Episode 180 - TigerTailz - Bezerk - Part 1

[00:00:00] Speaker A: Foreign. [00:00:05] Speaker B: This is our musical reaction breakdown and commentary analysis of this song. Under Fair Use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the Rock Roulette Podcast. [00:01:03] Speaker A: Foreign. [00:01:15] Speaker C: Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1,700 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 every week, we really, really want to thank you. Keep spreading the word. Again, the numbers have been consistent and we're really, really appreciative. We are a trio again tonight we got Frank. [00:01:51] Speaker A: My name is Frank. And I'm foreign. [00:02:06] Speaker D: To be back. Thank you for having me. [00:02:08] Speaker C: Got Mark oh hi Mark. [00:02:09] Speaker B: What's up guys? [00:02:10] Speaker C: And I'm SA Last week we wrapped up Californication, the biggest selling album by the Red Hot Chili Peppers. My overall thought was when it was interesting, it was interesting and when it wasn't, it wasn't. And by that I just mean that I made a couple of comments on some of the songs where I felt that in defense of their creativity, there were songs that they just kind of sneezed out and probably overran the record. And by overran I mean the timing was a bit long. I don't necessarily think it needed to be 15 tracks, but I mean in general it was pretty decent. I think the scores were pretty decent. Mark, what was your overall thought? [00:02:47] Speaker B: I like the album. It's a very front loaded album. Most of the singles on the first side, the second side is a little bit experimental for them and where it didn't work, it didn't work. But where it worked, it worked. So I thought it was a good album. [00:02:59] Speaker C: And Frank, your general consensus? [00:03:01] Speaker D: Really good. Yes, very front loaded. But there are a couple of good gems on the Second side. Not as strong as the first, but still overall good. Like the two of you said, I think we could have done with the with less songs on this one. [00:03:13] Speaker C: Well, speaking of less or more songs, we do get to spin the wheel again tonight, which is always awesome. Before we spin the mama wheel, we spin the baby wheel in the new BET section. [00:03:22] Speaker D: In a world where new music is. [00:03:25] Speaker B: Not easy to find, welcome to New Bets. Okay, here's the new Bets wheel. [00:03:55] Speaker C: Foo Fighters Asking for a friend. I don't know anything about this one. When is this one from? [00:04:01] Speaker B: I think It's October of 25. It's not that old. [00:04:04] Speaker C: Last year. [00:04:05] Speaker B: Yes. Last year. [00:04:08] Speaker C: Yeah. [00:04:09] Speaker B: Let's do this. This is Foo Fighters asking for a friend. [00:04:19] Speaker A: Save your promises until we meet. You can save all your promises till the bitter end. [00:04:33] Speaker B: What is real? [00:04:36] Speaker A: I'm asking for a friend. What is real? I'm asking for a friend or is this the end? Give me a reason. Ugliest truth, all the prettiest L. I feel it fading away Bing on you searching for something to pray Words I can use Lay your word down Lay your word down your promises till we meet again? You can save all your promises and say the bitter end. What is real? I'm asking for a friend what is real? I'm asking for a friend or is it the end? When you're alone? Am I a part of you? Am I a part of you? Am I a part of you? You're not alone I am a part of you I am a part of you. When I'm apart from you I been wearing away Wherein are you? Searching for something to pray What I can use? Lay your word down Say your promises till we meet again? You can stay on your promises and tell the billion what is real? I'm asking for a friend what is real? I'm asking for a prayer or is this the end? Give me a reason to show me a sign. Ugliest truth, all your prettiest light Free you from burden Take what I give, take it away my permission live. Save your promises till we meet again. You can save all your promises until you. What is real? I'm asking for a friend. What is real? I'm asking for a friend or is it. [00:08:40] Speaker C: Yeah, that was pretty cool. I like the vibe. Little 90s. I felt a little kiss influence there as well, even in solo. The only thing is, though, the production sounded a little muffled to me. I don't know if it's just the way it was coming through to me. What do you guys think? [00:08:53] Speaker A: Mark? [00:08:54] Speaker B: It was Fine. That's their new drummer, too. His name is Ellen Rubin. He played in Paramore at one point and he just. It was in Nine Inch Nails. He joined the Foo Fighters and then Josh Freeze joined Nine Inch Nails again. That's pretty funny. They swapped. I mean, I thought it was fine. [00:09:09] Speaker C: I kind of dug it. [00:09:10] Speaker A: Frank. [00:09:10] Speaker D: To me, it's a very surprising sound. I don't remember them sounding that way. Really nice, different. I hear some classic 80s in there. [00:09:16] Speaker B: I think it would take a couple of listens. The one thing I can say is the verses are a little more pushy and then the chorus backs off. That's throwing me off a little bit. I expected the other way around. Maybe that was on purpose, but I don't think it was bad. [00:09:27] Speaker C: No. [00:09:28] Speaker B: All right, well, let us know if you like this. Reach out on social media and let us know. And let's do a rubber stamp. Here we go. [00:09:35] Speaker D: In a world where new music is. [00:09:39] Speaker B: Not easy to find, welcome to New Bets. [00:09:54] Speaker C: And now we get to spin the Mama Wheel again. As always, I will do Round table. Frank, anything you predict or want from the Wheel. [00:10:03] Speaker D: Well, it already gave me what I wanted. What do I want to listen to this time? Probably, you know, would be really nice if we had classic 80 metal. [00:10:11] Speaker C: Like a girl band from the 80s or just 80s sounding. [00:10:14] Speaker D: Let's say, like a Vixen or lit a Ford or something like that. That would be great. We don't have one of those ever. [00:10:19] Speaker C: The closest thing to that probably would have been the Runaways, I think. I don't remember. It all fades away. Mark, what about you? [00:10:25] Speaker B: I'm going to stick with my 80s. I'd take a Vixen or a Leader 4. That'd be cool if we could get something like that. But I'll take anything 80s at this point. [00:10:32] Speaker C: I mean, I know we did fate, but I'm talking kind of big hair metal feel. Like we haven't had that. I was going to say classical, but, yeah, we did get the Allman Brothers. Let's stay in that vibe. Let's see what happen. Spain. [00:10:43] Speaker B: Alrighty, here we go. Here's the Wheel. [00:11:05] Speaker C: Wow. Tiger Tales berserk. [00:11:08] Speaker B: Oh, boy. [00:11:10] Speaker C: Do you guys have any notion? I have this record. I have the cd. [00:11:13] Speaker B: How do you have this? [00:11:15] Speaker C: I got this used in New Pulse at a record store when I went to go visit my friend. I had the first one on vinyl. It was okay. A couple good songs here and there. This is full of glam, by the