Episode 196 - Mötley Crüe - Mötley Crüe - Part 1

[00:00:04] 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 onto 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. 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 everyone who takes this trip with us is discovery and rediscovery, which is the numbers have gone up. There's been an uptick lately. I don't know if it's a summer thing or just a catching up thing. Whatever it is, we really, really appreciate it. Tell us what you like, what you don't like. Spread the word. Say hey, these idiots, sometimes they're smart, sometimes they're stupid, sometimes they're funny. But just listen to them because they're kind of fun and they enjoy what they do. And we are trio again. We have Frank. [00:01:57] Speaker B: My name is Frank. [00:02:04] Speaker A: And I'm sex [00:02:07] Speaker B: foreign. [00:02:13] Speaker D: To be back. [00:02:13] Speaker C: Hello, we have Mark. Oh hi Mark. [00:02:15] Speaker A: What's up guys? [00:02:16] Speaker C: And I'm Sav. Last week we wrapped up Mammoth's debut album and I think the general consensus with Mark and I was that he's definitely very talented as a musician and he's a solid songwriter. Very good at arrangement. He definitely had interesting things, I think, that went on through all the songs. He was very good at combining parts. The funniest thing was I think Mark, the highest scored song, was probably one was very catchy and one was very mellow. But I mean overall I'd probably go back to it and try to listen to it straight through and try to really get that thing of his where he combines these different parts that are kind of breaking it up and just seeing how it sounds as a whole. What was your overall take, Mark? [00:02:55] Speaker A: I think he's A good songwriter, I think. He plays the instruments very well. He can sing very well. I liked it. I'd be curious to see if we get some of the later albums. What you think about the later stuff? [00:03:03] Speaker C: I'm curious as well. Frank. Did you get a chance to listen to it at all? [00:03:06] Speaker D: No, I did not that at all. [00:03:10] Speaker C: It's okay. Listen, you. You've had some going on, yes? [00:03:13] Speaker A: Yeah. [00:03:13] Speaker C: We're just glad that you're able to join us again. Obviously, we miss you. Something we usually say, but I'm not going to say it. Because before we do something else, we get to spend the Baby Wheel and the New Bets in a world where [00:03:25] Speaker D: new music is not easy to find. [00:03:30] Speaker B: Welcome to New Bets. [00:03:42] Speaker A: Okay, here is the new Betch Wheel. [00:03:56] Speaker C: Man, I can't wait for this. Too Hot for Leather. Show me what you got, Mark. Any idea? I always ask you this. [00:04:02] Speaker A: I assume it's an 80s style song. Just because of the name of the band and the name of the song, I don't know. [00:04:08] Speaker C: Reminds me of Metallica. No Life to Leather. Motley Crue, Leather Records. I can't wait. [00:04:14] Speaker A: All right, let's do it then. This is too Hot for leather. Show me what you got. [00:04:21] Speaker B: What are you waiting for? Go ahead and take your shots. I know you're wanting more. So show me what you got. You're standing here wondering if the feeling is right. You've got to know you're running out of time. I've given you the chance to take me for a ride. So don't make me wait another night. Say it once, you better say it twice. Got it out before it eats you up inside. You won't know if you don't even try. What are you waiting for? Go ahead and take your shots. I know you're wanting more. So show me what you got. Come closer now. I promise baby I don't bite. This tension's got me going out of my mind. Stop playing games. Cause I win every single time. And I'm getting what I want to know. Have you ever had to stand and deliver? I'll make this light in ways you can't deny. I see the fire burning deep inside your eyes. Can you keep telling me don't play nice? What are you waiting for? Go ahead and take your shots. I know you want more. So show me what you got. Now you've gone to take a stand. Say it once, you better say it twice. The night won't start until you turn up the light. You say we'll have the night of our lives. What are you waiting for? Go ahead and take a shot. I know you wanted more show me, show me, Sam. [00:08:26] Speaker C: I think we were slightly off with the expectation. That was pretty good. That kind of remind me of Pleasure bombs, Baby animals. That was pretty good. What'd you think, Mark? [00:08:34] Speaker A: There are pieces there that I like. To me, it just feels like too much different things jammed together. I'm not a big fan of her voice by itself. I thought it was good in the choruses when it was doubled or there were other things going on as a solo voice. I don't really like it that much. I'm sorry. [00:08:50] Speaker C: Frank, what'd you think? [00:08:51] Speaker D: That's a party girl. I love a good song like that, I'll tell you that right there. [00:08:55] Speaker C: Yeah, I thought it was good. [00:08:57] Speaker D: I liked it. Just the title alone caught us. [00:09:00] Speaker A: And I'm glad that it turned out [00:09:01] Speaker D: to be a good song. [00:09:02] Speaker C: Yeah, I kind of dug it, I gotta say. [00:09:05] Speaker A: Yeah, I really do want to like it. And there's parts I like. I just don't know. It feels too disjointed in lots of places for me. They tried to shove everything into the song and that's really my problem. Listen, do I hate it? No. Do I rather listen to this and some of the stuff that's happening, happening now? [00:09:18] Speaker C: Yes. [00:09:18] Speaker A: I just didn't particularly like her voice. I think in certain places, the way it's recorded, maybe. I don't know. [00:09:24] Speaker C: Well, I mean, listen, you can't all agree. [00:09:25] Speaker A: Maybe live is different. Anyway, let us know if you like this, you don't like this, and let's rubber stamp this. [00:09:32] Speaker D: In a world where new music is not easy to find, welcome to New Bets. [00:09:51] Speaker C: Now is usually the time we say, what does everyone want? What does everybody expect? But there's a few albums that we talk about and one in particular came out in 1994. And we're. We've all heard it, but we aren't as familiar with it and none of us really liked it as much as other people seem to like it. So he said, one of these days we just need to do it on the podcast. We'll call an auto and we're getting close to 200. We're thinking of doing a special back to back episode. We don't know about the next one yet because we haven't decided. But for short, tonight we are doing the self titled Motley crue album from 1994. Right, gentlemen? [00:10:28] Speaker A: Yes. Unfortunately or fortunately, I'm not sure exactly how that goes. [00:10:33] Speaker D: I'm saying fortunately, I can't Wait. [00:10:35] Speaker A: Well, Motley Crue is your band. I just didn't think you would like this. [00:10:38] Speaker D: I do like it for a couple of reasons. This was the album that they wanted to depart from that glam sound, just have a cover, completely different style of music that was more aligned to what was being played at the time. The music was great. The production was great. The vocals definitely brought it in. I wasn't crazy about the lyrics, and I wasn't crazy that they kept the Motley Crude name. Honestly, if they would have headlined under a different name, it would have been better. [00:11:04] Speaker C: I remember the lead single coming out. I said, okay, this is different, but it's kind of cool. I bought it. I've tried with this record. I really have tried, especially listening to other podcasts where a lot of people put this toward the top where their favorite Motley Crue records. My opinion, and I've mentioned this before, I am a fan of the first two. I like most of the songs in the first two. And after that, it's really pick and choose. We did Girls, Girls, Girls, and I really didn't give too many high scores on that one. This one, it was before COVID I think last time I listened to it, it's been a few years, it hasn't stuck with me. I'm so curious to see if the way we do this podcast, breaking it up piece by piece, it'll finally sink in. I'm very, very curious, but we've been talking about this one honestly, since probably the beginning of albums that we would like to do. [00:11:51] Speaker A: I don't remember very much about this. I've blanked this out of my memory. For me, Motley Crue, unfortunately, or fortunately, however you would like to look at it, is driven by the sound of the lead vocalist, whether you like how he sings or don't like how he sings. I think Vince Neil is the sound of Motley Crue, and I don't think I ever could have gotten over the change. Not to say that I liked very much stuff from when he came back. I mean, there's a couple songs here and there, but I don't think J Generation Swine is very good. There's a bunch of albums that happened for after that. I just don't. I don't know if I like. This was five years after Dr. Feelgood. That's how long it took. It's a long time. [00:12:26] Speaker C: The music scene had changed. Mick Mars has said this is his favorite record. Obviously Karabi has a bigger range than Vince Neil. Vincio is one of those People that never really had a great voice, but it just fit with what it was. I think that's kind of what it comes down to. [00:12:42] Speaker A: Bob Rock again. I don't know if that always works two times in a row. It didn't really work for Metallica. I. It worked for them either. I think he sometimes gets one good record out of you and then the back to backs are not as good. That's the way it feels anyway to me, unless someone can tell me otherwise, that he's working people back to back. And both the records have been good. I don't remember that being the case in this case. [00:13:01] Speaker C: Maybe you cut him a little slack because Karabi's in. He's a guitar player, He's a songwriter. The music scene has changed, so they're embracing what's going on a little bit more. I think these songs are about different things that they would usually write. [00:13:15] Speaker D: Not only that, it's a complete departure of sound. And absolutely this in all intents and purpose is a different band, but it's the same members that want to be that band. They kept the name Motley Crue. They should have just changed the name. We're going to change the sound. We're going to change the style of music. And like Mark said, when you think Motley Crue, you hear Vince Neil. If this was another band name like Velvet Revolver is really Guns N Roses with Scott Weiland. But they had their success. They had the sound because they changed their name and their style. Do that here. Different album, different success. [00:13:46] Speaker C: I think it sold decently well for what it was. No, I don't know. [00:13:50] Speaker D: It did well in the beginning. They did not. I believe this tour was canceled. If I remember correctly, Dr. Feel Good Selling stadiums and arenas, this one. They were selling much smaller venues at that point. And I think eventually just got canceled out altogether. I don't remember. But I do remember it did not sell as well as Dr. Feelgood. And they just kind of fell off