Episode Transcript
[00:00:04] Speaker A: This is our musical reaction breakdown and commentary analysis of this song.
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[00:00:30] Speaker A: Permission from the rights holders for purposes.
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These so called fair uses are permitted even if the use of the work.
[00:00:44] Speaker A: Would otherwise be infringing.
[00:00:46] Speaker B: Now onto the Roc Roulette Podcast.
[00:01:03] Speaker C: Foreign.
[00:01:15] Speaker B: 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 other 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 want to do a podcast. And everybody who takes this trip with us to discovery and Rediscovery, we want to thank you. Numbers have been consistent. Keep it up, spread the word, reach out to us. Tell us what you like, what you don't like. Something you'd like to hear, something you'd like to hear less of. Tell us to shut up. It's all good. You know, we're here to listen. And anybody again who takes this trip with us, thank you so much.
And we are threesome again tonight. We got Frank.
[00:02:01] Speaker C: My name is Frank.
[00:02:08] Speaker A: And I'm sexy.
[00:02:15] Speaker D: Hello everybody.
[00:02:17] Speaker B: We got Mark. Oh, hi, Mark.
[00:02:19] Speaker A: What's up, guys?
[00:02:19] Speaker B: And I'm Seb. Ciao buena.
The Wheel has this thing where it picks odd records, sometimes from big bands and then sometimes it picks massive records from big bands. And last week it picked a massive record from the Red Hot Chili Peppers. Their biggest selling, actually, Californication, which came out in 99. And it was also the return of John Fruscian back to the crew. And the first side, which we went through last week, is very front loaded. Unless I'm mistaken. All the hits are on the first side.
I know my scores were lower than your scores. I didn't think it was too bad. Obviously. Flea is amazing. The drumming is solid. Guitar playing was a bit held back, but he was also recuperating, I think, and finding his way back in there. I know the lyrics to Californication was one thing that really stood out. They were really, really good. I mean overall, not too bad of a side. Mark, what do you think?
[00:03:11] Speaker A: I think it's a great record so far. It is very front loaded. I don't think there's a lot of hits on the second side. John Frusanti's guitar playing is a little reserved. I think they said that Anthony Kiedis's book, he said he came back and he wasn't the same kind of guitar player he was when he left. Maybe that has something to do with why playing's a little held back. We're just trying to get back into shape as far as songwriting goes. Is great. Bass is great. Drums are great. Anthony, keys, vocals and lyrics are great. I don't know what the second side is going to bring because I haven't heard this record in a long time. I don't know if I've even heard the second side, tell you the truth. Maybe I think I've heard this record because I heard all the hits. Maybe I haven't actually listened through it all the way through. I don't know.
[00:03:46] Speaker B: I'm excited. I'm hoping to find some gems. Frank, what about you? I know you like the first song.
[00:03:50] Speaker D: Monstrous album here. I stand corrected. I know Savino, we had discussed this about which was a bigger hit, this one or what was the other one you mentioned?
[00:03:59] Speaker B: Blood Sugar Sex Magic.
[00:04:02] Speaker D: Yep. And yeah, so that one was the one that catapulted them to stardom. But this was the best selling one. Yeah, love it. They sound great. It's very rare that you have a band that sounds better than when they first came out, especially during the 90s. They pulled it off with this one.
[00:04:17] Speaker B: They're a band that has fans divided from my understanding, where people prefer the earlier stuff better a little bit more, the heavier funk as opposed to maybe sloppier almost as opposed to kind of this, which is not formulaic but cleaner, a cleaner product at least. I remember back in the day people even like Blood Sugar Sex Magic. I remember we were saying, ah, you know, it's too polished. I'd like to say that good song is a good song. No matter who the band is and what style they may have done and what they go into. I'm appreciative. I'm looking forward to the second side. Especially knowing that any song that I think I know I've already heard second set should be quite a surprise. Before we get to that, we have our new BET section.
[00:05:01] Speaker D: In a world where new music is.
[00:05:05] Speaker C: Not easy to find.
Welcome to New Bets.
[00:05:20] Speaker A: Okay, here's the new Bets wheel.
[00:05:35] Speaker B: Deftones, Milk of the Madonna. I've always heard of them. I didn't listen to a lot of them, but my son has actually made me listen to a few of their songs and they got a lot of good stuff. And this album got, from what I remember, some pretty good reviews. I'm kind of looking forward to this.
[00:05:51] Speaker A: It's fairly new. August 25th.
I hear them all the time. I don't know what I know by them.
[00:05:56] Speaker B: Frank, you know anything about the Deftones?
[00:05:58] Speaker A: Nope.
[00:05:59] Speaker D: It's going to be my first time, so looking forward to it.
[00:06:01] Speaker B: Nice.
[00:06:02] Speaker A: This is the Deftones, Milk of the Madonna.
[00:06:21] Speaker C: Sa.
My friend.
I.
Ram.
[00:10:13] Speaker B: Nice. I thought that was really good, like the production. I love the 90s vibe to it. I thought it was good.
[00:10:20] Speaker A: Yeah, I liked it a lot. Is that what they normally sound like?
[00:10:22] Speaker B: Yeah, I mean, that's, you know, one of their styles. Some of this stuff is a little bit heavier. Some of the stuff is a little bit mellower. It's a kind of a mix of that. Yeah. From what I've heard. I haven't heard everything.
[00:10:31] Speaker A: I thought it was good. I liked it.
[00:10:32] Speaker B: Frank, what do you think?
[00:10:33] Speaker D: I am very, very surprised that I'm. That I dug it as much as I did for first time listens. Definitely going to have to tune in again. Yes. You definitely hear some of that 90s vibe. So that's cool.
[00:10:43] Speaker A: Yeah.
[00:10:44] Speaker B: Nice.
[00:10:45] Speaker A: Good way to start the episode out. Yes. If you like it, hit us on social media. If you don't like it, hit us up on social media. Let us know what you think. We're always wondering what everybody thinks about these things because we just stick these things on here. We never know if anyone likes them or don't likes them. So we'll. Let's rubber stamp this.
In a world where new music is.
[00:11:09] Speaker C: Not easy to find.
Welcome to New Bets.
[00:11:24] Speaker A: The next song on the second side is Porcelain.
[00:11:44] Speaker C: Are you wasting away in your skin?
Are you missing the love of your kin?
Drifting and floating and fading away Porcelain do you smell like a girl when you smile?
Can you bear not to share with your child?
Drifting and floating and fading away Little.
Alone all day Little.
[00:12:39] Speaker B: I don't know what to make of it yet.
I mean, I do kind of like the brushy jazzy kind of background going on.
[00:12:46] Speaker A: It's very mellow. I like it. I'm not sure where it's going to go. I have a feeling it's just going to stay this way. From what I've been reading, it's Anthony Kiedis met a young mother at a meeting. She was living in a YWCA with her baby girl, trying to get sober, failing miserably. The beauty and sadness and tragedy and glory all wrapped into one of this mother daughter relationship was evoked by the vibe of that music.
Yeah, makes a lot of sense. Why? Read the lyrics. It'll make a lot of sense anyway.
[00:13:10] Speaker D: Well, like you, I didn't know where I was going. I was lost. But now hearing Mark's explanation, I'm looking forward to the rest of it.
