Episode 190 - Firehouse - Hold Your Fire - Part 1

[00:00:05] Speaker A: 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 B: 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 a 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 as we always say, everybody who takes this trip of discovery and rediscovery with us, we want to thank you so much. Keep listening, pass the word, tell us what you like, what you don't like and we promise, we listen. Tell us an album we can add to the wheel. Maybe we don't have it. We can always pull an audible. We love doing stuff like that. We are a trio as we have been for a while. We have Frank. [00:01:53] Speaker A: My name is Frank. And I'm sexy. [00:02:07] Speaker D: Hello everybody. [00:02:09] Speaker C: We got Mark. Oh hi Mark. [00:02:11] Speaker A: What's up guys? [00:02:12] Speaker C: And I'm Sam. Ciao Buena sira. Last week we wrapped up Diver down by Van Halen. Frank and I were a little disappointed. Mark, believe me, I understand where you're coming from. I'm sure there's bands that I'm fan of that I may say, hey, this may not be whatever, but I still like it because of who it is and whatever. The two originals on the second side, Full Bug and Little Guitars definitely very good. Straight up Van Halen songs to meet the two best on there covers that weren't bad as far as I can say. My least favorite of the David Lee Roth era. What's your take Mark? [00:02:45] Speaker A: Overall in that era it's not my most favorite. I like most of the original songs. I don't hate the covers. I'm not gonna go say hey, this is my favorite album. I find good things on it. I could see why people don't like It. It's a lot of covers and some weird stuff that maybe if you're a straight ahead Van Halen fan, you don't like. I think overall it's okay. It was very rushed, so I give them a little bit of leeway. I wish it was better. I wish there was more originals on there, but we only have 12 days or whatever it is. Do it. You gotta do what you got to do. Pick up some songs, and it may not be the most exciting or interesting Van Halen record. [00:03:18] Speaker C: I do agree, but I didn't really know the backstory going into it. I thought there were so many covers because they were incoherent at the time, clearly. I mean, that wasn't the case. We know it was because Pretty Woman hit. They told him, hey, get your ass in the studio. Based on that, I will absolutely cut them some slack. Overall, I'm not a massive. Oh, my God, Van Halen, you know, I definitely consider myself a fan. I mean, it's a band that I can listen to a lot of songs from. I'm like, okay, didn't hit the way it did. I know what the story is, so it is what it is. Frank, what's your overall take overall? [00:03:46] Speaker D: The same fan sentiment, I think. When we first started listening to this album, I just was like, wow, this is not good at all. But after learning about the backstory of wow, okay, here you have a group that was tired, forced to doing an album that they didn't want to do in the first place, and then given a timeline of 10, 12 days to get it done, and they managed to still pull a top hit out of it. It's pretty remarkable, and it just speaks to how talented they are, how amazing they are. I took this album as, hey, I really hate it. To like, wow, Okay. I respect what they had to accomplish to get there. Is this something that'll be listening again? Probably not anytime soon, but it's definitely something that if I see it, it's there. I'm gonna listen to it and appreciate it a lot more than I did before I knew that backstory, we get [00:04:29] Speaker C: to spin the wheel again, which is always incredibly exciting. But before we spin the mama wheel, we spin the baby wheel with New [00:04:35] Speaker D: Betsy In a world where new music is not easy to find. [00:04:43] Speaker A: Welcome to New Bets. Okay, here's the new Betz wheel. [00:05:10] Speaker C: Cool Dogs are All in now. The Kanye Reeves band. I've heard of them. I've never heard anything by them. [00:05:17] Speaker A: I know nothing. I know who the name is. I know he's in the band. That's all I know. [00:05:21] Speaker C: That's all I know, too, Frank. What do you know about these dudes? [00:05:25] Speaker D: Very little. They existed in the 90s into the early 2000s. That Keanu Reeves in there, that's some success in that. During that time frame. Their music is typical 90s. I heard a couple things which I like. Curious to see what this sounds like. [00:05:39] Speaker C: Me too. [00:05:39] Speaker A: All right, here it is. Dog Star all in. Now. [00:06:11] Speaker B: You get burned. You think by now that you have learned that there's more here than you can you keep B everything. Always try your best to please but sometimes things are better than us. Run away from hold till tight until I live. Keep you warm at night without the fire. No one save your life tonight it's up to you to do what's right by your heart Whatever is left you can flip it upside down Helps you get from lost to found in the world we riding by your side there nothing to lose you got all in now you go by now this was what it should be. Myself breaking free Would it come to be? [00:08:27] Speaker C: Not bad. Short and quick. I think it's a song that if I listen to it more, it'll grow on me. The more I went on, the more I liked it. I like the production. Very raw. Bad. What'd you think? More? [00:08:38] Speaker A: Yeah, I think it was bad. That solo is very the Edge. [00:08:41] Speaker C: Yes, I was gonna say that too. I agree. [00:08:43] Speaker A: It wasn't bad. It's very alternative. It's very early 90s sounding. Production sounded pretty good. The drum sounded like real drums, I thought sounded pretty good. I don't know if I like his voice that much. Other than that, I thought it was good. [00:08:53] Speaker C: As it went on, I liked it more. He has a little bit of that whiny stuff that I'm okay with. Not too bad. Frank, what'd you think? [00:09:01] Speaker D: I liked it a lot. I love the bass playing. I love that retro sound that kind of reminds me of something you hear on college radio station. Not overly produced, just raw. Like you said. I heard a little bit of the muse. [00:09:13] Speaker C: Right. [00:09:14] Speaker D: I hear a little bit of that. Yeah, I liked it. Good pick. [00:09:17] Speaker A: Once in a while, the little wheel pick something good happens. If you like it, Shout us out on social media, let us know. And let's rubber stamp this. [00:09:25] Speaker D: In a world where new music is [00:09:29] Speaker A: not easy to find. Welcome to new bets. [00:09:44] Speaker C: Now we get to spin the mama wheel. As usual, we do our round table. Start with Frank. Frank, What? What are you thinking? What do you want? [00:09:51] Speaker D: Something of a throwback, early Seattle sound. Talking about late 80s, early 90s. Like. Like a Mud Honey kind of group. That's what I'm hoping for. [00:10:00] Speaker C: Seth, I'm not gonna ask what I usually ask for because then maybe we'll get it. Been a. It's been a tough week. Today was a tough day. So I'm. I'm looking for something heavy. Something good and heavy. Mark. [00:10:09] Speaker A: I don't know. I'll say 80s because I think I want some 80s. Good 80s, though. I don't know what that constitutes. [00:10:14] Speaker C: Like Pretty Boy Floyd good. [00:10:16] Speaker A: Oh yeah, exactly. About Firehouse. That would be great too. [00:10:19] Speaker D: I know you do like them. [00:10:20] Speaker A: Oh, I love Firehouse. All right, here's the wheel. [00:10:45] Speaker C: We've got 80s in the 90s. I think that's a good way of describing this. Firehouse, hold your Fire. Second album. I know for sure. I like one song on here and it's the first song. This could be a Tiger Tales thing where. Hey, I really love that first song. The ballad is very famous on here. You'll know the ballad for sure. I don't think it was as big as the first ballad. Which one of our co stars, if He Ever Comes Back was his wedding song. The ballad was a decent hit off this as well. I don't know the rest. I wasn't a fan of Firehouse. That wasn't crazy about his voice. Right. May he rest in peace. I remember the production being very trebly. I think this was the beginning of something here. I remember them kind of standing out as a production. That trebly loud thing where we weren't too, too crazy. I could be wrong. It's been years. I can't even tell you the last time I heard anything from this record. Mark, do you know anything about this? [00:11:34] Speaker