Episode 199 - Vince Neil - Exposed - 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 Rock Roulette Podcast. [00:01:03] Speaker B: Foreign. [00:01:14] Speaker C: Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1, 800 albums, stuck them in a list, stuck them in a wheel. And every other week we spin the wheel. She picks a record for us. We go through a track by track. We talk about the lyrics, the melody, the production, the arrangement and the music and we give it scores. Just a bunch of friends who love music want to do a podcast. Podcast and everybody taking this trip with us of discovery and rediscovery. As we say, we really want to thank you. The numbers have been up. Please keep them up and tell us what you like, what you don't like. Name a song that you want on the baby wheel. Name an album. Maybe we can go through. We can always call an audible. We always listen. We are a trio. We've got Frank. [00:01:52] Speaker B: My name is Frank. [00:01:59] Speaker A: And I'm sexy. [00:02:07] Speaker D: Hello everybody. [00:02:08] Speaker C: We have Mark. Oh, hi Mark. [00:02:10] Speaker A: What's up guys? [00:02:11] Speaker C: And I'm set. Ciao buena. Therapy Last week was the beginning of the second part of a twofer. [00:02:18] Speaker A: Now, every once in a while, life presents us with a rare and beautiful thing. Not one opportunity, not one sweet reward, but two. You ever have one of those days where you order fries and suddenly there are onion rings too? Yeah, that's not confused. [00:02:33] Speaker C: You don't call it luck. [00:02:34] Speaker A: You call it a twofer. [00:02:35] Speaker C: We did Vince Neil's solo album to compare it. Motley Crue's first album without Vince Neil. My general opinion, because I did buy this when it came out. Two and a half songs that I liked back then from the first side I still like, which is look in Her Eyes. Sister of Pain is my half and the Edge is my full. And I think those songs are pretty strong. The guitar playing has been really strong. There's been hints of praggy on this. I really think Steve Stevens stepped up on this record and proved how good he was And I think Vince Neil made a great decision bringing him on board. Fox, who's been really solid on the drums, which I do remember. To me, the Stinkers are the ones where he didn't really do anything. I'm a little disappointed in those. I don't remember. I may have liked those better back then. I may have given them a little bit more slack. But now I'm like, those songs, to me are pretty stand out. Mark, what's your take so far? [00:03:26] Speaker A: I think it's a surprisingly good album. I never really listened to the whole thing all the way through. I think Steve Steven is doing a great job. I think the drummer is doing a great job. And even Vince Neil, his voice sounds good. I'm excited to hear the second part. I think he may win the battle of the twofer. But I can't tell you that until part two is done. [00:03:43] Speaker C: It's funny not to beat a dead horse. What I said about the Motley Crue record, which is the stuff that didn't really sound like Motley Crue, was my favorite. The stuff here that didn't sound like Motley Crue was is my favorite. He stretched out a little bit and he gave room to the bands. Those are two of my favorites. And Frank, what's your take so far? [00:03:59] Speaker D: Same thing. I think that right now, of the two, Vince Neil, for me, is winning this mainly because he stayed true to his sound and who he is. He just wanted to be Vince Neil, the LA metal singer. And that's what we're getting so far. [00:04:12] Speaker C: I am curious to go back to rediscovering side two, title wise. Don't remember specifically everything that goes on in the second side. Curious to see what I remember and don't remember. Before we go back to Vince, we have our baby Wheel and the new Bets section. [00:04:28] Speaker D: In a world where new music is not easy to find, welcome to New Bets. [00:04:46] Speaker A: Okay, here is the new Bets wheel. [00:05:01] Speaker C: The Zach Schulz or Schulzy gang. The rocker. Once again, I defer to you, Mark. [00:05:07] Speaker A: I don't know why you're deferring to me. I don't know what the fuck this is. [00:05:09] Speaker C: You put them on the list. [00:05:10] Speaker A: That doesn't mean anything. I listen to 10 seconds of the beginning and hopefully I like what I hear. And I just put it on there. It could suck or it could be really great. I wouldn't really know because I try not to listen to it. I'm assuming, Frank, you don't know anything about this, right? [00:05:23] Speaker D: Zero chance. [00:05:26] Speaker C: This is Zach. He looks Very young. He kind of looks like the CD guy that I watch on YouTube. [00:05:31] Speaker A: All right, well, let's see what this is about. This is Zach Scholes gang. The rocker SA. [00:06:08] Speaker B: On the back. And I can feel it I'm underneath It's trying to hold me down I can't believe it Falling a secret [00:06:41] Speaker D: can't [00:06:41] Speaker B: let it get me down. I nearly died about a hundred times in the. Secret. Much harder, more aggressive style of rock and rol. I saw that you were in the mezzanine I thought that you got the message I saw that you were in the mezzanine I thought that you got the message I saw that you were in the mezzanine I thought that you got the message I saw that you were in the mezzanine I thought that you got the message I saw you were in the mezzanine I thought that you got the message I saw that you were in the me I thought that you Sam. Yeah. Trying to hold me down I can't believe it. [00:09:16] Speaker C: Not bad. Very aerosmithy in the background vocals. Here's what I think. I'm thinking that this is an okay song on a better record. I don't think it's bad. The production is good. I like the production. I'll defer to you, Mark, when it comes to the guitar playing. Not bad. What do you think, Mark? [00:09:34] Speaker A: I thought was pretty good. I like the drums. Real drums? [00:09:37] Speaker C: Yes. They sounded really good. I agree. I like the production. [00:09:40] Speaker A: That's not a sample, I don't think. I think that's recorded drums. I thought the guitar playing was good. I like the chorus. I thought it was good. I stuck them on the list right after this. They're on the list already. [00:09:49] Speaker C: That's what I think. I think this would be