Episode Transcript
[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.
[00:01:14] 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 talk about it. We go through a track by track, talk about the music, the lyrics, the production, the melody and the arrangement. We give it scores. Just a bunch of friends music Want to do a podcast and everyone who takes this trip with us to Discovery and Rediscovery want to thank you. Keep it up. Tell us what you like, what you don't like. Spread the word. Say hey, listen, these idiots are funny sometimes and sometimes they have some good opinions. Whatever it is man, just keep checking us out. We really appreciate it. We are a duo again. Tonight we've got Mark. Oh hi Mark.
[00:01:52] Speaker D: What's up guys?
[00:01:53] Speaker C: And I'm Sav.
[00:01:54] Speaker D: Ciao, Buenos.
[00:01:55] Speaker C: And again, all our best to Frank who can't be with us. Hopefully he'll join us soon.
Last week the Wheel picked something that I really wanted to listen to. A band that I've heard of many times and I've seen them talked about and blah blah blah. This is Juria, named after the keyboard player who was with angel and my big takeaway. The first side we did was five songs. First three songs, pretty low scores overall. The fourth and fifth song a little bit better. It seemed a little bit more cohesive, I would say. Definitely a big 80s vibe. Big keyboard vibes, obviously very 80s movie montage sounding. So Mark, what is your overall take so far?
[00:02:34] Speaker D: The first three songs are pretty bad. I didn't realize that Call to the Heart was a single and it reached the top 15 on the Billboard Hot 100. I don't even understand how that's possible. It is a very movie soundtrack. I'm hoping that the second side continues where the first side ended because it was getting a little Bit better. I don't think it's great. But it did at least be a little more cohesive like you said.
[00:02:56] Speaker C: A lot of people like it, though. A lot of people feel that they should have been. Should have been bigger. This is 1984. It definitely sounds like 1984. Without a doubt. I'm curious. Hopefully that's the roadway into something more interesting. Before we get to that, we have the new bet section and the baby wheel.
[00:03:13] Speaker D: In a world where new music is not easy to find, welcome to New Bets.
Okay, here's the new Bets wheel.
[00:03:44] Speaker C: So it's either Fighter v or Fighter 5, Raging Heartbeat.
Never heard of them.
[00:03:50] Speaker D: Me neither. All right. I'm curious.
[00:03:52] Speaker C: Yeah.
[00:03:53] Speaker D: All right, well, here we go. This is fighter 5 or fighter V. Raging Heart.
[00:04:17] Speaker B: Oh, yeah.
Slow down I'm ready to roll down an open highway there in a slowdown I cannot resist the rage inside my fake away What a great town the city is not I was here I was meant to save in all all you gotta pay for hot cause finally kind of a day all you need is subject in time let go through the other side and toes are mine Origin happy it's getting my way to where we lost it I better to very d so loud can't comprehend the sound of a raging heartbeat. Your mom is not proud of what you trying to be. But she likes my way I pick her up. You live a low life and easy never you never win your highest case you tie you need a fear and a fire inside all the victor be I'm a fire be a fire to you don't stand in line.
A raging heartbeat sky in my way to every roster I'm here to play a resin happy never stop to rest every mind every time the rhythm of my heart feels.
I gotta go I cannot.
[00:06:37] Speaker D: Tonight.
[00:07:25] Speaker B: The rest.
[00:07:40] Speaker C: It's kind of in line with G Free.
[00:07:41] Speaker D: I think I was gonna say that. Yes.
[00:07:44] Speaker C: Yeah. It's actually very comparable. Production isn't bad. It's okay.
[00:07:49] Speaker D: You hate the drums.
[00:07:50] Speaker C: No, I don't mind the drums, actually. I didn't think they sounded too bad. I didn't think the product was bad. It was very late 80s. That's what it reminded me off. The late 80s, early 90s keyboard E metal. It was okay. I don't know that it's something I'd go back to.
[00:08:02] Speaker D: Yeah. I don't know about his voice either. The parts of his voice I liked.
