's translated from whatever he wrote it in. Or he's trying to do English and he can't do it. Some of the other stuff wasn't as bad as this. It wasn't great, but this is horrible.
[00:30:47] Speaker C: I just can't imagine. This sounds good in Danish. I don't weather.
I can't imagine that there people around in Denmark saying, oh, brilliant.
What do you think of the solo?
[00:31:01] Speaker D: It's probably the best part of the song, and I don't like it.
[00:31:03] Speaker C: Very generic.
[00:31:04] Speaker D: It's not even generic. It's played well. I'm not going to say anything about the musicianship itself, because he can play guitar, but even in the last song, like the outro to the last song, he was doing these little riffs, and then he would just stop and there was big space where he probably should have played through. You're doing everything else. Super generic and super stock. But you didn't learn that. That's a stock thing to do. You should probably do that. It'll probably help the song. He did it, but he did it way toward the end. And here it's fine. Played well. He can play guitar. We never say he can't play guitar. I mean, that's obviously not the case. The riff feels very.
Not just soft. Feels like it has nothing behind it. Maybe they can save it. Who knows? They Have a little over a minute. See if they can fix it. Here we go.
[00:31:46] Speaker A: You miss your face.
You been shocked me way through you been shot me way through my heart Every night I'm sitting next to you Watch Baby, it's enough for me it's enough for you I can't let go I can't let you go.
[00:33:11] Speaker C: That part was way better than the rest of the song. If they had done it that way, I think we'd be seeing different things. It came out of nowhere and had nothing to do with the other real part of it. When they mixed in the whatever vocals they were doing, I'm like, okay, this actually sounds cool. This has a little bit of feel to it. The rest of it had no feel. It was so soulless.
[00:33:30] Speaker D: The first part wanted to have swing, but it has no swing. Second part was better. I was like, is this a different song? We doing a different song here? Because it's not the same song. It's not going to save the song, though. You should have made another song out of that song, whoever that was. Make a different song.
[00:33:43] Speaker C: Or make this whole song like that. Get rid of that other part. Make it in this vein.
[00:33:47] Speaker D: Okay, why don't you go first?
[00:33:48] Speaker C: I will say a three, but I'll give him a four on the arrangement. Only because of that last part. I like that last part. I thought that was pretty cool. Not that it saved the song, but it sounded better than the rest of the song. And I'll say a 4 in the production, but the rest of it, I.
What are you going to give it?
[00:34:03] Speaker D: Yeah, I'm doing the same exact thing. Threes across four in a raging before production production. Second part was better. I like that. Doesn't say the song for me. Okay. The funny part about the name of this song is that some people would probably say, this is what this album is. I would say, no, this is diamond in the rough.
[00:34:48] Speaker A: When I was made to the rhythm of the bamboo in a snow One night of a back sea.
I agree. My middle name makes silence and what.
[00:35:01] Speaker D: I.
[00:35:07] Speaker A: To the left of me and whipping to the right Diamond I'm a diamond diamond in the real diamond I'm a diamond Diamond.
[00:35:36] Speaker C: It's better than the one before it, but I can't tell. I think the production is better. I think the drums sound pretty good on this one. There's this weird thing that's happening in that part during the course of the guitar to me. Sounds odd. I don't know if you're picking up on that. I mean, what do you think of this one.
[00:35:51] Speaker D: So, so far, guitar is a little weird there. Women to the left of me, women to the right of me, I'm a diamond in the rough. What is the women to the left of me in the right of me have to do with him being the diamond in the rough?
[00:36:02] Speaker C: Maybe they're rough. He's the diamond.
[00:36:04] Speaker D: Am I taking this too literally? Like it should mean something and it doesn't really mean anything?
[00:36:08] Speaker A: Maybe.
[00:36:08] Speaker D: I don't know.
[00:36:09] Speaker C: I know he said my middle name is never silence or not silence. And then. Then he said something about science. We have to find the lyrics. At some point, they have to be somewhere.
[00:36:18] Speaker D: I didn't even hear that. I heard science, but I didn't hear the other part. Oh, boy.
Lyrics are getting worse as it goes along. Yeah. I'm not too sure what I think about this. I don't really like it yet. Maybe it'll change. But I'm like you. I'm a little in the middle.
[00:36:31] Speaker C: Better than the one before.
[00:36:32] Speaker D: Better than the one before. But the drum beat, I don't know if I'd like that.
When it came in after the keyboard riff, I was thinking to myself, I don't know if I like that. I'm going to hold my judgment for a little bit, I think.
[00:36:43] Speaker C: Okay.
[00:36:43] Speaker D: All right, here we go.
[00:36:51] Speaker A: And the shit hits the family.
See, I want my life to be a celebration of the glorious sunny creation. I want women to the left of me and women to the right.
Diamond, I'm a diamond diamond in the red Diamond I'm a diamond, diamond in the road.
[00:38:10] Speaker C: I like the solo.
[00:38:11] Speaker D: This has nothing to do with the solo. When he came out of the chorus that time, the solo should have happened right there.