a song where the things around are like, wow. And this is not that. [00:09:54] Speaker A: This is. [00:09:54] Speaker C: This one wasn't as good as the one right before it. That's the kind of vision I'm getting that we're really gonna dig this record, Frank. [00:10:03] Speaker D: Wow. We actually got real music on the new bets wheel. Really recorded musicians doing their thing. Good. The drums were great. Everything was guitar, drums, everything. The bass was awesome. The vocals, Everything about it was really, really good. [00:10:15] Speaker A: They're from England, looks like. I thought it was good. I hope we get that on the wheel. I put it up there. Who knows? There's lots of albums on it. We may never get it, but I stuck it on there. As soon as I started to hear it, I went, okay. This is okay. We should put this on the wheel. Okay, let us know if you'd like it or you don't like it on all the social media outlets. And let's rubber stamp this in a [00:10:34] Speaker D: world where new music is not easy to find. [00:10:40] Speaker B: Welcome to new bets. [00:10:52] Speaker A: Okay, we shall continue. This is side two. This is Set me Free. [00:11:18] Speaker B: Give all the chain feels just the same Hands on the wall maybe you're just playing games Set me free Move by a hound hanging around Is this for real? God don't know when I'll be found Set me. [00:12:03] Speaker C: This is a cover by Sweet. I do remember this. I remember liking the drums in the beginning. It's definitely a good way to start off the side. I think it's better than. I don't think it's as good as the first and the edge. To me it's a step above the stuff that I wasn't digging in the middle there. [00:12:19] Speaker A: I'm not familiar with the original version. I do like this version. Whatever's going on. Steve Stevens sounds good. Everybody sounds good. It's a good start for side two. [00:12:29] Speaker D: Side two starting off just as good as side one. Really kick ass album. [00:12:32] Speaker A: I will not be reading any lyrics since it's not his lyrics. This will be getting through pretty quickly. I do like this. I'm glad he picked this song. I don't know very much from Sweet. [00:12:41] Speaker C: They have to be on the list, right, Mark? [00:12:43] Speaker A: Yeah. The suite is on the list. Sweet is on the list. But I'm not very familiar. I know the name. I've heard it all over the place. I just never have dived into them like this so far. Let's continue. [00:13:15] Speaker B: From you, Sam. It's given a lot of room and [00:14:29] Speaker C: I think that was good. A little maiden. Y I felt I heard some maiden in there. I don't remember if I've ever heard the original. I feel like I have, but I don't really remember it enough to make any type of comparison. But I thought that was a pretty good solo. [00:14:42] Speaker A: That solo was great. He's a great guitar player. I don't really realize how good he is. I only hear him in the context of Billy Idol. For most of the time I've heard him. I don't even know what to say. This is what I mean. When there's a great guitar player or just somebody who's average, the sound is different, the playing is different. This is what you should be striving for. When you try to play a solo, what he's doing. [00:15:02] Speaker C: There's a difference. When you're listening to a song saying, oh, Boy, here comes the solo. As opposed to, oh, let's see what he does now. Right. [00:15:11] Speaker A: And this is one of those. What's he going to do next? I doubt very highly the sweet solo sounds anything like this. Probably not. Which is even better because he's making the song his own. He's probably taking pieces of it. Probably the melody parts at the beginning, at the end. Those are probably, I would assume, parts of the song. And in the middle, he's doing his own thing. It sounds like him. And. And when the end part comes, he goes back to that melody part again. It was long, too. That was a long solo. [00:15:35] Speaker C: He has given a lot of room on this record. We mentioned that last time. The more the merrier. In this case, I'm down for it. I really like what he's doing. He's keeping it interesting. I'm okay with these long solos. [00:15:46] Speaker D: Really digging it. The guitar play has been so insane on this album. Like you said, Seb, you want to hear what's next? That's what keeps it very, very interesting. Really glad I am getting to listen to this for the first time. And all this great guitar. [00:15:59] Speaker A: Alrighty, let's finish it out. Here we go. [00:16:14] Speaker B: Set me free and call me a saint that's what I hate Inside my head maybe I feel better. Free. Set me free Set me free from you. [00:17:25] Speaker C: Knowing that that is a sweet song. You can hear their influence on. On the 80s metal, without a doubt, especially in that last piece. I heard a lot of influence in the LA scene, I feel. [00:17:39] Speaker A: I know Def Leppard liked them. I know Motley Crue like them. You can hear all those bands having parts of their influence come from this. I think it was great. [00:17:47] Speaker C: Dare I say I heard some Pretty Boy Floyd in there? [00:17:51] Speaker A: Yeah, I would think so. [00:17:52] Speaker C: Dare I say it, Frank? [00:17:54] Speaker D: All right, relax, guys. This glass. [00:17:59] Speaker A: Are we going to vote on this? Can we at least vote on the music and maybe the production? [00:18:02] Speaker C: Sure. I'm going to say eight on production, seven on everything else. Mark. [00:18:06] Speaker A: Yeah, I think that's a really good score. I'm going to do the same thing. It's hard because it's not their song, but I do think it was played very well and recorded very well. I have nothing but good things to say about that. It was fun to listen to. Frank. [00:18:18] Speaker D: I'm going to go with you guys. Seven on this. It really was good music. Very in your face and just like, hey, we're going to kick this off solid. So it was great. [00:18:28] Speaker A: You're doing the same thing we did. Sevens and eight on music and production, correct? [00:18:31] Speaker D: Correct. [00:18:32] Speaker A: Okay. All right. Well, now we get into the next song and this is Living is a Luxury. [00:19:09] Speaker B: They cooking up a storm in Hills kitchen tonight and the main course could be you. Well, try your hand at an east side stand Dashes, lashes, see the