[00:08:05] Speaker C: His voice is a bit odd.
[00:08:06] Speaker D: I don't know if it's a language barrier thing too, because they are from Sweden. I think that could be a problem too. With the vocals, it was okay. Well, let us know if you like it. Let us know if you don't like it. Hit us up on social media and let's rubber stamp this.
In a world where new music is not easy to find.
[00:08:26] Speaker B: Welcome to New Bets.
[00:08:34] Speaker D: Okay, let's continue with this. This Is Trouble again Side 2 Euphrates.
[00:09:22] Speaker B: This morning Gotta worry just stop to get a taste of what we're in the sun can't do them no run no time to think about this many day events Just take one step beyond the line and raise hell why should I care?
You know I just don't care I never did it easy Compared to my.
Trouble again I'm in trouble again I'm in trouble again.
[00:10:16] Speaker C: Is it terrible? No, it's okay.
I'm thinking to myself, maybe the more it goes, I may like it more. Picture like Sylvester Stallone, Apollo's dead. Spoiler alert.
He's just driving in the car. And I know it's not no easy layout, which is like a amazing song, but this is what I picture. Somebody cruising down and thinking about having that montage about these decisions that they've made in their head.
[00:10:41] Speaker D: It's the keyboard that makes it like that. I just think it dates it so much in that time frame. Mid 80s. I have to say, the verses were way better. And I don't think the chorus was horrible. I think this is still continuing on the better track than the first three songs. On the first side.
[00:10:56] Speaker C: The first three, we really were.
Yeah. I'm not sitting here going O again saying, okay, it's not terrible. There's some weird transitions. I feel though melody wise, that they do in every song. I don't know if it was between the verse. I don't remember if there's a pre chorus. There's a little transition in the melody. I'm like, where did that come from? And I feel that it's present in almost every song. That weird change.
[00:11:19] Speaker D: I thought this was better though. This was more like the last two songs. The first three songs, they were rough. There was some weird melody things and stuff going on here. At least it's a little more what you expect from Aori, I think. A little bit more. Okay, Verse one. Cruising through the city with the wind in my face this boy ain't got no worries Just gotta get a taste of wine women and song can't do me no wrong no time to think about these day to day affairs Just take one step beyond the line and raise hell why should I care? You know I just don't care Chorus. I never get it easy don't fit into my style it just ain't been good in a while hey, hey, hey Trouble again I'm in trouble again I'm in trouble again not too bad. It's okay. It's, as the kids say, mid. It's very mid.
[00:12:03] Speaker B: Yeah.
[00:12:03] Speaker C: There's certain words I'm not allowed to say, like mid and fire.
[00:12:06] Speaker D: Oh, sorry. Well, he's not here. He can't hear me say it.
[00:12:09] Speaker C: Exactly. Yeah. And I don't think they listen to the podcast anyway, so it's okay.
[00:12:14] Speaker D: That's probably a better thing anyway. Yeah. All right, let's continue. Here we go.
[00:12:23] Speaker B: Give me a shot Give me.
Me by you I roll with the punches I take it on the chin I got to win Back, back, back Trouble again I'm in trouble again I'm in trouble again I in trouble.
[00:13:41] Speaker C: Oddly enough, unless I'm remembering incorrectly, there haven't been any keyboard solos. Right. Like this.
[00:13:47] Speaker D: No, this is the first one.
[00:13:49] Speaker C: Yeah, I.
I wasn't liking the keyboard part. I thought the guitar part was good at first. It's that sound. But I've heard sounds like that in other Praggy songs, so I think it's what he's playing, and obviously he's a good player. Felt as if it's somebody. Somebody who just didn't know what they wanted to do. It's kind of like, what'd you think of it?
[00:14:07] Speaker D: I didn't like that too much. That was okay.
[00:14:09] Speaker C: Yeah.
[00:14:09] Speaker D: I don't really know what to say.
