Episode 57 - Metallica - Death Magnetic (Part 1)

[00:00:00] Speaker A: You. [00:00:04] Speaker B: 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 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 on to the Rock Roulette Podcast. [00:00:49] Speaker A: You. [00:01:14] Speaker C: Everyone. Welcome back to another episode of Rock Roulette Podcast. That's right, the podcast that took over 1000 albums, stuck them in a list, and every other week, typically, we spin the wheel, as we call her. She picks an album for us and we go through it track by track, typically half an album per week. Sometimes we get to do one a week if we're quick enough and don't talk so much. And we talk about the lyrics, the music and the production. And we each give a score just based on our own personal preferences. Again, this is no professionals here, again, whatever that means. Just a bunch of guys that love music and wanted to do a podcast. So tonight I have with us, we have with us Mark. [00:01:52] Speaker A: Oh, hi Mark. [00:01:54] Speaker D: What's up guys? [00:01:56] Speaker C: We have Frank back. [00:01:59] Speaker E: My name is Frank. [00:02:14] Speaker F: To be back. Hello everybody. [00:02:17] Speaker C: Frank, you got to make that your ringtone, man. You got to ask more questions. [00:02:20] Speaker F: Totally got to do that. It's going to happen now. [00:02:23] Speaker C: And I'm sav ciao. Buena. So last week we wrapped up the Damn Yankee second album, second and last album, Don't Tread, and Mark and I completed it. And I think general consensus is, Mark, when it's good, it's good, and when it's not, it's not. [00:02:44] Speaker D: Pretty much. Yeah. We were expecting more. We always kept saying they could do better, they could do better, they could do better. [00:02:50] Speaker C: Which is a compliment, right. Because I think there's some pretty good stuff on there. And there's some stuff that was a little bit stocky, I think, for people of their caliber. [00:03:01] Speaker A: Yeah. [00:03:02] Speaker D: And like I said, Ted Nugent to me is the all star of that record. [00:03:06] Speaker C: Yeah, I was very impressed too with his yeah, it was great. [00:03:11] Speaker D: I mean, I'm sure there's people going, no shit. I don't listen to enough of his music to you know what I mean to say one way or another. But I would listen through that record, I could see where people say that makes a lot of sense. [00:03:24] Speaker C: Yeah, me, definitely. The solos were good. They were all pretty much built for the songs. There wasn't a lot of flashiness when there was, it wasn't overly done. So kudos to the nuge. Frank, did you get a chance to listen to the record. [00:03:42] Speaker F: No, I did not. I did not get a chance at all. [00:03:46] Speaker D: You didn't even know that record existed. [00:03:48] Speaker F: I did not know that record existed. You're 1000% right. [00:03:54] Speaker C: This is good stuff. [00:03:57] Speaker D: They made a second record. [00:03:59] Speaker F: Yeah. [00:04:03] Speaker C: I don't think it's going to blow your socks off, but I mean, check it out. [00:04:08] Speaker D: Some good stuff. [00:04:10] Speaker C: Well, speaking of whatever, we get to spin the Wheel. [00:04:13] Speaker D: Oh, yes. [00:04:14] Speaker C: Which is always exciting. [00:04:17] Speaker D: I'm always excited. [00:04:18] Speaker C: Let's go around the table. We'll start with Frank since he hasn't been here a while. What do you think she's going to pick for us tonight? Frank, what are you feeling? [00:04:24] Speaker F: Oh, man. I think we're going to pick up some obscure 80 band metal band, hair band. [00:04:31] Speaker D: Okay. [00:04:32] Speaker C: Mark, what do you think? [00:04:34] Speaker D: I don't know. I'm going to go with Frank. I'd like to have some kind of 80s hair metal thing of some sort, even though we just did something sort of kind of like that. But it was the 90s, so I don't know. [00:04:48] Speaker C: Yeah, I was actually thinking 80s, but something maybe not overly popular, but good. And I know it's very specific, which probably means it'll be something shitty from the 70s. [00:05:06] Speaker D: Listen, the Wheel does what the Wheel wants to do. We really have no control over what that is. [00:05:12] Speaker C: I mean, if people don't get the gist that this is random just by looking at the albums we've heard. [00:05:17] Speaker D: Yeah, well, there's some stuff in there you're like. Yeah, but I mean, in general, though, it hasn't really picked horrible, horrible stuff. So sooner or later it's got to come up with something. There's too many albums on there. [00:05:32] Speaker C: We don't really critical, really, about anything. [00:05:34] Speaker D: No, not really. [00:05:38] Speaker C: If anyone else has anything to add. [00:05:42] Speaker D: I think we're ready. Frank, you ready? [00:05:46] Speaker F: I'm ready to go. Let's make this happen. [00:05:49] Speaker D: All right. Well, here we go. Our new wheel spin. This is like the third time we've used it, but I think we're going to continue. Use this sound. I like it. [00:05:56] Speaker C: Like it too. [00:05:56] Speaker D: All right, here we go. [00:06:18] Speaker C: So, Mark, you want to call it out? Are you calling this out? [00:06:21] Speaker D: Yeah, I'm calling it out. Metallica death magnetic. Our second Metallica. [00:06:32] Speaker C: So this is an interesting album. I want to say that this is the album where I heard individual songs and I didn't like it. And then one day I let it play and I enjoyed it. This one or the one after this. [00:06:47] Speaker D: Is like the one where they're coming back, right? Yes, sort of. Kind of. [00:06:55] Speaker C: This was after St anger. [00:06:58] Speaker D: Wow. [00:07:00] Speaker C: I believe. [00:07:01] Speaker D: Wow. This is 2008. [00:07:09] Speaker C: I actually bought this as a Christmas present for one of my bosses. [00:07:15] Speaker D: And it was produced by Rick Rubin. Yes, you're right. St. Anger was 2003. They didn't had an album for like five years. [00:07:25] Speaker C: Yeah, took them a while. Takes a while to recuperate from an album. Like. [00:07:32] Speaker D: Steve's going to be upset that he's not here for this. [00:07:35] Speaker C: Well, he may jump on. [00:07:37] Speaker D: Yeah, maybe he'll come in. He said he was. [00:07:43] Speaker C: A little note. [00:07:44] Speaker D: It's the 9th Studio album, the first not to be produced by Bob Rock since the Black Album. Right. So he produced the last four whatever it and said supposedly going back to their thrash roots. More long solos, more complex compositions, back to some of the earlier stuff. [00:08:12] Speaker C: This is a long one. [00:08:14] Speaker D: Is it? [00:08:15] Speaker C: Yeah, 74 minutes. Almost 74 minutes. [00:08:19] Speaker D: Wow. I didn't realize it was that long. [00:08:23] Speaker F: It could be halfway to Florida by the time we're done listening to this. [00:08:28] Speaker D: There's not one song that's less than six, less than a little over. Well, there's one like five minutes