crazy human suit the girls shine like diamonds in the color still of the night with cash in hand you better understand if you want it you can get it any day of night. So if you turn around and tell me go to hell I say I know that place too Living is a luxury There's a bad bird rousing in the underground Living is a luxury [00:19:55] Speaker C: Another [00:19:55] Speaker B: time but I'm here in this lonely town. [00:20:07] Speaker C: I find this one more interesting than good. I'm not too crazy about the melody. I think that's what it is. Baseline is really good though. In the verse. We haven't really talked a lot about the bass plant. I don't think he's really done anything crazy as far as his bass playing. Obviously it's all in the guitar playing. But the main part of that verse is definitely the bass and I thought that was pretty cool. It's okay. I think it's interesting, but it's not great. Agreed to me. [00:20:31] Speaker A: It's definitely different. The guitar tone in that chorus, very 80s Billy Idol, clean sounding chorus. The only thing I don't like is the horn stabs. Whether those are real horns or fake things. I'm not a big fan of that. There's very few bands that can do that well. I didn't think the chorus was bad. It's an interesting song. I have to listen a little bit more and see if I really like it or like you said, it's just an interesting different thing for Vince Neil. [00:20:55] Speaker D: I need a few more listens on this one. I'm not quite sure how I feel about it. It's very different sounding for Vince Neil, for sure. [00:21:01] Speaker A: Verse 1 They're cooking up a storm in hell's kitchen tonight and the main course could be you or try your hand at an east side stand Dashing slashes in a crazy human zoo the girls shine like diamonds in the cold steel of the night with cash in hand you better understand if you want it you can get it any day or night so if you turn around and tell me to go to hell I say I know a place too well Chorus where living is a luxury There's a bad mood rising in the underground Living is a luxury Another drive by nightmare in this this lonely town. [00:21:32] Speaker C: Lyrics aren't terrible. [00:21:33] Speaker A: No they're not bad. This is a Neil Stevens, right? So nobody else no more Phil Shu Son on this one. He shows up toward the end of the album, but right now it's just those two. It's not too bad. [00:21:44] Speaker C: No, not terrible. [00:21:45] Speaker A: It's an interesting song. [00:21:46] Speaker C: It's different for him with you guys, though. Let's see what happens and see if it pulls me in anymore. [00:21:51] Speaker A: All right, here we go. [00:21:58] Speaker B: Run from the shadows of the night Got secrets told with the Back Alley Show It's a cold spin loose bed skin tight slow Jean is a fast paced seeing even as hell below your feet Papa sky day it seems so far away with another John Mark calling us crazy street so if you turn around and tell me go to hell I say I know that place too Hell a luxury There's a bad birding in the underground Living is a luxury Another. Sam. [00:23:39] Speaker C: Definitely interesting. A little Steve vine there. A little Alex Mozzie. For anybody who remembers him, it's very interesting. That's all I can say about this song. That's all I can really say. I don't know if I like it, but I find it interesting. [00:23:52] Speaker A: I didn't like all the keyboard horn things that happened in the verse. It kind of muddied that up. I didn't like that too much. Guitar solo was great. Harmonized guitar lines, whammy bar. But not overdone or not done incorrectly. Again, solo from him. It's a weird song. I sort of kind of like it because it's weird. [00:24:09] Speaker C: I appreciate it more than I like and I think that's where my mind is. I appreciate it for sure. Musician, wise man. [00:24:16] Speaker D: It was a weird song for sure. It's kind of growing on me. I think I need to listen to it one more time, but it's growing on me. It's definitely unique. Very different outside of his normal wheelhouse. Digging it. [00:24:26] Speaker A: Verse 2. When your blood runs cold and your soul's on ice Gotta run from the shadows of the night the secrets told with the Back Alley Show It's a cold sweat loose bet skin tight slow gin is a fast paced sin in this hell below your feet A blue sky seems so far away with another chalk mark on this crazy street so if you turn around and tell me to go to hell I'd say I know that place too well and then to the chorus and then the solo. And now we're at the end part of the song. Let's see what it does. [00:25:07] Speaker B: You better take a look at me Is a luxury There's a big Moon rising in the underground Living is a luxury Another giant nightmare in this moon and to live is a luxury There's a bamboo Browsing in the underground Living in the luxury sa. [00:27:20] Speaker C: I think I heard the police coming in saying, hey, Steve, this is Vince's album. You have to stop playing that much. Very interesting. That part was really cool at the end. A lot of feel. That's the other thing too. I know you mentioned it, Mark, but I'll mention it again. He definitely has feel. It's not all flash. There's definitely feel to his play, which is always a great comic combination. [00:27:39] Speaker A: There's flash in the right place. And all of a sudden we went into jazz. At the end of the song. I already know what I'm gonna do. I'm gonna go first. I was gonna give it sevens except for the arrangement and the production because I don't like the horn things and some of the melodies were just a little weird. What I think I'm gonna do is I'm gonna do seven on the lyrics, seven on the melody, eight on the music. Just because of all the weird that's going on. Then it went to jazz. I had to give an ages for that. Six for arrangement and six for production. I don't really like the horn from the song, but it's a cool song. Definitely not what I would expect from Vince Neil. Frank. [00:28:16] Speaker D: I'm gonna do music at eight because it was really, really good. I love the sound of the bass in this song. It was so good. I'm gonna give the music an 8 and everything else a 7. It ruined me as it played and really something outside of Vince's wheelhouse. I think that's what made me dig a little bit more. Seth. [00:28:32] Speaker C: The bass line toward the end, I maybe missed it the first time