[00:14:10] Speaker C: I mean, I mentioned this on the first side. I still hear some Sammy Hagar in his voice at times. Maybe it's a bit of the rasp that he has. I think he's lower in register, obviously, but there's times when he kind of goes a little bit higher, and I feel that that's where he kind of reminds me a little bit of Sammy Hagar.
[00:14:26] Speaker D: Could be. I don't really know. I don't really hear Sam Hagar on him at all.
That first verse had some weird things in the melody. Again, verse two. Give me a shot, give me a laugh who the hell decides who's been good and who's been bad? Heaven can wait this time for who? Me? Yeah, you so silly Chorus. I rolled the punches I take it on the chin oh, I gotta win hey, hey, hey Trouble again I'm in trouble again I'm in trouble again I'm in trouble again Solo. And now we're back. They can't get away from having one weird melodic vocal thing. That just doesn't make any sense. That whole Heaven Can Wait line line. Sometimes he feels like he's just filling out space for the sake of filling out space.
[00:15:04] Speaker C: I agree. There's definitely these weird melody parts.
[00:15:07] Speaker D: See, you thought it was going to be fairly straightforward. And then they got to throw that little curveball. And then the keyboard solo, it was just very loud, too. The first notes that came in.
[00:15:17] Speaker C: Oh, my God. Incredibly loud.
[00:15:19] Speaker D: Guitar was okay. I thought that was all right. That was probably the best part of the song, the guitar solo.
[00:15:23] Speaker C: Did we say that throughout the first side?
[00:15:25] Speaker D: Pretty much. Craig Goldie's doing a good job. As good as you can do. I don't really know if he's really the right guitar player for this, but he's trying. All right, let's continue. Here we go.
[00:16:08] Speaker B: Every time I look around it seems like I'm out of trouble again you know they know what I'm talking about Trouble, trouble again.
I blow punches I can take it on the chin I got to run Trouble again I'm in trouble again I'm in trouble again Trouble again I'm in trouble again yeah, I'm in trouble again Trouble again I'm in trouble again I'm in.
Trouble I'm in trouble Amen.
Trouble.
Again Trouble again Trouble again.
[00:18:05] Speaker C: Was this the one we were talking about, where the songs kind of went on, or was that somebody else? I feel badly mixing some of these things together. That was kind of a long outro.
[00:18:13] Speaker D: It was very long. The ad libs were hysterical.
I don't know if I'd like his voice in this range, in that lower range.
[00:18:22] Speaker C: Not so much to make it easier. If there's nothing else to read, I would say probably six on production, five on everything. I don't think the song sounded badly. Yeah, that keyboard thing was whatever. But it's the only part where that happens. And maybe I'll ding it in arrangement more than anything else. It's better than the first three songs, I think. What are you gonna give it?
[00:18:40] Speaker D: I think I'm just gonna go a straight five across. Is it the worst thing in the world? No, but there's some interesting choices they make. I just don't know if this band should be bigger than they were Again, Like I said last week, I think they're right where they're supposed to be. If you listen to them, you may like them or whatever. We know the name, but we never listen to them. I think that's exactly where they need to be sort of forgotten because it's really not great. In 84, there's much better music to listen to than this.
[00:19:05] Speaker C: Yeah, we'd love for someone who listens to us, somebody who really likes this and says, hey, here's what I think, why I like it, what appeals to me. And who knows, Maybe it's one of those records that you need to hear a few times groups.
[00:19:17] Speaker D: We could be missing something. I don't know what that would be, but it's possible.
[00:19:20] Speaker C: That's the thing, too. Sometimes you do things on the show where we've heard it before and it's grabbed us before. It hasn't grabbed us before, and it doesn't grab us. Sometimes in the moment, certain things just don't grab you. There's albums, obviously, I'm sure, that you've had, where you've listened to once and haven't gone back. And then go back like, oh, you know what? This isn't bad. And then maybe you could go back again. What we do is in the moment when we've never heard something else, as it grabs us in that moment. That's all we have.
