Episode 197 - Mötley Crüe - Mötley Crüe - Part 2

[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 Roc Roulette Podcast. [00:01:03] Speaker B: Foreign. [00:01:15] Speaker A: Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1, 800 albums, stuck them in a list, stuck them in a wheel. And every other week we spin the wheel. She picks a record for us and we go through 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 trip of discovery and rediscovery with us, we really want to. Thank you. I said it last week. I say it again because Mark just told us that there's been another uptick in the listens. Maybe we're doing something right. If you like it, spread the word, get those numbers up, man. We really, really appreciate it. Hopefully whatever it is you like, you like, let us know. Suggest an album for us to go through, a song for the Baby wheel. Whatever it is, we definitely listen. We are a trio. We've got Frank. [00:01:58] Speaker B: My name is Frank. And I'm sex. [00:02:07] Speaker A: Foreign. We got Mark. Oh hi Mark. [00:02:16] Speaker C: What's up guys? [00:02:17] Speaker A: And I'm Sav. Ciao Buena. We did an audible last week because we've been talking about doing the 1994 Motley Crue album with John Karabi, something that we had listened to in the past. Hadn't listened to. Well, I did actually listen to it somewhat recently because a lot of people on the podcast love this record. I said maybe I missed something the first time around. Listening to it now out, I probably give better scores than the first two songs, which are less Motley Cruey. I don't think the album is that un Motley Crue ish though. The further it goes down into the first side, I felt the more it went that way, the less that I liked it. And I like the first two songs, which I mean, well liked. They were okay, but compared to the other stuff I Like the first two a little bit better. Mark, what's your. What's your take so far on the first side? [00:03:02] Speaker C: I think that it's better than I expected it to be. I like some of the songs toward the end of the first side better than the first two songs, and that's mostly because of songwriting. I don't think the playing is bad thing. The playing is fine. I just think that some of the songwriting choices and the choruses really, really weren't very good. I'm excited to see what happens on side, too. [00:03:21] Speaker A: Yeah, that definitely was a big takeaway. The choruses, a lot of the choruses are basically just the titles repeated over and over. They didn't really elevate the songs at all. That is definitely one thing I picked up on. Frank, what's your take so far compared to what you remembered and what you're hearing now? [00:03:35] Speaker D: From the first time? As far as I can remember, when I first heard this album, I was like, oh, okay. It's Motley Crue trying to be with the cool kids of today. I remember that being the initial. I did like the music. I did like the production. I thought that it was a really unique take on it. And I always felt like if they maybe, perhaps went under a different band name, I would have liked it more. But Mark had made mention that maybe that wasn't a possibility because they were under contract at the time that this was released. It's quite possible they couldn't change the name of the band because of that. All that said, love the music, love the production. Didn't like the writing a whole lot. I felt that towards the end, it sounded more like a Motley Crue. Especially from Love Shine, which is one of my favorite tracks on this album. It sounded more Motley Crue sound. I'm excited to hear the next part of it. [00:04:23] Speaker A: Yeah, I'm kind of hoping for a little less Motley Crue sound. Thanks. Because that's kind of. See what I kind of liked a little bit more. Maybe just a little bit more innovative for me. A little bit heavier as well. Before we get back to Motley Crue, we have the Baby Wheel and the new Vest. [00:04:38] Speaker D: In a world where new music is not easy to find. [00:04:44] Speaker B: Welcome to New Bets. [00:04:56] Speaker C: Okay, here is the new Bets Wheel. [00:05:11] Speaker A: Cool. Dorothy Tombstone with Slash. I've heard that name a lot. I've never listened to them, so I. I'm very curious. I'm kind of. I'm glad we got this. [00:05:22] Speaker C: I've heard the name a lot, but I don't really know anything. They do, so. Yeah, me too. [00:05:26] Speaker D: I mean, I've heard the name Slash a lot. [00:05:29] Speaker A: Yeah, that name sounds familiar. [00:05:30] Speaker C: Yeah, that's a little familiar. [00:05:31] Speaker D: That name sounds familiar. Yeah, I'm not familiar with the group, so I can't wait to hear it. [00:05:34] Speaker C: All right, let's see. This is Tombstone town, featuring sl. [00:05:46] Speaker B: Boy, you got an evil heart Full of venom, full of darkness. How'd you get so wicked? How'd you get so damnitious? All the ways you cheated me. Hello to your reckoning, yeah. Better say your last prayer before I pull the trigger. Hell, yeah. Get down on your knees you're begging me but I'll have mercy on you. Call your angel hel can't save you. There's no redemption for you. That old black magic misery. You try to put a me, I'll hunt you and I'll put you in the ground. I'm taking down a tombstone town? Down, down, down to town down. Gonna send you on a holiday. Gonna lay you in an early grave. Cause when you're gone and full of lit. No one will miss you when you're there. Better kiss your mama, kiss your kids. Crush your heart and hope you live. Oh. Any last words before I pull the trigger? Down on your knees you're begging me. But I won't have mercy on you. Call your angel helicopter savior? There's no redemption for you but I hold back magic misery. You try to curse on me. Punch you and I'll put you in the ground. I'll take you down to Tombstone. Down, down, down, down. Tombstone town. Down, down, down. Hey, you must think I. I found her cheap ring by the bed. You cheated me, you cheated me. You cheated. Bad. [00:08:51] Speaker A: Not bad. Loud. Which is cool. What do you think, Mark? Especially the solo. [00:08:56] Speaker C: The solo was really good. I don't think the song is bad. It's very country. Modern country. [00:09:00] Speaker A: Heavy country. [00:09:02] Speaker C: I thought it was pretty good. [00:09:03] Speaker A: Actually, not too bad. I'd give that a relisten, see how it sinks in. Frank, what do you think? [00:09:07] Speaker D: The same. I'll give it a relisten. Very loud, which I like. Definitely. Slash playing there. I'm pleasantly surprised. [00:09:13] Speaker A: No, I'm assuming they're on the list somewhere, Mark. Right. [00:09:15] Speaker C: Probably. I'd have to look. I don't know. They may not be. If they're not, I'll probably add them. [00:09:19] Speaker A: Maybe they can push us into the 1900 and can change the intro. [00:09:23] Speaker C: And now we got a little more to go before that happens. Well, if you like it, let us know on all the various Social media places. And let's rubber stamp this in a [00:09:33] Speaker D: world where new music is not easy to find. [00:09:39] Speaker B: Welcome to new bets. [00:09:51] Speaker C: Okay, let's continue with this Motley Crue thing. The next song is Hammered. [00:10:25] Speaker B: Jesus Crucified Again. These four walls are closing in. Who and what do you think you are? A rich in a fancy car? Concrete talking on the back. You're the monkey on my back and it's time for you to go. You're more har than my advice. I don't want to know. [00:11:17] Speaker A: It's not bad. I feel it's missing something, though. I can't tell what it is. I do like the hammered part, actually. This could be the best chorus for me, for what it's worth. That part going into the hammer. Maybe the beat was faster during the verses. I would like it better, but it's not bad. It's a decent riff. [00:11:32] Speaker C: I think this is maybe another one of my favorite songs. I think the riff is good. I think it could possibly be a bridge song between old Motley and New Motley. [00:11:41] Speaker A: I hear that. [00:11:42] Speaker C: I think