way. For anybody who doesn't know who this Is a UK glam band. I like the first song from what I remember. And I really like the production. I don't know that I like the rest of it, but if nothing else. [00:11:37] Speaker B: It'S basically Swedes glam 1990. So it's gonna suck because it's the end of hair metal. [00:11:43] Speaker C: I don't remember. I'll be honest. It's been a long time since I've listened to this. I definitely like the first song. I mean, not the lyrics, really stupid, but the music and the production is. It's actually pretty good. At least what I remember the first song. [00:11:55] Speaker B: They're a Welsh glam metal band. This came out in 1990 on the music for nations label. It went to number 36 on the UK top 40. Who's in this band? Kim Hooker, vocals. J. Pepper, guitar, mandolin. Pepsi Tate, bass. Ace Fincham, drum. And who was it produced by? Chris To Sangerides. Sangerides. Maybe that's how you say it. [00:12:17] Speaker C: Oh, yeah. [00:12:18] Speaker A: Didn't he. [00:12:18] Speaker C: He did something. [00:12:19] Speaker B: Gary Moore, Thin Lizzy, Judas Priest, Halloween, Anvil. [00:12:23] Speaker C: Yeah. [00:12:24] Speaker B: Malmsteen, Hikers of Pantang. And he did the Pesh Mode. Tom Jones, Concrete Blonde, the Tragically Hip. [00:12:30] Speaker C: Nice. Nice little resume. [00:12:31] Speaker B: It's not 80s, but. [00:12:33] Speaker C: Yeah, but it's 80s. [00:12:34] Speaker A: Yeah. [00:12:35] Speaker C: You know what I mean. [00:12:36] Speaker B: Not much information on this other than that they did a 20th anniversary and they performed the entire ALB 2013. And then they released Berserk 2.0 which featured similar album art to the original release. I don't know what the 2.0 is. Is any different. Yeah, it's a lot different. Okay, I know what this is going to be for me, probably. But I'm willing to have an open mind. Maybe this stuff on here I might like. Who knows? [00:12:57] Speaker C: Good luck. I like the first song. I'm telling you now. [00:13:01] Speaker B: Well, at least you've heard this. Frank, have you heard this at all? [00:13:04] Speaker A: Nope. [00:13:04] Speaker D: And I can't wait. I think we're going to be in for a nice treat. [00:13:07] Speaker B: Oh boy. Is this gonna be Pretty boy Floyd Part 2. [00:13:11] Speaker C: You'll probably like that one better. [00:13:12] Speaker D: If we were only so lucky. Only so lucky, he said, was what? 1990? [00:13:17] Speaker B: 1990. [00:13:18] Speaker C: 1990. [00:13:19] Speaker D: This is right there when American angel, one of the last of the rock clan metal bands to come out. [00:13:25] Speaker B: Alrighty. Here we go. This is sick Sex. [00:13:36] Speaker A: Sam. It's Ow. Ow. Ow. I can't take anymore. She's just a far breath of the baby with a broken blast heart Sweet little flower Turns out when the action starts, She's a Crazy Medita now that she's gonna get her feel I'm the girl without she'll think tw something right behind my eyes. [00:15:28] Speaker C: I know all these lyrics. I like this song. I don't care. It's like, call it a guilty pleasure. It's sleaze rock. It reminds me a little bit of La Gun's first album. It just. It is what it is. The production, I think is great. It's powerful, especially when that second part kind of kicks in. The lyrics are dumb as whatever, but I think this song is fun. And if I remember correctly, this could be the only song I liked on this record. [00:15:55] Speaker B: I don't think it's bad. I think the guitar sounds very mick Mars, early McMars. That's what it sounds like to me. It does have a little bit of La Gun sound in there. A little bit. The lyrics are. [00:16:07] Speaker A: Yeah. [00:16:08] Speaker B: I mean, I don't know what I would expect. [00:16:09] Speaker C: I think we've heard worse. [00:16:11] Speaker B: Oh, we've heard worse. [00:16:12] Speaker C: Yeah. [00:16:13] Speaker B: So far this is not horrible. It feels like it should be a little earlier than it is. It should feel like it should be. 87 is, 86 is. Other than that, I mean, I don't hate it so far. I don't know what the rest of it's going to be. I'm sure the guitar player, I'm going to really not like right now. I don't think it's horrible. Drums sound okay? [00:16:31] Speaker C: Drums sound great. [00:16:32] Speaker B: Yeah. [00:16:32] Speaker C: I love the way the drum, they're powerful. The snare is like big. No, I think the production's really good. I've always really liked the production on this. It makes it heavier, which I like too. [00:16:41] Speaker D: I give it a 10. [00:16:42] Speaker A: Yes. [00:16:45] Speaker D: I was thinking, who do they remind me of? Yes. I could definitely hear that early La Guns sound mixed right in there. One of my favorite bands. Digging it. The drums are good, like Pretty Boy Floyd good. [00:16:57] Speaker C: Oh, wow, that's a compliment. [00:17:02] Speaker B: The production is not bad at all. [00:17:03] Speaker C: I like the production. [00:17:05] Speaker B: At least on this song. We'll see what happens to the rest of the record. [00:17:07] Speaker C: I don't remember the rest of it as much. [00:17:09] Speaker B: Probably by the end this I'm gonna probably want to forget this, but right now it's okay. Lyrics. Ah, I can't take any more. Verse 1. She's just a barbed wire baby With a broken glass heart Sweet little flower Turns sour when the action starts well, she's a greedy man eater oh, she's gonna get her fail Undercover lover with a license to kill she won't think twice Pre chorus. Something right behind her eyes. I know what she wants tonight Chorus. This isn't love this ain't romance this ain't love this is six Sex. This ain't the kind of love I need tonight oh, baby, this ain't right. Those are just horribly bad words. Horribly bad words. And everything here that has S on it has Z's at the end. Eyes, wants. Yes, I'm sure that's the way it was on the original. I'm sure. [00:17:56] Speaker C: I'm sure. I have to see these somewhere. I don't know where it is, but I have it somewhere. [00:18:00] Speaker D: And it all ends with Z's. [00:18:01] Speaker C: Well, the name Tiger Tails is what? A Z? Z. Oh, okay. [00:18:06] Speaker D: I was gonna say very. Thought they're paying homage to Zuf. Zuff. [00:18:10] Speaker C: And it's berserk. Not berserk. [00:18:13] Speaker B: Well, it's berserk, but Z, B, E, Z, E, R, K. All right. [00:18:17] Speaker C: Like Berserker for anybody's ever seen Clerks. [00:18:23] Speaker B: Let's continue. Here we go. [00:18:38] Speaker A: She'll make it crazy Cause you falling apart Said you let it's love and yeah, when she breaks your ball Ow. She so nice Something right behind my eyes out and dark I know why she's got in mind I know why she wants to. [00:20:12] Speaker C: I defer to you Mark, what do you think of the solo section? [00:20:17] Speaker B: It's okay. It's nothing to write home about. Tapping, obviously. Has to be the no dive bombs. The first part of it was very Mick Mars. They're using that Indian style scale. More Shout at the devilish time. Motley Crue. Hear a little bit of that in there. It's not horrible. I've heard worse. It's adequate. [00:20:38] Speaker C: I mean, I found that part more