[00:13:16] Speaker A: I think in general his lyrics are pretty good. They're very introspective usually. I'm sure these will be just the same Verse one Porcelain are you wasting away in your skin? Are you missing the love of your kin? Drifting and floating and fading away Porcelain do you smell like a girl when you smile? Can you bear not to share with your child? Drifting and floating and fading away Chorus Little loon all day Little loon so the loon is a half crescent or a half moon?
[00:13:40] Speaker B: I thought it was a bird.
[00:13:42] Speaker A: Yeah, that's what I thought too, but it's spelled different. L U N E not L O O N.
Okay.
[00:13:48] Speaker B: It's not O O N. No.
[00:13:50] Speaker A: Maybe it'll make more sense as we go along.
[00:13:52] Speaker B: Let's continue.
[00:13:53] Speaker A: Here we go.
[00:13:59] Speaker C: Do you carry the moon in your womb?
Someone said that you're fading too soon Drifting and floating and fading away P Land are you wasting away in your skin Are you missing the love of your kin?
Nodding and melting and fading away Little.
O.
Little lo.
[00:15:23] Speaker B: It's okay actually. Like that end very short. The words are probably the best part.
[00:15:30] Speaker A: I don't know. I like the guitar playing actually.
[00:15:32] Speaker C: Yeah.
[00:15:33] Speaker B: Yeah, it's not. It's not bad. I mean it doesn't suck.
[00:15:35] Speaker C: Suck?
[00:15:36] Speaker A: No, it doesn't suck.
[00:15:37] Speaker B: Make it sound like, oh, the lyrics are good and everything else. So like it does. Yeah, it didn't suck.
[00:15:42] Speaker A: It's not what I think of them. When I think of Red Hot Chili Peppers, I thought it was pretty cool.
[00:15:46] Speaker B: They do mix it up though. True without a doubt.
[00:15:48] Speaker A: And did you notice the distortion in the sound? From what I read, people were pissed that this thing is part of the loudness wars of the late 90s, early 2000s where they're pushing all the faders up because if you listen to it, there's this breakup at the top of some of the playing.
I didn't notice it prior, but now I'm gonna have listen to it if anything else sounds that way.
[00:16:09] Speaker B: Even if it was There. I don't know if I just don't have it up loud enough or I just wasn't getting it on my headphones. It wasn't something that was bothering me.
[00:16:17] Speaker A: I didn't hear it on the first side, but I heard it right there. I don't know why.
[00:16:20] Speaker B: Oh, you did.
[00:16:22] Speaker A: It felt like it was breaking up at the top. At the ends of things, it just would kind of break up. Like someone pushed it up too loud. That was the time frame of this stuff happening. 2000s on. Everyone tried to get louder and louder and louder until you got to, like, 2012, where everything was just breaking up. Kiss Monster.
[00:16:39] Speaker B: Yeah, that was one style. Right. We talked about where everything sounded like it was pushed up to 10. And we were saying. I remember commenting, we may have commented even on this podcast where there were certain albums and you said to yourself, why do you even need a producer?
There was no dynamic. And now we complain about a different kind of production.
God just love to complain.
[00:17:03] Speaker C: Yep.
[00:17:04] Speaker A: Verse 2 Porcelain, do you carry the moon in your womb? Someone said that you're fading too soon Drifting and floating and fading away Porcelain, are you wasting away in your skin? Are you missing the love of your kin? Nodding and melting and fading away and then the chorus all the way out How I look at that is. Porcelain is a very white thing. Very naive or very fragile. Fragile. She's a drug addict or she's an alcoholic or whatever she is, and it kind of hides whatever's going on. His lyrics are always that. He writes a lot about drug addiction. Yeah, that's part of his thing that he's trying to work through.
[00:17:37] Speaker B: I think we mentioned that last. We mentioned the word drugs a lot on this podcast.
[00:17:40] Speaker A: I think it's another drinking game. Drugs for this one.
[00:17:44] Speaker B: Oh, forget it.
[00:17:46] Speaker A: Okay, I'm gonna be conservative. I'm gonna say six across. I thought it was fine. I don't think there's anything wrong with it, short of that little production thing. Actually, you know what? I'm gonna do five in a production because that little breakup of Distortion bothered me a little bit because I heard it, didn't listen to it on the first side. I didn't figure that out. And then when I heard it today, like, that's weird, because I went back and listened to a couple songs, I started to hear that breakup, and I went to go look, and people saying, yeah, that's part of this record. They want it to be remastered. They want to take the compression and the loudness out of it because it's.
[00:18:14] Speaker B: Too much do you think that has to do with Rick Rubin as well? There's been stuff from him where I've heard stuff like that. I'm not saying he's a bad producer, but I have heard some distortion.
[00:18:25] Speaker A: What I gather it was a record company thing. Record companies were doing. They were trying to get things louder. I don't know if it had anything to do with Mike, because I think it happened in the mastering phase. Not really in the recording phase.
[00:18:34] Speaker B: Okay.
[00:18:35] Speaker A: I don't know how much he has to do with the mastering phase. I don't know, Frank.
[00:18:39] Speaker D: Not something I would expect from the Red Hot Chili Peppers.
[00:18:42] Speaker B: Didn't hate it.
[00:18:43] Speaker D: It just wasn't my favorite. But given the sentiment, given the topic, I get it. A lot of drug conversations in this podcast. That's what we listen to. Understandable. But yeah, it's okay for me. Again, I want to be mindful and respectful of the sentiment, so I'm just gonna give it seven as a cross. I do like the fact how they switched it all off up from their sound and they do it so well. I'm giving me this evidence.
[00:19:05] Speaker A: Honey, that ain't no pistol it's quintuple. Seven Mickey Titty, baby.
[00:19:09] Speaker B: All right, I'm going to go sixes across. I think that's pretty fair score.
[00:19:13] Speaker A: Okay, on to the next. This is EMT Remus.
[00:19:34] Speaker C: The California animal is a bear Angelina. But the devil may care Summertime to talk and swear later maybe we could share some air I'll take you to the movies there we could walk through Leicester Square what could be better than an English girl American man London in the summertime Coming down with you the satellite London in the summertime Cause me out a little bit all right.
[00:20:34] Speaker B: It sounds okay. Not sticking out too much, but not terrible. Middle of the road so far for.
[00:20:40] Speaker A: Me Supposedly this is about a relationship between an American man and English woman. The lyrics are partly inspired by Anthony Kiedis's friendship with Spice Girls singer Melanie Christian. Sporty Spice. It should be noted that Emmett Remus is Summertime spelled backwards.
It's interesting. I think I like the chorus better than the verse. The verse's melody is a little weird. I think the musicianship is good. I'd like to chor a lot. I just don't know yet. I'm still on the fence.
[00:21:06] Speaker B: Yeah, it sounds almost like a bit of a goof. Not like a bad goof. Something where it's completely silly, but just a bit of fun, I think.
[00:21:14] Speaker D: I don't know. Yeah, I need a little more Time with her. Let's hear it.
[00:21:17] Speaker A: Verse 1. The California animal is a bear Angelino. But the devil may care Summertime to talk and swear later maybe we could share some air I'll take you to the movies there we could walk through Leicester Square what could be wetter than an English girl American man Chorus London in the summertime Call me now use the satellite London in the summertime Cuss me out and it'll feel all right There's a lot of where's bears? There's squares.