along the way. [00:14:11] Speaker A: This sold 500,000. And Frankie is right. They started off in stadium situation, but it slowly went down from stadiums, 1500, 3000. Then it went down to clubs, and then they just canceled it out. [00:14:24] Speaker D: Clubs? [00:14:26] Speaker A: Yeah, it didn't really do very well. It sold at the beginning, probably because it's Motley Crue and Motley Crue fans are going to buy Motley Crue. I just don't think it ever latched on to the Motley Crue fans who really didn't want to hear this. I think a lot of the People who like Motley Crew wanted the stuff that continued from the late 80s into the 90s, and they didn't want the grungier alternative sound. I think that's a problem. [00:14:47] Speaker D: Yeah. [00:14:48] Speaker A: I don't think they should have changed their name. That's Motley Crue. It's the same thing. Like saying Van Halen should have changed their name because Sammy Hagar was in the band. I don't think that's a smart idea. If you want to sell Even less than 500,000, change your name from Motley Crue to something else. You're lucky. This thing probably would have sold 100,000 copies. It's just unfortunate that they couldn't bridge the gap a little bit. And I don't remember if there are any Bridge the Gap songs, because they could have changed things up, but I think they needed a little bit of a gap from the old to the new and still kept some of the. The old stuff and maybe put some of the new stuff. I remember correctly. I don't think that's the case. [00:15:18] Speaker C: I don't think so either. And I think, too, they didn't want to change the name either, because they had the falling out with Vince. So I think this is a. That's who we were. This is who we are. You change the name if you were like, oh, so you're not Motley Crue anymore. You're this band. I think they said, this is us now. This is what we are. And think about it, the next album, even worse with him back. That's another one. If we ever want to say, like, what the hell? But, I mean, they had started writing material. Some of the stuff on Generation Twine was supposed to be for Karabi. [00:15:47] Speaker A: I heard a podcast where Karabi was on it. He was still in the band. He was still writing music with them. And they brought in Vince Neil back, and he was still in the studio writing music with them. And at one point, they toyed with the idea of both of them being there. It just didn't work out that way. But he was still writing music. I think a lot of this stuff on the next record on Generation Swine had to have started with Karabi, because if you listen to it, you're like, yeah, that doesn't sound like stuff that Vince Neil would be writing or even single singing. Not writing, because he didn't write. I don't think it's gonna be interesting. [00:16:14] Speaker C: Yeah. [00:16:15] Speaker A: I will talk about the players in Motley Crue, but we should all know who this is. Tommy Lee on drums Piano, backing vocals. Nikki Six on bass, piano, backing vocals. Mick Mars on lead guitar, six string bass, sitar, mandolin, backing vocals. John Karabi, lead vocals, acoustic guitar, rhythm guitar, six string bass. Now, I have a question, because I haven't heard. Has anyone heard his stuff in Scream? I've never heard that stuff at all. [00:16:38] Speaker C: I saved one song, which is a lead single. I haven't gone back to it. I know Nick had was him and it was Bruce Boylett from Racer X. Oh, boy. That was kind of like the era of the Shredders going into bands. He did that. Marty Freeman was Megadeth. Jason Becker was David Lee Roth. This era where these Shrapnel guys started going into bands. [00:17:00] Speaker A: Now, was the music in Scream more like this? Like alternative metal, grungy? [00:17:05] Speaker C: No, no, no, no. I. From what I remember, it was more hair metal. [00:17:10] Speaker A: Really? [00:17:10] Speaker C: Yes. [00:17:11] Speaker A: This change has nothing to do with John Karabi and all, with the rest of the band wanting to change it up. [00:17:17] Speaker C: Nikki Sixx has done some different stuff. Tommy Lee, obviously, is into different things, I guess. I don't know. I've never looked for interviews or why they did these things, honestly. Maybe it's just a conscious effort saying, listen, what are we gonna do, right, Dr. Feelgood again with just somebody else singing it. We can't. We need to do something different. And it's cohesive. From what I remember, if nothing else, I think it's cohesive. It isn't where one song is Girls, Girls, Girls, and then the next song is Shout it to Death Devil. The next song is this. No, I think straight Through. It's pretty cohesive. [00:17:47] Speaker A: And it's also following their biggest album ever, which has to be hard. [00:17:50] Speaker D: Yep. That album, I think it was five, maybe six singles to this one that got maybe Hooligan's Holiday. That's it. [00:17:59] Speaker C: Hooligan Holiday was played a lot on mtv. I remember that. [00:18:03] Speaker A: And Misunderstood is the other one. [00:18:04] Speaker D: I believe Misunderstood was the other one. But even still, you had five hits off the previous album. You're selling out arena arenas, and then you land here where you're playing clubs. I didn't know they played clubs. But you're playing clubs and no one is attending. That's rough. [00:18:19] Speaker C: If you do something like this, it's very different from what you do. Odds are you alienate your older fans, like, don't want to. You may pick up some new fans. Maybe not enough to follow you along. It's hard. But you know what, too, though? As artists, you also need to do what you need to do. If you don't Want to write Dr. Feel Good Part 2? Or Girls Girls, Girls Part 2? Then don't do it. What's the point? Because then they eventually they do do it. When you tattoo too. When they go back to that style. And a lot of people don't like that record. I tell you what, I think I hated that record when I first heard it. And maybe the second time I listened to it, I was in the mood for. I'm like, this isn't that bad for what it is. I don't know. I may go back and not like it again. But that was definitely their attempt to get back to that style. [00:18:57] Speaker A: I also thought it was always weird that they had a self titled album this far into their career. I know people do that a lot more nowadays. [00:19:03] Speaker C: I think it's very purposeful. Again, I think it's the break with Vince Neil. It's. That style is different. This is who we are now. This is Motley Crue. I think it was very, very intentionally done. Not because they couldn't think of a title. I think it was supposed to be called something else. One of the songs was going to be it. I think. [00:19:20] Speaker A: If I remember, Till Death Do Us Part was supposed to be what it is. [00:19:23] Speaker C: Oh, really? Okay. [00:19:24] Speaker A: Yeah. All right, let's do this. This is power to the music. [00:20:10] Speaker B: Want to follow they got to put a bullet in my head if they want to keep me down let me get right Power to the music in the streets [00:20:33] Speaker C: as a lead off. Not bad, right? It's got some power behind it. The drumming is good, the production is good. I think at this point, if you're a really big MLY Crew fan, you've really liked everything that came before it. You're probably sitting there going, wait a second. What they did kind of prepare you with Hooligan's Holiday, that was something different. I always thought that this song is one of the better ones. [00:20:53] Speaker A: I mean, it's okay. I don't hate the guitar part. He definitely has a better voice than Vince Neil. Just like I say Sammy Hager has a better voice than David Le Ro. Technically, the chorus is a little weak. I don't particularly like the chorus very much. Is it horrible? No. Is it Motley Crue what I think Motley Crue is? No, I think that's really what the problem becomes. If you could separate yourself from the Motley Crue name, like Frank said, maybe this would be okay. But as a Motley Crue record, I don't really know. [00:21:17] Speaker C: I'll be able to separate myself because, like the first two of my favorites, I'm looking at this as, hey, this is them. Then I'm not going to compare it. I'm just going to go song by song. [00:21:27] Speaker D: Great introduction, Very deep sounding. From the first track, you could tell. Okay, yeah. This is a complete departure. The vocals that Karabi brings, very soulful, very deep. It matches the music at the time. And I think it was great so far. [00:21:41] Speaker A: I think better than we thought. At least better than I thought, anyway. Verse one. Hey, listen. People where victimized, circumcised Cross the line of no return Critics say they devastate but socialites just masturbate Won't the losers ever learn Pre Chorus who said the music's dead in the streets? Don't know what they talk about Hey, I gotta put a bullet in my head if they want to keep me down let me hear it Chorus Power to the music in the streets Twice. I think the chorus is the weakest part of the song. Agreed. [00:22:06] Speaker C: Yeah. [00:22:06] Speaker A: Let's continue. Let's see. Maybe I'll like this a little more as it goes. I don't know. All right. [00:22:20] Speaker B: Burning maps with race and blood who set the music dead in the screen? Oh, yeah don't tell me to turn it down Turn it down Power to the music in the streets yeah, yeah, yeah, yeah Power to music in the streets wow. In the streets. Sam, [00:24:03] Speaker C: What did you think of the solos? [00:24:05] Speaker A: They're fine. I don't think they're very memorable. It's definitely more toward what Mick Mars did on his solo record. Even the rhythms. It feels like that record is a continuation of this record. [00:24:16] Speaker C: I can see that. [00:24:17] Speaker A: I mean, I hate to say this, because I know people would probably say this about Kisses. Grunge album. This just feels like a grunge album for a band that doesn't need to do grunch or alternatively, hard rock album for a band that doesn't need to be alternative. This song never did anything for me. Is it bad? No. Are there worse songs out there? A thousand percent. I just don't get much of a groove. I don't know. It's just a chorus that does it for me and just feels a little flat. I don't know if it's the production that feels flat. Did he change his production up? Is the style of the music changed and now it's different? This sounds nothing like Bob Rock stuff that I remember. [00:24:48] Speaker C: No. And I don't think they probably wouldn't want it to sound like that. It is big. It's also very condensed. I Do notice that if I jack it up in my headphones, it sounds better. I notice that I do like the production overall. If it could breathe a little bit more. That's what I hear. So I hear what you're saying. And it's very condensed. But not condensed to the point where we've complained about some of the condense that goes on. [00:25:12] Speaker D: Yeah, it's just the writing style is not for me. It doesn't align with the writing style of the music of that time. Well, for the most part, because we also had Green Day dookie come out the same times. [00:25:22] Speaker A: You know what the thing is, I just think it feels more natural for bands who are doing this