Episode 206 - White Lion - Big Game - 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. [00:01:14] Speaker A: Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1, 900 albums, stuck them in a list, suck them in a wheel. Every other week we spin the wheel. She picks a record for us. When we go through a track by track, we talk about the music, the lyrics, the production, the melody and the arrangement. Just a bunch of friends who love music who want to do a podcast, and everyone who takes this trip of discovery and rediscovery. We really want to thank you. Tell us what you like, what you don't like. Tell us an album maybe you want us to go over. Or maybe a song for the baby Wheel. We're always listening. We are a duo again. Tonight we got Mark. Oh hi Mark. [00:01:47] Speaker C: What's up guys? [00:01:48] Speaker A: And I'm Sav. Mark and I have been asking the Wheel for a famous band but a not so famous album and I think we kind of got this. We got Technical Ecstasy by Black Sabbath, which is a famous album because it's so divisive amongst fans. I think most people don't like it, but I started reading reviews about it and some people call it their most underrated. I think we gave pretty good scores to at least half of the record and I think those were the songs that were a a little bit longer and be a little bit more interesting musically, whereas the more simplistic things we were a little bit lower. I can understand people's comments about it. It's definitely not the stuff before and it's definitely not the stuff with Dio. It's a little bit in between but a little bit on. I wouldn't say happier side but maybe lighter side. [00:02:40] Speaker C: Mark, what was your overall take being a Kiss fan? I understand about being disappointed about what you think Kiss should sound like, so I could probably see the Black Sabbath fan side about we don't like this because it doesn't sound like the Black Sabbath we want. That being said, me not being a gigantic Black Sabbath fan, I was able to go into that pretty open mind. And I think I liked about half the record. I appreciated the little bit of a stretch out, but I could see if you were a true Black Sabbath fan, you'd like the older stuff or even the do stuff. That this is a Weird Place To Be. [00:03:07] Speaker A: It's my least favorite album without up until that point. I can definitely say that. But I'd probably go back and listen to the four songs that we gave good scores to. I thought they were pretty interesting. And we get to spin the Wheel again today, which is always flipping awesome. But before we spin the Mama Wheel, we got the baby wheel and the new bed section. In a world where new music is [00:03:30] Speaker C: not easy to find, welcome to New Bets. All right, here's the new Bets wheel. [00:03:56] Speaker A: Lost Caverns Digging a Hole. I won't even ask. [00:04:00] Speaker C: Don't ask because again, I have no clue. This is Lost Caverns Digging a hole from 2025. Come on. [00:04:24] Speaker B: Digging a hole in my backyard I just can't get out Hands up Bleeding soft spoken like your can no one hear me sound? Digging a hole in my backyard it's big enough for you Got some flopping over what I left behind Ain't no way I went through. [00:05:42] Speaker C: I've been down here for years [00:05:45] Speaker B: Can I see the other side of. Just Kick it out Just kick it out Just kick it out Just kick it out Just kick it out Just take it out. [00:06:44] Speaker A: Quick. It's very short song. [00:06:46] Speaker C: Yeah. It's less than three minutes. [00:06:48] Speaker A: What'd you think of it? [00:06:49] Speaker C: His voice had a little bit of Scott Weiland floating around there somewhere. Okay, I saw it. Anyway, not the music, but his voice a tad bit. Yeah, that was pretty decent. [00:06:58] Speaker A: Yeah. [00:06:58] Speaker C: Every once in a while we get something like, oh, I want to listen to more of that band. What's the rest of it like? [00:07:03] Speaker A: Yeah, why don't they put it on the wheel? [00:07:04] Speaker C: Yep, I think so. All right, let us know on social media whether you like it or you don't like it. And let's rubber stamped this. [00:07:12] Speaker A: In a world where new music is not easy to find. [00:07:18] Speaker C: Welcome to New Bets. [00:07:27] Speaker A: Now it's time for the Mama Wheel. I will ask you anything you expect, Anything you want. [00:07:32] Speaker C: I don't know anymore. We had that thing that we wanted to get and that came up, I'll say 80s of some sort. I don't know what kind of 80s, but maybe 80s somewhere. [00:07:39] Speaker A: Do you want 80s discovery, 80s cheese? [00:07:43] Speaker C: I don't really care. It could be something I know. It could be something I don't know. [00:07:47] Speaker A: I still like the concept of getting a record from bands that we know that we haven't heard. Because we always talk about certain records from bands. We say, do you ever hear that one? Like, no, No, I never heard that one. So, I mean, that's, to me, is always a cool concept or maybe something heavy. I feel like we haven't had something heavy in a while, so that'd be cool. Yeah. [00:08:05] Speaker C: All right, here we go. Here is the wheel. [00:08:28] Speaker A: Well, you Got it, Mark. 1989 Big Game by White Lion. [00:08:33] Speaker C: Wow. I've been waiting to do a White Line record. I didn't know which one was going to come up, but I figured sooner or later we would see that. [00:08:40] Speaker A: I had this. There's a two or three songs. I remember being good on this. I don't remember all of it. I'm not saying there. There are only two or three good songs. I just remember two or three that I liked. [00:08:50] Speaker C: Yeah, I had this. I'm pretty positive. I haven't listened to this in a long, long, long time. This is the follow up to Pride, which sold 2 million albums. This only sold 500,000. I think the next one even did worse than this. Main Attraction. I think that did worse than this. I'd have to look it up and see. [00:09:09] Speaker A: I do like how their album titles are all Lion. Inspired, kind of me, too. [00:09:14] Speaker C: That was pretty smart. [00:09:15] Speaker A: Main Attraction is pretty cool. That's very cool. [00:09:17] Speaker C: I know there's a good cover of Radar Lovers on this on the second side, but I think they're a band that you think is way bigger than they really were because you saw them on MTV and on video so. So much that you felt that they sold 10 million albums. [00:09:33] Speaker A: Yeah. [00:09:33] Speaker C: When really I don't think they sold much more than or probably less than Docken sold. I'd have to look it up. [00:09:39] Speaker A: When the Children Cry was pretty big. [00:09:41] Speaker C: They're not Bon Jovi sized. [00:09:43] Speaker A: Oh, no, no, no. [00:09:44] Speaker C: But they feel like they're in that same thing because they had so much video play. And as far as a guitar player, I'm gonna say this now because back in the day, I did not like him, Vito. I thought he was too much of an Eddie Van Halen copycat. Looking back at it now, I have to take a little bit. Not that he doesn't sound a little bit like him, but he did have his own thing going on then. I don't think I could separate the Van Halen thing from him. And I really didn't like that he sounded so much like it. After time has went by. I think he's a great guitar player and probably very underrated in the whole time frame of what a lot of other people were doing. [00:10:20] Speaker A: I know I hear his name a lot. [00:10:21] Speaker C: I think guitar players like him. I just think that the average person probably doesn't realize what a great guitar player he is. I think that's what it is more than anything. [00:10:32] Speaker A: He wasn't flashy, right? [00:10:33] Speaker C: Oh, no, he. He was flashy. [00:10:34] Speaker A: Oh, you think so? But I mean, presence wise. Stage presence wise. No, that's what I meant. Not in terms of, you know, he wasn't the guy who. The solo came and he's wailing and doing tricks and bended knees and. [00:10:48] Speaker C: No, I don't think all the time. I'm sure. Probably in the clubs it was a little more. I never saw them when they played Lamore, so I don't know. I know. You said your cousin saw them. [00:10:55] Speaker A: Yeah, my cousin knew them possibly before the first record even came out. I remember him. Them talking about them. I knew them from the first record. I remember a lot of people saying to. When Pride came out, they thought that was their first record. Because the first one, nobody really knew anything from it. [00:11:10] Speaker C: From what I hear, he put down scratch guitar tracks and then he was supposed to come back and re record them, but they didn't have enough money. So whatever he put on there was what ended up on the record. And he doesn't. He didn't like that. [00:11:19] Speaker A: Oh, the first one? [00:11:20] Speaker C: Yeah. There was supposed to be just scratch tracks for him to go back and do stuff, but he never got back to do it or they ran out of money or whatever happened. I don't remember the whole story. [00:11:28] Speaker A: The first one's a little raw, especially if you listen to that. And then you listen Pride. Pride is very slick. Very slick. [00:11:35] Speaker C: It makes sense that it's the most or the biggest selling. [00:11:37] Speaker A: Yeah. [00:11:38] Speaker C: Out of all them. And it was right in the middle of everything. 