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 C: Foreign.
[00:01:15] Speaker A: 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 a trip with us to Discovery and Rediscovery every week, we really appreciate it. Spread the word. We are a trio. We have Frank.
My name is Frank.
[00:01:50] Speaker D: And I'm sexy.
[00:01:58] Speaker E: Hello everyone.
[00:01:59] Speaker A: Yeah, Mark. Oh, hi, Mark.
[00:02:01] Speaker D: What's up guys?
[00:02:02] Speaker A: And I'm Sad.
[00:02:03] Speaker E: Ciao buena therap.
[00:02:05] Speaker A: Last week we did Coco Mo Technicolor Life. Right, Mark? That was the name of it.
[00:02:11] Speaker D: Yes, that's it.
You don't know what it is?
[00:02:13] Speaker A: I forgot it. It was just something so out of the blue. Which is cool because I love how random the wheel can be. I do remember this. Frank gave it some pretty high scores. But Mark, you and I think we're more of some good bones. Definitely some good riffs, some good musicianship. Production, though, is killing it for us because it's got that falls to the wall where everything sounds like it's at 11 distorted.
[00:02:33] Speaker D: Yeah, the brick wall mastering that they did, it really hurts it.
[00:02:36] Speaker A: Brick wall mastering. I like that. I told my son, he's like, what do you think? I said, no, it's a. It's not bad. Some good bones, I said. But imagine someone at the soundboard just pushing all the knobs up and just leaving the room. And that's kind of what it sounds like. After the show, we heard some live stuff. Mark, I know you had one thing of it, but let's just say to leave a basic comment, it sounds better live.
[00:02:55] Speaker D: I think the song's Much better live. I thought it sounded okay. I didn't hate the album so far. I think there's some songs that are good. I think there's some riffs that are good. I think there's lots of stuff that's good. It's really the distortion all the time on his vocal and the production choices and the brick wall mastering where everything's at 10 like you said. Everyone put all the faders up and then said, thank you, good night, and walked away.
[00:03:14] Speaker A: Yeah, it sounds more organic, like. I think the riffs come through the. Everything comes through a little bit more organically. Frank, what's your general take?
[00:03:21] Speaker E: The same. I think this is the kind of group that I would enjoy more watching them live than I am right now, hearing them recorded. I think they do a great job in delivering that fusion of 70s and soul and rock mesh all together. I think they did a great job of doing that.
[00:03:42] Speaker A: Yeah, it's a lot of those influences. So curious to hear what's going to go on the second side.
[00:03:46] Speaker E: Definitely an original sound.
[00:03:47] Speaker A: You think?
[00:03:48] Speaker E: How many times have we said, I hear a little bit of this band, I hear none of this band? We haven't said that.
[00:03:54] Speaker A: I don't know that it's that original, but I don't think it's bad. I don't think something needs to be original for it to be good. I always say, listen, I feel like everything's been done already, so just try to write the best songs you can.
That's what I say about us, too. If we ever start writing again, let's just try to write whatever we think is good and just go with it before we go back to them. We have our new BET section in the baby wheel.
[00:04:16] Speaker E: In a world where new music is not easy to find, welcome to new bands.
[00:04:35] Speaker D: Okay, here is the new bets wheel.
[00:04:50] Speaker A: Three Days Grace Kill me fast I actually saw them live. They're pretty good. I heard some songs I didn't know by them that I added to my playlist, so I'm curious to see what it is, what it sounds like.
[00:05:01] Speaker D: I haven't heard anything new from them in a long time, so I'm curious, too.
[00:05:04] Speaker A: You a 3D Grace guy? You know anything?
[00:05:06] Speaker E: I know that they're playing in our area soon. Maybe I know the hits like you guys, but that's about it.
[00:05:11] Speaker D: All right, so this is Three Days Grace Kill me fast I've tried
[00:05:19] Speaker F: but I still can't read your mind.
Wonder if there was a sign that somehow slipped me by.
If you're right at the Edge or you found someone else Let me know.