around. Reminded me to a little bit of peace else because it's going to that vibe. I will say seven on music and six on everything else. I do think it's interesting. It did grow on me. The more it went. The melody, I was actually going to give a five, but I think it's more because of the chorus. I'm not really crazy about that. Course in that main riff is very stock for what's going on around it. I think if it didn't have that, this song would probably be sevens for me. Maybe even higher. [00:29:04] Speaker A: I can see that. I didn't mention the bass. Frank did, but Steve Stevens played a hell of a bass line on this too. [00:29:09] Speaker C: Yeah, this one really stood out. [00:29:11] Speaker A: Okay, this was a single. You're in Friday. But your friend can't come. Now, there were two versions of this song. One was the one that was on the soundtrack for Encino Man. Then they re recorded this for this album with Steve Stevens. So the one that you heard on Encino man is not the one that's on this album. [00:29:26] Speaker C: Was that not Steve Stevens on the original? [00:29:29] Speaker A: No. Oh. [00:29:30] Speaker C: Do we know who played on the original? [00:29:31] Speaker A: From what I can gather, Tommy Shaw plays guitars. Jack Blades is on bass. Michael Cardelone is on drums. [00:29:39] Speaker C: Wasn't he with which Damn Yankees? [00:29:42] Speaker A: Okay, see, this is where the Jack Blades and Tommy Shaw thing comes from. Because they did this song. I don't know if I remember the original. Now see, that's weird. I almost want to play both. Cuz I don't know which one was which. I don't know if I can find both. [00:29:55] Speaker C: I'm going to assume the guitar playing on this one's better. I could be wrong. [00:29:58] Speaker A: I don't know. Better, but maybe different. I mean, Tommy Shore is a pretty decent guitar player. Not like this. But still, I'm curious. All right, we'll play this and then maybe if I can find the other one, we'll do it. But I don't really know. This is. You're invited but your friend can't come. [00:30:47] Speaker B: Who's at the wheel standing by your side? No, that must be a ride you wouldn't be with such a fool. Who am I to. There's something over here I want you to see. There's a party but it isn't for free. Get something straight between you and me because you and I but your friend can't call. Come on, baby. Wow. [00:31:26] Speaker C: I really like that main riff. I wish there was a better song around that main riff. In terms of the lyrics and everything. The melody is okay. I don't like the chorus. It's a silly song, obviously, in terms of what it is. But that mean riff I think is so good. And I think he could have built something better around this. So I do credit Tommy, Shawn, Jackson, Blades, and they're the ones that came up with it. [00:31:50] Speaker A: I don't think it's that bad. I assume he was coming out of the gate. He gets a song on Encino Man. He's out of mly crew. He has to come up with something that people who like Motley Crue are going to like. Could the words be better? Yeah. I'm very curious now which song I remember. I don't know if I remember this version. I think I remember the original one that was on the Soundtrack. [00:32:10] Speaker C: This is the only one I know. I've never seen the movie. [00:32:12] Speaker A: I think the music video has the other version. [00:32:15] Speaker C: Maybe I have heard it then because [00:32:17] Speaker A: it was out before this album came out. [00:32:20] Speaker C: I. Maybe I did see that then. I don't remember. Yeah, I only would have seen that in the video. I would have listened to this on the CD that I had. [00:32:27] Speaker D: I didn't hear both of those, actually. I didn't hear the other version that you mentioned in the scene. O man. And I. I just don't know. I know. I'm surprised I haven't heard that song before. Now. I'm thinking the song so far. [00:32:37] Speaker A: Verse 1. Little woman got the look in her eyes? Want to cut me down to size? Show me what you're gonna do? It's true. Who's that gorilla standing by your side? No, it must be your ride? You wouldn't want to be with such a fool? Oh, you're my comma 2 pre chorus. There's something over here I want you to see? There's a party but it isn't for three. Get something straight between you and me because. Chorus Whoa, no. You're invited but your friend can't come. Whoa, no. Come on, baby, gonna have some fun. Wow. It's silly. It's a cheesy, silly song. [00:33:05] Speaker C: It's fine. It's cheesy. It's silly. That mean riff, though. I think he could have built something better. I just feel he could have built a song that he did. On the first side, we're saying, like, oh, this doesn't really sound like Vince Neal. And not that this doesn't sound like it's a good st to me. That's what it sounds like. The musicianship, obviously is good. Steve Stevens is doing his thing. Even in the beginning, you can hear he's doing his thing. The drumming is good. The production is good. [00:33:29] Speaker A: Yeah, I think it's good. I think it's fine. Again, for what it was for and the kind of movie it was for. It kind of fits that. All right, let's continue. Here we go. [00:33:50] Speaker B: Come on, B. Won't you show me what you got? Ready or not, Marto, here we go. Nobody's watching. Now it's time to decide. Shake the monkey, mama, don't be shy. Come on, honey. Tommy Taylor. Come on, baby, Delay some fun. Rocking out like a hurricane Make a swim like a down rain I read on till I can't get no reaction it's gonna be your night tonight I'm gonna make you feel alright. Spirit shout I'M in now. [00:35:50] Speaker C: What do you think of that, Solomon? [00:35:51] Speaker A: I thought most of it was fine. The end part felt a little jammed together and maybe because this is a re record, it just didn't sound as flowy as most of his other other stuff. It was still good. [00:36:01] Speaker C: I wonder how early this was recorded with this band because of how he comes in with that ray gun thing. Right. That you said is his staple. And he does it in the beginning of the song as well. I wonder if it was. We're recording this early on in our career. Steve. Put your stamp on this right now so they know it's you. [00:36:16] Speaker A: Could be it was not as good as some of the other ones. It was still good. It just didn't feel put together as much. [00:36:22] Speaker