Episode 202 - Giuffria - Giuffria - Part 1

[00:00:02] 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. Enjoy. [00:01:03] Speaker B: Foreign. [00:01:15] Speaker C: Welcome back to another episode of rock roulette podcast. That's right, the crazy ass podcast that took over 1, 800 albums, stuck them in a list, stuck them in a wheel. Every other week we spin the wheel. She picks a record for us and we go through her 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 a strip of discovery and rediscovery with us every week, we really want to thank you. Reach out, tell us what you like, what you don't like. Maybe suggest a song for the Baby Wheel. Suggest a record for the Mama Wheel. Tonight we are due again, we have Mark. Oh hi Mark. [00:01:48] Speaker D: What's up guys? [00:01:49] Speaker C: And I'm Sav. [00:01:50] Speaker D: Ciao buena sera. [00:01:51] Speaker C: I requested last week from the Wheel, I believe something big or something wtf. And definitely got wtf. We got Rock City Machine company Which in essence we do know who they were and we've actually seen two of them. I think Mark Live once or twice with Adrian Freely. We had never heard them really short album and I think the general consensus was that it was safe. None of the songs were bad, none of the musicianship was bad. I thought all the solos were pretty good. A lot of soul, some feel and they definitely all fit the song. The song seemed very safe, like they didn't venture anywhere. They stayed within a certain frame and almost acd, like where? Like, okay, you know what you're going to get if not. Hey, what's this? What was your overall take? [00:02:32] Speaker D: I agree. Same tempo too. Yes, that was an issue. I don't think they were bad. I thought they were all pretty good. They were very safe, very generic rock. And that's fine. That's good for background music. You just want to listen to something, don't want anything to distract you. But the musicianship was good I thought everyone did a good job. Now we also found out that. Which we didn't know that Rambling Gambling man is a Bob Seger song. [00:02:52] Speaker C: Yeah, I just assumed it's a play on Rambling Man. [00:02:54] Speaker D: Honestly, I didn't realize that. Not that that would have changed the scores, I think. [00:02:59] Speaker C: No, I kind of like it better that we didn't know. We just assumed it was their song and we judged it based on that merit. I kind of cool with that. [00:03:05] Speaker D: It was very similar to all the other songs. Maybe they have a little Bob Seeger influence in them, too. [00:03:10] Speaker C: I'm assuming they did a pretty good job compared to what the original is. [00:03:13] Speaker D: I listened to the original. It sounded pretty close. I thought it was a pretty good record. Really quick. And those guys are good musicians. Good for them. For be able to put out original music in 2026. [00:03:22] Speaker C: Absolutely. I mean, those guys are busy. Without a doubt. Speaking of which, we get to spin the Wheel again tonight, which is always exciting. But before we go to the Mama Wheel, we have the baby wheel and the new Bet section. In a world where new music is not easy to find, welcome to New Bets. [00:03:47] Speaker D: Okay, here is the new Bets wheel. [00:04:02] Speaker C: Violet Gro. Applefish. I'm assuming related. [00:04:05] Speaker D: Yes. His daughter. I don't know what her music sounds like. I know she did some stuff with the Foo Fighters. She sang some Nirvana stuff. I think she can sing. This should be interesting. All right, this is Violet Crow. Apple Fish. [00:04:19] Speaker B: To escape to Greetings from the others that empty road Hung by. Friends across the river Pull me from the water Return tonight. Fix the dawn Kiss of death Siren song Walk alone Stranded on the shore Apple fish Paper thin Like a black start the end Crawl away across the unwashed floor. Sam. No path to escape to Greetings from [00:06:47] Speaker C: the other side not too bad, actually. The production is very noise rock, which is kind of cool. It basically went where I expected it to go. Maybe a slight more dynamic would have been cooler. I don't think it's too bad. I like her voice. I like the music. If I probably go back to that, I might suggest that to my son. I think he might dig it. What do you think? [00:07:06] Speaker D: I thought it was pretty good. It was very 90s. Oh, my God. [00:07:09] Speaker B: Yes. [00:07:09] Speaker D: I don't know if it was grunge, but it kind of flirted in that area a little bit. I thought it was good. [00:07:14] Speaker C: Some sonic. Huge vibes. [00:07:15] Speaker D: Yeah, a little bit of that, too. I thought that was good. She can sing. Obviously. She has a good voice. [00:07:19] Speaker C: Yeah, I like her voice. [00:07:20] Speaker D: The stuff I Heard her sing when she did the Nirvana stuff was good. I was expecting this to be good. I had hadn't heard this before, but I liked it. I thought it was good. I'd be curious to see what else she puts out. I think she only has one other song out right now. I don't know if she's working on a full album. And I think the other song is on our new best list too. Just because if we liked one, I was going to leave the other one on. [00:07:38] Speaker C: That's cool. [00:07:39] Speaker B: Yeah. All right. [00:07:39] Speaker D: If you like it or you don't like it, let us know on social media and let's rubber stamp this. [00:07:44] Speaker C: In a world where new music is not easy to find. [00:07:51] Speaker D: Welcome to New Bets. [00:08:00] Speaker C: And now we've got the Mama Wheel. I will ask you first, what do you want? What do you expect? [00:08:07] Speaker D: I don't know. I still think I want an album from a band we know, but we don't know the album. I know you've been asking for that for a while. I think that would be