87, so this is 89. It's a couple years later. Obviously the genre is still gigantic, but I don't think they had that when the Children Cry song on here. But from what I remember, I don't think the songs were bad. I haven't heard in a long time. [00:11:52] Speaker A: Like I said, there's at least three songs. I remember I liked looking at the titles. One of them is the Leadoff song. [00:12:00] Speaker C: Well, that's good. The personnel are Mike Tramp, lead vocals, rhythm guitar, Vito Brada lead guitar, backing vocals, James Lomenzo, bass, backing vocals, Greg d', Angelo, drums, James Lorenzo. Been in so much, it's not even funny. And he's playing with Megadeth right now, right? [00:12:16] Speaker A: Yeah, he was with them before. [00:12:17] Speaker C: Yeah, from 2006 to 2010. And then he left. Yeah. [00:12:21] Speaker A: I think he was there when Dave Ellipsen came back, I believe. [00:12:25] Speaker C: Okay. Yeah, I'm excited about this. I haven't heard this in a long, long, long time. I never hated the band. I never hated the music. Gu player wise, I was, ah, this is just a Eddie Van Halen ripoff. But I have to say, when he plays solos, you know, it's him. He doesn't really sound as much like Van Halen as I thought back in the day. He did or not. Such a copycat. [00:12:43] Speaker A: Wouldn't it be funny if you listen to it now and you say, oh, my God, what a copycat? [00:12:48] Speaker C: I don't think so, though. I don't know. Listen, am I saying he doesn't sound like him? No, I'm not saying that. And he'll tell you he was the biggest influence. When he came in, he was like, that's it for me. That's the guy. Which a lot of people did too, not just him. Yeah, but he uses. His tapping is very melodic, a little different than Van Halen tapping. It's a lot more melody in his tapping. So we'll see. It's been a while. The first song is Going Home Tonight. [00:13:49] Speaker B: Forever. I don't even know how long and there is more times I thought I never would hold you in my arms again but now that everything feels over. And I'm finally out of here I'll be going home tonight and everything will be all right When I open up the door you'll be waiting and you won't keep me warm at night and you won't make me live again yes, I'm going on tonight you'll be waiting. [00:14:56] Speaker A: I remember liking this song as soon as I put it on one. I think it's catchy. One thing I do realize, which I don't know if you picked up on or. I'm coming straight out of left field, right field, center field, whatever the field, it bears some resemblance to Blood on blood. [00:15:09] Speaker C: I can see that. [00:15:10] Speaker A: Not fully, but a little bit more in the verse. It reminded me, and I know it's got that same. I mean, obviously that beat, but a little bit of that vibe. Obviously. Very catchy. Of course it was very catchy. I full on remember this song. Song, do you remember this one? [00:15:26] Speaker C: I do remember this. And again, I'm not gonna say it's not Van Halen ish. Even the rhythm guitar playing is very Van Halen ish. If you listen, there's lots of fills and things. He's not just playing chords, he's playing, playing around. I'm assuming he got that from Van Halen. The clean guitar is so clean. A lot of chorus. It's very super 80s. [00:15:46] Speaker A: Yeah. [00:15:46] Speaker C: I don't think it's bad. I like the chorus. Like, the chorus is good. The production is a little thin. I like it. [00:15:51] Speaker A: I remembered sounding fuller. I also had it on cassette. It could have been a little bit warmer on the cassette. [00:15:56] Speaker B: Maybe be. [00:15:57] Speaker C: Yeah, it feels a little thin. I don't know why. This is Michael Wagner, too. Some of his stuff could be a little bit thin, I think, though, if I remember some other things that we've listened to from him, I don't know. [00:16:06] Speaker A: What do we listen to? [00:16:07] Speaker C: We've done a bunch of stuff that he's done, I think, probably. Yeah. I don't remember everything we've done. I know. [00:16:12] Speaker A: I'm looking. I remember what we're doing now. [00:16:15] Speaker C: It's not bad. It's a good song. [00:16:17] Speaker B: Yeah. [00:16:17] Speaker C: But, yes. This is one of the things I was going, why does it have to be so Van Halen ish? I take that back a little bit from now. He did have his own style. I can't totally take away the Van Halen part in his playing because it kind of is there. [00:16:29] Speaker A: Yeah. The influence is there. It's obvious. It's obvious. [00:16:33] Speaker C: Yeah. I struggle with that at times. I think over the years I've made my piece with that. He's not just a copycat and he was doing some original stuff. It was definitely in that vein. And they were definitely an 80s glam metal band, hair metal band, whatever you want to call it. Verse 1. I've been in this hell forever I don't even know how long, long and there were times I thought I never would hold you in my arms again. But now that everything is over and I'm finally out of here. Chorus I'll be going home tonight and everything will be all right because when I open up the door, you'll be waiting and you'll keep me warm at night. You'll make me live again. Yes, I'm going home tonight and you'll be waiting. It's a very catchy chorus. Yes. But again, just like Jafria should have had certain things, being in the AR thing and didn't do it. These guys don't do that. That they keep the arrangements fairly straight. The places go exactly where they're supposed to for the band that they are. They're a pop rock, pop metal band. [00:17:23] Speaker A: Yep. Yeah. I mean, when they write a hook, they write a hook. [00:17:26] Speaker C: Yeah. They're not gonna throw something out in the middle. At least not on this record, probably, or next record, maybe, but this record. [00:17:31] Speaker A: Now, there might be some stuff later on. I could be wrong. I don't remember every song. It could all be straightforward. I don't remember everything. [00:17:38] Speaker C: From what I read, this was written in two weeks. And they said that they came right off tour and they did this. They should have taken some time. And they didn't take any time because the record company want hit again. They figured they could get even more the next time, which didn't happen. But we'll see. Maybe we'll like this better. Who knows? Sometimes, you know, the records that sell only 500,000 sometimes are better than the records that sell. Sell 2 million. We'll see. All right, let's continue. Here we go. [00:18:11] Speaker B: Every word. And when the morning came I had to go. But later I didn't want to say goodbye. As I leave this place behind me There's a smile on my face. Cause I'm going home tonight and everything will be alright. Cause when I'm open up the door, you'll be waiting and you won't keep me warm at night and you won't make me live again. Yes, I'm going home tonight and you'll be waiting. Sam, [00:19:40] Speaker A: I defer to you. What do you think of the solo? [00:19:42] Speaker C: This is where you see the melodic tapping thing. He does very similar to Rabiesh. Does a lot of that too. I thought it was good. 1989 me. Probably not as much, but now I say, yeah. He has a style. You can tell when it's him. Thought it was really good. [00:19:56] Speaker A: Pretty good song. It's a good leadoff track. [00:19:58] Speaker C: He's definitely not the generic guitar player for the 80s that everyone else was. Even though he's doing similar things, I think he's a better guitar player and it just