is the shortest. Everything's, like seven. Seven, 8610. So there's lots of stuff. [00:08:41] Speaker A: Yeah. [00:08:43] Speaker C: And I want to say that this is a very bassy sounding OOH. Well, considering yeah, not necessarily. Well, I mean, Rick Rubin is obviously he has a reputation. [00:08:58] Speaker D: Well, I mean, you could also have the record have no bass in it. Like injustice for all. So let's see. So really? Rick Rubin producer? I'm trying to think there's. [00:09:15] Speaker C: Well, he owned Def Jam Records. [00:09:18] Speaker D: Yeah. [00:09:19] Speaker C: Which was a very big label. So Beastie Boys Run DMC Public Enemy ll Cool J oh, yeah. [00:09:28] Speaker D: They were gigantic. [00:09:30] Speaker C: Yeah. A lot of big bands. [00:09:33] Speaker D: Yeah. I'm curious to see what this sounds like. I don't know if I've ever heard this thing. I think I've heard pieces. I don't think I've ever heard the whole thing. [00:09:46] Speaker F: Have you read his book, by any chance? [00:09:48] Speaker D: Rick Rubin? No. [00:09:50] Speaker F: The creative act really good. [00:09:52] Speaker D: Yeah. [00:09:54] Speaker F: His style is very simple. It's very simple. Very budhist kind of thing. Then. [00:10:02] Speaker D: Budhist. [00:10:03] Speaker C: I haven't read a rock biography or whatever in a long time. There was a time when everybody just came out with one at the same time. [00:10:13] Speaker F: It was right around the motley crude, the dirt. [00:10:16] Speaker C: Was it? [00:10:17] Speaker A: Yeah. [00:10:18] Speaker F: That's when you started getting you get a whole bunch that came out after Know Nicky Six came out with his own one, that you had one from James, that you had one from anthony Ketus. Came out with his own. [00:10:35] Speaker C: I had read what's his name, too, from Guns and Roses. The drummer, Steven Adler. I read his book. Tell you what, you feel a lot of sympathy for that guy. [00:10:53] Speaker D: So we haven't done a Metallica record for 24 records. [00:10:57] Speaker C: So what episode is this, Mark? That's what I wanted to ask. [00:11:00] Speaker D: 57. So we did Metallica. It was the fourth album we ever did, so we haven't done it for 20. [00:11:07] Speaker C: That's actually one of our biggest ones, right. Like, listenership wise. [00:11:10] Speaker D: Oh, yeah. Well, Metallica fans, they love Metallica. [00:11:16] Speaker C: Honestly. Look at what we've got. Right. Was it on what was it called? What album did we do? Reload. Right. We did reload. [00:11:29] Speaker D: Yeah. We did reload. [00:11:31] Speaker A: Yeah. [00:11:32] Speaker C: So we get reload and death magnetic. So I definitely say, don't we technically from the biggest ones. [00:11:40] Speaker D: Yeah. No Black Album. None of the early stuff black. No prebox or puppets. Yeah. I'm excited to hear this because I kind of think that I didn't listen to this a lot of this. I mean, I remember when it came out because it was a big thing, them going back supposedly to their old sound. So I'm curious to see if that's really the truth or not. [00:12:03] Speaker C: There's heavy stuff on St. Anger. It was an OD sound. I think this is a little bit speaker warping, I think, with the bass. [00:12:18] Speaker D: Now is this thing like brick Wallmaster where it's going to get frustratingly tiring. [00:12:25] Speaker C: Yeah, I want to say yes, but again, I listened to it straight through maybe once or twice, but it's been a long time. [00:12:39] Speaker D: Awesome. I'm actually excited for the hear this. We haven't done Metallic in a while. I'm trying to see here how many songs are on the first side. How many songs are on the second side. Trying to find the vinyl release place. [00:13:01] Speaker C: I cut it off. [00:13:02] Speaker D: Yeah. No, it's two LPs, so that makes a lot of sense. [00:13:06] Speaker C: Oh, is it? [00:13:08] Speaker D: Yeah. So we're not going to break it up into four. Obviously that's not going to happen. But we'll stop it at five, five and on. So we'll do five and five. That makes sense. [00:13:18] Speaker C: We'll try not to yap too much. [00:13:20] Speaker D: Yeah, we'll do long. We are we ready for this? [00:13:26] Speaker C: I'm ready. [00:13:27] Speaker D: Frank, you ready? [00:13:28] Speaker E: I can't wait. [00:13:29] Speaker D: Let's go. All right, here we go. So the first song is that was just your life? So this is death magnetic by metallica. That can almost be King Diamond. I'm not sure. Do you think that sounds like old Metallica? [00:14:10] Speaker C: Yeah, I think it reminds me of well, I'm not surprised, saying, oh, it doesn't sound anything like them. [00:14:24] Speaker D: If you. [00:14:25] Speaker C: Think of songs like one. [00:14:26] Speaker D: Right. [00:14:26] Speaker C: Very simple. Right? Dun dun dun dun dun dun dun dun dun very simple. Fates of black. Dun dun dun dun dun. [00:14:40] Speaker D: Yeah, I'm good. I like it so far. I mean, just started. The heartbeat was interesting at the beginning. All right, let's continue. Yeah, it definitely sounds like old Metallica. They're doing a good job of it. It's hard for bands to kind of capture that old stuff, you know what I mean? Go back and sound like they did when they were in their early 20s, you know what I mean? [00:16:20] Speaker C: Wasn't just the fact that the Snare doesn't sound like the way it sounded in Death in St. Anger is a plus. [00:16:27] Speaker D: Yeah, I think the drums are sounding good. I mean, it's also hard, too, when you think of those early records. Obviously, before Injustice, you think more of Cliff Burton and the way he plays. I don't have much of an opinion on Robert Trujillo, I think, from what I gather. I saw him play flamenco guitar. He's really good. [00:16:48] Speaker C: Yes, I've seen that, too. [00:16:50] Speaker D: Have you seen that too. Yeah. So, I mean, obviously he played with Ozzy, right? And he was in Suicidal Tendencies, wasn't he, too? [00:16:56] Speaker C: I believe so. [00:16:59] Speaker D: I mean, he's a good bass player to me. That's not what I'm curious to see if Kirk Hammond's going to fall back onto his wawa or is he going. [00:17:11] Speaker C: To do like I don't remember, like. [00:17:13] Speaker D: What he did in the older stuff, which there really wasn't a lot of wawa at all. Yeah. So what do you think, Frank? How do you like it so far? [00:17:22] Speaker F: I love it. [00:17:24] Speaker D: Have you ever heard first time? Oh, wow. So so do you think it sounds like old Metallica so far? [00:17:33] Speaker F: The opening a little bit like one like Savino said, building it up right now, it looks like we're going to get into the good part. So that was definitely that first opening reference. It was definitely Metallica classic. [00:17:53] Speaker D: Here we go. [00:18:18] Speaker E: Like a siren in my head that I would beg to repeat like a blind man that I trusted to the speeding driver seat like a face that lets us speak when all I knew is how to fight like a misery. [00:18:29] Speaker A: That keeps you focused. [00:18:30] Speaker E: So