it's very much Motley Crue. You could hear Vince Neil singing this easily. I like it so far. I think it's pretty good. [00:11:48] Speaker A: This could be my favorite Motley Crue as song so far. [00:11:53] Speaker C: My question is going to be is, will I get Mick Mars or is it going to be some neutered Mick Mars like the first side hat? That's my question. [00:12:00] Speaker D: I think Mark nailed it. This is a bridge song between the old and new Motley crew. And I think if they had this sound throughout the first half, we would have all probably maybe liked it a little bit more. I do agree there's something missing. I just wonder if the guitars just need to be louder or more in your face. I like it. I think Mick Mars is doing amazing. He's not neutered. He's living his best life on this album. He even said so. [00:12:20] Speaker C: His solos are not the same and it's not the stuff that was on anything prior. I'm waiting for a real McMorri solo to happen. I just don't know when that's going to happen. [00:12:27] Speaker D: But this is what he wanted. He wanted this sound. You've already heard the other sound. [00:12:32] Speaker C: I don't want that sound. I want the old sound. I want his old guitar playing. I don't want the new thing. It sucks. [00:12:37] Speaker D: Well, you're not going to get it on this album. [00:12:40] Speaker C: Maybe I'll get it on this song. Who knows? Again, I don't remember this So I have no clue. First one, act like Jesus crucified again these four walls are closing in who and what do you think you are? A rich in a fancy car concrete jackal sucking on the past Junkie kissing money's ass Chorus. You're the monkey in my back and it's time for you to go hammered. You're more harmed than my advice and I don't want to know. Again, I think that's maybe one of the better choruses. Let's see if it continues. Here we go. [00:13:38] Speaker B: Hey now said I'm going to say time will trust you to face your way of a monkey on my back Time for you to go. More harm than my advice I don't want to know. Sam, [00:15:40] Speaker A: What do you think, Mark? First I thought he was just gonna do that one part and then he kind of went into a little bit of a solo there. What'd you think? [00:15:48] Speaker C: I think it's better. I would like a little bit more comparative to the whole record. I think it's the best one so far. [00:15:54] Speaker A: So far? [00:15:55] Speaker D: Digging it. [00:15:55] Speaker C: I'm actually thinking this is about Vince Neil. [00:15:57] Speaker A: Oh, yeah. I didn't fully hear all the words. [00:15:59] Speaker C: From what I'm thinking, it feels like that's what it is. Well, I'm going to read verse two. And that's where I almost thought that it has to be about him. Verse 2. Hey, Mr. Big Time Hollywood tell your story walking if you think you could yeah, if you could. Your money's running low from your cocaine Nothing but a rat scratching at my door hey now I've said all I'm gonna say Time will judge see who fades away that line right there chorus is the same post. Chorus is, hey, you're hammered, Hamm poor. Yeah, Bridges now you're feeling low, tired and beaten Bring you some blades and daggers pierce your soul he ain't living six feet in the hole down on your knees in Hollywood time to get me some. I do think it's about him. A little bit of a dig. [00:16:39] Speaker A: Could be a little jab. [00:16:41] Speaker C: Yeah, there's always a thing. Did he quit? Did they fire him? It's the back and forth. [00:16:45] Speaker A: I always remembered when they were going to televise their behind the music. That was always a thing. It would always be that scene where Nikki stick is like, Vince quits. And then they would cut to Vince, be like, Nikki said, I quit. No, I was fired. [00:16:57] Speaker C: You know what? They both could be right at the same. The same time. [00:16:59] Speaker A: I mean, it barely lasted. How long did it really last? Dr. Feel Good was 89? [00:17:03] Speaker C: Yes. [00:17:04] Speaker A: Was that 90? [00:17:05] Speaker D: It lasted to this album dropping to what, 114 after week two. That's when they all got back together. [00:17:13] Speaker A: They did tour a little bit for this. [00:17:14] Speaker D: Yeah. They tore very little. And Karabi did do some of the writing for the follow up album. And then ultimately he just kind of exit stage left to let Finns come back. [00:17:25] Speaker C: He actually sang 80% of the writing record Generation Swine. He's saying 80% of it. [00:17:30] Speaker D: He did. [00:17:31] Speaker C: That's what he said. He said he sang 80% and then the change was made. [00:17:34] Speaker A: And the songs were exactly the same, I assume. [00:17:36] Speaker C: So there's no way you could have sung 80% of the record. This is him saying that. Obviously I have no inside knowledge. From what I've heard in a bunch of interviews. If you go on YouTube and search John Karobi Motley Crue, you'll get tons of stuff. And one of the ones I just listened to after our last episode said he did 80%. And another one, like I said, on the first episode, he was there doing stuff. [00:17:55] Speaker A: Stuff. [00:17:55] Speaker C: And they almost thought about keeping both of them together. But it was really the record company that forced his hand out. It wasn't MLY crew. The record company forced it out because it just didn't do anything. And they just wanted Vince Neil back. [00:18:05] Speaker A: There's no way in hell could have had the two of them. How would that even work? [00:18:08] Speaker C: John Karabi just plays guitar, rhythm guitar and sings back around, I guess. [00:18:12] Speaker A: Yeah. But imagine John Karabi singing a song and then you go to Vince Neil singing a song. [00:18:17] Speaker C: Yeah. [00:18:17] Speaker A: Well, I'm pretty sure John Karabi did a good job though. I mean, that must have been a decent tour. I would say, I think for whatever it was with him singing lead. I know it's not Vince Neil, what's his name? Right. When he was in Van Halen, everyone said that was a great tour because they played everything right. And obviously he had a good voice. Gary Sharon. [00:18:32] Speaker C: Yeah, supposedly. And the things that I've seen, it was really good. [00:18:35] Speaker A: Yeah. But the from this is probably good too. I'd have to look. [00:18:37] Speaker C: I didn't look a lot of it. I've seen parts of things here and there, but I haven't really seen a whole concert, so I don't know. All right, let's continue. [00:18:54] Speaker B: Ram. Sam. [00:20:13] Speaker A: One thing for sure on this album, man, they love to stretch these songs out, that's for sure. Holy moly. [00:20:18] Speaker C: And we're not really talking about Tommy Lee, but he's been really good on this Record. [00:20:21] Speaker A: Oh yeah. I like the drum sound. It's pretty unique. I do like the drum sound sound here. [00:20:26] Speaker C: And you got your double time. [00:20:27] Speaker A: I didn't like it there though. It didn't bother me at first. I was thinking that and then during the second versus, I wasn't thinking about it anymore. [00:20:34] Speaker C: Frank, why don't you go first? [00:20:35] Speaker D: One of the things I've said repeatedly, I love the sound throughout this whole album. I do like the sound of this song. Although I will admit that there's some element missing, maybe perhaps that they sped it up a little bit. Regardless, I still like the music. I'm going to give the music and the production. I'm going to give those seven. The melody six. The lyrics is six. And I'll give arrangement a six as well. [00:20:57] Speaker A: They gonna keep it simple. I'm gonna go sixes across. It's a little repetitive. That one part. I think they do that. I won't ding it as much. I was thinking of dinging a little bit on. On arrangement for that and kind of stretching it out. I think it's cool. It's a good way to start off. What would have been the second side? Mark? [00:21:11] Speaker C: I'm gonna do sevens on this. I think so far this is probably more what I would be expecting if John Karabi took over Motley Crue. And then if this came