Episode Transcript
[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.
[00:01:14] Speaker C: Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1, 800 albums, stuck them in a list, stuck them in a wheel. And every other week we spin the wheel. She picks a record for us and we go through it track by track. We talk about the music, the lyrics, the production, the melody and the arrangement and we give it scores. Just a Bunch of friends who love music. Everybody who takes this trip of discovery and rediscovery every week want to thank you again. Numbers have been consistent. We're getting some feedback, which is always great. Keep it up. Tell us what you like, what you don't like. Tell us a song for the baby wheel. Tell us an album for the mama wheel. We are a duo tonight, which hasn't happened in a while. We got Mark. Oh, hi Mark.
[00:01:53] Speaker D: What's up guys?
[00:01:54] Speaker C: And I'm Sev. Ciao Buena.
This is our 200th episode, which in the grand scheme of things seems definitely like a lot. We just want to preface this by saying we did have something special planned, but unfortunately Frank can't be with us. He'll be back as soon as he can and we'll postpone what we were thinking. I think we're just going to do the regs tonight before we really get into it. Last week we completed our twofer, which was the Vince Neil solo album, and I'm pretty sure that we were leaning in favor of him versus Motley Crue's 1994 album with John Corabi. I think my criticism, which I probably reiterated 100 times for anybody who listens, is that I felt the stuff that was heavier on the Motley Crue and sound as Motley Cruey and the stuff that was heavier on Vince Neil that didn't sound as Motley Cruey. Those were my favorites. Clearly, Steve Stevens had way more space to shine than Mick Mars. Without a doubt, he had some Pretty good carte blanche and I think he did really well. Stuff that I don't think people would ever think Vince Neil would have a guitar player do on his record. I give him credit for that. It differentiated it a little bit. Mark, what's your overall take on Artufer?
[00:03:05] Speaker D: I think Vince Neil did a better job at bridging the gap between Motley Crue and the newer stuff he was doing. Thought Steve Stevens did a great job. I was surprised. I liked some of the stuff on Motley Crue because I remember back in the day not liking it as much. But I think it's a head to head thing. I think that Vince Neil did a better job personally.
[00:03:22] Speaker C: I did own both records. I probably listened to the Motley Crue one more recently because of all the praise it get on some of the metal podcasts and I tried and tried and I couldn't. But I did wind up liking those first two songs better than I remembered liking them. And I also didn't remember how Motley Cruey some of this stuff really was. But yeah, if I putting myself in that regard, I would definitely agree that Vince Neil bridge the Gap better. And I think that album for Motley Crue fans at least of Theater of Pain, Girls, girls, girls and Dr. Feelgood, I think that album was something that they probably could have gotten behind more than the Motley Crue self titled.
[00:04:02] Speaker D: Yeah, I agree with that. I think that Motley Crue obviously sold more records. I just think he did a better job at that. He knew what his audience was. He wasn't really leaving his audience behind. But then he had three or four songs which was unexpected and sounded different. So I thought he did a good job of doing that Bridge of the Gap where Motley Crue kind of hit you right off the bat with something that maybe you wouldn't think Motley Crue does. And I think it turned off a bunch of fans. Again, I didn't like it back in the day. I think I like it more now than I liked it then.
[00:04:29] Speaker C: I am glad we did it. We've been talking about doing the Motley Crue self titled album for a long time and we figured it'd be good to do it too for the way we did the Van Halen once. We'll think about something in the future and we'll probably do more episodes like that. I think they're always fun. Instead of doing what we were going to do tonight, we were just going to spin the wheel and let the mama wheel decide what the 200 episode will be. But before that, we're going to do our new bets, which is basically where we spin the baby wheel, as we call it, and Marcus put a bunch of singles that have come out within the last year and a half, two years that we haven't heard, and we just kind of listen to it and give it some general thoughts. Mark, whenever you're ready for the baby wheel.
[00:05:06] Speaker B: In a world where new music is not easy to find, welcome to new bets.
[00:05:21] Speaker D: Okay, here's the new bets wheel.
[00:05:36] Speaker C: Oh, anthrax is for the kids we had them on our. Not this version of anthrax. This is the classic line up here, pretty much.
[00:05:46] Speaker D: Well, except for the guitar player. He's new.
[00:05:48] Speaker C: Yeah.