good. Maybe one of the hair metal bands that floated into the grunge thing when they were trying to keep their career afloat or something of that nature. Or even a classic band that we don't know the album but we know other albums or other songs. Something like that. [00:08:27] Speaker C: Yeah, I think the Wheel used to do that a lot to us. Like when he gave us Zeppelin, he gave us the next to last one. Judas Priest gave us the debut. Yeah, I think something like that is always fun too. [00:08:37] Speaker D: Alrighty, here we go. Here is the Wheel. [00:09:01] Speaker C: I actually just saw a video about these guys. Giuffriya debut album. Giuffriya. This is one of those bands that should have been bigger but had issues. I know he was an Angel. I know of the bands but never actually heard the band. Do you know anything about these guys? [00:09:16] Speaker D: I know the name. I've heard the name a whole bunch of times. I never ever heard anything. Not that I remember. Maybe there is something that I know, I just don't remember. I've always wanted to know what they sounded like. [00:09:27] Speaker C: I think angel was progressively heavy. I think I could be wrong because weren't they on Casablanca as well? [00:09:35] Speaker D: Yeah, they would like the anti Kiss. Kiss was all the black and silver and Angel's all white, white outfits. It was very the opposite. I don't know if I even heard Angel. Tell you the truth, I'm curious. This is one that I would never have picked. This was recorded in 1984, released in Nov. 121984 Andy Johns is one of the producers, with Greg giufria and Lee DiCarlo as associate producer. 45:28. It's fairly short. Five tracks on each side of the album, and the personnel are Greg Giuffria, keyboards and backing vocals. Craig Goldie. Guitars, nice. David Glenn Isley, lead vocals. Harmonica, Chuck Wright, bass, Alan Krieger, drums. Craig Goldie was in DO for a little bit. I know his name and know nothing about him. Chuck Wright, he played bass. And didn't he do stuff with Quiet? Right. A lot of stuff. And wasn't he on the Mental Health album that we did? [00:10:25] Speaker C: Was it him or was it Rudy Sorzo? It could be one of those who's on the back covers, not who played on the record. [00:10:30] Speaker D: Oh, maybe you're right. Rudy Sarzo did play bass. Additional personnel was Chuck Wright. So he played on some songs from what I gather. [00:10:37] Speaker C: I think he was in Rough Cut as well. I could be wrong. That was another band that just had everybody in it. [00:10:42] Speaker D: Another band that's totally out of my wheelhouse. [00:10:44] Speaker C: You gotta check. We gotta put them on. If they're not on, maybe they'll push us over the 1900. [00:10:48] Speaker D: Maybe. We're getting close. Yeah, this is going to be good. [00:10:51] Speaker C: I'm super curious. [00:10:52] Speaker D: All right, let's do this. From 1984's Euphra. This is Do Me Right. [00:12:34] Speaker B: That I may never see and I live for a moment and I'm here to be free. [00:13:00] Speaker C: Very 80s movie soundtrack. I'm picturing Rocky, a Karate Kid. A little bit intricate so far. It's not something that I would have held on to. [00:13:13] Speaker D: I'm a tad bit confused. It's very aor. The beginning part sounded like sticks. It's interesting. I don't know if I'd like it. 1984 me would not have liked this whatsoever. It feels too light. [00:13:27] Speaker C: I don't know if 2026 me likes it either. [00:13:30] Speaker D: I don't know if 2026 me likes it either. I'm not too sure. I have to give it a little bit more time. [00:13:34] Speaker C: Yeah. It sounds big, though. [00:13:36] Speaker D: Does it though? [00:13:37] Speaker C: You don't think so? Like, you don't think the production is big? [00:13:40] Speaker D: I don't know. I don't feel like it's big. I feel like there's so much keyboard in there. [00:13:45] Speaker C: Yeah. [00:13:45] Speaker D: It can't really feel big. I don't know what I expected. The guy who's running the band is the keyboard player. I'm sure his keyboards are getting pushed up more than anything. Yeah. [00:13:54] Speaker C: They're fucking loud. They are loud. [00:13:57] Speaker D: This is like Lars Ulrich drums loud on justice for All. That's what this is like. [00:14:03] Speaker C: Yeah. I guess I was expecting more of a classic vein, maybe based on the angel stuff, but this is 1984. There's stories behind this. I wish I could remember because I saw a video probably within the last two weeks about this. There's a bunch of drama behind this record. And I think the band in general. Maybe by next week, if I remember. I'll check my YouTube feed if I can find it. I don't remember if this is exactly what they were going. If there was any type of outside involvement. Involvement or the opposite, where it was. Well, you should do this. There was definitely some drama. [00:14:33] Speaker D: First one. I crossed over the ocean I crossed over the sea I've been searching for fortune Fortunes that I may never see and I live for the moment and I live to be free yeah do me right tonight hey, you do me right tonight do me right do me [00:14:46] Speaker C: right tonight yeah and that just comes out of nowhere. The chorus, it just feels like nothing to do with anything else. And all of a sudden, what do I say in the chorus? Do me right okay, so for lyrics [00:14:58] Speaker D: and not anything to write home about. All right, let's continue. Here we go. [00:15:23] Speaker B: And I'm going to be right tonight Tonight do me right tonight Tonight, Sam. Or I roll till I die Tonight do me right tonight do me, do me do me right tonight do me right tonight. [00:17:06] Speaker C: What did you think of the solo? [00:17:07] Speaker D: I didn't think it was bad. I really do not like that arrangement at all. It was so bad. The way the chorus comes in, the