A: I know about them. I was never a big fan of their songs. They're catchy and that's. I can say for me, this is everything that's wrong with late 80s hair, metal, metal, whatever you want to fucking call it. It's so formulaic. It's just so whatever. It's the opposite of Van Halen. Total opposite. There's not very many chances taken. They don't take chances, just it wants to be bubblegum, whatever. At that point, I kind of hated what it turned into. And I was happy. Grunge came out and kicked its ass, put them all into the ground. But there were bands in the late 80s I did like. I liked Warren in the late 80s. I like Guns and Roses in the late 80s. I mean, this. Bands I like. This is not one of the Bands. And his voice can be a little more slaughterish for me. So high and he has a big rang. I was never a fan. And how did it know to pick? How did it know that I was gonna hate this so much? I have no idea. [00:12:23] Speaker C: It gave you Van Halen last week. Maybe not the greatest of Van Halen albums, but it gave you something. [00:12:28] Speaker A: Frank's gonna love this more than the Van Halen record. [00:12:31] Speaker D: I'm gonna live every minute of seeing you being tortured through this. That's what I'm gonna love. [00:12:36] Speaker A: Oh, Jesus. [00:12:37] Speaker C: Frank, how well do you know Firehouse? [00:12:39] Speaker D: Very little. Probably the hits, like, the two of you know, that's about it, really. I'm just gonna enjoy having to listen to Mark sit through this. [00:12:47] Speaker C: Mark, ca first album was released in 1990. So they are not late 80s. This is like Tiger Tales. [00:12:53] Speaker A: Oh, boy. [00:12:53] Speaker C: Like turn of the decade. [00:12:55] Speaker A: I count them as late 80s. I don't know why. Whatever. It sucks Anyway. This is 1992. It spent 30 weeks at the top 200 albums and number and peaked at number 23. It went gold. Maybe I don't know what the fuck I'm talking about. [00:13:09] Speaker C: You like what you like. And I mean, this was 92, right? This is the beginning of the grunge era. Give them credit for still holding on and being able to carry that flag. I mean, what else was really going on in 92? [00:13:20] Speaker A: Oh, Nirvana was gigantic. All the grunge stuff was big. [00:13:23] Speaker C: No, this. I'm talking about this type of music. [00:13:25] Speaker A: Oh, no, this was dead. Pretty much, yeah. The mere fact that they had any kind of hits, I guess you have to give a little bit of credit. By June of 92, when this was out, Grungy had taken over all the record stuff, mtv, all the radio. The mere fact that this was released and got some kind of play and got 500,000 sold. I guess it's the people still holding on to that. Maybe. [00:13:46] Speaker C: I think they were still on MTV as well. [00:13:48] Speaker A: Well, the band is CJ Snare on lead vocals, keyboards, Bill Levity on guitars, Harry Richardson on bass, and Michael Foster on drums. Recorded 91 to 92, released June 16, 1992. All right, well, this is the first song. This is Reach for the Sky. [00:14:21] Speaker B: Well, I'm in love I make my living all the rest My life is lonely But I was born to need no one oh, always on my own. My gun is loaded I'm a six shot I'll pull the trigger so you better watch your block Looking out for number one so you better take this piece of advice make your move Stick them up Keep your ass good Reach all the sky I will shoot you down in the brink of the night Reach the sky it's nowhere to run it's nowhere to hide Reach the sky I've got the Temo use on these ways Reach for the sky. [00:15:48] Speaker C: Mark, I defer to you first. What do you think so far? This one. [00:15:51] Speaker A: I hate that intro guitar sound with all that chorus. It's not even good chorus. It sucks. This is such a stock song. You can know exactly where everything is going as soon as the parts start coming. That pre chorus with a shift is a key right there. That's just. This is why it died. It died because this is what it turned into. A super pre predictable song. Is it horribly bad? No. I mean his voice seems okay. I don't like the production at all. It's really weirdly. I don't like it. [00:16:21] Speaker C: This is what the first album sounds like as well. I thought this was a good song when it came out. It has that Uncle Tom's Cabin thing. I will say it here. Uncle Tom's Cabin is a better song. You know what I'm saying? That little thing and then that. The way the guitar kicks in. I don't like the chorus. I like the verse more than the chorus. Not being a fan and hearing this song is like. Oh, like I remember telling that Nick because he was a fan. I said, oh, you know that. That sounds pretty good. Like I thought it was pretty good. Not bad. Don't know if I like it now as much as I did back then. [00:16:50] Speaker D: Pretty stock like Mark said. That whole acoustic going into electric. I mean. Pretty popular during that. You know, during the 80s. Nelson used to do it really well too. Shocking that they had success. It's okay. [00:17:00] Speaker A: Do I have to read the lyrics? I guess I have to intro. While I'm an outlaw I make my living on the run My life is lonely But I was born to need no one Always on my own Verse one My gun is loaded I'm a six shot heart attack I pulled the trigger so you better watch your back Pre chorus Looking out for number one so you better take this piece of advice make your move Stick him up or kiss your ass goodbye Chorus Reach for the sky Or I'll shoot you down in the blink of an eye Reach for the sky there's nowhere to run Nowhere to hide Reach for the sky I've got the drop on you so raise him high Reach for the sky Wanted dead or alive Wanted dead or alive Is it me or Is it just very similar in the lyric department? [00:17:42] Speaker C: I was thinking more of the scream. Cuz I'm an outlaw running from the rest Nobody buys my story that I shot in self defense. [00:17:53] Speaker A: Okay. I don't know that song. [00:17:54] Speaker C: It's. It's a good song. It's pretty good song. It's kind of got that western theme. I agree. But this is more of a. A lone guy gunfighter kind of thing where that's more of a wandering minstrel in the west. [00:18:06] Speaker A: A much better song. Let's continue. [00:18:15] Speaker B: I got a reputation yeah, the mask is good. I'm living on the highway Moving on from down to town Better do it my way Shoot you down looking out for number one so you better take this piece of advice make you move to pick a muppet or kiss your ass goodbye Reach for the sky Or I will shoot you down in the blink of night Reach the sky there's nowhere to there's nowhere to hide Reach me for the sky I got the jack on you to reach hey, we draw the sky. [00:19:29] Speaker C: I like that little breakdown. That was something different. I don't think this song is terrible. [00:19:33] Speaker A: Is it? [00:19:34] Speaker C: Wow. No. But again, not being a fan and finding something that I liked, I was cool with it. Do you like this little breakdown mark before what will probably be a song solo? [00:19:44] Speaker A: The breakdown wasn't bad. That's the most interesting part of the song. I can't get over the really fizzy sound that's going on here. The guitar sounds so fizzy. I don't like it. [00:19:55] Speaker C: It's very similar to the sound of the first. When I heard the first one, I thought it sounded odd. There was no bottom to it. I felt that makes any sense. [00:20:03] Speaker A: And who could have predicted that they were going to do that little clean part in the verse? It's so stock. What does everybody do? Let's put it in this song. Let's put it on all our songs because that's what we need to do. Well, let me read verse two. Well, it showdown. This is what I do for fun I got a reputation yeah I'm the fastest gun I'm living on the highway Moving on from town to town Better do it my way Or I will shoot you down And I assume we're gonna have solo here. Pre. Course is the same. Course is the same that's my only saving grace he's gonna repeat a lot of. I won't have to read a lot of words. [00:20:36] Speaker C: That's good. [00:20:36] Speaker A: I'm gonna back it up a little bit. And here's the Solo. Here we go. [00:20:46] Speaker B: Sa. Fast enough. [00:21:27] Speaker C: What'd you think of this song? [00:21:28] Speaker A: It's competent. It could be any guitar player from the 80s or early 90s in this genre. I couldn't tell you who he is, but he sounds like. And Frank Bad Van Halen. Breakdown right after the