[00:05:48] Speaker D: Cool. I haven't heard this. I again, am not super versed in anthrax. Curious to see what this sounds like.
[00:05:54] Speaker B: Yeah.
[00:05:55] Speaker D: All right, here we go. This is anthrax it's for the kids.
[00:06:22] Speaker B: I'm sticking to the plan never improvise cut off all the tax plans I cross the line empathy is weakness and I don't give a it I'm grate no throw left on slay it's for the kids we all repair you're with me nothing just gets unsuppressed you never change one counter thing your thoughts are press me nothing.
I don't need answers I just want blame point the finger every name you make it easy by showing your cars down by nature shape and nature hit your fucking heart it's for the kids be on repair you're with me nothing just your thoughts impress you'll never change what can you say Your thoughts impress me nothing the chance feel repair you with me nothing you set up.
To find you spit your eyes we're all going to die nobody cares if the truth is hot and cold.
For all of us be all repair you're with me nothing.
To press me nothing.
[00:10:19] Speaker C: I liked it. It's a good bridge between the older and the newer. I actually like the production. It's a little muddled slightly. There's a rawness to it that I appreciate. I'm curious to hear what the rest of it sounds like. What do you think?
[00:10:31] Speaker D: It's pretty good. I think you're right. It does bridge that gap a little bit between the John Bush era and the classic era. I like his vocals on this, too. I always felt in the early days, it felt like he was the wrong singer for anthrax. He should have been in a glam metal band and not anthrax, but here I think he sounds.
[00:10:47] Speaker C: And speaking of John Bush. They have a new album out. Armored Saint among the metal channels that I watch on YouTube. It's getting a lot of praise.
[00:10:53] Speaker D: You can still sing too, I've heard.
[00:10:55] Speaker C: I'd be curious to hear that too. Meaning to check that out, I'm sure. On the list. I'm sure it'll be soon.
[00:11:01] Speaker D: Yeah, I'll have to put it on.
[00:11:02] Speaker C: Yeah.
[00:11:02] Speaker D: All right. Well, we like this. If you guys like it or you don't like us, hit us up on social media. Let us know and let's rubber stamp this.
[00:11:10] Speaker B: In a world where new music is not easy to find, welcome to new bets.
[00:11:25] Speaker C: We haven't spun the wheel in four weeks. I feel like I haven't asked this question in a long time. What are you thinking? What are you feeling? Are you wanting anything? Feeling anything?
[00:11:35] Speaker D: Since this is a episode we weren't expecting to do, I'm just gonna let the wheel do its thing. I don't know what I want, what I don't want. I'm just gonna let it go.
[00:11:42] Speaker C: I want something thing. When you usually spin the baby wheel and I say, where'd you get this?
I think that's what I want for this. It's either going to be something big or something like, what the hell is this? That's what I'm going for. The two ends of the spectrum.
[00:11:55] Speaker D: Let's see. Here we go. Here is the wheel.
[00:12:17] Speaker C: Well, we got one end of the spectrum. Rock City Machine Company. What the hell is this?
[00:12:23] Speaker D: This is members of Gene Simmons and Ace Frales solo bands. They've been playing together for a long time before they joined those respective things. One of the guys is playing in Accept, I think right now. I believe Phil Schous isn't playing Accept right the moment, but in this thing, it's Phil Shouse, bass guitar, backing vocals. Jeremy Asbrock, lead guit backing vocals. Ryan Spencer Cook lead vocals, guitar. Evan Fredrickson, drums. Marty Frederickson, guitar. And that's who this is. I'm assuming it's going to be very classic rock sounding. I think we're gonna probably like it.
[00:13:00] Speaker C: Are these the guys that we saw with Ace Fraley last time?
[00:13:03] Speaker D: Yes. Only two of them though. I think. I don't remember. I don't know if Phil Shouse was there when we saw them at the Chance. I don't remember. At least Jeremy Asbrock and Ryan Spencer Cook were there because they were part of his band up until the end.
[00:13:15] Speaker C: Okay, cool.
[00:13:16] Speaker D: Yeah, I'm excited. This is something different. Like you said, this is something we wouldn't pick.
[00:13:20] Speaker C: And what year is this from?
[00:13:21] Speaker D: 2023. There's no lyrics that I can find, so I'm not going to bother reading it.