Tell me when it's over make me ask Come a little closer then break me like glass if you're planning to go Just don't leave any hope that you're ever coming back Tell me when it's over Kill me quick Kill me fast I'll stay
[00:06:22] Speaker C: sleeping in the bed we made.
[00:06:29] Speaker F: And I hope you know Wait Never
[00:06:34] Speaker C: love no one again not again if you're just at the start and I'm still in the dark Let me know.
[00:06:53] Speaker F: And just tell me when it's over don't make me ask Come a little closer they break me like glass if you're planning to go Just don't leave any hope that you're ever coming back Tell me when it's over Kill me quick Kill me fast.
Go and take what you want Was
[00:07:35] Speaker C: in me all alone yeah, I know,
[00:07:41] Speaker F: I know but tell me when it's
[00:07:45] Speaker C: over
[00:07:48] Speaker F: don't make me ask Come a little closer then break me like glass if you're planning to go Just don't leave any hope that you're ever coming back Tell me when it's over Kill me quick Kill me fast Kill me quick Kill me fast Kill me quick Kill me fast.
[00:08:27] Speaker A: There's someone else singing there, right? I'm pretty sure there's two different voices there for sure.
[00:08:31] Speaker D: I think they do have two lead vocalists.
[00:08:34] Speaker A: Oh, do they? When I saw them, they was only the one guy. I don't think it's bad. I just. I hate the production.
[00:08:39] Speaker D: I can tell you now there's definitely some Tom Foolery going on with the vocals. You can almost hear. If you listen to enough of that, you almost can hear the melodyne or the auto tune. You can hear it. It has some weird top end thing that goes on. I mean, I hate to say that I think almost everybody these days is using that. It's hard to find somebody who's not auto tuning their vocals or melody in their vocals.
[00:09:02] Speaker A: Some of it too is an artistic choice kind of having that sound. I think if this so song had come out in the 80s, we probably would have been all over it. So I think it's. There's. It's catching parts. I'd probably go back to it, but I said just that production I don't understand, man. It minimizes the heaviness of what it could be.
[00:09:23] Speaker D: The problem is, is that everyone's using the same things. They're all using the same drum things, the same guitar things, the same vocal things. Even that, that little break part in the middle. That's. So what happens now? Just the way it cuts off. It's not even like a hit. And then it slowly fades. It stops. A lot of people do that now, so I think it's a choice to sound that way. I mean, still sounds a little New medley from what they are. It's not bad. It's not horrible.
[00:09:46] Speaker A: No, no, not. The chorus is very catchy. I already knew what it was going to sound like.
Frank, what do you think? I don't know.
[00:09:53] Speaker E: I felt like we've heard this song like a thousand times already. It's like Mark says, this sounds the same. It's okay. It's all right. I think there is two vocals, right?
[00:10:01] Speaker A: I guess I didn't realize that they may have had two vocalists. There's definitely two different voices there.
[00:10:07] Speaker E: Your standard cookie cutter song. It's good.
[00:10:09] Speaker D: Well, if you guys like it or you don't like it, let us know on social media and let's rubber stamp this. Here we go.
[00:10:16] Speaker E: In a world where new music is not easy to find welcome to new bets.
[00:10:34] Speaker D: Okay, the next song is Sad and Blue.
[00:10:47] Speaker C: I need protection Every kind of a situation.
I need protection Every kind of situation.
And I was so comfortable that I cannot feel anything Gown.
Well, I'm scared of me Like I'm scared of how true I love Like I'm scared of you Like I'm scared of being sad in.
[00:11:52] Speaker A: I'll say the same thing. Some good bones. There's some soul in there. I like it. I just don't like the production. This song with a nice, warm production, to me, would stand out so much more. I'm not crazy about his vocal choice either. In this one, if he sang it some more soul, I think it would be cool.
[00:12:08] Speaker D: Still using the distortion on the vocal. It's fine. Now, you listen to this or you listen to what we just listened to. This sounds much more fresh. Even though it's a lot older technically, it's not following the formula that we're having right now where it's all the same. Like Frank says, we think we hear the same song over and over and over. At least this has a little bit of differentiation, I think. But you're right. There's definitely a better song here. I think the production, again, does hurt it.