out first like this was the first song you hear, slowly you moved into the heavier things. Maybe it would be an easier pill to swallow. I think coming right off the bat with those songs that they did probably did a disservice to the record because existing fans probably didn't want to hear that. Nikki titty baby quintuple 7 zippity bippity bop. The next song is Till Death Do Us Part. And this is what would have been the name of the album, I think before they made it the self titled. Does anyone remember this? It's just six minutes. It's really long. Does anyone remember what this is like? [00:21:51] Speaker A: I bet you four minutes is the eight ending. No, because even doing this as a relisten, I'll be honest with you, the first song I remembered because I remember saying, yeah, I like the first song. I definitely remember Hooligan Holiday. I kind of remembered the Jack song. Everything else I really haven't remembered Love Shine, which obviously would be something that sticks out because of its acoustic. Didn't remember. This could jar memory and I'm not sure. [00:22:19] Speaker C: All right, let's do this. Till Death Do Us Part. [00:22:24] Speaker B: Sam. Realize the flight of satisfaction. I walk My walk Talk my fucking out Leave me down in my souls Temptation cut so deeper it's my still but just so you know I've lived your through mistakes and I stand by them it's me, myself and I Today till I yeah, today. No, no, no. [00:24:31] Speaker A: I find it interesting. I don't really like. I feel like it hasn't gone anywhere from the beginning. Again, the chorus is nothing. I didn't realize that it was chorus. I thought they were going back into the verse and they actually went into the title. I'm not sure. I'm assuming it's going to change because it was a six minute one on the first side too. That start off so slow and then it changed. [00:24:50] Speaker C: I do think it's interesting. The chorus and the verse are too similar. I don't know if that's going to change. Are they going to move it around a little bit? It's not horrible, but I need to listen to it a little bit more. [00:24:59] Speaker D: I think that if you put David Coverdale to sing here, you got yourself a White Snake song. Very sounding like white right now in the beginning there. [00:25:07] Speaker A: Yeah. I felt the vibe there. And his voice really reminds me of somebody from the 80s. I want to say. I just can't think of the band. I want to say it's one of the lesser known, like hair metal guys. [00:25:16] Speaker D: Yeah. [00:25:17] Speaker A: It's not really going anywhere for me yet. [00:25:18] Speaker D: I'm digging it. [00:25:19] Speaker C: I thought he sounded a little bit like Sebastian thought at the beginning. Oh, maybe. [00:25:23] Speaker A: Yeah, yeah. [00:25:23] Speaker C: But that quickly changed out of that. It started off like that and then it didn't really end up that way. Okay. Verse one. Oh, when you look into my eyes Tell me what you see I don't think you'll ever realize the pride inside of me oh, I've walked my walk Talk my talk and I lived and died in my songs Temptation cuts so deep Its fire still burns so strong Chorus. You know I've lived a few mistakes and I stand by them oh, it's me, myself and I Till death do us part Till death do us part no, no, no, no. Again. Lyrics aren't bad on this whole album. I just think sometimes the songs undermine the lyrics. [00:25:58] Speaker A: Yeah. Some of the melodies. [00:26:00] Speaker C: Yeah. All right, let's continue. Here we go. [00:26:25] Speaker B: Yeah. Talk to talk wrong to work Don't I live this world this life's been hard Like a switch played by Faith Su Inside, you know I lived a few mistakes and I stand by me yeah, it's me, myself and I Till death, till I cry yeah till death Till death feel a. Sam. [00:28:28] Speaker A: That beginning riff with the guitar that reminds me a little bit of Dawkin. Think that instrumental part is actually my favorite so far. I found that to be the most interesting. I do like the concept too of what he's saying. Me, myself and I Until death do us part the crux of the song. It's okay, like it's interesting. I want to like it more, but I know it's not really grabbing me. What'd you think of solo Mark, but what you think of whatever he was [00:28:47] Speaker C: played that was better. I thought it was much better than some of the other stuff. The chorus is really where the problem happens because it starts as part of the verse, the same holding the chord and stopping. And then they have the riff halfway in. You're not really sure where the chorus really starts because it feels like it's going. Going back into a verse. I think that's what really does it. It's an interesting idea and maybe something a little fleshed out a little bit better would have made it be a better song. But I agree it almost doesn't go any place. [00:29:13] Speaker A: I think it happens so often on this record where the choruses really don't stand out. My songs don't have to have verse, chorus, verse, chorus. If you're going to have a chorus in every song, which they do. Just something that differentiates it. [00:29:26] Speaker D: I'm digging it. I like the theatrical sound that it has has to it. It's just a very unique sound to them. I love the little jamming part of it right there. Overall, the whole song just feels like they wanted to jam and throw some lyrics into that jam. And they did it really well with this song. [00:29:42] Speaker C: Verse 2 hey, if you want to criticize then you can't believe anything you read what you see is all of me you have talk to talk walk the walk who thought I'd live this long? Oh, this life's been hard Like a switchblade Blind faith suicide Back to the chorus, then that little instrumental break, then solo. And now we're where going into a chorus again? I assume so. Let's see. Here we go. [00:30:52] Speaker B: Forever, forever together Forever and ever Forever Sam. [00:31:38] Speaker A: I didn't feel six minutes. I guess that's a compliment. [00:31:43] Speaker C: It was interesting. I thought the chorus at the end was better than the choruses in the rest of the song. They should have used that in more [00:31:49] Speaker A: places to differentiate it a little bit. [00:31:51] Speaker C: Why don't you go first? [00:31:52] Speaker A: 6 lyrics. I've pretended production. I didn't like the way the verses sounded there's something odd about it. Music. It's hard to say. I'll say six on the music. There's definitely some interesting stuff going on. Five on arrangement and five on the melody. Scores aren't that great. I didn't think it was terrible, though. It's one of those songs where you want to give it more, but because there's cool parts. But as a whole, I thought it was okay. Frank. [00:32:18] Speaker D: I'm gonna give seven to the music, seven to the production, seven to the melody sticks to the lyrics. Lyrics, and seven for the arrangement. I do like it. It's very unique sound. It's not something I recall in Motley Crue's repertoire in this specific sound. You heard a little bit of different groups in there. But overall, I enjoyed the sound. It really felt like the guys were having a good time just jamming. [00:32:42] Speaker C: This can be hard because I appreciate the trying to do something a little different. And staying within the Motley Crue thing. I'm gonna say six on the lyrics, six on the melody, six on the music. I'm going to ding the arrangement on five because of the chorus. Even though I'd like the end chorus. And I'm going to say the same thing. Five on the production. Is there something missing? And I'm not sure what that is. Okay, next one up is welcome to the Numb. [00:33:19] Speaker B: Sam, This coverage, and Landslide. Wait for a kiss from an atom bound this situation's been down my backs against the. Walking in my sleep and I can't feel it all I said, hey, man, just give me some truth say what you want to see See what you want to. [00:34:45] Speaker A: This song is straight up Motley Crue, without a doubt. I mean, Vince Neil, you could totally picture him. [00:34:49] Speaker C: He's. [00:34:50] Speaker