Oh, my, oh my.
[00:21:47] Speaker B: Yeah, yeah.
[00:21:49] Speaker A: So I don't really know if I like that too much. Let's continue.
[00:22:05] Speaker C: Green and sharp Stabbed that boy all in his heart come what made a cosmos Will take me up and down a primrose hill what could be wetter than an English girl American man Young darling in the summertime Count me now, will you Just stand out of line in the summertime Cause me out and it'll feel alright.
Curse me out and it'll be all right it's all right now Calming down when you decide it's all right it's all right Count and Gotta let us out On.
[00:23:28] Speaker B: I do like the chorus. I like the vibe of the chorus. And then it gets heavier. It's just middle of the road for me. It's not terrible, but there isn't that oomph either.
[00:23:37] Speaker A: I think that the verse melody and the chorus melody are very similar. Too similar. I do like the chorus. And I like the guitar playing in the verse. Those feedbacky things are very Hendrix. I like that. No, real solo. That weird bridge part. Yeah, you're right. It's just in the middle for me.
[00:23:53] Speaker B: Yep.
[00:23:53] Speaker A: In the same.
[00:23:54] Speaker D: I do love the bass, though. It's funky. I Love it.
[00:23:56] Speaker A: Verse 2. Hesitate but don't refuse the choice with yours but you said choose the look she used was green and sharp Stab that boy all in his heart Come what may the cosmos will take me up and down on primrose hill what could be wetter than an English girl American man Chorus again. Bridge. Yes. Cuss me out and it'll feel all right it's all right now Call me now and use the satellite it's all right it's all right down and out and it'll sound all right it's all right now it's all right I think it's all right it's all right yeah Here we go.
[00:24:30] Speaker C: The California flower Is a poppy child feeling and send me all the gold in your smile Drift away from anyone you can not Goes according to Plan Though I know that every river bends Time to say hello to snow on the Thames what could be wetter than an English girl American man Locked up in the summertime Coming now. Are you the satellite?
Locked up in the summert Now.
[00:25:39] Speaker B: How long was that one, Roy?
[00:25:41] Speaker A: That was four minutes. Even in.
[00:25:44] Speaker B: Not much more to say.
[00:25:45] Speaker A: Not really. You want to go first? Let me read words first and then you can go. Verse 3. The California flower is a poppy child felony Send me all the gold in your smile Drift away from anyone you can Nothing ever goes according to plan Though I know that every river bends Time to say hello to snow on the tames what could be better than an English girl American man Chorus and out. All right, go.
[00:26:07] Speaker B: Tell you what, I'll give it what I'll really, really give it. Six on production and five on every everything else. Threw a little Spice Girls reference there for all the fans, Frank.
[00:26:18] Speaker D: The production. I'm gonna give that a seven. Lyrics. I give it six. I'm gonna do six across after that. I do like it. It's just. It doesn't hit me the same way as the other songs on this album so far.
[00:26:29] Speaker A: It's a little bit filler. I think I'm gonna do seven on the music and five and everything else. I do like the bass playing. I like the guitar stuff. Drums are good. I just think the melody is a little too repetitive. It's definitely middle of the road. Okay, the next one is I like dirt.
[00:27:07] Speaker C: The earth is made of a gut and wood and I feel walked up if I could a living a dream it's your stream.
I live in a dream Some come up and some come down Live too long and give it to sit down get down in the sun Rocket Superwoman is out the wand I like Good. I like, I like it. I like this.
Sometimes I win Overload must roll low but when you don't I never Song Dip and the Sunflower A letter to the pedal Better get it to go But I like to But I like to I like to Space is made of everything and I feel fire that I bring I live in a dream in your sp I live in a dream.
[00:28:17] Speaker B: That last little bit was my favorite part, even though it really reminded me of something.
I think it's a cartoon. I may figure it out if they do it again.
Same for me. Just this middle of the road.
[00:28:31] Speaker A: What do we think this song is about?
[00:28:33] Speaker B: Well, I kind of read and I heard some of the lyrics supposedly about sex. Oh, it's not about planting or the dirt. No gardening I mean, gardening. Gardening.
[00:28:45] Speaker A: I like dirt. I like dirt. Yeah.
[00:28:47] Speaker C: Wow.
[00:28:48] Speaker D: I thought it was about gossip, but.
[00:28:51] Speaker A: You were being correct.
I'll read lyrics because I have a lot to read. The one thing I can say, it's very Red Hot Chili Peppers.
[00:28:58] Speaker C: Yeah.
[00:28:59] Speaker A: But it's funky.
[00:29:01] Speaker B: Maybe that's it. Because I think that they can do more with something like this. I was expecting it to open up a little bit at some points, but it hasn't. I mean, yeah, the groove is obviously good. They can groove. I mean, I do like that, but it doesn't go anywhere. And everything is the same. There's no real change in the melody or. Or anything. So the groove is good, but it's like, okay, what else can you do? And they've proven that they can take these songs to some pretty cool places. Places. But this one just hasn't gone anywhere.
[00:29:29] Speaker A: Is this what we always complain about with 90s bands? That they have to fill a whole 60 minutes of music because there's 60 minutes on a CD and they're just putting whatever on here. Would this make it if you had to cut this down to 12 songs? Probably not, no.
[00:29:42] Speaker B: But it might appease some fans. This is what they want to hear. I don't know enough of their catalog to know where this stands. I'll be honest. The two albums that we've. The one that we listen to and the one we're doing now are the only times I think I've listened to a Chili Peppers album straight through. I've never even. Blood Sugar Sex Magic. I've never owned it. So I've never listened to one. Their album straight through.
[00:30:04] Speaker A: I don't think this would have made it if it was a regular vinyl release where you only could put 12 songs or whatever. 10 songs. This is such filler for me. Even though the groove wants to be Red Hot Chili Peppers. You're right. It's just very boring, very monotone.
It's filler for me. This is a filler track. There's some interesting ideas here, and it could be better, but it's not for me anyway. Okay. Verse 1. Some come up and some come young Live to love and give good tongue Sit down, get down in the sun Rocket to the woman is on the one well, I like dirt well, I like dirt well, I like dirt the earth is made of dirt and wood and I'd be water if I could Live in a dream in your stream Living a dream verse 2 come up and some come young Live to love and give good tongue Sit down, get down in the sun rocket to the woman is on the one I like dirt I like dirt I like dirt I like dirt Some come slow and overload Must roll over when you're told let's unzip and let's unfold A letter to the pet Better get it to go well, I like dirt I like dirt well, I like dir and this I guess, is a bridge Space is made of everything and I'd be fired that I'd bring Live in a dream in your spring Living a dream and then this is where we're at. To me, it's not anywhere near as good as anything on the first side, but we knew this going in. This was a very front loaded album.
[00:31:16] Speaker B: Well, I didn't know. And then I found out while just.
[00:31:20] Speaker A: Hearing all the singles that were on the first side. You had to know the second side.
[00:31:24] Speaker B: Yeah. I didn't know where they stood in terms of the list, but then once started looking at them like, wow. I think every song I know is on this side side.
[00:31:33] Speaker A: Yeah.
