Episode Transcript
[00:00:00] Speaker A: Foreign
[00:00:04] Speaker B: this is our musical reaction breakdown and commentary analysis of this song. Under Fair Use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the Rock Roulette Podcast.
[00:01:03] Speaker A: Foreign.
[00:01:14] Speaker C: Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1, 800 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 everyone who takes his journey with us every week of discovery and rediscovery. As we say, we really want to thank you. We are a trio. Tonight we have Frank.
My name is Frank.
And I'm sexy.
[00:02:00] Speaker D: Hello everybody.
[00:02:01] Speaker C: We have Mark.
[00:02:02] Speaker A: Oh hi Mark.
[00:02:02] Speaker E: What's up guys?
[00:02:03] Speaker C: And I'm Sav. Ciao Buena.
Last week we wrapped up Soup by Blind Melon. Overall I thought it was a pretty strong album. I know Mark, you enjoyed the second side better than the first. You thought it was a little bit more cohesive.
[00:02:17] Speaker E: For me, the second side was better. I don't think I like very much on the first side I'd have to give it another listen again. But the second side I liked a lot. I thought that whatever happened on the first side, the second side they did become more cohesive. The songs were a little bit better for me. Could see why if you're a Blind Melon fan, you would like this album because it's very weird and strange and he writes about weird things.
For that reason alone, I think you would like this album. But I did like second side better.
[00:02:42] Speaker C: And Frank, what was your overall take?
[00:02:44] Speaker D: Not an album that I imagine myself listening to again anytime soon. But I definitely can't deny the fact that side two was really good to me. A lot of the tracks and the singing reminded me of Pono for Pyro's. Overall it was weird. It was eclectic and fun to listen to and yeah, just overall a better side And I think that's what saved the album for me.
[00:03:06] Speaker C: I enjoyed it. Overall. I consider myself a fan. Two albums, and I was lucky enough to see them live for five bucks. I'm glad I got to see that. Today we get to spin the Wheel again, which is always exciting. But before we get to that, we have our new BET section and the Baby Wheel.
[00:03:23] Speaker D: In a world where new music is not easy to find.
Welcome to New Bets.
[00:03:42] Speaker E: Okay, here's the new Bets wheel.
[00:03:56] Speaker A: Ooh.
[00:03:57] Speaker C: And goodbye June the hard way that was a long time ago.
We had no idea who they were.
[00:04:04] Speaker E: Yeah. I haven't heard anything new from them. This is the first time I'm gonna hear this again. I'm curious to see how they change.
[00:04:09] Speaker A: Yeah.
[00:04:09] Speaker C: Remember, it had started out a lot like ACD's. It started to drift away from that. Still have that influence, but a little bit more. And I think by the end of it, we were pretty satisfied.
[00:04:18] Speaker E: It's another one of those albums where the second side was better than the first side. Frank, were you on when we did that album? I don't remember.
[00:04:24] Speaker D: I don't remember it, to be honest.
[00:04:26] Speaker C: I don't think so. I think that was part of the the Duo tour we did for a while. Mark.
[00:04:32] Speaker E: Yeah, pro.
[00:04:33] Speaker A: All right.
[00:04:34] Speaker E: This is Goodbye, June. The hard way.
[00:04:58] Speaker A: I went up I should have went down I learned a high Hard way I stay.
My.
Oh.
Up and down life's dirty road I'm dodging hard heartache everywhere I go I only see the debris from my mistakes I've been up and down this road so long down, up this highway My head, my heart they learn the highway.
Sam.
My head, my heart.
[00:07:34] Speaker C: That was little Van Halen. Hey, Mark.
[00:07:36] Speaker E: Well, it had a little bit of a groove, but his voice still is Bon Scott.
[00:07:40] Speaker C: That's. Yeah, it definitely sounds like Bon Scott. Production wasn't bad, though. I thought production was pretty good.
[00:07:45] Speaker E: No, I thought the drum sounded good. I thought they were a little low, actually.
[00:07:48] Speaker C: Yeah, drums are always low and everything.
No, I'm just kidding.
[00:07:52] Speaker E: Felt like the guitar was really, really, really loud. And you figure I'm a guitar player. I want my guitar loud, but I want it to be a little more evened out. Bad. Had a little more of the. What I would expected from them, which is more that Southern rock loozy thing. Not as much acdc, I don't think.
[00:08:05] Speaker C: No. What'd you think of the soloing?
[00:08:07] Speaker E: Okay. I don't think it was bad. I thought it fit the song good.