A: It's kind of got that prime scream feel to it. I don't like this one. If you knew that that's where it was going. Once I said, this is straight up Wiley Crew. [00:35:03] Speaker C: I don't know, from some of the stuff that I heard, he said they wanted to go in a little more bluesier of a direction, which I think they did on Dr. Feel Good a little bit. Parts of this feel very Dr. Feel good. Yeah, I don't hate it. I really don't hate it. You don't want to hear the Motley Crue stuff. But I'm okay with this. [00:35:18] Speaker A: Maybe that's it. I don't know. I've always said the first two records are my go tos. After that, for me, it went downhill. There's bits that I like here. And there. Whereas the first two I can listen to almost straight through. I kind of like when they do the other stuff, if it's done well. I could understand this appealing to somebody who wanted to hear Motley Crue. They're okay with somebody new coming in singing, but they didn't want them to lose that sound. I would think that this would be an appealing song for somebody like that. [00:35:45] Speaker C: And it makes it interesting to me that, that this record did so bad when there are so many, especially on the second side, so many songs that can be Motley Crue. Maybe people just didn't get to the second side. They heard the first two, three songs and went, yeah, no, and didn't even try to get to the end. I'm sure I was one of those people. I don't remember how much I listened to this or how far I got, but I might have got two or three songs in and went, I think I'm done. [00:36:07] Speaker A: Agreed. I think that's probably it. Because you figure that the third song is Uli Gonzale, which was the single, and maybe people who had already heard that song if they. Whatever judgment they made on that and then didn't go past it. Because without a doubt, there's more Motley Crue sounding than I remember. For sure. Bits and pieces, not everything. I mean, I don't think the song before this was necessarily Motley Crue esque, but you can Definitely hear it 100% [00:36:31] Speaker D: agree with the two of you that this is a song that could have been very easily included in Dr. Feelgood. Yes, I can actually vision Vince Neil singing on this one. It feels like a song. Song written for Vince Neil and Karabi ended up singing it. [00:36:43] Speaker C: I don't think that's a bad thing. I think that if you want to keep some of your fans, I think you have to do stuff that people remember as being the old thing. Otherwise you're just going to alienate everyone. No one says you can't change, but if you change so drastically, you make a total 180. You're not going to have a lot of your people. And if you. If you're there to sell records, that's not a good thing. Verse 1 Mr. Mr. Push Button Junkie Looking for some dirt to buy Landslide It's a corporation Landslide Waiting for a kiss from an app Atom bomb Pre Chorus the situation's critical My back's against the wall but we like it hey, you're walking in our sleep and I can't feel it all I said hey man, just give Me some truth Chorus See what you want to see Feel what you want to feel I don't want to know I don't want to deal I don't want to be any part of your stupid machine do what you want to do Kill if you gotta kill Because I just don't believe your point of view welcome to the Numb Fools. At least I didn't just repeat welcome to the Numb over and over and over. Gotta give him a little bit credit. [00:37:39] Speaker A: I didn't realize he said it. I'll be honest with you. [00:37:42] Speaker C: It's in some backing vocal part of the actual chorus, if you listen. But he says it at the end of the chorus. [00:37:49] Speaker A: I mean, did he write lyrics? Is Nikki Six credit with writing most of the music, if not all the music? Was he also the lyricist? I'm drawing a blank here. Nikki Six was also the lyricist. [00:38:00] Speaker D: I assume he did write on the song. He did have credit on there. I believe it was mainly Nicki and Karabi that wrote a lot of the lyrics for this album. [00:38:08] Speaker A: I would think so. [00:38:09] Speaker C: This actual rehearsal footage, if you go look on YouTube, you can see rehearsal footage that they recorded. And from what I gather, this is the first time they really, like, got into a room together and played, and then the two of them went off and wrote lyrics and came back. So they did it different than they've ever done it before because I think they came in most of the time with fully done songs. I assume Nikki Six had fully done songs and came in and showed Vince Neil how to sing the things that he wanted to do. But here, this is more of a collaboration with. We're playing, we're jamming, we're figuring stuff out, and then they go off and write lyrics and come back. It's a little different. But, yeah, he had writing credit on everything. [00:38:44] Speaker A: And there's no Fuck me, suck me songs on this. [00:38:46] Speaker C: Not yet. [00:38:47] Speaker D: Not yet. It wasn't meant to be that, though. Not this album. [00:38:50] Speaker A: No, it wasn't. There's no reference to it at all. It's really dark and introspective, it feels. [00:38:55] Speaker D: And they want to be with the times, songs, bands. During that time, they weren't writing those types of songs anymore. That's back in the metal days, the hair band days, that those types of. Of lyrics. [00:39:05] Speaker A: Not that I've heard all the stuff that he's done on his own, but even on his Heroin diaries and the 6am stuff, none of that was about it either. I don't think I could be wrong. I don't know all the Songs, they've [00:39:14] Speaker C: done so much of it that. Does he really need to do anymore? Really, I think he's covered that. [00:39:20] Speaker D: I mean, yeah. Yeah. And the Heroin Diaries. I mean, did you read the Heroin Diaries? [00:39:25] Speaker A: No, I don't think so. I don't remember. Honestly, I don't remember. [00:39:28] Speaker D: I read it, and one of the things that was intriguing to me. I've seen people on heroin, they can barely stand. They don't even know what planet they're standing on. Somehow Nikki Sixx figured out a way to keep a journal. So I gotta tell you, that's pretty interesting. [00:39:42] Speaker C: He's a functioning heroin addict. [00:39:45] Speaker A: Yeah, until he kills himself. Yeah. [00:39:47] Speaker D: Do you know what kind of a drug addict you have to be that you could take heroin and still write a journal? Holy smokes, man. [00:39:55] Speaker C: Well, if that was real, did he really write it while he was on heroin? I don't know. There's a lot of Tom Foolery goes on in Motley Crue. So do you really know if that's true or not? [00:40:04] Speaker A: Yeah, I've heard of even, like, the Dirt Church. There's a lot of exaggeration in the turret. I mean, it makes for an interesting read no matter what. [00:40:11] Speaker C: All right, let's continue. Here we go. [00:40:34] Speaker B: This situation's critical have a lot my mind. There's too much information can you see it in my eyes? I said, hey, man, I want it to truth See what you want to see Feel what you want to feel I want to know I don't want to feel I don't want to be any part of your stupid motherfucker. Did you do what you want to do? Kill what you want to kill? Cuz, I just don't believe your point of view Ram. Sam, [00:42:04] Speaker A: This way it's not just me, right? The guitar solo was buried. It was so low in the mix. [00:42:10] Speaker C: It was really low. [00:42:10] Speaker A: What the hell happened there? [00:42:12] Speaker C: I don't know. [00:42:13] Speaker A: Then probably the most McMar and thing going on. [00:42:17] Speaker C: Yeah. I don't know why that was odd. It's a weird choice. The more you listen to this, the more this is a doctor Feel Good type song. The slide guitar and all the stuff. [00:42:26] Speaker A: That weird little keyboardy thing sounded like they got a bar there. It sounded like. [00:42:32] Speaker C: Wasn't that harmonica? [00:42:33] Speaker A: Yeah, there's harmonica. There was a guitar. It sounded like a little Weir. Demented