solo. [00:21:39] Speaker C: There it is. I'm a bit confused. I'll tell you about the lyric. When you read it, are you feeling [00:21:45] Speaker A: a bit embarrassed for them? They tried to do that and it didn't really work out the way they wanted it. [00:21:49] Speaker D: I'm embarrassed for them at every angle from the opening rip. So this part right here. [00:21:55] Speaker A: There's docking parts in here, I hear. Under the solo, it sounded like docking a little bit that clean. Even his playing was a little darkening. It's so blah. It's so boring. It's boring and predictable. It is what it is. Just like all the things that I've heard that they've done before. Maybe they'll shock me somewhere else down the line. You know exactly where this song's going. You knew exactly what was going to happen after the song solo. There's no guessing. [00:22:18] Speaker C: Do you want to read the next [00:22:19] Speaker A: set of lyrics so you think you're fast enough? Haha. Go for your guns, baby. [00:22:25] Speaker C: Yeah, go for your guns, baby. Like baby. All of a sudden I'm saying, wait, is this about gun fighting or is this who's baby? [00:22:34] Speaker A: No, it's not about gun fighting. Shoot you down in the blink of an eye. You know what he's talking about. Come on. He's in a shooter down in the blink of an eye. [00:22:43] Speaker D: Semen is. [00:22:45] Speaker A: Is another kind of milk. You know what it's about? [00:22:48] Speaker C: Yeah, I guess so. [00:22:52] Speaker A: As I say with a lot of this stuff. Is it competently played? Yes. Can they play their instruments? Yes. Were they probably better musicians technically than most of the gruns and post grunge that came after this? Yes, but that's about where it ends. The musical competency doesn't really mean anything if all you're doing is recycling and rehashing so, so blatantly. There's very little original here. I don't know how everyone else feels about that, but for me, there's nothing original here of any kind. Not even a little. That little break in before the solo is about the originalist thing there. Really? Yeah, but it's very boring. Well, let's finish it out. Here we go. I'm gonna play Frank's part again. [00:24:09] Speaker B: Sky there's nowhere to run, nowhere to hide Reached above the sky I've got the depth on you to raise away Reach for the sky. Roaring for the sky. [00:24:42] Speaker C: Are you guys have both have your hands up. [00:24:44] Speaker A: No, you can go first. [00:24:47] Speaker C: Here's the deal. I don't know where it's gonna go from here. I'm gonna say five in production, six on everything else. Lyrics of four. I don't know what's coming. That could be my highest rated song. [00:24:59] Speaker A: Mark four in the lyrics, I guess. Five on the melody, six on the music. The arrangement is his just stock arrangement. I'm gonna say six and production five. Is it a horrible song? No, but really, besides his voice, would you know what band this was? [00:25:16] Speaker C: I might because of the production. [00:25:18] Speaker A: Take the production out of it. And his voice would you know what band this is? It could be any band. That's. That's where the problem is, Frank. [00:25:25] Speaker D: I'm gonna get the production a7. It's produced the way that it's supposed to sound. You know, the music I actually do like, even though they kind of copy a lot of different styles in there. But I'm gonna give that a seven. A seven melody. I'll give a six lyrics a five arrangement. I'll give that a six. [00:25:40] Speaker C: Listen. Not a terrible start. [00:25:43] Speaker A: This is probably gonna be the best thing on here, but we'll see. [00:25:46] Speaker D: No, is it? [00:25:47] Speaker A: I don't know. Savino only liked one song and that was it. [00:25:50] Speaker C: I don't like the ballad on here. I know that. I was never a fan of the ballad, but I. I don't know anything else. [00:25:54] Speaker D: The ballad's usually the third song. That. That's the formula here. [00:25:57] Speaker C: It's the fifth. [00:25:58] Speaker D: Oh, all right. [00:25:59] Speaker A: They're bucking the trend. See, they're not copying everything, so, you know, they're not doing the third song and the fifth song. We'll change it up. [00:26:04] Speaker C: Third song was 80s. This is 1992. [00:26:07] Speaker A: That makes sense. [00:26:07] Speaker C: See? [00:26:08] Speaker A: Yeah, there it is. Okay, next one. Rock youk Tonight. [00:26:33] Speaker B: Soul. Let the rhythm go to your head. Gotta get up, you gotta make your move. Gotta give it everything that you got. Make your play we're going all the way and tonight we just can't stop. Come on, get ready. Well, if you let it learn sundown. Come on, get ready. Are you ready? We going to come wild tonight? Oh, we're rocking tonight? We're gonna rock you tonight. You know it feels good? You know it feels right. So we're gonna rock you tonight. [00:27:39] Speaker C: His voice is very much shorter in this one. I would say this is a number two song on an album like this. [00:27:46] Speaker A: I don't know what to say. That intro with all the voices. Very deaf. Leopard ish. Just not as good. I don't like the chorus melody at all. The verse melody is a little weird too. I don't know. But again, you know exactly where this is going. You knew it was going to happen in pre chorus. You knew was going to happen in the chorus. There's no surprise surprises here. This is now, whether this is what they do or this is what the record company wanted, I do not know. It's not very inspiring. Listen to this. You might as well just go put something off from 1987 or 1988 that's better. I'm surprised. This sold 500,000 copies in 92. Tell you truth. [00:28:19] Speaker C: First album was big. And I mean, I think that song we just heard was a decent enough hit. And the ballad was. Once you hear the ballad, you'll know it. I don't know if we're going to get it to this episode, but if we get to it, you'll know it like that. Definitely pushed it over the edge, man. [00:28:33] Speaker D: In the beginning there Hurt Ace Freely into the Night. Go into Un Skinny Bop. Going to Warren. Go into Slaughter, man. I hear them all in there. Yeah, it's definitely stock. Lay here, we'll see how the rest of it goes. [00:28:48] Speaker A: This is why I hate this. This is why I hate this. It's everything that's wrong. And again, this is why this music died because it turned into this. Whether this is their fault or not their fault, I don't know. I always treated Firehouse at the beginning of the end. When I heard Firehouse, I went, oh, we're fucked up now. Seriously. I remember coming out and going, I don't like this. Not that it's badly played or badly sung. It's just so generic and so stock. It turned into, you know, the stuff in the mid-80s was. It was actually a little interesting. And then as we got past like 87, 88 to 89, you just had bands that just played stuff like this. Bands like Danger Danger. There were some bands that were still better than this. This, to me, like Frank says, you hear all the other bands there, they don't have a personality of their own short of the singer. The singer does have a voice that's sort of unique, which is a good thing for me. It's unique in the way that Mark Slaughter's voice is unique. He's a good singer, but after a while just grates on me. It's too high or something weird happens not to speak ill Dead. Because that would suck. But I never liked this when it was new. I definitely don't like it now. Okay. Intro We're Gonna Rock youk. Yeah. Verse 1. Stand up and get on your feet. Just throw your hands in the air Feel the beat down in your soul. Let the rhythm go to your head. That. That's just a bad verse. Just bad. You got to get up, you got to make your move Got to give it everything that you got. Make your play. We're going all the way tonight. We just can't stop. Pre chorus. Come on, get ready. Well, if you're ready then let's turn down the lights. Come on, get ready. Oh, we're going to get wild tonight. Chorus oh, oh, we'll rock you tonight. We're going to rock you tonight. You know it feels good, you know it feels right. So we're going to rock you tonight. All right. And I'm not averse to lyrics this way. [00:30:26] Speaker C: It's just. [00:30:26] Speaker A: They're just, ah, something. That chorus too, the are you ready? Parts. That was a little deaf leopardy too, wasn't it? [00:30:32] Speaker C: I'd have to listen to it again, probably. [00:30:34] Speaker A: I have to hear it again. Unfortunately, I