[00:08:09] Speaker C: Frank, what do you think?
[00:08:09] Speaker D: I dug it can imagine you hear like somewhere like in a bar in Texas on the roadside. Kind of like you walk in and it's just wild and just a good old rocking time. I dug it. Definitely going to check it out.
[00:08:22] Speaker E: Well, let us know if you like this or you don't like it. Hit us up on social media and let's rubber stamp this in a world
[00:08:30] Speaker D: where new music is not easy to find.
Welcome to New Bets.
[00:08:47] Speaker C: The Mama Wheel is calling. As usual, we will do a round table. Mark, what do you think and or what do you want?
[00:08:57] Speaker E: Last time I said I wanted an album from a band that we know, but we may not know the album, I would still take that, but I think I would want some kind of 80s rock of some sort. I'm not sure what it is. I don't know if I really want cheesy, really bad hair metal again or maybe I just want some good 80s music. I'm not sure. I'm on the fence.
[00:09:16] Speaker C: Frank, what about you?
[00:09:17] Speaker D: Yeah, I'm thinking I'm going to go for my wish again here of listening to some super group, a Temple of the Dog on Audio Slave or Velvet Revolver. Even a super group like that.
[00:09:27] Speaker C: That whole notion of a band we know and not knowing the album Blind Melon in a way that tickled that fancy. I would say either that or maybe some early aughts. I feel like we haven't had early 2000s. Some rock. I'd even take some new metal. Just something we haven't really had before.
[00:09:45] Speaker E: Well, let's spin the wheel here.
[00:10:08] Speaker C: Coco Mo. The Technicolor life. Find the ship.
[00:10:12] Speaker E: Mark, I don't know. You said you wanted something different.
[00:10:16] Speaker C: This is not Coco Mo, mind you. This is Coco Mo.
[00:10:20] Speaker E: Oh, so this is not the Beach Boy song?
[00:10:21] Speaker C: Oh God, I hope not. I hate that song.
[00:10:24] Speaker E: Do we know anything about this? Because I don't even know how this got on the list.
[00:10:28] Speaker C: The duet Kokomo, sometimes written as Kokomo, is a two head, hydra splitting, crazy powerful and energetic music leading the sound of the seventies into modern mutation. An absolute joust between the frantic play of K20 on drums and the voice and brute guitar of Warren Mutton. He's got mutton chops. The outcome of the duel will not be the death, but the resurrection of a sound. And yours, if one needs.
[00:10:56] Speaker E: Wow, that's some introduction.
[00:10:58] Speaker C: Oh my God, that's more. What do you call it? Not poetic. It's. I know the word I'm thinking of. Then. Then the descriptions of our podcast every week.
[00:11:07] Speaker E: This is Definitely some promotion person.
[00:11:10] Speaker C: Better be good after all that.
[00:11:11] Speaker E: They're from France and they're a duo. K2O is Kevin Grassmillard, that's drums. And Warren Mutton on guitar and vocals. It's a white stripe situation. I was looking for lyrics, but there is no lyrics.
[00:11:24] Speaker C: This will be quick. Then we have to think about what he's saying.
[00:11:28] Speaker E: Then we'll have to actually pay attention. Yeah, let's do this. See, you wanted something different. This is definitely different.
[00:11:33] Speaker C: This is something different from a band I've never heard of. So it's like taking two separate, different ideas.
[00:11:39] Speaker E: Well, you know what? Maybe we'll find something we like here. Maybe, you know, we about new music all the time.
[00:11:43] Speaker C: Well, you about new music all the time.
I about production, but I don't about music.
[00:11:50] Speaker E: I don't know about that. Listen back to some of the stuff you don't like Everything.
[00:11:53] Speaker C: I don't like everything.
[00:11:54] Speaker E: This is Pass it on by Coco Mo.
[00:12:33] Speaker A: Staring at me two or three miles away.
Cause we can see what you can see me without flashing eyes Stay with me, stay with us and you will know the price all you don't got to do is only a smile.
On.
[00:13:41] Speaker C: Honestly, I didn't listen to the lyrics, so I have to pay attention to the next time around. The melody and the riffs aren't bad. I don't like the production though, at all. The drums are actually hurting my ears a bit. I think it's very tinny. Well, which is 2018 doesn't sound like the modern drums, but it's a little bit tinny to me. The melody and the music aren't bad.