[00:13:26] Speaker C: Nice quickie. Easy for you tonight.
[00:13:28] Speaker D: Yeah, it's fine. If there were lyrics, I'd read them. I'm sure it's going to be pretty straightforward. Let's do this. I'm excited. I'm hoping it's going to have a lot of guitar. I hope it's going to be very classic rock sounding. That's what I'm hoping. All right, here we go. The first track is Can't Stop the Train from Rock City Machine Company.
[00:13:47] Speaker B: Sauce, honey, silver and gold Always hot, never gets cold.
Don't need a ticket if you want to ride on a boat to the other side.
Of the way.
It's always running night all day.
You know she ain't going to stay and that's okay.
Can't stop the train.
[00:15:08] Speaker C: It's okay. Production is a little. Tell me if this makes sense. It sounds to me a bit like I recorded it off the radio and I'm listening back to it.
[00:15:16] Speaker D: You think so? I didn't think that at all.
[00:15:18] Speaker C: Sometimes I think it depends on how it comes on the headphones.
It reminds me a little bit of modern era Kiss as well. I can picture Paul Stanley or Gene Simmons singing this song. What do you think?
[00:15:32] Speaker D: They are Kiss fans, so there's probably going to be some Kiss sounding things going on here. I think the drums actually sound pretty good. They're real drums. This is not a sample, so that's.
[00:15:41] Speaker C: No, no, they don't sound sampled. No.
[00:15:43] Speaker D: And the singer, Ryan Spencer Cook used to be in the band in the 90s called Hair of the Dog.
[00:15:47] Speaker C: Dog.
[00:15:48] Speaker D: They were a three piece, I think. I don't know if they're on the list, but I'd be curious to hear what it sounded like. I don't remember.
[00:15:53] Speaker C: So you're digging it so far? Yeah.
[00:15:55] Speaker D: I don't think it's bad. I think it's very. What I was thinking was going to be it's classic rock sounding. I like the slide guitar. Guitar sound good. His voice sounds good.
[00:16:02] Speaker C: No, it's not bad.
[00:16:03] Speaker D: I don't really think you have much to complain about if you like rock music. I think this is fairly straight up the middle. Are they doing anything spectacular? No, but I don't think it's bad.
[00:16:10] Speaker B: No.
[00:16:11] Speaker C: Yes, it's not bad. It's not great, but it's not pet.
[00:16:14] Speaker D: Again, there's going to be a Kiss sound there because at least 3 of the people I know played with Ace Freely and Gene Simmons, and they're all Kiss fans and they used to do a Kiss tribute thing every year. They were the perfect people to be in those bands just because they were Kiss fans and they know what Kiss fans want to listen to.
[00:16:28] Speaker C: This is like having a band full of Tommy Th. All the involvement he had with Kiss before he even probably got into Kiss. Wasn't he a Kiss cover band? And he was actually doing some songwriting and management shit for them.
[00:16:39] Speaker D: He was the road manager during the reunion tour. He played on Psycho Circus, I think. Think he did lots of stuff.
[00:16:45] Speaker C: Yeah.
[00:16:46] Speaker D: That's an album I want to get. Just because of the train wreck that that was too.
[00:16:49] Speaker C: Oh, which one? The Psycho Circus. Yeah.
[00:16:52] Speaker D: Yeah, There's a couple of good songs on there.
[00:16:54] Speaker C: I'm more interested in getting Sonic Boom and Monster, bro.
[00:16:57] Speaker D: Oh, you want me to hate on that, don't you?
That's going to be fun.
I don't think this is bad. I like it. Let's continue. We got.
[00:17:16] Speaker B: If you let her take you on a trip she love you, leave ya, use ya just to get her kicks Run away.
Ramjan's humming.
It's always running all night, all day.
You know she ain't gonna stay and that's okay.
You can't. The dream.
Last call for the no pain, no game train all about.
[00:18:38] Speaker C: Honestly, that was my favorite part of the song so far. What'd you think?
[00:18:40] Speaker D: I'm used to listening him through the eyes of Kiss songs, so it's interesting to hear his playing on something that's not a Kiss song. I think most of the stuff I've ever heard him play on it's been Kiss music or Ace Fry music. I found it more Mick Mars than Ace Fr. The beginning was Ace Frehley. The whole middle part felt like Mick Mars. And the end part spelled like Ace Fraley. That makes.