way the lyrics in the verse should stop. And then the chorus just comes out of no place. And then that one line right before the Do Me Right Tonight choruses, I don't really like that at all. It's not that good of a song. What do you think? [00:17:28] Speaker C: I wasn't really feeling it. It's of the era, without a Doubt, and absolutely a movie. We've mentioned this before where we hear movies and where we said, oh, you know, Up All Night. One of those B movies on Up All Night. He gave him a lot of room, though. I mean, he gave Craig a bunch of room for the solo. Yeah. [00:17:45] Speaker D: The song is four something minutes, but it doesn't even feel like it's four something minutes. [00:17:50] Speaker C: Yeah, I mean, it goes by quickly. That's one good thing. [00:17:52] Speaker D: Yeah, it's bad Foreigner. [00:17:54] Speaker C: I was actually thinking bad Journey. [00:17:56] Speaker D: That too, maybe. Okay, let me finish reading lyrics. Verse 2 On the wings of an angel or a bullet from hell I'm high in the jet stream with a story to tell And I'll rock into heaven Or I'll roll till I die. And then chorus is pretty much the same and it comes out of the solo. And I'll rock it to heaven or I'll roll till I'll die and then do me right tonight. Doing right tonight pretty much to the end. [00:18:16] Speaker C: Yeah. The chorus has nothing to do with the verse. Nothing? [00:18:20] Speaker D: No. The whole song is a little jumbled up. [00:18:22] Speaker C: The lyrics and the verses are not terrible, but the do me right that really sounds like, hey, we have nothing here. Just throw something in. [00:18:30] Speaker D: All right, well, you go first then. [00:18:31] Speaker C: It's a bit hard. I don't know what to do on the lyrics. I'll say four on the lyrics and five on everything else. I don't know if I should do fives or fours. The drumming was boring except for the accents with the keyboards. He really was just playing too much. And then when the chords came in, he just switched to the right and did the same exact thing. You know what? I might go fours across. Yeah, let's do fours across. Well, what do you think? [00:18:56] Speaker D: I might be changing my things too. Four in the lyrics, four in the melody, five on the music. Because I think music wise, they can play. The guitar solo is pretty good arrangement for production. I'll say five. It wasn't horrible. I don't think it's powerful. I think it's very. [00:19:08] Speaker B: Eh. [00:19:09] Speaker D: I was expecting more from Andy Johnson. This maybe. He didn't have a lot to work with, though, so I have to give him a little bit of slack. I just don't like it. It is a very movie soundtrac, but I think that's the only redeeming quality it has. And the guitar solo. The guitar solo wasn't bad. All right, well, I don't know how this is going to go, but the next one is. Call to the heart. [00:19:48] Speaker B: Can I ever live without you, girl? Get back on my feet again? Now I'm lost in your world when there's no simple way to let you go. You've been such a fool. And though you choose to walk the separate road? I still believe in you. So I come to your heart. Coming to your heart. [00:20:40] Speaker C: I think this one is better than the first one. The chorus is odd. I wanted the chorus to be a little bit catcher, and I thought it was going to be. I don't know really what more to say. I think it's better than the First, [00:20:51] Speaker D: I don't know if it's better than the first. The melody. It's the way it goes. When I read it, you'll see what I mean. The first verse is short by line. The second verse is four lines. And the chorus started out like it was going to be really heartfelt and powerful and just went and fizzled out. I don't know. It's not going too good. I don't know if anyone says this is a band that should be bigger at this point. I think that the size they're supposed to be. Unless this changes somewhere along the line, they're a band I should never have heard, and I'm so far happy I hadn't heard it in the last 40 years. I'll read the words and you tell me. I don't think the words are bad. It's just the melody is really not good. I don't know if it's a singing or the melody. One of the two. Verse one. Can I ever live without you, girl? Get back on my feet again Now I'm lost in your world Verse two. And there's no simple way to let you go when you've been such a part of me and though you choose to walk a separate road I still believe in you which feels very wrong. It sort of rhymes, but it doesn't rhyme enough for you to remember it. I don't know. Does that make sense? Very strange. Chorus. So I call to your heart Hear me calling to you Or I call to your heart I'm calling to your heart. [00:21:57] Speaker C: The other choruses are pretty much just the same things repeated over and over so far. [00:22:01] Speaker D: It feels like it's a vehicle for this guy to play keyboards on. And that's all it is. [00:22:06] Speaker C: Who do we have recently that did the same thing? Remember when it got to the choruses, there's just basically the same lines over and over for the. Oh, MLE Crew. Was it MLE Crew, where they just basically said the song title over and over in the chorus and there was nothing else? [00:22:20] Speaker D: Yeah, it could have been. [00:22:21] Speaker C: Yeah, I think it was. I knew it was recently. [00:22:24] Speaker D: Yeah. Well, let's continue. Here we go. Hopefully guitar solo here will be good. So I'll have something to listen to. All right, let's do it. [00:22:37] Speaker B: Someone touch me by the. It's only you I need believe it When I come to your house When I come to you I come to your house I'm calling to you Come to your heart I lost the love away. I'll find you someday. You. [00:23:47] Speaker C: What do you Think kind of boring. [00:23:49] Speaker D: Melody