Calliope. [00:42:37] Speaker C: The only reason I know Calliope is because Destroyer has Calliope on it. [00:42:41] Speaker A: Yes, and that's my reference, too, believe it or not. [00:42:45] Speaker C: Because otherwise I wouldn't know what Calliope is. [00:42:48] Speaker A: Once you know it, you know it. You know you've heard it. But just sounds like wait and then [00:42:53] Speaker C: I didn't realize on the pre chorus, there's a part that sounds, like, extreme. I was trying to think what that was, the part. And I like it. And I like it. That was very extreme. Verse 2 People did you ever feel like you're going insane, sister? I'm feeling pretty safe dead in this homemade grave Pre chorus the situation is critical have I lost my mind? And I like it there's too much information can you see it in my eyes? I said, hey, man All I want is the truth hey. Then the chorus again. Then that post chorus. Welcome to the numb welcome, welcome welcome to the numb oh, sing it, buddy. Guitar solo. And now we're coming out. Here we go. [00:43:35] Speaker B: The so much information you can see it in our eyes I say, hey, man, just give me the truth why don't we see what you want to see Feel what you want to feel I don't want to know I don't want to feel I don't want to be any part of your stupid motherfucker this do what you want to do Kill what you want to kill yeah I just don't believe your point of view. Sam. [00:45:21] Speaker A: Man, they love their long outros. Holy moly. [00:45:24] Speaker C: I think there's really only one part of the lyrics I'm going to read, which is the pre chorus after the solo. Situation's critical have we lost our minds? But we like it so much information you can see it in our eyes I said, hey, man, just give me the truth and I did notice that in the chorus, too, they have a very extreme thing. The welcome to the numb part. I didn't notice that until the last one. And that was very extreme, too. Just the sound of the background vocal. I guess I'll go first. Is it horrible? [00:45:50] Speaker B: No. [00:45:51] Speaker C: I'm going to probably say sixes across. I thought it was fine. It sounds like Motley Crue. Sounds like a new singer was singing Motley Crue. And I guess that's really what every single everyone wanted. Is it the greatest song? No, but I didn't think it was bad. I like Mick Morris playing in this. I thought he did a pretty good job. [00:46:06] Speaker D: Frank, I'm going the same route. Six is across. So far, I think this song, the previous one, if they were the first two tracks, I think it would have been better. I think so far, maybe side two should have been side one to kick things off. [00:46:18] Speaker A: I'm going five. Do I think it's bad. No, it's okay. Lyrically, it's not bad, but I've given sixes to stuff that I think is a little bit better. [00:46:26] Speaker C: The order of this record is wrong for trying to get Motley Crue fan to like this. I think that's really what the problem is, because I think the second side is showing that they can introduce you into things. That might not be exactly Motley Crue, but then they also put songs on here that people go, oh, I know what that is. That's familiar. I kind of like that new singer. And he sounds good. I think they just made a mistake putting those other songs up front. [00:46:47] Speaker A: But it is liked. Maybe it didn't sell. The reason I really went back to this, I told you, though, is because of listening to metal podcasts and people just talking this album up and me saying, maybe, maybe I missed something. I don't remember it sounding. And I know I mentioned this before as Motley Crue as it does, because there's stuff here that is like, this song is straight up Motley Crue. [00:47:07] Speaker C: Yeah. Who knows? I have no clue about why they sequenced it the way it is. I think they were trying to push this new Motley Crue in your face, but I think that's a backfiring thing. I think if they put some of the other stuff and mixed it around and didn't put those three songs at the beginning, I think they would have kept a lot more fans interested who really wanted to stay with Motley Crue. And instead of alienating those fans right off the get go, it's hard. I understand they want to do what they want and they want to artistically do what they want. But you can't complain when you do something like that that you don't sell records. Your tour doesn't do well. You can't complain. You want to make that change. You have to understand that that's a possibility of things happening between the time frame and just the change over. I think that they just didn't figure it out. Just similar to Van Halen 3. He did what he wanted and it didn't work. And then he was mad that it didn't sell 5 million copies. Well, no, it's not going to. [00:47:56] Speaker A: I don't think this album is grungy. This isn't Kisses Carnival of Souls where they flat out said that that's what they were trying to do. I don't think that that's what this is. [00:48:05] Speaker C: I think the first three songs are, though. [00:48:07] Speaker A: I don't think they're grungy. [00:48:08] Speaker C: They're more than this is. [00:48:09] Speaker A: I mean, they're slightly heavier than what they've done before. But I don't. I don't. I don't know. Maybe it's just me. I don't kind of think it. I'd have to go back. I wasn't thinking that they sounded grungy. I did think that they were heavier. [00:48:20] Speaker C: Well, maybe not grungy. They were definitely heavier. And in the vein of what was going on, I think it was just a bad move to just shove that in people's face right off the bat, not have really good songs. Now, listen, if the songs were really, really good, you may be able to push that that way. They would have been better off taking a couple of these songs in the second sign, sprinkle them at the beginning and move your way into a little bit heavy stuff. And maybe it's all better. Maybe they could have gotten platinum, A couple platinum, and then we would be having a different conversation. Vince Neil never would have came back if they would have sold 2 million albums or 3 million albums of this. But since they only sold 500,000 and the tour wasn't very well received, those two things together get you back to Motley Crue, I guess. Although it didn't really go back to Motley Crue, because I don't think Swine's better than this. I haven't heard that in a long time, but I don't remember that being very good. [00:49:06] Speaker A: I've never heard that record. I've actually never heard Generation Swine. I know. It's always the top of the shitheap when it comes to people's rankings, that's for sure. [00:49:16] Speaker D: It was just one of those albums that dropped and nobody knew it dropped. [00:49:20] Speaker A: Yeah, I think the same thing. I want to say the same thing where it was like, wait, Motley Crue did another album with Vince Neil. [00:49:27] Speaker D: It was just one of those albums that showed up on release these Tuesdays. And you're like, what? [00:49:31] Speaker A: Really? What happened here? Who's this? Mly. What? Yeah. [00:49:36] Speaker D: You're like, maybe this is an ep. No, full length. [00:49:39] Speaker C: All right, let's continue. This is Smoke in the Sky. [00:50:50] Speaker A: I like that main rift. We said it about some other songs. There's just something messing me up. Maybe it's the melody. And honestly, I wish Tommy Lee had done double bass over that. I think if he did double bass on that riff, I'd be digging this more. It would just heavy it up more. The melody loses me a bit, I think. [00:51:04] Speaker C: Yeah. Melody's not great. And for people who are saying that they're done with the drugs and all this stuff, they have a drug song. I just find it funny. [00:51:11] Speaker A: Is that what this is? [00:51:12] Speaker C: I think there's some double entendre on the drug stuff. When I read the words, you'll see [00:51:17] Speaker D: very Alice in Chain sounding so far to me. [00:51:20] Speaker A: You think so? [00:51:21] Speaker C: I don't know. [00:51:21] Speaker D: I think so. Maybe the. The earliest stuff. I don't