[00:19:45] Speaker D: It would be. If I bought this album in 1984 and I put it on, I don't think I would have got past the first three songs before I went. I might have listened to it and went, maybe it's okay. I don't think I would put it back on again.
So in that way, it's a very honest reaction. You put it on. If you bought it and you didn't know anything about it, you put it on. But you're right, some albums do take more time. I don't know if that's one of these albums, but I do understand that that's possible. Okay, the next song is Turn Me.
[00:20:43] Speaker B: Now I am real.
You got a hold on me, You let me out.
[00:21:21] Speaker C: They go one way and then they go somewhere else. I wasn't too crazy about the verse. It wasn't bad. The music was okay. Obviously the heaviest one so far. I'm pretty sure at one point. The drums were pretty off time in the beginning, but whatever. I like that you got a hold on me. But then when you turn me on part that he says twice, feels like it comes. Comes out of nowhere and it doesn't match. I think if they would have gone with the way they said, you got a hold on me, it would have been better.
[00:21:46] Speaker D: It sounds like a bad Dio song.
Maybe this is more of a Craig Goldie thing. I don't know, there's nothing really redeeming anywhere here. His voice is okay. I don't like the drums. I like the pattern that's going on there. Guitar is pretty good. Besides that, it's hard as a song to have any redeeming quality. Just feels like it's very haphazardly put together. Hey, I got a riff. But no one tried to figure out how to get the riffs together or get the melody to work with the riff.
[00:22:10] Speaker C: Yeah, it does feel like every song has these different parts they kind of put together and maybe they're just trying to say, hey, you know, instead of saying here, let's go here. And sometimes it works, but sometimes it doesn't. And this is by far the only guitar driven song. I feel every song started with the keyboard riff, but not this one.
[00:22:27] Speaker D: Yeah, it feels like they don't know what to do with this.
Hey, what are we doing? There's no keyboards, really running everything. How do we get this down? Okay, verse one. Turn me on so we meet again I just pretend to pass you on by your hand is on my switch like a razor to my wrist Now I realize you got a hold on me you turn me on, you turn me on. It's fine. I guess. I don't think this is gonna get better, though.
[00:22:49] Speaker C: I'm gonna predict a good solo.
[00:22:50] Speaker D: Yes. Maybe I can agree with that. Yeah, I think that might happen. All right, let's continue here.
[00:23:38] Speaker B: Ram sam.
[00:24:57] Speaker C: It's odd that so much keyboard in that solo. Maybe because it wasn't prominent in the rest of the song. And funny note, right? I kind of have lyrics up as well. It says writers. I look at these writers names, I'm like, oh, this must be a cover. But I'm like, man, these names sound familiar. So apparently Nicki Minaj, David Guetta wrote this song. I'm like, yeah, I'm pretty sure that's wasn't them. So I don't know where this. Where this site got the writers for this song.
[00:25:23] Speaker D: That's pretty funny.
[00:25:24] Speaker C: Oh, man. This is a song that needs a rip roaring guitar solo. Craig Goalie can do it. He's not allowed to do it. I really thought it was going to be a trade off. And then at the end it was going to be a guitar solo, but it turned into a keyboard solo solo. And I wasn't crazy about the sound that he was using. What did.
[00:25:42] Speaker D: The keyboard was always there. It's just very low in the mix during the verses. In the chorus, I have no problem with a keyboard thing. Guitar Thing, Keyboard, guitar thing, trade off. I don't think that's a problem. I just don't think this is a very good version of that. It wants to be sort of kind of Prague, but it's not. It's not very good Prague if it is trying to do that. I just don't know. It's just not great. Even the guitar solo was okay. And generally I've liked what he played on this record. He's almost a saving grace of the whole record, that his guitar solos are kind of good. But here I didn't like this at all.
[00:26:13] Speaker C: Weren't you expecting really the guitar solo to really be the main thing and it wasn't?
[00:26:18] Speaker D: Yes. But I found out one thing I didn't realize. He produced this record. He produced this record. Andy John's, I think, is more of an engineer. Even though it says producer. I do think that this has to be a Greg Gifria thing. Just some of the choices are very strange.