interesting. He repeated that. I guess he's tapping on the strings with pick. It sounds like. [00:20:45] Speaker B: I don't know if it's his pick or his fingers. It could be pick. Yeah, it's fine. It's what I expect. It's not as cliche as it could be. I guess that's okay. [00:20:53] Speaker C: Do you like the fact that they went into the solo instead of going back into the chorus right after? No, you wanted another chorus. [00:20:59] Speaker B: It needed another chorus. [00:21:00] Speaker C: Well, it's coming now. [00:21:01] Speaker B: Yeah, they're gonna chorus it out, I'm sure. [00:21:03] Speaker C: Frank, would you think of the solo section? [00:21:04] Speaker D: Typical 80s sounding chorus. I mean, I like it. I like the solo. [00:21:08] Speaker C: Yeah, it's fine for the song. [00:21:10] Speaker D: Exactly. It's my infant song. [00:21:11] Speaker B: Verse 2. Foul mouth little lady with a dirty, dirty mind Take you to the end of the Line and leave you behind she'll make you crazy get you falling apart Tell you that it's love and laugh when she breaks your heart Ow. She ain't so nice Pre chorus Something ain't right behind her eyes all this time telling me lies I know what she's got in mind I know what she wants tonight of course, that's what everyone wants tonight. [00:21:35] Speaker C: To now, not only in the 80s. [00:21:39] Speaker B: No, this is true. It's super cliche. Oh, yeah, it's very stock. The thing at the beginning, the little Indians sounding thing in the beginning wasn't horrible. It was a good change up. A little bit of a change up. But the part I didn't like, I forgot to say, is when they did those boom and they had the keyboard. [00:21:53] Speaker C: Go at the same time. Like those little stings, man. The disco stings. [00:21:58] Speaker B: No, no, no. [00:21:59] Speaker C: Come on. Disco thing. [00:22:04] Speaker B: It ruined the whole part there. I made it so light. It went from being a heavy thing to airy. I didn't like that. [00:22:11] Speaker C: Yeah, I can see that. [00:22:13] Speaker B: Okay, let's play this out. Here we go. [00:22:35] Speaker A: This is enough to feel. The love I need tonight Baby to feel right this is enough. Ow. [00:23:04] Speaker B: It ended okay. [00:23:06] Speaker C: I kind of wish they'd gone maybe a little bit more with some of the music. It's in and out. Right. How long is that song? [00:23:11] Speaker B: 4:26. [00:23:12] Speaker C: I didn't feel that long. I thought it was shorter than that. Well, it's got that little intro. Right. So probably musically that intro is a good minute, I think, before it actually even kicks in. [00:23:21] Speaker B: Yeah, it was a little longer at the beginning. I don't know what to say. I should go first. [00:23:24] Speaker C: Yeah, you go first. [00:23:25] Speaker B: Okay. I would say on lyrics, I mean, the lyrics are horribly bad. I'm gonna give that a three, and I'm gonna do five and everything else except for reduction. I'm gonna give that a six. I think it was produced very well. Guitar tone was pretty good. I mean, the arrangement, not going back to the chorus, I think that hurts a little bit. Melodies are fine and the lyrics not great. So that's where I'm at, Saf. [00:23:47] Speaker C: I'll say a three on the lyrics as well. I'll say six on arrangement and seven on everything else. I really like that song. It's a guilty pleasure. It's stupid, but it's produced well. It's heavy. Gets me. I'm pretty sure that's the best song on this record, unless I remember incorrectly. So buckle up, boys. Frank. [00:24:05] Speaker B: Buckle up, buttercup. [00:24:06] Speaker D: I'm debating the lyrics are so bad. They're cheesy good. So I don't know to give it a three or seven just on that. I'm gonna give the lyrics, just meet them somewhat of halfway. I'm gonna give them five on the lyrics and 750 everything else. It is really surprisingly very good music production arrange everything is very good on this for a cheese song. So five and sevens across. [00:24:33] Speaker B: It's so 80s, those riffs. I remember clearly when we were writing music in the 80s that I wanted to stay away from doing that because I always felt that that was going to root you so far into the 80s you could never get out. [00:24:48] Speaker C: This is intentionally 80s. This isn't a band that's saying, hey, this is coming out in the 90s. Let's try and do something. This is just full on glam. [00:24:55] Speaker A: Yeah. [00:24:56] Speaker C: Of it is, from what I remember full on glam too, so. [00:24:59] Speaker B: Well, speaking of that, this is Love bomb, baby. [00:25:09] Speaker A: Love bomb baby. Come and blow me away. Can't get enough of your sweet, sweet lover. Keep it coming out, baby, fire away. Well, I've been waiting so long for a few like you a time I'm ready to blow. I know it can't be long Cuz baby want to get you down. You gotta leave me all I love my baby, love my baby. Come and blow me away. Can't get enough of your sweet, sweet loving. Keep it coming. I won't be fire. Love me, baby. [00:26:12] Speaker C: I remember the beginning that they did the chorus and I do remember that they go into the verse and that transition is so bad because the love bomb, baby, as cheesy as it is, it's catchy. And then it goes into that verse. It's like, oh, whoa, what happened there? But yeah, this is cheese. [00:26:31] Speaker B: Oh, boy. Chorus is very catchy, I have to say. I can't even say it's not the verse. I don't know what the that's all about. [00:26:39] Speaker D: Yeah. [00:26:40] Speaker B: Versus a little rough. [00:26:41] Speaker C: Such a bad transition. [00:26:43] Speaker B: I'm not sure if I like his voice or I don't like his voice. Part of me says I think he can sing, and then other parts I just don't know. It's very strange. [00:26:50] Speaker A: Yeah. [00:26:51] Speaker C: And you've got the whistle. You've got the 1, 2, 3, 4. [00:26:56] Speaker B: Yeah. Interesting. I think if it was a little earlier in the 80s, it fit a little bit better than 1990, I think. I think it's definitely an earlier sounding album. Even though it's 1990, there's other bands that sound a little different than this at this part. Of the late 80s, early 90s. But this is definitely rooted in 86ish time frame. [00:27:15] Speaker C: Yeah. I mean, the chorus reminds me a little bit of something on Poison's first album. [00:27:19] Speaker B: Yeah, I can hear that. [00:27:20] Speaker C: Which was kind of around that time, right? What was his first album was? 86 or 80? [00:27:24] Speaker A: 86. [00:27:25] Speaker C: Right. [00:27:25] Speaker B: 86. [00:27:26] Speaker D: It's a catchy little Diddy, I'll tell you that. It's catchy for sure. I'm just curious to know. This came out in 1993. They probably wrote it already in the 86. 