think it. [00:51:25] Speaker C: It has a little bit of that feel. That's okay. Having a song like this where this is on the record wouldn't have been a bad problem for them. I don't think people went, oh, okay. So there's a little bit of heavier Motley Crue on this too, I think. Again, I think the album suffers from sequencing. Intro Smoke my hoochie, you say that I'm the devil reala thc verse 1. Marco Polo hailed it in heaven Socrates inhaled it to Mr. President, tell the truth pre chorus, you had a great exaggerator since 1932 telling evils of the re but all through time we smoked this guy Chorus smoked this guy. I think there's some double entendre in there, but there's definitely a pot related thing here. [00:52:01] Speaker A: It does say reefer, right? [00:52:03] Speaker C: Reefer, yeah. It's in your face. And there's some other things being mass. It could be that. It could be something else. Again, I don't think the lyrics are really the issue on this record at all. [00:52:12] Speaker A: No. We've heard some Motley Crue lyrics and lyrically this is probably the best album they've ever done. [00:52:18] Speaker C: Well, you get two guys writing now maybe is why it's a little bit better. It's not just Nikki Sixx having to do everything. And again, when we did Girls, Girls, Girls, you were even surprised he was so up. How did they even record that record? How do you write lyrics? He was fucked up all the time. Like Frank said, how do you write down stuff when you're really super high on heroin? [00:52:36] Speaker D: I'm just saying. [00:52:37] Speaker C: Yeah, I know. At least here he had someone else to bounce lyrics off of. It's not just him. I don't know what the lyrics are like in Scream. Are they like this? [00:52:45] Speaker A: No, I don't think so. I think they're more of the typical things you. You would expect. I could be wrong. It's been a while since I've heard that album. The first song is Good is a Outlaw, basically about him. It's basically a Wild west song where he kills somebody in the Wild West. I don't remember the rest of it, honestly. [00:53:03] Speaker C: All right, let's continue. Here we go. [00:54:41] Speaker B: Time. With smoke the sky. Smoke the sky. [00:55:39] Speaker A: His voice reminds me a little bit of Blackie Lawless in this song. Definitely the highest. Straight through. I want to like that song. I kind of like the riff, but [00:55:47] Speaker C: the riff's the best part of the song. [00:55:48] Speaker A: Yeah, that's simple, but it's driving. [00:55:51] Speaker C: But I could hear if it was double bass there. I would like it better. [00:55:54] Speaker A: Yeah, I would like it to. [00:55:57] Speaker C: Okay, let me read lyrics, because there's lots of lyrics here. Verse 2. Homegrown vision compliments the senses opens up my mind JFK sold his freedom. Or was it just a business? Toke 63 went up in smoke Pre chorus He was the great seducer crawling from our TVs breathe hope into our future before he died he smoked the sky Smoke the sky Guitar solo Screaming instrumental Then the bridge comes. When inside we smoke the sky [00:56:26] Speaker A: yeah. [00:56:26] Speaker C: Pre chorus BC hailed at heaven I inhaled it too Reala THC when inside we smoked the sky and then the chorus going out Smoke the sky Went inside, we smoked the sky Went inside, we smoked the sky Guy went inside, we smoked the. Went inside, we took the. Went inside, we smoked this guy. So he said that they weren't clean. Even though they were saying they were clean. They weren't. He said it lasted like a week. [00:56:49] Speaker A: Yeah, I think I heard that, too. Was he clean or. No, he wasn't clean either. [00:56:53] Speaker C: I don't think any of them were, no. [00:56:54] Speaker A: Yeah, I think I remember hearing that they were quote, unquote clean, but they really weren't. [00:56:58] Speaker C: If I had a nickel for every time Motley Crue said they were clean when they weren't, I'd be a rich man. [00:57:03] Speaker A: Yeah, a nickel for that and every final, final tour. [00:57:06] Speaker C: Yeah. [00:57:06] Speaker A: We could all retire. [00:57:08] Speaker C: Seriously. Frank, you go first. [00:57:10] Speaker D: The music again. Always been a big fan of it throughout the albums. I'm gonna give the music on this one a seven. The production, I give a seven. The lyrics. I'm gonna give that a seven as well. I kind of like the lyrics, but the melody, not so much. Give that a six, and I'll give the arrangement a seven as well. [00:57:29] Speaker C: Yeah, this, to me, is a filler track. I'm gonna give five on lyrics, five on the melody, six on the music, five on the arrangement. And I guess six on production was fine. Zav. [00:57:41] Speaker A: I'm going to go fives across again. I wasn't feeling it. The more it went on, the more I disliked it. I wanted to feel it. I liked it when it started. Just didn't do anything for me. [00:57:51] Speaker C: Okay, the next one coming up is Dropping Like Flies. [00:58:01] Speaker B: Sam, Listen, we can save it now. Oh, We're dropping. [00:59:34] Speaker C: Like, [00:59:58] Speaker A: This song kind of drops like a fly for me. This is also not completely Motley Cruey. The verses don't sound Motley Cruey to me. And the chorus, the bag, it's the melody, you could say. But the music in the verse and the beginning are very. Motley Crue. Just feels like so disjointed, all these different parts, that they kind of just cram together together into a song. [01:00:19] Speaker C: See, I feel that it doesn't sound like Motley Crue. How funny is that? I feel like this is the attempt of trying to be a little more alternative. [01:00:26] Speaker A: Not the whole song, but I think in the beginning and that, like, that, that kind of playing, that's what reminds me of Motley Crue. I don't feel the melody is there. So maybe that could be like the more alternative E part. [01:00:39] Speaker C: It's a little disjointed. You're right. There are pieces here feeling like they're getting a little jammed together. [01:00:43] Speaker D: I don't know how I feel about this. The song so far, it feels a little bit. I don't know, a little bit all over the place the last minute. Throw in kind of a song, so we'll see. [01:00:51] Speaker C: And there's a lot of words and he's not really reusing anything, so I got to read lots of verse 1. A war zone in the streets is anarchy and siege we hope it goes away Graffiti on the walls in modern Babylon Nothing left to save oh, feel the rebels heed Revolution undermines belief My eyes have seen this shit before we're barely hanging in by the the skin of our teeth refrain We've all raped it the future's wasted we can't save it oh, Chorus. We're dropping like flies Bye bye. You're dropping like flies I'm not too sure what this is referencing again. The lyrics aren't bad. [01:01:25] Speaker A: Nope. [01:01:25] Speaker C: The song in general is just not great. All right, let's continue. Here we go. [01:01:38] Speaker B: Some innocent queen French kisses Feels dis with one foot in the grave oh, and it's trunk I'm cold It's prime and ready for another war My, my, my children have no chance and these eyes I've seen this car go down before we are breaking the future. We can save Sam. Of grave With a conscience in my brain I'm not here to save Your world but mine won't stay the same. Sam. [01:03:56] Speaker A: They did the same thing with the solo. I felt that on the right side it was louder. On the left side it was buried. But overall it's actually my favorite part of the song so far. [01:04:04] Speaker C: Yeah. I thought that's all was pretty good. I'm questioning the levels too. Just a little strange how they've been going up and down. Production problem. [01:04:11] Speaker A: I guess it's got to be a choice though. We've only. At least that we've mentioned it. It's only been in two songs. I'm assuming it was a choice or who knows? We always talk about how and when they record this. The order of. Do they record it odd to me. [01:04:25] Speaker C: Yeah. Verse 2 Hate is growing fast In a hazy cloud of crack but it helps us fade away Some inner city