to sound this way. I don't know. If you said that Green Day was going to do a hair metal record, would you be really interested in that? [00:25:32] Speaker D: And this is why I say the name change would have made a difference. Because you're not expecting Motley Crue. You're expecting some other sounds. Brides of Destruction is a perfect example of that. Because Bride of Destruction was Nick is six Tracy Guns. You didn't know what you were going to get. You know the names. Point that I'm making here is that if you hear Brides of Destruction and don't know the names, you don't know what to expect. You hear this opening ref, you're not disappointed because it's not Molly Crue. It's this other name of this band that they would have picked. The music is great. The guitar was great. The bass is solid. I think this is one of the best bass. [00:26:02] Speaker C: I was going to say I don't hear the bass. I feel like I never hear Nikki Six play bass. I'm not kidding. I don't think I've heard a single bass line. [00:26:10] Speaker D: You hear him, you hear it all over. Wildside McMars wraps around the Nikki bass well line. [00:26:16] Speaker C: He does. [00:26:17] Speaker D: He feeds off of it. [00:26:18] Speaker B: Oh, yeah. [00:26:19] Speaker D: You hear it [00:26:23] Speaker A: lean down. [00:26:23] Speaker D: You're seeing. You hear it. Wild side is perhaps one of the most bass forward songs. That the rest of the song is just built off of that baseline. [00:26:31] Speaker C: I don't know, man. I only hear is Mick bars in my head. [00:26:35] Speaker D: Well, you hear that actually though, if you go back and you pull out [00:26:39] Speaker C: the guitars, you know we're gonna go off on tangents with Molly Crue. [00:26:44] Speaker D: Yeah, I know. [00:26:46] Speaker A: I think one of the reasons why they couldn't change the name is because they just got a contract with of a lot lecture for $25 million. A lecturer is not gonna let them change their Name from something else. [00:26:55] Speaker E: Welcome back to the Headbangers Ball. We're here with Nikki and Tommy and we were talking about the shows. I mean, when you came out with the last record and it was like every night in front of 17, 18,000 people. And now you're playing some smaller places. [00:27:08] Speaker F: Well, we played. We played a couple smaller places to see how, you know, how it fit, you know, see how we liked it. Got a lot of stuff and it's hard to cut down. So we had five semi trucks full of stuff and we scaled down to three for us to do some of that stuff. And so what we're doing is we're going home now. We're going to change the whole show around so, you know, it can fit in, have a good show in a smaller place. [00:27:30] Speaker E: Now, some shows got canceled and everybody's got. Everybody's got their reasons. Oh, they canceled because of this. They can't. I mean, what are the reasons? Because how many shows got canceled? Because there's a lot of four people [00:27:40] Speaker F: in 14 shows on the East Coast. But, you know, what was happening was we were having all this equipment setting around that was, you know, too big to fit into these places. And sometimes it, you know, we couldn't use things that we could have used if we had a little thought put into it. So that's where we're gonna go home and just rethink the whole thing of playing in some smaller places. It's real cool. We still have King's X and Typo with us. So the shows really aren't canceled. It's been post rescheduled. [00:28:06] Speaker E: So you are going to come back [00:28:07] Speaker F: and make up those days. Yeah. [00:28:09] Speaker E: Now, in, for instance, the past Motley Crue records, when they came out, I mean, you guys would sell 3 million off the bat. Bam. You had the 3 million Motley Crue fans. [00:28:17] Speaker F: Not quite that much, but thanks. [00:28:19] Speaker E: Pretty close. [00:28:20] Speaker F: Well, you know, the last album was bad, but before that it was always like, you know, we'd sell a million and then we would like go out and tour and work it up to 2,3 million copies. [00:28:30] Speaker E: And this thing. I mean, what was the reason? You think this is taking a little bit longer or do you think? I mean, you guys waited how long before. [00:28:38] Speaker F: Four years. Four years. We really had no choice. You know, the situation we were put in is, first of all, we did Decade of Decadence and that, that ate up some time. We were rehearsing, writing those songs. And during the time we're getting ready to start working on a new album is when you know, Vince left the band and we were. We were forced with the decision of whether to go on or not. [00:29:01] Speaker E: Okay, we're gonna talk a little bit about that and talk about the new Motley Crew and some of the changes and stuff like that when we come back. Right now, let's play Nine Inch Nails with Closer. Yes. The Headbangers Ball. We're here with Nikki and Tommy from the crew, and we were talking about taking the four years. That's a long time. [00:29:18] Speaker F: Yeah. Now usually it's two years for us. [00:29:21] Speaker E: In a sense, you could say you almost started completely over. I mean, does it feel like you started completely over? Because right now you've kind of got. I mean, to be honest, you kind of have to prove yourself. And Motley Cruz sounds like a new band. He is basically a new band. [00:29:33] Speaker B: Exactly. [00:29:34] Speaker F: I mean, first sound, you know, we. We always said we would break the band up if anybody laughed. You said it, I said it. Well, we said it as a band, you know. And the thing is, the last. Well, it just sort of deteriorated. And when Vince did leave the band. Yeah, I remember the conversation was me and Mick and Tommy, we were devastated. We were bummed out. It wasn't like we were celebrating. And, you know, I get a lot of mail from kids. They're like, you know, how. How. You know, they can't use the word that they use, but you know how bleep it is of me or Tommy or Mick to have done what we did to Vince. And the truth of the situation is he did. Did it to himself. He. He left the band. And so we were forced. With the, you know, the. The decision of quitting, breaking the band up. Or do we still want to make music together? [00:30:23] Speaker A: Because it's basically. [00:30:24] Speaker F: We're not done, man. Absolutely. We're still. We love each other, we're best friends. We. We still write some of the best music of our lives together. If. If there was no more music coming, [00:30:35] Speaker E: because the only difference is if you would have changed the name, people still would have said, oh, have you heard the band that you. That's got Mickey and Tommy and Mick from Motley Crue? I mean, they still would have said. [00:30:44] Speaker F: So we said we owed it to ourselves to at least see what it felt like, you know, at times when Vince was out of town or off doing whatever he was into doing. Sebastian Bach would come down and hang out with us and we'd be rehearsing, meet a singer to rehearse, so he'd sing. Steve Perry from Journey came down one time just to hang out and meet everybody. And he was singing. And so we kind of had the feeling of what it would be like to have a different singer. And we said, you know, the least we can do is try it on for size before we, you know, end it. And when we met John, it was magic. [00:31:16] Speaker E: And we're going to talk a little bit about Motley Crue with John and we'll find out much more stuff. So we're talking about when John Corabi got Motley Crue. And you mentioned earlier that you started writing songs. I mean, how did it feel? Did John help you on, like, most of the songs on the new Molly Poo record? [00:31:30] Speaker F: The same thing was when John came on board, we made a decision to not be any more of. I would write a song, or me and Mick would write a song, or Tommy would write a song and bring it to the band. Everything would. We would set in a circle and we would just write it together. I mean, I may have a riff or Tommy may have a riff or whoever, John. But we all just contribute equally. And then when the music is as good as we think it can be, then we make a tape and me and John would go away and write the lyrics. I didn't want to be the lyricist anymore for a singer. I wanted him to be into it. But I have a certain name, so [00:32:04] Speaker E: it really is a new Motley Crew. I mean, having a new singer, hey, we wanted to change things a lot different. [00:32:10] Speaker F: We wanted to change the name. [00:32:11] Speaker E: What would have been a name? [00:32:11] Speaker F: Well, I don't know. We never got that part because you got to realize that record company signs a band, in essence, they own the music that you. You put out during that time. And that also is the name. And for them, they were. They were like, you know, if you change the name, you're not going to sell as many records. We're like, so what? We're a new band. [00:32:32] Speaker E: You are still starting. I mean, pretty much, it's a new band. Feel like you're starting. [00:32:36] Speaker A: They even said in interviews, this is what the music's coming out now. So they were following a trend. That's the problem, too, I think the following the trend things sometimes can work and lots of times doesn't work. And I think in this case, because the name Motley Crue is attached to it, like Frank said, the change. Change is not really resonating with any of the Motley Crue fans. My assumption in general that most Motley Crew fans don't want to hear Motley Crue sound like this I could be wrong. [00:32:59] Speaker D: No, you're not. Especially when you help build that genre. All of a sudden you're gonna try something different under the same name. Doesn't work so well. People will know you for that genre that you are. [00:33:08] Speaker A: Okay, verse. Two mothers tell their sons of cyanide and suicide Blame it on the devil's tongue Sister, suck me like a parasite Military third right. Book burning bastards wasting blood Pre chorus is the same. Chorus is just doubled up. I feel the lyrics are pretty decent. I think both of them together. Writing lyrics isn't a bad thing. [00:33:26] Speaker C: No. [00:33:27] Speaker A: I just don't know how much this I'm gonna really like. Like again, bad song? No good. My La Cruz song. Ah, that's a debatable. All right, let's finish this up. Here we go. [00:34:12] Speaker B: Tell me to turn it down, Turn it down. And. Power to the music in the streets. Turn it out, turn it. I want to. Music in the streets, power to Music in the streets, Power to. [00:35:48] Speaker C: I do remember, actually, when he's like, don't tell me to turn it down, and Neil turned it down. I always thought that was a miscue. They should have said turn, turn it up. I always felt that's what they should have said there. The chorus is the weak part, and unfortunately it's probably the most used part of the song. But overall, I always thought that this was one of the best songs on the record. [00:36:08] Speaker A: I just don't know why it went on that long. I don't like the little twinkly keyboards in the chorus. I think that softens the chorus up so much. That riff is so heavy. And then the chorus has this really twinkly keyboardy thing going on