87. Somewhere in the 80s. I could understand that mid-80s sound because that's probably when they wrote it. [00:27:43] Speaker C: Well, their first album came out in 87. [00:27:45] Speaker A: Okay. [00:27:45] Speaker C: With a different singer. And that's very glammy. Very, very glammy. [00:27:49] Speaker D: This might be a guilty pleasure song. So let's roll it. [00:27:53] Speaker B: This is right up Frank's alley. This is Pre Boy, floor 2.0 for him. It's so much like that. [00:27:57] Speaker D: I'm basking. I'm basking. [00:27:59] Speaker B: I know you're glowing right now. I can feel it. Intro. One, two, three, go. The chorus is. You're not a lady, You're a love bomb, baby. Love bomb, baby, Come and blow me away. Can't get enough of your sweet, sweet loving. Keep it coming oh baby, fire away. Oh, yeah. Verse one. Well, I've been waiting so long for a girl like you. A time bomb ready to blow. I know it can't be wrong. Cause baby, when I get you, you home. Chorus. You're not a lady, you're a love bomb, baby. Love bomb, baby, Come and blow me away. Can't get enough your sweet, sweet loving. Keep it coming oh baby, fire away. Post chorus. Love bomb, baby. Love bomb, baby. Love bomb, baby, blow me away. Love bomb, baby baby, blow me away. Come on, baby, fire away. [00:28:39] Speaker A: Whoa. [00:28:39] Speaker C: Post chorus. I don't think we've ever read a post chorus on this podcast. [00:28:44] Speaker B: No, I don't think so either. Yeah, it is a little catchy. [00:28:47] Speaker C: You know what? Give them credit. That verse is incredibly short. They do not dwell on the verse. They're like, listen, let's love it. Bomb the out of this. [00:28:57] Speaker B: The chorus is catchy. You want to get to that chorus right away. [00:28:59] Speaker C: Exactly. [00:29:00] Speaker B: I'm going to have to listen for the transition again, cuz. I know that was a little weird. [00:29:03] Speaker C: Yeah, it's bad. [00:29:05] Speaker B: Okay, here we go. [00:29:27] Speaker A: Baby, come blow me away. Can't get enough of your sweet, sweet love, baby, Blow me away. Love on, baby, Life on, baby. Come on, baby, fight the way. [00:30:10] Speaker C: It wasn't as jarring that time as the first time. You can picture people just walking down the street. Some old dude. You're not a man, you're a bom bom, baby. [00:30:21] Speaker A: What? [00:30:21] Speaker C: What are you singing? [00:30:22] Speaker D: Listen, honey, that's gonna be me tomorrow when I go grocery shopping. I'm gonna rock down the love bomb, baby. [00:30:31] Speaker A: Dude. [00:30:31] Speaker C: And you know what's funny? If I didn't know you and you listen to this and you walk by me, I'd be like tiger tales, because I know this. [00:30:42] Speaker D: It sounds like it could very easily be the theme song to Save by the Bell kind of thing like that. Baby, I love it. [00:30:52] Speaker B: It's got a little trickster in it too. [00:30:57] Speaker A: Yeah. [00:30:57] Speaker C: This is like theme from an up all night movie. [00:31:02] Speaker A: Yes. Yeah. [00:31:03] Speaker D: Classic. [00:31:03] Speaker C: Yeah. [00:31:04] Speaker B: I don't think there's gonna be any solo here either. Maybe something at the end. There's nothing in the middle. [00:31:07] Speaker D: It doesn't feel like it doesn't need it. [00:31:09] Speaker C: I thought something was coming. It was kind of building. I don't remember. [00:31:12] Speaker B: I don't think so. It looks like it's going to go from the bridge to the chorus Again. I could be wrong. I mean, there's still 57 seconds left. So there still could be some kind of solo ish thing somewhere. Verse 2. You're everything I need. You're dangerous. You're a blue eyed dynamite sister S tnt you're the kind of love I need tonight. Chorus. Post chorus bridge. I'm never going to let you go. Because when I get you ticking, you know I'm going to blow. I think he needs to go see a doctor for that. The premature blowing in this situation. I think he's got some issues. Maybe he needs some medical attention. I guess the chorus is going on this post chorus. It would be strange if there's no solo at all. I know this is. Don't. Boris, get to the chorus. They're banging this love bomb baby into your head. And the scary part about it is it's super catchy. Glitchy. And I'll probably be singing this stupid song tomorrow. Like Frank said, I'll be walking somewhere. I'm gonna be love Bombay. Like, wait a second. I don't like this. It's not right. [00:32:04] Speaker C: Baby. This isn't right. [00:32:06] Speaker B: All right, let's continue. Let's see what they do here. We. [00:32:21] Speaker A: There. Destroyed. [00:33:03] Speaker C: It was odd that they play the drum beat over that. That was fun. [00:33:06] Speaker B: No solo. [00:33:07] Speaker C: No solo. [00:33:08] Speaker B: They must have wanted this to be for radio. [00:33:10] Speaker C: Oh, yeah. I mean, if it charted that High. I'm pretty sure this thing probably charted somewhere. [00:33:14] Speaker B: Probably. I would assume in the UK it charted someplace. I assume, yeah. It didn't chart here. Which in, you know, that time frame, if you don't chart here, you don't chart. [00:33:24] Speaker D: Blasphemy. [00:33:25] Speaker B: This is what it comes down to. [00:33:27] Speaker D: That's not true. [00:33:28] Speaker B: What, in that time frame? Yes. If you weren't big in the United States, you weren't big. [00:33:31] Speaker D: Well, Germany. A lot of great bands were charting Germany. They turned out to be good. [00:33:35] Speaker B: I'm saying is, if you don't chart big here, you just don't chart. You could be number 36 in the UK. It doesn't really mean anything in the overall. You know, you would be big in the uk, but you wouldn't be big anywhere else. It wouldn't matter. [00:33:46] Speaker A: Matter. [00:33:46] Speaker D: Got it. [00:33:47] Speaker B: Whereas if you're number 20 here, chances are you're going to be high in other places too. More than likely, I would think. Frank, you go first. [00:33:54] Speaker A: Oh, man. [00:33:55] Speaker D: I gotta tell you, it's a catchy little song. The lyrics, I kind of enjoy them. Sav is spot on. So far. The production has been good through these two songs. I might have to give this seven across. Nice seven across. I'm telling you, I'm going to start singing this song, catch myself singing it tomorrow. And didn't need a solo either. It was very balanced song. [00:34:17] Speaker B: There's Only One Way to Rock and it's Quinniple seven. Nikki Titty Baby. I'll go next. The lyrics are pretty bad. It's so catchy that I have to up the lyrics a little bit from the last song. So I'm going to say four. I'm going to say the melody is very catchy. I have to give it a seven music, six arrangement. Very weird that there's no solo, especially in this time frame. Six production, seven. I think the production's very good. I'm liking the tones. I'm hearing from guitar. Drums are sounding good. Haven't really noticed the bass that much, but I'm not really listening to that. So I have to kind of figure that out. I hate that I like this. I really hate it. Hate it. I can say it's not as cliche as it could be. Maybe that's why I don't hate it as much. That could get worse, I don't know. But right now this is a guilty pleasure song. It has to be. Sav. [00:34:59] Speaker C: I will say three on the lyrics, a seven on the melody, five on the music. Six arrangement, seven production. It didn't bother me as much the second time around. And they did incorporate the verse a little bit in the end in the chorus. That kind of brought it back a little bit full so circle. I thought