queen fresh kisses his disease with one foot in the grave oh, in this junkyard we call home Is primed and ready for another war My, my, my the children have no chance and these eyes have seen this all go down before Refrain We've raped it the future's wasted can we take it? Is nothing sacred? We can save it now yeah. See that part there? He could have just stopped it after the second line. I felt. Third line felt like it was shoehorned in. It would have sounded better if it just ended on the sacred part. That's where the song kind of loses me a little bit. And the bridge is I woke up late in a fresh dug grave With a conscious in my brain I'm not here to save your world but mine won't stay the same. Guitar solo and now we're coming out of that. Let's continue. [01:05:54] Speaker B: We can save it. Can you face that selfish man? Can you face it? Can you freeze? [01:07:11] Speaker A: See, I think that sounds like motley cruelty. That part I was referencing in the beginning. I like. I guess what's supposed to be the chorus. I like that part about it. That's my favorite part. It just sounded weird with. What was that? Like the stuff that came before it. And even going back into this part just sounded odd. [01:07:26] Speaker C: I do think that the chorus is very Alice in Chain sounding. Maybe it's just the phrasing. Very possible. And they took my idea on the refrain. They did it. Only two lines this time. And that started shoehorn lining. And it sounded better. They listened to me from back to. In the day. [01:07:40] Speaker A: Yeah. [01:07:41] Speaker C: Years later Chorus oh my my, we're dropping like flies Bye bye, bye bye, you're dropping like flies Refrain We've all raped it the future's wasted we can't save it can you face it? Outro Selfish living Selfish love can you face it? Can you face it? My son oh, my son yeah. Hey. All right, Sav, Why don't you go first? [01:08:00] Speaker A: I'm going fives across again. I didn't mind the melody of the chorus. I'm a feeling these last few. Few songs at all. Right. [01:08:07] Speaker D: You said that that sounded more Motley Crue, especially towards the end of the song. [01:08:12] Speaker A: Well, the way it ended, the way it began, I think it did the same thing. And that reminded me of Motley Crue. I don't think the melody was Motley Crue. Whereas the song before I. Which I don't know if it was one before, the one before that was straight up. You could picture Vince Neil singing. I don't. Didn't picture him singing this. But I felt the intro vibe was Motley Cruey. Yep. [01:08:31] Speaker D: I got the same thing. And again, just keeping top of mind. This album was written for him. Again. This could just be one of those songs that was meant for him to the end. It sounded a little bit to me like GNR's locomotive. I don't know if you heard that song. Remember that song? I think it was on use your illusion 1. [01:08:46] Speaker A: I definitely remember the title. [01:08:48] Speaker D: You ever get a chance, go and listen to it and then listen to the end of this song. You're going to see some similarities there. I'm going to go with you. I'm going to go fives across on this one. [01:08:55] Speaker A: Mark. You going to complete the cycle? [01:08:57] Speaker C: Me too. Fives across. [01:08:58] Speaker A: Nice. [01:08:59] Speaker C: Yeah, it doesn't do anything for me. Generally there's parts that are okay. I think the lyrics are fine. It's just some weird sounding things together. And a filler track. If there was a filler track. We're at the end. We did it. This is Drift Away. [01:09:32] Speaker B: I don't know who I see smoking another cigarette that smack the tears [01:09:44] Speaker D: his [01:09:44] Speaker B: contradictions Seem to be the story of my life A simple man with memories of whose long lost golden name Yes, I close my eyes slowly drift away. It remind me of the roads I shouldn't choose Never comes at easy when you've nothing left to lose I can't see the answers Tell me why am I so blind A tired man will make the best of another A lonely day Close my eyes slowly drip. [01:11:00] Speaker A: The beginning reminds me a little bit of firehouse love of a lifetime. I don't think it's bad. I want it to be more interesting. If that makes Sense it feels that there's something missing. Maybe because I picture. I don't know which band, but maybe another bank doing this and having a little bit more soul to it. It feels like a soulful so out the soul. And it's not his voice, because I think he has a good voice. Maybe it's going on behind it. [01:11:25] Speaker C: It's a weird place to put a ballad. Last song on the album. I don't understand that at all. Probably on purpose, I guess. It's not bad. It's just me. It's whatever. It's not horrible. No, his vocals are really good. I questioned the second part of the verse at the end. It didn't bother me as much the second time around. That's why I let it go, because I wanted to hear that part again. The first one was a little jammed together. Too many words, I think. It just didn't really end the way I wanted it to end. I don't know. I was expecting something else, and then that came in. Not that it's bad. It just feels like there was just too much going on. [01:11:59] Speaker D: I'm with Mark. I think this is going to be the second album that we heard that ended in a ballad, which I've always thought was kind of odd that you would end with a ballad. I do hear the firehouse vibes in there, like you mentioned. [01:12:11] Speaker A: It's okay. [01:12:11] Speaker D: I'm liking it so far. [01:12:12] Speaker C: First one. Look inside the mirror But I don't know who I see Smoking with a cigarette A smile holds back the tears these contradictions seem to be the story of my life A simple man with memories of those long lost golden days I close my eyes and slowly drift away verse 2 mistakes I've made Remind me of the roads I shouldn't choose it never comes that easy when you're nothing left to lose I can't see the answers Tell me why am I so blind? A tired man I'll make the best of a lonely day to close my eyes and slowly drift away Again Words are pretty good. I have to say. This is probably the best written lyric. Motley Crue record. [01:12:48] Speaker A: I would say so. [01:12:50] Speaker C: All right, let's see what continues. Let's see what they do. Here we go. [01:13:08] Speaker B: Every time I stop, decide. Comes out and just up on the rain. [01:14:00] Speaker A: I like that solo. I don't like the way it ended. It ended way too quickly. I don't know. And that note it ended on, I didn't like either. That was definitely McMar, though. Holy moly. And I guess you want to talk about, hey, do you know who that's playing? If you listen to him enough times, that sounds like a McMar solo. [01:14:18] Speaker C: Way too short. I don't know what they were thinking about there. Did they need that other part before it? And if you're going to do that other part before I give him another four bars. Yeah, he needed to finish that out. He ended on that note. When I thought that something else was going to happen, then it ended there. I was saying to myself, that doesn't really feel right. [01:14:34] Speaker A: No, not at all. [01:14:35] Speaker C: But it was good. The parts that were there were great. It's just too short. [01:14:38] Speaker A: Yeah. I don't understand that. Yeah. [01:14:40] Speaker D: Didn't get too much either. SAP. [01:14:44] Speaker A: Yeah. It just ended. It ended. And it ended on the note that. Yeah, Mark, like you said, it should have gone somewhere. And it didn't go anywhere. And it sounds like it's going back into some kind of lyrics. That's just odd. That was really odd. That sounded like someone just cut the tape by accident. Like. Oh, just. All right, just tape it. Forget it. [01:15:04] Speaker C: The only thing I can think of is that maybe they don't want all these extra solos on here. Because now we're in the 90s and there's not as many solos here. So we don't want to show people that we're an 80s band, we're a 90s band. We put a little bit of solos in, if there's any. And let's not put long solos