C: It did feel a bit. Bit mushed. [00:36:25] Speaker D: It's okay. I don't like that whole ray gun. It's starting to grow a little old now, but I guess is the guy's signature. We're going to hear hear a lot more of it before the song, before this album was over. [00:36:34] Speaker A: I like the ray gun. I think it's his thing. I like when I hear it. It's used a little musically, too. It's not just the ray gun there. He uses it musically. [00:36:41] Speaker D: Yeah. [00:36:42] Speaker A: Verse 2 Heartbreaker yeah, you come for the show but little did you know you'd end up in the spotlight well, all right Come on, babe won't you show me what you got? Ready or not 1, 2, here we go oh, no Pre chorus nobody's watching now it's time to decide Shake that monkey mama don't be shy Come on, honey, time to take a little ride because whoa, no. You're invited but your friend can't come Whoa, no, no. Come on, baby going to have some fun Whoa, no. You're invited but your friend can't come Whoa, no, no Come on, baby, gonna have some fun Ow, ow ow ow. Bridge rock the night like a hurricane make me sweat like the driving rain Pour it on till I can't get no reaction it's going to be your night tonight I'm going to make you feel all right Scream and shout I need it now, now, now, now, now, now Guitar solo and then we're. [00:37:36] Speaker B: Your plans for the rest of the night so tell your father Petty better not bite my dog's a R Come on, come on, come on give it up tonight. Come on, bring some fun. Come on, bring we going to have some fun yeah, we going to have some fun we going to have some fun. [00:38:32] Speaker A: I found the music video so I'm going to skip the beginning part that has Pauly Shore in it. And let's see what this sounds like. I assume this is the version I know, but. But I don't remember. Let's see. Here we go. [00:39:12] Speaker B: Show me what you're gonna do it's true Is that for real? Standing by your side oh, no, this must be a ride you wouldn't be the psycho Are you mad or too? There's something over here I want you to see There's a body bucket isn't for free Gets home straight between you and me because [00:39:42] Speaker A: you're. [00:39:43] Speaker B: I put your brick in. Come on, baby, go have some fun. Wow. Cloud breaker. Yeah. You came for the show but little did you know, you didn't have really? Spotlight. All right. Come on, big Won't you show me what you got? Not I want to. Here we go. Oh, no, nobody's watching now it's time to decide Sh. The monkey mama don't be shy Come on, honey, time to tell. Me Come on, baby we're going to have some. You and about what you bring in Come on. People gotta have some fun. Right the night like a hurricane Sweating like a driving rain Coming on till I can't get no reaction it's gonna be your night tonight I'm gonna make you feel all right Screaming shout I'm in. Tonight you and I Put your. Fun we going to have some fun we going to have some fun we'll have some fun on. Hey, hey. Present man. [00:43:05] Speaker C: That's fine. It's on par with the one on the record. I thought the solo was good. The production is still pretty good, you know. They definitely did a good job. Musicianship is good. What do you think, Mark? In comparison, I think I might like [00:43:17] Speaker A: the one from the video better. I just think it sounds a little more fresh in your face. The solo part at the end is very similar. He was copying a little bit of the solo, I can gather. I just think that solo ends a little bit better. It's very minuscule, the differences. I do think I like the video one better, though. [00:43:37] Speaker C: Yeah, it could be better for what it is. I won't disagree. Frank, which one do you think is better? Do you notice that massive a difference? You care? [00:43:45] Speaker D: I did not notice that big mass of a difference between the two. I thought they were pretty much aligned to the discerning ear. Maybe they might be one advantage over the other. But for generally speaking, I see no difference between the two. [00:43:58] Speaker A: Yeah, music wise and music wise, I just think I like the way it sounds. Better. It's really not that much different. It's very subtle, whatever it is. [00:44:06] Speaker C: Yeah, there's definitely a difference. You can hear it. [00:44:08] Speaker A: Yeah, they're both good. I'd like both of them. If you had to put a gun to my head and say, hey, which one? I would say the video one better. For whatever reason. Let me just read the pre chorus coming out of the guitar solo and then we can vote. I'm making plans for the rest of the night so tell your guard dog that he better not bite My dogs are bigger and they're ready to fight so come on, come on, come on, come on, come on Give it up tonight and then back to the chorus pretty much. Frank, go first. [00:44:30] Speaker D: I'm going to go ahead and give this sevens across. I like the sound. The music was really good. It kept me going. Really rocked. [00:44:37] Speaker C: Yes, that's right. It's me. I know I've been gone for a long time but I'm back and it's quintuple seven. Nikki titty baby. [00:44:46] Speaker A: I'm going to give it sixes across. I don't think it's horrible for what it is. It was written for a funny movie. It's a little cheesy. It's the right song. Song for him to come back and show his face again is something new for his new project. So I don't hate it that much. Saf. [00:45:00] Speaker C: I really like that main riff. That's my favorite part of it. I understand. Especially if it was made especially for that movie. I can understand the silliness of it. I just feel that he's shown that he can do a lot better on this record. So I will say six on production and five on everything else for me. [00:45:16] Speaker A: Okay, here we go. This is getting hard. [00:45:25] Speaker B: Sam, Now sweet too. She's in the candy store she called me sugar that day they kicked me out the door she knows there's nothing in this world you get for free should have not mocked this little girl took it all from me she's got the red light district in her brain I try to help her but she's driving me inside. Live with something Came to the city [00:47:00] Speaker C: of the angels Filler for me that bum, bum bum bum I give him credit, though. They took it in a little bit different of a direction than I thought they were going to take. That opening riff to