have to continue with this. Let's go. [00:30:48] Speaker B: Turn it on, turn it up, Turn it inside out. Get the cool down in your shoes Going te this down. Come on, get ready Then let's turn down the night. Come on, get ready. Are you ready? We going to get wild tonight? Tomorrow we'll rock you tonight. We're going to rock you tonight. You know it feels good, you know it feels right. So we're going to rock you. [00:32:19] Speaker C: I don't hate it. I don't know that I necessarily would go back to it, though, as a song. I think that mid-80s me may have liked it more when it first started. I really didn't like it. It's. It's good hair metal, 80s background noise kind of deal, if that makes sense. I mean, does it stand out? [00:32:36] Speaker D: No. [00:32:36] Speaker A: Again, could be anybody. Guitar solos played competently. Obviously there's finger tapping in there. So that even Halen thing is there. This is a very good thing to get back to back. You hear Eddie Van Halen playing stuff and you hear this, and you can see there's such a gigantic gap between those two things. You would never hear him play that. It's even stock when it comes to that, but not in a good way. All the tapping is there and all the flashing is there, but what's missing is the swing and the feeling that they just don't have again. Is it fair to compare to this guy, to Eddie Van Halen? Probably not. He's not really trying to do anything different. Even the guitar solo stock, and I know what's coming up now is going to be pretty stock too. I'm sure I can almost anticipate what's happening next. Verse two. [00:33:19] Speaker C: Ooh. [00:33:19] Speaker A: On your mark. Get ready, get set. Come on, everybody, let's go. Gonna get wet, gonna make you sweat, make you lose control? Gonna turn it on, turn it up, turn it inside out? Get the groove down in your shoes. Gonna tear this damn place down. Same pre chor guitar solo. And now we get to the inevitable. What's going to happen after the solo? [00:33:39] Speaker C: What do you think of breakdown, which is drums and vocals? [00:33:41] Speaker A: Uhhuh. I don't even know this song. And that's what's going to happen. [00:33:45] Speaker C: Let's see. We called it. [00:33:53] Speaker A: Oh, my God, Frank. [00:33:56] Speaker C: Were you expecting that? Were you waiting for that? [00:33:58] Speaker D: Of course. The anthem middle. That's what I call it. Like, everybody stands up and just chant so long. [00:34:03] Speaker A: Oh, my God. All right, let's continue. [00:34:11] Speaker B: We'll rock you tonight? We're gonna rock you tonight. Oh, we'll rock you tonight? We're gonna rock you? We're gonna rock you, we'll rock you. Hey. We're going to rock you tonight. You know it feels good, you know it feels right, so. We're going to rock you tonight. Come on, everybody, you know it feels good. We going to rock you tonight? Rock you tonight? Rock you tonight. [00:35:36] Speaker C: It is what it is. I don't think it sucks. When I listen to it, I'm like, okay, it is what it is. I've heard worse. [00:35:43] Speaker A: There are so many pieces of other songs in that song, I can't even count. I heard things I don't even remember now. I heard riffs, I heard parts. I'm like, what the. I can go first. I think foreign. The lyrics for in the melody, are they competent musicians? Yes, six. Is the arrangement okay? I guess. Yes, six. Production, five. It's still really fizzy and very trebly. I'm not a big fan of that. There were better production techniques than whatever's going on here. [00:36:13] Speaker D: Frank, Production still is seven. Everything else, I'm gonna give a six to arrangement the lyrics. Not crazy, but I'm gonna give that a five. Melody, I'll give a six. Chorus. I'll give that a six. [00:36:26] Speaker C: Seth, I'll say four in the lyrics again. And five and everything else. I mean, I gave sixes on the first one, and I Think that's a better song? I don't think this song is terrible. It's, you know, it's. It's fine for what it is. It's a decent hair metal song. [00:36:40] Speaker A: Frank is so frazzled, he made his own category up. [00:36:43] Speaker C: What do you say? I missed it? [00:36:44] Speaker A: Chorus. [00:36:45] Speaker D: Oh, my God. I'm sorry. [00:36:47] Speaker C: Yeah, that's all right. [00:36:48] Speaker D: That's all right. [00:36:48] Speaker A: He's only done, like, 70 albums. You think he would know the categories by now. [00:36:53] Speaker C: That's okay. That's okay. He improvised. Man. [00:36:58] Speaker D: You know what I meant. You know what I meant. [00:37:01] Speaker A: Somebody's got to improvise because obviously that's not happy hair. All right, here's the next one. Sleeping with you. [00:37:24] Speaker B: They say I know this is right Because I feel it deep in my heart they say we all wild we should wait for a while Nothing's going to keep us apart I don't think we live any s so we can't give up we can't give in Because I love this joy and they keep it out oh, when it feels ar so I'll be sleeping with you tonight we'll be together tonight I don't care if it's all right I'll be sleeping with you Sleeping with you tonight. [00:38:21] Speaker C: I like that main riff that. If I'm again mid-80s in someone's backyard drinking illegally, and this is pumping, I'm probably okay with it. [00:38:35] Speaker A: There was no illegal drinking ever happening. There's no video, there's no pictures. No one knows anything. [00:38:43] Speaker C: God, are there videos? I hope not. [00:38:46] Speaker A: No one could afford a video camera back then. There's no video happening. [00:38:50] Speaker C: Nobody could carry a video camera then because they weighed like 500 pounds. [00:38:53] Speaker A: This is true. [00:38:54] Speaker C: We didn't have the many things yet. And obviously phones you couldn't do. Well, we didn't have any phones, let alone phones that could record. That's what I say to myself. I'm like, ah. Kind of grooving to it. From a critical standpoint, I probably would have skipped these last two songs already. Not because they're bad. The melodies aren't bad. The playing isn't bad. It's not bad. This reminds me of the time in my life where I had already stopped listening to this. It puts me back in that, thinking about the stuff that I was listening to already. Is it terrible? No, it's harmless. I guess that's the best word. [00:39:28] Speaker A: Harmless is a word for it. I don't think the riff at the beginning is horrible. It gets into the verses and it's just so. I don't know. I'm not a fan. And I hadn't stopped stop listening to this because I think I was still listening to stuff and there were still things that I thought were okay. Again. Got to this point where it was just the same, samey same. There was a lot of bands who were trying to still make it in 1990 not knowing what was going to happen in a year. So no one really knew when they were recording this. They didn't know that this was going to happen. They were going by what was selling before. [00:39:56] Speaker C: This is a formula for them. Okay, so think about this. If I go to I want to say that, you know, baby, don't treat me bad. This is that version of this song. This is the version of that song. That's what I hear in my head. For work for you once I was like, hey, let's do it again. [00:40:12] Speaker A: The chorus sounds very eerily similar music wise, and I guess that's okay if you're going to copy yourself. I guess if you're going to copy anyone, copy yourself more the same man. [00:40:21] Speaker D: Just hearing everybody else's music in here. It was a hit hit album for a reason. I guess it just brought back some nostalgia to a lot of folks and that's why they listen to it. I don't think I'll be listening to this after this review. [00:40:31] Speaker A: It sucks. I have to listen to this now. I have never listened to this. Over 30 years I've avoided this record never having listened to this. [00:40:37] Speaker C: We've heard worse on this podcast. We've heard stuff, debated, stuff by people we thought would be better, and it's harmless to me. It's background music. When the first album came out, I wasn't a big fan of that either. They never hit a chord with me. I don't know the first album song by song, but I'm hearing that pattern. It would really have to be something different and unique for me to say, oh shit, like this doesn't sound like the first one. I'm digging this. I think it's just a matter of Is it catchy? Where does it take me? [00:41:04] Speaker A: To the