of the chorus on slide guitar. That's about it. I was expecting maybe something right after that, and then nothing. [00:23:55] Speaker C: Considering how much he had in the first one, this sounded like a single. [00:23:59] Speaker D: Yeah, this definitely wants to be a single. It's just not very good. And I'm sure there are people out there that love this album, but right now it's not doing anything for me. [00:24:07] Speaker C: It's not catchy enough to grab me. I don't think it's bad, but it's not grabbing me. [00:24:12] Speaker D: Yeah, the melodies are a little tough. Verse. Three distant voices in the silent night Call to a memory Someone touch me but it don't feel right it's only you I need believe me Chorus is pretty much the same post. Chorus. I lost your love I lost along the way but darling, I'll find you someday Chorus. I mean solo. And now we got a bridge. So here we go. [00:24:52] Speaker B: God, hear me call. Darling, you remember the dreams that we had I did everything my way Too hard to get and darling, together we can make it work out so stay with me, baby I need you back Come to your heart I've been calling you back again here all the time. [00:26:37] Speaker C: I wonder if you're wondering the same thing I was running is how many times time is he gonna play that last riff? [00:26:43] Speaker D: Yeah, that was way too many times. And the lyrics I'm looking at, Whoever writes these lyrics, they're not listening to the same song that I'm listening to. I have no idea what the bridge really is. I'm not even gonna bother reading it. Not that it's gonna save this song or do anything to this song. I know you thought it might be better than the first one, but I don't think it is. I think it's actually worse than the first one. [00:27:04] Speaker C: Oh, do you? [00:27:05] Speaker D: Oh, yeah. I don't know. It's just very. He disco bobulated the keyboard rifting at the end too many times. His singing is actually not bad. What I think I'm gonna do, I'm gonna give it a 4 on everything except for the music. I'm gonna give it a five, maybe. And four and everything else. I'll give five on production. Throw a little bit of a bone. The arrangements are horrid for something that needs to be super poppy and super mainstream. They just can't write a good song. Things that you're hearing your head. That's gonna happen and it doesn't happen. I just don't like it. Seth. [00:27:37] Speaker C: I'm gonna go fives across of my Head. I do think it's better than the first one, but not much better. The bones are there of what could be one of those catchy 80s songs. And I hear Steve Perry singing to this. Not that I'm saying that would make it better, because like you said, I think the guy's a Pretty good voice. 0 for 2 for me. [00:27:57] Speaker D: Swing and a miss. [00:27:58] Speaker C: Two swings and a miss. [00:28:00] Speaker D: Yeah, two swings, two swings and two misses. Yeah, the cleanup batter's coming up. Here it goes. Don't tear me down. [00:28:12] Speaker C: All right. [00:28:49] Speaker B: You're coming up on the telephone you just got to know I sleep alone? You like nothing better to hear me plead with you you like nothing better to know I'm still your fool you cry the rules. I've been living the life? Living your life I've been wondering why? I'm wondering why you like to see me cry. All right. Don't turn me down now. Don't, don't turn it down. You said nothing is forever, [00:29:37] Speaker C: Man. I feel bad saying this. Each one of these songs, I would have let him get to the chorus, and I would have already skipped to the next song. I'm not feeling this one either. For a second, I thought I might, and then it was like the one before where I thought it was going to go one way, and it didn't. I like the guitar t tone, though. I have to say that the tone of the guitar there, the melody starts off okay, and then just little by little, it just keeps falling down the steps until it gets to the chorus for me. And definitely, these are the worst words so far. Lyrically, I think the other two are better. He may as well still do me right in the chorus here. [00:30:11] Speaker D: I wouldn't have gotten 15 seconds into this before I changed it. What was that? All the stuff he was doing at the beginning. What is that all about? [00:30:19] Speaker C: Yeah, the stuff going on in the beginning. Oh, that was odd. [00:30:22] Speaker D: Oh, it was very bad. This is so far the worst song. [00:30:24] Speaker C: Yeah, it could. [00:30:25] Speaker D: Chorus is horrid. [00:30:27] Speaker B: Wow. [00:30:27] Speaker D: I don't even know what to say here. I have to read the lyrics, but I don't want to. [00:30:31] Speaker C: Yeah, I heard them. [00:30:32] Speaker D: There's nothing redeeming on this song whatsoever. The arrangements, horrible. The vocals are not great. The lyrics aren't great. Musicianship, I guess, is all right. You might as well just have a drum machine. [00:30:42] Speaker C: Yeah, that was, like, the first one. Other than those little accents he was [00:30:45] Speaker D: doing with the keyboard, it's very boring. Not even feeling like it's anything more than just a beat. That's over and over and over and over. There's no personality, it's just whatever it is. Now, whether that's what they were going for, I guess I don't know. [00:30:58] Speaker C: I don't say that we wrote the best of songs, but from musical standpoint, not that you have to go where everybody thinks you're going to go, but it feels as if they're trying to write radio friendly songs. The melodies aren't going where I think a person listening to it would draw them in. That's the issue with me. I feel that if they take another turn here, another turn there, go a little bit into that. Catch your zone. Whether or not we would like to select song more, but I think at least we say, oh, yeah, that