[00:26:33] Speaker C: Funny, two songs back to back with keyboard solos.
[00:26:36] Speaker D: Yeah. I mean, he's the band leader, so he's gonna put keyboard solos where he wants. It's just not very good. I don't think it's great. I don't know if it's not good. It's not that he's not an accomplished player. It's just very disjointed.
[00:26:47] Speaker C: We've heard Deep Purple do it. The trade offs that are ridiculous. For anybody who likes Mom Scene and Johansson, their trade offs are really good.
[00:26:54] Speaker D: Yeah. It's a little different, though. I mean, we can't compare this to Deep Purple. It's just. There's no way I get what they're trying to do. I understand. Just. It's not working. Verse 2. Like a fever in my heart A fire I can't stop you burn me straight through this twist of foolish fate how love can turn to hate still got to have you and then you got to hold on me hold on me Turn me on Turn me on
[00:27:14] Speaker C: Turn me on it's got that 80s metal sound, for sure.
[00:27:18] Speaker D: It wants to. It's just not good. It's very bad. I thought it was going to be better. I heard a riff, I was like. But even the riff is a little wonky. It ends in weird places and starts in weird places. All right, let's continue. Here we go.
[00:27:41] Speaker B: Help me out.
Just give me one minute.
[00:28:34] Speaker C: I don't feel it.
Did he say I don't feel good there at the end?
[00:28:40] Speaker D: Yes, he did.
[00:28:41] Speaker C: He did.
[00:28:41] Speaker D: I was waiting for a. Hello, baby.
Oh, that's rough. I'll go first. I think I'm gonna give it fours, except for musicianship. I'm gonna give it five. I don't like that at all. That might be on par with the first three songs.
[00:28:55] Speaker C: I was actually thinking doing the same thing, so I'd probably do the same. It kind of sucks, though. It could be a safe standard metal track and they don't do that. They take it into different directions, which is cool, too. I can appreciate that you're just not taking it into directions that you and I are appreciating. I guess that's the best way to put it.
[00:29:13] Speaker D: Yeah. Obviously they can play their instruments. It's just not working as far as songs go. Okay, here's the next one. Line of Fire.
[00:30:01] Speaker B: A broken heart is laid to place before.
You ain't that strong so move on back to where you belong.
You realize that it's taking it all baby loses back if you take the fall so much love still you alone you damn if you don't now you never if you don't you're in the right.
Fire.
[00:31:20] Speaker C: It's okay.
I don't know what else to say. I don't think it's terrible, but it still has those vibes. I got to tell you something, though. I think I can pick a Jia song out now. If I don't know it and I hear it.
[00:31:31] Speaker D: Oh yeah, 100%.
[00:31:32] Speaker C: I think I might be able to pick one out.
[00:31:34] Speaker D: This is better than the last one, though.
[00:31:35] Speaker C: It is better than the last one. Agreed.
[00:31:37] Speaker D: It's a very wordy verses.
[00:31:39] Speaker C: It seems like a lot of words.
[00:31:40] Speaker D: It is a lot of words and I don't know really where they break up, so I'm just going to make this up as I go along. Verse 1 the Morning sun refused to shine she lives among the foolish lies washed away beyond the tide I've looked upon her empty face searching still to find a place A broken heart is laid to waste before her time. Verse 2 you know you got what he wants, you got what he needs you give everything baby you think that you're free Sweet young lady I've seen you before looking so tough gonna take a little more I don't know if this is ver 3 or part of verse 2. It ain't that easy you ain't that strong so move on back to where you belong you'll realize that has taken it all he turns his back and you take the fall Pre Chorus so much love still you're alone you're damned if you do and damned if you don't. Chorus. You're in the line of fire. Living in the line of fire. You're living, you're living in the line of fire. The course is still sort of weak. I didn't hate the verses.
[00:32:31] Speaker C: Yeah, the verses are better.
[00:32:32] Speaker D: I think this is a better sound for them.