[00:12:32] Speaker E: I like the vocal style, but other than that, I like it.
I understand what the two is saying. The production is not the best, but I don't know. I think the lack of production is letting the song shine for me.
[00:12:42] Speaker A: Let's go.
[00:12:43] Speaker D: All right, let's Continue. Here we go.
[00:13:15] Speaker C: Why do I love her in a bouncy way? And she makes me feel like a doll well, I'm scared of me
[00:13:30] Speaker F: Like
[00:13:30] Speaker C: I'm scared of how true I will kill you Like I'm scared of you and like I'm scared of me you sad and blue Like I'm scared of me.
[00:14:40] Speaker A: Cool. I like the vibe. I actually like that part. It could have done something simpler. I don't know. I kind of like that part still.
[00:14:46] Speaker D: It was fine. I think I got cut off a little too early, personally.
Or it didn't. Maybe extend into the vocal a little bit, which would have been nice. It's just, to me, there's a lot of distortion, the bases distorted, the vocals are distorted, the guitar lots of fuzz. There's just so much of that that maybe this is the choice for this song. Possibly. It's a frustrating listen and it's a tiring listen. You get tired really easy. That being said, I don't hate it. I think it's all right.
[00:15:09] Speaker A: Yeah, it's all right. You're still digging it.
[00:15:11] Speaker E: I am. I think it could be a minute shorter, but it's good.
[00:15:15] Speaker D: All right, we have 40 seconds. Let's play.
[00:15:21] Speaker C: Like I'm scared of heart true I want you be Like I'm scared of you Life I'm scared around me Sad life I'm scared around me
[00:15:41] Speaker F: Like I'm
[00:15:41] Speaker C: scared of how to be Like I'm scared on you Like I'm scared of being shad.
[00:15:57] Speaker A: I bet you that song probably sounds better a lot.
[00:16:00] Speaker D: I don't hate it. I don't hate it.
[00:16:03] Speaker A: It's not bad. None of the songs have been really bad. There's nothing. I'm like, oh, my God, this sucks. No, not at all.
[00:16:08] Speaker D: The lyrics are hard to listen to. I can't listen to all the lyrics. Something I'm scared of you and you I'm scared of being sad and blue Something about that. That's what I got. But all the distortion on it. It's hard to actually make the lyrics out, and they're mixed a little low. Without the words in front of me, it's hard to tell what he's saying. Well, I'm gonna do it first. I'm go five to the lyrics, and I think six on everything except production. I'm gonna do five again. I'm not a big fan of all distorted all the time.
[00:16:32] Speaker A: All distortion all the time.
[00:16:35] Speaker D: I just think some things don't need it all the time, especially the vocal. I mean, I know I'm harping on that. It feels like. I just wish it wasn't like that every song, but maybe this is the choice they made for this record and this is what they were gonna do. Right?
[00:16:45] Speaker E: I can't hear the lyrics. I can't think of the score here, so I'm gonna skip over that. But I'm gonna go sixes across on this one. One. Look, I like the song. The vocal size is the only thing I don't like. And like I said, it could be a minute shorter. Overall. It's all right.
[00:16:58] Speaker A: Yeah, I'll say five on the lyrics could probably go the Frank route as well. Five on production and six on everything. Oh, no, you know what? I'll say six on production. It almost worked for this. I wish it did have a little bit warmer, but as it went on, it didn't bother me as much. In this one, I'll throw the production of Bone and say six on this.
[00:17:16] Speaker D: Okay, the next one is Evening in Paris.
[00:18:43] Speaker A: Not bad. Production sounds the same, but I kind of like the vibe of it. I like the way the two pieces mesh.
[00:18:49] Speaker D: I like to drop some bass. I like that there's no distortion on the vocal. I'm not too sure if I like the melody.
