Episode 173 - Anthrax - Sound Of White Noise - Part 2

[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. [00:01:14] Speaker C: Welcome back to another episode of Rock Roulette Podcast. That's right, the Crazy Ass podcast. It took over 1,700 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 the lyrics, the production, the melody and the arrangement. We give it scores. Just a bunch of friends who love music and want to do a podcast. Everyone that takes this journey of discovery and rediscovery with us every week, we really want to thank you. The numbers have been really, really consistent. We even got a shout out from Craig, says he loves our podcast. Thank you so much Craig. And we are adding your suggestions into the Wheel. Just so you know. So you never know. We may land on one of them hopefully. And we are a trio tonight. We have Frank. [00:01:57] Speaker A: My name is FR. And I'm sexy. [00:02:12] Speaker D: Hello everybody. [00:02:13] Speaker C: We have Mark. Oh hi Mark. [00:02:15] Speaker B: What's up guys? [00:02:16] Speaker C: And I'm Sam. Ciao buena sera. On a somewhat coincidental thing, the Wheel picked Anthrax Sound of White Noise last week, which was produced by the same producer who produced Dirt, which we got the week before. I know the album pretty well. I remember most of the first side, which we did last week and I remember liking it. I'm not a massive Anthrax thrash fan, believe it or not. I'm more of their metal stuff. Even like their very first record. Mark and Frank, they don't even remember hearing the two bigger hits that I remember hearing on the radio back in the day. But I figured for, let's say non thrash fans, this is probably a good entry point and you guys are giving pretty good scores. Mark, what are your thoughts so far? [00:02:54] Speaker B: Overall, I like his voice. I think that the riffs are good. I think it's pretty good. This is probably a good album for me to come into because not really in the thrash Area. It's more of a hard rock. And even in some weirdly way, there's a grunge aspect to this or something that's a little bit different that I don't know if they've ever went back to their thrash routes after John Bush left and he got back with Joey Belladonna. I don't know what that stuff is like, but I like this a lot. I think it's doing pretty good. [00:03:20] Speaker C: I think you could definitely hear the producer influence. Your major criticism, I would say is not enough. Dan Spitz from the solos, I just. [00:03:27] Speaker B: Think he's out of his element. I would expect a little bit better from him. The things that I've heard prior that he was on, I don't remember ever saying, hey, he sucks. I don't like his guitar playing here. I just think it's not what I want to hear in the solos. And I don't know if that's just because he's uncomfortable with the change in direction. That's really my only criticism is sometimes the solos are lacking a little bit. [00:03:46] Speaker C: Frank, you're digging it so far. Yeah, I am. [00:03:48] Speaker D: Yeah. I remember them being more thrash metal, which I wasn't into this album. I don't hear that as much. I'm digging it. Do hear some of the elements of Dirt in there. I think Mark had made mention the guitar solos are not in your face, which if you really think about it, it kind of aligns with at least the school of thought that a lot of the grunge music didn't have in your face guitar solo. So is it coincidental? Same producer? I don't know, maybe. But I'm digging it so far. [00:04:13] Speaker C: Before we get back though, obviously we have our new BET segment. [00:04:17] Speaker B: In a world where new music is not easy to find. [00:04:24] Speaker A: Welcome to New Bets. [00:04:36] Speaker B: Okay, here is the new Bets wheel. [00:04:51] Speaker C: Mike Campbell and the Dirty Knobs Dare to Dream. [00:04:54] Speaker D: No way. [00:04:55] Speaker C: I get to say something Dirty Knobs at the beginning of the podcast and then I get to say Boneless at the end of the podcast. I get to bookend with these terms. [00:05:04] Speaker B: Mike Campbell, obviously very famous guitar player for Tom Petty. [00:05:07] Speaker C: Is he also in the Traveling Bilb? [00:05:09] Speaker B: I don't think so. Or maybe he was at one point, I don't remember. But let's listen to it. Let's see what it is. This is Mike Amble and the Dirty Knobs Dare to Dre. [00:05:33] Speaker A: Here comes a brand new day. You can throw away the last one. It's gonna be alright as long as no one tries to pull A fast one. And this is what you've waited for. There's no waiting anymore. Oh, these are the best of times this is the good life and all you dare to dream can come true. Dare to dream. It ain't been easy for you and me I know and there were times when I didn't want to fight no more. It's been a little strange lately but you know how things changed Baby, these are the best of times this is the good life and all you dare to dream can come true. You burned a bridge or two, didn't you, my love? You made some sacrifices but no one likes it that rough. Yeah, I know that it's been hard lately but that's all over now. Baby, these are the best of times this is the good and all you dare to dream. These are the best of times this is the good life and all you dare to dream that can come true. Dream. Better dream. [00:09:15] Speaker C: Mark, you got your fade. He listened to you. That wasn't bad. Definitely reminds me of stuff that he did with Tom Petty. His voice too, a little bit. I'd give that a re. Listen. What do you think? [00:09:25] Speaker B: Mark? That is actually Graham Nash singing from Crosby Stoles and Nash didn't recognize him. He's 83 and there definitely feels like there's some kind of melodyne autotune pitch correction going on because the voice sounds really weird. And at 83, do I expect him to sound like he did when he was doing Crosby Stills in Nash or he was in the Hollies too. He was in lots of stuff. [00:09:45] Speaker C: It was done to make it kind of weird sounding in the beginning I was like, what the hell is that kind of thing? But I think it was terrible. Frank, what do you think? [00:09:53] Speaker D: Not my cup of tea, but it was good. I could