[00:32:35] Speaker C: Yeah, not terrible. Not too bad, this one.
[00:32:37] Speaker D: No. Definitely better than the prior one. All right, let's continue.
[00:32:40] Speaker B: You're alone, You never live A night of fire.
Sam,
[00:34:19] Speaker C: This is probably stem to serve. The best song on the record, I think, so far. What do you think?
[00:34:24] Speaker D: Yeah, I think the words are pretty good. Solo was good. I even like the keyboard part that came out of the solo. That was pretty good. They're finally putting it all together. I still don't think that the chorus is super strong, but it's not the worst.
[00:34:34] Speaker C: I'd have to think. It's hard for him to remember these maladies melodies when he goes to re sing them. Probably.
[00:34:40] Speaker D: Okay. Verse 4. They call you a heartbreaker. They call you a star until you jump the gun Went a little too far. You gambled with love to play the game. Never believing that it's all insane. Pre chorus, chorus, solo. And now we're finishing up. Here we go.
[00:35:26] Speaker B: So much love.
You.
[00:36:05] Speaker C: He must have loved that. So much love. Damned if you do, damned if you don't.
[00:36:10] Speaker D: You need to say it again.
[00:36:11] Speaker C: Yeah, you got. Hey, I'm fading out. I'm going to do it one more time as we fade out.
[00:36:15] Speaker D: I think the song could have been a little shorter, though. I don't know if they had to go into that extra part that they did.
[00:36:19] Speaker C: Yeah, they seem to like to build up at the end there.
[00:36:22] Speaker D: And I forgot to say that the drums during the keyboard part were pretty good. I like that. I'll go first. I think I'm going to do sixes across. I think it is probably one of the more complete songs. I know there was a song on the first side that was like that, but I think this may be the best song. You're right. Now that we've got the side too.
[00:36:37] Speaker C: It took a while. Yeah. I'm actually going to do sixes across as well. I do think that overall, at least from what I remember, this is the best song on the record. I wish I kind of built on more of this.
[00:36:46] Speaker D: Yeah, this is what I would expect. And this, I think, fits them better.
Okay. The next song is the Awakening.
[00:36:58] Speaker B: It's just a dream.
It's just a scary mystery there.
Everybody love me.
Everybody love.
Sam.
[00:39:27] Speaker C: I'm assuming that's going to lead into the next song.
[00:39:29] Speaker D: Yeah, it does, but that's just a weird thing.
[00:39:31] Speaker C: I can appreciate the horror element to it, but maybe went on a bit too long once the kids were singing. It would have gone right into the next song. I don't even know if we can rate that.
[00:39:41] Speaker D: No, we're not going to rate that. I don't know if this is a good place for it either. I think that's more of a side opening than it is second to last song.
[00:39:47] Speaker C: You're closing.
[00:39:48] Speaker D: Yeah.
[00:39:49] Speaker B: Yeah.
[00:39:49] Speaker D: I just think it's in a weird place. And you're right, it needs about half the length. It needs to be about a minute and a half. Minute and fifteen. It's 233. It's too long.
[00:39:57] Speaker C: Yeah, it's a bit long for what it is.
[00:39:58] Speaker D: All right. I guess this is the end. This is out of the blue. Too far gone.
[00:40:14] Speaker B: Sam.
Out of the blue in the night Somebody calls to me on the light Hearing no names show my face My heart beats and frighten faces.
I want to be the pool into a dream Somebody watches me open my eyes those tiny little footsteps at the end of the.
[00:41:49] Speaker C: I was thinking of what to say. It's not terrible, but they do these things or they kind of throw in these chords and things, and it doesn't really go anywhere. It was going back into the verse, I guess, and it's said, wait a second, Was there a chorus there? Not that a song has to have a chorus. It's odd. And I actually looked. I'm trying to say, is this an 80s horror movie soundtrack? That's what it reminds me of. It's that vibe you played at the end of something. Like as the credits were rolling. The verse isn't terrible, but doesn't really seem to go anywhere.