I'm going to straight like an innocent. I must have wicked from his face I can picture my premonition not worthy of who I deny I didn't die. I blind my eyes and try and force it out into place. I picked them up, see? Not my fall from grace laugh on my eyes I had a feeling passing. [00:18:57] Speaker A: Me by I open just in time. Don't say goodbye. [00:19:04] Speaker E: Almost like your life. [00:19:07] Speaker A: Almost like your in this fight custody is long realize you don't belong disconnect. [00:19:15] Speaker E: Somehow never stop the bleeding now almost like your fight and there it went. [00:19:23] Speaker A: Almost like your life. [00:19:29] Speaker D: Like that riff there is very early Metallica sounding, but you know what it is? I think it's the vocals that don't make it sound like early Metallica. [00:19:37] Speaker E: Yes. [00:19:40] Speaker F: I was just going to say that. [00:19:42] Speaker D: He changed the way he sang from like the Black Album on. And that's where I think the change for me, it doesn't feel like the old stuff just because of that, maybe. I don't know. What do you think? [00:19:59] Speaker C: Yeah, he has a different obviously, but even if you look at the videos, he was doing like vocal exercises and things like that, so I think he's restrained a bit and probably because he may have to be. [00:20:18] Speaker D: Maybe, but I don't even think it's the restraining, it's just it's the Kate. The cadence is a little different, though. I don't think he would have done this early on. He didn't sing as much. There's more sing in here than there was before. That's how I feel. [00:20:37] Speaker C: Yeah, there is a lot of singing. [00:20:41] Speaker D: All right, so there's a lot of words here, so bear with me. All right. Like a siren in my head that always threatens to repeat like a blind man that's strapped into the speeding driver's seat like a face that learns to speak when all it knew was how to bite like a misery. That keeps me focused. I've gone astray like an endless nightmare that I must awaken from each day. Like a conviction, a premonition not worthy of so. I deny I deny I blind my eyes and try to force it. All into place. I stitch them up. See, not fall from grace. I blind my eyes I hide and feel it Passing me by I open just in time to say goodbye and then the chorus is almost like your life almost like your endless fight curse the day is long realize you don't belong disconnect somehow never stop the bleeding now almost like your fight and there it went. Almost like your life so the words are good. I like the words. Yeah, he's pretty good at that, I thought. [00:21:48] Speaker C: He's a pretty decent narrative. I mean, overall, when you think about her stuff. [00:21:56] Speaker D: Yeah, 100%. The thing that always sticks out, right? So far, sticking out is the vocal. For me, it just doesn't sound like old Metallica. But that's okay. They're trying I'm giving them credit. They're actually doing it better than some other bands that are trying to recreate their older stuff. So there are definitely parts that sound that way. [00:22:27] Speaker C: What do you think of the production? [00:22:29] Speaker D: I like it so far. I like the drums, guitar, at least, not super bassy. [00:22:39] Speaker C: I could be thinking of the record after this, too, though. [00:22:42] Speaker D: Yeah, it's not super bassy to me. I think it sounds pretty I could. [00:22:45] Speaker C: Be thinking of yeah. The one after this could have been like I said, it's been a while. [00:22:52] Speaker D: Yeah. I mean, I've heard pieces of this record, but not the whole thing. Here we go. [00:23:11] Speaker E: Like a woman that keeps on bleeding to remind me not to think like a raging river drowning when I only need a drink like a poison that I swallow but I want the world to die like a really? Stronger prison then I didn't know I did like a fight to live a path I bring a leap on with I did like a general without a mission until the world start again start again I blind my eyes and try and force it all into place. I see them up. [00:23:43] Speaker A: See? [00:23:44] Speaker E: Not my fault on race. I blind. [00:23:48] Speaker A: My eyes. [00:23:48] Speaker E: I hide a feel. It passing me by. I open just in time. [00:23:55] Speaker A: You say goodbye. [00:23:57] Speaker E: Almost like your life almost like you're. [00:24:01] Speaker A: In this fight curse the day is long realize you don't belong disconnect somehow. [00:24:10] Speaker E: Never stop the bleeding now almost like. [00:24:14] Speaker A: Your fight and there it went. [00:24:17] Speaker E: Almost like your life. [00:24:21] Speaker C: Obviously it's him. [00:24:24] Speaker D: Obviously it's him. Yeah. [00:24:25] Speaker C: But you got that voice. Either it's him or you sound like there's no it's one of those. [00:24:31] Speaker D: The pre chorus to me is where it doesn't sound like old Metallica. The part I blind my eyes and try to force it all into place and then that second verse, he was trying to jam a lot of words, which I don't think he was able almost he almost ran out of space. So that verse is like a wound that keeps on bleeding to remind me not to think like a raging river drowning when I only need a drink like a poison that I swallow but I want the world to die like a release from prison that I didn't know I was in like a fight to live the past I prayed to leave from way back then like a general without a mission until the war will start again start again and then pre chorus and then mean overall I like really? I mean, Lars is definitely trying to play back play like he used to play. [00:25:27] Speaker C: If you listen to the early stuff, he gets more complicated later on. [00:25:34] Speaker D: Oh, you think it's more complicated here. [00:25:38] Speaker C: But it was even more simple in the beginning. [00:25:43] Speaker D: Yeah, I think there's people who either love his drumming or, like, he's not that good. There's not much middle ground for him. I don't think. [00:25:54] Speaker C: He'S fine. I mean, it's not like he screws up the song or anything. [00:25:58] Speaker D: Oh, no. You definitely know that it's him playing, though. He kind of has, like, a signature way he does stuff, so I can usually tell when it's him playing drums. But now I'm curious about the guitar solo. Here we go. We say, Are we taking bets? Wawa. No wawa. What are we saying, Frank? Wawa? No wawa. [00:26:22] Speaker F: No wawa? [00:26:23] Speaker D: No wawa. I say no wawa. [00:26:27] Speaker C: I don't remember. I don't want to say because I want to say that I remembered wawa. [00:26:31] Speaker D: But all right, let's see. Here we go. Come on, Kirk. God damn it. [00:27:25] Speaker C: Told you. [00:27:26] Speaker D: God, you just can't not like that does not need wawa. It does not need and at least it doesn't need wawa through the whole fucking solo. I just find that it feels like it feels like it's a clutch thing. Crutch, I should say it's crutch. Put the wawa on there. Let's make everything sound better. I just don't know if that's