[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.
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Now onto the Rock Roulette Podcast. Enjoy.
[00:00:55] Speaker B: Ten, 987-65-43210.
Happy halloween.
[00:01:56] Speaker C: Hey everybody. Welcome back to another episode of Rock Roulette Podcast. That's right, the Crazy Ass podcast. It took over 2000 albums. Stuck them in a list, stuck them in a wheel. And every other week we spin the wheel. She picks a record for us. We go through it track by track. We talk about the music, the lyrics, the production, the melody and the arrangement and we give it scores. Just a bunch of friends who love music want to do a podcast. And everyone who takes a Ship of Discovery rediscovery with us, we want to really thank you. Talk to us, let us know what you like, what you don't like. Maybe suggest a song for the baby wheel or an album for the mama wheel. We're always listening. We are back to a trio tonight which is freaking awesome. We got Frank back.
[00:02:32] Speaker B: My name is Frank.
[00:02:39] Speaker C: And I'm sexy.
[00:02:47] Speaker D: Great to be back. Hello.
[00:02:49] Speaker C: We got Mark. Oh, hi Mark.
[00:02:51] Speaker A: What's up guys?
[00:02:52] Speaker C: And I'm sad.
Last week we started our Halloween special. Mark put together a spooky wheel and it picked welcome to My Nightmare by Alice Cooper. I was definitely very excited by that. It's something I've always wanted to listen to. I don't really know a lot. Alice Cooper. This is one of his biggest albums. This is his first solo album without the band on his own. So far, pretty good. Production's been good. Musicianship has been really good. It was pretty entertaining, I have to say. Mark, what do you think?
[00:03:19] Speaker A: Yeah, it's pretty good. Musicianship is great. I think that the songs are very eclectic. Not as spooky or scary as I would thought. They were very well played and very well produced.
[00:03:28] Speaker C: Frank, did you get a chance to listen to side one?
[00:03:30] Speaker D: Yes, I did.
[00:03:31] Speaker C: What'd you think?
[00:03:32] Speaker D: I liked it. I like the nostalgic 70s sound on some of the songs. There were a couple of songs I wish they Had a Guido going on in the back that.
That was so famous in the 70s, you know that sound.
[00:03:43] Speaker C: Is that what it's called? The Guido.
[00:03:45] Speaker D: It's called the Guido.
[00:03:46] Speaker C: Yeah. You go, nice.
Yeah, it was really cool.
[00:03:49] Speaker D: I will say the musicianship and the production was really good. And some of those songs, every instrument pops. It really does pop off the track. I think the drumming and the bass were really good. A lot of the songs inside one.
[00:04:03] Speaker C: Agreed. Bass playing was really good. Everything's been really good. Frank, this is a good comeback for you because the first time you ever joined us was on an Alice Cooper album, if you remember. That is correct.
[00:04:12] Speaker D: I love that album.
[00:04:13] Speaker C: Yeah. You were tens all over the place. You were so excited everywhere.
What would you rate the first side, you think, so far? As a whole?
[00:04:21] Speaker D: As a whole, the first side for the lyrics, I was really up and down on the lyrics part of it. That one. I went ahead and averaged out to be about a 7. The production, I gave a 9. Musicianship, 8. Arrangement an 8. The musicianship and the production have been really, really good. The lyrics, you know, they're okay.
[00:04:38] Speaker A: And so, you know, Stephen was mentioned on Along Came a Spider.
[00:04:42] Speaker C: He was. I thought he was.
[00:04:44] Speaker A: I don't know if it's an exact continuation, but he definitely has something to do in that album and I had to look it up to see. I know we talked about that last week.
[00:04:51] Speaker C: Yeah, I thought. I remember his name being mentioned now.
[00:04:54] Speaker D: Was this in Price, I guess, speaker of this?
[00:04:56] Speaker C: Yes, he was.
[00:04:58] Speaker D: Yes.
[00:04:58] Speaker A: Okay.
[00:04:58] Speaker D: I thought so, too.
[00:04:59] Speaker C: You got a hell of a lot more time here than he did on Thriller, which is always awesome. I'm a big fan. Love, Vincent Price. Before we get to side two, which I'm very excited about, we have the Baby Wheel and the new Vet section where we listen to something that's been released within the last year and a half or so. Mark, you want to spin the baby
[00:05:17] Speaker A: wheel in a world where new music
[00:05:21] Speaker C: is not easy to find?
[00:05:24] Speaker B: Welcome to New Bets.
[00:05:36] Speaker A: Here's the new bets. Wheel.
[00:05:50] Speaker C: This wall by floodfall that rhymes.
And what's up with this, Mark?
[00:05:55] Speaker A: This was a recommendation from someone on X.
[00:05:57] Speaker C: Awesome.
[00:05:58] Speaker A: We'll see what it's like. This is this wall by flood.
[00:06:11] Speaker B: Can't touch the memory Just an empty shell it keeps killing me A thousand years in hell why we doing this?
Where's the life we've missed Saving everybody el.
Make them pay and can't bear this wait another day.
Can't raise this empty glass to dead inside drunken sorrows past Where Our demons hide while we do it this where's the life we missed Saving everybody else but burn this wall down make them pay I can't bear this this life is nothing but ashes in the rain if I walk away with anything remains.
This last immortal dance this meaningless without you I'll burn it down for one last year.
We doing this where's the life we've missed Save enough for ourselves Burn this wall down make them pay can't bear this wait another day Burn this wal make them pay this way.
[00:09:02] Speaker C: Not bad. I like the production on it. Like the way the drum sound. There was something else. I don't know if that's part of the band. I think it's actually just a duo, as far as I can tell. A lot of that recently. A lot of duos lately. I think I'd like to hear it again and let it soak in more. More than anything else it isn't something I would say. Oh, my God. I'll never listen to that again. I checked that out again. Let it take in a little bit more. It's very quick. What do think, Mark?
[00:09:21] Speaker A: I don't know. It sounded very low to me, but maybe I just have my headphones a little bit low. It sounded all right.
[00:09:25] Speaker C: I got mine pumped.
[00:09:27] Speaker A: Maybe that's what it is. Maybe I need to raise it up a little bit. I didn't think it was too bad. I thought it was okay.
[00:09:31] Speaker C: I like the production. I like the way the drum sounds. Very clean. Clean but not sterile, which is good.
[00:09:36] Speaker A: This is their third record around, I think, since 2018 or so. People should give them a listen. I haven't listened to anything else. I don't really know what else they do, what other things sound like. Is it all this way? I know there's a girl singing here, but from what I can tell, there's no girl in the band.
[00:09:49] Speaker C: Yeah, I think it's just a duo. Imagine the game. Popular celebrity. Thanks to us.