behind it. And clean guitar going behind it. That's so upfront. I think it ruins the chorus. The course is not great to begin with, but it's even worse with that stuff on it. I'm gonna go first. I need to get this out of my system. I'm going to say six in the lyrics, five on the melody, six on the music, because I think it's played well. Four in the arrangement, because I hate the chorus. Hate, hate, hate the chorus. And production, I'm going to say five. I'm not a big fan of the production on this. I think for Bob Rock, I'm expecting a little bit more frank. [00:36:45] Speaker D: For me, I'm going to say production. I'm going to give that a seven. Music, I'm going to give that an eight. The arrangement, I'm going to give a seven. The lyrics is just the Thing that drives me a little bit crazy. I'm going to give that as five. And the melody of five. [00:37:00] Speaker C: I'm going to say a five on the melody, five in arrangement and six on everything else. I do think it's a decent opener. Unfortunately, that chorus part, especially with a guy like Karabi who has range and he uses his range throughout the song. The fact that they said it so many times without ever changing it, at least go up and down somewhere, put some dynamics in it. That was definitely, for me, the weakest point. [00:37:21] Speaker A: His voice is great. [00:37:22] Speaker C: It's got a strong voice. [00:37:23] Speaker A: You can't really even compare his voice to Vince Neil. [00:37:26] Speaker C: I'm sure he was a lot easier to replace record with as well. [00:37:30] Speaker A: Oh, probably. Yeah. You wouldn't have to do one word at a time with him. Yeah, much easier. Okay, one down. The next song is Uncle Jack. [00:37:51] Speaker B: Are you ready for suicide? Let me run a race across your throne Took a child on right now [00:38:07] Speaker C: Let them down long in shameful road [00:38:11] Speaker B: in Rips my heart out to see [00:38:14] Speaker C: you live in Gave them money in [00:38:18] Speaker B: exchange for Pray you're the monster in the closet Take their secrets with them to their grave like you may But I guess I am door Rather see you dead on the floor I hope that you're feeling so much pain Now I've got chance now can you hear them still screaming Broken hearts, broken dreams yeah, I've got chance Is it evil? Still creeping Never coming back here again. [00:39:17] Speaker C: Not bad, not great, not bad. I think this was about someone he actually knew. If it was his uncle actually that abused him or abused here something. Same vein. I will say for sure this album is pretty consistent. Anybody who put this on saying, okay, the first song is what it is. Maybe the next one. Maybe the next one. Maybe the next one, though. You're not gonna find that stuff. [00:39:38] Speaker A: It's too bad. Chorus is still a little. Not great. I like the verses. I like his singing. I think the drumming is great. Feels like an effort of a band trying to stay relevant in a time that they're not relevant anymore. And that's the only thing. Can you say that about other bands too? [00:39:52] Speaker B: Yeah. [00:39:52] Speaker A: There's lots of bands that did this. Whether this was really the reason. Did they do because they thought that they had to change because that stuff was not really what it was at anymore. And there's all this stuff because this is 94 now. When in 94 was this? [00:40:05] Speaker D: Had to be winter. Winter time. [00:40:07] Speaker A: March 15th. Kurt Cobain hasn't killed himself yet, right. Because that was April, wasn't it? That was April grunge was in full force. They recorded this in 92 and 93 and they didn't release it till 94. [00:40:18] Speaker C: Yeah. [00:40:18] Speaker A: It's a long time. If this wasn't Motley Crue, would I like this? Probably. [00:40:21] Speaker C: You gotta get away from that, man. [00:40:23] Speaker A: I don't know if I can, though. [00:40:24] Speaker C: All right, think it about. About this. Girls, girls, girls. It's not like you gave that album great scores. [00:40:29] Speaker D: No. [00:40:29] Speaker C: And that was full blown Motley Crue at the time. If you don't do that and listen, it doesn't mean you're going to like the songs just because. Oh, you know what? Yeah, it's. I know it's not my crew and I like it now. [00:40:37] Speaker A: No, I. [00:40:38] Speaker C: Ultimately, if a song is good, it's going to be good. [00:40:40] Speaker A: No, I know. [00:40:41] Speaker C: Do you like the guitar playing in it in this song? [00:40:43] Speaker A: It's okay. [00:40:44] Speaker C: Yeah. I know that much is really going [00:40:46] Speaker A: on in the time frame. If I have to put myself back into 1994, would there be things I would rather to listen to it in this. A thousand percent, Thousand percent from basic. This versus other things that I liked in 94. This is really not in any kind of place comparatively to other things. [00:41:01] Speaker D: Yeah. [00:41:01] Speaker C: And believe me, I'm not defending this because I remember listening to it once and never listening to it again. So believe me, I'm not sitting go. What? Who cares if it's not only Crue? This is great. No, I tried back then. [00:41:12] Speaker A: I'm like, this is the second time I've listened to this album since 1994, and it's still not hitting me any better than it did then. I can appreciate maybe more the songwriting and the playing now. Now then I probably just cut it off and said, I don't want this from them. [00:41:26] Speaker D: Yeah. [00:41:26] Speaker A: But now I see the things that are good about it. I just don't think, songwriting wise, it's great. Just don't think it's great. It's middle of the road. It's very mid. [00:41:34] Speaker C: It's middling stuff, to quote the kids nowadays. It's mid. It's not fire. [00:41:40] Speaker A: It's definitely not fire. It's mid. [00:41:42] Speaker C: It's mid. Oh, God, if my son be like, shut up. [00:41:46] Speaker D: Building momentum from a writing lyrical standpoint, a lot better. Music still solid, the production still. Still solid. Mick Mars is playing as if this was his favorite album. So. So far. Yeah, digging it. [00:41:59] Speaker A: Verse 1. Are you ready for suicide? Let me run a raise across your throat Took a child on ride now let them led Them down a long and shameful road. Verse 2 It rips my heart out to see you living. You gave them money exchange for pain. You're the monster in the closet they'll take your secrets with them to their grave. Pre Chorus locked you away behind the cast iron doors I rather see you dead on the floor I hope that you're feeling so much pain now. Chorus Uncle Jack can you hear them still screaming? Broken hearts, broken dreams Uncle Jack is your evil still creeping? Never coming back here again no coming back here again yeah, lyrics are good. I don't really have any problem with the lyrics. I'm just not a big fan of the songs themselves. I'm gonna try to keep an open mind. It's hard for me to separate Motley Crue name from this music. So maybe I can do that, maybe I can't. I don't know. [00:42:47] Speaker C: I'm trying may or may not make it better for you. I don't think, like, it's going to revolutionize your scores. You're like, you know what? I separated and holy. I love this record. [00:42:57] Speaker A: No, I don't think so. [00:42:58] Speaker C: Yeah. [00:42:58] Speaker A: All right, let's continue. Here we go. [00:43:20] Speaker B: Crying lock away behind cast by your door Rather see you there on the floor I hope that you're feeling so much pain Now I got a chance now can't you see them still beating? Broken hearts, broken dream I got chat tell me how gets me back Never coming back here again again. So how did you do it? The pain and the abuse and it really pisses me off. I want to rip you a goddamn. Sam. [00:44:55] Speaker C: Mark. I know you always say when guitars can be Anybody would you know that that was Mick Mars? [00:45:00] Speaker A: Yes and no. There are things he did that. Yes, I would know. My feeling about the guitar solos is not great. They're just there. They feel very mid. Like the songs feel mid. He's playing up to what the songs are. Feels like there wasn't a lot of thinking out here. And some guys can do that great and some guys can't. I think there are times when he has done that. I don't know. I just. Just don't know what I'm supposed to be hearing here. I didn't really like the playing that much, and I'm a Mick Mars fan. I think most of the stuff that I like about Motley Crue is Mick Mars. Even songs that I don't really like that much. Usually I like Mick Mars playing. I wasn't a big fan of this. It was fine. It was middle of the road and I'm not really a big fan of that clean guitar being so loud in the mix. I think it takes all the power and heaviness out of the song and makes everything real wishy washy. I think it'd be cool if it was there, but mix down a lot lower than it is. I don't know if you feel that way. Feels like it's just a big wash. [00:45:51] Speaker C: I don't really notice it as much. I thought this solo was better than the first one. Had a little bit more of that McMar personality. [00:45:58] Speaker B: I don't know. [00:45:59] Speaker C: I don't think this song is. I'd be some. If this album kind of grows on me after all these years of trying to get it. I don't know. Not bad. [00:46:06] Speaker D: Mick Mars is playing at a different level here. I think he finally is given room to run and try something that parts you from their scent sound. It's so far, it appears he's having a good time doing it. So if you didn't know it was Mick Mars, did you know it was McMars by his sound? And the answer is no, because he really went completely different direction and it worked really well. [00:46:27] Speaker C: I probably wouldn't notice him, but this, to me, sounds more like something he would do than the first one. The peanut gallery. [00:46:39] Speaker A: I really didn't think I was gonna hate this as much as I hate this. The more this goes on, the more I do not like this. [00:46:44] Speaker B: Nice. [00:46:45] Speaker A: I want to like. I really do. I want to give him the benefit of that. Say, hey, they took a chance. They did a great thing. I just don't think the songs are as good. It feels like they were trying too hard to be an alternative rock band and not be what they were. I think that's where I feel that it is. And even his guitar playing. I love McMars. I think he's a great guitar player. I like lots of stuff that he does here. I just. I'm not feeling it yet, but I guess we're gonna see. Maybe the next song might be okay. I think I did sort of kind of like the next song. But we shall see. Verse 3. What were you thinking? Are you human? You took their innocence and made them slaves. You want forgiveness? You're so sorry. I'd rather put you in an unmarked grave. Pre. Chorus is the same. Chorus is the same. And there's that little interlude. So how did you do it? Through the pain you really. Then there's a bunch of question marks. The pain and the abuse. And it really pisses me off. I Want to rip your goddamn heart out. And again, it's a tough subject and not something that Motley Crue always covers, Though there have been things that they have covered, like this. Frank's favorite song, his favorite makeup song is a