the case all the time, like his early. [00:27:50] Speaker C: Stuff, but it started with the Black Album. [00:27:53] Speaker D: Yeah. I don't think he used it that much before. I'm trying to remember. He didn't use a lot of wawa before, I don't think. [00:28:02] Speaker C: No, I don't think so, because I just remember being jarring when he used it. Then I'm like, whoa, wait. What? [00:28:10] Speaker D: And listen, I like wawa when wawa is used. Right? I like wawa a lot. I just think he uses it so much that's not like he uses it through the whole song, and it's not a bad solo. I think it would sound better without the wawa. But I don't know. [00:28:30] Speaker C: I like the build up to the solo better than the solo. [00:28:33] Speaker D: Well, I knew what the solo was going to do that part of it, at least the part of the solo. I mean, the solo itself, for me, sounds like something that you would try to do back in the day. Right? It does sound like his stuff that he did back in the day. It's just the wawa. That's what makes it sound like Black Album later stuff. For me. They should be an edict to tell him, no wawa. There's no wawa on this record. Play without the wawa. [00:29:02] Speaker C: Who knows? Maybe they don't like it. [00:29:05] Speaker D: Oh, without the wawa. [00:29:06] Speaker C: I'm sure there's interviews and write ups about him in the wawa. [00:29:11] Speaker D: Yeah, because I just think he uses it too much. Just too much. All the know it's not in spaces. He doesn't use it. Like last week, Ted Nugent used the wawa. Right. But it was used in the right places at the right time. It wasn't through the whole solo just to be in the solo. I don't think he's a bad guitar player, but I just think that it's so overused. He uses it so much now, he feels like it's something he falls back on. Maybe he thinks that's his thing now and he has to use it because they won't know it's him. I always wonder if Dave Mustaine never got kicked out of Metallica. [00:29:49] Speaker C: Would it. [00:29:49] Speaker D: Have been the same? Would they have been as big? You know what I mean? How would it be? I always wonder. [00:29:58] Speaker C: It's hard to say just because he's such a big personality, but Lars and James are such big personalities, and I mean, there's a period where I think Megadeth was making better records than Metallica and there's periods where Metallica was making better records than Megadeth. So I think it just overall, I wouldn't give up Megadeth. [00:30:30] Speaker D: No, I know. I just I just wonder if he's. [00:30:32] Speaker C: Able to do that by the time he gets to like his I mean, Rest in Peace is a masterpiece, basically. [00:30:45] Speaker D: He might not be able to do that in Metallica, although, I don't know. Like I said, I think from some of the stuff that I've been watching recently, he tells you, when I get drunk, I'm a nasty. I want to fight. And when other people get drunk, they're like, super happy. But he got angry and nasty. [00:31:04] Speaker C: Yeah. [00:31:04] Speaker D: So that didn't help his situation out too much. But I think is it pretty well known he's a better guitar player than Kirk Hammett. [00:31:15] Speaker A: Right. [00:31:19] Speaker D: It's different. [00:31:21] Speaker C: I see Kirk Hammond as basically solo. Clearly, he plays rhythms, but I mean, I just think James. [00:31:29] Speaker D: I don't know how much stuff he plays. I think that's all James. Heffield at least early on, it was all James Hetfield. I don't know about now, but early on, he was doing all the rhythm stuff. I think I'm pretty. [00:31:46] Speaker C: Fan of Kirk. Kirk is a student of what's his name? [00:31:51] Speaker D: Yeah, I'm not a big fan of his as far as like, I mean, it's fine. There's nothing wrong with just if the Wawa wasn't there. I'm hoping maybe going the rest of the record that the Wawa will go away. He'll decide not to do that, but I don't have much faith that that's going to happen. [00:32:06] Speaker C: If I were a betting man, I'd bet against it. [00:32:08] Speaker D: Yeah, probably. [00:32:09] Speaker F: You got a better chance of them dropping the M in front of their name. [00:32:14] Speaker D: Italica yeah. All right, here we go. [00:32:23] Speaker E: Like a truck from heaven how's that key? And bring you straight down to your knees like a touch from hell I. [00:32:30] Speaker A: Feel how hot did it keep getting back in? [00:32:33] Speaker E: Caught like a track from heaven to reprieve to bring you straight down to. [00:32:38] Speaker D: Your knees sarah part's good. I like that. [00:32:57] Speaker C: Yeah, I think it's a really good song. [00:33:02] Speaker A: Yeah. [00:33:04] Speaker D: I mean, again, it's hard to recapture your stuff, so they're doing a pretty good job at trying to get the vibe that it was back in the day, but obviously it can never be the same. You're not making Master of Puppets again, you know what I mean? That's not going to really happen. So we got 123 left. Let's see how much it changes. Are we saying fade out? What do we think? I'm curious. [00:33:32] Speaker C: No fade out? [00:33:33] Speaker D: No fade out. I don't think so. [00:33:34] Speaker C: I don't think so. [00:33:37] Speaker F: Going to end in a wawa solo. [00:33:39] Speaker D: Oh, Jesus. [00:33:40] Speaker F: That fades out. [00:33:42] Speaker C: Fade out on the wawa. [00:33:45] Speaker D: All right, here we go. [00:34:45] Speaker A: Curse the day is long realize you don't belong disconnect somehow never stop the blading now almost like your body and there it went. Almost like your life. [00:35:04] Speaker E: That was just your life. [00:35:07] Speaker D: Here we go. Let me read you the last verse. Like a touch from hell to feel how hot that it can get if you get caught like a strike from heaven turns that key and brings you straight down to your knees like a touch from hell to feel how hot that it can get if I get caught like a strike from heaven to reprieve that brings you straight down to your knees then do a little guitar solo chorus and then end. [00:35:37] Speaker C: Actually, before the Empire reminded me of Iron Mutant, actually. [00:35:42] Speaker D: I can see that. I like the riff and his stuff's hard to play. I mean, he plays, like, all downstrokes. It's not easy to do what he does. It's not bad at all so far. I think it's better than reload that we did. [00:36:02] Speaker C: Yeah. Well, that's not saying much. [00:36:05] Speaker D: No, but I think it's better. Who wants to go first? [00:36:10] Speaker C: Not a fan of that record. [00:36:12] Speaker D: Well, yeah, neither were we. So who wants to go first? Frank, why don't you go first? [00:36:21] Speaker F: Yeah, I like the beginning, but the vocals are just the one thing that we're all highlighting. [00:36:28] Speaker D: Right. [00:36:30] Speaker F: There's just some area of focus on that vocal that makes them sound so different to me. I hear parts of a little bit of a system of a down there. [00:36:42] Speaker D: But I like it overall. [00:36:44] Speaker F: I like the music. So I'm