[00:19:00] Speaker C: Yeah, I definitely heard some Mason there. Yep. No, I agree. I heard.
[00:19:03] Speaker D: Yeah, I don't think it was bad, but I did all of a sudden start hearing this weird distortion at the top of the guitar. It was overloading the channel or something. Bad digital distortion. I didn't notice that before, but maybe that's what you're hearing.
[00:19:14] Speaker C: No, but I did notice too, in the solo. There was something going on with the solo, which I didn't mind. It's like, okay, he's doing something on. It's weird, but it's not bad.
[00:19:22] Speaker D: I don't know. That doesn't sound like that's on purpose. It just sounds like the way it
[00:19:25] Speaker C: was recorded, it wasn't on purpose.
[00:19:28] Speaker D: It sounds like when you overload a channel, the microphone overloads and it starts to break up really high. I don't particularly like that too much. That's part production that I don't know. I don't know how this was recorded. My assumption was recorded at home because everyone does that. I doubt very highly they were in the studio to do this. But I don't know. There's not a lot on this album, so I have no idea why it doesn't ruin it for me. But it was just weird. I didn't hear that. And all of a song was like, wow, that's there. And I think it's on the vocals a little bit, too. Now that I'm listening back. If I have a criticism more that I don't like the production as much now, listening to it for what, I don't know, almost three minutes. But I like the solo. It was good. He's a good guitar player. Everything I've seen him play in the Kiss stuff and the Ace Fry stuff has been good. Don't think it's bad. Let's continue. Here we go.
[00:20:16] Speaker B: It's always running? All night, all day.
You. No, she ain't going to stay?
And that's okay?
You can't stop the train?
You can't stop the train Away?
All night, all day.
You know she ain't going to stay?
And that's okay?
You can't stop? You can't stop? Stop the train?
You can't stop the train.
[00:21:09] Speaker C: That outro riff, and I don't know if it was going on through the song was very Motley Crue. I was just like, wait a second. That's really Motley Cruey. Even the drums that were going along to it. It's a. Okay.
[00:21:20] Speaker D: Yeah, it's not bad. It's exactly what I expected to be. I'm gonna go first. Lyrics, five melody, five musicianship. I'm gonna say six. Arrangement. I'm gonna say six. Production, five. I just don't like that breakup on the distortion up high. I hear it in the background vocal, too. Unless that was a choice. Wouldn't be a choice I would make, but I didn't particularly like it. That part of it. I don't think it was bad. I think it's a decent start. If you're listening for some 70s hard rock, I think this is a good record for you, Seth.
[00:21:46] Speaker C: Yeah, I'm hoping to get some of that. I'm going to say Six on arrangement and five on everything. El Curious to see where this goes.
[00:21:53] Speaker D: Yeah, that's fair. Again, we have no expectation here.
[00:21:55] Speaker C: No, none whatsoever.
[00:21:57] Speaker D: Besides that, we know who they played with. Besides that, we don't have any idea what this is going to be.
[00:22:01] Speaker C: But I can hear those influences, for sure.
[00:22:03] Speaker D: Oh, yeah, yeah. The Motley Crue thing I wasn't expecting. Second track is Soul for the Goal.
[00:22:15] Speaker B: Let the truth be told I'm here to get the gold I know the I'll pay so get out of my way I need a sleep Talking girl who's going to rock my world with the face of an angel and the devil in her eyes oh, yeah all right.
Are you with me, baby? Women Come on, man.
Won't take Tell your mama you a coming home let's drink and dance with a wicked let's stick with the dogs on the road we'll roll the dice and won't think twice and we'll sell our soul Going to sell our st.
[00:23:26] Speaker C: I definitely let Tommy Thayer Kiss. Okay.
That's all I can really say. It's okay. What do you think?
[00:23:33] Speaker D: It's very Sonic Boom Monster Kiss.
[00:23:36] Speaker C: Oh, boy.
[00:23:37] Speaker D: Yeah.
[00:23:37] Speaker C: Yeah.
[00:23:38] Speaker D: But it's okay that they're doing that. I don't want that from Kiss, because I didn't like that in Kiss. But here, this is just someone who's influenced by Kiss, making newer music that sort of sounds like Kiss. So in that way I think it's okay. But this is the most Kiss song out of the two. Not the drums, though. There's no really swing going on the drums, though.