[00:38:16] Speaker C: They changed it up.
[00:38:17] Speaker D: But you know what? You went through this whole record writing stock hair, metal stuff, and now when it comes to this, you decide that's not where it's supposed to go. I was waiting. All right, he's singing the part, and the soul is going to come right here. No, they dragged it out for another 30 seconds or whatever it was. The solo wasn't bad.
[00:38:34] Speaker C: So guess what? I found the lyrics.
[00:38:35] Speaker D: Oh, no. How'd you find the lyrics? I don't even want to know what the lyrics are.
[00:38:39] Speaker C: I just found that there was, like, I guess a handful online. I found this one. It's not the whole record. Well, I was made to the rhythm of the back beat In a stolen car One night on the backseat I agree My middle name ain't Silence and what I do won't Be a giant step for science. I want women to the left of me and women to the right. Diamond, I'm a diamond in the rough. Second verse on the front line with the sword in my hand. I'll be there when the shit hits the fan. See, I want my life to be a celebration of the glorious art, inebriation. And then the rest is all the same.
[00:39:11] Speaker D: I heard that inebriation part. I wasn't sure about him being conceived in the backseat of a car as an interesting thing to write a song about, but. Okay. Yeah.
[00:39:18] Speaker A: Yeah.
[00:39:19] Speaker C: In general. We've heard worse from other bands.
[00:39:22] Speaker D: Yeah. This is pretty bad, though.
[00:39:24] Speaker C: Yeah. It's not great.
[00:39:25] Speaker D: It's better than the last song. Let's finish it. Here we go.
[00:39:44] Speaker A: The left of me and winner to the right.
Diamond, I'm a diamond diamond in the rain Diamond, I'm a diamond diamond in the rain I'm a diamond in the R D.
[00:40:39] Speaker C: It's not bad. I think that if you're telling somebody, hey, I listen to this record and they say, oh, I've been mean to listen to that record. Record. I think you can say, hey, there's a song. Diamond in the rough. It's not terrible. It's why I think overall, musically at least, it's one of the better songs, I think.
[00:40:55] Speaker D: So musically, it's fine. I'm going to go first. 4 in the lyrics, 5 on the melody, 5 in the music, 4 in the arrangement because I didn't like where the solo came in, and six on production because I think the actual production is not bad on this song. What do you think?
[00:41:09] Speaker C: I will say four on the lyrics, five on the music. Music. We'll do five on everything else and I'll say six on production. But musically it's. It was decent.
[00:41:18] Speaker D: Well, now we're at the end and this is what they need to do for me. This name of this song, this is what I need. Send me a little money.
[00:42:04] Speaker A: Down the block My business worked away Believe it's true I'm going to sing my song for you.
[00:42:47] Speaker C: Not terrible, very American sounding. It reminds me a lot of what the B hair metal bands. When I say B, I mean bands that people may or may not have heard of that were kind of tapping a little bit more into the. The dirt and the blues of it. It's almost okay. I don't think it's terrible.
[00:43:04] Speaker D: He did the little Stephen Ty.
It wants to be dirtier. It's too overproduced for the song. It feels too shiny for what it wants to be. I Don't hate the guitar parts. I don't like the drum part. I don't really think it fits or helps the song out. It needs to be a little dirtier, and it's just so produced. It's overproduced. I think it's ruining the song, realistically.
[00:43:26] Speaker C: It doesn't have that sleeve. Think of bands like Red Eagle. I mean, they were dirtier than this. Even Tesla. I hear almost a little bit of a Tesla from maybe the first second album. Yeah. The production is very glossy. The way kind of the other production has been. Does suffer a bit from that. If it were dirtier and raw.
[00:43:46] Speaker A: More raw. Raw.
[00:43:47] Speaker C: Whatever it is, it would pull out, I think, more from the song.
[00:43:51] Speaker D: Yeah, I agree. Whatever the production is doing is not helping it at all. Let's continue. Here we go.
[00:44:00] Speaker A: Scream Jesus walk the waters that's the best show ever seen I wonder if the mighty Lord is yet to join the club I think I saw a light out there now Ravens going up Hallelujah brothers, you got to spend a little money yeah, yeah, yeah make my life sweet and sunny Sing a little.
[00:45:12] Speaker C: The first part of the solo was good, but it didn't fit in this song. The second part did. I think they should have done that first and just kind of kept with it because it went back to that moody atmospheric thing that I've been liking in the other songs. But here, here, it didn't fit. That second part was kind of dirty, where the rest of the song was.
[00:45:30] Speaker D: Steve I wants a solo back, and Steve I solo doesn't belong in the song. It was very Steve I David Lee Roth era playing in a song that needed Joe Perry or the Black Crows or Tesla, as opposed to Steve Vai. It's played well. Again, not bashing on the guitar playing whatsoever. It just does not fit the song. I heard it and went, why Steve I playing on this song for. Oh, no, it's not. It's this guy. Oh, yeah. That doesn't fit.
Needs a little more swagger and doesn't have swagger. It wants to have swagger. It sounds like it thinks it has swagger, but it has zero swagger.