going to give that an eight. The production, I hear everything so clearly, so I'm going to give that a nine. And the lyrics, I'm going to go ahead and give that a seven. [00:36:57] Speaker D: Mark. I like the lyrics. I'm not going to go too off the thing at the beginning because I don't know what the rest of it's going to be like. So I'm going to say seven musicianship. I would say I'm I don't know if I can do an eight. I'm going to do seven. I think I can do seven as a cross. Well, I'm going to do eight for production, but I'm going to do seven for musicianship. I thought it was fine. Like I said, I'm so disappointed that there's still wawa in the solo, especially if they're trying to go back. Like, the wawa thing doesn't need to be there, if that's what you're trying to do. So, like I said, I find that to be his crutch now that he thinks he needs to do it because that's his you know, everyone has their thing. Like, Zach Wilde has that, like, pinch harmonic thing, and everyone has that Eddie Van Hale has tapping thing. Does he think that WA is his thing and he has to do it every time? I don't know. I liked it. Again, I think it's way better of a start than Reload, so I'm happy they're trying to capture their old vibe, which is not easy to do this many years on. Was this 2008? So we're talking, what, 25 years later? That's hard to do so far. I think it's a good start. [00:38:15] Speaker C: Sav I'm going to go triple eight. I really like lyrics. I really like the music. And production was good. I mean, I think it captured it was still clean. So I think it's a really good start. [00:38:33] Speaker D: Yeah, I'm happy so far. If you're a Metallica fan, I think right now you'd have to be happy. [00:38:41] Speaker C: Yeah, I think so. Let's see. [00:38:49] Speaker D: So the next song is End of the Line. Another seven and a half minute, almost eight minute song. That's okay. I mean, this is what they used to do, right? So this is not surprising. Yeah, it's not surprising. That's why they needed a double LP for this thing, because it was so long. Would they get, like, three songs? [00:39:07] Speaker C: Probably. [00:39:09] Speaker F: Is that why the concert lasted, like, two and a half days in New York? [00:39:14] Speaker D: Well, I mean, obviously they have a lot of stuff to play at this point. They were around for a long I mean, this is so far. I'm hoping it continues in this thing. Hopefully Kirk can shed that wawa thing, maybe for a little bit, and maybe it'll make me feel like it's more old school Metallica, but I guess we'll see. [00:39:32] Speaker F: He's going to open up with a wawa on this. [00:39:34] Speaker D: One, probably. I don't know why I'm thinking it's not going to happen. All right, this is the end of the line. It now there's a part there that doesn't it sound like something that's on was it on reload or was it on the black? What does that sound like? [00:40:14] Speaker C: Yeah. Does that sound familiar? [00:40:17] Speaker D: That's straying a little bit from the old school stuff to me. I mean, I don't know, maybe I'm just thinking about that because of what it is. But I'm curious to see if they try to go into the fast beat again or is it going to be this like is this the tempo they're. [00:40:35] Speaker A: Going to continue at it's? [00:41:11] Speaker D: Does that sound like you said? I heard this song before Pearl Jam once. [00:41:22] Speaker C: I think. No, not once. Animals even flow. [00:41:31] Speaker D: Well, there's part of even flow in there, too. I think it's very Pearl Jammy. It's weird. I wasn't expecting that at all. All right. I'm still hoping that it's going to change up a little bit. So let's see. [00:42:16] Speaker E: Bleed battle god chemical affinity rain legacy innocence corrode stain right away catatonic overload. [00:43:06] Speaker A: The ski oh, yeah hooked into this. [00:43:16] Speaker E: Deceiver need more and more into the endless fever need more and more new consequence machine to run through all your gasoline asylum over time, never mind you. [00:43:31] Speaker A: Reach the end of the lion. [00:43:39] Speaker D: Yeah, this song, to me, feels like it wants to be old school. But it can't be. Does that make any sense? [00:43:47] Speaker C: Yeah, but it doesn't. I mean, I don't think it sounds like old school Metallica. [00:43:51] Speaker D: I think they're trying on certain parts, but it's more of the stuff from black on, though. [00:43:59] Speaker C: Yeah. To me it's more like groove metal. So I don't really feel the old school in this one, which isn't bad. It's not a bad song. It's just I don't feel like. [00:44:15] Speaker D: I. [00:44:15] Speaker C: Don'T know that that's what they're going for here. [00:44:18] Speaker D: I thought the whole record, that's what they are going for. That's my assumption here's. The lyrics. Need more and more tainted misery bleed battle scars chemical affinity rain legacy innocence corrode stain rot away catatonic overload then second verse choke asphyxia snuff reality scorch kill the light incinerate celebrity reaper butchery Carmia amputee bloodline redefined death contagious deity hooked into this receiver need more and more into the endless fever and need more and more and that was the pre chorus. Now the chorus. New consequence machine you burn through all your gasoline asylum overload asylum overtime never mind you reach the end of the line I don't like it as much as the prior song for me, I. [00:45:18] Speaker C: Like the first one better. But I'm still digging it, though. It's got a good. [00:45:24] Speaker D: For me. I'm kind of thinking that they're trying to go back to the old thing, so that's what I'm expecting to hear. So when I hear this, it feels like this stuff could be later on stuff. [00:45:38] Speaker C: But don't forget to I mean, if you are only hearing stuff from what other people say, sometimes things get convoluted. So it could have been people saying, oh, they're trying to get back to whatever, and they're like, well, we're just trying to write some songs because, I mean, there's some heavy stuff on saying anger. No, I know, but it's more in. Again, kind of a groovier thing. [00:46:13] Speaker D: Well, yeah, to me, this is more stuff that came after Black and afterwards. For me, if I had to break the line, you know what I mean? That's the side this is on for me. I mean, I do like the fact that they didn't go into the chorus after the first verse. I like that. I like when that happens. So that it's good. I'm not too sure. Like I said, I haven't made a determination how much I like this song yet, but I still think it's better than anything that was on. So that's a positive. What do you think, Frank. [00:46:43] Speaker C: Like it? [00:46:44] Speaker F: Like it a lot so far. Great start. I think the follow up is just as good. I'm enjoying it a lot. That whole Pearl jammy, little surprising, but I like it. [00:46:59] Speaker A: Okay. [00:47:00] Speaker D: All right, here we go. [00:47:18] Speaker A: It time. [00:47:29] Speaker E: Joke, the clock steal another day, die faithfully