shows in the way he plays place. You couldn't take him and put him in another band and think it was somebody else. [00:20:14] Speaker A: No. Then you'd say they sound like Vito Brada. [00:20:18] Speaker C: Yeah, pretty much. I thought it was good. It was very melodic and it was fast in places it needed to be and slow in places it needed to be. There was breathing room. I think that's what happens, is not enough breathing room in some of the 80s stuff. It's just fast, just to be fast. And here there's a little more melody. I thought it was good. Verse 2. I know I will always remember every word we said that night when the morning came I had to go But I didn't want to say goodbye. As I leave this place behind me There's a smile on my face. Chorus solo. Let's run this out. Here we go. [00:20:59] Speaker B: You'll be waiting and you will keep me warm at night and you won't make me live again yes, I'm going home tonight and you'll be waiting. Yes, I'm going home tonight and everything will be all right. Cause when I open up the door? You'll be waiting and you will keep me warm at night and you will make me live again. Yes, I'm going home tonight and you'll be waiting. [00:22:13] Speaker A: From the get go, they gave you a fade. [00:22:16] Speaker C: Usually I'm the fade guy. I don't like that fade at all. It's too long. [00:22:20] Speaker A: It is a bit long. [00:22:21] Speaker C: I wish it would just end it. I think over 20 seconds of fade is too much. [00:22:25] Speaker A: Was it that long? Yeah, it was a bit long. [00:22:27] Speaker C: Yeah, it was pretty long. What do you think about the drumming and the bass playing? [00:22:30] Speaker A: Good. They do what they need to do. I like the. The beat on it. Like the bass playing along with it. You can hear it. You gotta be a good bass player to be a mega, though. [00:22:38] Speaker C: Yeah, that's true. All right, why don't you go first? [00:22:39] Speaker A: I like the sentiment of the lyrics better than the lyrics, but I'll say six. I always thought the lyrics in the verses were choppy. And I don't mind lyrics that don't rhyme, but I always remember them being these phrases that didn't necessarily always go together. I'll say seven on the music, I'll say six on production, seven on arrangement, and seven on melody. I do remember this being one of my favorite songs. So I figured out the gate. Let's give some sevens. I don't know how much the rest of it will be. [00:23:06] Speaker C: What do you think I'm gonna do? Very similar. Six on the lyrics, seven on the melody, seven on the music, six on arrangement, and six on production. The production is a little bit thin, but you can hear everything, so that's good. Not very muddled up. So maybe the production will go on me as we go. I haven't heard this in a long time. It's the first time I listen to this, probably in a good 2530 years. [00:23:26] Speaker A: Probably the same for me. When this came up, I didn't even remember that Going Home Tonight was the first song. That's definitely been a while. [00:23:32] Speaker C: Yeah. Okay. The next song is. Is Dirty Woman. [00:24:21] Speaker B: Love Me. Every day I spend my money misleading it thrifts all the way Every time I can stop I sure. [00:24:54] Speaker A: That verse is straight out of the Van Halen playbook. I can absolutely picture David Leroth singing that. I was never a fan of this song. I like the beginning. It reminds me of an 80s 80s song. I can't think of it. If it comes back, I'll try to think it. I've never been a fan of that chicka chicka chugga chicka chugga chicka chuga thing that went on in the 80s. The lyrics heard, whatever. [00:25:12] Speaker C: This is sometimes where they lose me. I didn't hate the first opening part, but there's definitely a Van Halen thing. But there's also a very. This is the kind of 80s that was happening. Bad Van Halen copy. That's what I get. A little bit better than that. It's in the same vein to me. Is it horrible? Horrible, no. But everyone's done this kind of shock shuffly thing that they try to do. [00:25:32] Speaker A: The chorus is my favorite part, honestly. The melody in the chorus is my favorite part. [00:25:36] Speaker C: Yeah, I'm not really a big fan of the chorus. [00:25:40] Speaker A: That intro is cool. It's weird too, though, right? Because it's like. And then when the drums come in, they come in on a straight. And it was odd how they went into it, I thought. Almost as if they were really done separately. It's like, we have this piece here and then let's just kind of put this piece here. [00:25:56] Speaker C: Yeah, it's possible. This is not one of the tracks that I loved a lot and I do remember it. Once it came on, I was like, oh, I remember this. [00:26:03] Speaker A: I remember it too. [00:26:04] Speaker C: Yeah, I remember. If you told me the name, I would never have known. [00:26:07] Speaker A: I didn't know what song this was. Going into it. [00:26:09] Speaker C: Once I heard the riff, I was like, oh, I remember this song. And again, beginning riff is pretty good. His voice can be a little bit grading depending on what the song is. He's got this weird delivery sometimes, and in some songs it works like, wait. I think his voice works great in that verse. 1. I need your woman to show me the way I need your lady to love me Every day I spend my money on this sleazy game we play Because I want your dirty tricks all the way I don't know if this is a pre chorus. Every time I leave your candy store I just know for sure I'll be back for more chorus. Dirty woman, come on, show me the way Dirty woman I just need you to stay hey, at least it's not Dirty woman four times. Yeah, that would make it a lot worse. [00:26:47] Speaker A: Yeah, agreed. [00:26:48] Speaker C: Let's continue. Here we go. [00:27:01] Speaker B: Cause when you take me into your bed you have the steady thoughts inside my head when you leave every eye open door into your candy store I just cry for more Come and show me my way Better and woman I just need to play Better and woman Coming. Show me the way. [00:28:00] Speaker A: That was odd. It kind of jammed in the solo. Wasn't ready expecting it and then it ended soon. So I don't know if he's gonna do another one since he seems to be going back into that bridge. Is it horrible? No. [00:28:12] Speaker C: Me personally, I thought the soul of it was fine. Song wise though, this is to me where it can be kind of bad. Van Halen trying too hard to be that way. If David Lee Roth was singing this, I think it would come out a little differently and the words would be a little more clever. Where it's not really that. Here the words aren't great. I do say that the chorus is. Is not the worst. It has grown on me a little bit since the first one. I like when they do them two in a row. I think that helps it out. [00:28:37] Speaker A: Yeah. I don't remember if the first pre chorus was the same as this one. It wasn't. It wasn't terrible either. [00:28:41] Speaker C: It's very similar. This is definitely not one of my favorite songs on the record. This is where the Van Halen thing is not done very well. And this is probably one of the songs I went h. I don't know if I can do this. This is too much wanting to be and just not being as good. Verse 3 too. And you can show me what no woman dare no obligations to show I care when you take me into your bed you wake wake those dirty thoughts inside my head Pre chorus When you leave me through your open door into your candy store I just cry for more Chorus twice then this middle part is long legs, whole lot of sex, sweet laughs from innocent lies. And the next part coming up is going to be wild, tame, drives me insane hey babe, I don't know your name yeah, the word's not great. [00:29:23] Speaker A: Typically their lyrics are not that great. I want to remember. [00:29:26] Speaker C: Well, the first one wasn't that bad. [00:29:27] Speaker A: Oh yeah, Definitely better than that. So great. [00:29:29] Speaker C: Yeah, all right, let's continue. Here we go. [00:30:01] Speaker B: Woman, I can see the place Let that woman Come and show me the way that woman I just need a grave Let that woman come and show me the way that woman I just need that I want to Come and show me the way that I want to. [00:30:35] Speaker A: That was a bit of an odd ending as well. I thought they were going to go around the chorus one more time. [00:30:38] Speaker C: I was kind of happy they didn't go into the chorus again. I just wanted that one to be over with. His