streets. That's where it takes you, to the streets. Verse 1 well, I don't care what they say I know this is right Because I feel it deep in my heart they say we're young and wild we should wait for a while but nothing's going to keep us apart Pre Chorus But I don't think we're living in sin so we can't give up, we can't give in Because Our love is strong and it can't be wrong oh, it feels so right Chorus. So I'll be sleeping with you tonight we'll be together tonight I don't care if it's wrong or right I'll be sleeping with you Sleeping with you tonight Even that last chorus part, you knew exactly what he was gonna do there. [00:41:36] Speaker C: I didn't realize the words. [00:41:38] Speaker A: It's horrible. [00:41:39] Speaker C: But living in sin I'm hoping he's [00:41:41] Speaker A: gonna change my mind somewhere along here that he's gonna come up with something that we're gonna go, Oh, I never expected that. We're three songs in already, and I just don't think that's gonna happen. It's just gonna be formula. Late 80s, early 90s hair metal. That's all it's going to be. And maybe that's all he wants to be. Listen, I'm sure he had a career for a while after this. [00:42:00] Speaker C: This went gold in 92. [00:42:02] Speaker A: I know. [00:42:02] Speaker C: You know what else came out in 92? Rage against the Machine, Core Dirty by Sonic Youth, Little Earthquakes by Tori Amos, Dirt Wish by the Cure, Sweet Oblivion by Screaming Trees, Cop, you know, Sugar, Copper Blue. I mean, this thing still sold gold. You got to give them credit. Whatever they did, at least in part, worked for them. In an era where this stuff is [00:42:24] Speaker A: out, there are 500,000 people who are holding on to 1985 that are still going. We need this music. We don't like this grunge shit. We don't like this other music. We need to have our metal be like this. [00:42:36] Speaker C: Yeah, but think about it. After this, those people are gone. [00:42:40] Speaker A: Yeah. [00:42:40] Speaker C: I don't know what album we'd have. Probably have to look it up. What hair metal album released. The latest. Soldier, the best. I'd be curious. Maybe I'll even look that up. [00:42:50] Speaker A: This has got to be the end. It's got to be. [00:42:52] Speaker C: Yeah, it's got to be around there. [00:42:53] Speaker A: Mid-1992. Got to be. All right, let's continue. Here we go. [00:43:13] Speaker B: Right thing to do I don't think we live in a sin so we can't give up we can't give My love is strong on the Cameron. When it feels right so I'll be sleeping with you tonight we'll reach it together tonight I don't care if it's all right I'll be sleeping with you Sleeping with you tonight. [00:44:14] Speaker C: That was very 70s, that solo. I thought, that last part. Especially that. Whatever. It was almost 70s disco. What do you think of it, Mark? [00:44:21] Speaker A: It was competently played. Whatever I Can't keep bashing it because how much can I bash it? It is what it is. If I keep doing this, this episode is gonna be four hours long of me bashing this band. Verse 2 so let's give it a try I know we'll get by because our loves enough to see us through well we take a chance we can make it last I know it's the right thing to do Pre chorus, Chorus solo. Now we got some kind of bridge. Let's see. [00:45:09] Speaker B: Sleeping with you tonight we'll be together tonight I don't care if it's wrong or right I'll be sleeping with you so I'll be sleeping with you tonight we'll be together tonight I don't care if it's all right I'll be sleeping with you Sleeping with you tonight. Sleeping with you Sleeping with you tonight. [00:46:06] Speaker C: Harmless. [00:46:08] Speaker A: The fade out solo is pretty good. Yeah. [00:46:10] Speaker C: Native Tongue by Poison 93 sold over 1 million copies. [00:46:15] Speaker A: Oh, okay. Well, that's cuz it's Poison. [00:46:17] Speaker C: Yeah. [00:46:17] Speaker A: If anyone's going to have a chance for that happen, I would assume poison would still. 500,000. 92 is pretty good for this kind of music. Yeah. [00:46:23] Speaker C: 500,000 now is great. [00:46:26] Speaker A: Yeah. Seriously, Frank, why don't you go first? [00:46:29] Speaker D: Do I have to go first? For me, the production is going to be pretty consistent. Consistent. They were going for a certain sound, they wanted a certain style. The production delivered that. So I'm gonna give that a seven. The music, I'm gonna give a seven. Arrangement. I'll give that a six. The lyrics. Okay. On this one I give that a six. Actually, I'll give the rest of the way sixes. Zeb. [00:46:49] Speaker C: I'll say five on the lyrics, I'll say six on the melody. I mean, it's a little bit more catchy than the last one. I'll say five on the production again, I guess six on the music. Like the solo. I like what he did with it. Six on arrangement. It's fine. There was nothing out of focus. Let's say as far as arrangement. Mark. [00:47:06] Speaker A: Five on the music, five on the melody. His solo at the end I like better than the solo in the middle. I'll say six. Arrangement wise, it's arranged very straightforward. Everything that you think is gonna happen is gonna happen. So I guess on that point they're doing a good job that way. It's just so boring that it's every song the same six. And then I still don't like production. Still five. I just don't know what production style this Is whatever it is, I don't like it. And now we're on to your Too bad. [00:48:02] Speaker B: The second time I looked your way I knew that you had kill tales written all over your place so the way you misbehave is criminal but it only makes me want you more and more Go to plan to play it for your own damn good Just like you should you're too bad to play it for your own damn good to play it for your own damn good. [00:48:51] Speaker C: Too bad for it's so good. Here's what I'll say. I don't think that mean riff is bad. It's very stocky, but it's not bad. You take that riff with a different production, think of like Electric Boys or I Don't Want. I want I say Badlands in my head, but I don't really think Badlands. I'm probably thinking, but kind of like that groove, but with a different kind of production. And I think we may be talking about a different song. [00:49:20] Speaker A: The riff isn't bad. It's just can't swing correctly. This is when we were talking last week about Van in a swing. There wants to be a swing here, but there it's not a swing. It's very stiff. Even though the riff isn't bad. Too bad. And I don't like his voice in this at all. [00:49:36] Speaker C: No, that verse yet. [00:49:38] Speaker A: I hate his voice in this song so much. [00:49:40] Speaker C: It's a bit rough. Like you said, this is where you need that swing. You need it and it's not there. This is too. When people talk about Peter Chris's drumming, that he added some kind of swing to Kiss that you and I have seen when we watched people play Detroit Rock City covers and we're like, not there. It's not there. They don't do what he does. If you play that song stiff, it loses out. And I think maybe that is what's going on here. [00:50:03] Speaker D: Ah, man, this is one too far for me. Probably my least favorite so far. I'm not digging it. I'll just leave it at that. [00:50:09] Speaker A: You know what it sounds like, Frank? You know why think of this riff but played by Guns N Roses with Steven Adler playing drums. It would be a totally different song. [00:50:18] Speaker D: All right. [00:50:18] Speaker A: It wants to be that dirty swingy stuff that Guns did very well. And here it's very stiff. And I'm not even saying it's the drummer's fault. Does it has no swing. And that's where it loses out. Not that would make it thousand times better, but it would have been a Little bit better. You might not hate it as much. [00:50:34] Speaker C: There's no warmth to it either. That's what's missing here, too. A riff like that needs a little bit of warmth. Even old school Aerosmith doing this. [00:50:40] Speaker A: Yes. There would be a swing there a little bit. [00:50:42] Speaker C: That's what's missing from this riff. That was very typical in 80s records. You know this riff, as soon as [00:50:50] Speaker A: it came on, I went, oh, boy, [00:50:53] Speaker C: he's got the cowbell going to me. And we talked about this too, with the production, with. With Kokomo. Kokomo. Kokomo. Was it Kokomo Kokomo, which is a song and which is the fucking band. But whatever. You and I were just railing on the production. This is it. Songs like