I'm not sure I like the way he's singing it. I appreciate that there's no distortion on the vocals. Guitar's fine. I don't think it's bad. I have to say, though, the more I go through this, the more I do like their style. I just wish it was produced a little different. I think it was a little raw production for them, just being guitar and drums. I think it might be a little. It'd be a little bit better for me.
[00:19:14] Speaker A: To me, the production is, to me, the worst. The worst. And as I mentioned, after we wrapped up last time, we listened to a couple of tracks live. We all agreed that they sounded better,
[00:19:23] Speaker E: a lot better than the previous song, for sure. At the beginning, sounded like it slowed down and sped up and slowed down again. I don't know if that was just the audio on my side. Mark, did you hear that?
[00:19:32] Speaker D: I really wasn't paying attention. I was just happy that there was no distortion on the vlog.
[00:19:37] Speaker A: Dude, it's possible because believe it, quite a few times on this podcast, I've listened to things and I'm like, yep, that definitely sped up and slowed down. So it is possible.
[00:19:45] Speaker E: All right, but. Well, it's pretty good. Think of it.
[00:19:48] Speaker D: All right, let's continue. Here we go.
[00:20:08] Speaker C: Time of the crisis. Damn machine. Guns the angel drinks the devil runs.
Sa.
[00:22:24] Speaker A: I like that part of that. I felt the production actually really worked there for that part. That's cool. That could be my favorite song so far.
[00:22:31] Speaker D: Overall, I would never have thought that from the way it started, the melody
[00:22:36] Speaker A: in the verse was okay. I didn't mind it, but I liked the chorus and then I liked how it went. I like that big loud. Like, it kind of worked for me. Me there.
[00:22:44] Speaker D: I'd like the drums. I thought the drums were the best drum playing overall so far. I just like the beat. Whoever was doing the bass on this, I have no idea, but I thought that was great. It's definitely different. They have a style. It doesn't sound like everything else. I'm not saying it's totally unique. There are good things about it. Frank, you go first.
[00:22:59] Speaker E: I like this one. It was really short, to the point, great sound. I think this was one of the better produced ones. Again, couldn't really hear the lyrics.
I'm gonna go ahead and. Based on what I did understand in the lyrics, I'll give those a five. I'm gonna give production a seven. Music a seven. The melody I wasn't too crazy about. I'm gonna give that a six. And arrangement, I'll give that a seven. Se.
[00:23:23] Speaker A: Yeah. Say five of the lyrics. Seven on the music, seven on arrangement, seven on production, six on the melody.
[00:23:30] Speaker E: Very similar.
[00:23:31] Speaker A: Yeah, I dug that one. I think I may have copied you and I was about to copy you.
[00:23:35] Speaker E: Yeah.
[00:23:36] Speaker A: Yeah, it's pretty enjoyable.
[00:23:39] Speaker D: Five on lyrics, five on melody, six on music, six on arrangement. I'm going to do six on production. I think for this song, the production worked okay. Next song is VW Lady.
[00:24:06] Speaker C: Left In S Valley Where I played all night I found that I will hold myself tight When I felt like a runaway I felt like around nowhere Amen when you shout to me you're there Enter your kids into my brain Let's r.
Drive me to your highway yes, Bill, go away don't be me down Track me to highway.
[00:25:46] Speaker A: So I'm sure there are people that listen to this and love the production. I just think that the riffs are good. There's some really cool riffs in this song. I'm not too crazy about the melody. I hear the production. It doesn't work for me. I just think when you have those cool, classic sounding riffs, you just need that 70s warmth to go along with it. And this doesn't have it. And I think it could be a better song for me. And this is another One I'm sure probably sounds better live.
[00:26:10] Speaker D: I agree. The riffs are good again. Production is hurting this. I don't understand one word he's saying. I heard a VW lady somewhere in there. He's mixed really low again. Is it because it's a language thing? I don't know. They're trying to hide it. I don't know what's going on. I don't really understand a lot what he's saying.
[00:26:25] Speaker A: Maybe someday we'll read these lyrics. I'm like, oh, my God, what is he saying?