part's catchy. We did Tiger Tales and Love Bomb. The verses were horrific. And then you get to that chorus, it just sticks in your head. So it's like no matter what you think of the song, you say, oh, wait till you get to the chorus. That thing is going to stick in your head gear. It's like, oh, you know, it's like the guy reaching for the rings but he just can't get it. That's what it feels like to me. [00:31:47] Speaker D: You want to hear the crazy part of this? This thing was on the US Billboard album charts for 29 weeks. It reached number 26. [00:31:55] Speaker B: Wow. [00:31:56] Speaker D: How is this even possible? Was everything else around this time sucking so bad? I don't think so. How did this thing stay on the charts for 30 weeks? [00:32:04] Speaker C: How'd it get that high? And we never heard anything from it, though. [00:32:07] Speaker D: This sucks. [00:32:08] Speaker C: But I'm saying for it to be that high, you figure whether or not we liked it, we would know something. [00:32:13] Speaker D: Yeah. No. This is just horribly bad. I can see why I didn't know anything about this. This never would have entered my radar. And again, I would have heard the first beginning part. I was like, nope. Skip. Nope. Verse 1. Call me up on the telephone. You just got to know I sleep alone. You like nothing better to hear me plead with you. You like nothing better to know I'm still your fool. You crazy bitch who makes the rule. I've been living the lie, living your lie. I've been wondering why. Wondering why you like to see me cry so bad. Don't, don't tear me down. Don't, don't tear me down. You say nothing lasts forever. If you' to write radio friendly, hooky, poppy rock music, you have to have some formula in what you're doing because that's really what that is, I don't hate on people who have formulaic music because a lot of it I might like, and. And people are expecting a certain thing, and then when it doesn't happen, this is just badly written songs. Whoever's a G for your fan, more power to you. [00:33:09] Speaker B: Yeah. [00:33:09] Speaker C: I mean, think of stuff that we've liked here where people are like, well, how can you guys like that? That sucks. Sucks. I feel badly saying it, too. I mean, I think we always try to be at least respectful. I've mentioned it quite a number of times that. Whose album is not on this list? Ours. So more power to the people that have been signed and put something out and reached 21 on the billboards. Not everything is for everybody. [00:33:31] Speaker D: I'm just not feeling this now again in 1984. There's so much better music to listen to than this. That's probably why it never hit my radar, ever. [00:33:38] Speaker C: We always talk about our circle, Bands that just weren't in our circle and this wasn't. I think my cousin may have had. Had something by them. I know he had House of Lords for sure. I don't know whether or not he liked it because he bought a lot of stuff. I'm not sure if he had this. [00:33:52] Speaker D: Yeah. I don't know. All right, let's continue. Here we go. [00:34:10] Speaker B: Late. When you mel up to me just to simulate can't take no no matter what do I try I been living life living your life I've been wondering my wondering way you like to see me cry. T me down don't t me down you say nothing is forever ever I said don't you down it down [00:34:55] Speaker A: you [00:34:56] Speaker B: say nothing is forever. Sam. [00:35:44] Speaker C: Probably the most interesting part of the song, I would say. What do you think? [00:35:47] Speaker D: Yeah. In this song 100, there was some gratuitous whammy bar usage just for the mere fact of having a whammy bar. It's definitely not the worst part of the song. [00:35:55] Speaker C: Probably the best. [00:35:56] Speaker B: Best. [00:35:56] Speaker D: I don't know if I like it as much as some of the other stuff. [00:35:58] Speaker C: He did longer than the one before it, though, given a little bit more space. Like the first one. Yeah. [00:36:03] Speaker D: It feels very disjointed, though, sometimes. Like it's just pieces put together. [00:36:08] Speaker C: Because I think that the music underneath is disjointed. I picked up on that, too. I think overall, it's a little bit disjointed, which doesn't make sense. It's weird. I can't explain it. It's this AOR formula that strays A bit. And it doesn't sit right with the ears, Especially if you kind of expect. Expect these things to go a certain way. And they don't. But not in a cool way. That's the issue. Okay. [00:36:31] Speaker D: Verse two. You were the only one I'd like to hold but now you turn to ice your touch is cold now all you'd like to do is manipulate. When you make love to me it's just a simulate. I can't take your no more why do I try. This is definitely not trying to be a single. In 1984, you weren't getting on the radio or on the radio. [00:36:48] Speaker C: Yeah. But even that. Seeing those words in this song, just so odd and out of place. [00:36:53] Speaker D: The first two lines are okay. The third line is okay. It gets to the fourth line. It says, when you make love to me it's just a simulate. Are you really trying to rhyme manipulate with simulate, but just in a very horribly bad way? Pre course is the same. Course is the same solo. This is tough. Let's continue. Here we go. [00:37:21] Speaker B: I've been wondering why wondering why you like to see me cry don't dare me down don't tear me down you say nothing is forever never I say don't. Don't tear me down you said nothing is forever. [00:38:53] Speaker C: I actually thought that fade out wasn't terrible. It sounded a little bit more cohesive there to me. For whatever reason, I think it ended better than the rest of the song went. [00:39:01] Speaker D: I could see that. I'm starting to think that he's not the right guitar player