have sworn. Could have put Axl Rose in there and he would have done, saying the same way. He sounded a little Axl Roses to me. [00:10:01] Speaker B: I thought he sounded like Tom Petty. The song is very Tom Petty in the Heartbreakers, which makes sense because Mike Campbell wrote music for him. He has a style. Wasn't bad. What'd you think about the drum sounds? [00:10:10] Speaker C: Are, you know, it was a bit weird, I thought, but not like bad weird. I like when there's a uniqueness to them. They had a little bit of uniqueness to them. [00:10:18] Speaker B: Yeah, I thought it was pretty good. If you like it, let us know. If you don't like it, let us know. And let's rubber stamp this. Here we go. In a world where new music is. [00:10:28] Speaker A: Not easy to Find. Welcome to new bets. [00:10:43] Speaker B: Now we continue. And the next song is 1000 points of hate. [00:10:56] Speaker A: Sam, Can I look at you and breathe? So full of hate that I can't see My funny vibe is hard to miss Evil ring your ears can't be called this. I f Wash my hands up then yes. My mind has never been so clear My hate for you it's wonderful. Take a good look, what do you see? No friend of me till I say I know how to hurt myself it's me that makes you hate me it's me that tries to break free and I know how to hurt you it's me that makes a move with what I say and what I do. [00:12:31] Speaker C: I find the production a little bit odd on this one. I feel it's a little bit restrained. It needs to be heavier. It sounds like it's really going to be heavier and fast in the beginning. And it's kind of, let's say, mid tempo for this. Even the drums sound a little bit restrained. I mean, it's not bad. The chorus is catchy. I'm still not 100% too sure about. [00:12:52] Speaker B: This one, but it has a little bit of thrash elements either in it. I think it wants to have some thrash elements in it, but you're right, it's lacking a little bit of punch. I like his voice. I think his voice is doing good. I think all the instrumentation is good. Just feels like it's a little subdued. [00:13:05] Speaker C: Yeah. I want it to be more open and heavier and maybe it'll get there. I feel like some of the songs in the first, I did that as well. They started out a little bit subdued. They did, Bill. [00:13:14] Speaker D: Not bad. I just need a little more listen just to have that final say there. [00:13:18] Speaker B: Verse 1. I hate you and you hate me I cannot look at you and breathe so full of hate that I can't see My funny vibe is hard to miss your ignorance can't be called bliss. I fucking wash my hands of this pre chorus. My mind has never been so clear My hate for you is one to fear. Take a good look what do you see? No friend to me Jealousy it's me, I know how to hurt myself it's me that makes you hate me it's me that tries to break free it's me I know how to hurt you it's me that makes a move with what I say and what I do. Lyrics are pretty good. I think. It's not bad. I do think this is the most thrashy of some sort, even though it's kind of Mixed the beginning. It sounds like it wants to be a fast thrash song, but it doesn't end up that way. [00:14:00] Speaker C: Yeah, they kind of trim the speed back. [00:14:02] Speaker B: All right, let's continue. Here we go. [00:14:14] Speaker A: Can't believe it's come to this Smarts I think you can't dismiss I fucking wash my hands of this My mind has never been so clear My hate for you is worth a fear Take a good look what do you see? Nothing to me Jealousy I know how to hurt my myself it's me that makes you hate me it's me that tries to break free I know how to hurt you it's me that makes a move with what I say and what I do. Me, you who is gonna get it and you can't let it dive into insanity you who is gonna take it when all this hate explodes when all this hate starts to expl. [00:16:40] Speaker C: I heard that little part that sounded like scratching. Is that Tom Morello? It's actually Terminator X from Public Enemy. I really like the music again. It's pretty decent song overall. Mark, you had mentioned in the first episode where he sounds like he's cutting in different vocals, where he sings a line. He's up standing there singing the next line. Cut in because of the way it comes in. Call it a style. I don't know if it's something he did before or here. I think it works here. Would you think of the solo more? [00:17:05] Speaker B: Thought the solo was good for this song. I still think it's a little bit. Not enough in my face, but the riffs are good. I think I'm getting a little more used to the production. I still think it could be better, but it's not as bad as the beginning. I don't know if it got better or I'm just getting used to it. I liked it. I thought it was good. [00:17:19] Speaker C: Frank, what do you think? Has it changed in your mind yet? Better or worse? Same. [00:17:23] Speaker D: No, I'm liking it. I don't know if it's my headset. During that solo, it sounded like the rhythm guitar was more forward in front than the solo. [00:17:30] Speaker C: Good, babe. The solo guitars are not loud. All right, Mark, you can probably attest to this. The volume on the solo is definitely not louder than anything going on around it. [00:17:40] Speaker B: No, the rhythm guitar was definitely loud. It was definitely more up in the mix than the guitar solo was. I don't know if that's on purpose. Are they trying to hide something and they're putting them back in the mix because they don't like the way it sounds like. I don't know what the issue is there. The solos are definitely less in volume than the rhythm is. [00:17:56] Speaker D: Wasn't just my headset. I actually heard the ring guitar more forward than the solo guitar. [00:18:00] Speaker B: Oh, 100%. Verse 2. You walk through life death dumb and blind but when it calls you you'll have to find why we must all be so unkind I can't believe it's come to this. The marks I make you can't dismiss I wash my hands of this pre chorus chorus. And then I guess this is another verse. Me, you, who's gonna get it and you can't let it drive you to insanity Me, you who's gonna take it when all this hate explodes? When all this hate starts to explode. I don't know if I'd