guitar playing is fine. I think his guitar playing is the best part of that. Little things he did in between. I'm not too sure. That wannabe David Lee Roth thing in the middle is great. [00:30:54] Speaker A: I like the second solo better than the first one. [00:30:57] Speaker C: I think they should have talked that middle part out that he was saying. He just put both of the solos together into one solo. I think it would have been better. [00:31:03] Speaker B: Yeah. [00:31:03] Speaker C: May guitar for me is the best part of this song. [00:31:07] Speaker A: Agree. The drums aren't bad. I mean, there's some cool stuff going on in the drums. Yeah, I think the production was bad. [00:31:12] Speaker C: Either you're going to get Michael Wagner stuff from this. It's not going to be super big bottom. It's going to be very even. Maybe I'm getting used to the production. You know, you're coming from some records where it's a lot fuller. You get to this and it feels a little thin. But it's not that bad. [00:31:25] Speaker A: I guess. [00:31:25] Speaker C: I'll go first. Lyrics. I'm going to say four because I don't like those at all. Melia. I'm going to say five. Musicianship. I'll say six arrangement. I think that was fine. I think they did what you think to do in the arrangement except for the solo. Maybe I'm gonna ding it a point to five there. In production, I'm gonna do six. Is it horrible? No, but it's definitely not my favorite song on this record at all. What do you think? [00:31:46] Speaker A: I'm a little torn about the lyrics because I was going to say four and then I downgraded to three. I'll say three. I'll say five on everything else except production. I'll say six on production. Not knocking them. This style of song just has never been my thing. And it was such a staple of 80s Harry metal. [00:32:05] Speaker C: Well, everyone wanted to be Van Halen and they were trying to get that Van Halen vibe thing. When it's done well, it could be good. I would say 90 of the time. It wasn't done well. It just came out feeling super cheesy. Like this comes out feeling. And even though his guitar playing is good, it can't save the song. [00:32:22] Speaker A: But it is a standout. [00:32:23] Speaker C: His guitar playing stands out. [00:32:25] Speaker A: Yeah, exactly. That's what I'm saying. It is the standout in the song. [00:32:28] Speaker C: Yes. His guitar playing is a standout in the song. And if you're a guitar player, can you get little things out of here you might be able to learn from or whatever? Yes. But as far as the song goes, it feels. Feels very copycat. It feels a little cheesy. It's just not a good vibe that you would get out of a Van Halen trying to do this. It would feel more authentic when they did it. And here just feels cliche. Okay, next song is Little Fighter. This is supposed to be about the Greenpeace boat Rainbow Warrior, which is destroyed by the French intelligence service while DOC in a Hummer in New Zealand in 1985. [00:33:01] Speaker A: Yeah, I never knew that. I just assumed it was about a little fight. No, I thought this was about a short boxer. No, I mean, I just assumed it was about struggle kind of thing. [00:33:12] Speaker C: Yeah, I didn't know that either. All right, here we go. This is Little Fighter. [00:33:44] Speaker B: Are you crying tonight? Down on your luck you were one of a kind One will never give up Even with never a breath that's all you have has anyone heard the dance? You tell I see the scratching [00:34:21] Speaker A: did [00:34:21] Speaker B: anyone speak up when you fell? Does anybody. Rising Little fighter and let the world know the reason why Sh. [00:34:45] Speaker A: Very catchy. I forgot how straightforward the riff is that. But, yeah, I mean, well arranged, I think. I'm not 100% crazy about the guitar tone in the beginning thing, but not to the point where it doesn't ruin it. [00:34:59] Speaker C: The guitar tone in the beginning is a little too chorusy, maybe. That's what it is. It's so clean. It's that very 80s, super clean chorus guitar sound, which was real prevalent on stuff like Hysteria. That super clean guitar stuff. [00:35:13] Speaker A: Yeah. [00:35:13] Speaker C: The Ref is straightforward, but his playing is very good. He does the little fills in between. You can hear the Eddie Van Halen influence and that kind of stuff. But it's not as much of a cop, I don't think. [00:35:24] Speaker A: No, I don't think so. [00:35:25] Speaker C: It's just an homage in the style of. But not saying I'm trying to copy him or in the last one, it just felt too. I want this to be a very bluesy Van Haleni thing. And here it just feels like. Yeah, there's an influence there, but it's not a super copy thing. Yeah. [00:35:40] Speaker A: I think they're better at doing stuff like this than the one before it. [00:35:44] Speaker C: Yes. [00:35:45] Speaker A: Just because even though this isn't something unique and whatever, but in terms of how they play and write, I think this is a better song for them. Like the first one was. Whereas that second, second one, anybody who grew up in the 80s and listened to the music would say, well, yeah, this song has that, this song has that. This song has that. Not that this is whatever, but it's like, okay, this sounds like white lion. [00:36:05] Speaker C: Oh yeah. 100. This to me is what their sound is. The first one, the third one, the second one, not as much. Yeah, I think this is good so far. [00:36:13] Speaker A: Yeah. Very catchy. [00:36:14] Speaker C: Yep. Verse 1 Are you crying tonight? Are you feeling all right? I told the world that you were down on your luck you're one of a kind one who'd never give in when they put the price on your head And I guess this is pre chorus and it says anyone heard the tales you tell or seen the scars you wear? Did anyone speak up when you fell? Does anybody care? Chorus Rise again, little fighter and let the world know the reason why Shine again, little fighter and don't let him end the things you do. I can understand where this maybe has something to do with that boat thing. Reading it now, I'm not sure if that's what it's about, even though it was in the video, so I'm assuming it has something to do with that. [00:36:48] Speaker A: Oh, it was in the video. [00:36:49] Speaker C: Yeah, it was in the video. [00:36:50] Speaker A: I don't remember. Maybe he just said it'll be about this, but I won't. Don't really want it to sound like that. [00:36:56] Speaker C: Could be. [00:36:57] Speaker A: Well, actually, I think it'll become a little bit more obvious as it goes on. [00:37:01] Speaker C: Okay. Yeah, here we go. [00:37:09] Speaker B: And you won with the cause and a reason to be you were a fighter for me is on this earth and you were never afraid you put your life on the line and you always a love down on the sea without a weapon you got it. You can fight a the took your life but did I know that you would never die? Rise again little fire and everyone know the reason why sh again L and all that I met the things you do. I feel alright sam. [00:38:58] Speaker A: Very melodic. That's one takeaway I always remember having. They're very melodic. They're not notes for note's sake. Even when he goes a little bit faster, it still sounds constructed in a good way. [00:39:11] Speaker C: I think if you want to put a solo on to say, what does vitobrada sound like? This solo gives you all. All the things that he does. He's not a copycat guitar player. Even though I felt that way, I'm gonna keep saying that over and over. I felt it was too. Eddie Van Halen is. But here listening to it now, almost four years down the line, I don't feel that way. I feel that he has his style. He does tap, but his tapping is a lot different. And even his playing is a little bit different. He has a style. You hear him and you go, that's who that is. You don't think Eddie Van Halen when you hear him. I guess you hear parts, but it's not the way I remember it being. Oh, he's just a copycat. Why do I want to listen to. Well, I just listen to Van Halen. You do hear it in the rhythm playing, too. His rhythm playing is very melodic, too. It rarely plays just a chord and nothing else. I like that a lot. [00:39:54] Speaker A: Yeah. The influence is clearly there. I mean, even you said he wouldn't deny that. [00:39:57] Speaker C: No. And definitely the words in the second part tell more of the story of the ship, I think. [00:40:02] Speaker A: Yeah. [00:40:03] Speaker C: All right. Verse 2. And you