[00:13:59] Speaker E: I didn't think it was bad at all. Yeah, the drums or whatever, it's not as bad as it is now, but I think in general, like, the riff is pretty good. His voice is a little getty Leish on the verses especially. Other than that, I thought it sounded all right. I liked it.
[00:14:11] Speaker D: I like that it's pretty raw far. Very fun. It's going to take a couple of listens maybe to adjust. I like the whole vibe of it so far.
[00:14:17] Speaker E: I have to listen to the words a little bit too, as I was trying to listen to him, but I was also paying attention to the riff and all the other stuff going on. See what happens in the second verse. Hopefully I can figure out what he's trying to say here because since there's no lyrics for this, we're just going to be going through. Let's see. Here we go.
[00:14:44] Speaker A: Try in my own way Stay with me smile let's try all the night now in your rooms I think you can. Let's try another side.
If you keep.
Sam, Keep.
See.
[00:16:35] Speaker E: Short, what you think of that weird drum thing in the middle where it sounded like it was distorted. It changed the whole tone.
Do you like his playing, though?
[00:16:44] Speaker C: Yeah, playing is fine. I just. I don't like. I just don't like the way it sounds. It did say that era where everything was jacked up to 100. This was before the newer style of production.
[00:16:53] Speaker E: Yeah. There's a little bit of distortion going on. It feels at the top end like someone pushed the fader up a little too high. There's some keyboards in the middle too, huh?
[00:17:00] Speaker C: Yeah, I'm cool with that. They ended with the little keyboard thing at the end. I was like.
[00:17:05] Speaker E: I thought it was interesting. I don't know if It's a melding at 70s, at least not on this song anyway.
[00:17:09] Speaker C: It's got a little bit of that classic rock vibe to it. I can hear that in the riff a little bit.
[00:17:13] Speaker E: I thought it was pretty good. And you know me, not a big fan of new shit. I'm okay with this if it can continue in this process.
[00:17:18] Speaker C: I don't really think I complained too much about new shit.
[00:17:21] Speaker A: I got to go back.
[00:17:21] Speaker C: I don't think I do. I like a lot of new stuff. I complain a lot about production. That's flip short. You can do a drinking game to that.
[00:17:27] Speaker A: Yeah,
[00:17:30] Speaker C: I think you should go first, Mark. I'm not sure how to gauge this.
[00:17:33] Speaker E: I'm going to be very conservative. Sixes on everything except the production. I'm going to give that a 5 because I think it is in the time where the volume wars were happening. I think in general it's okay. The lyrics, they don't seem too egregious to me. 5 on lyrics because I can't really hear them as well. Five on lyrics, six on the melody, six on the music, six on the arrangement, and five on production. I want to see where this goes, Frank.
[00:17:57] Speaker D: I think they did a really good job. They fused a little bit of late 70s, early 80s sound right in there with the keyboards. I like that whole drum solo with the guitar very, very faintly, quietly playing in the back before it came roaring back. I like the singing. I think his vocals are really good. Really a funky song that I think I would prefer to listen to it live than recorded. I think I'm gonna go ahead and give seven on the production, seven on the music, the melody. I'll give a six arrangement. I'm gonna give that a six. It does sound like late 70s, early 80s with the keyboards in there. Pretty cool.
[00:18:33] Speaker C: I will also say five on the lyrics because I'm not sure I will say five on the production as well. Six on the melody. Six on arrangement. Say six on the music. It wasn't bad. Had it's a song that I would have to probably go back to. It's not like, oh, my God, what the hell is this?
[00:18:50] Speaker E: I think for 2018 rock, it's not bad. Even for now rock, it's not bad. Most of the rock you hear now is very commercially formulaic. Most of the bands sound the same. This doesn't really sound the same, which maybe that's why I like it a little bit. Because they're going off a little bit off the beaten path. We'll see if it continues. The next one is Cherokee Gal.
[00:19:37] Speaker A: Building Israel Body Crowns on blue eyes. You're ok.
Little like her Amazing Shout.
[00:20:32] Speaker C: Again. The bones of the song are good. I don't like the production, although I feel that it fits better with this song somehow.
[00:20:40] Speaker E: I think that the production does hurt this a little bit. It feels very loud.
It's loud, but everything's too together. There's very little separation. It feels like everything's just jammed together in a little space. Yeah, I'm not hating the drums that bad. I think his playing is pretty decent. I like the riff. I like the riff in the chorus a lot.
[00:21:01] Speaker C: Yeah, no, the bones are good. The melody isn't bad. The music is not bad.
[00:21:04] Speaker E: There's no dynamic.