narcissistic fade away twisted joke, the rail shatter the crowd below break off, chase the ghost from latest high to all time low need more and more into the endless fever need more and more. You consequence machine, you broke through all. [00:48:05] Speaker A: Your gasoline aside them over time never. [00:48:08] Speaker E: Mind you reach the end of the. [00:48:11] Speaker A: Lineup sam SA. [00:49:44] Speaker C: Think that could use WA though. [00:49:46] Speaker D: No, he didn't use WA. I was you know, I don't I. [00:49:54] Speaker C: Don'T listen, it is what it is. [00:49:56] Speaker D: Come on, man. [00:49:57] Speaker A: That's all. [00:49:57] Speaker C: You can say that's. That's all. I mean, the music underneath the solo, I think, was really good. The intro going into the solo part was very maiden y. Again, I like the things that were going on. [00:50:08] Speaker D: I like the stuff in between. I still think I like the first song better, but, I mean, it's not a bad song. I just don't know why every time and again, using in places like in the whole fucking in the whole fucking thing. And again, he's not a bad guitar player. That's the worst part about this whole thing. I just don't understand. I don't get is maybe that's what they want him to like. I don't know. [00:50:46] Speaker C: The truth is that James actually plays all the solos with the. [00:50:54] Speaker D: Maybe. [00:50:57] Speaker C: Doesn'T want to use the James. [00:50:58] Speaker D: If we're using it, you're using it, right? [00:51:00] Speaker C: Yeah. As my wife would say, she does a very good James hadfield impression. [00:51:08] Speaker D: All right, so here's the verse. Time choke the clock steal another day die faithfully narcissistic fade away twisted jump the rail shatter the crowd below breaker chase the ghost from latest high to an all time low and then pre chorus again then a chorus again. Like I said, it's fine. That stuff just frustrates me. It frustrates me when every fucking soul has to have that much wawa. I can't get past it. I'm expecting I want to hear I want to hear him just play without the wawa one fucking time in the last from whatever. From the Black Album. He's been doing that since 91. I don't know. I'm starting to think it has to be Bob Rock's fault. Someone said to him, yeah, why don't we put wawa on this? Oh, really? I never used wawa before. [00:52:11] Speaker C: Yeah, it's kind of curtis, don't use it all the time. Okay, okay. [00:52:17] Speaker D: 20 years later, still using the wawa all the time. All right, here we go. [00:52:46] Speaker A: It jump the hour glass of time. [00:53:36] Speaker E: Spilling sand we will not find as we gather here today we bid farewell. [00:54:03] Speaker A: The slave becomes the master yeah the. [00:54:08] Speaker E: Slave becomes a master need more and more right now and ever after need more and more new cop Christmas. Sheen bro, do all your gasoline asylum. [00:54:22] Speaker A: Over time never mind dead. [00:54:25] Speaker E: I will not some time. Then we will not ever fight. We gather here today sing it by. [00:54:32] Speaker A: Cause you reach the end of the. [00:54:34] Speaker E: Lion. [00:54:42] Speaker A: The end of the lion. [00:54:46] Speaker E: The. [00:54:46] Speaker A: End of the night. [00:54:50] Speaker E: The end of the line. [00:54:55] Speaker A: You reach the end of the line. [00:55:13] Speaker D: I like that little middle part. I thought that was cool. It changed it up a little. [00:55:19] Speaker C: Parts going on here and there. [00:55:21] Speaker D: Yeah. No, I mean, overall, I like it. [00:55:26] Speaker C: Yeah, that was a really good song. [00:55:28] Speaker D: All right, so that middle part is dropped. The hourglass of time spilling sand we will not find as we gather here today we bid farewell the slave becomes the master the slave becomes the master the slave becomes the master the slave becomes the master need more and more right now and ever after need more and more new consequence machine you burn through all your gasoline asylum overtime never mind dead hourglass of time sand we will not ever find we gather here today to say goodbye because you've reached the end of the line the end of the line the end of the line the end of the line you've reached the end of the little even that little pearl. Jamie Part. I kind of like that now in the context of when I first heard it. I was like, oh, why don't they know what that sounds like? Maybe they don't know what it sounds like. I don't know. But yeah, I like that. Again, friggin Kirk Hammett is the only thing I have to say on that. I think I like the lyrics here better. I'm going to say eight on lyrics. Musicianship, I'm still doing seven. Again, the wawa, I questioned the choice, but I like the riffs. I think the riffs I like to change up. I like that middle part. So I like that. And production. Even eight, I think the production has been good so far in the first two songs anyway, everything's pretty clear. There's a couple of guitar parts that are like a little buried that I noticed, but other than that, I like it. I mean, I think it's way better to sound than when we did reload. That's my opinion. [00:57:22] Speaker C: Yeah. [00:57:23] Speaker D: So I like the way this sounds better. I like his drums better on here. They're a little drier, right? Yeah. There's not as much reverb and stuff on them. I kind of like them. [00:57:31] Speaker C: I mean, a little drier and definitely more interesting. [00:57:34] Speaker D: And I was thinking I didn't like I think I liked the other song, but I think I like this song better now. Going back through it, I think I changed my mind. I just wish the fucking solo wasn't totally fucking full of wawa. [00:57:48] Speaker C: Jesus Christ. [00:57:49] Speaker D: I think I'm going to be saying that to this whole fucking record. All right, SAF, you go next. [00:57:57] Speaker C: I'm going to say a seven on the lyrics. I was going to say seven on the music, but, you know, I'll say eight on the music. I think I'd like the first one better. But, I mean, this is definitely very close enough where there's a lot of really cool things going on. So I'll say, yeah, an eight on the music and an eight on the production. Again, clearly this wasn't the one I was thinking of. It has to be the one after this. Yeah. Two for two so far from me, Frank. [00:58:34] Speaker F: Hey, I'm right there with you. I'm going to give the lyrics a seven. The music so far has not disappointed. It's been great so far. And I really like that little medley there with the sound of that projam medley was really cool. So it's been very clear. Like, it give that an eight and the production an eight. Rick Rubin is not disappointing so far. Typical. Great work with great artists, right? [00:59:02] Speaker C: Yeah. [00:59:03] Speaker D: Well, I think he takes some people and tries to get them back to their old style. He does that well. He did that with Hot Chili Peppers, too, you know what I mean? Trying to get them back to what they did prior. [00:59:12] Speaker F: Back to