like that line too much. It's a little weird. Then solo. And now we're gonna go into a little bridge part and out. Here we go. [00:18:42] Speaker A: Deal with the hate inside Causes you the faint inside that turns into the rage inside that makes you feel a devotee. I know how to hurt myself it's me that makes you hate me it's me that tries to break free I know how to hurt you it's me that makes a move with what I say and what I do it's me, it's me, it's me. [00:19:22] Speaker C: It'S me I'm going to go out on a limb and say it's him. [00:19:26] Speaker B: Yes, it is him. [00:19:27] Speaker C: I like when he screams. He's got a good screaming voice. It reminds me of somebody. And Frank, I know even you said we're going to think about it. And when he gets in that range, he really sounds like somebody. I can't put my finger on it. Me too. It's there. [00:19:41] Speaker D: Still trying to figure it out. [00:19:42] Speaker C: But we may figure it out before the record's over. It's definitely there. The more the song progressed, the more I like. [00:19:48] Speaker B: He does do that thing with the vocal where he records it and then he comes in with another vocal on top. He's not singing that totally through. And that seems to be a style choice. I mean, because live he would have to do this. So he'd have to figure out how to do it live. But for the recording, it seems like he multi tracks different vocals on top of each other without singing all the way through. [00:20:06] Speaker C: Unless he has someone else shared the lead. I know. I guess we'd have to check to see how they did it live. [00:20:11] Speaker B: Yeah. I don't know. And the bridge. The only thing I Didn't like about the bridge. [00:20:13] Speaker A: Bridge. [00:20:14] Speaker B: It kind of built up and then it just went into the chorus and it felt like that was a little bit of a letdown, that it didn't stop or do something before the chorus came in. I felt if it stopped, the chorus would have more of an impact. When it came in, it just ran into it, which I didn't really like too much. But the song's not bad. Let me read the bridge. Deal with the hate inside that causes you the pain inside that turns into the rage inside that makes you feel like death inside. Then the chorus and then the outer is. It's me, it's me, it's me, it's me, it's me. So it's him. I guess this. I'll go first. Seven on lyrics, seven on melody, seven on music, seven on arrangement. I'm gonna say six on production because I still think the production could be better. I think it's just not enough in your face. Even though it felt a little better as it went on, I still think it was losing something by not being a little more powerful staff. [00:20:57] Speaker C: Six lyrics, seven music, six production, six arrangement, six melody. I do feel this is one that could change upon listens. I don't think it would go down and may jump up to sevens because it did progress better and not that it was bad from the beginning. The more I went on, the more I liked it. For now, that's where I am. [00:21:16] Speaker D: Frank, I'm gonna give lyrics an 8. I really do like the lyrics. The song's a slow burn. It started off meh and then all of a sudden it just built up to this really, really good songs. Appreciate that. But a production arrangement, I'm gonna give those sevens. The music, I just felt like it could have been better. There's something that I just can't put my finger on. It's just. I don't know yet. The music itself. I'm gonna give those a six in the melody. I'm gonna give the sevens. [00:21:39] Speaker B: That's very similar. We're all around the 7ish idea. [00:21:42] Speaker A: Actually. [00:21:42] Speaker B: Sabina US with a 6 on this. Overall, it's a 7, which is still a good score. [00:21:46] Speaker C: It's worth the realist, without a doubt. [00:21:48] Speaker B: Oh, 100%. Yeah. I think you could put this on a playlist and you might be more impressed with it as it went along. The next song is Black Lodge. [00:22:09] Speaker A: Sat your sail that your angels are gone. Tonight your body is screaming but your heart and your soul they bleed just to fall asleep Is a God until your demons of fear again. I am a witness to your divine. The biggest se is one you can't keep. Lift up your head if you're only asleep. You try to hold on a reason why can't you see that you leave it? My love for you knows no distance but it can't find your resistance. I am a witness to your demise. I am the one who saw through the cloud. Kill me the one thing you can kill Take me to the black lots where you live Give me one thing you can get. Take me to the black lot where you made. [00:24:49] Speaker C: I like the music. I don't really like the melody. I like the song when it started. The more went along, the less and less I liked it. It feels like a little bit jumbled where they weren't necessarily sure where it was going. There's definitely some elements of Alice in Chains in this. He sounds like Jerry Cantrell in the verses. I think I'm not feeling this one too much. [00:25:12] Speaker B: I like the tremolo on the guitar sound. I think that's pretty cool. It definitely has a little bit of an Alice in Chains grunge vibe, at least in the verse choruses. I like the second bridge better than the first bridge. I think the two lines are better than the one line. The chorus, the distort guitar comes in, which I like. I just don't think it has as much power as like an Alice in Chains chorus would have. There's definitely a little bit of grunge influence in here. I can't say anything else. You'd have to understand that by listening to this. And whether this is a producer thing or it's a them thing. I don't know. Kind of like it. I'm curious to see what the solo does. I think it's sort of a poor man's Alice in Chains. Just. [00:25:47] Speaker C: I think it's an interesting concept. I think. I think my issue is the delivery. I don't feel like it's fully developed or as interesting as it could be. I do like the guitar. I like the foundation of what's going on. But not all of it, I guess. [00:25:59] Speaker D: Sounds a little dick Aish in the beginning. Yeah, like that's what it sounds like. A little bit of a dick. [00:26:07] Speaker