[00:23:57] Speaker C: Well, but I'm talking Eric Singer, drums stuff. I'm not talking Peter Chris. I think this is closer to what he plays. Yeah. I think the problem is with those albums is that you can hear what they were trying to do. And maybe it's just you and I saying that. I've heard people that love those records and I've heard people that hate them, but we won't talk about them. We go over on these tangents. We won't do that right now. We'll just say it about this. But, yeah, this is definitely giving me those vibes. I can clearly hear Gene Simmons singing right now.
[00:24:25] Speaker D: Yeah. I was gonna say the lyrics are very Gene Simmons lyrics. Yeah. Again from them, it's accept comfortable thing. You have Kiss fans who like Kiss. We're not trying to copy Kiss. But the riffs and the licks are similar to Kiss. And it's like Kiss wanting to do Kiss, those two records again. Is it horrible? No, it's not horrible. I think it's played well. I think he sings very well.
[00:24:45] Speaker C: He has a good voice.
[00:24:46] Speaker D: Yeah. All right, let's continue. Here we go.
[00:25:03] Speaker B: Hands.
Ah, yeah.
All right.
Are you with me, baby, with me tonight Come on, honey, it's time to go and tell your mama you ain't coming home let's freaking dance with the wicked let's stay with the dos on the road we'll roll a dice and one thing twice and we'll sell our soul on the go Gon sa.
[00:26:18] Speaker C: I felt the intro to this solo was very Ace Freely Kiss. And then the solo was Tommy Thayer playing Ace Fraley.
[00:26:24] Speaker D: I didn't feel like that sounded like Ace really at all.
[00:26:27] Speaker C: That's. That's what I heard.
[00:26:28] Speaker D: I can understand you saying you could sound like Tommy Thayer playing Ace Rally. I don't know. I don't get very much Kiss to me in that. I was expecting more Ace, really. Tell you the truth. But maybe he on purpose didn't do that because he plays Ace frilly stuff all the time. So maybe he said, I'm not going to do Ace frilly stuff. At least not as much other pieces in there. Yeah, because that's his style. He's a blues rock guitar player. When I play blues rock guitar stuff, I sound a little bit like that because that's just an influence on my side. I mean, he plays a lot of Kiss and a lot of Ace Frelli. For him to try to stay away from that is probably a good thing. And I don't think the production is as bad on this one. I don't hear that weird distortion at the top, so that's good. I guess I can hear the Tommy Thayer thing, though. If you told me that was Tommy Thayer playing, I could say 100% that was possible. Although to me, the Tommy Thayer Kiss stuff is a little more copycat ish than this is. Quick songs, three minutes, four minutes, in and out. What do you want? This is exactly what I expect. Again, like I said before, it's exactly what I expect from them. But even the breaks and it's weird. And you're right. When I hear the drumming, I'm like. Well, that's like sonic sonic boom and monster drumming. Not as bad.
[00:27:33] Speaker C: Listen, it does what it needs to do. If it's simplistic, obviously. We've heard Eric Singer playing other stuff where he. So he shows some better chops.
[00:27:41] Speaker D: Badlands.
[00:27:42] Speaker C: Yes. That's a good album. If we get that, man.
[00:27:44] Speaker D: Yeah, that'd be great.
[00:27:44] Speaker C: I know that's a smoking album.
[00:27:46] Speaker D: All right, let's continue.
[00:27:47] Speaker B: We go dance with the wicked let's dig with the dolls on the road we'll dance all night and a one thing twice gonna sell ourself on the go let's stick and dance with the wicked let's dig with the dolls on the road we'll roll the tights and one day twice gonna sell our sou Go.
[00:28:25] Speaker C: That base at the end really reminded me of something that Jean Simmons would do.
[00:28:28] Speaker D: Yeah. Take it from where it comes, though. It is. It is what it is.
[00:28:31] Speaker C: I understand. I'm not going to keep beating a dead horse. If this is their big influence and things that they've done, clearly there's going to be. We will hear it over and over. I won't have to say it over and over.
[00:28:41] Speaker D: No. All right, you go first.