[00:26:31] Speaker E: I wish I just understood what he was saying. That's more than anything else. I like the 70s funk sound to it, the vibe to it. I do understand what you're saying, that you just want that nice, warm sound that goes with it. But honestly, I kind of like it as it is. For me, other than the lyrics not understanding it and the mixing of the voice, this one sounds, I think, more low than the previous songs. I like the music and wait to hear the rest of it.
[00:26:53] Speaker D: Alrighty, here we go.
[00:27:01] Speaker A: There.
[00:27:29] Speaker C: Finally found a real perfect wife she's hot Elves burning G smiling out and
[00:27:42] Speaker F: swim 16
[00:27:45] Speaker C: make some off road in my life Like a real amen when you shine no to me you and blame Enter your kids into my brain let's restart everything.
[00:28:12] Speaker F: Drag me to your highway Be my
[00:28:15] Speaker C: baby Dance Bill don't come away don't bring me down Track me to the highway Be my baby.
Drive me to your highway.
[00:29:19] Speaker A: Drive me to your highway My VW lay down I think that's what he's saying.
[00:29:25] Speaker D: That's the only thing I understood. Yeah.
[00:29:27] Speaker E: Towards the end, he was really getting into it.
[00:29:29] Speaker A: I had a vw.
[00:29:31] Speaker D: I just don't know why the production has to do that. I mean, they had a couple good things. They had that little flanging during the verses. That was cool. But it's so pushed up so high. You hear it when the guitar is by itself, it's so. It's not even overdriven. It's just distorted at the top. Like you said, someone just put the fader up and walked away.
[00:29:48] Speaker A: But I'll tell you something funny. When the guitar is by itself, that is my favorite part of the story, whole album.
[00:29:53] Speaker E: When.
[00:29:53] Speaker A: When those riffs are isolated, that is my favorite part of what I'm hearing. I don't mind it as much. I hear it. I say, okay, now, if the drums kick in, they're not distorted. It'll sound cool.
[00:30:04] Speaker D: I thought, there's a lot of good riffs here. This is more of a 70s vibe than the other stuff has been. I mean, short of production, this could be my favorite guitar riff song so far.
[00:30:14] Speaker A: Yeah, there's some really good riffs in this.
[00:30:16] Speaker D: Why don't you go first?
[00:30:17] Speaker A: I'll say four on the lyrics, six on the music. I didn't really like the melody. I'll say five on the melody. I was going to say four, but I think four is too. I was six on arrangement because, like I said, when that guitars by itself. And he does do a few things and he does this thing in every song where he throws in, like, a few different riffs, which is cool. And five in production, again, I'd almost give it a four because it just pisses me off sometimes. Because there's some really good riffing and there's good musicianship overall, but just that production work.
[00:30:46] Speaker D: 4 on the lyrics, 5 on the melody, 6 on the music, 5 on the arrangement, and then 5 on production. Production. Even though I liked it a lot, I just can't get past the production part. There's lots of good guitar riffs here for a guitar player. And I thought the drums were pretty decent, too. They weren't as distorted, but still, it's a killer, man, because there's lots of good stuff here. I wish I like better. Frank can't.
[00:31:06] Speaker E: I can't score the lyrics. I just can't understand what he's saying. The melody. It's all right. I'm gonna give that a 5. I do like the music. The music. I like to sound the riffs. The guitar playing, the drums are really good. Everything about it. I'm gonna give that some 7 production. I'm going to give that a 6. Arrangement. I'm going to give that A 6 as well. Good song. I just wish I could hear the lyrics.
[00:31:26] Speaker A: That's it.
[00:31:27] Speaker D: Maybe you want to hear the lyrics. Maybe you don't want to hear the lyrics. You don't really know.
[00:31:31] Speaker E: And he got really into it towards the end there. It's powerful song to him.
[00:31:35] Speaker A: I think there's some plants going on in his voice too, sometimes. I can hear it.