[00:42:18] Speaker D: It's not terrible. It's just a weird song and the chorus is not good. Verses are decent. And again, musicianship's not bad. I think in some. Some of the things could be better, but it's not horrible. I don't know. I don't know what to think about this.
[00:42:31] Speaker C: It's not musicianship. I think we've had other bands here before. We really appreciate the musicianship, but we just say, songwriting wise, it's just not our style.
[00:42:40] Speaker D: Yeah, I think that's what it is. Verse 1. Out of the blue Deep in the night Somebody calls to me Go to the light Giving no name Showing no face My heart beats at a frightening pace Is see, why can't he just Say my heart beats at a frightening pace.
[00:42:53] Speaker C: Does he really say pace?
[00:42:54] Speaker B: Paces.
[00:42:55] Speaker D: My heart beats at frightening paces oh, boy.
[00:42:59] Speaker C: After he says face.
[00:43:00] Speaker D: But he could say pace, but paces.
Verse 2. Out of the blue and into a dream Somebody watches me Open my eyes and stare at the wall those tiny footsteps at the end of the hall Come steal me away Then into the chorus. I guess I'm too far gone I'm too far gone. And now we're gonna go back into the verse. I don't like that transition. I don't know if you need that one line before. I'm assuming they're using that one line to try to break it up for the chorus because I don't think they know where it's got to be, what it is.
[00:43:27] Speaker C: Yeah, I have to listen to it again. I don't even remember the chorus.
[00:43:30] Speaker D: Well, it's coming up. All right, here we go.
[00:43:47] Speaker B: Those tiny little footsteps at the end of the heart Come to steal me away Sa.
Sam.
[00:45:00] Speaker C: That one line transition, I actually don't mind. My problem is the chorus. It seems like it's building up. And I think if they built up and had the chords with the same energy as that one line, this would be a much better song. The course is just him barely saying, I'm too far gone, and you can't really understand what he's saying. And I feel that something like that is not a chorus because it's. It takes up so much. If that was maybe a little bridge somewhere or something like that, it wouldn't have been as bad. And then the fact that K. No solo. Fine. But that musical bridge, let's call it, was just the same thing over and over. And then it builds up with the drums. It still does the same thing. I feel badly because I think the verse is really good. I think this is one of the best melody in the verses. Digging the song, the lyrics reminds me of a horror movie. That's what I'm picturing here. Especially with that little intro and everything. But the chorus just doesn't sell it. What do you think?
[00:45:50] Speaker D: Not even a chorus. And you're right. I don't hate that one line. I think it builds up and then it could continue in that upbeat thing and it doesn't. It just goes too far.
[00:46:00] Speaker C: Yeah. Everything drops out.
[00:46:03] Speaker D: And you're right. If it was a different part, if it was just a bridge or some musical place or just something else besides what it is, it's not a good chorus. It just takes the air out of the sails. It's building up Building up. Then every. All the air comes out of the sails and it's done. And this is a 5 minute and 35 second song. Only a little more than halfway through. I'm assuming there might be some other kind of musical thing going on.
[00:46:24] Speaker C: Four minutes of it is him saying, I'm too far gone.
[00:46:27] Speaker D: Well, there's 2 minutes and 31 seconds left, so we'll see.
[00:46:30] Speaker C: Yeah, let's see.
[00:46:30] Speaker D: All right, let's continue. Here we go.
[00:46:38] Speaker B: Ram.
[00:48:58] Speaker C: I was waiting for it to come back in. When they do that, lower the volume all the way and then they raise it again. I had a feeling they were going to do that. That's why I didn't say anything right away.
[00:49:08] Speaker D: There are parts there. If you rearrange them and cut them down in pieces and not did the same melody thing, whatever that solo thing was. Keyboard guitar thing. Again, too long. It doesn't need to be 535. You could cut this song down and it has pieces that could be really just not happening.