pretty dark song. [00:47:48] Speaker C: You'll never live that down, no. [00:47:50] Speaker A: You never live that down, no. All right, let's finish it up. Here we go. [00:48:17] Speaker B: Sam. It. Sam, Tell me why. [00:49:50] Speaker C: I didn't eat that part at the end. That little coda, I could have done without that. I don't think it's bad here. In the moments, there may be scores that are higher than if I ever go back to this, because, like I said, I don't know that I made it through some of these songs. You have to make it through now, now. But when listening on my own, Alison [00:50:07] Speaker A: Chains wants their riff back because that was so Alice in Chains. Oh, my God. That's why I think this is such. We need to do a grunge alternative record. Saying that to Scream wasn't like this. And now they all came together and said, hey, you know what? We can't do that music anymore. We gotta do this. Which I get. I guess, if you want to stay relevant and I guess that's what you're gonna try. Sav, you go first. [00:50:26] Speaker C: In the moment, I'm gonna go sixes across. There's part of me that says I may go back to this and not like it as much here and now. If I'm gonna give this record props, I'm gon props because I actually like the song the more it progressed. I didn't like that thing at the end. I'm not going to dig him for arrangement. I mean, whatever. Listen, that's what fast forward and skip is. I like what came before it. Frank. [00:50:46] Speaker D: Production is seven. Music and eight. Lyrics is six, melody is six, and arrangements a seven. Yes, Mark, you're 100% right. Allison changed one there back that last part, they're really sounding tight. Mick Mars sounds great. The drumming has been great, and Karabi sounds awesome. Digging it, Mark. [00:51:05] Speaker A: You're all gonna hate me. Lyrics and melody. I'm gonna do six, because I do think that his lyrics are good. I'm gonna give him a little bit of bone on the melody because I don't think this part here that I really like melody wise, but music wise, I'm gonna say five. I don't like McMar's guitar playing on this at all. And again, I'm a McMorri's guy. In general arrangement. I don't think I needed that end part. I think lots of these songs could be shorter than they are and they're just dragging out because I think that's what they think they should do. Oh, we're alternative now. We can stretch these things out. No, that's not really what you do. I'm going to say four on the arrangement. I don't think the production was as bad here, so I'm going to give that a five. My scores really didn't drag this song down any worse than it could have been. It's still sixes so far. I'm just not gelling with this thing at all. [00:51:46] Speaker C: Going into this, I thought all my squirrels are going to be fives. I always remember the first song saying, yeah, the far song's not bad. And then I like this single. This one I didn't really like at all when I heard it last time. And I don't know, maybe it's. Maybe it's the moment. Maybe I'm tired. Maybe I'm thinking that I have to go back to work in a couple of days. And. I don't know, maybe it's all coming together. That's where I am now. [00:52:10] Speaker A: Okay, the next song is Hooligan's Holiday. This was a single. It made it to number 10 on mainstream rock, probably because it's first single out Motley Crue. People are curious to see what this is going to be like, I assume. That's why I think I remember this. I'm sure once it goes, I will. I haven't heard, like I said, for 30 years. [00:52:27] Speaker C: Yeah, but the video got played, too. I mean, MTV carried this for a bit, so that's for sure. That that helped. [00:52:33] Speaker A: Yeah. All right, here we go. Hooligan's Holiday. [00:52:52] Speaker B: Jam. Beauty is stomping up a storm Lines of hell on her face Blue red apples crawling through the night Busting loose Run away. Hey, Everybody wants a piece of the ice no way. Everybody wants a piece of the pie yeah, yeah we're on a holiday Hooligan's holiday I'm on a holiday who [00:54:26] Speaker A: I [00:54:26] Speaker B: got to get away hey, we're on a holiday. [00:54:52] Speaker C: I would say parts of this song, the beginning, which is basically the chorus. It's definitely so far, the most Motley Crew Motley Crue sounding. Not the main riff. And it's funny because those two parts are my least favorite. I like the main riff and I like the verse, but I'm not crazy about the chorus. [00:55:09] Speaker A: I do not like the song at all. I think the riff is okay again, they do that really clean guitar thing in the chorus and it just. Because it's so mixed so far up front, it just mushes the whole chorus out. And even though there's a hard guitar behind there, you don't really. You hear it, but it just feels like it's mushed out. I don't know if I like the verses. Yeah, the stop all the music and have the vocals. His vocals are very well done. Was the pre chorus on purpose? The words. [00:55:36] Speaker C: What was the pre chorus? Well, you're going to read the lyrics, right? [00:55:40] Speaker A: I'll read it. And when I read it, you're going to say, was that on purpose? Anyway, I don't know what to do about this. Is it more Motley Crue than the other ones? I guess. I don't know why at the beginning he had to say I'm on a holiday hooligan's holiday before the song even started. I would think you'd want to leave the chorus for the chorus, unless you're going to do. Do the full course at the beginning. Why even bring that line in there? [00:55:58] Speaker C: Yeah. To me, hands down, the chorus is the weakest part of all three songs. Without a doubt. They don't do anything. They really don't. I don't know why it was hard for them to write. Not that they had to be catchy. All right, listen, let's just repeat everything over and over in the choruses. [00:56:12] Speaker D: It's about as close to a Motley Cruise song we're gonna probably hear right now. You take out Karabi pulling Neil and the song is gonna sound. Sound better. I think his lyrics are more fitting. Karabi wrote the song, thought that this is more of a Motley Crue song than it is of the new Motley Cruise sound. Does that make sense? What did you say? [00:56:33] Speaker A: I think it makes sense. I don't know. I'm such a downer on this. I know. I didn't like it when I first heard it and I haven't heard it for a long time. I expected Savino scores to be the worst and my scores to be sort of in the middle, like, ah, you know, whatever. I'm really not liking this. It's not doing anything for me on whatsoever. [00:56:49] Speaker C: Listen, I'm not loving this. This song I always thought was okay. I remember seeing the video, the whole Clockwork Orange thing, and hearing the heaviness of the verse. I'm like, okay. You know, not bad. I don't love any of these songs. They're just maybe not as bad, dude. Maybe it's Because I'm hearing it in parts that could be it. I think they're okay. Maybe not as bad, but the song is okay. [00:57:13] Speaker A: Okay, let me get to the lyrics. Lyrics, intro. Ooh, I'm on a holiday Hooligan's holiday yeah. Ow. Yeah, yeah, yeah, yeah, yeah, yeah Check it out. Verse 1. Drop Dead Beauty Stomping up a storm Lines of hell in her face Bruised bad apples Crawling through the night Busting loose Run away Ooh, run away Always, always a thrill without a motive ooh, 30 days, such a haze I just felt that that verse dragged to. Were trying to fit words into there to try to fill out the riff. I didn't really like that. This is the pre chorus. I was talking. Everybody wants a piece of the action no way. Everybody wants a piece of the pie yeah, yeah. Wasn't there a piece of your pie on Dr. Feelgood? And wasn't there piece of the action on the first record? [00:57:58] Speaker C: Oh, yes. Okay. [00:58:00] Speaker A: Yes. Maybe they didn't do that on purpose. [00:58:02] Speaker C: Piece of action didn't. Believe it or not, didn't hit one of my favorite Mother Crue albums. When the piece of the pie, I'm like. But that's maybe because it's so commonly used. [00:58:10] Speaker A: Yeah. [00:58:11] Speaker C: That it just didn't even stick out to me. Yeah. I totally hear it now and then. [00:58:15] Speaker A: Chorus. We're on the holiday Hooligan's holiday I'm on a holiday Hooligan's holiday I gotta get away Hooligan's holiday We're on a holiday Hooligan yeah. [00:58:23] Speaker C: So it's like two Peter Chris songs. Get away Hooligan Again. [00:58:28] Speaker A: He has a great voice. I do like his voice. I just don't like these songs very much. [00:58:32] Speaker C: I think they're okay. Believe I'm a team. Mark, you nuts? This is great. I think it's okay. [00:58:38] Speaker A: I'm really surprised because I know you said you'd never like this record and you tried to listen to it. [00:58:43] Speaker C: Listen. Bad might be coming down the pike. So. [00:58:45] Speaker A: Worse than this? Jesus Christ. I don't know how that's possible. All right, let's continue. I know Frank hates me for this because I know this is his band. I'm sorry, Frank. [00:58:53] Speaker D: It's all right. I know deep in your heart you love it. [00:58:55] Speaker A: You'll be happier when I say this. I would rather listen to Pretty Boy Floyd than listen to this. [00:59:00] Speaker D: Wow. Dude. I knew that all along. You rather hear Pretty Boy Floyd over a lot of albums. You just don't want to admit it. [00:59:06] Speaker C: The Pretty Boy Floyd Influence on this album is blatant, right, Frank? I mean, everything. Guitar sound, the vocals. [00:59:12] Speaker D: No, no, no, no. This is very. No, very different sound than that, for sure. [00:59:19] Speaker A: Listen, the one thing I say about them is that they have not changed what they do. And they sound the same way now as they did then. They never tried to make this weird change here. In some ways, I give them credit for that. I'm not a big fan, but if you gave me. If you gave me two choices. I have to listen to this or listen to that. I think I rather listen to that. Even though I don't like that. I hate this more. I'm such a Debbie Downer. [00:59:42] Speaker D: You really are. Because this is really not that. [00:59:45] Speaker B: That bad. [00:59:46] Speaker A: It is, though. The songs are just not good. [00:59:49] Speaker D: I'm telling you, you take the title Motley Crue out and you're gonna be digging this song. [00:59:54] Speaker A: No. [00:59:55] Speaker D: If I came to you with a demo tape and said, look, this is bad, I want you to listen to it, you will have a much different perspective. [01:00:01] Speaker A: Promise that it could be influencing me a little bit. I can't lie. I just don't think I like the way the songs flow. Definitely. The choruses I don't like. I do not like that. Clean guitar parts over the heavy things so far up. And I keep saying that I feel like a broken record, but it just. Everything up. I don't know whose identity idea that was. It just wasn't a good idea. All right, let's continue before I yap more about this. Here we go. [01:00:38] Speaker B: Everybody wants a piece of the astronomy yes, they do Everybody wants a piece of the pie they want a piece of mine we're on a holiday Hooligan's holiday I'm on a holiday Hooligan moon I gotta get away Hooligan's holiday We're on a holiday It. Sam. [01:02:11] Speaker