[00:31:39] Speaker D: Yeah, there's a little bit of an influence there. It's not a ripoff, but it's. There's definitely. You can hear stuff. The next one is Killing the Kid.
[00:32:00] Speaker E: Hands.
[00:32:01] Speaker C: Love the Guy.
My one Commuter was designed to manipulate Ally.
Now she did.
No, he tries to come back just like that.
[00:33:03] Speaker A: That beginning part, what does that sound like?
Is it Queens of the Stone Age?
[00:33:09] Speaker D: Yeah. Yes.
[00:33:10] Speaker A: I don't know who came first.
[00:33:12] Speaker D: And Queens Estonia came first.
[00:33:14] Speaker A: Oh, did it.
[00:33:15] Speaker D: That was with Dave Gro, I think. That one I believe. And that was in the 90s.
[00:33:18] Speaker E: That is correct.
[00:33:19] Speaker A: Oh, Jesus Christ. Was it the 90s? Dude, I forget sometimes.
Sometimes I don't remember how old things are, and sometimes I think things are older than what they are.
But y'. All. Y' all caught that, right?
[00:33:31] Speaker D: I was gonna say that I like the verses. I do not like the choruses very much. I like the verses because I think it sounds like that song. I'm used to hearing that song, so it's probably why I like it.
[00:33:40] Speaker A: I mean, it's. It's okay. I don't think this one has. At least not yet. Anything where I'm saying theory. Oh, there's good bones. It's production. This one I'm really not feeling so far.
[00:33:50] Speaker E: Yeah, it was funny you said that, Queen of the Stone Age, because I did hear a little bit of that in there. Overall, I'm liking this album. I just wish it had lyrics that
[00:33:58] Speaker D: I understood to say, because I can't hear anything. I can't. I'm just scoring and hoping it's somewhere in the middle. That's all I can really do. I'm not going to give it a zero. Yeah.
[00:34:06] Speaker E: The only thing I found was in French. That's it.
[00:34:09] Speaker D: Well, they're from France. All right, let's continue. Here we go.
[00:34:13] Speaker C: Praise I am now is to kill what I can make you feel
[00:34:24] Speaker F: that
[00:34:25] Speaker C: is what else going to happen?
See that deal?
Yeah. She will be my down and you can't miss out in the bed
[00:34:48] Speaker F: Go
[00:34:49] Speaker C: with your strong heart.
With me.
Ra.
Can give I love her don't learn me how to be a lover say you're too down to.
[00:35:59] Speaker F: Be.
[00:36:20] Speaker A: Something about love her Too young to love her Something about killer Something with
[00:36:24] Speaker D: the COVID I don't know. It's hard to figure out. I do like the vibe. I have to say, the last couple of songs have been a pretty decent 70s vibe. Again, production kills it. And he can sing, obviously, because he hit some notes and stuff that were pretty cool. I guess I'll go first. I'm gonna say five on the music, four on the melody, because part of it I don't like. Six on the music music.
Five on the arrangement. Again, five in production. Maybe this is just the production style for this album. Maybe we'll get another one from them and it'll be different for this one. I'm not enjoying the production, Seth.
[00:36:54] Speaker A: I'll say a three on the lyrics, five on the music.
Five on arrangement, five on production and five on the music. This one just didn't hit with me. This one was a bit messy to me. I did like that one weird thing he was doing with the guitar that weren't. That was cool. And then they do a lot of isolated guitars in the songs. And that usually winds up being my favorite part because riff wise again, there's a lot of good riffs on this album. Right.
[00:37:18] Speaker E: Once again, skip the lyrics.
I can't hear them. Give the music seven Melody a six arrangement. I give a six. Production. I think this is. This is it. This is the production. This is the sound of the album. It's been consistent so far on this side that we heard it. I'm going to give production a 7 because it's living up to the expectations of the album.
[00:37:39] Speaker D: That's one way to look at it.
[00:37:40] Speaker A: Mark and I were both silent there for a sec.
[00:37:42] Speaker D: Yeah. Because we're like. I don't know what he's saying.