That'd be awesome. Frank, what'd you think?
[00:09:56] Speaker D: Very guitar forward. It was really cool. I liked it.
[00:09:58] Speaker A: If you like it or you don't like it, hit us up on social media. Find them
[email protected], give them a listen, let them know that we sent you over, and let's rubber stamp it. Here we go.
In a world where new music is
[00:10:13] Speaker B: not easy to find, welcome to New Bats.
[00:10:27] Speaker A: All right, side two. This is Department of Youth.
[00:10:47] Speaker B: We're in trouble all the time. You read about a solid in the papers.
We walk around and bump into walls A blind Delegation and we ain't afraid of high power we're bully proof and we never write our eyes in our fiscal power, justice and truth.
We're the department of Youth, your new department of you.
We just in you.
[00:11:36] Speaker C: I like the part after the chorus. This is a little.
For me. I feel that some of the creepy vibe has slowly faded and I'm waiting to get back to that. I don't know. This one's okay. This could be my least favorite so far.
[00:11:49] Speaker A: I'm not going to make any kind of judgment yet because this is really in his wheelhouse. It feels like the other stuff that he's done. It's definitely not spooky. This is a concept, so we have to take it as the concept. I'm gonna give it a little bit. I like the musicianship again. Production's great. I heard a little bit of Kiss sounding in there, so it shows you Bob Ezrin's influence on everybody that he works with. I don't think it's bad. I just think I need a little bit of more time.
[00:12:12] Speaker C: I'm pretty sure kids knew what they were getting when they got it.
[00:12:14] Speaker A: Oh, I'm sure.
[00:12:15] Speaker D: I need a little more time with it before I can give my thoughts.
[00:12:18] Speaker A: Consensus is we need a little more time, which is not a bad thing. Sometimes songs need extra time for you to decide if you like or you don't like it. It. Verse 1 We're in trouble all the time. You read about us in all the papers Walk around and bump into walls A blind delegation, yeah. And we ain't afraid of high power we're bulletproof We've never heard of Eisenhower missile power, justice or truth Chorus with the Department of Youth Your new department of Youth with the Department of Youth Just me and youth. That's an interesting rhyme. I like it.
[00:12:47] Speaker C: Yeah, the words aren't bad. Reminds me of 18. That vibe.
Lyrically. Not the music, though.
[00:12:52] Speaker A: All right, let's see how this goes. Here we go.
[00:12:55] Speaker B: Stupid and still come out laughing we never make any sense but hell, that never mattered but we'll make it through our blackest hour we're living proof and we never heard of Billy Sunday David run your man as a coot.
We're the department of youth your new department of youth With a department of you Just me and you.
We're the department of you the department of you we're the department of you.
[00:14:06] Speaker C: Yeah, same. I think I like the lyrics better than the music.
[00:14:09] Speaker A: I like that he used his different voices in that part. You can hear it on One side, the other, both of the voices, the smooth voice and the little that time.
That's pretty cool. Yeah. That's not my favorite so far, unfortunately.
[00:14:21] Speaker D: No, the music is good. Not so crazy about the lyrics. Not so good about the melody or anything like that.
[00:14:26] Speaker B: So.
[00:14:26] Speaker D: No, not so good.
[00:14:27] Speaker B: Me.
[00:14:27] Speaker A: Verse 2. We talk about this whole stupid world and still come out laughing Ha. We never make any sense but hell, that never mattered we'll make it through our blackest hour we're living proof and we've never heard of Billy Sunday, Damon Runyon manners or Kook chorus again. And I guess there's just going to be a department of youth and a little bit of ad lib. Here we go.
[00:14:57] Speaker B: We got the power we got the.
We got the power who's got the power?
We got the power who's got the power?
We got the power we got the power.
And who gave it to you?
[00:15:43] Speaker C: Are those Bob Eden's kids?
[00:15:45] Speaker A: I don't think so. I think it's a choir.
[00:15:47] Speaker C: I can't wait for you to read the end they see. Who gave you the power to say Donny Osmond?
[00:15:51] Speaker A: Oh, we've got the power we're the department of you oh, we've got the power who's got the power? We do who's got the power? And the last one is where? The Department of Youth or We've got the power. Who gave it to you? Donny Osmond. What?
[00:16:03] Speaker C: Yeah, that was actually really funny.
[00:16:05] Speaker A: I'm trying to figure out how this fits into the story. Is it about someone making the Department of youth and, hey, we're going to tell the kids what to do or I'm just curious in the story how this works. How does this work with the guy who's killing people or beating people up?
[00:16:18] Speaker C: Is it an album that's all conceptual or is it one of those where some of it is and some of it isn't?
[00:16:23] Speaker A: It's supposedly a concept album completely. I don't know how they tie together, though. That's my question.
[00:16:28] Speaker C: Not too sure it wasn't horrible.
[00:16:30] Speaker A: I'm gonna go first just because I need to get this out of the way because I don't know what anyone wants to do. I'm gonna give it fives across. I don't think it's horrible. It's definitely not as good as some of the stuff prior sav. Yeah, I'll agree.
[00:16:40] Speaker C: Yeah, I'll just go fives across as well. Make it simple, Frank.
[00:16:43] Speaker D: When I'm hearing this song, I was laughing to myself because have the two of you ever seen Boogie Nights?
[00:16:48] Speaker C: I haven't.
[00:16:48] Speaker A: I have.
[00:16:49] Speaker D: There's a scene where Mark Wahlberg's character goes into a studio to record because they want a life after the movie career. They just figured, hey, we'll do something different other than do porn. And they went to the studio, they started recording these songs. And one of the song is we got the Power.
And that's all I kept saying because that scene just came to mind when I heard the song.
We got the touch. We got the power. Watch that one scene. Boogie Night studio song.
[00:17:17] Speaker C: I actually want to see the whole movie. I mean, I heard it's a pretty good movie. I just haven't gotten around to it.
[00:17:21] Speaker D: Oh, it's a very good movie. Very well done. Back to the song here.
[00:17:24] Speaker C: I'm gonna be like the two of you giving fives across.
[00:17:26] Speaker D: It's definitely not my favorite listen to so far on this side.
[00:17:29] Speaker A: The musicianship was great. Everything was really produced. You could hear everything. The vocals were good. It's just not as good of a song as some of the other ones, that's all. All right, here we go. The next one is cold. Ethel.
[00:18:10] Speaker B: One thing I miss is cold Ever in a skeleton kiss we met last night Making love by the refrigerator light Ever leather let me squeeze you in my arms.
Ethel ever come and freeze me with your charm.
[00:18:38] Speaker C: That part after the chorus Woman from Tokyo. Is that what I'm thinking?