A: The heat of that mark, that sucks. What the was that? [01:02:15] Speaker C: I know. That didn't really go anywhere. I agree. That was boring. [01:02:18] Speaker A: I feel like that's the MO of all these songs. They don't really go anywhere. These weird parts put together that sometimes don't work together. [01:02:26] Speaker C: I just wish the choruses were slightly stronger. I think the verse is good in this. And I don't mind the pre chorus. The chorus doesn't do anything for me at all. That whole middle section was pointless to me. It was just so boring. Don't even do it. Gonna do more of whatever. Just like the end of the song before this. Do you really need that? No. Bits that I like. There were bits That I liked before in this song, which is the verse. And there's bits that I didn't like. [01:02:51] Speaker A: No. And whatever this bridge is, is sort of kind of a bridge, sort of kind of a verse. [01:02:55] Speaker D: Woohoo. [01:02:56] Speaker A: Modern times and new blood pumping Only the strong survive I guess they're talking about themselves. I guess. And the second verse is. Cross eyed Derelicts that come in Iron horse between our legs to tattoos Black mains flowing Everybody's a holidays Everybody's a holidays D A Z E no D A Y S Every day's a holidays oh, this is a single, huh? This is what we come out with. I hope that everyone goes, ooh, Molly Crue. And I know I should be taking the whole band name out of it, but I just. I don't know. And I'm really upset that Mick Morris is not saving me. [01:03:32] Speaker C: Maybe later. [01:03:33] Speaker A: Because I find on Dr. Feelgood even songs that I didn't like that much. Yeah, I liked his guitar playing. I thought his guitar playing was way better there. It was more focused. I don't know what's going on here. It's very unfocused. And maybe they figured they had to do this because of the times they couldn't go back to what they were doing. And five years later, probably the problem too. If they would have came out with a record in 91 or 92 as opposed to 94. [01:03:55] Speaker C: Yeah. [01:03:56] Speaker A: I bet you if this album came out in 92 it wouldn't have sounded this way. I think the influence of what happened on grunge, because grunge was in full effect at this point. 94 Grunge was the thing. You couldn't get any other band played anywhere with any kind of music that was before grunge. At this point, maybe they figured we have to stay alive. We've got a new singer, he can sing this stuff. Let's try and do it. Yeah. [01:04:16] Speaker C: I've never listened to interviews or what the mindset was. Was it, we don't want to do what we've done before, we want to do something different. Was it specifically said, look at what the kids are listening to now? [01:04:28] Speaker A: Yes. I heard one interview from Nikki Sixx and he said that we're not about the girls and the drinking and the drugging anymore. This is what we're about. To me, if feels like this was 100% conscious. They were trying to follow the trend of what was going on. Realistically, I don't think this really works. Not that the playing is bad. I just think that it's too Big of a departure. And there's not enough gap songs to take people slowly into this. Or say, you know, maybe we'll have a song that's a little more Motley Crue, a little more punky. Does it have to be doctor Feel Good Motley Crue? No. Could you went back to maybe first record, second record, Motley Crue a little bit and fit it into this? I don't know. There's just nothing to take it a fan from where they were to here. [01:05:07] Speaker C: Oh, yeah. This wasn't made for people who liked the stuff before. But, you know, you can't always do that as artists. You also need to grow and say, this is what we want to make. Like we talked about in the beginning, it hit a little bit in the beginning. I'm sure the fact that Motley Crue having an album out after X amount of years and the fact that MTV played the video, it's going to garner attention. I'm pretty sure this garnered way more attention than Generation Swine did. Honestly, I don't even think I knew that they I had done done that or New Tattoo. And it could have been just because I just didn't really care, like really distance myself completely or I just didn't know. [01:05:43] Speaker A: Yeah. All right, let's continue. Here we go. [01:06:00] Speaker B: I gotta get away we're on a holiday Hooligan's holiday I'm on a holiday Hooligan I gotta get away Wickens Holiday we're on a holiday what? I gotta get away. Happy. We're on a holiday Wickens Holiday. [01:07:30] Speaker C: I mean, that whistle was very Motley Crue, that's for sure. [01:07:34] Speaker A: Whoopty do. Frank, you go first. [01:07:38] Speaker D: This is one of my least favorite songs on the album production. On this one, I didn't really enjoy that much. [01:07:44] Speaker C: That one. [01:07:44] Speaker D: Going to give a six. The music, I give a six. Lyrics and melody, I give fives. And arrangements, I give a five. Didn't go anywhere like the Tubi said. And to make this your single, I expected more. [01:07:58] Speaker A: Mark five on the lyrics, four in the melody, four in the music, four in the arrangement, three in production. That outro. Why was it so fucking long? Why is this song 5 minutes and 52 seconds? That's a problem too. It's too, too long. I'm just not a fan. [01:08:13] Speaker C: I like the verses. That's really about it. I say four on the lyrics, I'll say five in the music. Production's fine. I'll say six on production, five in arrangement and four on melody. Yeah, it's probably the least interesting one. And it's the Most motley crue 1. Take what you want from that. [01:08:36] Speaker A: So the next song is Misunderstood. This is a ballad. It was written by John Karabi and Nikki Sixx, but the music was written by everybody else. It charted at number 24 in the mainstream rock charts. I don't remember this. Does anyone here remember this? [01:08:51] Speaker C: No, I remember the title. I doubt I do remember. [01:08:54] Speaker A: Yes, the title. I remember the song itself. I could tell you. I couldn't tell you one thing about the song. [01:08:58] Speaker C: Yeah, I don't remember the song. [01:08:59] Speaker A: And the worst part about it, it's 6:56, almost seven minutes. [01:09:03] Speaker C: Yeah, the songs are pretty long, that's for sure. [01:09:06] Speaker A: All right, here we go. Misunderstood. [01:09:22] Speaker B: Little old man contemplates suicide Twice a day's pissed him by Little old woman scared and blind Left alone in desperate times Life's passed her by oh, life is misunderstood Them so they close their eyes and dream a father days oh, life is misunderstood yeah life's not always fair Also the same. [01:10:26] Speaker C: Little [01:10:30] Speaker B: bel tonight and I don't know why this mother she sits alone Tangled in the we she like you in life oh, life misunderstood Close your eyes and dream of better days. Life is misunderstood Life's not always fair On I. [01:11:42] Speaker C: Mark, you said this was a ballad, man. I was gonna have this as my wedding song. What the happened, man? [01:11:46] Speaker A: It wants to be the Beatles. It wants to be whatever. [01:11:50] Speaker C: He is supposedly a massive Beatles fan. I think he just put something out. Somebody was talking about it, said, if you expect anything of, like, rock, don't expect Beatles, then you'll probably be happy. It's weird because I don't think it's terrible. The production is interesting. This part here, you figure that at six minutes something different is going to come. This part just didn't fit. To me, it's a little flat to production. It feels like they were trying to go heavier at this. I'm glad it's not seven minutes of the beginning. But the beginning is better than this part so far. [01:12:19] Speaker A: I like the ref. I don't hate that ref. I don't think it needed to be done as long as it did before it got into the next part that's coming up. I think they could have that. I think that would have been better. I mean, it feels like they were trying to do a Beatles thing. A little bit of reverse stuff going on, all the keyboards. It was very sort of sergeant Pepper. Yes. Just not as good. And maybe just because it feels very flat. I don't know if That's a production problem. [01:12:42] Speaker C: It was interesting, too, though, at the same time, because I thought it was flat, but then I said, you know what? They're not doing something necessarily typical, like the way the things are in the background. I had a feeling that the song was going to go somewhere else. This part just feels jammed in. [01:12:56] Speaker D: I'm a little confused at the sound that they're trying to go for. I dig it. It just seems a little bit like they want to be a little bit of everyone. Like you just mentioned, I have a [01:13:05] Speaker A: lot of words here, so let me read them. And again, words aren't bad compared to the last song, I think the words are pretty good. Verse 1 Little old man contemplates suicide twice a day. Life's passed him by. Little old woman scared and blind Left alone in desperate times. Life's passed her by. Chorus oh, life, it's misunderstood them so they close their eyes and dream of better days. Old life, it's misunderstood yeah, life's not always fair or so they say. Verse 2 Little boy with vacant eyes. Daddy won't be home tonight and you don't know why. His mother, she sits alone Tangled in the web she's sewn. She lives lie to lie. And then chorus is the same. And then that little riff, which I don't hate. I just don't know how that part goes with this part that we just went through. I guess we'll see. Here we go. [01:13:54] Speaker B: You feel left to die. I'm a product of your troubled ways. You made me what I have today. Now you're asking why? Why? L misunderstood me so close my eyes dream up better days Fear life was on the Sunday last night. Always fel. Restless deep inside a you want some peace of mind Living just to die I'm always had to fight. It's misunderstood, man and I know you know that you've been there too. Time let the restless. Sail more A little bit more Interesting or no? [01:16:08] Speaker A: Yeah, that was a little bit better. I thought that was a better solo than the last three. I was confused about in the verses, why they had that picking guitar part that just muddied everything up. Was bad. Why was that there? I don't mind the harder part of the song. This is definitely not a ballad. I mean, someone's calling this a ballad. Okay. Yeah, it's not a ballad. I don't hate the switch from the softer to the hard and staying on the hard. I don't think that's bad. But there's some weird parts that go in there. Just basically Take something that could be very focused and just mix it unfocused. It's like someone said, hey, this is not good enough to just have this rift going on here. Let's just play some chords and arpeggiate the chords out and put it really loud. And then they went back to some of the sergeant Peppery kind of keyboard things over there. [01:16:49] Speaker C: Yeah, there's some horns going on there too. [01:16:51] Speaker A: Yeah. It's not the good horns, though. It's the 80s. Bad horns. [01:16:55] Speaker C: Keyboard horns. [01:16:55] Speaker A: Yeah, keyboard horns. They could