that was pretty cool. [00:35:16] Speaker B: So so far you thought you didn't like anything after the first song is the second song. Now you like it when you thought before. [00:35:22] Speaker C: I do remember the chorus being catchy, but I do remember that verse. [00:35:25] Speaker A: Whoa. [00:35:26] Speaker C: I really don't like this verse. Hearing it again, I'm like, okay. I didn't remember how many times they repeated the chorus. So now it just stuck in my head. I remember this first side pretty well. The second side, Having Wikipedia open, looking at the titles, I don't really remember. But this first side, at least a. [00:35:46] Speaker B: Bit, I remember song number nine. That's gonna be fun next week. All right, this is I Can Fight Dirty two. [00:36:23] Speaker A: All right. Oh yeah. Night is the time to take what's mine she wants my daddy money and you see to me it's free she's playing Daddy lights up, light down. I can fight daddy too don't need a lever When I'm looking at you to let me tell I can fight I want to take a. [00:37:13] Speaker C: This is as if LA Gun, Sex Action and Poisons Play Dirty had a baby and McMars was a distant godfather. I don't know if any of that makes sense. That opening baseline reminds me. I think it's Sex Action. I could be wrong, but definitely it. [00:37:30] Speaker B: Feels like Wasp for some strange reason. [00:37:32] Speaker C: I can hear a little bit of that. That too. [00:37:34] Speaker B: Yeah. I don't like this one that much. The melody is pretty bad. [00:37:38] Speaker C: Yeah, this one's not as good. [00:37:39] Speaker B: There's nothing for me to grab onto. It just feels like it's a run on sentence that just keeps going. The riff is okay, and besides that, the bass intro is okay and it sounds a lot lower. Did you notice that too? It didn't feel like it's as loud. [00:37:52] Speaker C: I mean, I have a crank, so maybe not. [00:37:55] Speaker B: It feels low to me. I don't know. [00:37:57] Speaker C: I do like the fact, though, they kind of do what they do in the first one where you have the riff and then there's like that other guitar that comes on top. The of of it too, with the ginger Drun that makes it a little bit heavier, but it's not throughout. It just it stops. So when it drops out, you really feel it drop out. I mean, I remember this one as well. [00:38:13] Speaker D: I do hear that six action in there and a few other songs all mixed into one and for that, I like it. I really do. I don't know about the McMark style play, but definitely everything else digging it. [00:38:25] Speaker B: Okay, lyrics. All right oh yeah Verse one Tonight is the time to take what's mine get armed and ready honey she wants my dirty money look and you'll see to me it's free get armed and ready honey she's playing dirty Pre Chorus Lights out, lights out Heads down, heads down Nobody, no one's gonna push me around Chorus I can fight dirty too don't need a lover when I'm looking at you so let me tell you I can fight dirty too I want to take a bite out of you so bad so bad Bad melody, bad lyrics. It's like the other one's a guilty pleasure because the chorus is very catchy here. There's nothing that I could really grab onto. It just feels like it just goes and the riff's okay, and that's about it. [00:39:05] Speaker C: It's not sex action, by the way. It's one more reason. Oh, I I knew sex action didn't sound right. I apologize to anybody listening, but I knew I was one song off on the first album. [00:39:16] Speaker B: All right, let's continue. Here we go. [00:39:30] Speaker A: Me for the GR Will you be mine? Get up and ready for it Going down, lights up, lights down, heads down no one's going to push me I can fight Daddy too Don't even when I'm looking at you Let me tell you I can fight D2. I can fight D I don't need a lover A lover like you so let me tell you what D I want to take a bite out of you I got to let you know yeah Going to let it show tonight I know I can make it right. [00:41:10] Speaker C: That first part of the solo had the 80s cliches all over it, but that second part was great. I don't know where that came from. I thought that second part sounded so good. The music, it filled, filled up. It was like a completely different song all of a sudden. That was by far my favorite part, even though I'm not disliking the song as much as I was before, but not as much as the first two. Mark, what'd you think of the solo? [00:41:33] Speaker B: The first part was so cliche stuff. There was a little bit of Steve I flutter tremolo thing going on. And the second part sound like Europe. I don't know where that came from. [00:41:41] Speaker C: I thought it sounded really good. I really like that part. [00:41:44] Speaker B: I mean, it's okay. The song is not really good. [00:41:46] Speaker C: Yeah, it's not the greatest. [00:41:47] Speaker B: It doesn't have the redeeming quality of the chorus being really catchy. [00:41:51] Speaker D: That soul belong in another song. Doesn't belong here. It's really good. It's just in the wrong spot. The classic kitchen sink solo has everything in it. [00:42:01] Speaker C: Mark, those were dive bombs. [00:42:02] Speaker A: I know. [00:42:03] Speaker C: Am I. Am I wrong? [00:42:04] Speaker B: Yeah. You think? [00:42:05] Speaker C: Yeah. Okay. [00:42:06] Speaker B: Jeez. [00:42:07] Speaker C: He didn't mention it, but I think those were dive bombs. [00:42:09] Speaker B: It's just redundant at this point. I have to say that every time it happens, but, yeah, it's what it was. Verse 2. Blood in your face with all your hate get armed and ready, honey. She wants my dirty money Pay for the crime will you be mine? Get armed and ready, honey. You're going down, down Pre chorus. Chorus twice. Which is weird. And then after the solo. [00:42:28] Speaker A: Huh? [00:42:29] Speaker B: The. [00:42:29] Speaker A: The. [00:42:29] Speaker B: The. The dirty. Now. I think there's a bridge somewhere here, too. I'm gonna let you know yeah, I'm gonna let it show Can I know I can make it right? Because you know that I can fight dirty. Then solo, then whatever. I read this is very. I'm trying to read and follow where I'm at, and I can't tell you where I'm following. There's too much repetitive. So I don't know. [00:42:46] Speaker C: Yeah, it does kind of go into it. Yeah. [00:42:48] Speaker B: All right, let's continue. [00:42:55] Speaker A: When I'm looking at you so let me tell you I can fight Danny, too I wanna take a bite I can fight Dilly too Don't need a lover When I'm looking at you Let me tell you I can fight Day two no one's gonna push me. [00:43:37] Speaker C: I like that in there. [00:43:38] Speaker B: Why don't you go first? [00:43:39] Speaker C: I will say I don't think the production was that bad. I will say six on production and five on everything else. I think it was okay. I didn't hate it. The more it went on, the less I disliked it. Not as good as the first. [00:43:54] Speaker A: Right? [00:43:54] Speaker D: See here. Lyrics and melody. I'm going to give that a 5. The musicianship. To me, it's going to give that a six. Arrangements of six and production of six. I do like the drums at the end. I thought they were going