[00:49:25] Speaker C: I think I get what their thing was. They weren't writing completely straightforward songs, which is cool. Me personally, the things that they did that were different to me didn't help the song. They took away from the song. Whereas some bands maybe say, oh, that part was cool. I like that it's out of the blue. But it fit. Weird. That was cool. Where to me it felt as if these guys said, we don't want to do everything. It doesn't have to be abc. It's kind of like A, B, F, G, C. But those parts to me, didn't meld well with what else was going on. The more straightforward they were to me, the better they were in terms of songwriting.
[00:50:03] Speaker D: Those extra parts didn't make the song better. Why don't you go first?
[00:50:06] Speaker C: I'll say foreign arrangement because it kind of pissed me off.
I'll say six on the lyrics. I always appreciate the horror theme, which is what I picked up here. I'll say five in the music. Six on production and melodies. I really like the verses. I'll say five on melody. The chorus verse was just. I didn't understand that, really. I nicked it in arrangements. I won't nick it in melody because I think the melody in the verses was really good. It's one of the best melodies they had. What do you think?
[00:50:32] Speaker D: I think I'm gonna do the same exact thing as you did. I think that covers all the bases. I didn't like the arrangement. I think the arrangement could have been better. I do like the lyrics And I think the melody is not bad. The chorus just is horrible for the song. It just deflates the whole song. It has that build up and then nothing. All right, well, that's it. That's the end of Euphra. What did you think overall?
[00:50:52] Speaker C: I think I just said my pie.
The more straightforward they were, the better the songs were. And I'm sure that there's people that listen to it, say, no, man, that was the cool stuff. That's what made them different. And I can appreciate it. I like different. I like weird. But when it takes away from something, then it takes away from the song. And I think that's kind of where they lost me here. Things that they did where you wanted them to do something, they didn't do it. But to me, it wasn't in a way that I liked. I think that they're good musicians and there's bones here that just weren't fleshed out. What's your overall take?
[00:51:25] Speaker D: I'm okay that I've never listened to this in the last 40 something years, but I do agree there's some good musicianship and there's some good parts. It's just. It didn't really string together except for maybe a handful of songs, and not always through the whole song either parts. And that's really the frustrating part. Maybe the next record's better. I don't know. I could live without ever hearing this
[00:51:44] Speaker C: again, but I'm glad we got it. I've really been meaning to listen to these guys.
[00:51:48] Speaker D: Oh, yeah. I've heard of them for 40 years. I just never listened to them.
[00:51:51] Speaker C: And who knows? Maybe we'll get angel and be like,
[00:51:53] Speaker D: oh, yeah, hopefully Angel's better, I hope.
[00:51:57] Speaker C: I want to say yes. I think I've heard some stuff from them, so a little bit more 70s hard rock, I think.
[00:52:02] Speaker D: I don't think I've ever heard anything. All right, so I want you to do your thing.
[00:52:05] Speaker C: We are part of the Deep Dive Podcast Network and the Boneless Podcast Network.
[00:52:09] Speaker D: Boneless, you know, like those chicken wings without the bone.
[00:52:12] Speaker C: Like I always say. Great bunch of guys took us in right away. If you want individual podcasts about bands, check them out. I don't think Dre is is there, but Tom Petty, Uriah, Heap, Zeppelin, Metallica, you name somebody else, it's probably there. So definitely check them out. And Mark, where can they find this? On the Interwebs Rock Roulette pod.
[00:52:30] Speaker D: On all of the social media. Rockroletpodcast.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, it helps us and we appreciate when you do it. Next week we get to spin the wheel again.
[00:52:44] Speaker C: Yeah. Two curvy balls in our in a row, I feel.
[00:52:47] Speaker D: Yeah, I'm waiting for something straightforward now, but it probably won't do that, though. It knows better.
[00:52:53] Speaker C: Yeah, we need something. We're like, hell, yeah.
[00:52:58] Speaker D: All right, guys, we'll see you next week.
[00:53:00] Speaker C: Ciao, ciao.
[00:53:01] Speaker D: Later,
[00:53:12] Speaker B: Sam.