[00:18:43] Speaker A: It sounds like something that could be what it is.
[00:18:45] Speaker C: It feels like there's so many different parts that they're trying to squeeze together. I'm not too sure about this one. I like it better than the one before, but I'm still not 100 sure on this one.
[00:18:55] Speaker A: I like it. I like the guitar parts. I'm a guitar player, so I like the guitar stuff. I think it's better, personally. I like the vibe of it a little bit more. Obviously. I like the guitar playing a little bit more, and I like the drumming. Everything's pretty good. I think for me, this is definitely a better song than the Prior.
[00:19:08] Speaker C: I definitely think it's better. If you told me Peter Chris was playing drums in this song, I would believe it. That's kind of his vibe on the drums.
[00:19:14] Speaker A: There's that Kiss connection again.
[00:19:16] Speaker D: This song does remind me of another one. Trying to remember. Is it hot blooded 20 degrees?
I get that kind of vibe.
This is one of those songs I have to listen to a little bit more.
[00:19:28] Speaker A: Wait till you see the lyrics that are coming up in the second verse. Frank, you're going to get an idea exactly what this is about.
[00:19:33] Speaker D: Oh, boy, here we go.
[00:19:34] Speaker A: Verse 1. One thing I miss is cold Ethel and her skeleton kiss we met last night making love the refrigerator light chorus. Ethel, Ethel, let me squeeze you in my arms Ethel, Ethel, come and freeze me with your charms Listen to this, here we go.
[00:19:50] Speaker B: One thing no lies Ethel, frigid as an Eskimo pile She's cool in bed there she ought to be cuz e's dead if a leather Let me squeeze you in my arms.
That's cool.
That's nice.
[00:20:36] Speaker C: Very noisy for a dead woman.
[00:20:39] Speaker A: And just like that, we're back on track.
[00:20:42] Speaker C: Yeah, supposedly. This is one of the victims, I think.
[00:20:45] Speaker A: Steven.
[00:20:46] Speaker C: Yeah. Yes, Steven behavior. So this is a perfect album for Steven because you're like Steve. You're a sick man. What the hell?
[00:20:53] Speaker A: Yes, we should had Steve on. Yeah, man, that would have been the perfect thing.
[00:20:57] Speaker C: Steven, behave yourself.
[00:21:00] Speaker A: Steven, behave yourself.
[00:21:03] Speaker C: Get away from Ethel, Stephen. Let her rest in peace. What do you think of the little guitar part there, Mark?
[00:21:07] Speaker A: Oh, I thought the song was great. I like this song a lot. It's a weird idea, but it fits in with the whole concept of what's going on. When I started to read the second one, I was like, oh, second verse. I didn't get it from the first one and then I went to look. Wow, that's where he's going, huh? Okay, we're in Halloween mode again.
[00:21:27] Speaker C: The first verse kind of hints at it, but once you read the second verse verse, it's blatantly obvious.
[00:21:32] Speaker A: It does hint at it, but it's not as blatant as the first one. He just says she's dead.
[00:21:36] Speaker C: Oh, yeah. No, he tells you. Did you read the second verse yet or not?
[00:21:39] Speaker A: No, I'm gonna read it right now. First two. One thing, no lie. Ethel's frigid as an Eskimo pie. She's cool in bed and she ought to be because Ethel's dead. Chorus is the same. And the post chorus is Come on, cold Ethel, freeze me, babe. It's cool, it's nice.
As far as the music goes, Music's great. I like the guitar parts I like lot.
[00:22:02] Speaker C: And they changed it up. The one that I said before sound like Woman from Tokyo. They didn't play that part again. I think they played something different. I'm almost positive I could be wrong.
[00:22:10] Speaker D: Two sickos celebrating a song about necrophilia.
[00:22:15] Speaker C: I'm not celebrating it. It is what it is.
[00:22:19] Speaker D: Wow. Definitely didn't see this song going in that direction for the Shock factor alone, I think I'm going to give it a high score.
[00:22:24] Speaker A: The first verse gives you a hint. It's the second verse that really does it. All right, let's continue. Here we go.
[00:22:31] Speaker B: It's true.
Stuck on you and everything is my way Ever don't have much to say.
Ever Let her let me squeeze you in my arms.
Ever Let come freeze me with your charm.
Come here, Cold Ethel, what makes you so cold?
Ooh, so cold.
Cold ever. Cold, Cold Ethel.
Cold Ethel. Cold, Cold Ethel.
Cold Etho. Cold, Cold air.
Cold Ethel. Cold, cold ever.
If I live till 97, you'll still be waiting in refrigerator heaven. Cause you're cool.
You're right.
Cold.
[00:23:39] Speaker C: That sounded like David Bowie on the background vocals of the Cold, Cold eto.
[00:23:46] Speaker A: If it wasn't for the subject matter of the song. I don't know. I actually enjoy this song a lot. I think the lyrics just make me laugh.
[00:23:54] Speaker C: There are people who write certain things and are serious about it, and there are people that do it for show.
[00:24:00] Speaker A: This is shocking value. This is what it is.
[00:24:02] Speaker D: Pad.
[00:24:02] Speaker C: Worst subject matter on this show for people that blatantly talk about certain things and they're not kidding about it.
[00:24:09] Speaker A: No, this is 100 a joke. But it's part of the whole concept, which makes it a little more palatable just because it's part of the concept of the album. Verse three. One thing, it's true, Cold Ethel, I am stuck on you and everything is my way. Ethel don't have much to say. No, she's dead.
And the bridge chorus comes, and then the same chorus again. And then bridge, come here, Cold Ethel, what makes you so cold? Ooh, so cold. Ooh, Cold Ethel. Cold, cold Ethel. Verse 4. If I live till 97, you'll still be waiting in refrigerator heaven. Because you're cool. You're ice cold Ethel, you're my paradise.
[00:24:50] Speaker D: Ow.
[00:24:52] Speaker A: It's hysterically funny. Anyone who takes this thing seriously, which I'm sure there were people in the 70s that took this really serious. He's talking about necrophilia. Yeah, it's shock value, people. Shock value. Sad. Why don't you go first?
[00:25:05] Speaker C: Oh, yeah, I'll just go sixes across. It's definitely better than the one before it.
[00:25:08] Speaker A: It's.
[00:25:08] Speaker C: It sounds slightly disjointed to me, but I definitely think it's better than the one before Frank.
[00:25:13] Speaker D: Even when they're just joking about it, the music is so good. They're clearly putting this track on there as a goof. But the music is so good. I'm gonna give the music an 8. The production has been like throughout. This whole album's been really good. I'm gonna go and give that an eight. The lyrics, the melody a five.