to bust into another song. It's okay. [00:44:09] Speaker B: The lyrics are so bad. Two on the lyrics, five on the melody. I don't like them. Musicianship, five. It was fine. Arrangement five. Production was okay. Six. This is so far my least favorite. Because there's really nothing to catch on to. I can be okay with the cheesiness if the chorus is catchy this next. [00:44:25] Speaker C: Song starts off funny. [00:44:26] Speaker B: Okay, this is noise level critical. Hit the clip Music Maniacs. That's the crazy sound of Tiger Good Tales coming at you crystal clear on 39.82F. So turn your radio up and get down. Cause the noise level's critical, you understand? I know you can do. [00:45:33] Speaker A: Sam. [00:46:03] Speaker D: Listen up, people. Okay? [00:46:23] Speaker A: Nothing we can do. Cause you're never gonna turn it down. Tell me now. Oh yeah, oh yeah. Get it down. When you're playing that song. Turn it up and you can get it down. When you're walking the street and you're cranking the beat. Rock and roll, you're shaking the down. You'll be shaking the flower B. Breaking down the dark and hear it on the west Tone, baby, don't stop, Take it to the top. Never let it take it down. Lowest levels critical, take it down to. [00:47:14] Speaker C: I like that first rip. When it comes out of that megalong intro, it reminds you a little bit of rat. I want to say. I. I can't place it, but I want to say that I kind of like the first verse that dun dun dun. That sounds like a rocky mont from, like, Rocky 4. I think they should have only done it once, though, and then kind of gone into the chorus. I mean, the chorus. Unfortunately, there's not much to hold on to. I mean, it's interesting overall as a song. [00:47:46] Speaker B: I like the riff. [00:47:47] Speaker C: Yeah, I like that. [00:47:48] Speaker B: That comes out of that whatever blues thing that they're trying to do there, which is horribly bad. The melody again, is horrible. The chorus. I don't even know if I remember what the. They're saying in the. The chorus. Neither do I care. It's been going downhill after the second song. I don't like this at all. It sucks. [00:48:04] Speaker C: Do you think it's worse than the one before? [00:48:06] Speaker B: Yes. I don't know if that's possible. [00:48:08] Speaker C: I was optimistic when that first riff kicked in. I remember the intro. I remember the radio. I remember the bounce. I didn't remember the riff after it. And I did remember the. The. [00:48:20] Speaker B: I give them one thing. I like the fake radio thing. It's cool when bands do that. There's some bands I like that do that. So that part of it was okay. And the rift came in. I was like, oh, possibly going to be okay. And then. No, it went to. [00:48:32] Speaker C: Did you hear what song was playing on the radio? Love Bomb Baby by Tiger Tales. [00:48:36] Speaker B: Yeah, of course it was. I mean, that's a cool thing to do. I don't hate that part of it. [00:48:42] Speaker C: Yeah, it's Funny. Yeah, it's amusing. [00:48:45] Speaker B: It's just the rest of it is just. It's not good at all. It's not even cheesy in a good way where you can say I have a cheesy song. I kind of such guilty pleasure. I like it like maybe the first two songs on this album. But this is bad. Yeah. [00:48:57] Speaker D: I just wish we could fast forward through this one. Yeah, it's. Yeah, there's no element that I'm enjoying about it. That sound like you said that rocky sound to me. I sound a little bit like on Skinny Bob tone. Oh, not that great. [00:49:09] Speaker B: Verse 1 Do you ever get a night when you feel all right but your folks been driving you mad Got a needle in the groove and you're ready to move Hit the power and you're feeling bad if you want to unwind you got to get your mind get hip to the crazy stuff sound when that music comes through there'll be nothing you can do because you're never going to turn it down Tell me now oh yeah. Verse 2 the heat is on when you're playing that song Turn it up and you'll be getting down when you walk in the street you'll be cranking the beat that rock and roll shaking the ground you'll be shaking the floor and they'll be breaking down the door they can hear it all over town Baby, don't stop take it to the top Never going to turn it down Chorus the noise level is critical Turn it down, turn it down, down the noise level is critical Turn it down turn it down, down the noise level is critical critical Turn it down turn it down, down the noise level is critical Turn it down turn it down down down, down I would think that. [00:49:59] Speaker C: They would say the noise level is critical but turn it up, up up Right it's almost, it's almost anti volume. It's like, hey, you're gonna hurt ears. [00:50:08] Speaker B: Because the song sucks. It sucks. It's horribly bad. It's worst filler so far in anything we've heard. It's worse than fate. Yeah, this is just not good. All okay, here we go. [00:50:46] Speaker A: Oh yeah, oh yeah do you have a get at night when you feel alright but your folks been driving you mad yeah, you put your needle in the ground when you're ready to move Hit the power and you're feeling bad if you want what you want you get out of your mind and get hit to the craziest sound Baby, don't stop take it to the top Never let it take it down Highest Levels pretty good. And you want to play. [00:52:10] Speaker C: I think the solo was the best part of the song. I think there was a vibe there that they should have had a little bit more of in the song. [00:52:16] Speaker A: Yeah. [00:52:16] Speaker B: Surprisingly, it is the best part of the song. I like the second half of his solos. Born the first part of his solo so far. I forgot to say that. Did he do the talk box in the verses? Just not in a very good way. It wants to be a Bon Jovi talk box. Just not very good. I don't know. There's no. Nothing here I like. Solo's okay. [00:52:35] Speaker C: I think it sounds more like Frampton. [00:52:36] Speaker B: Either of those two things, Whatever it is, it's just not good. [00:52:39] Speaker D: I'm just not digging this one at all. Yeah, it just went downhill after the second song. [00:52:45] Speaker B: Down downhill, like on a go kart without breaks. That's what this is. Verse 3 Just forget about the crowd and turn it up loud it don't matter what the people say if you can't stand the heat go find another beat because the music's gonna play and play when the going gets tough I turn to that stuff I know what's going to get me through if you can't stand the pace get out of my face because I what I want to do Ow, oh, yeah, oh, yeah Verse four Did you ever get a night when you're feeling all right but your folks been driving you mad? Yeah, you got a needle in the groove and you're ready to move Hit the power and you're feeling bad, bad if you want to unwind you got to get your mind get hip to the crazy sound Baby, don't stop, take it to the top never turn it down Chorus, then. Hey, do you want to play? Well, come on. Usually when those things happen before the solo, the solo's good. In this case, not so much. [00:53:32] Speaker C: I like the solo solo, though. Me, personally, I thought the second part's