[00:31:34] Speaker D: Kind of on the same wavelength of the two of you. It feels very filler. Doesn't feel. I mean, it's okay. I'm not nothing. It's nothing crazy for me.
[00:31:43] Speaker A: All righty. Let's continue. Here we go.
[00:31:52] Speaker C: A letter to the bed I better get it to go I like to, I like to I like dirt I like it.
Is also one I like it I like this I like it, I like this.
Some come up Some come young Live to love and give good tongue I sit down, get down in the sun Rocket to the woman is on the.
[00:32:49] Speaker B: One that was quick.
If nothing else. I don't know how long that was. Was that shorter than the one before?
[00:32:55] Speaker A: This was 238. It was shorter than Port Porcelain.
[00:32:58] Speaker B: I don't think it was that short, but I knew it was short.
[00:33:00] Speaker A: I thought the guitar playing at the end was good. I wish they didn't go back into that. Some come up and some come young Wish they would have just stopped after the guitar part. I thought that would have been better.
[00:33:08] Speaker B: Yeah. Just kept it going. There was a Jane's Addictiony thing I felt in that part. That's what that reminded me. I was digging that. I was hoping they would let him go loose a little bit, Especially considering how short the song was.
[00:33:20] Speaker A: And the words are basically just repeating, repeating, repeating. Frank, why don't you go first?
[00:33:24] Speaker D: Nice on here, the filler songs. I'm gonna go and give this six across. I do like the music. The lyrics are, you know, they're Fun. They're okay. They kind of match the mess. What they were going for here and the production.
[00:33:35] Speaker B: Still liking it.
[00:33:36] Speaker D: Six is for me.
[00:33:37] Speaker B: How about you said I'm gonna say the same as well before six production. Five across. I like the groove. I feel they can sneeze this song out and that's a compliment to them, if that makes sense. But it is. I feel like it's a compliment. They could and have this song done and boom, we got another song on the record. Mark.
[00:33:56] Speaker A: Yeah, I agree with that. I expect a little bit more from that. I'm do fives across. It's definitely filler for me. There's parts that I like. The guitar part I like. There's some things in there that are okay. But you're right. They can just throw this right out. And again, a compliment that they can just write a song, bam. And do it out. Whether it needed to be on this album is a whole. Another question. If there was a little more scrutiny on because you only could give 10 tracks or 12 tracks, I doubt this would have made it any. Who the next song is. This velvet glove.
[00:34:37] Speaker C: Close to my skin I'm falling in of someone who's bare Sitting by the phone I'm left alone in another zone Johnson to live above hell and my will is well, no one is waiting for me to fail and my will could sail yeah, It's such a way to be wasted in the first place I wanna taste the taste of being face to face with common grace to meditate on the warmth's dream and when I walk alone I listen to our secret babe, you saw the other like none I have ever seen Somebody closer Can see right through I take a part in your for you.
[00:36:05] Speaker B: This is a bit more interesting and definitely more in tune with the first side. This could have been on the first side. Definitely better than the ones before, I think.
[00:36:13] Speaker A: I think this is a much better song. It definitely fits with more of the stuff on the first side. I like guitar playing. I like the bass playing. His lyrics are really introspective, obviously, about more about drug addiction. We're trying to stay clean but needing somebody's help to kind of do that. I think it's good. I like it much better than the first three songs.
[00:36:31] Speaker D: Digging it. One of the better ones that we've heard so far from this side for me.
[00:36:35] Speaker A: Verse 1. Close to my skin I'm falling in someone who's been sitting by the phone I'm left alone in another zone John says to live above hell and my will as well, no one is waiting for me to fail and my will could sail yeah. Verse 2. It's such a waste to be wasted in the first place. I wanted to taste the taste of being face to face with common grace. To mediate on the warmest dream to meditate on the warmest dream. And when I walk alone I listen to our secret theme. Your solar eyes are like nothing I've ever seen. Somebody close that I can see right through. I take the fall and you know that I do anything I will for you. The chorus does come with a little bit of punch too, which is typical what they did in the first side. I think it's better. Hopefully they can continue in this vein till the end of the album, but we shall see. Who knows? All right, let's continue. Here we go.
[00:37:24] Speaker C: Cause there is one who knows where I'm from.
I care for you, I really do.
I really do.
Come closer now so you can lie riding by my side Sit alone in the sun I wrote a letter to you Getting over myself yeah.
I take a fall and you know that I do anything now with my youth and I am somebody who was made for you.
I take a fall and you know and I do anything nowhere for you.
Close to my skin Someone who's been. I'm pouring in Disasters are just another star falling in my yard.
John says to live up a hill My will is well long to be with someone until I love your smell.
[00:39:18] Speaker B: I don't like that ending. Kind of didn't make sense to me to end there. But I did like the rest of it. I think it's the most interesting one so far on this side. Dynamics. Even that little build up they had to the second chorus, which I don't remember. I don't think they did the first time.
[00:39:32] Speaker A: Yeah, I like that a lot. I like to build up to the second chorus. That. That was very cool. I didn't like to end either. I wish I would end it on the chorus and not on some verse. That's the only part I don't like. But I think it's much better than the first three songs.
[00:39:43] Speaker B: Frank, what do you think?
[00:39:44] Speaker D: I don't know why this song reminds me a little bit of Dark Necessities. I don't know what it is, but I dig it. I like it a lot. I like the whole vibe of the whole song.
[00:39:53] Speaker A: Verse 3. Sailing for the sun Cuz there is one that knows where I'm from. I care for you, I really do. I really do. Come closer now so you can lie right by My side. I sit alone in the sun. I wrote a letter to you. Getting over myself. Yeah. And the second chorus is a little different. Your solaris are like nothing I've ever seen. Somebody close that I can see right through. I take a fall and you know that I do anything I will for you. Your solar eyes are like nothing I have ever seen. Somebody close that was made for you. I take a fall and you know I do anything I will for you. And last verse is close to my skin. Someone who's been. I'm a falling in. Disasters are another star falling in my yard. John says to live above my hell and my will as well Long to be with someone to tell. I love your smell. I'll go first. I think I'm going to say seven the lyrics, six on the melody, seven on the music, six on the arrangement, and seven on production. I thought it was good. It was definitely a step above the last three songs. Zap.
[00:40:50] Speaker B: Yeah, I was debating, but I. I think I like those scores, so I will mimic those scores, make it easy. Definitely akin to the first side. Maybe if it was on the first side, it really sound too much like what was on the first side. Putting it here. Maybe it was a breath of not fresh air, but reminiscent air. Let's call it. Oh, I smelled that before. It was on the first. First side.
[00:41:10] Speaker D: Frank, I think that this song is building us up to a strong finish on the album. I dug it. I definitely made sure to tag this off to listen to it again. I'm gonna give this seven across.
[00:41:20] Speaker B: Nikki titty baby darling. It's Quint seven. Freddy Merker.
[00:41:23] Speaker A: Yeah, yeah, he likes it.
[00:41:24] Speaker C: Nice.
[00:41:25] Speaker A: The next one is sa.
[00:41:40] Speaker C: Destin of your savior.
Well, you are always my favorite always my man all in a h to celebrate you with greater now that I can you always my man now you see what I came for no one here is to blame for misunderstand all in a hand just like you could you made me all that I am.
In the hand.
I have something to bring and now I see you in a beautiful and different light he's just a man and a D will be all right.