were one with the cause and the reason to be. You were a fighter for peace on this earth. And you were never afraid to put your life on the line. And you're always alone out on the sea. Pre chorus. Without weapon in your hand. You came to fight a war or they took your life but didn't know that you would never die. Chorus. And then I guess this is right before the chorus. Are you feeling all right? Cuz I care, care. And now we're going to get into that wonderful, clean guitar I think that you love so much. Here we. [00:40:42] Speaker B: Go. Not alone in a fighter. All go stand beside you Never stop believing. So rise, rise, rise, rise again lit a fire. [00:41:47] Speaker A: I may actually like that song better now than I did back in the day. [00:41:51] Speaker C: Yeah, I always liked the song. I thought it was good. [00:41:54] Speaker A: I thought it was okay. I mean, I definitely remember it. I also remember one of our friends saying Little Spider on purpose because he thought it sounded like he was saying little spider. It's cat catchy. [00:42:04] Speaker C: It's their style. Last part that I have to read is Run along, little fighter, because I was there beside you Never stop believing. So rise, rise, rise. Go first. [00:42:13] Speaker A: I think I'm gonna make it simple. I mean, I think it's a good song. I never disliked this song. It's hitting me Now I'm like, oh, it was pretty good. So I'll just go sevens across and make it easy. [00:42:22] Speaker C: Oh, sevens, huh? I wasn't thinking you were gonna hit sevens. [00:42:25] Speaker A: Yeah, I mean, why not? I didn't know if I was gonna do it, but I think, oh, why not? Give him a little bone. Quintuple seven Nikki Titty baby. Wait, quintuple means five, right? So that's 35 Nikki Titty babies. Man, I gotta lie down. Rip Ace. [00:42:46] Speaker C: I'll do sevens, too. I was gonna do sixes, but I think you convinced me to do sevens. Sevens across. [00:42:52] Speaker A: Listen up, SMFs. [00:42:53] Speaker B: That's right. [00:42:54] Speaker A: You heard me. [00:42:54] Speaker B: Now turn. [00:42:55] Speaker C: Turn it up, you beautiful freaks. [00:42:57] Speaker A: It's quintuple seven, Nikki titty baby. I see we have some new voices. [00:43:02] Speaker C: I've been working on some voices. Yes. They're starting to get stale, so I have to introduce some new ones in. [00:43:07] Speaker A: When was the last time you played quintuple sevens? [00:43:10] Speaker C: It's been a long time. [00:43:12] Speaker A: When I said sevens and I was waiting for you to play something, I realized, like, wow, it's been a while since I've heard. Yeah. I was thinking I was gonna do sixes as well. But I'm saying, you know what? Slug it. [00:43:26] Speaker C: I agree with you. I was gonna do sixes too. It is really a good song. [00:43:29] Speaker A: Yeah. [00:43:29] Speaker C: And if you wanted to play something for someone and say, what does White lion sound like? I think that's a good song to play. [00:43:34] Speaker A: Yep. I think that really is. Like you said, it gives you everything Vito Brada does in one solo. It gives you the hook. The arrangement is done well. [00:43:42] Speaker C: Alrighty. The next one is Broken Home. [00:44:02] Speaker B: There's a sound from the kitchen and it's. The sound is heard a thousand times before. When he hears his mother crying he runs away and hides inside his room. But there's no escaping the Anger Fire's voice. And when the tears are falling [00:44:56] Speaker A: it [00:44:57] Speaker B: falls down to his knees and pray Just. [00:45:22] Speaker A: This one. I wasn't much of a fan of back in the day. I feel that the arrangement is a bit odd. And I hate saying this because even when I wrote lyrics, the words didn't always rhyme. And I really appreciate that. And I feel badly saying these words should rhyme, but it's fine that they don't. I think because of the genre, we're just so used to everything rhyming. But sometimes I feel maybe the melody is slightly off. It's okay. That's how I feel about this song. It's not bad. [00:45:50] Speaker C: I think that it should rhyme. Especially in this kind of a song. I don't think it's the melody. I think that because it doesn't rhyme it makes the melody feel weird. That last line line really needs to rhyme and when it doesn't rhyme it just throws everything off. I think straightforward chorus, pre chorus chorus stuff. I don't think it's mind blowing. I don't like the first chorus because they only do it one time. It feels like it's unfinished. Third line and then you want it to happen again but it doesn't. It goes back to the verse. I know they did that on purpose because it looks like the second time they do it again which really needs to happen. The first time. [00:46:26] Speaker A: They did that with Dirty Woman too though. It wasn't the time first. First one it was only once and then they. [00:46:30] Speaker C: And they doubled it the second time. Yeah. I don't know why people do that all the time. I guess it's something you can do once in a while. But I don't want to have it every time. Especially this song. You feel like it needs to come again. That has to happen a second time for it to feel like it's concluded. The chorus is done here. Just feels like the chorus gets cut off and it goes back into the verse. Guitar playing is pretty good. What do you think of the really super 80s drums and all that reverb? [00:46:53] Speaker A: I was going to mention that it's actually not funny. When it first came in I said wow, those drums were. Are really big for what is an acoustic sad song. It didn't not fit either. I was going to say wow. Those things come in really big if [00:47:08] Speaker C: you want to hear 80s production drums. There you go. [00:47:11] Speaker A: Yep. [00:47:12] Speaker C: And that's why in the 90s the drums totally changed away from this verse 1. There's a sound from the kitchen and the sound he has heard a thousand times before when he hears his mother crying he runs away and hides inside his room. That feels so awkward. [00:47:26] Speaker A: It is a bit awkward but I [00:47:27] Speaker C: think that's what messes the melody me up. It's that weird fourth line. Not rhyming. It's just strange pre chorus but there is no escaping the anger in his father's voice. And when the tears are falling he falls down to his knees and Praise chorus Just hold me and love me Touch this child of love and try your best and save this broken home. I like the lyrics. I think the lyrics are interesting. [00:47:47] Speaker A: Yeah. I think because everything's built around this three line thing and it does feel that there should be Something extra and even part. [00:47:55] Speaker C: Yeah. [00:47:55] Speaker A: Who knows, maybe the second time around it won't stand out as much. [00:47:58] Speaker C: Well let's see. Here we go. [00:48:16] Speaker B: Every night he laughs away in from downstairs fighting starts again. Have you forgot the reason why this little child was born? Cuz if you go on fire you destroy this family. Yeah just hur him and love him Just this child of love. And try your best to save this broken home. Stop fighting, stop hurting Try to love again and do your best to save it broken home. If you ever want on him tight let him feel your love again. You will make him smile. Yeah, [00:50:24] Speaker A: I kind of want it almost like a double time like at the end of that. What do you think of this solo? [00:50:30] Speaker C: It's not bad. I don't know if it fits the spot song. It's not as good as the solo before 100%. I just think it's not as good. Obviously the playing is great. I just don't know about the whole song and just how that fits into the song. [00:50:43] Speaker A: Part of me is like oh if this was like a mid tempo I might like it better. It's okay, I remember the song. I'll be honest with you. This is probably the first time I've heard it all the way through. [00:50:54] Speaker C: I do like the guitar in the pre chorus. I think that's my favorite part. And the chorus does sound better doubled up. [00:51:00] Speaker A: It does definitely. [00:51:01] Speaker C: Verse 2. His little arms are black and blue and there's a little cut right under his eye. Every night he lies awake and from downstairs the fighting starts again. Have you forgot the reason why this little child was born? Cuz if you go on fighting you'll destroy this family. Yeah, yeah, yeah of course. Just hold him and love him. Touch this child of love and try your best to save this broken