this, they need that bottom end, and it's not there now. [00:51:10] Speaker A: If for it to get so bad now that Frank's like, I just don't know what to do here. It's already jumped a shark for him now. Okay. Verse one. When I first laid eyes on you well, I knew that you were trouble and you're too good to be true the second time I looked your way I knew that you were gu. It was written all over your face pre chorus. Well, the way you misbehave is criminal but it only makes me want you more and more Chorus. You're too bad, too bad for your own damn good oh, you should never act just like you should. You're too bad, too bad for your own damn good Too bad for your own damn good. This song is too bad for its own damn good. [00:51:44] Speaker C: And it's disappointing, too. Sometimes when you hear something there, you think about the production especially. I know. Let's see what happens as it goes on. [00:51:51] Speaker A: All right, let's continue. Here we go. [00:51:58] Speaker B: Oh, no right from wrong. You keep an eye on Jesus dealing. Let's go slow down the road your evil, wicked, nasty way the devil will catch up with you and put you in your place where the way you misbehave is criminal but it only makes me want you forever. Sam. Hey. [00:53:30] Speaker C: Yeah. I'm not feeling his voice in the song at all. [00:53:33] Speaker A: I'm not feeling this song at all. Guitar playing he's good. He has chops. He has the 80s guitar hero chops again. [00:53:41] Speaker C: I'll say the same thing as I say with the other ones. I don't think they're terrible songs. I didn't go back to it then. [00:53:48] Speaker A: It is what it is. I will read verse two. Well, you don't know right from wrong. You keep lying, cheating, stealing and the list goes on and on. With your evil, wicked nasty ways the devil will catch up with you and put you in your place. Pre chorus. Chorus, guitar solo. And then I guess whatever this bridge is going to be. Hey, you know you're always up to no good. But I like that. And then I guess we're going to have an outro chorus. And have you noticed that the phase have been really quick at the end? [00:54:14] Speaker C: I haven't noticed. [00:54:15] Speaker A: Just like, oh, let's get out of this song fast. [00:54:18] Speaker C: Yeah. [00:54:19] Speaker A: All right, let me back it up. Here we go. [00:54:26] Speaker B: Hey, I know you're always up to no good. Baby, you know that you're too bad you bad for your own damn good Too bad for your own damn good. You're too bad. [00:55:14] Speaker C: Was that good for you, Mark? [00:55:17] Speaker A: It was too bad. You go first. [00:55:19] Speaker C: Four on the lyrics, four on the melody, five in production. I'll say five of the music. I was gonna say six. I think that's a good riff. It's nothing mind blowing, but I think the production. And did I do melody yet? Because if not, I'm gonna do four in the melody. I don't like the melody. I think that somebody came up with a good riff. They stocked around it and they had no choice because the production is going to. To be the production. They did the production that I wanted to hear with that riff. It would have completely stood out. I know there's bits. [00:55:48] Speaker A: There's bits here, but I'm doing the exact same thing. 4 in the lyrics, 4 in the melody, 5 in the music, 5 on arrangement, 5 on production. The riff isn't bad. It just has no swing. It can't go anywhere. It just sits there. It's too straight. Whoever's problem that is. I don't know. I haven't noticed the bass player in this whole time. [00:56:07] Speaker C: I have. I haven't even thought about the bass. [00:56:09] Speaker A: But yeah, the bass is just whatever. [00:56:11] Speaker D: Frank, I'm gonna do seven on the production and I'm gonna do four on everything else. [00:56:16] Speaker C: It's. [00:56:17] Speaker D: It's just not a very good song. Mark, you hit it. It's like my shark jump. What is this? [00:56:22] Speaker C: Maybe. [00:56:22] Speaker D: Perhaps because it needs a ballot in this slot. Maybe that's what's throwing it off. Definitely my least favorite song. [00:56:27] Speaker C: Oh, it's coming. [00:56:29] Speaker A: I was gonna say. So here it is, Frank. When I look into your eyes. [00:56:48] Speaker B: I see forever When I look in your eyes All I've ever wanted I always want you to be mine. Let's make a promise to the the end of time we'll always be together And I love never die so here we are face to face. I want you to know we will never be? That wishes can come true? Cause I see my whole world I see only you? When I look into your eyes I can see how much I love you and it makes me realize When I look into your eyes Eyes I see all dreams come true When I look into your. [00:58:05] Speaker D: Ey. [00:58:19] Speaker C: Here's the deal. First and foremost, that initial progression obviously reminds me of Faithfully. So I kind of would have been like, the rest of the song doesn't, but that progression does. And we're like, ah, that's a little too close. Maybe played slightly differently because they don't really use it in the verse. I don't think it's as good as Love of a lifetime. It's an 80s ballad, without a doubt. I'm sure that this had a massive, massive reason why the album sold gold, because I'm sure you guys remember this song. I mean, it was a decent hit. [00:58:47] Speaker A: It reached number eight on the Billboard Hot 100. [00:58:49] Speaker C: Give it credit. [00:58:50] Speaker A: So this is what positioned this album. I assume it's stock ballad. It is what it is. I heard the Faithfully thing at the beginning. I went, oh, it's not better than Love of a Lifetime. I don't really like that song. But this is not as good. It's still very super stock. It could be anybody's ballad. [00:59:07] Speaker C: Competent. [00:59:08] Speaker A: It is competent. [00:59:09] Speaker C: It's a competent ballot. [00:59:10] Speaker A: It's competent ballot. [00:59:11] Speaker C: That's what it is. [00:59:12] Speaker A: That's the best I can say. It's competent. [00:59:14] Speaker D: Yeah. [00:59:14] Speaker C: It's got the formula, give them credit again. In an era where this stuff was really, really dying, it kept him afloat. I've never been a fan of this song. Do I think it's terrible? No go. It's fine. [00:59:26] Speaker D: I think that Journey's legal team fell asleep at the wheel on this. How the heck did they manage to bypass lawsuit? I really thought, wow, that is Journey. [00:59:38] Speaker C: I think it's more the progression, though, than the notes. That's really what it is. Like, I think Faithfully is higher, higher notes. And I think this. It's just that progression. [00:59:49] Speaker D: Maybe you're right. Maybe. [00:59:51] Speaker C: Oh, I know what I meant to tell you, Mark, in the last song, do me a favor, and I'm announcing it here, and Frank is a witness. If ever, ever I write lyrics to a song and I rhyme heart and start, you have permission to fucking punch me in the face. Okay, okay, I'm saying it here. I will sign any legally binding Document done. Frank is Witness. [01:00:12] Speaker D: I am Witness. [01:00:13] Speaker A: Heart and start. You don't like that, huh? [01:00:15] Speaker C: Oh, my God. I knew from the start you'd have my heart. I knew from the start you break my heart if I ever. Unless it's something really, really good. You're like, I want to, but damn, that's good. [01:00:26] Speaker A: Yeah. Okay. I'll make sure that's going to happen. Yes. It's the best I can see Frank [01:00:30] Speaker C: is Frank Beer's witness. [01:00:33] Speaker D: Are you kidding me? I already put into the AI to remind me. [01:00:37] Speaker C: There you go. [01:00:38] Speaker D: I wonder what this song would sound like if you were to rerun it [01:00:40] Speaker A: in AI it probably sounds the same exact thing. It come out exactly the way went in. [01:00:47] Speaker C: I would think so. [01:00:48] Speaker A: If you told AI to write me an 80s ballad, this is what comes out. Firehouse. [01:00:52] Speaker C: And I'm telling you, that production's a little bit moderny. The guy who produced this. Produced. Why don't you dream theater? [01:00:57] Speaker D: The production nailed it. It sounds like it's supposed to sound and what they wanted. [01:01:01] Speaker A: Yeah, you're giving the production way too much credit. [01:01:04] Speaker D: I think they did a good job. [01:01:05] Speaker A: First one. I see forever When I look in your eyes. You're all I've ever wanted. I always want you to be mine. Let's make