for this type of music. Definitely not in the quiet right vein or the do vain. It feels like he's a little out of his element. Not that he's a bad guitar player at all. It just feels like he's just not in the right places in the right times. [00:39:18] Speaker C: Yeah, clearly very keyboard heavy songs. [00:39:20] Speaker D: Yeah. Again, I say that it's maybe just a foil for his keyboard playing. And we're not worried about anything else other than that. All right, Saf, you go first. [00:39:29] Speaker C: I'm thinking fours across, maybe three on the lyrics and fours across. I feel badly. We don't knock too many records. Our scores are never typically consistently low, but so far. Yeah, Just not feeling this. What about you? [00:39:43] Speaker D: Or in the lyrics. Three on the melody, four in the music, three on the arrangement, three in production. I just don't like this. This is the worst so far for me. It wants to be uptempo. It wants to be aor, Foreign Earth type of music. It's just not Very good. I just don't know what else to say. I'm hoping maybe at the end of this side and beginning of next side, maybe they can win me over. But right now, I don't even know. If this was 1984, me, I would have got to this part. I never would listen to the rest the of. Like, this sucks. I'm not putting the rest of this on. [00:40:11] Speaker C: No. And I can't picture hearing any of these songs on the radio either. [00:40:14] Speaker D: They want to be, though. I can't picture them doing anything. Okay, here we go. This is Dance, [00:40:33] Speaker B: Live long, long day and la. After all I've been through, I know what I want to do. After all I've been through. And I know that you want to do. [00:41:31] Speaker C: Probably the best verse so far. And then once it gets into that pre chorus and the chorus, it loses me. I don't know what else to say. Okay, not a bad verse. The lyrics are cheesy. Whatever. It's a little cohesive. It's nothing. Whatever. And then it gets into that pre chorus and the chorus, I'm like, just take it somewhere. Catchy. It's there. You hear it, you feel it. You feel it's going to go somewhere. And it does. It doesn't. Which isn't always a bad thing. But in the cases of this where it's AOR driven stuff and it doesn't have that hook, it really falls apart. It needs that hook, whether or not it saves the song. But at least you can say, hey, I'm not crazy about this. But it's catchy. [00:42:12] Speaker D: It has to go to the hook. There is no hook. [00:42:14] Speaker C: No. There's no hooks. [00:42:15] Speaker D: Yeah. This verse wasn't too bad. There's some cheesy, cheesy lyrics in this. [00:42:20] Speaker C: Yeah, I heard. [00:42:21] Speaker D: But at least. At least it was better than most of the other verses. Then it gets in a pre chorus. Oh, that's not very good. And the chorus came. I went, oh, if you're going to be an AOR band that makes this kind of music, your choruses have to be catchy. They have to be otherwise to beat the whole purpose of being an AOR band. Yeah. Wow. I'm not too sure I'd like his voice on either of these two songs. The voice is throwing me off too. [00:42:44] Speaker C: He does a bit of that low thing sometimes, and it doesn't really seem to fit his voice. He's a little semi higger two in this one. I feel. Not Van Halen, Sammy Hagar, but Sammy Hagar. Sammy Hagar. I can Hear some of that in this as well. [00:42:57] Speaker D: I have to listen. I wasn't even paying attention. I was just too thrown off by the car sucking so much. [00:43:02] Speaker B: Yeah. [00:43:02] Speaker D: Okay. [00:43:03] Speaker C: First. [00:43:03] Speaker D: Hey, Mac, pour me a jack. It's been a long, long day lady luck dealt me some bucks I'm going to drink the night away say bye bye no more nine to five I did my time so turn me loose I got the juice I'm going to draw me a line Draw me a line line Pre chorus After all I've been through I'm gonna want you after all I've been through I know you want it too Chorus Dance dance all night Dance dance with me Dance, dance all night Dance, dance with me Me reading it, it sounds way more catchy than the actual song. [00:43:34] Speaker C: Yes. Your timber and your delivery was catchier than the pre chorus and the chorus. [00:43:40] Speaker D: I'm trying to help it out. I just think I can't not try to help it out. I'm not a singer by any stretch of the imagination. [00:43:46] Speaker C: And all I picture is a dance dance. I picture Kevin Bacon kind of dancing across. [00:43:50] Speaker D: Yeah. [00:43:51] Speaker C: Because this is also to be movie soundtracky. [00:43:53] Speaker D: It's all real movie soundtrack. Basically. The AOR thing is very like that. But compared to really good aor, this is really bad. All right, let's continue. Here we go. [00:44:39] Speaker B: After all I've been through I know what you want to do Dance all night Dance with me Dance all night. Dance all night Dance with me me. Ain't no reason to leave alone tonight Keep on dancing and hold on. After all we've been through. [00:45:53] Speaker C: I do think this is probably the best song overall. The second time around, the chorus and the pre chorus aren't as jolting to me. So I. I have to give credit where credit. I think this to me is the best one so far. Any convincing to yet or compared to the other ones? [00:46:10] Speaker D: I guess. I don't know. I don't know. No solo. [00:46:15] Speaker C: I was still waiting for one. [00:46:16] Speaker D: Yeah. [00:46:16] Speaker C: I thought maybe after this, this little bit, maybe they would go into it, but who knows? [00:46:20] Speaker D: I think maybe something at the end. I don't know. Maybe I just can't see this being any kind of a hit song. The chorus gets a little bit better, but I don't think the chorus is better. You know what I think it is? I don' think the chorus is good. I