A: Dale. [00:26:07] Speaker D: I could hear the Alice in Chains influence. Maybe it's a slow burn like the previous song. So far it's not really catching my attention. [00:26:14] Speaker B: Verse 1. Worship the ground you barely walk on you give of yourself but your angels are gone. Deny your body is screaming but your heart and your soul they're bleeding Just to fall asleep is a godsend until your demons appear again Bridge I'm a witness to your demise Verse two. Your biggest secret is the one you can't keep Lift up your head if you're only asleep. You try to hold on to reason why can't you see that you're leaving? My love for you knows no distance but it can't fight your resistance. Bridge one. I am a witness to your demise I am the one who saw through the lies Chorus Give me the one thing you can't give Take me to the black lodge where you live Give me the one thing you can't live Take me to the black lodge where you live. The lyrics are fine. I don't think there's anything wrong with them. I think the melody suffers a little bit in the choruses. I think I like the verse melody. I think the bridge and the chorus are a little weaker than that. But again, it could be a slight low burn like Frank said. But let's see what the solo does. Here we go. [00:27:36] Speaker C: Not really a solo, but for what it's worth, I think that's my favorite part of the song. Simple. Mark, what do you think? [00:27:42] Speaker B: I wanted a Wawa solo there. Some sort. I hear a Jerry Cantrell solo there and it's not there. That part's not bad. It's definite. A solo. I don't know. I expected something different. I like the guitar behind it. That. That was pretty cool. It was okay. [00:27:54] Speaker C: It's a simple little piece, really. Just more of a musical bridge more than anything else. Frank, Any two cents? [00:28:00] Speaker D: No, not yet. Let's just hope it gets better. [00:28:02] Speaker B: Let's continue. Here we go. [00:28:14] Speaker A: To fall asleep is a God until your demons appear again. I am a witness to your demise I am the wonder song through the night My love has always been blind Give me the one thing you can give Take me to the mad lodge where you live Give me the one thing you can scare. Come take me to the flat where you. We. [00:30:10] Speaker C: I like that ending. That in that middle part was my favorite part. The music isn't bad. I think it's the melody that I'm really not enjoying. And the melody isn't something that's too far off from the music. Overall, this one doesn't really work for me too much. [00:30:24] Speaker B: I agree with everything there. I think the melody really was what hold us back. I like the guitar at the end. I like having the tremolo. And then they put the little flanger on it. That was cool. I like that. Let Me. Read the rest and then we can vote. First 3. Deny your body is screaming but your heart and your soul they're bleeding. Just to fall asleep is a godsend until your demons appear again again. Bridge 3. I'm a witness to your demise. I'm the one who saw through the lies. My love has always been blind. Chorus again. And the actor is where you live. Four times. His vocals were good on here too. Frank, why don't you do it? [00:30:52] Speaker D: I really do want to like the song, but I can't. It's not for me. The lyrics. I'm gonna give the seven. The lyrics are really good, but everything else, I'm gonna give those sixes across. I was hoping it would be a slow burn that turns into something better, but it just kind of stayed the same tone and it just wasn't my cup of see Sav. [00:31:07] Speaker C: I will say six on the lyrics. Six on the music. Five on the melody. I think the melody really ruined it for me. Six on arrangement. Because I like that middle part in the end, the music isn't bad. Production's fine too. I'll say six on production. [00:31:22] Speaker B: Mark, you read my mind. I think I'm gonna do the same exact thing. Six on the lyrics. Five on the melody. Six on the music. Six on the arrangement. Six on production. It's not something that got better for me as it went along. There's parts that I like. Feels like the melody just throws it off for me and it doesn't ruin it. I was expecting it to be okay. Next song. The title of the next song is the chemical composition for sodium pental. So that's pretty cool. I like that they did that. So here we go. This is sodium pental. [00:32:25] Speaker A: If one day you backed up I promise you made we'd have to make it a holiday. Cause we both know that they would never jump again and if one day it would as good as gold It'll be too late. Cause I'd be too old. I don't think a human being could live that long. Yeah. I never gave a damn. I was never even a fan. The only thing that makes me smile your pain I don't even care when you seen anyone Fair say I'm not enjoying this one be said Sony up and up doll Was an idea I had what does to me now? All my souls That's a loser. That's the loser. So confusing confusion Just started my train it will never cap to it. You're a toy Still a liar can't drink from the cup I'm question your Authority. You got a F, you're a tor, can't be from the cup. Where is truth in the trinity? You got a F. [00:33:50] Speaker C: I like the voice verse. Then whatever that second part is, if it's another verse, I like the chorus. It was a kind of middle part. I was meh. I'm not sure about this one, but I'm not disliking it. It could grow on me more and I like that. It's heavy. And there's definitely a theme that runs throughout this record with the lyrics for sure. [00:34:08] Speaker B: Mostly I think that there's that part that wants to be thrash. And I assume that Scott Ian came up with that as a guitar player. It makes a lot of sense to me. It's a thrash riff that's not really in a thrash. [00:34:20] Speaker C: So the beginning actually really reminds me. Hardcore punk. [00:34:24] Speaker B: Yeah. [00:34:24] Speaker C: And I thought maybe they were gonna do some double time in this, but they haven't done it yet. They may do it. There's times where I really want them to speed these things up and they're not doing it. And I would just like to bang my head to it. It's not bad. It's definitely better than the