a promise till the end of time we'll always be together and our love will never die Pre Chorus. So here we are. Face to face and heart to heart. I want you to know we will never be apart. Are you sure you don't want to rhyme those two? [01:01:23] Speaker C: You heard that, right? That's you and my face. [01:01:27] Speaker B: Wow. [01:01:27] Speaker A: I didn't even notice that. That's bad. Okay. Now I believe that wishes can come true. Because I see my whole world. I only see you. Chorus. I look into your eyes I can see how much I love you and it makes me realize. When I look into your eyes I see all my dreams come true. When I look into your eyes. The sentiment is nice. [01:01:45] Speaker C: Yeah, of course it is. It's a ballad. And give them credit. They didn't write heartbreaking ballads. They wrote loving ballads, which is always cool. Love of a lifetime, I'm sure was used in many a wedding. I'm sure this was probably used in many a wedding. [01:01:58] Speaker A: Pretty positive. Yeah. [01:01:59] Speaker C: Give them credit. This song kept them afloat in a time where these bands were drowning. [01:02:03] Speaker A: Drowning or drowned? Drowned is more like it. [01:02:07] Speaker C: Yeah. Yeah, exactly. [01:02:08] Speaker A: Most are, obviously, except for Firehouse and Poison. The only two people who weren't drowned yet. [01:02:12] Speaker C: Def Leppard adrenalized. I think was 92 as well. [01:02:16] Speaker A: Yeah, well that was coming off Hysteria though. [01:02:18] Speaker C: That had some hits though when you think about it. An MTV was still playing them. [01:02:21] Speaker A: No, I'm saying is the reason why is because Hysteria was so big that the anticipation probably drove a lot of sales into that. [01:02:28] Speaker C: Yeah, but they took a long time too though. Think about it. I mean that could have been dead in the water for them too. I mean they. God bless that flipper takes a long time between albums. Well, I mean they did have two tragedies between Pyromania and Adrenalize. [01:02:40] Speaker A: All right, let's continue. Here we go. [01:02:46] Speaker B: Alive. Now that I found you you will never say goodbye can't stop this feeling there's nothing I can do Cuz I see everything I look at you When I look into your change I can see how much I love you and it makes me realize When I look into your eyes See your dreams come true When I look into your eyes. [01:04:00] Speaker C: I actually like the way the solo came in. It didn't come in right away. Held off a little bit. Good solo again. Very competent ballad. It's not a bad song, right? It's a loving song. What else to say? [01:04:12] Speaker A: The solo wasn't bad. In and out, in and out. It was very Neil Sean like, which makes lots of sense for the way the song started. It's very similar to what would happen there. [01:04:22] Speaker C: How long is this song? [01:04:23] Speaker A: Four minutes exactly. [01:04:24] Speaker C: Oh, is it okay? Four minutes. You can get away with a 92 for a radio song. Quick solo. This is going to be released? [01:04:32] Speaker A: Yeah, it would have to be. [01:04:33] Speaker C: There's a lot resting on this ballad. Let's see if people so latch on to this. [01:04:37] Speaker A: Verse 2. I've looked for you for all my life now that I found you will never say goodbye I can't stop this feeling there's nothing I can do Cuz I see everything and I look at you Solo. And now let's play the chorus out. Here we go. [01:05:02] Speaker B: When I look into your eyes we will always be together. When I look into your ey See all my dreams come true When I look into. [01:05:46] Speaker A: Sweet little song Journey. Get the legal team out. Frank go first. [01:05:51] Speaker D: Oh man. It's a ballad production. I'm going to give a 7. Be consistent there now for the rest of it. It's a ballad. It's not bad. Like we all said, it sounds a little bit like journ 8. I'm going to give the music on this one a 7. The lyrics, cheesy 80s 90s ballad song lyric. I'm always big on the cheese. I'm going to give that a six. Arrangement. I'll give a six. Melody. I'll give a six. Seth. [01:06:14] Speaker C: I've never been a fan of this song. I probably wouldn't listen to it if it came on the radio. I'm going to judge it the way Frank judges things sometimes, which is for what it is. I'm going to say sixes across. I think the production actually kind of of works in this instance. Am I a massive fan? No, but like I said, it's a competent ballad. I don't know what else to say. Mark. [01:06:34] Speaker A: That's what you say. Competency. I'm gonna give it five just for the hard apart thing that you pointed out. [01:06:41] Speaker B: Wow. [01:06:42] Speaker A: New. I'll give everything else a six. I think the production does work for this song. This is the only one I've given anything over a five to. [01:06:49] Speaker C: Me too. [01:06:49] Speaker A: It's so standard, so stock. You know exactly what's gonna happen again, like the whole record. This is a record of what has been done. How can we follow a formula that's been done from everyone else that's made everyone a lot of money? [01:07:02] Speaker C: And hey, it worked. I don't know what happened on the next album. I don't know how many albums they have, but I know just. I was looking quickly at the discography. They made Firehouse 3. You know what I did or whatever. [01:07:12] Speaker A: No clue. [01:07:13] Speaker C: It worked. The gold in this era works. You have to say that it worked for them. [01:07:17] Speaker A: Okay, we're at the end of the first side. And this is get in touch. [01:07:46] Speaker B: You write me a little chocolate mine you won't love to hear you anytime, anywhere. You know that I'll be seeing you before too long I keep it good when I get back home, I swear. Oh, yeah, Anywhere I need your touch so much When I miss you every night and day I can't get enough. Even though you're miles away Think about you every day I just got have to get in touch with you. [01:09:06] Speaker C: Two things. One, in the beginning, I would say mark the record. Skipping two, is that Pour Some Sugar on Me or what I was gonna say. Right. [01:09:14] Speaker A: And then that vocal at the beginning, that is so Def Leppard. [01:09:17] Speaker C: Oh, my God. But I mean, that is right. I mean, just played differently. But it's Pour Some Sugar on Me. [01:09:24] Speaker D: Or it could be Sticky Sweet by Motley Crue. [01:09:26] Speaker A: Oh, yeah, that too. [01:09:28] Speaker C: But again, that goes to show how stock that band. And that is why, if we get to Dr. Feelgood, I will tell you how stock some of that is [01:09:41] Speaker A: I will take that stock over this stock all the time, every day. I'll even take the Mle Crew doctor Feel Good stock over this. Because at least I know that guitar playing wise, I'm going to hear McMars and he's going to. At least. Even if I don't look like the song that much, he's saying saves it for me. [01:09:57] Speaker C: I will take Pour Some Sugar on Me over this. This. [01:10:00] Speaker A: You're right. It's Pour Some Sugar on Me. It's sticky sweet. [01:10:02] Speaker C: It's now when you hear that riff played with this production and the way he sings is like, dude, somebody should have been like, hey, Def Leppard already released an album this year. It's called Adrenaline. Well, I don't know if they released it before this or after. [01:10:16] Speaker A: Yeah. Between the background vocal and the ref. I mean, wow. [01:10:21] Speaker D: Like we've been saying all along, you hear so many different sounds from different groups, and it's very stock. It's a better song than. Than we heard before. For me, as far as originality, and I'm not crazy about it because there [01:10:35] Speaker A: could be stock in a good way, and then it can be stuck in a bad way. This for me, and I've always felt this way about Firehouse. It was stock in a bad way. [01:10:44] Speaker C: They had the stock ballot before this, which isn't terrible. They had that rift that you and I were saying was good, but the production, I mean, that was stock, stock. But it's not. The production harms it, without a doubt in this. Because like I said before, there's no soul in this production whatsoever. There's zero soul. It's just high. It's all treble. Maybe because of his vocals. Because his vocals are so high. Maybe goes along to kind of match it. I'm not sure the first record sounds the same guy can sing to always like what he does. No, there's a lot of striper, too, in this. I meant to