just think they keep repeating it over and over and over and over and over until you start to think that it might be okay. But I don't think it's okay. I Still think it sucks? I just think that if you say it enough, maybe someone will go, oh, well, that's not so bad. A lot of hand claps now. And snaps. [00:46:49] Speaker C: Yeah. I mean, this is 1984, right? [00:46:52] Speaker D: No, I know, but it's done so much better other places. Maybe they're trying to capture what's going on. And in some weird way, his vocal style has a little bit of the Cars in it. I don't know why I. I hear that. [00:47:04] Speaker C: Oh, do you? [00:47:05] Speaker D: Because I always think his voice is kind of weird, and I think that this sounds sort of like that, just not as good. And I'm not a big Cars fan, but I do appreciate that more than I appreciate this. Okay, first two. Hey, baby, don't say maybe Just have a shot on me. Your midnight eyes tell me no lies? You know I know how to read you? I want a wild night Till the morning light? So take me away, say no more, just shut the door? Ooh, I just can't wait. I just can't wait. Pre chorus. Chorus doubles up then. Then I guess it was not even a musical break. And then this. I assume bridge. Ain't no reason to leave alone tonight? Keep on dancing and hold on tight. After all we've been through? I know what you want to do, which is dance, dance all night. I assume they're going to be pounding this into my head all the way to the end with some improvisation. That's the only thing they're doing right. They're taking the chorus and bashing it into your head until you just try to make it sound catchy. [00:47:55] Speaker C: Yeah, Repetition works sometimes. [00:47:58] Speaker D: All right, let's continue. [00:49:00] Speaker C: If this is a cool scene in a movie, that's how I'm thinking of it. Hey, remember when we saw Blah Blah Blah and that Dance Dance, Dance song was on and they were doing this? [00:49:09] Speaker A: Yeah. [00:49:09] Speaker C: Remember that? Who sings that song? I think it's jria. I'm going to buy that album. [00:49:17] Speaker D: Okay. Dance, dance, dance. [00:49:20] Speaker C: I always found it funny when metal bands or whatever bands had songs called Dance, Like Right as dance. [00:49:27] Speaker D: I don't know what to do here. I think I'm just gonna give it fives across, even though I don't particularly like it. They kept banging that dance thing into my head, and it made it more catchy. But I don't really think it's a very catchy song, nor a very good song. Sav. [00:49:39] Speaker C: I was thinking the same exact thing. I'm doing fives across. I think it's the best song so far. [00:49:43] Speaker D: That's Sad to say, though, isn't it? [00:49:45] Speaker C: For what it's worth, I think it's the best song so far. I think it's the most cohesive. And, yes, the dance. Dance. Dance is. But by the end of it, you're just like, yeah, dance. [00:49:55] Speaker D: Okay, we're at the end of side one. This is Lonely in love. [00:50:15] Speaker B: Don't take it so hard with your broken heart don't cry yourself to sleep tonight It's a lonely world, A lonely world so me don't take it so hard Find someone new it's happened to me it can happen to you it's nothing more than a changing time so you sh. From the heart and play out of rules it's easy to live there's no wicked rules Feel a change of heart Leaves you alone, you can't go on now you love me? Love alone tonight yeah, love me now and it don't feel right but you can can't walk away with love on the line, you still. [00:52:05] Speaker C: Funny thing is, I was waiting for it to get the chorus, and then once I heard the words, I said, oh, this is the chorus. Because it didn't really seem to go anywhere. Another song. Song where the formula is there, but that hook, to me isn't there. And this is definitely different arrangement. That solo comes in super quick and he's given some time. He does some pretty cool stuff, I think. I thought the solo was pretty interesting. What do you think? [00:52:26] Speaker D: I tend to think this is the most complete song. The parts are not as jarring between each other. Even the chorus is okay. His guitar playing is good. I like the stuff he did in the verses. I like the solo stuff. But the solo's real early. We still have half the song to go. Where are they gonna go exactly? [00:52:43] Speaker C: Just came right in. [00:52:44] Speaker D: They're definitely not fun following any kind of formula for radio hit. [00:52:48] Speaker C: Unless you do a radio edit. [00:52:51] Speaker D: Well, you will come into a little bit of a solo, then you come back into a verse, then you come back to a chorus, then you do a big solo, maybe a bridge, maybe no bridge. Big solo, then come back out into the chorus to go out. They're not doing that. I'd like to be played. I'm starting to think this may be the best complete song. [00:53:06] Speaker C: I need to soak it in. I don't think it's terrible. When I went to the chorus, I was like, oh, that's the chorus right already. So, yeah, I need to let this sink in. I don't. I don't think it's bad. [00:53:15] Speaker D: Maybe they Learned the lesson. Maybe on side two they're gonna pull it all out. I don't know. [00:53:19] Speaker C: Kick our asses. [00:53:20] Speaker D: Yeah, maybe. It's possible. I guess you never know. [00:53:22] Speaker C: Yeah, never know. [00:53:23] Speaker D: All right. Verse 1. Don't take it so hard with your broken heart don't cry yourself to sleep at night don't cry yourself to sleep tonight It's a lonely world, a lonely world so hold on Verse two. Don't take it so hard find someone new it's happened to me, it can happen to you it's nothing more, more than a changing tide so hold on. I assume this is pre chorus. You shoot from the heart and play by the rules. It's easy to live there's