Yeah, I'm gonna give those five lives, Mark.
[00:25:33] Speaker A: I'm going to do sixes across. Except music. I'm going to do seven. I like the music. I like the guitar playing. I thought it was really, really good. It's a weird subject to make a song about, but again, part of the concept. I can go with it. All right, next one is years ago.
[00:25:59] Speaker B: Here I go again.
Up and down alone all my friends went home years ago.
All my toys are broken and so am I inside mom, the carnival has closed is an go.
[00:26:58] Speaker C: It reminds me of a King diamond interlude, something that he would do. That's pretty cool. Kind of creepy, but I like it.
[00:27:03] Speaker A: It's creepy. Circus creepy. What does he say after years ago? He says something else, but I can't make out what he's saying.
[00:27:09] Speaker C: Oh, I don't know. I just always wait for you to read it.
[00:27:12] Speaker A: No, he says something after the years ago line. I can't make out what it is. Is so very weird. Creepy song. This is what I expect from Alice Cooper. This black widow, devil's food. This is the kind of stuff. Cold Ethel. This is the kind of stuff I expect.
[00:27:27] Speaker D: Yeah, Mark, you nailed it. It's that circus freaky kind of sound.
Expecting that it's creepy. I don't know, man. I don't know how to describe it. Expecting like a Freddy Krueger come out somewhere in the long song.
I like it.
[00:27:42] Speaker A: Verse one. Here I go again. Up and down alone all my friends went home years ago Ve too. All my toys are broken and so am I inside mom, the carnival has closed years ago. This is has to be Steven, I assume, correct?
[00:27:58] Speaker C: Yes.
[00:27:59] Speaker A: Yeah, he's a freak. Steven.
[00:28:00] Speaker C: Yes. This is like them in the beginning where the mother's like, king, you be a good boy.
[00:28:08] Speaker A: Yeah, it's freaky, but I like it now. It's getting more into what this is.
[00:28:12] Speaker C: Yeah, this is what I wanted.
[00:28:13] Speaker A: I don't feel the first side had a lot of this. It had a little bit.
[00:28:16] Speaker C: The first three songs felt like they were conceptual and then it had the little Broadway tune and then Only women bleed. Didn't really have to do with the concept. It's a standalone song because it's like Abuse. It's not Steven killing a woman. That has nothing to do with that. It was about actual abuse. It was an anti abuse song.
[00:28:33] Speaker A: Maybe the woman who was bleeding is Ethel beforehand.
I'm just saying, looking at this as some kind of a story, it does bring its way in there. But then Department of Youth is there, which is a little weird. I'm sure there's a reasoning behind that. And I can see why they wanted to make an actual play out of this. It probably would work. I'm surprised it never got done.
[00:28:50] Speaker C: He probably reflected in his live show, though. I'm sure, considering how visual he is.
[00:28:53] Speaker A: I don't know how much of the songs he plays. I don't think he plays a lot of this stuff. I don't know. Tell you the truth, I don't know either. That's a good question, Frank.
[00:29:00] Speaker C: Have you ever seen him live?
[00:29:01] Speaker D: Did he was part of the vampires. Was him Johnny Depp, Joe Perry, Matt Sorum? I think may have been drumming for them. He was fantastic.
[00:29:09] Speaker C: I think I mentioned it last week. I saw him as well. Part of a hair metal concert at Jones Beach. Mid-90s. Yeah, he was the headliner. Dawkin was there. I think Slaughter was there.
[00:29:20] Speaker D: Oh, wow. You could have a good one.
[00:29:21] Speaker C: Yeah, he was really good.
[00:29:23] Speaker D: He came out with the whole top hat and everything like that. It was a really good show. It was really good. Very well done.
[00:29:28] Speaker A: All right, let's continue. Here we go,
[00:29:47] Speaker B: Sam.
No, I'm a great big man.
No, let's be a little boy for a little while longer.
Maybe an hour.
[00:30:31] Speaker D: No, Steven, we have to go back now.
Isn't that our mom?
[00:30:38] Speaker B: Ram?
[00:31:11] Speaker C: That was cool, man. I dig that. Had me looking over my shoulder here.
[00:31:15] Speaker A: Well, this is what you want from a Halloween record. This is where it's really getting into the Halloween part, which I didn't feel as much in the first side.
[00:31:22] Speaker C: Very 70s horror thematic. This would be a good intro to a 70s horror movie.
[00:31:27] Speaker A: Verse 3. I'm a little boy. No, I'm a great big man.
No, let's be a little boy for a little while longer. Maybe an hour. No, Steven, we have to go back now. Isn't that our mom calling? Steven, come home.
[00:31:44] Speaker C: Don't laugh. When that other voice came in on the left side, I thought Frank forgot to mute because it sounds just like him.
Mark's gonna kill him. But then I'm like, wait a second. That's part of the song. Dude, I'm not kidding. It sounded just like him. Like you coming in on the left side, Stephen.
Yeah.
Oh, Mark's gonna have to edit this, right?
[00:32:08] Speaker D: Why don't you go first for the spooky factor? I'm just gonna go ahead and give
[00:32:13] Speaker C: the sixes all the way across.
[00:32:15] Speaker D: It's a fun song. I do like it for the funness of it. I just can't go above 6 because, you know, the serious music guy can't do that.
[00:32:22] Speaker A: Mark, I like this a lot. Weirdly, I think it plays into the whole concept of the record. I'm doing sevens across.
[00:32:30] Speaker D: It's great to be here.
[00:32:31] Speaker B: Thank you.
[00:32:31] Speaker D: It's Quint 7, just for Nicolo.
[00:32:33] Speaker A: Nikki Titty baby, I hate you.
[00:32:38] Speaker C: I thought that was the guy in the song. For a second, I was debating what I was gonna do. But you know what, Mark? I'm gonna go sevens across. That was my original thought, and I'm
[00:32:48] Speaker D: gonna stick with it.
[00:32:48] Speaker C: I'm gonna go sevens across on this sick little trip. Keep one eye open. It's Nikki Titty baby, Quintuple seven.
[00:32:54] Speaker A: I just think it's perfect for what we're trying to do, and it's perfect for the concept of the record. That's why I get sevens. Is it better than other things on there, really? No. I take it as the whole thing. The intent behind it, the song, the creepy two voices, him being the little boy and being the crazy person who is killing people and having sex with dead women in front of the refrigerator light. That's how I take it.
[00:33:16] Speaker C: Yeah, this is very creepy. I like it. I love that. Creeps me out.
[00:33:20] Speaker A: Okay, the next one is Steven.
[00:33:37] Speaker B: I don't want to see you go.
I don't even want to be there.