mention that before. Even the way it starts with the gang vocals or whatever is definitely like striper in some of this. And I almost pictured Michael Sweet singing some of the stuff, but Michael Sweet is one octave lower, I think, and it helps it a little bit. [01:11:25] Speaker A: Intro get in touch well, I just got to, got to, got to, got to get in touch. Wow. Verse 1 Write me a letter, drop me a line you know I'd love to hear from you anytime, anywhere well, you know that I'll be seeing you before too long I'll give you good love and when I get back home I swear you know that here or there or anywhere I need your touch so much I miss you every night and day, day and I can't get enough Chorus. Oh, even though you're miles away I think about you every day I just got to get in touch with you and when we're lying skin to skin I realize how long it's been I've just got to get in touch with you oh, yeah. Bad lyrics. The next verse is even worse. [01:12:04] Speaker C: Oh, I can't wait. [01:12:05] Speaker A: Here we go. [01:12:13] Speaker B: Espresso. Yeah. Don't you know that here or there Anywhere I need your. I guess I even know you're miles away I think about you every day so I just got to get in touch with you now When I realize how long it's been Watch your step to get in touch with you do you know I got to get you, baby Watch you step to get in touch with you. Sam, [01:13:57] Speaker C: I think the solo is my favorite part. They kind of broke into a little bit of a unskinny bop thing there, I think, too. [01:14:02] Speaker A: I saw it wasn't bad. Again, it's a competent guitar player. He can play. He has technique. I don't hear any bad notes. It looks like he chooses his notes. I don't know how composed these are. My assumption is very composed. It doesn't feel very much any off the cuff is happening here at all, which sometimes that's good and sometimes that's bad. Neil, Sean's made a career out of not off the cuff. It doesn't have to be off the cuff. And that verse, oh, boy. I'm gonna read it, but I don't know what. Why he made the one line, the end of the second line. Oh, I need your love and I need your sex I wish that you can send it to me. FedExpress. Why wouldn't he just say FedEx? [01:14:35] Speaker C: I don't know. Maybe because he thought it wasn't long enough. I have a better question for you. [01:14:39] Speaker A: What's that? [01:14:40] Speaker C: Why did he say it at all? [01:14:41] Speaker A: Well, that's a whole nother story. Oh, it's fucking bad. Oh, yeah. I'm talking overnight. Well, you can telegram or telegram. Did they still have telegram in 1990, 92 or whatever? You can telegram or fax me. It doesn't matter at all. You know, you got my number. You can give me a call anywhere. Oh, yeah. And then there's that same part of the second pre chorus, whatever that thing is. And in the chorus and then the post chorus, girl, you know, I've got to get in Touch oh, baby I've just got to get in touch with you wow. Touch me solo, which was okay. And now are we gonna have it again with. Is this gonna be bass and vocals and drums. We're gonna hear the bass player finally. [01:15:21] Speaker C: Could be. I heard him there, though. [01:15:24] Speaker A: Yeah. It's the first time I've even noticed he was on his record. [01:15:27] Speaker C: Yeah, Honestly, me too. I don't know if he's just down in the m. The way the production works. [01:15:31] Speaker A: Probably both. [01:15:32] Speaker C: Yeah. [01:15:32] Speaker A: All right, here we go. [01:15:55] Speaker B: Hopping around. [01:15:57] Speaker C: Take [01:16:00] Speaker B: only one thing that I need and that is we touch good. Even though we are miles away I think about you every day I just got to get in touch with you. Hey. I realize how long it's been I just got to get in time to do Whether you can ride me let up me or not I love to hear from you every time. I just got to get. Home I just got to get in touch with you do you know I've got to get. I just got to get in touch with you. Got to get. [01:17:34] Speaker C: Yeah. You called it. There's a little bit of guitar. There was mostly bass and drums. That after the chorus, I'm disappointed he didn't mention, like, pony express and pigeon mail, too. You know what I mean? Let's go way back. Western union. [01:17:47] Speaker A: Morse code. [01:17:48] Speaker C: Yeah. [01:17:49] Speaker A: I'll read the bridge. I don't know why oh, yeah Touch me, touch me, baby, I've been around take me down, you know there's only one thing that I need and that's your sweet touch, girl. Even that part wanted to be bluesy. I don't like when they do that incorrectly. It just sounds bad. It's as bad as the other thing with no swing. It's the same thing. [01:18:08] Speaker C: Yeah. [01:18:09] Speaker A: I just don't even know what to say. I think this might be the song I hate the most on this record. [01:18:14] Speaker C: Yeah. This is my least favorite song. [01:18:15] Speaker A: I'm gonna give this fives across. Dude, like his guitar playing, he can play between the sticky sweet, pour some sugar on me guitar riff and the lyrics. I heard the bass. He obviously can play bass, too, because I was like, wow, look, bass player. [01:18:27] Speaker C: He did a little something something frank. [01:18:31] Speaker D: I don't hate it. I just can't get into it because it just doesn't feel original. Sav, what did you giving it on this one? [01:18:37] Speaker C: You want me to go first? I'll. I'll go before you. [01:18:40] Speaker D: Yeah, you go first. Yeah, yeah, yeah. [01:18:42] Speaker C: I say a three on the lyrics, a five in the production, and four on everything. It's way, way too stock for me. Mark, when you talk about formulaic, I mean, this is that thing. You can do it and you can do it well. I just feel like this wasn't their thing. It just sounded too formulaic for me. And this one, really, this is by far my least favorite on the record. So. All right, Frank. [01:19:09] Speaker D: Production. I'm going to give this six the production. Everything else, I'm going to give fours. There was nothing original here. They just took other people's work and repackaged it. Re gifted it and gave it back to us. Not great. [01:19:21] Speaker C: There's 12 songs in this album, right? [01:19:24] Speaker A: That's a normal record. 12, 6 on the side, 10, 11. It's not long. [01:19:29] Speaker B: Yeah. [01:19:30] Speaker A: It's just so stock through the whole thing. How much can you deal with it? That's what it comes down to. If you like this music at this point or you're really into the hair metal thing that you take anybody's music and you don't really care. Listened to this. I had certain things that had to be a certain way. I didn't like all the bands just because they were in this genre. Once you get past like the second generation of those bands, it starts to become this. It sucks. They are company. Can they play? Can they sing? He can sing. I think I even like Trickster in Danger Danger more than I like this. This is way worse for me personally than those two bands are. All right, I've been tortured enough on this episode. Why don't you do your thing? [01:20:11] Speaker C: We are part of the Deep Dive Podcast network and the Boneless Podcast Network. [01:20:15] Speaker A: Boneless, you know, like those chicken wings without the bone. [01:20:18] Speaker C: Like I always say. Great bunch of guys took us in right away. If you want individual podcasts about bands, unfortunately, Firehouse, I don't think it's on there. But you will find Tom Petty, Zeppelin, Maiden, Queen, you name it. Everything else is probably on there. So check them out. And Mark, where can they find this? [01:20:34] Speaker A: On the Interwebs, Rock with that pod. On all the social media. Rock with their podcast. Podcast.com. do the Polls, do the merch. You know what to do. Put us on your auto download and rate us 5 stars wherever you rate your podcast because that helps us out. Next week I will get some more torture and have to listen to side two of this and we'll see what other bands they sound like and what other stock bullshit is going to happen. [01:20:54] Speaker C: You never know, man. Might find a diamond in the rough. [01:20:57] Speaker A: I doubt it very highly. I would hope so, but I don't think so. After this thing, I doubt very high this is going to change. [01:21:04] Speaker D: Yeah. [01:21:05] Speaker A: All right, we'll see you next week. [01:21:07] Speaker C: Ciao. Ciao. [01:21:08] Speaker D: Take care. [01:21:09] Speaker A: Later.