one before. [00:34:39] Speaker B: It's very wordy. [00:34:40] Speaker D: I'm telling you. They got paid by the word. It feels like it wants to be thrashy, but it's holding back. It's okay. I'm not disliking it. Just want to see where we land with it. [00:34:50] Speaker B: Verse 1. If one day you'd backed up I prom made we'd have to make it a holiday because we both know that day would never come again and if one day your word was good as gold It'd be too late because I'd be too old I don't think a human being could live that long this is what they call the refrain I never give a damn I was never even a fan the only thing that makes me smile is your pain I don't even care when did you treat anyone fair? To say I'm not enjoying this would be insane Prechorus Sony and Pental was an idea I had well, what does the truth mean now? If all the lost souls you've grabbed a mass delusion mass delusion there's no confusion, no confusion Just a hypocrite who would never cop to it Chorus, you're in total control and you're a lie or you're still a liar I don't drink from the cup I question your authority you gotta fess up you're in total control and your Faith is tired, I can't drink from the cup. Where is truth in the Trinity? You've gotta fess up. It's fine. [00:35:41] Speaker C: They do these little things in most of the songs where it's not exactly a verse because it changes a little bit. It's kind of a bridge. And so I give him credit for that. Whether or not you like what it sounds like, they do try to do these little things that kind of differentiate the pieces from each other to the point where by the time you get to the chorus, you've almost. You're three different things. [00:36:02] Speaker A: Deep. [00:36:03] Speaker C: First, a bridge, a refrain. [00:36:05] Speaker B: Like, it's interesting arrangement. It's not a typical arrangement. That's pretty cool. And to not use the actual sodium pentalol in the chorus. As long as it's not overused. I think that's a great idea. Let's continue. Here we go. [00:36:20] Speaker A: If this affects it's hard to tell you spend too many codies in your cell Never been one to admit that something might be wrong yeah, I never gave a damn I was never even a fan the only thing that makes me smile is your head if I ever had the chance I kick out your chest and watch a dance or it'll fit your vanity prevention, zodiac and I'm thou still sense quake to me an imitation of life Parenting theology master loser there's no confusion just a hypocrite who never tried to win. You're a donkey tonight oh, you still a liar? I can't grieve for the cup I question your authority I bet you're a do control your fake desire can't drink from the cup we're in the Tennessee. Sam. [00:38:15] Speaker C: I like that solo mark. [00:38:16] Speaker B: What do you think? That was one of the better ones. I do not like the guitar tone on the solo. I thought the solo itself wasn't bad. [00:38:22] Speaker C: I thought it fit, though. The more the song goes on, the more I like. [00:38:25] Speaker D: I do like the lyrics. Guy has a lot to say. The guitar play. Yeah. Better in the solo area. Overall, it's okay for me. [00:38:31] Speaker C: Nobody knows more than the mark that. [00:38:33] Speaker B: He has a lot to say say yeah, seriously. I should get money for every time I read words. Here. I'd be rich. Verse 2. If this affects it, it's hard to tell you spend too many cold days in your cell Never been one to admit that something might go wrong Refrain I never gave a damn I was never even a fan the only thing that makes me smile is your pain if I ever had the chance to kick you out of your chair Just to watch you dance Irrelevant, your vanity prevents change. Pre chorus. Sodium pentol still sounds great to me. An imitation of life buried in theology A mass delusion, Mass delusion. There's no confusion, no confusion. Just a hypocrite who'd never cop to it. Then to the chorus, which is the same again. Guitar solo, which wasn't bad. And now we got the outro, so let's run this. Here we go. [00:39:52] Speaker C: Strong ending. Overall, I like this one. [00:39:53] Speaker B: I like the ending. I think that's the best part of the song. I'm going to read it out. It's not a lot. So it's cop to it. Cop to it a bunch of times. You're in total control. You're still a liar. You're in total control and your faith is tired. I can't drink from the cup I can't drink from the cup I can't drink from the cup I can't drink from the cup. I'm not sure what he's trying to say here. Obviously he doesn't like this guy very much. He'd like to see things happen to him because he thinks he lies to people and tries to control them and giving them sodium pental. It's a great idea. But does he really even want to know the truth at this point? He doesn't really know whether he wants the truth or doesn't want the truth. [00:40:24] Speaker C: That is kind of the theme going here. It seems like he's very angry at somebody in every song. Kind of like a false friend. [00:40:30] Speaker A: End. [00:40:30] Speaker B: Yeah, I'll go first. Seven on the lyrics, six on the melody, seven on the music, seven on the arrangement, and seven on production. The melody on certain parts is really what drags it down for me. I like the arrangement that it's a little different. It's not a bad song. It got a little bit better when it went along. But you're right. There's parts where I don't like the melody as much. Feels a little jammed together. Like he's throwing a lot of words in there just to throw words in. I think it could have been tightened up a little bit. [00:40:55] Speaker D: Frank, let's Sav go first. I'm still debating on my points. [00:40:58] Speaker C: I was going to say seven to cross. I don't know if I should ding the melody because of that one part. It didn't ruin the song for me. And I feel like we're giving a few sixes and dinging them on the melody. I'll just say sevens across and make it simple. I like this one. Yeah. It's Steve and it's Quintuple seven. [00:41:16] Speaker D: Nikki Titty Baby I'm kind of in between. I'm gonna give these sixes across. I'm not disliking it but I can't give it all the sevens across cause I'm not crazy about it. I really do like