Call and. Okay.
[00:43:27] Speaker B: Pretty interesting. I don't know if I'd like it as much as one before, but it's not bad. It's definitely interesting. More dynamics.
[00:43:34] Speaker A: That little bridge was strange. Doesn't feel like it fits.
[00:43:37] Speaker B: Yeah, but it's not completely off either. It's very.
God, I want to say like hate Avenue. That 60s psychedelic kind of like hate Ashbury. Yeah, that's What I'm trying to say.
[00:43:51] Speaker A: I can see that it's definitely experimental. It's a little more experimental, but in a good way though.
[00:43:57] Speaker B: Yeah, not like in a shitty way.
[00:44:01] Speaker A: No, it's interesting because it's just a different. A different take. Now, supposedly this is about his relationship with his dad. And I don't know if you read anything while you were listening to this.
[00:44:11] Speaker B: I did.
[00:44:12] Speaker A: Tell me what you read.
[00:44:13] Speaker B: Well, let me tell you exactly what I read.
Kiedis's parents were separated, so he lived the beginning of his life with his mother in Michigan, but moved to Hollywood, California to live with his father when he was 12 years old. Damnit. Damnit. Dammett was a drug dealer. Because of this, Kiedis was exposed to drugs and sex at a very young age, including him using heroin by the age of 14 and having sex with his father's girlfriend when he was 12 years old. Some of the people that we've listened to that have lyrics and songs that are depressing or weird or this or that, you don't always know their. Their backgrounds and then you start reading about their backgrounds and you say to yourself, wow, okay, note has been made.
[00:44:58] Speaker A: He didn't have a great upbringing, obviously, and it led him to everything that was up in his adult life. But he doesn't seem to blame him here. When I read the lyrics, it feels like he's absolving him of all the problems and things that he did.
Give him credit. Yeah, you exposed me to this, but I did this. I continue to do it. I could have stopped, but I didn't. But it's not your fault. Whether that's true or not. I guess he needs to do whatever he needs to do to bring closure to whatever happened in the past. His dad didn't do it right by him, if that's what was happening when he was 12 or 14 years old.
[00:45:28] Speaker D: Deep, just absorbing what you just finished saying. You nailed it by saying, hey, listen, sometimes they write these really dark lyrics, but you don't know about their lives, where they came from, the things they experienced, and with that age to experience what he experiences. Wow, thank goodness that he became an artist and not a psychopath serial killer. That's kind of stuff that, you know, can really alter a young person's mind.
[00:45:51] Speaker A: Verse 1 dusting off your savior well, you were always my favorite Always my man all in hand to celebrate you is greater now that I can Always my man now you see what I came for no one here is to blame for misunderstand all in hand Just like you. Cause you made me all that I am all in a hand bridge A butterfly that flaps its wings Affecting almost everything. The more I hear the orchestra, the more I have something to bring. And now I see you in a beautiful and different light. He's just a man and any damage done will be all right Refrain Call Call out my name out my name Call and I came Call. Call out my name and I came Call and I came. Deep lyrics give him credit for having his dad's back. Even though he really didn't. Give him the best life, just he can absolve his father of that. After everything that happened and the way his life turned out, good and bad, is commendable. I don't know if everyone could do that.
[00:46:45] Speaker B: That's. No, it's hard.
[00:46:46] Speaker A: Yeah.
[00:46:46] Speaker B: Especially in a situation like that. His father died 2021, so fairly recently.
[00:46:51] Speaker A: Wow.
[00:46:51] Speaker B: And he was also in nine deaths of the Ninja with Sho Kasugi.
[00:46:55] Speaker A: I did not know that.
[00:46:55] Speaker B: I didn't know that till now either. We've discovery on all levels.
[00:46:59] Speaker A: Yes. Okay, here we go.
[00:47:02] Speaker C: Just enough.
Your savior forgiving?
He's just a man holding a hand.
Your hero's destined to waver Anyone can.
Always remember I would never betray look at me who could ra you facing the sand Sit in your hand.
You were always my favorite. All in my Mary oh, It doesn't feel right Cold I'm on call and okay.
Dusting of your savior the life that you have narrated you.
[00:49:54] Speaker B: I like that. I like that, that end. I have a little note here, Mark, if you haven't seen it already. That heavy delay tone is my 55 strat into an electric harmonics micro synth and a 16 second delay. Even though it's a weird sound, it's inspired directly by Eric Clapton's playing in Cream. If you listen to the actual notes, they're like a Clapton solo. They just don't sound like it because of the effects. I don't think anybody's guitar playing is better than what he did in Cream. I don't think there's any reason for a guitar soloist to try to go anywhere beyond that. It's the ultimate. It's possible to create other musical colors, of course, but as far as solos go, I think that's it. What do you think of that last part, Mark?
[00:50:36] Speaker A: I like the last part a lot. I like the tone. I liked a little delay and whatever synth thing was going on. I thought it was cool. I like this song in general.
[00:50:43] Speaker B: Yeah, it's interesting. It's definitely one of the More interesting ones. Honestly, it's probably the most interesting, I think, on the record in terms of.
[00:50:51] Speaker A: What they did musically and lyrically both ways and even arrangement wise. It's a little strange. Let me read some more lyrics because there's a lot of lyrics.
Verse 2. Dusting off your savior forgiving any behavior he's just a man all in a hand your hero is destined to waver Anyone can always my man I would never betray you look at me who could raise you face in the sand safe in your hand. You were always my favorite always my my man all in a hand then bridge. We are the red hots and we're loving up the love me knots the flowers in your flower pots are dancing on the tabletops and now I see you in a beautiful and different light he's just a man and everything he does will be all right then back to the chorus. The outro is dusting off your savior the life that you have narrated you were my man and then that guitar solo. I thought it was a very interesting change of pace. Sav, why don't you go first?
[00:51:40] Speaker B: I wasn't sure but I'll make it seem simple. I think it merits at least sevens across. I think they tried to do something and they pretty much succeeded.
[00:51:49] Speaker A: Oh yeah. Nikki titty baby it's quintuple seven.
[00:51:53] Speaker B: Mark, what about you?
[00:51:54] Speaker A: I'm going do the same thing. Sevens across.
[00:51:56] Speaker C: Nikki Titty Baby Quintuple 7.
[00:51:59] Speaker D: Frank, you might as well play it again. Nikki Titty Baby Quintuple 7.
[00:52:05] Speaker A: All right, next song is Purple Stainless.
[00:52:09] Speaker C: Ste Years 2 Finger Pain is not a s I put my mid finger in your monthly blood is what I when I'm in your house now let me spend piped on the power straight from my monte say lord love got a john for shot they spit your head and spread the blanket she's two feet and I'm the patient.
Black and white a red and blue I think that look good on you and if I scream.
[00:52:47] Speaker B: Yeah I can imagine what this song is about. I like that black and white part. It reminds me of Prince a bit. Still trying to see where this song goes.
[00:52:55] Speaker A: Oh, you know where it's going?
[00:52:56] Speaker B: Well, not lyrically, musically. Oh, lyrically, I'm assuming it's only going to get worse.
[00:53:02] Speaker A: Even when he does write lyrics like this, they are very interesting. He doesn't just go for what you think he should go for. And the groove is really good.