okay. [00:53:36] Speaker B: The rest of the song's so bad, the solo can't save it. Really bad comp in the verse when he went B bad. It looks like they cut it off too much right before. The bad part is a horrible comp. Someone left that there. I understand it was not as easy to do back in the day, but they should have just re recorded that because it sounds bad. [00:53:52] Speaker A: Whatever. [00:53:53] Speaker B: This is just crappy filler. Bad song. Let's finish it out. So let's do it. [00:54:28] Speaker A: Down. [00:54:36] Speaker B: To the grand. [00:54:56] Speaker A: Turn it down. [00:55:01] Speaker C: I like that. Ah, it's like the drummer's like, keep hitting my fingers. [00:55:08] Speaker B: It's so horribly bad. I don't know what to say. I'm gonna go first because I have to get this out of me here. Two on the lyrics, two on the melody, four in the music, five on the arrangement, six on production. It's just a bad song, Frank. [00:55:24] Speaker D: I'm gonna go fours across, man. I suffered through that completely. No, actually, I apologize. The production side of it. I'll give that a 7. The best part of the song, that it's over. [00:55:35] Speaker B: Seth. [00:55:36] Speaker C: Yeah, I actually gonna do the same. I think six production, other three lyrics and four and everything else. [00:55:42] Speaker B: Imagine if you're the producer sitting there and you listen to them recording this, going, oh, my God, when is this gonna be fucking over? Song sucks so bad. Can we just go get this done? [00:55:49] Speaker A: No. [00:55:50] Speaker D: Imagine being the producer feeling that. But yet you have to keep a straight face and be like, you guys are rocking. Keep it coming. [00:55:58] Speaker B: Try to be positive. [00:56:00] Speaker D: Yeah, you have to be all positive about it. And oh, my God. [00:56:04] Speaker B: Meanwhile, you're like, can I just get the out of here? [00:56:06] Speaker D: Jesus. [00:56:07] Speaker C: Yeah, I mean, honestly, I remember the intro. I remember the. But I couldn't remember the chorus, you know? Know why? [00:56:15] Speaker B: Because it sucks so bad. There's nobody remember that. [00:56:18] Speaker C: I think the next one's the bad one. [00:56:20] Speaker B: You think this is heaven and not the good one either. Here we go. [00:56:24] Speaker C: You mean the Brian Adams one? [00:56:25] Speaker B: Well, that one or the Warrant one. Either one. [00:56:28] Speaker C: Don't like the Warren one. I know we've had this discussion before. [00:56:31] Speaker B: It's got to be better than this. [00:56:32] Speaker C: Oh, yeah, probably. I remember the beginning. Honestly, I remember the beginning because it sounds a little warped. I think it's piano. [00:56:39] Speaker B: Oh, boy. [00:56:40] Speaker C: But I don't remember the rest of it. [00:56:42] Speaker B: Buckle up, buttercup, here we go Heaven. [00:57:12] Speaker A: Never saw you crying Never saw the tears Never thought you'd cry for me I thought you had all you wanted I thought you had all you needed in the darkness I can see in the night I hear you calling in the night I hear you scream Though your heart is breaking Days when you awaken Leave your heaven in your dream yeah, we'll hear the angel singing Tonight we be in heaven in my dreams angel sing tonight be. [00:58:41] Speaker C: I don't think the melody in the verse is that bad. I don't like the piano. Like, I always remember the piano as something a little warped, but there's like that acoustic underneath. I think if it was him and the acoustic acoustic, it would sound better. The piano is a little bit cheesy. I don't know if it's Cheesy is the right word, but it's distracting. They don't need that. And I feel it would have been better. The chorus is whatever. [00:59:02] Speaker B: It sounds like a Disney soundtrack. And the worst part about this, you know who's doing all the keyboards and the strings? Oh, Don Airy from Rainbow and Deep Purple. [00:59:11] Speaker C: Yeah, actually I did read that. But I mean, do you kind of agree? Almost. If it wasn't for that piano. It's just a him. And the acoustic, it might be better, I feel. [00:59:20] Speaker B: I don't know. I don't think it's very good. [00:59:22] Speaker C: No, it's. It's not. [00:59:23] Speaker B: Has a couple things going against it. Number one, there was a big hit song called Heaven by Warrant right before this, a year or two before this. The name your song Heaven is probably a dumb move. I don't think you should do that. You should probably figure a different name out. I just don't know. And it's not that good of a song. It's very wannabe ballad. But like I said, it ends up being a Disney soundtrack ballad. I don't really like it. It's doing nothing for me. Mirror at the moment, all I remember. [00:59:48] Speaker C: Was the beginning, the piano. That's why I said it was like his warped piano. I didn't remember the rest of the song. I'm assuming that these last three songs I remembered bits and pieces of, so I don't think I really listened to them. The first one I did. Second one obviously just fucking sticks in your head. [01:00:05] Speaker D: If you're gonna make a song that's gonna stand out for me, it would have been great. Just him and maybe, I don't know, some. Something different. Maybe him and the piccolo just playing in the background to this. I don't know, but. But like just. I'm just lost. Not a great song for me. [01:00:22] Speaker C: This is a long ass song too. [01:00:23] Speaker D: Is it? [01:00:24] Speaker C: Yeah. [01:00:24] Speaker D: Oh, jeez. [01:00:26] Speaker B: 604. [01:00:27] Speaker C: This is not radio cut. [01:00:28] Speaker D: Are we going to hear like a piano solo? [01:00:31] Speaker C: I have no idea. John area. [01:00:32] Speaker D: Oh, jeez. All right, let's go. [01:00:35] Speaker B: Verse 1. Never saw you crying Never saw the tears Never thought you'd cry for me I thought you had all you wanted I thought you had all you needed in the darkness I can see verse 2. In the night I hear you calling in the night I hear you screaming Scream I know your heart is breaking Days when you awaken Leave your heaven in your dreams Chorus we'll hear the angel sing Tonight we'll be in heaven Na na na na na in my dreams Angels sing tonight we'll be in heaven Na na na na na na Heaven Na na na na na na oh the reading of that sounds better than the actual song. [01:01:04] Speaker D: What the heck? It's like the shit. [01:01:07] Speaker B: Well, he likes to do that. Baby sick. Whatever else he does here. Yeah. I just don't particularly like. [01:01:18] Speaker D: Bad Bad. [01:01:20] Speaker C: Lyrically it's probably the best one. For what it's worth. [01:01:24] Speaker B: Maybe. Let's see what it does. Here we go. Let's continue this a six minute song. We got to get through this. [01:01:46] Speaker A: The sunshine slipped away I can't let go I can face nothing all alone in the night I hear you curious to I know your heart is breaking Dreaming you awaken Leave your heaven in your dreams yeah we'll hear the angel singing tonight We. In my dreams angel sing tonight will be. [01:04:01] Speaker C: I actually really like the piano playing now in the verse. I think these