I will cover up my eyes and pray it goes away.
You've only lived a minute of your life.
I must be dreaming. Please stop screaming.
I don't like to hear you cry.
You just don't know how. How deep that puts me.
So I will cover up my eyes and it will go away.
You've only lived a minute of your life.
I must be dreaming. Please stop screaming.
Steven.
Steven.
I hear my name. Steven, is someone calling me? I hear my name. Steven.
And I see breath in whispers, screams of pain.
[00:35:19] Speaker C: Yeah, this plays into it, too. And it's creepy the way he's singing like the child. There was one part of the verse where it wasn't clean. When he came in, he was like.
And then he went into the words, which I thought was actually pretty cool. Yeah, this is a little twisted. I mean, I've seen horror movies that are worse than this, but it's still cool. I'm kind of digging it.
[00:35:39] Speaker A: I know you don't want to dig it because it's really Creepy and really sadistic. It's exactly what this thing needs to be. From what I can gather here. He's killing his wife.
That's why all these things are going on his head. Oh, he's saying all these things and it makes sense when you read the words. Oh, yeah, he's weird. He's a fucking crazy psycho.
[00:36:01] Speaker D: While this is playing, I started to rub laughing myself because this is what I would imagine, a Muppet singing a solo because another Muppet pissed him off. It'd be like a whole Muppet solo singing stage gonzo singing this.
[00:36:20] Speaker C: It actually does sound like gonzo a little bit, right?
[00:36:23] Speaker B: Yeah.
[00:36:23] Speaker C: Yeah. There is that factor to it. It's basically the child singing it, the whole dorm beats thing. Except he's speaking the child and the man as opposed to the mom and the man.
[00:36:33] Speaker A: It's very well done, that's all I have to say. His vocals on this are great. He plays the part exactly the way it needs to be played. Verse 1. I don't want to see you go. I don't even want to be here. I don't even want to be there. I will cover up my eyes and pray it goes away. Refrain. You've only lived a minute of your life. I must be dreaming. Please stop screaming, screaming. Verse 2. I don't like to hear you cry. You just don't know how deep that cuts me. So I will cover up my eyes and it will go away. Refrain. The same thing as before. Chorus. Stephen. Stephen. I hear my name. Steven. Is someone calling me? I hear my name. Stephen. That icy breath whispers screams of pain. You can just think of him. She's saying his name as he's killing her. Is someone calling my name? Oh, I don't like all this is going. I'm just gonna cover my eyes While this is going on. The little kid that in the man's body doing the actual deed of killing his w.
It's kind of twisted, but
[00:37:26] Speaker C: it's the same concept as when Norman Bates runs to see the girl in the shower. If you've never seen the movie before, you don't. And you don't necessarily know what's going on. Oh, my God. He's got to corrupt his mom's murder.
We all know what the truth is, if anybody's ever seen it. I won't spoil it in case there's anybody out there. Excuse me. Spoiler alert.
[00:37:46] Speaker A: Don't think it's a spoiler for a movie for that.
[00:37:48] Speaker C: 60 years old at this point, you never know.
[00:37:51] Speaker D: True.
[00:37:51] Speaker A: All right, let's Continue. Here we go.
[00:39:38] Speaker B: I don't want to feel you die.
But if that's the way that God has planned you I'll put pennies on your eyes and it will go away.
See, you've only lived a minute of your life.
I must be dreaming.
Someone calling me?
No, I think I hear a voice.
It's outside the door.
Stephen.
I give my name. Name? Steven.
Is someone calling me? I hear my name.
Steven.
What do you want?
Steven?
What do you want?
What do you want?
What do you want?
What do you want?
[00:41:44] Speaker C: Very thematic, very grand and simple in terms of the lyrics, but you understand what's going on, and if not, you can read about it.
[00:41:54] Speaker A: I like the fact when he comes in as Steven, he can't do the words right, so he makes all those mistakes at the beginning of the lines and stuff. I think that's great.
[00:42:02] Speaker C: I mean, he's a killer, but he's not a killer. For killer's sake. Let's say he's been traumatized, guys. And this is not to defend it, but he's giving you a story about himself.
[00:42:11] Speaker A: Yeah, this is very good. Not for the subject matter, just. But the whole way they put it together and the thematic nature of the song, I think it's great.
[00:42:18] Speaker C: I was gonna ask Frank, based on his Motley Crue, you're all I need comment. If now that he knows this song, this is gonna be on the makeout list.
[00:42:27] Speaker D: This song, it's so weird. And there was parts of it that reminded me of November. Rain certain areas there. And then all of a sudden, the lyrics take a weird turn. Here and there, talking panties on people's eyes.
[00:42:40] Speaker C: No, pennies. Like the fairing. Pennies.
[00:42:43] Speaker D: Oh, pennies.
[00:42:44] Speaker C: I heard pants.
[00:42:45] Speaker B: All right,
[00:42:48] Speaker A: well, that works too.
[00:42:49] Speaker C: Technically, I think it was pennies.
[00:42:51] Speaker A: It is pennies.
[00:42:52] Speaker D: No, it's not pennies. Panties.
[00:42:53] Speaker C: He said panties. Pennies, man. But, you know, like, you put the pennies in the tent isn't like for the ferryman or whatever.
[00:42:59] Speaker D: Well, I think the panties part is better.
[00:43:01] Speaker A: Verse 3. I don't want to feel you die but if that's the way that God has planned you oh, I'll put pennies on your eyes and we' lived a minute of your life I must be dreaming. And then the intro to Steven is someone calling me. No, Steven. I think I hear a voice. It's outside the door. And the chorus comes again, pretty much. And the bridge is, what do you want? What do you want? What do you want? And the outro. Stephen, Stephen, Stephen. I hear my Name. He's a psycho. It's done so well that you almost feel sorry for him in a weird, strange way because he's so messed up. I'll go first. This is another seven for me. I think between this and the other song, it's all playing into this story, and I think I'm going to have to do sevens.
[00:43:42] Speaker B: Nick. Frankie Titty Baby. Quintuple 7.
[00:43:45] Speaker A: Frank.
[00:43:45] Speaker D: I do like concepts. I do like good storytelling, especially when the artist makes it very clear that, hey, this is a concept album and I'm telling a story. I think he really nailed it with this song. I'm gonna go nines across. Very well produced. The music has been great. The lyrics align with what he wants to do. Although I think the panty line works better than the pennies.
[00:44:03] Speaker A: Yo, yo, yo. It's nines, baby. Nines across.
[00:44:07] Speaker C: I think I'm gonna go sevens across as well.
[00:44:09] Speaker A: Oh, yeah. Nikki titty baby. It's quintuple seven. It's really good. The bunch of songs in a row are making this album.