[00:53:10] Speaker B: Yes.
[00:53:11] Speaker A: I mean, Frank wanted funk. He got funk.
[00:53:12] Speaker D: I got funk and spades.
[00:53:14] Speaker A: I assume you're liking this?
[00:53:16] Speaker D: Oh, yeah, I like this one. I told you two songs ago it was setting us up for a strong finish. I really do feel that way.
[00:53:22] Speaker A: Yeah, I do like the groove. I know Savina probably won't like the lyrics. It's okay. It's fine. I don't listen to the lyrics on this.
[00:53:27] Speaker B: I only kind of caught whiff of what it was.
[00:53:32] Speaker A: Would you like more of a whiff?
[00:53:33] Speaker B: Yes.
Give me a stench.
[00:53:36] Speaker A: Verse 1 to finger paint is not a sin I put my middle finger in your monthly blood is what I win I'm in your house now Let me spin Python powers Straight from Monty Celia Lloyd loves John Frusciante. Spread your head and spread the blanket she's too free and I'm the patient they say this is pre chorus, but this is really the chorus. Black and white, red and blue Artificial things that look good on you if I scream don't let me go A purple stain I know he paints a picture.
Literally and figuratively.
[00:54:05] Speaker B: Yeah, exactly.
[00:54:07] Speaker A: All right, here we go.
[00:54:18] Speaker C: Up to my ass in alligators let's go get along with the alligator haters did what you did, did what you said what's the point? Yo, what's the spread? I am white a red and blue A thing that look good on you and if I scream don't let me go Of a mistake I know and if I talk but you can stay Come pick the fuck on your way it's way out there but I don't care Cause this is where I go.
[00:55:09] Speaker B: That was kind of odd what they did. Repeating the verse and just doing it differently. Whatever. That chorus part, that is my favorite part. To me. The rest of it is just generic.
[00:55:18] Speaker A: Is it generic, though? Or is this their thing? But it's generic for them. But it's not really generic, though.
[00:55:25] Speaker B: Commenting on what I said before, I guess, like, it's okay. I do like the. I really like the vibe in the chorus. It's that thing they do, but it's amped up a bit, which is what I like. Even on the first side, there was that heavy funk song. That heaviness is kind of what Solely.
[00:55:40] Speaker C: Bit more for me.
[00:55:41] Speaker A: I can see that. I really do like this, though. I think the groove is really good. That thing at the end with the delay on that second chorus, I assume that was. Was a little weird. But I like that they take chances and they're not worried about what it's going to be like. They just do things good for them that they can do that and sometimes it works and Sometimes it doesn't. I think it's working in this case, though. Anyway. Verse 2 Knock on wood will all stay good because we all live in Hollywood With Dracula and Darla Hood Unspoken words were understood up to my ass in alligators let's get it on with the alligator haters do what you did, did what you said what' the point? Yo, what's the spread? And then back to the black and white. I think it's the same exact chorus. I think. No, it's longer. Black and white, red and blue all the things that you look good on you and if I scream don't let me go A purple stain I know and if I've called for you to stay Come and hit the funk on your way it's way out there But I don't care because this is where I go and then they did that weird delay chorus, verse thing. Knock on wood we all stay good because we all live in Hollywood With Dracula and Darla Hood Unspoken words were understood Way out there But I don't care because this is what I want to wear Knock on wood we all stay good because we all live in Hollywood they definitely live in Hollywood. It's a lot of California on the Californiacation album. If you didn't know where they lived, you know now.
California, Hollywood, specifically.
Let's continue. Here we go.
[00:57:10] Speaker C: But I When I'm in your house now let me spin feather light but you can't move this Bali is an angel and I can prove this purple is a stain upon my pillow let's sleep a weeping willow.
A black and white A red and blue A thing that looks good on you and if I scream girl let me go Above a stainless steel I know and if I call but you just stay Come hit the phone on your way it's way out there But I don't care Cause this is where I go not just because we all think good. Cause we are living Hollywood With Jacula and out of her way out there But I don't care Cause this is what I wanna wear not come good we outtake and live. It's.
[00:59:37] Speaker B: I like that end part. That's cool. I like the way they ended that.
[00:59:40] Speaker A: Yeah, I like that too. Okay. Verse three to finger paint is not a sin I put my middle finger in your monthly blood is what I win I'm in your house now let me spin feather light but you can't move this farley is an angel and I can prove this purple is a stain upon my pillow I sleep in a weeping willow Black and White, red and blue are all the things that look good on you and if I scream don't let me go A purple stain I know and if I call for you to stay Come hit the funk on your way it's way out there but I don't care because this is where I go. Then that weird delayed chorus first thing. And then cool. Outro instrumentals. Frank, why don't you go first? Let me know what you think.
[01:00:16] Speaker D: Not great about the lyrics.
I do like the music. And that musical outro I was trying to figure it out to me, reminds me a little bit of the U2 unto the end of the world outro. How that song ends.
There's some similarities there. Lyrics. I'm going to get a five. Everything else I'm going to give some. I really did like the music on this one. The musicianship was just really cold, really funk. Really what I expected. Production, of course, it's been great throughout this whole album.
[01:00:43] Speaker B: I'll say a two on the lyrics.
I'll say six on the music. Five on the melody because I liked half of it. Six on the production. Six on the arrangement.
[01:00:54] Speaker A: Mark two on the lyrics.
[01:00:56] Speaker B: Huh?
[01:00:56] Speaker A: Ooh, that's tough.
[01:00:58] Speaker D: I think it'll gonna just fine too. 3.
[01:01:01] Speaker A: Now you make me feel like I'm gonna do something stupid.
[01:01:03] Speaker B: Marco's like sevens and I'm just kidding.
[01:01:06] Speaker A: I5 on lyrics. Yeah, there's a little crude stuff in there, but it's fine. Six on the melody. Seven on the music, seven on the arrangement. Seven on the production. I like that they changed it up. I like that they took some chances. I like when they take chances. Doesn't always work, but in some places it does. And this is half and half. It's good. And there's some bad parts. I do like the riff. I think the chorus is really good. It's very catchy. I like the guitar parts. His guitar playing is getting a little bit better as it goes along, which I kind of like. Let's continue. We got two more songs. This is right on time.
[01:02:17] Speaker C: So much fun to duck your name. So much space to decorate.
[01:02:52] Speaker B: The baseline in that it's right on time. I think is the only part I like of the song.
It's not horrible, I guess, but again, it's just something that they sneezed out.
[01:03:06] Speaker A: It feels like older Red Hot Chili Peppers. That's what it feels like. It's okay, but it still feels a little fillerish. But you right. They could sneeze us out right away. This is something that they could do really easy.
[01:03:17] Speaker B: And there are probably people who listen to this and say this is their favorite song. Yeah.
[01:03:22] Speaker A: Because I think it's what it sounded like, at least similar to what it sounded like earlier on. It's not as complicated, it's not as introspective. It's just right in your face. And it is. The bass playing is awesome.
[01:03:32] Speaker B: Yeah, I think that goes without saying.
[01:03:35] Speaker A: I don't think he's played anything bad on this whole record. Regardless, whether you like the song or not.
[01:03:41] Speaker D: I am. Yeah. You know, I'm digging it. The. The bass playing. Did you expect anything less than awesome from Flea on this album? They'll dig in it.