is a good job. I thought the solo was good. There's bones here that are good. Think had this song kind of been done by a classic rock band. We may be seeing it in a different light. There's decent parts. [01:04:18] Speaker B: Don AR is doing a great job on the keyboards and the strings. I think he's doing a great job. Guitar solo was pretty good. That's the only saving GR of this thing. The guitar solo and the keyboard slash synthesizer arrangements. After that it's just forgettable. [01:04:31] Speaker D: Should put the song through one of those AI machines to rewrite it for us. See what we come up with. [01:04:36] Speaker B: Can't hurt it. Well, here's the other verse. The other verse is look into the future. I hear them say I can't face another lonely day the sun side slipped away I can't let it go I can't face the nightmare all alone Pre chorus, chorus, chorus Twice in a row oh boy. Oh oh baby baby baby baby babe Solo stuff. And now we're back. The chorus again. It's actually going pretty quick. We got only a minute 45. Here we go. [01:05:13] Speaker A: Now. In my dreams Angels sing Tonight will be heaven. Oh baby baby baby, baby Angels singing Tonight we be ever Nah nah nah nah in my dreams angel sing Tonight we begin Never. I can see. I don't know. [01:06:41] Speaker C: It didn't feel like six minutes. It felt quicker than that. I think it could have been worse for what it is. Maybe it's the arrangements that are going on. [01:06:49] Speaker B: I don't know. I don't like it. [01:06:52] Speaker C: It's okay. I don't think it's horrible. I think there's good elements to the song. [01:06:57] Speaker B: Why don't you go First I'll say. [01:06:58] Speaker C: A five in the lyrics, I got six on the music. I'll throw a bone because I think the solo was good. I think the piano playing was good. The production I don't think is as good as the other ones. 6. Melody 5 and arrangement. Would I necessarily go back to it? No, I think there's some good bones there. Run it through a. Maybe a little bit of a different band wheel. And we could be saying something differently because it is Don Air. Who knows, maybe Deep Purple doing this song and be like, hey, this is good. Or this is better. It's all right, Frank. [01:07:36] Speaker D: The lyrics and melody, I'm gonna give that a four. The music, I'll give a six. Production, a seven. Arrangement, I'm gonna give that a five. Maybe there is a good song in here. I'm just not feeling it right now, Mark. [01:07:49] Speaker B: It's too Disney for me. There are parts that could be better, but they're just not executed properly. Lyrics 5, 5, melody 4, music 6, arrangement 5, production 6. It just does nothing for me. And a weird way to end the side. I would wish they would have taken heaven and stuck it somewhere in the middle like in the normal hair metal days. Third track, ballad. I don't want to end aside like this. Although I don't know where you would end it with Other couple songs really suck too. I do not know. [01:08:16] Speaker C: Hey, listen, for what it's worth, I knew I liked the first song. I didn't think you guys would necessarily like any of it. The fact that the first two got decent scores, I'm actually pretty surprised because like I told you, I remember really liking the first one and not really liking anything else. I'm not sitting here going, oh my God, you don't like this. I'm saying, yeah, I mean, yeah. 6x is pretty good. Love Bomb Baby Course is pretty good. I don't remember the rest of the. I remember the beginnings at least, but I'll be honest in second side until we get to it. Offhand, the way I remember this, I don't remember anything. [01:08:50] Speaker B: I didn't even know this band existed. I think maybe I had some peripheral ideas of the actual band name somewhere along the line. Other than that though, I couldn't pick this out from anything. It's just not very good, unfortunately. It basically is what it is. [01:09:05] Speaker C: Listen. It's fun to listen to for nothing else, right? We've been asking for some glam. This isn't big name glam, but it's glam. Even though it's a 1990 it is glamorous Lamb. [01:09:17] Speaker B: Oh, it is, yeah. It's someone trying to hold on to something, trying to cash in on the trend that's still around in the 90s. 1990. There's still big records out there. Cherry Pie and things of that nature. There's still some big hair metal stuff happening. Firehouse. [01:09:30] Speaker C: Yeah. Well, I mean, this is who they were. [01:09:32] Speaker A: Though. [01:09:32] Speaker C: The first album is just as glammy. If I find it between now and then, maybe it'll say the name of the record place and how much I. [01:09:39] Speaker B: Actually paid for it. [01:09:40] Speaker C: I just know I have a used copy, so somewhere. [01:09:43] Speaker B: That's so crazy to even have this. [01:09:44] Speaker C: You know when you go into a store and you want something, you just want to buy something. I guess this was it. This is what they had that I could afford and I heard of them. I knew the first one. The first one has a couple good songs on it. Probably the same deal from what I remember. There's like two songs. I remember on the first one because my cousin had it, but the rest of them weren't that great. Par for the course. [01:10:05] Speaker B: It's par for the course. All right, Sav, why don't you do your thing? [01:10:08] Speaker C: We are part of the Deep Dive Podcast Network and the Boneless Podcast Network. [01:10:13] Speaker B: Boneless, you know, like those chicken wings without the bone. [01:10:16] Speaker C: Like I always say, Great bunch of guys took us in right away. If you want individual podcasts about bands, check them out. I don't think Tiger Tales is on there, but you'll find Megadeth, Uriah, he, Led Zeppelin, Queen, you name it, it's probably on there. So check them out. And Mark, where can they find this? [01:10:31] Speaker B: On the Interweb, Rocker Lit Pod. On all the social media. Rockwelllitpodcast.com do the polls, do merch, put a new bets. You know what to do. Rate us 5 stars wherever you do your podcast because that helps us out. Share out the episode and put us on auto download so you get us every week. When we release next week, we get to finish this up. Let's see what the second side does. I doubt it's going to get any better, but who knows? I could be surprised. Maybe this is a song and I'm really gonna like. I was surprised. I'd like the first two as much as I did. I don't know what's gonna happen on the second side. [01:10:58] Speaker D: Maybe Backloaded. [01:11:00] Speaker C: I was surprised, too. Especially you, Marcus, like, oh, he's gonna be like, what the. [01:11:07] Speaker B: Yeah, at least it was catchy, so that helped a little bit. But the rest of it's been bad. Even Frank doesn't like it. And Frank likes petty bar. [01:11:15] Speaker D: Floyd, I know somebody owes me an apology to sit through this. [01:11:21] Speaker B: Assaulting your eardrums. [01:11:22] Speaker D: Oh, geez. [01:11:23] Speaker B: All right, guys, we'll see you next week. [01:11:25] Speaker C: Ciao. Ciao. [01:11:26] Speaker A: Good night. [01:11:27] Speaker B: Later. [01:11:33] Speaker A: It.