[00:28:42] Speaker C: Oh, same. I'll say six on arrangement, five on everything else. I. I think the songs are okay. That's it. There's nothing with either one of these songs. I'm like, oh, man. Yeah. There was this thing that kind of stood out. Nothing has stood out to me yet, but what do you want to give it?
[00:28:56] Speaker D: 5 on everything except 6 on music. I think the music is fine. I liked his guitar solo at the end better than I liked it in the middle, so take that for what it's worth.
[00:29:03] Speaker C: Yeah, I'm digging the solos. I mean, I think he's good. He does what he. For the song. I mean, honestly, I think the solo in this could have gone even a couple bars longer. I think it ended quickly.
[00:29:11] Speaker D: All right, the next one is Rambling Gambling Man.
[00:29:38] Speaker B: Down Riverside. I learned to spin a vulture wheel and throw dies and I was just 13 when I had to leave home Knew I couldn't stick around Nah, I had her own Ain't gonna look him but you know I ain't shy Ain't afraid to looky, girl yeah. Now hear me out. If you need some love and you need it right away Take a little time out and maybe I'll stay But I got the Rambo rambling bab. I got the gam.
[00:30:33] Speaker C: Probably the most unique so far. I would say not so kissy again. It's okay.
[00:30:39] Speaker D: I like that they panned the guitars off. I thought that was pretty interesting a la early Van Halen. Guitar on one side, and then the solo stuff was right straight down the middle. What I assume is Ryan Spencer Cook's guitar is left. Jeremy Asbrock is right. And when he was playing, it was on the right, and there was no Guitar on the left. And I guess the chorus came and they were both playing. And it was panned fairly hard on both sides. And the solo came and the right was gone. And he was in the middle. And then Ryan Spencer Quick was on the left. So I thought that was cool. I like the idea doing that. I don't like it for every song, but I like when someone makes choices like that. This is the most unkiss. Yes.
[00:31:12] Speaker C: So far.
[00:31:13] Speaker D: I'm not sure what it sounds like, but it doesn't sound like Kiss to me.
[00:31:15] Speaker C: The beginning kind of remind me a little bit of Living after Midnight. Not exactly that the same, but having that vibe in my head. The drums.
[00:31:22] Speaker D: Oh, the drums.
[00:31:23] Speaker C: Yeah.
[00:31:23] Speaker D: It's fairly straight ahead. Rock music.
[00:31:25] Speaker A: Yep.
[00:31:25] Speaker D: All right, continue. Here we go.
[00:31:43] Speaker B: To keep moving. Never going to slow down. You can have your funky world. Yeah. See you around, cuz. I got the Rama.
Camel no, I got the r cuz I'm a ra.
[00:32:24] Speaker C: Like the solos. I think that one was a little short too. I would have done a couple more bars. They have feel to them. They go with the breakdowns of the song. Those have been my favorite part of the song so far.
[00:32:34] Speaker D: I like his guitar playing. I like the fact that he left in the open string thing. That he probably would want to take off if he decided he didn't like the solo as much. I like that he left that in there. I don't know if you heard it when he went to like transition to the last part. You heard like an open string thing. Probably he didn't want to do that. But it feels like it's a one take solo. It doesn't feel like they took pieces from here and there and put it together. That's pretty cool. If he's just doing this off the cuff. He's a good blues rock guitar player. I don't think it's a bad thing. He obviously learned a lot. Listen to Kiss all the time. Ace Freely, I'm sure, is a big influence or definitely is. I don't know what his other influences are, but I think it's probably all in that vein. I think it's good. I think he's a big Van Halen guy too. Which you don't really hear in his playing that much. Yeah, I think the solos have been maybe my favorite parts. I. The whole song.
[00:33:14] Speaker C: Yeah, definitely. For me.
[00:33:15] Speaker D: All right, let's continue. Here we go,
[00:33:45] Speaker B: Ram.
[00:34:16] Speaker C: They do have good endings. I feel as well. They throw a little bit something different in the endings, which is cool too. I appreciate that.
[00:34:23] Speaker D: Yeah. I'm gonna go first. I think this is maybe my favorite song so far because it's not really going into the KISS territory. I'm gonna say five on lyrics, five on melody, six on music arrangement and production. This is my favorite so far, so
[00:34:34] Speaker C: I'm going with the same scores. Six on arrangement, five and everything else. I just. I don't think the songs are bad. Nothing has stood out to me yet other than the solos. I can give solo. Solo sixes. I would give him at least sixes.