[01:03:49] Speaker A: Okay. More lyrics. Some of these parts are saying with Anthony Kiedis and John Frusciante. First parts, Anthony Key this. One shot, One shot All I need I've got rhythm when I bleed Till death threw us apart Break my heart so I can start super califragilistic kiss me in the futuristic Twisted but I must insist it's time to get on top of this. And the chorus is Anthony Kiedis and John Frusciante. It's right on time, it's right on time Whole bunch of right on times. Looking fine, you're looking fine. Let's get on 1999 verse 2 discard to bombard Calling all you shooting stars Holy cow, bow wow wow Now I'm here, I'm nowhere now Joan of Arc reincarnated maybe we could be related so much blood to circulate and so much space to decorate Chorus again. And the bridge just John Frusciante. It's right on time, it's right on time it's right on time it's right on time. There's some interesting phrasing in there, some interesting lyrics. It's not totally crappy. I like to write. He's tries to do some interesting rhymes and when he does it, he's like, holy cow, bow wow wow. That's something. When you hear it, you know that's him.
[01:04:45] Speaker C: Yeah.
[01:04:46] Speaker A: Because he does stuff like that all the time, regardless. Maybe if you don't like the lyrics as much. I do like the actual performance.
The performance is bad at all. Just not as good as the last couple of songs that we heard, though. Okay, here we go. Let's finish it out.
[01:05:06] Speaker C: All the world is operating. Coming to.
[01:05:33] Speaker B: Was that satanic back messaging there?
[01:05:35] Speaker A: I don't know. Someone put the vinyl on backwards, reversed it.
[01:05:38] Speaker B: Oh, there's a dead man. Miss him, miss him.
[01:05:41] Speaker A: Let me read verse three. Plain and simple pain I want to, but I can't complain Death Row, let us go it's time to blow up for the show all the world reverberated Coming through We motorcade and start up when we operated Turning up in solid stated. It's interesting. Frank, go first before Savino destroys this.
[01:05:58] Speaker D: Now, what track is this? Because I'm losing count.
[01:06:01] Speaker B: 95.
[01:06:01] Speaker D: 5, I think I know, dude. It feels like.
Is this the last one? On the other last one.
[01:06:08] Speaker A: This is 14 of 15.
[01:06:10] Speaker D: Oh, jeez.
[01:06:12] Speaker B: You got your money's worth.
[01:06:14] Speaker D: You definitely did get your money's worth. I don't know this one here. I'm gonna give the lyrics a6. I do like the music, the melody, I'm gonna give a six. But everything else I'm gonna give a seven. I really do like the music, especially how this album is ending. Really what I hoping for. And it's right here. Seth.
[01:06:29] Speaker B: I'll say a six on the production and four and everything else. I don't think it's badly played. It was over and I forgot about it. No joke.
Again, this is a compliment to them. This is something that they can fart out, which is fine. And like I said, there's probably people who will listen and say, no, man, this is the good shit, you idiot. Which is cool. I know it's just me. For me.
[01:06:51] Speaker A: All right, seven on music and five on melody and arrangement, five on production. I don't think it's the greatest song there. So fives on everything but music. 7. The bass playing was really good. Still, that little break in the middle. You got to listen. I didn't really notice. John Frusciante lets Flea do what he has to do, and he just plays compliment to a Flea is doing four is not musicianship.
[01:07:13] Speaker B: It's just the music of the song. It's not always reflective of the musicianship. Because I'd be really remiss to probably give Flea anything but a 10. And I mean, even Chad Smith, the one before this, man, he was doing some really good, cool stuff. Groove. I love groove. But isn't reflective of that. It's just, to me, ah, it's just a boring song.
[01:07:32] Speaker A: Yeah, you're probably right. They're old school Red Hot Chili Peppers fans that probably think this is the greatest song in the world. And that's fine if that's what you think.
[01:07:38] Speaker B: Yeah, absolutely. Teach their own.
[01:07:40] Speaker A: I think it's okay. It's what they do. I expect this from them. Them throwing this out like, oh, my God, I can't believe they're Doing this. No, this is what I expect from them. All the other stuff that's really complicated or really well thought out or really played a certain way, I think those are the outlets liars to what this stuff is and what they started doing. Maybe they changed themselves when they hit blood sugar. Sex magic. That changed a little bit. And I'm sure there are people that like the stuff prior that like stuff like this more than they like scar.
[01:08:07] Speaker B: Tissue breaking the girl. I don't know that that would appear on anything prior to that record. I don't know them well enough. I'm pretty sure there was nothing like that on Mother's Milk.
[01:08:17] Speaker A: No, we did it. It was been a long time ago, but we did it.
[01:08:20] Speaker B: Yeah, I don't think so either.
[01:08:22] Speaker A: Okay, we're at the end. This is Road Tripp.
[01:08:35] Speaker C: Road tripping with my two favorite allies.
Bowling loaded we got snacks and supplies it's time to leave this town it's time to steal away let's go get lost anywhere in the USA let's go get lost let's go get lost Blue, you sit so pretty west of the one sparkle light with yellow I sing Just a mirror for the sun.
[01:09:10] Speaker B: Just.
[01:09:10] Speaker C: A mirror for the sun Just a mirror for the sun.
These smiling eyes are just a miracle so much has come before those Battle lost and won this life is shining more forever in the sun now let us check our heads and let us check the surf Staying high and drives more trouble than it's worth worth in.
[01:09:45] Speaker A: The sun.
[01:09:48] Speaker C: Just a mirror for the.
[01:09:50] Speaker A: Sun.
[01:09:52] Speaker C: Just a mirror for the sun.
These smiling eyes are just a miracle.
[01:10:27] Speaker B: A little Beatlesque. And it's funny that the bass has as much to do with what's going on as the acoustic. He could play something simple but he's not. He's doing this crazy walking bass. Like it's all this funky. That's not bad.
[01:10:41] Speaker A: It's definitely different. I like it. It's weird that there's no drums. I don't know if there's going to be drums. I don't think so. I like the guitar playing.
[01:10:48] Speaker B: I don't think so either. Where would you even put them in? If this is where it goes, you.
[01:10:52] Speaker A: Couldn'T really put it anywhere. I like it. I think it's good. It's interesting. It's definitely a change of pace. Some of the lyrics a little weird. I don't know if I would have made the choice that I'm going to read in the pre chorus. Right before the chorus. I liked it when they did the second Time better. I thought it was better words.
[01:11:06] Speaker B: I don't feel that it's an album closer, though. I don't get that vibe from this. To me, it's an interlude. That's what it feels like to me. More of, hey, there's something coming right after this. Like it's gonna stop. And then there's something coming right after it. Not that it's a bad way to, but just the vibe I get is an interlude vibe and not a finale vibe. That makes any sense.
[01:11:28] Speaker A: Yeah, I don't think I would have put this at the end. Me personally. It could go right before the end. It could be the song before the end one. That would be fine, I think. Yeah, I don't really get an end vibe out of this either.
[01:11:38] Speaker D: Sounds very Dust in the Wind to me. I like it.
Is there a hidden track somewhere in here?
[01:11:49] Speaker A: Not that I know of. Not on this version, anyway. Why you want more songs? Sorry. 15.