the music in this one better than the previous. But six is for me. [00:41:30] Speaker B: Let's continue. This is burst. [00:41:51] Speaker A: How much does an opinion weigh? Does it real matter what I say? I can be responsible Be a sale for be a tool who cares what you expect what is politically curious? All my ideas are in. I don't intend to offend I just offend with my intent Beauty's in the beholder side I'm just like the other side who cares what you expect what is politically correct all my ideas are in get off my. No I see things the way I do Walk your mind in my shoes don't assume that I don't face me My thoughts still drive me crazy Seeing things the way I do Walk around in my shoes don't face me I'm not still talking crazy. [00:43:14] Speaker C: I like the heaviness of it. The melody is a little bit it could grow on me Melody is really. [00:43:19] Speaker B: What'S having a problem here for me. I like the chorus. That may be my favorite part of the song. Again, a thrash song that wants to be but isn't. The guitars are very thrashy sounding and the drums are very thrashy sounding. [00:43:31] Speaker C: Definitely the closest we've gotten though. [00:43:32] Speaker B: Yeah. [00:43:33] Speaker D: I think this is the most thrash one that we've heard so far. [00:43:35] Speaker A: Right? [00:43:36] Speaker C: Absolutely. [00:43:36] Speaker D: I like the heaviness of it. I appreciate for the sound of what it is is so far so good. [00:43:41] Speaker B: Verse 1 How much does an opinion weigh? Does it really matter what I say? I can't be responsible Be yourself or be a tool Pre chorus who cares what you expect what is politically correct all my ideas are in bad taste get off my case and bridge Judge yourself no one else Verse 2 I don't intend to offend I just offend with my intent Beauty's in the beholder's eye I just like the ugly side and back to the pre chorus. Back to the bridge and then the choruses. See things the way I do Walk a mile in my shoes don't assume and damn it don't praise me My thoughts will drive you crazy See things the way I do Walking a mile in my shoes don't assume and damn it don't praise me My thoughts will drive you crazy Of Course, it's still my favorite part. I give them credit for the weird arrangement. Lots of parts and different things. I just don't know if I like this yet. I haven't really decided. Let's go into the solo and see what happens. Here we go. [00:44:36] Speaker A: I. Kill someone. Save. [00:45:10] Speaker C: That is very anthrax. I almost laughed a little bit at the Wawa part. I felt that it undermined the heaviness of the song and was a little bit silly. I said to myself, if this erupts into this massive solo, then it'll be crazy cool. It'll negate what that little thing was. But he didn't go there, and I wish they'd given him some room there. Mark. [00:45:35] Speaker B: Yes. The best part about that is that it was short. I was hoping that it went into something a little more Kirkhamedish. Kirkhamitish. Is that a word? Older Metallica solo stuff after that little. But unfortunately it didn't do that. And you're right, it's too short. And he really didn't get a chance to do anything there. And I didn't really count that as even a solo. It's just a little part of four bars of noise. [00:45:56] Speaker C: I think the term could be Kirk Hammetti. That sounds correct in my head. [00:46:00] Speaker B: Okay, I like that. Let's continue. Here we go. [00:46:19] Speaker A: It's the same. Just doing no pain, no gain. Who cares what you expect? What is politically correct? My tears are in bad chains get on my chains and just say no one else See things the way I do Walk to a cloud in the my shoes don't assume that don't praise me, I'm not still driving crazy. See things the way I do. Watch around in my shoes, don't shoe and there. And don't praise me myself Driving crazy, drive you crazy, drive you crazy. One save a. Contradiction. [00:47:33] Speaker C: They could be having fun with this. That could be it. That's how I'm taking it. He's having a little bit of fun with the. [00:47:40] Speaker B: I thought the outro was the best part. [00:47:42] Speaker C: There's a foundation here. I do like the chorus melody. I like the heaviness of it, the production of it. But maybe it is just the melody, that overall, again, that holds it back a bit. It's okay. [00:47:52] Speaker B: So out of the solo, it goes into a break. Kill someone, save a life, don't do drugs, drink all night, worship Jesus, praise Satan. Opinions are all contradiction. Verse 3. It's not a case of wrong and right. You may hate what I may like Vice versa. It's the same Just do it. No pain, no gain. Back to the pre chorus, back to the bridge, back to the chorus. And then the break comes back and they go. Interesting arrangement. Frank, why don't you go first? [00:48:14] Speaker D: Trash is really not my thing. It's good. I'm gonna actually give these sevens a cross. This is what trash is again, not my cup of tea. But this is what I remember it to be. I do like it. [00:48:23] Speaker B: Give it a seven. Oh, yeah, Nikki titty baby. It's quintuple seven. [00:48:27] Speaker C: I'll go next. I'll make it simple. Sixes across. [00:48:30] Speaker B: I'm gonna do the same thing. Sixes across. Very simple. It could be better. There are parts I like, there are parts I don't like. I like the end. I gotta say though, Charlie Benante doing a pretty good job. [00:48:39] Speaker C: He's a great drummer. [00:48:40] Speaker B: Now we're at the end. A funny name for the last song is. This is Exit. [00:49:09] Speaker A: Bow him up and free. You live in hell with me. My own skin don't seem to fit me right Pain is my way or something special. I always hate above of what I kill, what I love I run, you run, you stop and then you ting it I run, you run I stop and then you get it I run, you run, you stop and then you take it I run, you run I stop and then you get it from me the one whose giant steps ahead of me what you don't see I know I'll never save myself Dying from this immortality this is not an exit. Yacht in the never change this is not an. It's no way out. [00:51:01] Speaker C: I really like the music, but the melody again, it's not doing