me, this song does nothing for me. [00:47:12] Speaker A: I like some of the guitar stuff. The riff's not bad. It's of more of a filler track comparatively to other things. I don't Hate it. It sounds like him. It's on brand for him. I thought the song was gonna be about the something else. I'm happy it's not what I thought it's about. [00:47:26] Speaker C: Yeah. [00:47:26] Speaker A: The title could throw you in a lot of different directions. [00:47:29] Speaker C: Well, especially if Vince Neil. Right? [00:47:30] Speaker A: Yeah. I thought he was going to go in the obvious direction, but he didn't go where I thought. [00:47:34] Speaker D: The guitar playing so far is what's saving it for me. Otherwise I would have skipped it already. [00:47:39] Speaker A: Don't hold back. I was going to read the lyrics, but every lyric site is 100% wrong. It's not even the same song. Have no idea what the doing. [00:47:49] Speaker C: Maybe it got hard for them to write the lyrics. [00:47:53] Speaker A: Something got hard, obviously. All right, let's continue. Here we go. [00:48:15] Speaker B: I saw her on the news last night I guess she got her break she's got the red light district in the rain I'm trying to help her but she's trying to be inside yeah, yeah, yeah Hot to live with Something's gotta give. Time to live with Sa. [00:50:18] Speaker C: I'll ask you a twofer mark like this episode. One, did you like the solo? And two, did you like the panning of it from side to side? [00:50:26] Speaker A: I thought the solo was good. The guitar is saving this song. I like the kill switch thing that he did right before the solo. He did that at the beginning and did it there. I thought that was pretty cool. His guitar playing is the best part of the song. It's fairly a stock kind of song and I really wish I could read the words, but I don't know if you're looking at the words. They're not even the same song. [00:50:45] Speaker C: No. I had one up too. And there's mention of similarity, but as far as them being the actual lyrics, definitely not. [00:50:54] Speaker A: I think the solo is the best part of this. Steve Stevens saves it. And his bass playing has been pretty good in this too. They went to the stock breakdown, so this is more of a. For me, a filler. [00:51:02] Speaker C: Musicianship is not bad. It's good music in a stock song. I think that's what it is. It's good playing in a stock song. [00:51:08] Speaker A: Phil. Susan couldn't save this. His lyrics are not great here either, so. Yeah. All right, let's finish it out. Here we go. [00:51:39] Speaker B: Something's got, heal, Got [00:51:54] Speaker C: is what it is. That's really more to say. [00:51:58] Speaker A: I'll go first. I don't hate it, hate it, hate it. I'm going to say five lyrics. Five melody. I'm going to give music seven Arrangement five and production was good. I'm going to give that a 7. It's not a horrible song. This really good playing. The drumming throughout has been great. Vocal wise, Vince Neil sounding good. The guitar playing here is great. You know, short of it just being a stock filler song, that's really what kills it. Right. [00:52:20] Speaker D: I'm gonna give it five a melody and seven across everything else. The guitar, as I said, it saved the song for me. [00:52:26] Speaker C: It's. [00:52:27] Speaker D: It is what it is. It's just a filler track just to keep it going. [00:52:30] Speaker C: Seth. I will say six on the music, seven on production, and five on everything else. As I said, I think it's very good playing within a stock song for what it was. I think they did the best they could. [00:52:42] Speaker A: Agreed. Okay, we're at the end. This is forever. [00:53:16] Speaker B: Thinking back on those long summer days Young and not afraid did what we wanted to Broke some hearts didn't think I'd ever start to get tired that's when I pictured you. Meet a face already knew so well it was easy to tell that you knew me too Spent our time laughing all the while I made you lose a smile Now I'm losing you this ain't too late Cuz just like before I've been looking at you now can't take the pain away from you and there's nothing I can do until you let me through without you there's nothing left for me oh baby can you to see Together we will be forever. [00:54:36] Speaker C: I can't tell you I find it interesting. There's part of it that is still keeping me interested. I'm not sure if I like it. I like the production. I feel it's a bit all over the place though, with what it is. Definitely need to listen to it more to see if it gels. [00:54:51] Speaker A: There are parts in there that are not a ballad. Then there are ballad parts again. Steve Stevens guitar playing is good. He adds those little picking parts in between. I think that's what throws me off a little bit. Because you would rarely ever hear that playing. Not that you wouldn't hear it, but you would rarely hear it as much as it is here. It wants to be an 80s ballad in 1993, but there are interesting parts in there that change it up. The chorus, I like the chorus. I just don't know yet. I'm the same way. I just need a little more time. [00:55:19] Speaker D: Yeah, likewise. This is a slow burn for me. It's starting to grow on me. I just want to listen to a little bit more. I don't think they were going for a ballad. They were trying to go for something a little bit faster maybe, but I don't know. We'll see. [00:55:30] Speaker A: Verse 1 Thinking back those long summer days Young and not afraid did we we wanted to Broke some hearts didn't think I'd ever start to get tired of the part that's when I pictured you Met a face already knew so well it was easy to tell that you knew me too Spent our time laughing all the while I made you lose your smile Now I'm losing you I assume this is pre chorus. Is it too late? Because just like before I'll be knocking at your door Chorus can't take the pain away from you and there's nothing I can do until you let me through without you there's not left for me oh baby, can't you see Together we will be forever this is another Neil, Steven, Susan co write a lot of words. [00:56:09] Speaker C: When it started, I would have sworn that it was a Damn Yankees collaboration. [00:56:14] Speaker D: A lot of words they say. They're saying a lot there. [00:56:18] Speaker A: It sort of is a ballad, but it floats into the mid tempo area a little bit. [00:56:23] Speaker