[01:11:54] Speaker D: It just feels weird to end it on this one. But it's an outro to calm everybody down.
[01:11:59] Speaker B: Yeah.
[01:12:00] Speaker A: Okay. Words. First one. Road tripping with my two favorite allies Fully loaded We got snacks and supplies it's time to leave this town it's time to steal away let's go get lost anywhere in the USA let's go get lost let's go get lost this is the part here where I think the last line I would have changed blue. You sit so pretty west of the one Sparkle light with big yellow icing Sparkle light with yellow icing Just a mirror for the sun Just a mirror for the sun Just a mirror for the sun those smiling eyes are just a mirror for. I don't know if I would have used Mirror for the Sun Right into the chorus of Mirror for the Sun. I like what they did it on the second one better. So the second one is. So much has come before those battles Lost and won the this life is shining more forever in the sun now let us check our heads and let us check the surf Staying high and dry is more trouble than it's worth in the sun Just a mirror for the sun Just a mirror for the sun these smiling eyes are just a mirror for. So I like the second time because they didn't use Mirror for the sun right before the chorus.
They did use sun, but they changed it up a little bit. I like that better. Nitpicky. I guess. It was just weird to hear it that many times in a row because the song is ted repetitive. Just doing that made it a little more repetitive. I don't Know, more repetitive.
I don't hate it. I think it's okay.
[01:13:08] Speaker B: No, it's not terrible. Not at all.
[01:13:10] Speaker A: All right, let's continue. Here we go.
[01:13:23] Speaker C: Now let us drink the stars it's time to steal away let's go get lost right here in the USA let's go get lost let's go get lost Blue, you sit so pretty west of the wall Sparkle light with yellow I see just a mirror for the sun Just a mirror for the sun.
[01:13:54] Speaker D: Just.
[01:13:54] Speaker C: A mirror for the sun.
These smiling eyes are just a miracle These smiling eyes are just a miracle Your smiling eyes are just a miracle.
[01:14:34] Speaker B: I like the way it ended, the little being kind of that repetitive thing. It reminds me of something. I can't think of it. I want to see another acoustic song that had that something at the end. Dig the vibe of it. Not too bad.
[01:14:45] Speaker A: I think the orchestration makes this. I don't think it would be as good without the orchestration, personally. I think it does help it out a lot. I thought it was good. Let me read the last part, which is the last verse. In Brig sir, we take some time to linger on we three hunky dories got our snake finger on now let us drink the stars it's time to steal away let's go get lost right here in the USA let's go get lost let's go get lost. Back to the pre chorus again. Back to the chorus at the end. I'll go first. I think I'm gonna give it six across. I don't think it's bad. It's interesting. It's a change of pace. I don't think it should be at the end, but I kind of liked it. I thought it was all right. Frank.
[01:15:18] Speaker D: I like it. I wasn't expecting it to be so dust in the wind kind of sound. No drums. That was great. I'm gonna give this one sevens a gro. I really do like the lyrics, the song overall, the production, everything about it. It's great. It's great to be here. Thank you. It's quintuple 7 just for Nicolo. Nikki Titty Baby.
[01:15:36] Speaker B: It's like an echo clown.
I will also say sixes across.
Fine. I'm bad.
[01:15:45] Speaker A: So what are we thinking overall? Do we. We like it? Do we think it should just be one side? It's a long album. It's 15 tracks. It's long.
[01:15:52] Speaker B: I think that it could have been 10 easy. Maybe 11 if you want to stretch it out. Second side had more filler than the first one. Man's filler is another man's chili pepper.
So what do I know?
I think when they want to be interesting, they can be interesting. And I think that's what I appreciated more. And where my scores were higher and the stuff that sounded so easy for them to write, which is not a bad thing for a band. I didn't feel it as much. I like the interesting things.
[01:16:25] Speaker A: Whether I like the stuff on the second side as much is a debate. I think they were more experimental on the second side. They were on the first side. The first side had more of the commercial stuff. In the second side, they did some of their older style stuff and they did some other things that maybe they didn't do on the first side.
[01:16:40] Speaker C: They.
[01:16:40] Speaker A: This could be easily 1012 tracks. You could take three or four off of this easy.
[01:16:44] Speaker D: I'm with Mark. I think you could very easily take out three or four songs off of the here and be just fine. But overall, I could see why it was a big hit. A lot of great songs here. It just shows how great the band is to be able to supersede the success of the other two albums that they released with this one.
[01:16:59] Speaker B: Mark, what did you say? 15 mil?
[01:17:00] Speaker A: I think I did say that. 8 million in the United States. I think 50 million total.
[01:17:05] Speaker B: 14,900,000. 99. 99 people know better than I do. There you go. I'm not putting it down. The songs I didn't like were more complimentary, saying, this is stuff that I felt was so easy for them to do as opposed to some of the more interesting things.
[01:17:20] Speaker A: It went to number three.
[01:17:21] Speaker B: Oh, these songs are still played all over the radio. You could probably flip through the station now and you'll find scar tissue.
[01:17:27] Speaker A: Yeah. 100% California cation to I hear all the time.
[01:17:30] Speaker B: Oh, yeah, absolutely. Another big one, which I appreciated more. I never really listened to that song breaking. Picking it up and listening to the lyrics. Do I know that I'll leave it on when it's on? Maybe at least one more time? Saying, oh, you know, let me kind of feel that vibe and see if I can feel it going straight through with the lyrics and everything. There's definitely some more appreciation.
[01:17:47] Speaker A: And that's what this podcast is about. The discovery and rediscovery.
[01:17:51] Speaker D: Yeah.
[01:17:52] Speaker A: All right, Sav, why don't you do your thing?
[01:17:54] Speaker B: We are part of the Deep Dive Podcast Network and the Boneless Podcast Network.
[01:17:58] Speaker A: Boneless, you know, like those chicken wings without the bone.
[01:18:01] Speaker B: Three Bunch of guys on both. If you want individual podcasts about bands like Led Zeppelin, Tom Petty, Uriah, he, Metallica Queen, you name it, it's probably on there. So check them out and mark, where can they find us on the interwebs.
[01:18:15] Speaker A: Rock with lit pod on all the social media. Rockwellpodcast.com go to the website, do the merch, do the polls. Leave a new bets. You know what to do. Put us on your auto download and rate us 5 stars everywhere where you rate your podcast because that helps us move up the ladder and gets more listeners. And that's what we want, more people to hear us babble for an hour and a half.
Next week we get to spin the wheel again, which is cool. And let's see what she picks this time. You never know. She's been a little more forgiving in the last couple of spins.
[01:18:42] Speaker B: I'll say it now, man, I feel like we haven't had hair metal in a while. I'm just throwing it out there now.
[01:18:47] Speaker A: We had fate. That was hair metal.
[01:18:48] Speaker B: Sort of, kind of very popular hair metal.
[01:18:51] Speaker A: Oh, okay. Yeah, this is true. We haven't had in a while. Maybe next week we'll get it. Who knows?
[01:18:56] Speaker B: Yeah.
[01:18:56] Speaker A: Alrighty. We'll see you next week.
[01:18:58] Speaker C: Ciao.
[01:18:58] Speaker B: Ciao.
[01:18:59] Speaker D: Good night.
[01:18:59] Speaker A: Later.