[00:34:46] Speaker D: Well, that's why I'm putting the musicianship at six, because I do like the solo. So I have to give it props where I like it. All right, we're at the end of the first side.
[00:34:53] Speaker C: Wow. You don't hear this too often. So quickly.
Nice.
[00:34:57] Speaker D: The first song is the longest one and then three something. Three something. This is 259. Three minutes. The last song. This is Summer Song.
[00:35:23] Speaker B: She's cruising in she got a swagger down A sunshine state of mind Spring bikinis spinning heads around man, she looks so fine I'll throw the bar for another round she's having sex on the beach beach music's bumping and there ain't no doubt she gets her drinks for free Next one's on me, baby, Come on now.
[00:36:19] Speaker C: If you didn't hear Van Halen before, you hear it now.
[00:36:22] Speaker D: You think so?
[00:36:22] Speaker C: Especially those background vocals.
[00:36:24] Speaker D: Yeah, I was gonna say that.
[00:36:25] Speaker C: Holy moly. Not the whole song. I think the production, obviously, the drums. I've mentioned before that Alex Van Halen's drum sound is just so much a part of the Van Halen sound as Eddie's playing is. That's different. The more it went along, the more I could hear David Lee Roth or Sammy Hagar singing minutes. And then once those background vocals kicked in, I'm like, wow. Yeah.
[00:36:46] Speaker D: You know what? Thinking about it now, maybe. Yeah. I could hear David Roth sing this. The first riff, when it came in, it was very 80s hair metal.
[00:36:53] Speaker C: Oh, absolutely. I was thinking early 80s rock, like some Y and T. And that's totally the vibes. Like, I wasn't getting Van Halen until kind of it progressed more and more.
[00:37:02] Speaker D: Yeah. You know what? Thinking about it now, maybe you're right. Wow. I wasn't thinking about Van Halen. Yeah. The background vocals are that way. And maybe thinking back to the other songs, too, there's a little bit of that. Maybe they there, too. I'm not sure. I have to think about that. I don't know if I like this or not.
It's not bad. It's just very generic so far. They're not really straying out of their musical influences. They're right in the middle, which is something to be said about that. They're not trying to do anything different. They need to take advantage of being in the bands that they were in and giving themselves some exposure so they can do something like this.
They probably wouldn't have gotten a chance to do something like this with the. Without being in ACE FR's band or gene Simmons band.
[00:37:40] Speaker C: Where did Gene Simmons get them? Weren't they on the show or no?
[00:37:43] Speaker D: Yeah, they did some kind of rock show in Nashville, I think. And I think he. They were on the. One of the Kiss cruises, I think. And that's really where it happened. He was going to go out before Kiss went on the end of the road. So this is before the end of the road, which is like 2018. First with Jean Simmons, then Ace Rally. That was 2018. When Kiss went on the road, they transitioned over from Gene Simmons band to Ace Fre's band because Ace didn't take his band with him. When they went to Australia, he used them.
[00:38:06] Speaker C: And do they have Will there one album?
[00:38:08] Speaker D: I don't think so. I think it's the only one. I'm not sure, though. I didn't look.
[00:38:10] Speaker C: We'll figure it out.
[00:38:11] Speaker D: Yeah. All right, let's continue. Here we go.
[00:38:29] Speaker B: The pot is just begun Come on, come on, come on now Summer song Yes.
Sing along come on, sing along.
Nah nah nah nah nah nah nah.
[00:39:25] Speaker C: His souls are very clean. I've noticed there's no off notes. Very clean. Do you think they're well thought out? I know you said you felt the one before. This was off the cuff. Do you feel they're generally off the cuff or land.
[00:39:37] Speaker D: Maybe a little bit of both. I meant off the cuff, meaning he practiced these things and came up with something. Do I think it totally 100% improvised right there? Probably not, but that's okay. That's how I would have done it. Probably. We would have practiced songs and I would have got ideas, use some of the things. I may change things up a little bit, but generally I would try to figure out what I wanted to do and then do that. I think that's what he does. He plays the Kiss stuff fairly right to the letter. I can't see him not doing that for his own stuff now. I have to say there were some parts there where I was hearing beautiful girls because he was playing those high little notes. Except the difference here is there's two. Two guitars is Ryan Spencer's Crook's guitar. And his guitar sounds a little less like Van Halen, but I can hear those things. And now listening to it. Yeah, this is definitely something David Lee Roth is saying. His lyrics would probably be a little more inventive than this.