it for me. They had that beginning part and then it stopped and went to the main heavy riff, which I thought was really good. And then it got muted at the verse. Why would you do that? It's such a strong riff. Just rip over it. And another song where they have this voice verse, his pre chorus, this thing, the chorus. It's interesting arrangement because I think the riffs underneath are good. He doesn't have the melodies to go over it all the time. Whereas the first side, some of the melodies were really strong and really singable. But this is so much for him to have to sing over before he gets to the next part. Maybe that's what it is. [00:51:38] Speaker B: Figure spot on. I think the arrangement's interesting. I like the riff. I think I like what I guess they're calling the second verse better in the first verse. I think some of that's okay. I think there's Too much choice change just for change sake to throw a part in here, do all these different parts before you even get to the chorus. And then the chorus is not strong. I think they're trying to make interesting complex arrangements for just complex arrangements sake. And I think that maybe hurts this song because the riff is so strong. They don't exploit the strongness of the riff. [00:52:06] Speaker C: There's a lot of good riffs in this song. Could be something as we. I commented on his melodies and some of the other things and then as it progressed, I didn't feel it as much, said, okay, now if it's in more to me it could be just the fact of all these parts. And he's probably like, okay, so now I gotta sing over this and I have to sing over this. Maybe if it just followed the melody to what the riff closer, it would be stronger melody. And maybe he's like, oh, I don't want to just follow the riff. But the riffs are pretty strong. I mean, the music in this is, I think is really good. [00:52:35] Speaker D: It sounds to me very Alice in Chains. Like from the music, not so much the lyric part of it, but definitely from a music perspective. It's gonna be harder. Yeah, I like it as is actually, actually. [00:52:45] Speaker B: Verse 1 I know I'll never be free Change doesn't come easy and if I'll never be free you'll live in hell with me, me, me, me verse 2 fear a contradiction coexistence, darkness brought to light My own skin don't seem to fit me right Pain is my way of self expression A fatal choice that always hangs above love what I kill, kill what I love Pre Chorus I run, you run, you stop and then you take it I run, you run, I stop and then you get it I run, you run, you stop and then you take it I run, you run I stop and then you get it from me Bridge the one whose giant steps ahead of where you'd be what you don't see I know I'll never save myself dying from this immortality Chorus this is not an exit I can never change it this is not an exit there's no way out that's an example of way too many different things together before you even get to the hook. [00:53:31] Speaker C: It's hard coming up with that many melodies. [00:53:34] Speaker B: It's just too much. It's just too much change for change sake. I think this song could be much more simpler and have much more impact, but the mere fact that they have to throw all these riffs in here, all these changes and all these little pieces just to make the arrangement not stock, I think hurts this song more than maybe some others, because that riff is just so strong that you want to exploit that riff, and you can't really exploit it when you have all these changes. That's just my opinion. All right, let's continue. Here we go. [00:54:05] Speaker A: All the vibes, humanity, Things I'm not wiping Hungry for you but not to hurt you Hungry for the secret of your life I'm a timeless clock and you kill time I run, you run, you stop and then you take it I run, you run I stop, and then you get it I run, you run, you stop and then you take it I run, you run, I stop and then you get it from me the one whose giant steps ahead of way to me what you don't see I know I'll never save myself dying from this immortality this is not an exit Y' all can never change it this is not an exit it's no way out it's no way out there's no way out it's no way out. I know I'll never be free Change doesn't kill me easy and if I'll never be free no living hell this is not an exit this is not an exit this is not an exit this is not an exit I can't ever change it. You stop and then you take it I stop, but I can't fake it this is not an exit. Sam. [00:56:44] Speaker C: When the verse came in this time, I didn't mind it. I actually liked it, I think, because it didn't have that build up before it the way it did the first time where it was loud, this really great riff, and then it was muted. Now coming out of the chorus, it made more sense. I like the verse. I like the iron bit. That bridge before the chorus, though, if that wasn't there, I think this song would be a lot better. That's the stickler for me, that one extra thing that they're doing, the giant steps part. Oh, man, just take that out. That, to me, is the stickler. [00:57:17] Speaker B: I agree with everything you said. I'd like the irun parts. I like the verse here. That bridge parts a little. Doesn't need to be there. The chorus. And then there's that interlude, which I didn't mind. And then they didn't go into the solo. They did that this is not an exit part over and over and over. I'm not too sure about that, whether I'd like that too much. Maybe you could place that after or. I don't know. Maybe the interlude could come after. I just. They interject this another piece of music right before the chorus, again for no reason. [00:57:43] Speaker C: What'd you think of the solo? [00:57:44] Speaker B: I thought the solo was maybe one of the better solos on the record. I like the tone there a little bit better. I think he did more what I expected to happen, which I like, but there's just so many pieces here. It's so wordy. This almost is as much words as Rage against the Machine. It's lots of words. They're both very angry. [00:58:00] Speaker D: I'm really digging the music. The singing is great. I just don't like the lyrics so much. I wish there was different lyrics to. [00:58:05] Speaker