[00:44:16] Speaker C: I think if these songs were on the first side and the first side all went into this whole thing, I think it would have been really cool. Then it really would have told more of this story.
[00:44:25] Speaker A: Maybe they did it on purpose. Maybe they figured they couldn't do this on the first side just because people were going to get too freaked out.
That's the only thing I'm thinking. Yes, because the other stuff does make sense.
Welcome to my nightmare is the beginning. Then the black widow is talking about him. And then only one that doesn't really make sense to me is the department of youth. Other than that, I think they're doing a great job. The second side is exactly what you want for a Halloween record. Last week, I don't know why this is a Halloween record. This doesn't make any sense. And now it makes sense.
[00:44:53] Speaker C: No, but the beginning. Welcome to my nightmare. Devil's food.
[00:44:56] Speaker A: Yeah, but I don't know. This side seems more what I was expecting.
[00:45:00] Speaker C: Well, that's what I'm saying. I think if they went from black widow into years ago, or even if it started with years ago, Steven. And then welcome to my nightmare. And because it seems as if he's maturing, he's kind of matured on the first side and this is his beginnings, that it really would have been more of a concept and maybe get rid of some folks and stuff like that.
[00:45:21] Speaker A: You know how you do it? You make your own playlist and shuffle it all around the way you'd like, yeah. All we can do is take it as the artist's intent, which is the way this is. But regardless, I'm liking the second side a lot.
[00:45:31] Speaker C: Yeah.
[00:45:32] Speaker A: Okay. The next one is the awakening. Awakening.
[00:45:44] Speaker B: I wake up in the basement I'm so hungry I'm dry I must be here Sleep walking.
From my Looking for my wife.
Following a trail of crimson spots that lead into the night.
Suddenly I realize I see it all through Realize these crimson spots are too big from man.
It makes me feel like
[00:47:10] Speaker C: I like the way it started. I'm not sure about where it's gone. Lyrically, I understand where it is. It's more of the melody. If anything. It's not bad. Still following that concept and musically. So I'm going to let this one sink in a little bit more.
[00:47:22] Speaker A: He's 100% in with this character. He's in it. He's doing it. That's what I get out of this.
[00:47:27] Speaker C: Oh, he's in. He's definitely in.
The concept is absolutely still there. And then the creepy factor is still there because I like the music. It's played well again. There's almost regressive elements too, to some of this too, which is actually pretty cool. In general, I don't know how much Bob Ezran had to do with this and how much give and take there was. He's a good producer.
This is the kind of guy you definitely to want on something like this.
[00:47:49] Speaker A: I think he's the kind of guy who puts his stamp on. He has 100% to do with this. If you think that he has anything to do with this, that's not the kind of producer he is. You don't go to him for somebody who's gonna be hands off and make you sound the way you want to sound. He's gonna make you sound the way he wants you to sound.
[00:48:05] Speaker C: Yeah.
[00:48:05] Speaker A: So you have to be okay with that. I feel that in concept, things like this, except for maybe the elder, he does a much better job than the artist probably would do.
[00:48:13] Speaker D: I do like it.
Again, it's just that old freaky sound of someone just speaking off to than spilling out their thoughts.
[00:48:22] Speaker A: Obviously, he's figuring out that he did this. And this is not a dream.
[00:48:26] Speaker D: That's right.
[00:48:26] Speaker A: Verse 1 I wake up in the basement I'm so hungry I'm dry I must be here Sleepwalking, mustn't I? First to getting up from my easy chair Looking for my wife Following a trail of crimson spots that lead into the night Suddenly I realize I see it all through. Realize these crimson spots are dripping from my hand and ooh, it makes me feel like a man. He's getting aroused by the killing of his wife.
[00:48:50] Speaker C: Yeah, he doesn't want to like it, but he's working it.
[00:48:52] Speaker A: All right, let's continue. Here we go.
[00:49:39] Speaker C: Fitted a bit oddly, I think, but
[00:49:41] Speaker A: I get it, though. I understand what they're trying to do. And again, remember, this is the 70s. Records can't be that long unless you're going to make it a double album. You have to choices about how you're doing these things so it can fit on a side of record. I understand that too. I'll go first. I still really like it, but I'm just gonna give it sixes across because it's so short. If it was a little more fleshed out, I think that would be cool. Just because it's shorter. But I like it just as much as I like the last two. I think it's doing a really good job of putting you in the moment and putting you in the mind of this crazy guy who's probably schizophrenic or bipolar. And he doesn't know what he's doing, but he doesn't know what he's doing. He thinks it's fake. He thinks he's a child. Is he a child? Is he? I'm an adult. You can't really understand where this guy's head is at other than it being short. That's the only reason I give it sixes. Saf.
[00:50:23] Speaker C: Yeah, I was going to do the same thing. Two sixes across, keep it simple, continues the story. It's still got that creep factor, which is cool. It's. It's cool. You're like listening to a horror movie in a sense. I'm down for that, Frank.
[00:50:33] Speaker D: I'm going to go up a little bit more. I'm going to go sevens across again. I do like the whole concept album that he has going on here with the song. He continues it. It's very spooky. It's extremely spooky. I'm curious to know, did they make a movie or show on this one as well? I know they did for of his concepts. Like a TV movie.
[00:50:50] Speaker C: No, Mark, you said that they were going to make something out of this, right? And they didn't.
[00:50:54] Speaker A: They were going to do a musical, but they never did, as far as I know.
[00:50:56] Speaker D: That would have been cool to watch. I'm going to do sevens across with this one.
[00:51:00] Speaker B: Yeah, it's Steve and it's quintuple 7
[00:51:04] Speaker A: Nikki titty baby and now we're at the end of the album. This is Escape.
[00:51:17] Speaker B: Made on my cruel I happy face Happy behind Takes me inside another place where no one can find it Escape I get out when I can I escape anytime I can it's all escape I'm crying in my be Come on, let's escape Just get me out of here.
[00:51:51] Speaker C: This a very happy, catchy next song. This is not what I was expecting.
[00:51:56] Speaker A: I think on purpose, just for the fact of it throws you off so much because the last three or four songs have been so dark that I was expecting Escape to be a little more in the same vein. But now it's just. Just this happy, poppy song. It's just weird.
[00:52:12] Speaker C: I guess it's good that it's weird. I'm not going to judge it based on how much I enjoyed the creepiness of what was going on before it, because there is a tongue and cheek thing about doing this song as the last song. After that's been going on, I can appreciate that. I'm going to judge it as a separate song. It's catchy. It's okay so far. It feels a little flat for me. I think that's what I'm missing. If it fills up a little bit, I think it'll be. It'll become a better song for me.