[00:37:44] Speaker A: There's going to be people that listen to this and say, oh my God, this sounds so good. Which is cool. Frank, you're digging the production, you know,
[00:37:51] Speaker E: because maybe perhaps that's the sound that they were going for. This is the sound that they want and they were going for. And it's been consistent so far.
[00:37:57] Speaker A: Oh, it's definitely been consistent. That's for sure.
[00:37:59] Speaker E: That signs of a good production.
[00:38:00] Speaker D: I guess you could look at it that way. You also could look at like the production sucks and just consistently sucky.
It doesn't mean just because that's the sound they wanted that it's good. It just means that's what they did. I don't know. Again, there's lots of parts that I like. Let's finish it up. This is the end and this is little fun. Feather.
[00:38:41] Speaker C: But do you really, you know your subject matter.
And even if you draw me better and better.
We're going to climb the cloud
[00:39:02] Speaker D: I
[00:39:02] Speaker C: may be moonshines for you But I haven't shown you my second sight yet and it doesn't worry me because you get all the same.
The most beautiful.
[00:40:15] Speaker A: Mark, you take a digging guitar tone on this one. Like that main riff sound.
[00:40:19] Speaker D: I'm not a fan. I think it could be done better than that. I understand what he's trying to go for. I don't know if it's a Leslie vibe thing or it's a chorusy thing. It just feels like his tone is getting sucked out. I think it could be done better.
[00:40:32] Speaker A: And.
[00:40:33] Speaker D: And this is a production thing too. I don't think I would want it to sound like that. I know that what he's trying to too. And there's a little bit of Zeppelin ish kind of thing going on here. Sorta. I just don't think the sound is great. I think when the band comes in, the sounds pretty good. Doesn't seem as distorted. So I think on this part of it it's okay. I just don't like that sound. It's very thin.
[00:40:51] Speaker A: The funny thing is, is that when it first. First started, I was thinking Hendrix is like, oh, little feather, little wing.
[00:40:57] Speaker D: I was thinking the same thing. I'm like, no, please don't do that. No. And then it just changed. I'm like, fine.
[00:41:02] Speaker A: It definitely does not go back. See to me again, put this song in that kind of tone, in a Hendrix tone, it would be a better song. It's not bad. The chorus is pretty catchy. Just production choice. Just for me. Frank, you digging this one?
[00:41:16] Speaker E: Not as much as the previous two. Not quite sure if this was the best way to end the album. It's an okay song. I think this is going to be the second song that we said. It sounds like X Group. The other one was this sound. Like Queen of the Stone Age. This one here. Savvy said it sounded like Hendrix.
[00:41:31] Speaker A: No, when it first. First started.
[00:41:32] Speaker E: Oh, when it first started. Okay.
[00:41:34] Speaker A: Yeah, like very, very beginning of. Of the riff. I was like, oh, I hear that vibe. And then I was like, no, okay. It didn't really kind of go down that road.
[00:41:43] Speaker E: Not my most favorite one that we've heard so far. Definitely not one. I wish they ended the album on.
[00:41:48] Speaker D: It wants to be a Zeppelin kind of clean tone, I think, but it's just not coming to that level of production. And I think that's really what it comes down to. I don't like it. I don't like the sound. I thought I was going to like it at the beginning and then the more it went on, the less I.
I think the playing underneath it is fine. I don't think the playing here has ever been the problem. I think they got caught up in the loudness thing. I think it's not as raw because the stuff that we saw was much more raw because only two of them playing. So the two person thing, I think you could have done a little bit more of a White Stripes kind of production. I think it would have been better off.
[00:42:19] Speaker A: It just sounds more organic life. I think that's what it is. I think this is organic music. And by that I Mean, it's got some soul to it. It's definitely got some of that classic stuff, too. It. And to me, stuff like that just sounds better when it's not.
[00:42:33] Speaker D: This production, realistically, it's hard to capture the live sound. Very few bands can really do that. Well, this doesn't even feel like that's an option here. Let's continue. Here we go.
[00:42:54] Speaker C: Right Anymore.