C: To this happier lyric. [00:58:06] Speaker D: I don't know about happier. [00:58:08] Speaker C: No, no, I'm just kidding. [00:58:09] Speaker D: Yeah. [00:58:10] Speaker B: Oh, yeah. [00:58:12] Speaker D: I wish there was different words to it. [00:58:14] Speaker B: Verse 3 Out of touch with the mortal thoughts Humanity's a dream things are not what they seem Hungry for you but not to hurt you hunger for the secret of your life I'm a timeless clock and you kill me I'm a timeless clock and you kill time I run, you run, you stop it and then you take it I run, you run I stop it and then you get it I run, you run, you stop it then you take it I run, you run I stop it and then you get it from me Bridge I get again the one who's giant steps ahead of where you'd be what you don't see I know I'll never save myself dying from this immortality Chorus this is not an exit I can never change it this is not an exit it's no way out it's no way out there's no way out it's no way out Interlude I know I'll never be free change doesn't come easy and if I'll never be free you'll have to live in hell with me Chorus it's not an exit it's not an exit this is not an exit this is not an exit this is not an exit exit I can never change it you stop and then you take it I stop and I can't fake it because this not an exit Solo. That's just a lot of stuff before you even get to the solo. Extra pieces that could have been moved around. It's not a stock arrangement about any stretch of the imagination, but maybe doing so much not stock stuff just doesn't make it as good. I don't hate the song. I like the music and I like the parts, but there's just so much of it. It gets a little tiring. You never really get into a groove because they keep changing things up on. On you. All right, let's finish this up. Here we go. [00:59:57] Speaker A: A fatal choice Hangs above the one I killed not an accident never change it this is not an accent Hand over fears Come and taste my doctrine Hand over fears Kill you when I give it this is not an accident not an accident it's not an accident not an accident this is not an accident Sa. Dangerous. [01:01:13] Speaker C: And unpredictable. [01:01:16] Speaker A: And make a lot of noise. [01:01:31] Speaker C: I was wondering there was gonna be something at the very end. I wish that song faded into that. Didn't stop because that end was so abrupt. [01:01:40] Speaker B: Bridge 2 Pain is my way of self expression A fatal choice hangs above I love what I kill Kill what I love Love, love love love Then chorus. This is not an exit this is not an exit I can never change it this is not an exit Handover Fist Come and taste my dark trick Hand over fist Kill you when I give it this is not an exit this is not an exit I can never change it this is not an exit and then fades out and then whatever that recording is. Be dangerous and unpredictable and make a lot of noise. There are parts in this that I like. I like a lot of the separate parts. I just think that it's so jumbled up and it just makes it hard to like it a lot. A lot. I like a lot of separate parts, but I think as a song, it's a little confusing for me. I'll go first. Lyrics. I'm going to say 7. Melody, I'm going to say 6. Music. I'm going to say 7. Arrangement. I'm going to say 5. Just think there's too many parts. And production. I'm going to say six. The production is fine, but that arrangement is just too much and too many things gets me confused. I like parts of it. I just don't like all the parts together in one. So. Song, Frank? [01:02:40] Speaker D: I don't know yet. There's a lot going on in this song for sure. A lot. Throwing me off. I'm going to do seven on the music, seven on the arrangements, the lyrics and the melody. I'm going to give sixes on those, but overall it's okay. Again, not my cup of tea, but it's okay. How about you, Seth? [01:02:55] Speaker C: Six on the lyrics, eight on the music, six on arrangement, six on melody, and seven on production. I really like a lot of the riffs in this. Two parts, maybe less. I don't know. It would have been eights. Across, but at least a strong seven across. [01:03:08] Speaker B: I agree. [01:03:09] Speaker A: Agree. [01:03:09] Speaker B: It's just a lot of parts, but it's a decently strong side. I mean, sevens and sixes all the way through. That's not horrible. It's not a fall on your face. First side, great. Second side has a lot to be desired. [01:03:18] Speaker C: It's a decent record, I think, for people who are not fans of thrash but fans of heavy music and say, hey, let me check this out. It's a good starting point. [01:03:25] Speaker B: All right, so why don't you do your things? [01:03:27] Speaker C: Have we are part of the Deep Dive Podcast Network and the Boneless Podcast Network. [01:03:32] Speaker B: Boneless, you know, like those chicken wings without the bone can always say. [01:03:35] Speaker C: Great bunch of guys. Please. If you want individual podcasts about bands, check them out. We got Rush, Judas Priest, Uriah Heap, Tom Petty, you name it, it's probably there. So check them both out. And Mark, where can they find us on the interwebs? [01:03:49] Speaker B: Rock with that pod on the social media. Rockwithpodcast.com do the polls, do the merch, send us some new bets. You know what to do. Put us on auto download so you get us every week when we release. And five star ratings would be appreciated where every you rate your podcast because that helps us and the podcast. And next week we get to spin again and that'll be cool. And who knows what we'll get. We had some heavy. Maybe we'll get something different or maybe it'll stay on the heavy trend. Who knows? I'm glad we got this. I'm not a big Anthrax fan. I was never a fan back in the day. I always wanted to like them, but I just couldn't get into them. This is definitely a good introduction for anyone who may think they may not like Anthrax. There's lots of good stuff, irrespective of the amount of lyrics and sometimes the multitude of changes in a song. I think overall it's a good record. We will see you next week. [01:04:32] Speaker C: Ciao. Ciao. [01:04:33] Speaker D: Good night, everybody. [01:04:34] Speaker B: Later. [01:04:53] Speaker A: It.