[00:52:39] Speaker D: If I'm thinking that the thought process behind having this upbeat song, then I think it's pretty brilliant. When they put it. Throughout this whole song, you have this person going into their dark phase of a psychosis. They've done what they had to do. They've realized what they've done, and now they just go out to their day, like, oh, yeah, we're going to go out now and have a good time and enjoy our life. That's what psycho people do. They just go out like nothing ever happened. And this song is capturing that moment when they just leave after doing this very dark thing like nothing happened and it's bright days and it's okay. Hey, just gonna go and enjoy the sunshine now.
[00:53:11] Speaker C: Yeah, I got my beer.
[00:53:12] Speaker A: I wasn't even thinking about that. That makes it even creepier. He's just, oh, yeah, I'm just gonna go out and do my thing after I just killed my wife and probably cut her into little pieces.
[00:53:20] Speaker D: Yep. The lyrics would be very telling.
[00:53:21] Speaker C: Yeah, that's what I was getting. It's like, hey, my wife's dead. I'm gonna have a beer and drink myself into whatever.
[00:53:28] Speaker A: Yeah, I wasn't even thinking of that. And, yeah, now that I hear it. Okay. That's a creepy thing to do.
[00:53:33] Speaker C: Yeah.
[00:53:34] Speaker A: Verse 1. Pain on my cruel or happy face I hide me behind it it takes me inside another place where no one can find Escape I get out when I can I escape anytime I can yes, I'll escape I'm crying in my beer Come on, let's escape Just get me out of here it's not really escaping the fact that he's escaping. He's just going through his day and he's going out to do things that make him feel better. I thought it was more going to be an escape, him trying to get away, but that's not the case, which makes him even more of a psychopath.
[00:54:02] Speaker C: Yep. Get out when I can.
[00:54:03] Speaker D: You have a person who's trying to keep that dark side tamed. And the dark side side is speaking to the bright side of this guy that's trying to enjoy his day. He was like, I'm going to escape when I can. Pretty brilliant writing, if that's the thought behind it.
[00:54:15] Speaker A: 100%. All right, let's continue. Here we go.
[00:54:19] Speaker B: Don't get me wrong don't get me right I'm not like you are When I get home from work at night I'm pleasant and boo so I escape I get up and I cannot escape Anytime I can't I'll escape I'm crying in my fear Escape Just get me out of here where am I running to? There's no place to go Just put on my makeup and get into the show.
What are you waiting for?
[00:55:28] Speaker C: It's a good song. I think it filled out a little bit more. It's doing a little bit more of what I wanted it to do. It's very catchy. And welcome to my nightmare. I knew. Not that we were listeners of Alice Cooper, but just how famous this record is. You think that we would have known something more, I think, unless you guys did and I didn't, which is possible.
[00:55:46] Speaker A: No. This is a total discovery for me. And some of the part here, when I read it, it seems like it's referring to him. And I'm sure that's on purpose to make the listener feel that it's him, not a character. When you read it, you're going to understand what I mean. It's in the bridge, verse two. Don't get me wrong, don't get me right I'm not like you are When I get home from work at night I'm blacker and bluer and chorus is the same. And then bridge is where Am I running to? There's no place to go. I just put on my makeup and get me to the show. Yeah. Escape. Yeah. What are you waiting for? That line right there. Just put on my makeup and get me to the show. Because he wears makeup and he puts on a show. Unless it's supposed to mean something else. But you could take it as Alice Cooper.
[00:56:26] Speaker B: Who?
[00:56:26] Speaker A: I always think that he says that Alice Cooper is a character that he plays on stage. So maybe that has something to do with this, too. I don't know.
[00:56:33] Speaker C: Unless this is what Steven does. Unless he's also an artist or musician.
[00:56:38] Speaker A: You could take it that way maybe. But I think he said that on purpose. Those two lines that put on my makeup and get me to the show. It's probably on purpose to make people feel that that's him.
[00:56:47] Speaker C: Yeah. That thin veil of. Is this you?
Are you saying Stephen is you? I kind of. Of get that vibe as well. I can feel that. Kind of felt that, too, listening to the lyrics.
[00:56:57] Speaker D: If it was written in that concept that I'm thinking, hey, we're just going to go about our everyday like nothing happened until we have our next moment of darkness and psychosis. Then I. I think it's brilliant.
[00:57:07] Speaker A: All right, let's continue. Here we go.
[00:57:20] Speaker B: And while I ran my problems down I stole this mascara that's how I escape I get out when I cannot escape Any way I cannot escape I'm crying in my B lips. Escape.
Just get me out of here. Escape.
Nobody wants us around here anyway. Escape.
What are we waiting for? Escape.
Escape.
[00:58:02] Speaker D: Escape.
[00:58:03] Speaker B: Come on out here. Let's escape. Escape. Escape. Escape.
Ra.
[00:58:40] Speaker C: He does that thing where he pluralizes at the end, where he says, let's get out of here. Nobody wants us here anyway. Is there a little kid laughing there at the very end?
[00:58:49] Speaker A: I think it's, we've got to get out of here. We've got to get out of here. I've got to get out of here. I've got to get out of here. I think that's what's going on.
[00:58:54] Speaker C: It's all about one person. And then at the end, well, it's
[00:58:57] Speaker A: we, because it's him as the adult and him as the child together.
[00:59:01] Speaker C: But that's what I'm saying. Yeah.
[00:59:02] Speaker A: It becomes this dual schizophrenic personality. Is what?
[00:59:07] Speaker C: Right. I mean, unless I'm wrong, it was me up until that part.
[00:59:11] Speaker A: Now it's we.
[00:59:13] Speaker C: And then, like I said, it sounded like a little kid laughing at the very, very end.
[00:59:17] Speaker A: Did you notice the Xylophone that I didn't notice that was in the chorus.
[00:59:20] Speaker C: Yes. It was so cute. I thought that was very funny and
[00:59:24] Speaker A: probably on purpose, because the xylophone is a child's instrument. See, little things like that you have to listen to. And probably have to hear this record a bunch of times to hear all the stuff that's going on. There's probably more things that we missed. Verse 3 My doctor said just come around, you'll be taken care of and while he ran my problems down I stole his mascara Chorus that's how I escape I get out when I can I escape any way I can I escape I'm crying in my beer let's escape let's just get me out of here Escape let's get out while we can Escape any way we can Come on, escape Nobody wants us around here anyway. Escape what are you waiting for? And then a bunch of escapes. So you're right, he changes it from I. And then the second half, he does we. It's brilliant.
[01:00:06] Speaker C: I mean, unless I'm misreading. And obviously anybody who listens and knows, please, that's not what it meant. But that's how I'm taking it right now.