basics. [00:59:13] Speaker C: That's the style. [00:59:14] Speaker D: Back to basics. So the next song is broken, beaten, scarred. This was the fourth single from Death Magnetic, the fourth and final. This one is 625, so we haven't had anything less than seven before. Now it's 625. [00:59:41] Speaker C: So you read this was the fourth and final. [00:59:43] Speaker D: This was the fourth and final single. I probably heard something that says it. [00:59:48] Speaker C: Was the 6th and final. [00:59:51] Speaker D: Who knows? Wikipedia is saying four. Who knows? I don't know. [00:59:55] Speaker C: Honestly. [00:59:55] Speaker D: It doesn't matter. Doesn't matter. [00:59:57] Speaker C: Every song could have been a single. It's not going to change what we do. [01:00:00] Speaker D: Right. Well, this is kind of weird here. It's saying, this is kind of strange. Oh, there's an unforgiven on this, too. No, later on sereno. Second side. The unforgiven three. [01:00:20] Speaker C: Thanks. [01:00:21] Speaker D: God damn it. All right. See, for me, I was hoping this was trying to try to be a return to the old stuff. That's what I always thought about this, that they're trying to go back to the older stuff, like pre Black Album, you know what I mean? That's what I thought this was. So the first one was more like that. Second one not so much, though. Now I'm wondering about broken, beaten, scarred if I remember this and what it's like. I don't know if I remember. So do you remember this at all? Anybody remember this? [01:00:54] Speaker C: I remember the title for sure. [01:00:56] Speaker D: I think. Me, too. [01:00:59] Speaker C: Could I pick it out from a crowd right now? No. [01:01:03] Speaker D: All right, here we go. Broken beat and scarred. They are trying. They are trying because I don't think they would have done this on some of the other records. They're trying, but again, not easy to do. What do you think so far? [01:01:55] Speaker C: I like it. [01:02:00] Speaker F: This is metallica. I like that. Just starts off right in your face. [01:02:03] Speaker D: Like this. [01:02:05] Speaker A: Yeah. [01:02:05] Speaker D: No, it's good so far. Here we go. The one thing I do notice on this record is they don't get to the vocals really fast like prior records. They would have been into the vocal way long already. [01:03:06] Speaker C: Yeah, well, I mean, the songs from the records before, I mean, again, I can't really judge St. Anger because I don't remember all of that. But, I mean, they were written more. [01:03:14] Speaker D: As even the ones that we did. Right. They would have been in the song already. This is 1 minute 13, and they're still not in the song yet. That part of it's. More like older metallica. [01:03:24] Speaker C: Yeah. [01:03:29] Speaker D: I like it so far. I'm curious to see how the vocal and if what's his name is going to do the same thing again, which at this point, I have no doubt that that's going to happen. You might prove me wrong, but I doubt very highly. You're probably right. Yeah. All right, here we go. [01:03:48] Speaker E: You rise, you fall you're down then you rise again what don't kill you make your most strong you rise, you fall you're down then you rise again what don't kill you make your mouth. [01:04:04] Speaker A: Strong riot fall down, rise again what. [01:04:10] Speaker E: Don'T kill you make your mouth strong. [01:04:13] Speaker A: Riot fall down, rise again what's going. [01:04:18] Speaker E: To kill you make your mouth strong. Through black days through black night through. [01:04:25] Speaker A: This black inside breaking your teeth on the hard laugh a comet. [01:04:40] Speaker E: Gotten your. [01:04:41] Speaker A: Feet on, the harder the running. Show your guard breaking a lot. Broken beating guard. [01:04:53] Speaker E: But we die hard. [01:04:58] Speaker D: So what do you think so far? [01:05:01] Speaker C: It's not bad. [01:05:03] Speaker D: A lot less words than he normally does. Like, there's a lot of repeat here, which is not normal for him generally. You rise, you fall, you're down. [01:05:14] Speaker C: More stronger. [01:05:15] Speaker D: Yeah. More strong. You rise, you fall, you're down. When you rise again. What don't kill you makes you more strong. You rise, you fall. You're down. Then you rise again. What? Don't kill you makes you more strong. Rise. Fall down. Rise again. What don't kill you makes you more strong. Rise. Fall down. Rise, again. What don't kill you makes you more strong. Through black days through black nights through pitch black insights then the chorus is breaking your teeth on the hard life coming show your scars the show your scars part. They don't do that a lot where he's not singing stuff like it's background vocal. That's not normal either. Cutting your feet on the hard earth running show your scars breaking your life broken beat broken beat and scarred but we die hard so a lot of repetitive for him, which is not usually what happens. This definitely is not sounding at this part here. To me, it more sounds like stuff that could be on black, that black album personally, just the beat and the. [01:06:26] Speaker C: Riff to me, heavier than the black and not as slick. So I'm thinking kind of more I. [01:06:32] Speaker D: Think it's the production that makes it sound like it's not as, but the riff itself, if you listen a little closer, it sounds like something that could be on that record. It's just not produced the same way. I mean, bob rock had a much more slick. [01:06:45] Speaker C: I do feel like it'd be on the load and reload. So it's not too far removed from no. [01:06:50] Speaker D: Well, yeah. And they were all trying to sort of kind of copy the black album, just not as good. I mean, that's the kind of thing it is. Like, to me so far, the first song to me is the only song that really is trying to get back to the old sound. The next two ones, not as much for me. They're not bad. Again. Still better than Reload. But if the attempt was to go back to early stuff, they started off pretty good, and now they're kind of falling back into what they've been doing for the last 25 years or whatever. But again, not bad. Not bad. I think you would rather have this than load or reload. Probably. And again, not easy to do to try to pull stuff back that you used to do. I mean, this is 625. If I was wrong? Was I wrong? I'm trying to think the stuff on load and reload is a lot shorter. Right there's not a lot of six. [01:07:58] Speaker C: Minutes, seven minutes off, I think it was. [01:08:01] Speaker D: Yeah. So in that know, I think they're trying to change it up, put some more time signature change it. Maybe they're trying to make a combination of the two things, like old some of the old stuff, some of the new stuff and mush it together. [01:08:13] Speaker C: Well, I mean, ultimately it's all written by Metallica, right? [01:08:17] Speaker D: No. [01:08:17] Speaker A: Yeah. [01:08:17] Speaker D: I know. [01:08:20] Speaker C: It still sounds like. [01:08:27] Speaker D: Some I'm sure there's some Metallica purists who