[00:40:22] Speaker C: Yeah, this is just a straight up summer song. I don't know how else to put it. They couldn't have named this anything else?
[00:40:29] Speaker D: I think David Lee Roth would have had a little more fun with the double entendre. It wouldn't be as training your face. It's like if David Le Roth was singing Sammy Hagar lyrics. That's what it feels like.
[00:40:37] Speaker C: Yeah, that's a good analogy.
[00:40:39] Speaker D: All right, let's finish it out. Here we go.
[00:40:53] Speaker B: Summer song.
It's a summer song.
Sing along.
Come on, sing along.
[00:41:17] Speaker C: That thing really reminds you of something I just can't think of.
[00:41:20] Speaker D: All right, why don't you go first?
[00:41:21] Speaker C: I'm just gonna say the same. I'll say sixes in, maybe a four on the lyrics, six on arrangement, and five on everything else. All these songs are very harmless. I think that's kind of the best way to describe them. They're not badly played, but they don't really have personality.
[00:41:37] Speaker D: Personality to me, they're not bland. They're just very safe. I can't think of a better word.
[00:41:42] Speaker C: Yeah, that's it.
[00:41:44] Speaker D: Well, I'm gonna do lyrics for melody, five, music, six. Because I still think the music is good. I like his solos. I like the part that he's playing during the courses. He did it on the outro and I like that. I thought that was good. Arrangement, 5 and production, I still think is fine. 6. You're right. They're just very undangerous rock songs. You wouldn't have a problem putting this on with someone who's not really a rock person and worry about they're gonna not like this or it's gonna be. It's gonna off.
No offensive stuff going on here at all.
[00:42:10] Speaker C: No, I think generically speaking, people would probably like this. I don't know that it's something I'd go back to, though, yet.
I'm hoping maybe the second side, maybe they'll throw some curveballs our way. Because, I mean, like you said, we've seen them. So this is nothing to do about musicianship and whatever. It's just about, okay, well, here's four cookie cutter things. Boom, boom, boom, boom, boom.
[00:42:31] Speaker D: Yeah. All right, well, we'll see what happens in part two. Curious. Maybe they'll change it up on us. You never know. That has happened before, so you never know. All right, why don't you do your thing?
[00:42:40] Speaker C: We are part of the Deep Dive Podcast Network and the Boneless Podcast Network.
[00:42:44] Speaker D: Boneless, you know, like those chicken wings without the bone.
[00:42:47] Speaker C: Like I always say. Great bunch of guys took us in right away. If you want individual podcasts about bands, Rush, Judas Priest, Jeriah Heap, Tom Petty, you name it, it's probably on there. So please go check them out. And mark, where can they find us?
[00:42:59] Speaker D: The Interwebs, Rocker lit pod and all the social media. Rockwelletpodcast.com do the polls, do the merch. You know what to do. Put us on your auto download and rate us 5 stars wherever you rate your podcast because that helps the podcast out to get out to a lot more people. And that's what we want to do. All right, next week we will finish this up. Let's see if side two changes it. And who knows? It's an interesting pick for 200. Something we not would have picked ourselves.
[00:43:23] Speaker C: No, I didn't even know it existed.
[00:43:26] Speaker D: I knew it existed. I just never gave it a listen. And you would think I would have because I'm generally a fan of what these guys do. I think they do the Kiss stuff. Well, I think they did do the Gene Simmons band. Well, I think they did Ace Fry Band. Well, it's just I never got a chance to listen to this because I just didn't.
[00:43:41] Speaker C: Well, when we get around to doing the thing we were going to do, people probably be more surprised by the band that I've never listened to then being surprised that you've never listened to this.
[00:43:50] Speaker D: Probably.
[00:43:51] Speaker B: Yes.
[00:43:52] Speaker D: All right, we will see you next week.
[00:43:53] Speaker C: Ciao, ciao.
[00:43:54] Speaker B: Later.
It.