home. Stop fighting, stop hurting. Try to love again and do your best to save this broken home. Bridge if you ever hold him tight let him feel your love again. You'll make him smile. Yeah. And chorus and then it's going to be solo. Then it's going to be chorus out. Let's play it out. Here we go. [00:51:55] Speaker B: Stop fighting, stop hurting. Try to love again and do your best to save this from the lord. Love. [00:52:30] Speaker A: That, do your best. The end was a little bit odd as well. That felt unfinished. [00:52:33] Speaker C: He said it feels half finished cuz it was rushed. It was two weeks. They wrote this in whole record. There are some good parts in here. It just feels a little disjointed. I'll go first. I mean is it the Worst thing in the world. No, I'm just going to give it fives across. I don't think it's horrible. I just think it could have been better. If they had more time to work on it. It probably be better. [00:52:51] Speaker A: We think they'll do exactly the same fives across. I know that it was. The whole album was only two weeks, but if they're saying specifically this song [00:52:59] Speaker C: in general, the whole record feels half finished. [00:53:01] Speaker A: I thought they were specifically speaking about this song as well because I felt a little bit better about the lures course. [00:53:08] Speaker C: But again, you can feel that some of the songs don't feel like they're 100 finished. [00:53:12] Speaker A: Yeah, this one didn't sound finished to me. [00:53:14] Speaker C: Next up, Baby Be my. [00:53:24] Speaker B: If I cross a thousand oceans. Highest mountain and of the deepest se Then would I find you waiting there for me and if already you could. Be Be Better be mine Better be mine Better be mine Better be mine. [00:54:28] Speaker A: That chorus, they need a baby be mine yeah, yeah, yeah so I don't know. That chorus really sounds rushed. [00:54:40] Speaker C: Record chorus sounds rushed too. Pretty bad. I like the guitar part. That wasn't bad. [00:54:44] Speaker A: No, it's not a bad riff. But the style is that running through of the whole. Having that little intro and then stopping and then the drums coming in. There's definitely similar, which is fine. I'm not saying that's. That's a problem, but that's definitely sounds to be, at least for this album, part of their style. [00:54:59] Speaker C: You can definitely hear that some of the words weren't fleshed out. That prequel chorus, that was rough. I don't know what you wanted to do with that. Again, the only thing that really saves some of these songs when they're not greatest, is guitar playing, really. I mean, not that the bass playing or drumming are bad. [00:55:14] Speaker A: No, no, not at all. [00:55:15] Speaker C: They're not really upfront to say, oh, look what's going on. They're just. They're holding stuff down, but you're not thinking, oh, wow, look at that drum part. Or wow, listen to that bass part. They're just there. And they're not bad. They're just there. His guitar playing is really what saves some songs from being mediocre because definitely the lyric writing is not great. Okay. Verse one. If I cross a thousand oceans and wrote a million miles I would still be far away from you if I climbed the highest mountain and dove the deepest sea Then I would find you waiting there for me Pre Chorus and if only you could hear me yeah, if you could see me Me Reading that Sounds better than it was in the song. And of course, his Baby Be Mine four times. See, this time they did the four times the same thing over and over. [00:55:57] Speaker A: Yeah, that's what I was thinking when you said that. Oh, at least they're not saying the same thing over. And I'm like, oh, wait till he gets to this. [00:56:03] Speaker C: And sometimes that works. It's not always bad to do that. No, it really depends on what's happening behind it in the riff and whatever else. All right, let's continue. Here we go. [00:56:26] Speaker B: For you then. Would you realize My love was true. Baby night sam. [00:57:56] Speaker A: That solo part was my favorite part of the song. It's kind of cool the way what was going on with the echo and how it sounded as a new piece came over the last piece, but it wasn't echoing what he just did. I thought that was really well put together. The rest of it, I don't know. This isn't my kind of song. What do you think of the solo? [00:58:13] Speaker C: I thought it was fine. I liked the delay at the first part of it. I just don't know if I wanted it through the whole solo. I liked it at the beginning, and then it just got very annoying. [00:58:22] Speaker A: Nice. [00:58:23] Speaker C: I did like it at the beginning. I thought it was great. And then it just continued to happen, and I don't think I It needed to happen that much. I like the effect at the beginning for the effect. And then it was just. Okay. So we have this delay. It goes a long delay, goes from left to right, left to right, left, right, and just keeps overlapping what he's playing. I like the idea in principle, but having it through the whole solo, I don't know about that, but his solo was good. I like the solo. It's the best part of the song. And the funny part about this, in this lyrics that I have pulled up. There's a pre chorus in here. They must hate it so much they didn't even put it in. [00:58:52] Speaker A: So it's actually funny because I try to bounce around too, with some of the lyrics. The first one I had up, which is not the side I usually have up when you were reading things, I said to myself, the first song, you said something that I thought he said, but it wasn't up on the lyrics. And then when you read it, I said, oh, he read what I thought he said. Now what is it Says here it happened in Dirty Woman, and then it happened in Little Fighter. And I said, forget this. This site is wrong. So then I went to the one that I usually go to. And now, like you said, I'm following along and yeah, the pre chorus isn't there. And then I went to two other websites. It's not there either. [00:59:26] Speaker C: No one likes it. [00:59:28] Speaker A: I just went to three different websites and. Oh, what was he saying there? Nope, three sites don't have whatever the hell he said. [00:59:34] Speaker C: Yeah, don't worry, no one's missing it. [00:59:35] Speaker A: Yeah, that's fine. [00:59:36] Speaker C: Although I have to say, I don't hate the verse at all. The melody in the verse is fine and the words are okay. At least they have enough rhyme that they go all right. The song in general overall feels very rushed and feels very half completed. [00:59:50] Speaker A: It's so funny. Yeah, it feels rushed, but at the same time it feels very intentionally complex in the sense of the drums never really come in other than in the chorus. You can would expect maybe in the solo, the second part of the solo where the drums would play a beat or the second part of the second verse. It follows the same exact formula. So it's oddly rushed and not rushed at the same time, if that makes any sense. Because I'm listening to him like, yeah, this feels rushed, but oh, you know what? They're not bringing the drums in here which you expect them to do, so they're not doing that. So there is some thought going into it. [01:00:24] Speaker C: I don't hate the chorus guitar part. I just don't like chorus. [01:00:28] Speaker A: I don't like it either. [01:00:29] Speaker C: All right, verse two. If I wrote a hundred love songs and they were all for you Then would you realize my love was true? If I gave you pearls and diamonds and showered you in wine Then would there be a chance that you'd be mine? Chorus solo. And I guess this is going to be chorus at the end. So here we go. [01:00:53] Speaker B: If you. Mine better be mine Better be mine Better be mine, better be mine. [01:01:54] Speaker A: The river of the chorus is good. I honestly wish they didn't even have lyrics there and just made them solo over it. Or maybe leave it instrumental. Maybe say baby be mine once and just go with it. Just odd. This song feels to me that it was written toward the ends of this little. What it sounds to me we need more songs and this was written towards the end of the sessions. [01:02:14] Speaker C: Feels like they're running out of steam. [01:02:16] Speaker A: Yeah, that's what it sounds like to me. [01:02:18] Speaker C: I don't like the end either. [01:02:19] Speaker A: Odd. I was about to speak when he stopped. [01:02:22] Speaker C: I was waiting. I thought