[00:46:03] Speaker C: No, I think it does. It's like you said, I think the production muddles it a bit. I think it's there. It can't be as clean as it is. It's atmospheric. It just needs to be raw and that's it.
[00:46:14] Speaker D: Maybe. I mean, the production's not helping it. Okay, let's finish it out here.
[00:46:22] Speaker A: Law is within reach My God, that sweet and sonic I'm gonna sing my song for you.
[00:47:15] Speaker C: I was waiting for the right.
[00:47:21] Speaker D: Yes. I was expecting that to happen.
[00:47:24] Speaker C: I just ended.
[00:47:25] Speaker D: Yeah. He tried to throw a little bit of his Robert Plant in there.
[00:47:30] Speaker C: I heard that.
[00:47:30] Speaker D: I don't like it. I don't hate it. It's just a tad bit embarrassing for me. Why don't you go first?
[00:47:35] Speaker C: I'll say four in the lyrics because I didn't really hear what he was saying. I'll say three in the lyrics actually, because I'm sure they're very bad. But I'll say five on everything else actually for the production. Production. Because that's what really held it back. I can also picture people that grew up liking glam metal and hair metal liking this song. There's stuff there that is likable. What do you think?
[00:47:56] Speaker D: He needs to send me a little bit of money to make back whatever time I wasted on this album. I'm gonna do the same thing as you. Three on the lyrics, five on everything. Except for the production, which I'll give a four to as well. It's too glossy, Steve. I didn't need to make an appearance to play the solo. It could have been better.
[00:48:11] Speaker A: Better.
[00:48:12] Speaker D: It could have had a little more swagger. If it was played by a different band. Maybe the swagger would be better. It wants to be a swaggery song. Give them props though for not doing the.
Which that could have been happening too. And then he put in a horn stabs in there, which was the only other thing it was missing. The late 80s keyboard horn parts that you had to put in everything.
[00:48:34] Speaker C: A lot of bands had that.
[00:48:36] Speaker D: Yeah.
This was an interesting one. I never would have picked this. This is something I never knew existed and I'm almost happy that I didn't. It existed and I don't ever need to hear this again. But this just shows you how far down the rabbit hole they were willing to sign to sign a band and what they all wanted the bands to sound like. This is what it is, people. This is why the scene died. This not this exact record, but this stuff. When you started to get into the C and D level hair metal bands, this is what they did. And whether they sounded like this themselves or this was record company telling them you have to do this to sell records. Blah blah, blah, blah blah. In a couple years it came all crashing down. Maybe what, three years later. So ye. They have three more years to try to get this working well.
[00:49:17] Speaker C: 89. This was 89.
[00:49:18] Speaker D: 88.
[00:49:19] Speaker C: 88. Because we did Pretty Boy Floyd. From 89. And we discovered that there was still hot and heavy back then. There was still a lot of stuff. 89 was actually pretty big year.
[00:49:29] Speaker D: This is very mean time for all this. The problem is 88, you have lots of big stuff happening and it's hard to get noticed when you have the Bon Jovi's and the Def Leppards and everyone's still out doing their thing right now.
[00:49:40] Speaker C: It's hard.
[00:49:41] Speaker D: I'm not comparing this to any of those. You can see how record coverage is trying to get bands to sound like what they think is going to sell. And little did they know, in a couple more years it was all going to go up in flames because there's more of these bands than there were the big bands. You just can't have this much same same happening overall.
[00:49:56] Speaker C: I thought it was okay. I think we've heard worse on this on this podcast.
[00:50:01] Speaker D: Not by very much though. It's pretty bad.
Don't tell Frank this. I think Pretty Boy Floyd's better than this. Oh, and I don't like Pretty Boy Floyd.
[00:50:11] Speaker C: I won't tell.
[00:50:11] Speaker D: It's a different kind of glam. They're both trying to do what they do in the specific style of glam that they're doing. I just think that maybe possibly the lyric writing is a little bit better, a little more inventive and again, anyway, fun times. Why don't you do your thing?
[00:50:25] Speaker C: We are part of the Deep Dive Podcast Network and the Boneless Podcast Network.
[00:50:31] Speaker D: Boneless, you don't like those chicken wings.
[00:50:32] Speaker C: Without the bone new thing that we started talking about last week. Basically same kind of things. Individual podcasts about bands like Rush, Tom Petty, Uriah, Heap, Zeppelin, Queen, you name it. It's probably on both or one of them. So definitely check them out. And mark, where can they find this?
[00:50:49] Speaker D: On the Interweb Rock with Lit pod on all the social media rockwithlitpodcast.com put a new bets in, put an album you want us to do, buy some merch. You know what to do. Put us on your auto download so you can get our episodes as soon as they come out and rate us 5 stars wherever you rate your podcast because that helps us out. And next week we will see what we get. I don't know what's going to happen but it can't be worse than this is all I'm going to say.
We will see you next week.
[00:51:14] Speaker C: Ciao, ciao.
[00:51:16] Speaker D: Later.