be real for all I know. They don't sound it. This is rough. [01:17:00] Speaker C: Honestly, this song is not that. That far off from Motley Crue either, though I can picture maybe not the production, because it's still consistent with the production of this, but I think that I can picture Vince Neil singing. Not when it first starts with the more I hear it, I'm like, all right. Yeah, this is not that far off from them either. I don't find this too far off from something that they would do. [01:17:19] Speaker D: It's okay so far. Unlike the previous one, where to me it sounded like that could very easily be a Motley Cruise song. You put Vince Neil's vocals on it. This one, not so much. I think the. That he wouldn't be able to sing this one. It matches the sound that they're trying to transform into. And again, the guitar. I'm liking the guitar playing throughout, except for the previous song, but for the most part, sounds good. [01:17:38] Speaker A: Verse 3. Strangled cage left alone Doing time in a broken home Feeling left to die. I'm a product of your troubled ways. You made me what I am today. Now you're asking why. Same chorus. Back to a verse 4. Restless soul deep inside I'm searching for some peace of mind Living just to die I'm an angry man Always had to have to fight to survive to my past. Sign of those times. Chorus, guitar solo, and then let's finish it up. Believe it or not, we're almost the end of seven minutes. It's kind of crazy. We have another two something to go. Here we go. [01:18:35] Speaker B: Life's not always there so. Little Bo with hopeful eyes that is coming home tonight don't you come. [01:20:13] Speaker C: Yeah. I mean, they definitely went full on Beatles in this song. The beginning and end parts, for sure. [01:20:18] Speaker A: That end part didn't need to be as long as it was. They could have came in with the guitar and just faded it out right there. And they just needed to go another whole minute of that. [01:20:26] Speaker C: Every song has had a long outro. Every Song so far. If nothing else, if you want consistency, every song on this album so far could definitely be at least a minute shorter. [01:20:35] Speaker A: I guess I'll go first. Lyric 6. I think the lyrics are pretty decent. Melody 5, musicianship 6, arrangement 5 and production 5. It's fine. It's too long. It's interesting. They're trying to do the Beatles thing. Okay, I get it. It's just not tightened up enough. There's too much space and there's weird things that go on that just make the song not sound as good. I don't know why they're doing that. They're just trying to fill space up. I don't know, Saf. [01:21:00] Speaker C: I think I'm gonna say the same. I don't think it's bad. Again, the more. More progressed, I was like, okay, it's not bad. I thought the heavier part was definitely more Motley Crue ish. Kind of like the song before. So there's definitely. There's definitely hints of it. I thought there was none of it here, but there's some hints of in which I guess has to be there, considering they still are who they are. [01:21:18] Speaker D: Frank, for me, this one is going to be sixes across. I think it's a little more well balanced. It's not the best song we've heard so far. Definitely could have been three minutes shorter. I would appreciate it more if it was. I think that with this song clearly here, the sound that we're going for, I think they achieved it. It very well. This is the first time, I think, in this song where the music, the production and writing all aligned really well. [01:21:39] Speaker A: Okay, next one. This is Love Shine. [01:22:04] Speaker B: Everywhere. Walked a million miles climbing up this mountain Looking for your smile I should where's my baby? B My heart is like the ocean Waiting for your love to sail on me. You let my love shine. Let my love shining. [01:22:53] Speaker C: This kind of sounds like the Doobie Brothers doing the first song on this record. Because if you listen to the bass lines going, it's not bad. It hasn't hit yet. [01:23:04] Speaker A: Little zeppelini the chorus again is very weak. He definitely has a style. How he sings and plays. Pretty consistent through the whole thing. Not always what I want. This isn't horrible. I need to have it play a little bit longer to see if I like it or not. [01:23:18] Speaker D: I don't care what you say. Vince Neil not on his best day will be able to sing this song, period. This song is the new Motley group that we're listening to. Digging it. [01:23:26] Speaker A: Vince Neil couldn't sing this stuff. [01:23:28] Speaker D: Nope. And it's a completely different sound. If I gave you a demo and I played it for you, didn't tell you the name of the group, you will not guess Motley Crue on this one ever. [01:23:36] Speaker A: 100% I agree. First one. Oh, baby, walked a million miles Climbing up this mountain looking for your smile. Oh, sugar, where's my baby been? My heart is like the ocean waiting for your love to sail on in. Chorus. Let my love shine. Oh, let my love shine in. Oh, baby, won't you let my love shine in? Yeah, the choruses are so weak. I don't know why. Why are they always just the same thing over and over and over every song? [01:23:58] Speaker C: Yeah, that's so uncreative. It's consistently uncreative. [01:24:02] Speaker A: Yeah, because most of the time the verses aren't that bad. It's just when it gets to the chorus just let you down. [01:24:07] Speaker C: Yeah, they just really run out of ideas. And again, it doesn't have to be this massively catchy thing. That's ear warm chorus, but just something different. Changing the melody, changing in. In a line. [01:24:18] Speaker A: All right, well, let's continue. Here we go. [01:24:25] Speaker B: Remember yesterday you spoke to me in R. And mystery remains. Sugar you be my oldest friend. You held me in my youth and you hold me, my friend Let my love shine. Let my love shining Let my love shining Let my love shine. Love shining Let my love shine. [01:25:48] Speaker C: That's definitely the shortest song so far. For nothing else, [01:25:53] Speaker A: I almost say that might be the best song on the record so far. It was sort of consistent. I didn't like the chorus. It wasn't too indulgent, I guess. And his vocals were good and the parts sort of all went together and there wasn't any weird parts jammed together. [01:26:06] Speaker C: No. Pretty simple. [01:26:07] Speaker D: I'll tell you what, this song had Tesla. Tesla vibes. [01:26:10] Speaker C: I could hear that. Yeah, I agree. [01:26:12] Speaker A: It's a little test. That's a little Led Zeppelin that. It's not bad. This one's probably my favorite so far. Let me reverse to oh baby, remember yesterday spoke to me in riddles and mystery remains. Oh, sugar, be my oldest friend. You held me in my youth and you hold me in the end. Again, my friend. That's a little weird, that little end part. And of course it's pretty much the same thing. I'm not going to read it. It's pretty much the same sav. Go first. [01:26:33] Speaker C: Go. Fives across. I thought it had a good vibe to it. I don't know. It's boring and just went nowhere for Me, I have a feeling that it kind of is going to start going downhill. Which is why, too, in the beginning, I picked up on what I liked, and if I liked it, I gave it as high as. As I would. I don't think it's bad, but I just. I don't know. Just it's. It feels like a filler song for me. It feels like a intro to something else that never comes. Mark. [01:26:57] Speaker A: I could see that. I'm gonna give a little bit better. I'm gonna give it sixes across. I don't think it's that bad. Yes. Could it have been part of something else? Possibly. At least all the parts etched. Even though the chorus is the same thing over and over and over and over, I didn't hate it that much. I wish there was a guitar solo. No guitar solo, which I think it kind. Personally, other than that, I didn't think it was bad. Frank. [01:27:19] Speaker D: I'm doing eights. I think it was well produced. It was very clean, straightforward. The music was amazing. The. The writing, straightforward, really great. The melody, Max. This song, the repetition of it. It really played very well to the style of writing, the arrangements, everything about this song. I think, by far best song. It doesn't necessarily fit that whole alternative vibe because, again, it sounds more like a Tesla song. This is definitely a much different Motley Crue sound from Feel Good and what we've heard so far really dug it. [01:27:51] Speaker A: You like that one? This is the end of part one. This is Poison Apples. [01:28:11] Speaker B: Took a dream Bust down a heart attack in mind With a fist full of dreams and times so far out didn't know that I was in Had a taste for life. Smack, rock roll main line all about those man, we live a mo. And you loved us and you loved us and you loved us we're so beautiful Poison apples see the sky I. Don't. [01:29:20] Speaker C: This feels like MLE Crew and Aerosmith collabing. I know. This could be my least favorite so far. Maybe I just like that heavier vibe of the first stuff. It hasn't been there. [01:29:31] Speaker B: I don't know. [01:29:31] Speaker A: I mean, it's all right. I don't know if I'd like the lyrics that much. At least the chorus is not just the same thing over and over. [01:29:37] Speaker C: I was gonna compliment them on that. Yes, I agree. I was waiting for him just to say Poison Apples over and over again, but he doesn't. [01:29:43] Speaker A: It's not horrible. It does sound a little bit like older. Motley Crue, I think. I wonder if this was an older song that someone Had. And they brought back. Maybe Nikki Six had some of this stuff before. [01:29:53] Speaker D: Well, remember, Mark, they started the album with Vin Steel. Karabi came in a little while later on. Quite possible that this was originally written for Vince Neil. [01:30:01] Speaker A: That would make sense. It does kind of sound that way in the beginning. [01:30:05] Speaker D: Are they going to play Slippery Resistible to kick? This song, I would have liked it. [01:30:08] Speaker A: I'm going to lie. [01:30:09] Speaker D: I would have dug it. I don't know how this song fits into the scope of the rest of the album. Look, the previous song didn't fit either, but it was good. This, not so much. Honestly, I think they could have had Alice Cooper as a guest singer. This. This sounds like an Alice Cooper song. [01:30:24] Speaker A: It's the most. Motley Crue the way it feels. [01:30:27] Speaker D: Yeah. [01:30:27] Speaker B: Yeah. [01:30:27] Speaker A: And again, if the song is really good, you can have this as maybe the gateway into getting into the heavier stuff. That's possible. [01:30:34] Speaker D: Yeah. [01:30:34] Speaker A: It's on the end of the first side, which is a little strange where it's placed. I would think maybe you'd want to get it at the beginning to try to draw people in. [01:30:42] Speaker D: I would want it as a hidden track. [01:30:44] Speaker A: Well, I don't know about that, but yeah. [01:30:46] Speaker C: The more I hear Motley Crue, the less I like the song. That's what's resonating in my head here. [01:30:54] Speaker A: Okay. Intro Took a Greyhound bus down to Heartbreak and Vine With a fistful of dreams and dimes so far out didn't know