you were going to come in. [01:02:24] Speaker A: As I was about to say something, the chorus came back in. I'm glad I shut Up. [01:02:29] Speaker C: I don't know what to do here either. You go first this time. [01:02:33] Speaker A: I'm going to go fives across again. I don't think I'm saying anything bad here. I think they would probably agree with it when they saying the record was rushed. This song really feels rushed. An afterthought. That's what it feels like to me. And this is an album. How many songs are on this album? [01:02:49] Speaker C: Eleven. [01:02:50] Speaker A: Eleven saying could have been ten. Easily. [01:02:55] Speaker C: Could have been. Could have been nine. [01:02:58] Speaker A: Nine? Yeah, I would say nine. I would say a nine. [01:03:01] Speaker C: What do you think I'm gonna do? Five across. The guitar playing is really the only thing that has any redeeming drums and bass. They're not up front for me enough and playing a big enough role for me to even say, yeah, they're great, [01:03:14] Speaker A: but they're not bad. They're definitely not bad. He's definitely not just doing like straightforward drum beats. And I heard the bass doing some fills in. It was probably the song before. They meant to mention something about the bass. I just don't remember if it was this song or the one before. And then I forgot. [01:03:28] Speaker C: I don't hate it. I think they're doing a good job. To me, the White lion is really the vocalist and the guitar player. And these special songs when they're not really gelling great and the song is not great. I just try to focus on the guitar playing and just go. I just want to listen to the guitar playing. Because obviously that's the only part that's going to save this for me from giving it less than fives. Just because whatever it is. And his voice too sometimes becomes a little samey same because he has that voice that you know it's him. I mean, one good thing about him is his voice is very unique. [01:03:57] Speaker A: Yep. He definitely know it's him. [01:03:58] Speaker C: You wouldn't think that he's any other singer or any other singer could sing in this band because it wouldn't sound right. So I guess that's one thing to say. That's good. All right, end of the first song. Side. This is living on the edge. [01:04:46] Speaker B: I got a used leather jacket and an old pair of boots with holes and soles in my 501 blues to seal Never like this Now I don't have a place that'll keep me warm and I can call my own when you ain't got any money you can pay no ren in your house I'm going to be all right so I back my my bags right into the sunset I don't know where I'm going to go, but that don't matter at all. [01:05:39] Speaker A: Same thing with the chorus. It just stops and there has to be more there. And I'm sure there's more later on, but now you can really, really feel it in almost every song. Song. This is run of the mill to me as well. I just feel that they're capable of better. These last three songs could be anyone other than his guitar playing. And the drumming is not bad, the rhythm section isn't bad. And the drums are big in the beginning of this too, man. I mean, I would love to be in the studio recording and hear my bass drum sound like I'm playing it with some big microphone in the Grand Canyon. [01:06:12] Speaker C: It's like boom, boom. [01:06:14] Speaker A: It's like, cool. [01:06:15] Speaker C: Yeah. The chorusing again. They do make the chorus longer later on. I don't know why they don't just do the chorus. [01:06:21] Speaker A: Just one more line. It's another three liner, isn't it? [01:06:24] Speaker C: I think it's a four liner. [01:06:25] Speaker A: Is it? [01:06:26] Speaker C: Yeah. And these are two other lines. [01:06:28] Speaker A: Yeah, just stop. And that's what I feel like. It's like. [01:06:32] Speaker C: Even though I don't say very much about the bass and the drums, they're not doing a bad job. [01:06:36] Speaker A: No, not at all. [01:06:37] Speaker C: I just. I'm not really focused on them and they're not really putting anything out that goes, oh my God, it's solid and it's doing the job. But I noticed he has a couple little things he does all the time too. Like he'll do the riff and he has that little high beep, beep, beep that he does all the time. That little fill he uses, he uses it a lot. I didn't really notice it until. Listen to this album straight through. I'm like, oh, that's his thing. He does that all the time. Again, it feels like it's rushed. It feels like it's not finished again. Two weeks. You're writing a whole record in two weeks. Not that I'm saying it has to take a year because I don't want to say or. Or in De Leopard terms, like five years or whatever doesn't have to take that long, but it really is a little bit more time. This could have been fleshed out so much better. You can start hearing the rushing going on in the last three songs. [01:07:18] Speaker A: Yeah. I mean, especially if you wanted to sell more than the one before. You got Little Fighter that has a big, big hook. And I mean, I think that was a decent hit for them. Going Home Tonight. I Don't think was a hit. I don't remember. I never heard it. Other than me hearing it when I had it. These things don't have that hook. [01:07:35] Speaker C: Going Home Tonight was only released as a single in Germany. [01:07:39] Speaker A: Odd. [01:07:39] Speaker C: Yeah, very strange. Especially for some band that just sold 2 million and you're trying to get this record over the last one, which is probably not gonna be able to do because there's really no song that's big enough as when the Children Cry. That's the problem. [01:07:51] Speaker A: Yeah. Going Home Tonight. So catchy. I think that could have garnered some attention, so I'm surprised they didn't release it. Who knows? Who knows what decisions are made, why and how? [01:08:01] Speaker C: I think there was a lot of pressure on them to put another record out. Probably record copies by. Come on, we got to put another record out. You just can't off the road riding high on this thing if you don't continue to hit this while it's hot. [01:08:10] Speaker A: Yeah, but then imagine not releasing such a catchy song. [01:08:14] Speaker C: Yeah, I know. Verse 1 I got a used leather jacket and an old pair of boots with holes in the soles and my 501 blues I've seen better days I don't have a place that'll keep me warm and I can call my own when you ain't got no money, you can pay no rent and you're out but I'm going to be all right Chorus so I pack my bags and ride into the sunset don't know where I'm going to go but that don't matter at all. It's just feels so half assed. And again I think we expect more from them and they can do better because they have done better on this record. I don't know how much of a hands on producer Wagner is. [01:08:45] Speaker A: I don't think he is. Yeah, he's kind of, hey, I'll try to make you sound as good as I can. [01:08:50] Speaker C: He's not inserting himself into songs, but maybe that's what they needed here. [01:08:54] Speaker A: But listen, we've written songs and sometimes it took us two weeks to write one song to do something where we had it in a place where we. We really liked it and kept it writing 11, well, at least 11 songs. I'm sure they wrote more. It's hard. It's like the whole diver down thing. [01:09:08] Speaker C: Yeah. All right, let's continue. Here we go. [01:09:26] Speaker B: Me, what to do I got a bad reputation and a story to match so leave me alone the wind of my ears and the sound on my wheels Keep me Going yes, I'm gonna be all right so I back my bags and ride into the sunset I don't know where I'm gonna go but that don't matter at all I'm gonna do it my way and I don't change for no one yeah, I'm living up wishing I I got nothing to lose. And so I keep my motor right now. All through this endless summer night. Attachment. It's only me. [01:11:33] Speaker A: The chorus gets better the second time around. I think. Obviously stretching it out is better. It becomes catchier, which is, I think, what happened in the other one too. Whatever other song it was. Where. Well, at this point, it's, I think, at least three songs where they've done that. Well, they cut it short the first time. A song like this needs a chorus. That's really where it is to me. The chorus and the solo. [01:11:54] Speaker C: Yeah. Solo wasn't bad. The chorus is definitely better with four lines. That pre chorus, though, was not necessary. It was so