[01:00:13] Speaker A: It's the two sides of him, the little kid and the adult, that's killing people. The innocent one and the one who's just a crazy murderer. It's a weird way to end, but you know what? In some strange way, it's the perfect way to end the record.
[01:00:26] Speaker C: Lyrically, it's the best way. The only other thing I would have thought of, maybe if he had some kind of little coda at the end. But like I said, if there's that little kid laughing, unless I misheard it, then I'm like, okay, okay, that's probably how to go.
[01:00:38] Speaker A: No, I think it's good. All right, I'll go first. I'm gonna do eight on lyrics and seven on everything else. I think the lyrics are brilliant. As he changes the eyes to wheeze and just all the little things he does and how he gets into the way he does his lyrics. I think it's great. I like the fact that it's so happy after four songs of being really creepy and dark. And I think that's the only way you really could end this record. Even though I would think the other way, I would think would be the obvious way to end the record. But this is. Is the right way, Frank.
[01:01:04] Speaker D: I think it's absolutely brilliant how he ended this album with this song. It just ties everything back, sav Great catch with the pluralization on some of the lyrics. I didn't hear it until you pointed it out. Definitely got it. It's all these different personalities, I guess, inside the head, but I'm going to give it a 9 just because how it brought everything back in full circle. Musicianship was great. The production was great. Lyrics were dark in their own way, even though they were upbeat overall. A great way to end it.
[01:01:30] Speaker A: Yo, yo, yo. It's nines, baby. Nines across death.
[01:01:33] Speaker C: I'm gonna go slightly lower than everyone. I did like it and I do appreciate the way it ended. I'm gonna go sixes across, though. It may jump up at a later time, but for now we're gonna keep it at sixes. It's cool and it's creepy in its own happy way.
[01:01:46] Speaker A: It's so happy, it's creepy.
[01:01:48] Speaker C: You know what it is? You ever seen a horror movie that ends and then the little song they play at the end is this happy song? That's how I see it every once in a while. A while where you get this movie, especially if it ends very violently. You know how like Halloween or whatever has the Mr. Salmon playing in it. It's kind of like that. That's how I see this, which is cool.
[01:02:05] Speaker A: I just annoyed that I haven't listened to this record and it's over 50 years old. It's kind of upsetting that I have never listened to this. I maybe heard one song, welcome to my Nightmare and everything else. I've never heard the Discovery part of our podcast.
[01:02:17] Speaker C: I've watched a few rankings of his and their albums. If I ever go down this rabbit hole or if I it ever comes up on the podcast. And this thing is always toward the top for everybody. I've seen at least two or three rankings and this one is always toward the top. This is without a doubt a fan favorite for people that have listened to all of the catalog. If I go back, I think other than a couple of those diddies, I use that word when I'm not sure what to use. I would probably go back. But as a concept, when it's really focused on the concepts, it's really strong. It's a good record, good product production, really good arrangement. The way it's done. The creepy factor. There's a part two to this which a lot of people don't like. Welcome to the number two, My nightmare.
[01:02:59] Speaker A: I think it's almost impossible to make a second part to this and have it be as good as this. That's a problem that's a good problem to have, though.
[01:03:07] Speaker C: I don't know who produced it. I don't know who played on it. I forgot when it came out.
[01:03:10] Speaker A: It was later on.
[01:03:11] Speaker C: Oh, it was way later. It's funny how seeing those rankings, this one ranks toward the top. Top and that one ranks toward the bottom. For I think pretty much everybody saw. It's like when people review King Diamond. Abigail's toward the top, Abigail Tools 2 is toward the bottom.
[01:03:27] Speaker A: You can't recreate things like this. This was organically done. Now you're trying to make a part two to something which was so organic that it can never be as good. Generally, it's usually like part twos of movies are usually never as good as part ones. There were very few cases where that's the case.
[01:03:43] Speaker C: Yeah, very few where the sequels are better than the original.
[01:03:45] Speaker A: It's like Ghostbusters and Ghostbusters too. Ghostbust is great. Ghostbusters 2, not so much.
[01:03:51] Speaker C: I. I won't speak sacrilege about that. I've never seen part two, but I wasn't crazy about part one.
[01:03:57] Speaker A: Well, part two is worse than part one.
[01:03:58] Speaker C: That's what I've heard.
[01:03:59] Speaker A: So if you didn't like part one, you're definitely not liking part two.
[01:04:03] Speaker D: I'm shocked that. Not that I was a huge Alice Cooper fan, but I would think that definitely something good albums, good music is something that we do enjoy and very surprised my first time listening to it. I'm glad that I got to listen to it. I never realized how great of a lyricist or storyteller Alice Cooper was until this. Now the second album that I'm listening to. I thought that first one that we heard was a one off thing, but apparently it's much more of his style than a one off situation.
[01:04:30] Speaker A: I'm happy we got it.
[01:04:31] Speaker C: I'm very happy.
[01:04:32] Speaker A: I think it was great for the Halloween episode. I was a little skeptical at the beginning because I didn't think it was very creepy. But the more it went, the more I liked it. All right, Saf, why don't you do your thing?
[01:04:41] Speaker C: We are part of the Deep Dive Podcast Network and the Boneless Podcast Podcast Network.
[01:04:46] Speaker A: Boneless, you know, like those chicken wings without the bone.
[01:04:49] Speaker C: Like I always say, great bunch of guys took us in right away. If you want individual podcasts about bands, you name it, it's probably there. Tom Petty, Zeppelin, Judas Priest, Rush. They probably check it out. And Mark, when they find us on
[01:05:01] Speaker A: the interwebs Rock with that pod and all the social media. Rockwoodlightpodcast.com do the polls, do the merch. You know what to do. Put us on your auto downloads and rate us 5 stars wherever you rate your podcast. Next week we will actually be spinning the regular mama wheel and we will see what that pulls up for because we've had a couple of audibles, an anniversary episode and a Halloween episode. So now we're back on track with just having the wheel pull some random shit that we don't know what it's going to do.
[01:05:26] Speaker C: I'm really looking forward to it. I've enjoyed what we've done with the anniversary and this and the velvet revolver, but we need a little bit of chaos, I think.
So hopefully she brings some chaos next week.
[01:05:38] Speaker A: The wheel knows how to bring chaos. All right, guys, we'll see you next week.
[01:05:41] Speaker C: Ciao. Ciao.
[01:05:42] Speaker D: Good night.
[01:05:43] Speaker A: Later.
[01:05:49] Speaker B: 10, 9, 8, 7, 6, 5, 4,
[01:05:57] Speaker A: 3, 2, 1, 0.
[01:06:15] Speaker B: Satan.