C: It's interesting though. [00:56:25] Speaker A: I can hear the bowedness. I don't even know if that's a word. [00:56:27] Speaker C: The validity. [00:56:29] Speaker A: The validity because it has valid things. [00:56:34] Speaker C: Absolutely. [00:56:34] Speaker A: But it's not as slow as a ballad ballad. [00:56:37] Speaker C: And yet it's not really mid tempo. Kind of ballady thing. Kind of. Yeah, it's. That's what I'm saying. It's a bit hard to figure out. It's like trying to get that Rubik's Cube together. You almost have it. Maybe as we progress, we'll get all the colors going. [00:56:51] Speaker A: Well, let's see. Here we go. [00:56:55] Speaker B: Times have changed Some are good and some are bad the future that we have it can't be all a dream Nights we would find When Wendy lost our minds how could we ever be so blind? Cause we were meant to be easy because just like before I'll be knocking at your door can't take the pain away from you and there's nothing I can do until you let me through without you there's nothing left for me oh baby, can't you see Together we will be forever Sam. Ram. [00:58:47] Speaker C: I liked the solos, but I felt that when it went from the acoustic to electric, it was fine. Then when it went from the acoustic, the electric to the acoustic, that cut was off. To me, it didn't sound that it was done perfectly because then when it went back to the electric, it Sounded fine, but that one little thing was odd. I think this is a better version of change from Dr. Feelgood. That's how. How I'm interpreting it. I was never a fan of that song. I feel this is a better version of that. [00:59:16] Speaker A: It reminded me at the beginning of the Other Forever, which is Kiss's version on the guitar solo. And I like that. And I didn't mind that it switched it to electric. I just wish it never went back to acoustic and then back to electric. I wish it just would have finished it out on electric. Playing is great. All the parts on the acoustic part and electric part, that's just a nitpicky thing. I just think it broke it up too much. It felt like it did the acoustic thing and that was cool. And then it came to the electric part and that was great. I don't think it needed to go back. [00:59:42] Speaker C: I didn't like when it went back. I felt that transition was very off. Yeah, I didn't like Odd. It was like they spliced it quickly together. It didn't sound organic. [00:59:50] Speaker D: I'm digging it. I like the guitar playing. I like the style. I like. I'm really liking the song now. I think it's a great way to end the album. [00:59:56] Speaker C: Verse. [00:59:56] Speaker A: Two times have changed Some are good, some are bad the future that we have can't all be a dream Nights that we would find when we nearly lost our minds how could we ever be so blind? Because we're meant to be Same pre chorus, same chorus. Let's finish it out. Here we go. [01:00:10] Speaker B: Take the pain away from you and there's nothing like I can do until you let me through without you there's nothing left of me oh, baby, can't you see Together we will be can take the pain away from you and there's nothing I can do until you let me through without you there's nothing left for me oh, baby, can't you see Together we will be forever. [01:01:22] Speaker C: I'm not sure if I feel that's an album closer, especially the way it just ends on that main acoustic riff. I don't think it's terrible. [01:01:30] Speaker A: No, I don't think it's terrible. Why don't you go first? [01:01:32] Speaker C: C6 is across. I think it's better than the ones before it. It has some interesting things in terms of the arrangement and the melody. I was okay with the back and forth. Just that one transition I thought to me was not done well was very odd overall. Not terrible. Right. [01:01:49] Speaker D: I'm going sevens across on this one. I Think it was a great way to end the album because it makes you wish there was another song behind it. You're waiting for it, but it does loop back because this is a CD era at this point. So it's just going to loop back to the first song and you have your loop going on back and forth. So that's why I really like it. Mark, it's great to be here. Thank you. It's quintuple, so seven just for Nicolo, Nikki, Titty, Baby, Bunch of. [01:02:13] Speaker A: I'm gonna say seven on everything except for the arrangement. I'm gonna give that a six, just with a weird guitar solo. Change again. Played very well. Just. I didn't like that change up. I don't think it's a bad way to end the album. I think it's fine. It seems to be a thing. Motley Crue seems to end albums with ballads. Maybe he did the same thing because that's how he's used to doing it. [01:02:33] Speaker C: Well, fellas, our twofer is over. Frank, you go first. Which one do you like better? What you want to draw and make? [01:02:41] Speaker D: One of the things I was thinking about, if we went down the list and just say, all right, well, who did it better? When it comes down to production, I'm going to say that the Vince Neil album was better produced overall. Vocals, I give them both a tie because it fit the sound, what each band was going for. When it comes to bass playing. D. Stevens really did do a really good job on this album as well as with his guitar play. He did a great album. Just did really good on this album with that. And then the drums on Vince Neil was great as well. Overall, I have to say that Vince Neil edged out crew because he stayed true to his sound. There was some really amazing guitar playing here, some really great drumming going on, and overall, just a really well done album that really fit his style of music, which is LA metal sound. [01:03:31] Speaker A: I have to say, I think Vince Neil did take it over Motley Crue. I think he had some interesting changes, but I think he was able to bring bridge the gap between what he did in Motley Crue and whatever new style that they were coming and trying to do. Unfortunately, Steve Stevens is not on the next record. He didn't stay after this, so that sucks because I would like to have seen what would happen on a second record. I think he did a great job. He either left or got fired, and I think he came out on top. Personally, for me, I think the songs were better in general. I actually liked The Motley Crue album more than I remembered. I liked it. That was