what I was in Had a taste for a life of slime why is it life of slime? Why isn't that life of sin? Life of sin would have been a better lyric. Verse 1 When push comes to shove the music was the drug and the band always got to play Sex Smack, rock roll mainline overdose man we lived at night and day Pre Chorus we loved our Matahupo it kept us all enraged and you loved us and you loved us and you loved we're so fucking beautiful Chorus. Pretty little poison apples See the scars tattooed on our face it's your disgrace oh, yeah Pretty little poison apples Mama said now you don't want to walk this way Just find some faith There you go. Walk this way the verse is just saying it feels like it was talking about Motley Crue before sex. Smack rock and roll Mainline overdose Man we lived in night and day this doesn't feel like the new Motley Crue. [01:31:51] Speaker C: No, it's like a tribute to the bad boy rock and roll days. Rotten apples. One rotten apple spoils a bunch. What's the Song called Rotten Apples or Bad Apples? [01:32:00] Speaker A: Poison Apples. [01:32:01] Speaker C: Oh, God, I'm way off on my metaphors. [01:32:04] Speaker D: Look at that. You can't even get it right. [01:32:05] Speaker C: That goes to show you, I forgot the name of the song. I called it two other things before I called it Poison Apple. This shit's about Sleeping Beauty. [01:32:14] Speaker D: Dude, you're all over the place, bro. You're right. [01:32:16] Speaker C: Meanwhile, I watch Descendants three of my daughter today. I should know this like the best. Back of my hand. She went through the whole thing with me. God, I got different kinds of apples. Yeah, you're absolutely right. [01:32:28] Speaker D: This all got all twisted. [01:32:29] Speaker C: Holy. Yeah. [01:32:33] Speaker A: All right, let's continue. Here we go, [01:32:45] Speaker B: Magn people. Shooting line Anything to push their B. Still we love them up the hoopa. We're sorry. Push me cuz I bring you to your knees O to your knees. You better not love me Cuz I bring you to your knees Mama to knock. [01:34:11] Speaker C: This reminds me a bit of the Scream, this song. Kind of. See that bridge, I think, between the Scream and Motley Crue here. And the Scream also had the bass player from Racer X. I looked it up here. Here's what I think. You take this song, you put it in the 70s, and you. Do you have Aerosmith do it. I think it's probably. Probably a better song here. It is what it is. [01:34:32] Speaker A: In some ways, I feel that it's more fleshed out than the stuff at the beginning. I don't think it's great. It's okay. I don't know what that bridge was. That bridge was weird, too. And then the guitar solo came, and I thought it was gonna continue for a little bit longer so he could get into what he was doing and just stopped. I didn't like that either. I'm expecting more from Mick Mars, and I'm just not getting it. Unless they're holding him back, which is possible too, I guess I feel he [01:34:53] Speaker C: had more control over what he was doing here. It was funny because of what it did. Remind me of the screams. Like, did Bob Rock produce the Scream? You know who produced it, Mark? [01:35:00] Speaker A: Who? [01:35:00] Speaker C: Eddie Kramer. [01:35:01] Speaker A: Oh, well, then it can't be too [01:35:03] Speaker C: bad if it's not on the list now you gotta throw it on there. [01:35:06] Speaker A: I think it's on the list. [01:35:07] Speaker C: I'm sure it's on there somewhere. [01:35:09] Speaker A: Verse 2 Tabloid sleaze just maggots on their knees and digging in the dirt for Slag Moonshine Strict 9 Speedball shooting lines Anything to push their rags Pre chorus. The same course is a little bit different. Pretty little poison Apples see the scars tattooed on our face? It's your disgrace. Come on, let me see them little poison apples. Pretty, pretty poison apples Mama said now don't you walk this way. Just find some faith. Bridge. Blueprints for disaster. You better not push me. Because I'll bring you to your knees. Oh, your knees. Blueprints for a disaster. You better not love me. Cuz I'll bring you to your knees, Mama to your knees. Guitar solo. And then I guess we're going to run this out. Here we go. It's a short song. [01:36:32] Speaker C: If this had been more of what they did, maybe not as many people would have liked it, because again, listening to podcasts and stuff, this is one of the top records. And people don't say, like, oh, yeah, it doesn't start off sounding like Motley Crue, then it does. But this, I think, is definitely bridge a song. And that's all I can say. [01:36:50] Speaker A: Not really. I'll go first. I like this song better than the stuff at the beginning. Do I think it's a great song? No. Do I think it's a bridge song? Yes. I think if you can bridge some of your people in, maybe you can slowly push the stuff that you're trying to do and then try to grab some of those people. I'm going to say five on the melody, five on the lyrics, six on the music. I didn't think it was bad, six on the arrangement, and six on production. I thought it was produced very well. If the record was more. More like this. This still feels like Motley Crue to me. Could this have been a Vince Neil song? [01:37:19] Speaker B: Maybe. [01:37:19] Speaker A: Maybe that's why it sounds this way. I just don't know what the first three songs are about. And then it just turns into something else. So I'm curious to see what the second side does. Frank? [01:37:28] Speaker D: Yeah. I'm confused. The last two songs really do have me confused because here you have this raw sound, this deep kind of alternative, grungy kind of feel that you want for the group where the lyrics don't match. Match that style of music that they're playing right now. And then all of a sudden we have these two songs. I think I would have appreciated these two songs on the next side. And you just give me a completely different sound inside a. Maybe I would have liked it better. But anyway, for me, I'm giving this one fives across. [01:37:55] Speaker F: I don't know. [01:37:56] Speaker D: I just feel like it doesn't fit at all. [01:37:58] Speaker C: I'm gonna do the same. I don't think it's a bad song. Mark, I know what you were saying in the beginning. I'm saying it now. I think the more it sounds like Miley Crue, the less I like it. The heavier stuff hit me better this time and it's really the first two and then some of Hooligan Holiday and then it completely disappears. I'm curious now to see what happens on the second side because it's not as consistent as I believed. I thought it really was more like the first couple of songs. [01:38:22] Speaker A: I was happy that the chorus had actual words on it and it wasn't just the same thing over and over and over just because they actually put a little effort into the chorus. Not that I think it's great because I don't think it's great. I just think it's a transition. So song. [01:38:34] Speaker C: Anybody who is really expecting this to sound anything like they did before, I think that these are the songs that would appeal to them. It doesn't. Production wise. Maybe it's not exactly like that, but musically it's there. [01:38:46] Speaker A: I don't know what I was expecting from this record. I know I didn't really like it when I heard it 30 something years ago. I probably heard it one time and never put it back on ever again. For me this is a rediscovery. Sometimes not very good rediscovery. It just feels so forced. Whether that's true or not true. It just feels like that to me. Like you said, I thought it was gonna be consistent all the way through. Turns out that's not the case. A seven minute ballad which is not even really a ballad. And then Love Shine and Poison Apple. Very strange. [01:39:13] Speaker C: Like I said, I think I like some of the heavier sounding stuff and it's kind of disappears pretty quickly. [01:39:19] Speaker A: Hey, listen, we wanted it, we did it. We subjected ourselves to the torture that this is. We have no way to blame but ourselves. Right, Sav? Once you do your thing. [01:39:27] Speaker C: We are part of the Deep Dive Podcast Network and the Boneless Podcast Network. [01:39:32] Speaker A: Boneless, you know, like those chicken wings without the boneless. [01:39:35] Speaker C: Bunch of guys to call us in right away. If you want individual podcasts about bands, you name it. Zeppelin, Tom Petty, Uriah Heap. I don't know if M the Hoople's on there, but who knows? Maybe somewhere. Just check it out, you may find them. And Mark, where can they find this? [01:39:48] Speaker A: On the Interwebs Rock Roulette pod. On all the social media, go to rock rletpodcast.com do the polls, do the merch. You know what to do. Put us on your auto downloads and rate us 5 stars everywhere you rate podcasts because that does help us out. And next week we'll finish side two them of of this cluster and see if it changes. Or do we get heavy again? Does it stay the way it is now? I don't know. I don't know what to expect. I have no clue. [01:40:10] Speaker C: I hope it gets heavy again. [01:40:14] Speaker A: I didn't think you'd like this record at all. [01:40:16] Speaker C: Oh, listen, my scores aren't that great. I mean the highest I gave it was a six on the first two. [01:40:20] Speaker A: Well, most of Mammoth was a six. I still think Mammoth is better than this. It was more consistent. [01:40:24] Speaker C: It definitely was more consistent and the arrangement was better and I think the melody melodies were absolutely better. For sure. I would say that so far, yeah, that's definitely a better record than this. I will go back to saying that I tried listening to this. The first song I always thought was okay and me giving sixes at that point I'm like, okay, if it's hitting me and I'm kind of at a six, let me give it a six. Because I don't really remember liking a lot of stuff on this. And going down the pike, it's getting lower and lower. The fact that the first two clips. I'm cool with that. Frank, what's your overall take so far on the first side? [01:40:53] Speaker D: I can't wait to hear part two. If there are heavier songs on that side and it kind of ends with the songs that we've heard so far, then I understand why they did it that way. Just like you said, I hope that it goes back to being hardcore, more of that pursuit of grunge sound that they've had so far. Other than the last song, I overall like it. I've always did like this album. I just didn't like a lot of the writing in a lot of the songs. I just didn't feel that for the sound at the time there were very dark lyrics other than Uncle Jack. The lyrics so far have been very light hearted lyrics you hear in the 80s band. [01:41:26] Speaker A: It is, is what it is. It's a decisive record. Just like there's a bunch of decisive records we want to really go over. Maybe we'll pick one of them coming up too. I know Van Halen 3 is going to be a decisive record. I don't like a lot of stuff on that and I'm a Van Halen fan. That's going to be a rough record too. Whenever we get to that thing, if it pops up or if we decide to do it on a whim. All right, we will see you guys next week. [01:41:45] Speaker C: Ciao. [01:41:46] Speaker A: Ciao. [01:41:46] Speaker D: Later, guys. [01:41:47] Speaker A: Later. [01:41:57] Speaker B: It.