in. But here, this song is. This song's an 80s ballad. This is not a 90s song or an early 90s song. It is. It's definitely not something that would happen in the middle of grunge. [01:15:29] Speaker A: Sounds like a Molly Crue ballad. Reminds me of something they would do, that bum, bum, bum, bum, bum with the drums. [01:15:36] Speaker C: I personally think that Mick Morris is getting destroyed into stick on this whole record. Places where they could have given him a little extra doesn't happen. Or here, where he's building up to something and then it just ends in a weird place. [01:15:47] Speaker A: Said it was his favorite album. [01:15:48] Speaker C: I have no idea why. [01:15:50] Speaker D: Because he was able to play a different style, that's why. That's what I think. [01:15:55] Speaker C: Yeah, maybe. As far as guitar playing, for me, it doesn't do anything. [01:15:58] Speaker D: Did you listen to his solo album? [01:16:00] Speaker A: Yeah, we did it. I think it was pretty frank. [01:16:02] Speaker C: Yeah, it's very similar to this. All right, let's finish this up. Here we go. [01:16:11] Speaker B: Way I close my eyes and take my life away Now I know that I can stop the night Lose my Slowly drift. Life. Slowly drip around. [01:17:06] Speaker A: That's not bad. And the placement of his odd. It's really let alone ending on a ballad. Fine. Scorpions did it. Firehouse did it, which we said was her best song when we did that record. But this song does not sound like a album ending ballad. [01:17:21] Speaker C: Let me read the bridge or whatever the outro is. Never thought I'd make it just from playing my guitar. Just a little smile Always shelters me from the pain Every time I start to slide I wish upon a star no matter where we are the sun comes up and dries Rides up all the rain Guitar solo and then the outro is. I'm an honest man who refused the shade On a hot and lonely day I close my eyes and dream my life away Now I know I can stop the rain Close my eyes and slowly drift away over and over and over. Sav, go first. [01:17:50] Speaker A: I'll say six on the lyrics. Kind of dig the vibe. Five in arrangement. Six on production. I'll throw bones. I'll go sixes on the other stuff. I'll throw a bone. I don't think it's bad overall. I don't think it's bad. I do feel it's missing something. Maybe it is a soul. It's a bit cold in the background, I think. Mark. [01:18:06] Speaker C: Yeah, I'm going to do the same thing. 6 lyrics 5 melody 6 music 5 arrangement 6 production Is it horrible? No. Was that solo okay? Yes. It was getting there and then it got cut off. They gave him a little bit at the end, but even there wasn't great then. He really give him a lot of place to stretch. It is what it is. [01:18:22] Speaker A: I mean, not only was it cut off, it was just that note it ended on made no sense either. [01:18:26] Speaker C: Because I think if I would end it on that note, something else would have to happen to resolve it somewhere else. That. That's what the problem is. Frank. [01:18:33] Speaker D: I'm doing sixes across. Yeah. I agree with the two of you that it's a weird place to put a ballad. It wasn't a terrible song. I just wish it wasn't the last song of the album. The lyrics were okay. The music was good. I think overall when I think about how it fit into the whole scope of the album, what we listened to so far, I think it's good. I like it a lot. [01:18:53] Speaker C: Well, we did it. We're done. Any final thoughts about what you think about the album? Album Sav and Frank. [01:18:59] Speaker A: My biggest takeaway is that it's not as unmotly Crue as I remembered. I know I mentioned that throughout the thing, but if we're summarizing, I remember being less Motley Crue esque, and it's not. There's definitely a decent amount of Motley Crue. Not full on. I guess I found the stuff that wasn't so Motley Crue, the more interesting stuff. It's okay. I think that's my takeaway. It's all right. It doesn't suck, but it's okay. Mark. [01:19:22] Speaker C: I think it suffers from the time frame when it was released too much. A gap in between. The time that it was out was just wrong for this. I think that the sequencing in the record really caused Motley Crue fans to go, fuck this. I'm not listening to it. And probably me too. I don't remember, but I probably got to the first three songs and went, fuck this. I'm not doing this. This is not good. I don't like this. It's not Motley Crue. I don't want to hear this. They're trying to be alternative, and that's really not what they are. I think that's really what a lot of Motley Crue fans probably did. Now, whoever went through it and actually got past the first three or four songs maybe found some things that we found in the second part. I think the second part, again, overall, is a more interesting side. And if they would have rearranged and shuffled things around a little bit and not shove that where the brand new, quote unquote, Motley Crue in your face so much, they probably would have sold more records. They should have released at least one of the other songs that sounded sort of mly crew. And then maybe the record would have done better. But I think that they shoved that stuff in your face and not everyone wanted that. I think that's really where they ended up up. [01:20:24] Speaker A: Frank, what's overall take? [01:20:26] Speaker D: I think I like the album this time around than I remember it when I first listened to it. I think a big reason why is because when this album first dropped, there was just so many good albums coming out. It seemed like almost every week we were getting three or four really good albums during that time. And there was so much good music. Motley Crue comes along and it felt a little bit like your parents trying to fit in with the cool kids, that kind of a thing. Instead of just being who they are, the second side of this album is who they are. But like Mark said, they just try to shove it down your throat in the front end. That they lost the listens. But now that we lived through the error, we listened to all the albums. Now we're going to listen to this one here. It's like, okay, you know what? This wasn't as bad as I thought it was when I first heard it. I'm glad that we got it. I'm glad that we listened to it. And, yeah, I'm going to give it another listen after we wrap it up. [01:21:16] Speaker C: All right, SAP, why don't you do your thing? [01:21:18] Speaker A: We are part of the Deep Dive Podcast Network and the Boneless Podcast Network. [01:21:22] Speaker C: Boneless, meaningless. You know, like those chicken wings without the bone. [01:21:25] Speaker A: Like I always say. Great bunch of guys took us in right away. If you want individual podcasts about bands, Rush, Judas Priest, Uriah Heap, even, you name it, it's probably on there. So check them out. And mark, where can they find this? On the interwebs. [01:21:38] Speaker C: Rock with that pod on all the social media. Rockwellpodcast.com do the polls, do the merch. You know what to do. Put us on your auto download, go to wherever you rate your podcast and give us a 5 stars. We would like, like it. It would help us out. Next week, we're going to do another special thing. We haven't decided exactly what record is going to be, but it will be a twofer, so it will be Motley Crue related. And we're going to hold off on telling everybody what this is until you get the next episode. So stay tuned next week and we're going to see what we pull out. [01:22:05] Speaker A: Yeah, that and the fact that we haven't officially decided which one yet. So this is true. [01:22:11] Speaker D: That definitely is. And once we find out, what we're going to do is. [01:22:14] Speaker A: Yeah, we'll let you know, too. [01:22:15] Speaker D: We're going to surprise all of you [01:22:16] Speaker A: what it's going to be with me. [01:22:20] Speaker D: I think I'll be equally surprised when we find out. [01:22:24] Speaker C: All right, guys, we'll see you next week. [01:22:26] Speaker A: Ciao, Ciao. [01:22:27] Speaker D: Good night. [01:22:28] Speaker C: Later, [01:22:43] Speaker B: Sam.