interesting to hear more. But I think if I want to take this as an overall thing, I think I like the Vince Neil record better. [01:04:09] Speaker C: Probably my comment on both is when they stretched out a bit. I like those songs better on both records. The ones that didn't sound straight up, some throwaways on a Motley Crue record, those are the ones that I like the best. I think that Steve Stevens was given a lot of room on this record and he did really well with it. Whereas it really felt that Mick Mars wasn't given any room on the record. Whether that's by his choice or the band's choice, it seems probably the best choice at this point. The fact that Vince Neil gave Steve Stevens all that room and he really filled it up with some really good solos was great drumming wise. It's hard because I do like some of the stuff that Tommy Lee did. I also think that Vic Fox was given more room as well in terms of what he could and couldn't do. And maybe it's because of what Steve Stevens was doing. So he got to be a little bit more interesting with the fills. And especially hearing him here and having heard him on the first two Enough's Enough albums, I know he may have been on more. The reason I say is because those are the ones that I actually had. And I remember hearing this and saying, wow. I don't remember him being this good on either one of those records, that's for sure. So it felt that they really would give in creative freedom and room to express themselves. The songs that I liked on the Vince Neil album, I liked better than the ones I liked on the Motley Crue album. I guess the edge goes to Vince Neil for me as well. [01:05:29] Speaker A: I have a question. Who did the typical Motley Crue songs better on each of the albums? I say Vince Neil did a better job at the Motley Crue songs and Motley Crue did at the Motley Crue songs. [01:05:39] Speaker C: I would say yes. And I think the reason is the production. I think that the songs that were Motley Cruey on the Motley Crue album still have had that heavy, weird production that Bob Rock did on that record. They didn't come out sounding as much Motley Crue as Vince Neils did. Where Vince Neil had a very good production, but more straightforward. And definitely, I think his production is better than Girls, Girls, Girls and Theater of Pain. I think Bob Rock's production on Motley Crue was A little bit different than it was on Dr. Field. I think that's what it is. I think people who wanted Motley Crue out of what was coming out of. Of Vincy on Motley Crue probably heard it more here than they did on that record. Even for the stuff that was Motley [01:06:25] Speaker A: Cruey on that record, I think Vin did a better job. Also, his voice is the sound of Motley Crue, so that makes it easier for his songs that are more on the Motley Crue decide to sound like Motley Crue just because of the way he sounds. It would be harder for John Corabi to have the same effect because he's not the singer of Motley Crue that everyone remembers. So it's hard. Harder for him. [01:06:44] Speaker D: Yeah, but the songs were written in a style where Vince Neil can sing in his style. Does that make sense? [01:06:51] Speaker A: Yeah. No, I agree. [01:06:52] Speaker D: There was nothing crazy about it. Just like the first couple of songs that we heard from the crew were that deep, grungy sound that plays very well to Karabi's voice. So that's why I think Vince Neil sounded more like crew, not only because, you know, he's the voice, but because the music lend to his vocals. [01:07:09] Speaker A: No, but there were some. Some songs on 1994's Motley Crue that you could have heard Vince Neil sing. What I'm saying is, do you think those songs that sounded more like Motley Crue are better than the songs on Vince Neil's that sounded like Motley Crue or vice versa? What do you think? [01:07:23] Speaker C: It's hard to say for me, because those are my least favorite on both records, but I would probably say I would give it to Vince Neil because, yes, like you said, the voice and also the production was more what Motley Crue would have sounded it, even though Bob Rock did produce both. But the production on 94 is definitely different than it was on Dr. Feelgood. Whereas here it's more of just a straight up, clean production. That was a little bit different. That's my opinion. [01:07:50] Speaker A: Yeah, I could see that. Well, we got through it, Sav, why don't you do your thing? [01:07:54] Speaker C: We are part of the Deep Dive Podcast Network and the Boneless Podcast Network. [01:07:59] Speaker A: Boneless, you know, like those chicken wings without the bone. [01:08:01] Speaker C: Again, great bunch of guys took us in right away. If you want individual podcasts about bands, go check them out. [01:08:07] Speaker D: Out. [01:08:07] Speaker C: You'll probably find that. Metallica, Megadeth, Zeppelin, Uriah Heap, Judas Priest, Rush, you name it, it's probably on this. So please. Definitely Check them out. And Mark, where can they find this [01:08:17] Speaker A: on the interwebs rock roulette pod on all the social media rock roulettepodcast.com go do the polls. Go to the merch. You know what to do. Put us on your auto download and rate us 5 stars wherever you rate your podcast because that helps us out. And next week is going to be episode 200. [01:08:33] Speaker C: Wow. [01:08:33] Speaker A: 200. 200. And we're going to be doing something special again. We won't be going to the wheel. We are going to pick something that Savino has never heard. Frank and I have heard it, but Savino has never heard it. [01:08:45] Speaker C: We think he's going to talk about discovery. [01:08:47] Speaker A: Oh, this is Discovery for you. Frank and I already know we like this, but we're not sure if Savino will. But I think he will. I think he's going to like the combination of what's happening. [01:08:57] Speaker C: I hope so. [01:08:58] Speaker A: I think you will. And next week will be a special episode because 200 is a big thing. That's a lot of episodes. [01:09:03] Speaker D: That's a lot of bullshitting on the m. Holy moly. [01:09:07] Speaker C: That's a lot of this is true. A lot of us. A lot of us. [01:09:12] Speaker B: A lot. [01:09:13] Speaker A: All right, guys, we'll see you next week. [01:09:15] Speaker C: Ciao, ciao. [01:09:16] Speaker D: See you at the 200 mark later. [01:09:31] Speaker B: It.