disjointedly in the wrong place. Yeah, that was pretty bad. [01:12:05] Speaker A: They could have just gone right to it. [01:12:06] Speaker B: Yeah. [01:12:06] Speaker C: I don't think this is one of his better solos. It's fine. And I like a lot of the parts that. That are in there, but I don't think it says put together some of his other stuff. [01:12:15] Speaker A: Agreed. [01:12:15] Speaker C: Some of his other stuff is just much more composed. Sounds better when it's like that. It's been tough for the last three songs. The second half of the first sides are rough. [01:12:25] Speaker A: Listen, I don't remember this song at all. I'll be honest. This one I don't remember. But the chorus isn't bad. I was kind of bobbing my head to the solo the second time I was. Ah, it's a good little summer chorus. [01:12:35] Speaker C: Yeah. On the second time around and probably the rest of the way out. It's probably fine. It's just that first one. It doesn't pull you in because you don't have the four lines to get. Get you invested into the song. [01:12:44] Speaker A: No, it just stops at an odd point. [01:12:48] Speaker C: Yeah. Wow. I think he makes a conscious decision not to rhyme. And. And sometimes that's good and sometimes not. So much really depends on what's going on. Speaking of that verse 2. I got a college degree and that means nothing to me and I ain't got a job Because I don't want anyone telling me what to do I got a bad reputation and a story to match so leave me alone the wind at my heels and the sound of my wheels Keep me going yes, I'm gonna be all right Chorus so I pack my bags and ride into the sunset I don't know where I'm gonna go but it doesn't matter at all I'm gonna do it my way and I don't change for no one yeah, I'm living on the edge and I got nothing to lose and the bridge is and so I keep my motor running all through this endless summer night yeah and there's no one who can touch me it's only me and my wheels solo and here comes the end here we go. [01:13:49] Speaker B: I don't know where I'm going to go but that don't matter at all I'm going to do it my way and I don't chase for no one yeah, I'm heaven on the edge and I got nothing to lose and freedom here I got my. [01:14:36] Speaker A: Definitely a good chorus. I think that's the best part of it. Fade out is good on the chorus. I think that's probably the best way they could have ended it. [01:14:43] Speaker C: That fade was 37 seconds. Way too long. [01:14:50] Speaker A: But you know what's funny? You hear it coming. There's a significant drop in volume because the first time when you said the fade out was too long, there's a significant drop in volume where it sounds like they're really going to go quickly, but they don't. So if you actually go back and listen to it, I heard a. And then all of a sudden then it just kind of keeps going very slowly once it hits that drop. [01:15:10] Speaker C: I like fades a lot. I don't like any of the fades on this whatsoever. I'm going to go first. Fives across. I think that's what it is. There are parts on there that are fine. He's guitar playing saves it for me, really. We think. [01:15:23] Speaker A: Yeah. I was probably fives across. I was debating whether I wanted to give them a six on the melody because I like the chorus. Let's do that. Let's throw a little bone there for. Because I do like the chorus. I'll say that. And then five on everything else. [01:15:36] Speaker C: This has been a hard listen after we got past the Little Fighter. And again. Is it because it was so rushed? Probably. I would guess that's the reason. [01:15:44] Speaker A: I think. So. That's it. It sounds rushed to me. I think even if we didn't know the story, it sounds. Sounds a bit rushed. [01:15:51] Speaker C: I definitely listened to this back in the day, but I haven't heard it in a long, long time. I didn't remember all these things. Who knows? Maybe I skipped through these and didn't even listen to them. That's very possible. [01:16:00] Speaker A: I know that I skipped through the first side. Going Home Tonight. What I remember being one of my favorites, Little Fighter, I thought was okay back in the day. Today it hit me a little bit better. I remember Broking Home as the beginning. I didn't remember Baby Mine or Living on the Edge, the COVID On the second side, I remember my favorite song other than Going Home Tonight, I think is on the second side. There's another one that I remember being catchy. [01:16:25] Speaker C: So far. Little Fighter is the stereotypical White lion song. That's what I can say. It's probably the best song on this side. Then Going Home Tonight. And then. I mean even Dirty Woman was a little bit better than the last three by very little. I do like his guitar playing more now than I did back in the day. So it saves it a little bit for me. The only reason it got. It kind of got fives in general. It's probably because I think that he does a good job. But even he can't save things like this. [01:16:52] Speaker A: No. And it's hard. They rush you in there to put this stuff out and sometimes it works. I'm sure it's worked from some other people and sometimes it doesn't. A case in point, I mean you go from 2 million to 500,000 sales and like you said, I think a lot of the. The 2 million was based on when the Children Cry. There's none of that here. Although there is weight kind of. Right. Little Fight is kind of in that vein. [01:17:16] Speaker C: Yeah. Wait's a better song though. [01:17:18] Speaker A: I gotta listen to it again. I had forgotten about [01:17:23] Speaker C: Just Is what it is. You had weight and you had the ballad. And those two things propelled that whole record. And I think the follower record. I don't even know if it sold even 500000 main attraction, which. The 1 in 91 that was even a little more different than this. I don't know how long that took to record. Well, probably not much longer. If they toured for this in 89 and. And 90 and released in 91, they had a little bit more time. Maybe, but sometimes that's not good either. It really depends. [01:17:48] Speaker A: My favorite White Line ballad is on Main Attraction and I think they actually do a redo of Broken Heart from the first album. I think that's on Main Attraction as well. Which I didn't think was too bad. I know my cousin hated it. Well, because it was more polished. The first. The first album's a little bit More. More raw. [01:18:07] Speaker C: It wasn't supposed to be though. [01:18:10] Speaker A: But you know what though? I mean, sometimes it works though. Yeah, sometimes the polish takes away what you may like about it. The second one is very polished. [01:18:19] Speaker C: Well, this was an interesting album to get. I'm glad this popped up. I wanted to get something from them. I didn't know which one. I mean would the other record have been probably a better listen? Probably. [01:18:29] Speaker A: Possibly. To me I liked them. I wasn't a big fan of. Of them though, was more of handful of songs because I think when they do it right, they do it right. [01:18:38] Speaker C: Oh yeah. [01:18:39] Speaker A: To me it's one of those bands. [01:18:41] Speaker C: All right, so why don't you do your thing? [01:18:42] Speaker A: We are part of the Deep Dive Podcast Network and the Boneless Podcast Network. [01:18:46] Speaker C: Boneless, you know, like those chicken wings without the bone. [01:18:49] Speaker A: Like I always say. Great bunch of guys took us in right away. If you want individual podcasts about bands, Rush, Megadeth, Zeppelin, Tom Petty, you name it, it's probably there. So go check them out. [01:18:59] Speaker B: Out. [01:18:59] Speaker A: And mark, where can they find us on the interwebs. [01:19:01] Speaker C: Rock with that pod on all the social media. Rockwell podcast.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 at your podcasts. Next week we get to finish this out. Five songs on the second side. I don't know if I remember a lot of stuff on there so I'm curious to see if this half ass songwriting continues on the second side. I know the COVID I like. I know that's actually a very good cover of that song. I don't remember very much on the second side. I may know one other song. [01:19:30] Speaker A: I definitely remember one. One of their heavier songs actually is on the second side. I remember liking that one. [01:19:36] Speaker C: All righty guys, we'll see you next week. [01:19:37] Speaker A: Ciao, ciao. [01:19:38] Speaker C: Later, [01:19:51] Speaker B: Sam.