[00:21:06] Speaker C: No, just none whatsoever.
[00:21:08] Speaker E: It's very similar to a lot of stuff that was happening then a little before then and around that time. It didn't change till a little bit later.
[00:21:15] Speaker C: Honestly, this is where I started complaining about production. Production, this style. And we know, we've talked about bands that have done it, bands that we've known, bands that have been around for a long time did this.
[00:21:26] Speaker E: I don't think it's a bad song. I think it has parts that I like. The production is holding it back and you can tell there's only two guys. If it was more of a band situation, you may have a little bit more interplay, but since it's basically a drummer and a guitar player, you don't have the other interplay as much. I think that hurts it a little bit. It's not bad by any stretch of the imagination.
[00:21:45] Speaker C: With dynamics, it would just sound better. It isn't as if, oh, my God, this song sucks. And the production Sucks like, oh, there's some good bones here. Just wish it sounded better.
[00:21:53] Speaker D: They're loud group for sure.
I think it's a really good song. Does it have the bones like you said? S for a better song? Yeah, definitely. I think it's good as it is so far. Let's hear it.
[00:22:03] Speaker E: All right, let's continue. Here we go.
[00:22:06] Speaker A: Hey everybody.
Such a cool dream of this country gentleman. Cuz I know that it's not.
Sam.
[00:23:46] Speaker C: Yeah, I like that. I like that part. Is that a bad song? Like I said, it's just the production's the only thing I really, really. That's holding it back. I don't think it's a bad song at all. I think it's better than the first one, actually.
[00:23:56] Speaker E: Overall, I think it has some issues too. It maybe since they are from France. I'm having a feeling that maybe the vocals are a little buried just to hide the fact that maybe the English is not as good. I'm having a hard time with the lyrics. You can't really hear the lyrics as well. I don't know. Are you having a hard time hearing the lyrics? Because I am.
[00:24:15] Speaker C: Yes, I am.
[00:24:16] Speaker E: They're a little hidden, I think. In general. I like the riffs. Guitar playing has been good. I think he's been doing a good job with that. I don't hate it at all. Frank, why don't you go first?
[00:24:23] Speaker D: I couldn't find the lyrics to this song though. Did you find lyrics? Because I can understand them.
[00:24:27] Speaker E: No, there's no lyrics at all. I can't find anything.
[00:24:29] Speaker D: Really can't pay much for the lyrics on this one. I couldn't understand it. I'm gonna have to pass on that one. I do like the music, the arrangement and the production of it. So those. I'm gonna go with sevens again. I just can't give anything on the lyrics part of it.
[00:24:43] Speaker C: Sorry.
[00:24:43] Speaker D: Because I couldn't get it.
[00:24:45] Speaker E: Well, what about the melody?
[00:24:46] Speaker D: I guess I'll give that a 7 as well. Why is it we can't find lyrics on this for this song?
[00:24:50] Speaker E: Because they're not a popular band, that's why.
[00:24:53] Speaker A: Okay.
[00:24:54] Speaker E: Wouldn't be the time.
[00:24:55] Speaker D: Yeah, it wouldn't be the first time.
[00:24:56] Speaker E: No sav. Once you go next, I will say
[00:24:58] Speaker C: a five on production again and six on everything else. Make it simple, Mark.
[00:25:02] Speaker E: I think I'm doing the same thing. I don't know what the lyrics are. They don't sound too bad. But the production does hurt it for me. I wish it was better. I wish it wasn't so jammed together because there are good songs here.
[00:25:11] Speaker C: We're not knocking what they're writing. We're knocking the way it sounds.
[00:25:15] Speaker A: Yeah.
[00:25:15] Speaker C: We've given six some pretty strong songs.
I think this could be a situation where you need to hear them live and what they do and how it sounds live.
[00:25:24] Speaker E: I'd be curious.
[00:25:25] Speaker C: Yeah.
[00:25:25] Speaker E: Okay. The next one is Hard Time.
That was a very long intro.
[00:26:52] Speaker C: Yes.
[00:26:53] Speaker E: You don't hear songs that have a minute 20 intro anymore.
[00:26:57] Speaker C: Well, I mean, you do. It just depends on the band that does it. Right.
[00:27:01] Speaker E: In general, most people get to it right away. It's harder to find bands that'll stretch out at the beginning that way. I give them credit. It's a little bluesy. Little swamp. Swampy. It's not bad. Production's still a little.
[00:27:12] Speaker A: Eh.