no way to lose Till change of heart leaves you alone you can't go on Chorus. Now you're lonely in love alone tonight yeah, you're lonely in love and it don't feel right? You can't walk away with love on the line you still hold on. Maybe that part messes you up because those things sound very similar. They end very similar. And solo. And then I told you before I'll tell you again. Let's see what they do. [00:54:28] Speaker B: Oh, I told you before until you again, you love. Don't take it so hard with your broken heart don't cry yourself to sleep tonight. It's a lonely world, a lonely world so. Take it so hard don't you take it so hard. It's a lonely world. Wow. A lonely worldly. Well, [00:55:41] Speaker C: you. [00:55:47] Speaker B: Lonely world. Not bad. [00:56:43] Speaker C: It was like the one before where the more I went, the more grew on me. Not terrible. I think if these two songs were the first two. And then maybe progress a little bit along the line, maybe like you said, side two continues with it and we start saying, okay, better. [00:56:59] Speaker D: This song has all the parts. I just think that it's unconventional arrangement hurts it too much. [00:57:06] Speaker B: Much. [00:57:07] Speaker D: Just the way it's arranged is not right. And usually I'm cool with weird arrangements, but in this situation here, I think it needed a standard arrangement and it would be a better song. That solo came in too early. I like some of the end parts, but they need to be shuffled around a little bit. I think that's what hurts it more for me because it's not that bad. And I know I've been pretty rough on this album so far, but I have to say, I like his voice in this range. Wherever he is, this is where his voice is to be going. Good. Yeah. [00:57:32] Speaker C: I mean, he's got a good voice overall. [00:57:33] Speaker D: Why don't you go first. [00:57:34] Speaker C: I'll say fives across again. I'll make it simple. The lyrics are what they are. They're not terrible. No. But I think it's comparable to the one before it. And these two songs are definitely better than the first three. What do you think I'm gonna do? [00:57:47] Speaker D: Five on lyrics, six on the melody, six on the music, four on the arrangement, and six on the production. I think it could be a really good song. The arrangement just messes it up. I think if it followed more of a standard arrangement and you move some of those things around, I think it would be a better song. I just think that hurts it so much. They went so far to make such a different arrangement, probably on purpose, that they messed the song up. It could be the best song on the album so far if it was arranged properly. Even the drums were good. Yep. [00:58:16] Speaker C: Definitely better. I think the side ends better than it starts. Yes, it's promising. Could be promising for the second side. [00:58:22] Speaker D: Yeah. If they can continue this and maybe straighten some of the arrangement stuff out, maybe it might be better. Maybe this is why it stayed on the charts from the first three. So songs you would have been. Yeah, there's no way. I don't even think either of us would have got past three or third song and went, no, we're done here. [00:58:35] Speaker C: Those three songs, because you feel that the choruses are going to be these catchy things that draw you in, but they don't. But these last two, whether or not I would have liked them enough to go back to them and say, okay, I'm gonna go back to this over and over. I'm not too sure, but without a doubt, I'm more interested in going back to these last two to say, okay, well, they grew on me as they progressed. Let me see if now I can listen to them beginning to end and say, you know what? Yeah, it actually kind of sticks with me now. [00:59:00] Speaker D: I'm more excited to hear side two to see if they can build on what they did in the last two songs and see if they can save it. Because it has happened where we didn't like the first side and the second side came. Wow, that's much better. [00:59:11] Speaker C: Sometimes they experiment a little bit more on the second side. [00:59:13] Speaker D: I don't know what I was expecting from this. I was expecting a little more of a harder rock edge, I think, with the keyboards. I wasn't expecting it to be so ar. [00:59:22] Speaker C: Yeah, maybe. I'm not sure. I don't know what I was expecting. Maybe because thinking of angel, that Though maybe they were going to draw in some of that classic rock stuff. Maybe some Oregon as opposed to just straight up big keyboards. [00:59:35] Speaker D: Yeah. Well, next week we will see. Hopefully it'll change it up and it'll be better. All right, so I want you do your thing. [00:59:40] Speaker C: We are part of the Deep Dive podcast network and the Bones Podcast network. [00:59:47] Speaker D: Boneless, you know, like those chicken wings without the bone. [00:59:50] Speaker C: Like I always say. Great bunch of guys took us in right away. If you want individual podcasts about bands, Led Zeppelin, Zeppelin, Megadeth, Tom Petty, you name it. I don't think Jufia is on there. Probably for good reason. Definitely check them out. And mark, where can they find us [01:00:04] Speaker D: on the Interwebs rock roulette pod on all social media. Rock roulettepodcast.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 podcasts. And next week we'll get to finish this out and hopefully side two will be better and we get some more catchiness. I don't know, I think there are on the brink of changing it up. So who knows, Maybe it might be better. [01:00:26] Speaker C: Last two songs. Definitely better than the first three. So let's see what it leads into. [01:00:30] Speaker D: Yep. All right, we'll see you guys next week. [01:00:32] Speaker C: Cho. Cho. [01:00:33] Speaker D: Later, [01:00:48] Speaker B: Sam.