Now I have to tell you about this internal.
Sa.
Echo.
I will will finally.
Change me as you will love me now that power.
Change me as you know, in ram,
[00:45:00] Speaker A: I was expecting more, especially for a final. They just came and went. A lot of bands feel that they do kind of end on mellow songs. This one was a little bit more simplistic for them. I am surprised that it is the final track. It was okay.
[00:45:14] Speaker D: I liked when the band came in. I thought it sounded better. And maybe the whole point of having that guitar is like, that's being really low and then it just smashes you. But you could do that with the sound that's better. I just think the tone is not great for me. I think they could have done it better.
[00:45:26] Speaker A: It's not horrible.
[00:45:27] Speaker D: It is what it is. Very mellow ending out. Sav, why don't you go first?
[00:45:31] Speaker A: I don't know what to say on this one. I'm just gonna say fives across. It was okay. I didn't think it was terrible. I expected more from them. If nothing else. I know we kind of bitch and complain about the. Well, you and I have been complaining about the production. They do throw some decent arrangements with different things to go on. And this one is kind of simple. And I just expected more from them. Frank.
[00:45:51] Speaker E: After hearing so many really good songs and original sounds to end here like, this was a big boo.
It was kind of a letdown. The production on this one was pretty much, again, consistent. What we heard. I'll keep that a seven. Everything else, I'm gonna give fives. Yeah. It's just depressing how they ended.
But I gave the production a seven. That's a yay.
[00:46:17] Speaker D: I'm gonna do five in the lyrics, five in the melody. I like the music. I think the music can be better. And I think that they can play very well. So music. I'm gonna get a six. Five on the arrangement and four on production. I do not like that guitar sound. It ruins the song for me. They could have done better trying to get that same sound. And it's a weird way to end. Very mellow. These days, no one really cares that much Put out those songs. They're not expecting anyone to listen to this straight through. I don't think this has been cool. The Wheel does weird. This is an album we probably would never have listened to or found. In that sense, it's cool. It's the discovery part, and there are parts we really like. I wonder if the stuff that comes after this is a little different or they stay in the same vein. I don't know.
[00:46:55] Speaker A: I'd like to hear this album with different production. The production scores would be higher. I would think. Maybe some of the other scores, too. There's definitely some good bones here. Even though the scores overall weren't necessarily the greatest. It's really more about the potential of what's there and being disappointed by the way it sounds, as opposed to saying, this isn't good.
[00:47:12] Speaker E: I want to see them live.
[00:47:14] Speaker D: I do think they have a unique sound. Maybe because they're just two people. That helps out that a little bit. I like the fact that it's not very stock.
[00:47:20] Speaker A: Yeah, I'm glad we heard this. Something interesting.
[00:47:22] Speaker E: I. I just would like to see them live. The few songs that we heard, I really did like live. And I think it's just one of those bands that just sound better live than they do recording.
[00:47:30] Speaker D: It's very possible. All right, Saf, why don't you do your thing?
[00:47:33] Speaker A: We are part of the Deep Dive Podcast Network and the Boneless Podcast Network.
[00:47:38] Speaker D: Boneless, you don't like those chicken wings without the bone.
[00:47:40] Speaker A: Heck, like I say, great bunch of guys took us in right away. If you want individual podcasts about bands, Rush, Tom Petty, Uriah, He, Zeppelin, you name it, it's probably on this. And go check them out. And mark, where can they find this?
[00:47:51] Speaker D: On the Interwebs, Rocklip Pod. On all the social media. Rocklitpodcast.com do the merch, do the polls. You know what to do. Put us on your auto download so you get us every week and give us five stars where you rate your podcast, because that does help the show out. Next week we get to spin again. And who knows what's going to happen? Maybe we'll get a weird thing like this again. Another band we don't know, or maybe something super popular. The Wheel does what she does and doesn't really care what we want. All right, guys, we'll see you next week.
[00:48:18] Speaker E: Bye, guys.
[00:48:19] Speaker D: Later.