[00:27:12] Speaker C: You're curious to see where it goes.
[00:27:13] Speaker E: I just had to stop it just because it's a minute and 20 and there was nothing until right now. Yeah, I was very happy. I'm getting tired of hearing new songs that just get right to the point they don't give a little breathing room. Beginning. I kind of like that. Maybe this will continue in a good trend. I don't know. All right, here we go.
[00:27:35] Speaker A: It Everywhere you go Dreams I hide
[00:27:46] Speaker C: Never been before.
[00:28:17] Speaker A: And people are TR them from D they can't find no heaven I don't care where they ram.
[00:29:21] Speaker C: The last part was a little U2E, I thought. It's funny, right? Because the production isn't bothering me as much on this one.
Maybe because it's good that it's loud. It adds to the song. I'm asking myself, do I want it to go somewhere else, or is it okay if it stays here? It's atmospheric and cinematic.
[00:29:39] Speaker E: I do think that the guitars are way too loud. It could be powerful, but not the way this is. That's where the faltering of this style production happens. Even when the quiet parts are there, it's still loud. It's quiet, but it's not as quiet as it could be. When it comes in, it just feels like it's so loud, but not in a good way.
I think the song is decent and I'm really more on the side of his vocals. They're trying to hide the accent a little bit, so it's not easy to understand what he's saying. And maybe that's on purpose.
[00:30:07] Speaker D: Yeah, it sounds very theatrical and something you would watch in a movie of some sort. Driving through the desert and someone is just heading somewhere and it just has that vibe to me. Very Dustled Thorn kind of vibe.
[00:30:20] Speaker C: Yeah, I agree. That's what I kind of get to from this desert.
[00:30:22] Speaker E: It's Young guns.
[00:30:23] Speaker A: Yeah.
[00:30:24] Speaker D: It has that Young Guns feel to it. I like the Ramp up. The Ramp up reminds me a little bit of Cinderella, how they used to ramp their songs up.
[00:30:31] Speaker E: All right, this is the longest song on the album. This is 545. We're halfway through. Let's continue. Here we go.
[00:30:38] Speaker A: I can get out all this killing I'll never get down I'll never slow down Swing this song.
I ain't gonna sling no Harding Sing this.
It's.
[00:33:13] Speaker C: That's cool. I think it's a little long for what it is. If it. It felt like there were parts where it's kind of building up to something, and it didn't, which is fine. I'm surprised they didn't layer a little bit more. I would have liked that. Even if they did the bass over and over, then kind of added little parts throughout. Even little percussion, different guitar parts, maybe even different keyboard parts.
[00:33:32] Speaker E: I think it may be my favorite song, so I think it has the parts to build up. I just think the production holds it back. Because even the parts that are low, like when that clean part is going, then the guitar comes in, it's so loud. You notice when it gets to the next part, it has nowhere to go because it's so loud to begin with. Yes, it gets louder, but it doesn't feel like the song just ramps up like that because it's so. Everything's just so loud. His vocals are loud. He's got that delay on there. Drums don't sound as bad, I think, on this than on the other ones.
[00:34:01] Speaker C: This is my favorite production so far.
[00:34:03] Speaker E: I guess I'll go first. I'm gonna give five in the lyrics because I don't know what they're saying. I heard a couple of pieces, and that's about it. Six on the Met melody, seven on the music, because I think it's good. The arrangement's good. I give that a 7. And production is probably the best that it's been, but it's still not great. And I'm gonna give that a six.
[00:34:18] Speaker C: I'm gonna go sixes across. Make it simple. This is my favorite production so far. I think it works for this. I did wish it was slightly shorter, and maybe they had some other things going on. I don't think I need to really ding it too much for that.
[00:34:31] Speaker A: Oh, yeah.
[00:34:31] Speaker C: Six is across. Right?
[00:34:32] Speaker A: All right.
[00:34:33] Speaker D: For me, I was able to understand the lyric on this one. I think the lyrics match. Match the mood of the song. And I think that's key. You have to have the lyric match the smooth of the song. I'm gonna go seven across the board on this one. I just like the vibe of the song. It really took me to that desert scene. You're driving your classic 70s muscle car through the desert and you heading somewhere. You just don't know where. This song takes me to that place. I liked it. It's great to be here. Thank you. It's quintuple 7 just for Nicolo. Nikki Titty Baby.
[00:35:01] Speaker C: Scary.
[00:35:03] Speaker E: Sounds just like him. It sounds like he's here.
[00:35:05] Speaker D: Clowns.
[00:35:08] Speaker E: The next song is the title track, Technicolor Life.
[00:35:43] Speaker A: I love to smell the name from your neck. That's true. I just can take a break.
Maybe you are the one that I'll follow. Your smell brings me back one year ago and oh, I'm streaming you black and white now everything seems to be right.
You woke me up and you take me Color land.
[00:36:52] Speaker C: I find that to be very Zeppelin. And all I can think of is what John Bono would have played under that. And I'm not saying he has to do it. I feel that the drumming, that straight beat takes away from that riff. That riff has feel to it, but the drumming doesn't in this one. As opposed. Also like the other stuff. It's detracting for me. I'm really not digging this one so far.
[00:37:12] Speaker E: I like the riff a lot. This is the worst the drums have sounded for me. They sound so fake. Could almost be a drum machine. That's how fake it sounds. The one thing I couldn't get out of my head was the Christine 16 piano.
That's how I would play piano if I had to play piano. I'm just gonna play this two notes and then move to the next two notes.
I don't hate it. I do understand that the drums are not helping it out. The riff is pretty decent.
[00:37:37] Speaker C: Yeah. Because it's that.
But the drums are just like, bum, bum, bum, bum. Which is fine. The vibe, he hasn't been bad. It felt like he'd play with feel before. And if there was feel to this. And yeah, maybe we like. Oh, my God, this is like a Zeppelin rip.
[00:37:52] Speaker E: If it was played like that, maybe.
[00:37:54] Speaker C: I feel like this riff needs it. It needs that beat and it's not getting it.
[00:37:58] Speaker E: And I may have understood some of the lyrics. Seems like everything was in black and white. Then he met her. He has a technicolor life. That's what I gather out of whatever words are going on there.
[00:38:06] Speaker C: You understood more than I understood. It was interesting. Nape of your neck. I do find myself listening more to the music. You get spoiled.
[00:38:16] Speaker E: They also do the 90s distorted verse thing. And again, maybe it's to hide something. That's all I can think of. They seem to do it a lot in varying stages of distortion. Not as heavy as this one is. And then the chorus, it's not there. I'm really not hating any of this. The production really hurts it.
[00:38:33] Speaker D: I'm not digging it as much as the first one, but I guess a little more listening change my mind.
[00:38:38] Speaker E: Okay, speaking of that, let's continue. Here we go.
[00:38:54] Speaker A: For sure. I don't need no dreams do you see more colors on the streets to feel that all I eat is like the trees oh, really?
You, Sam, my color light Forever you will stay.
I will always kill you since when we come I will always let you.
[00:40:57] Speaker C: I really like that breakdown they did and it didn't go where I wanted it to.
That's what I feel like. This song doesn't go where I want it to. And it's not bad. I think it's my least favorite so far.
[00:41:08] Speaker E: What did you think of the choice of stopping the drum in the verse? Did you like that?
[00:41:13] Speaker C: Yeah, I'm okay with that because the drums are not really doing anything for me in this song. Like you said, it almost be a machine if there was that beat.
Like what he does in the other things. We go along to the riff and he's supporting the riff. This is how they wanted the song to go, so it's cool.
[00:41:29] Speaker E: I wasn't too sure about going from the verse of the chorus the second time. The first time I didn't feel that way this time. Whatever happened between the verse and the chorus, I didn't particularly like to too much. Frank, why don't you go first?
[00:41:39] Speaker D: Unfortunately I couldn't understand any of the lyrics, so I can't. Great that this so far has been my least favorite. I still do like the music. So the music. I'm gonna be consistent with the seven there production. Give that a seven as well. Arrangement a six.
Melody. I give a six.
[00:41:54] Speaker E: I'll go. Even though I can't hear lyrics, I'm still gonna give them a 5. I heard some things there. Melody. It wasn't bad. I'm gonna give that a six. I thought the riff was good. I'm gonna have to give that a 7 just because I thought it was good. I Wish the drums were better and a little more feeling. Cuz it just feels like a machine somewhere. Feels like an 80s song. Maybe because the drums sound that way.
[00:42:13] Speaker C: Oh, it's very 80s. I was thinking the same thing. I couldn't put my finger on it. At one point I was like Huey Lewis. I'm like, no, it's not Huey Lewis. And then it was like Robert Palmer or Power Station.
I don't know. I couldn't put my finger on it. But it's very 80s.
[00:42:27] Speaker E: Yeah. I don't think it's bad production. I'm gonna give it a five. I still think it has problems. I don't like it as much as the last one. And an arrangement. I'm gonna give it a six. It has good bones and it could be better. Who knows how much they spent on this. Did they have a real producer when they did this? Is it just them? Some people can't prod produce their own stuff. Maybe this is just the way it comes out. And maybe they produced it, maybe they mixed it. I don't really don't know. It just feels like either they just want it to be really loud or someone just doesn't know what they're doing. One of the two.
[00:42:52] Speaker C: I think it's of the era. I mean, we've heard production like this before. I think loud can be done right. Because we liked the loudness on the Oasis album. It was in your face. But we liked the production there. We were knocking the production. I'll say six on the music because I do think the riffs are good. But I'm going to say a five on everything else. I was going to say six on arrangement because I like a couple of the parts. I'll throw another. I'll say six on arrangement. I'll throw another bone. I do like that breakdown piece, but it just went back into the song, so that's a little disappointing. It's okay. It's my least favorite one.
[00:43:24] Speaker E: So for a newer album, it's not horrible. They have some good pieces.
[00:43:28] Speaker C: Yeah. No, it's. I listen, I think. I bet you these songs sound much better live. You know what I mean? Even if it's loud live, it's a different loud. This is studio loud and everything is jacked up. So to me, that's really what's hurting this more.
[00:43:42] Speaker E: I agree. This is going to be the end of the first part. There's no sides to this because it's 2018, so there's no records. We're going to say this is the end of the first side. This is ring your time.
[00:44:16] Speaker A: I don't mind I ain't mine.
Bad time first time.
Ring your time last time but the last time. You better live this time.
Bring your shine.
We are shining.
[00:45:04] Speaker C: I feel like I know this song. I don't know if it's because it reminds me of something. This voice really reminds me of somebody here. Not bad.
It could grow on me, so I'm not gonna pass judgment too soon.
[00:45:15] Speaker E: That beginning was so 80s. Oh, Jesus. Wow. I don't know what this is. I don't know. Seventies? I say it's seventies. This sounds more eighties than seventies to me.
[00:45:22] Speaker C: Well, I think it's kind of drifted a bit more into the 80s the past couple of songs.
[00:45:27] Speaker E: I do like the drumming on the second half better than the first part. The first part's real straight drum machine sounding. And then it gets a little more swing again. Who knows? Are they aligning all these things to the grid? Are they making this perfect? Does it always sound like this? I'm okay with a little deviation. I kind of like a little deviation. So it doesn't sound like a machine all the time. So it's not perfect. Because sometimes the not perfect things or what makes songs better. It's hard to say that now because almost everything is fixed. Who knows if this is something they did or the producer is like, yo, everything's on a click. Everything has to be perfectly in time. Or if it's not in time, we're going to move it into time and they're doing that thing. His voice again.
[00:46:03] Speaker C: I think it's just the way it's produced. I just think it is. I don't know.
[00:46:07] Speaker E: It's not good all the time. It's good in spots. I understand when you use that sound in spots, but to have that distorted vocal stuff through the whole song and every song has it almost, and in just certain places, they take it off, but it's the predominant sound. I think that bothers me a little bit. And that's where production really suffers, because it shouldn't be there all the time. It shouldn't be something. You use every song, everywhere on every lyric.
[00:46:30] Speaker D: What stands out to me is how unique the sound is for that time. You know, 2018, 2019. Most of the music during that time didn't sound like this. That's what I'm really digging about this song. I like it better than the previous, for sure.
Like you said, Sav, it is loud. It's very loud. And this is the kind of group that I would at this Point would definitely agree. That I would rather see live than listen to on the recordings. I bet you they're really good live. So, yeah, I'm liking this so far.
[00:46:56] Speaker E: All righty, let's continue. Here we go.
[00:47:21] Speaker A: Nurses crying Wake up. And now it's this time Back time, Fast time.
Bring your time last time, not the last time. You better live this time?
Live this time, Win your time this.
Bring your time.
Leave this time.
Bring your time, Bring your time.
[00:49:13] Speaker C: I actually thought as the song progressed, the production works for this song. I don't feel like this production needs to have the dynamics of some of the other stuff. I was okay a little bit more with it here.
[00:49:24] Speaker E: Again, not a bad song. It has pieces that are okay. I'll go first. I guess I'm gonna do sticks on the lyrics. They don't sound bad. I was able to understand a little bit of it. I'm not sure if I like the melee that much. Give that a 5, and then I'll give everything a 6 and then 5 on the production because I still think that that's really, really what's hurting this more than anything. There's really not much separation in instruments. It just feels like a big mush. His vocals being distorted for everything are starting to bother me, but I don't think it's bad. I think they have a unique sound. I think if there were more than two people in the band, I think that would make it a little bit more cohesive because here it just feels like whatever. Again, not bad. There are pieces in here that I like. Frank.
[00:50:03] Speaker D: As the song played on, I grew to like it more. And this song definitely convinced me that this is one of those group you want to see live 100. I can see what you're saying about the voice distortion getting annoying after a while. It's like those bands that love to sing through the megaphone, and they do it for one or two songs is great, but they seem to always use it. It kind of more distracting, I think. So I could definitely see that point there. So far, it hasn't bothered me that much. Again, I can't understand the lyrics, so I can't give anything there. For me, seven's all the way across for this song. For a new listen first time, I'm really digging this song. They're living up to their style of music, of blending that 80s seven, Indian rock sound electronica a little bit.
[00:50:41] Speaker C: I'll say a four on the lyrics. I like the production on this one. I think it worked for this. So I'll say Six in the production, six on the arrangement, five on the melody, and I guess six on the music.
[00:50:53] Speaker E: Savino's back, four on the lyric.
[00:50:55] Speaker C: I heard Ring this time a lot. I'm really trying to whatever, but I felt it's like, oh, I think this could be the worst lyrically.
[00:51:03] Speaker E: I'm sure a lot of it's not great. That's why I've been given fives, just because I can't really tell one way or another. This one was okay. I gave it a little bit more, but I couldn't easily give it a five again. But I did understand some stuff. I'm glad we got this, just because we get very little new stuff. Even though this is not really new at this point. It's, what, seven years old? It's not brand new. It's new to us because we don't know who they are. I don't think it's bad to get something like this, to expose our old selves to stuff like this, because we don't really seek this out. We wouldn't even know this existed if the wheel didn't pick this.
[00:51:33] Speaker D: What I like about it is that it's different.
[00:51:35] Speaker C: I didn't know them. I don't think so. I mean, you would think you would know, like, oh, yeah, I've heard of that. Because it's just so common. It sounds so common, the name. I'll ask my son tomorrow because he always says, what you guys get.
[00:51:46] Speaker E: Oh, Como. He's gonna be like, what?
[00:51:48] Speaker C: Don't forget too, though. A lot of this stuff gets exposed on social media. So for all we know, one of these songs could have blown up, like on TikTok or. Yeah, you never know.
[00:51:58] Speaker E: It's possible.
[00:51:59] Speaker D: Stranger Things.
[00:52:01] Speaker E: No, Stranger Things is all the 80s.
[00:52:03] Speaker C: They're pretty pure, what they use.
[00:52:05] Speaker E: All right, Sav, why don't you do your thing?
[00:52:08] Speaker C: We are part of the Deep Dive Podcast Network and the Boneless Podcast Network.
[00:52:13] Speaker E: Boneless, you know, like those chicken wings without the bone.
[00:52:16] Speaker C: Again, Great bunch of guys both took us in right away. If you want individual podcasts about bands, check them out. You got Rush, Judas Priest, Tom Petty, you name it, it's probably on there. So like I said, check them out. And mark, where can they find us?
[00:52:28] Speaker E: On the Interwebs Rock Pod. On the social media, go to rocklabpodcast.com. do the polls, do the merch. You know what to do. Put us on your auto Downlo download so you get us every week. And do five stars wherever you rate your podcast, because that helps us out next week we get to finish off Coco Mo and see what the second half sounds like. And I think in general it's a discovery for us, which is always cool. Regardless of whether it's stuff we possibly would have known, we know bands of or in our time frame that we didn't find. This is just new stuff for us. I think it's always good to have new stuff. Even if you don't like everything that's going on, you can appreciate certain parts.
[00:53:04] Speaker C: Yeah, there's good bones. There's definitely some good bones here. I think the production is where our biggest gripe is. I mean, Frank's been given sevens mostly, so he doesn't even have a gripe with that.
[00:53:15] Speaker E: Frank loves this.
[00:53:17] Speaker D: I do because it's so unique sounding and when you think about music in that time frame, everything sounds the damn thing but this really standing out for that era. So loving it.
[00:53:28] Speaker E: Okay, guys, we'll see you next week.
[00:53:30] Speaker C: Ciao. Ciao, Mo.
[00:53:34] Speaker E: Later.