say that's not true, that once they hit the Black Album, it's not them anymore. [01:08:35] Speaker C: Yeah. I mean, I can understand that, too, but ultimately, whatever course a band takes, right. [01:08:45] Speaker D: You don't have to like, everything they. [01:08:46] Speaker C: Do started, but if you're making three, four records and like that, and you're like, wow, this is what they sound like now, then I think this is again, I think it's a heavier version of the latter stuff. [01:09:02] Speaker D: Yeah, I can see that. Yeah. And production, too, is different. [01:09:07] Speaker C: Yeah. [01:09:09] Speaker D: The drums being a little drier makes it sound a little heavier, I think. There's not as much rerun. [01:09:16] Speaker C: It sounds like a Rick Rubin produced record. [01:09:23] Speaker D: All right, here we go. [01:09:42] Speaker E: The dawn the Death the fight to the final Breath what don't kill ya make Your Mouth Strong the dawn the Death the fight to the final Breath what don't kill you make Your Mouth. [01:09:57] Speaker A: Strong dawn dance fight final breath. [01:10:03] Speaker E: What don't kill, you make your most strong. [01:10:07] Speaker A: Don't fight final prayer. [01:10:11] Speaker E: What don't kill you make your moss strong. [01:10:14] Speaker A: They scratch me. [01:10:16] Speaker E: They scrape me. [01:10:18] Speaker A: They could and write me breaking your teeth. On the high life become it show your guard. Cutting your feet on the harder to run. It. [01:10:41] Speaker E: Waking your locks. [01:10:43] Speaker A: Broken feet. Guard. But we die hard. You don't. [01:11:54] Speaker C: WA. [01:11:55] Speaker D: Yeah, I liked it better. I tell you truth. [01:11:59] Speaker C: Yeah. [01:12:03] Speaker D: When it came on, I was like, really? No, WA. Hot damn. [01:12:06] Speaker C: Yeah, I was waiting for it to kick in at some point. [01:12:10] Speaker D: Yeah, I know. No, I mean, I like what they're playing underneath the solo, too. It's a little different. Yeah, I like it. I think lyrically, this is the weakest so far. [01:12:23] Speaker C: Yeah, I think so, too. [01:12:25] Speaker D: Yeah. But musically, that's pretty good. So let's see how much more we got to go here. [01:12:35] Speaker F: Another five minutes. [01:12:38] Speaker D: That's, like a minute and a half, but let's see. [01:12:41] Speaker A: Let's see what they're going to do here's. Raking your seats on the hard laugh. [01:13:19] Speaker E: A comet. [01:13:24] Speaker A: Cutting your feet on the. [01:13:26] Speaker E: Harder the running your soul in a. [01:13:33] Speaker A: Heart of the story show your dark. [01:13:39] Speaker E: Spilling your blood in a hot thunderbolt. [01:13:47] Speaker A: Breaking your life broken beat it guard we die hard, we die hard. [01:14:19] Speaker D: There we go. Let me read the last verse. The dawn, the death the fight to the final breath what don't kill you make you more strong the dawn, the death the fight to the final breath what don't kill you makes you more strong dawn death fight, final breath what don't kill you makes you more strong. Dawn death fight, final breath what don't kill you makes you more strong they scratch me, they scrape me they cut and rape me. Then they do a regular chorus. They go into the solo and then the end chorus is breaking your teeth on the hard life coming show your scars cutting your feet on the hard earth running show your scars bleeding your soul in a hard luck story show your scars spilling your blood on the hot sun's glory show your scars breaking your life broken beat and scarred we die hard so the differences, I think probably with this record and some of the other stuff is that there's a lot more tempo change, there's a lot more riff. You know what I mean? Changes in riffs. Yeah. Which kind of like harkens back to older stuff, which they did a lot back in the day in a lot of riffs. It's so funny when Lawrence plays drums, he loves accenting the thing. That's his thing. [01:15:43] Speaker C: Yeah. Which is always I've always dug that when drummers accent the riff. [01:15:53] Speaker D: Why don't you go first? I guess. [01:15:57] Speaker C: I mean, lyrically, I got to say six, because I gave the other one seven. It's not terrible, but it's obviously very repetitive and just the fact that he says makes you more strong, just grammatically, it hurts my ears. I like the music, not as much as the other two, but I'm going to say a seven because it's not terrible. I do think it's a better version of something that could have been on Load and Reload. So this is the kind of song that maybe when we heard it, we were thinking about, wow, what do we pick as our favorite song? This could have been the one. Yeah. Production. I'll give an eight again, I like it. It's warm. There's a warmness, which I've always say, there's a warmth to it, which is a big deal to me. So it's not balls of the wall. Jacket up to ten. Pretty good so far. Frank. [01:17:06] Speaker F: Yeah. The lyrics, I found them to be a little weak, honestly. I'm going to give them a five. I don't know. There wasn't a lot of content there. It's just a lot of repeating. So we give that a five there. The music I like, it was up there, up tempo, really clean. The classic Metallica, I'm going to give that an eight. And then the production, I'm also going to give that an eight. Again, just very clean. Production. Can hear everything really well. Everything's popping, so give that a mark. [01:17:46] Speaker D: Hmm. So, yeah. Lyrics. I'm going to give a six. I think there's a lot of repetitive. Not that it's bad repetitive, but that's weird for him. He tends to have a lot of lyrics. Like, in the second song, he was, like, jamming lyrics in. [01:17:59] Speaker C: Yeah. [01:18:00] Speaker D: And this one, it was like, a lot of repetitive. So I'm going to give it a six for that musician sip say seven. I think I liked it. I mean, nothing here is, like, super wowing. Me like, oh, my God, I can't believe this is whatever. I'm sure maybe there'll be a song that does that for me, but. [01:18:21] Speaker A: I. [01:18:21] Speaker D: Like his riffs, I like the tempo changes. I like that there's no wand. The solo woohoo. That didn't happen very often lately. And production is still eight. I think you're right. It's not bowls to the world. There's dynamics, there's low parts, there's big parts. So I kind of like what they're doing. Definitely better than when we did reload. I like it. [01:18:48] Speaker C: Yeah. [01:18:49] Speaker D: All right, so the next one is the day that never comes. So this is number four. It's a power ballad. It was the first single. Yeah, this is the first single. Some people are making comparisons to one. Welcome home, Sanitarium. And fade to black. We'll see. Those are hard songs to beat, so I'm curious to see what this is. All right. The day that never comes. [01:19:40] Speaker A: Sam Ram. [01:20:38] Speaker D: Of that so far. [01:20:40] Speaker C: Yeah, it's good. I can hear the drums sound a little bit weird, though. [01:20:44] Speaker A: Yeah. [01:20:44] Speaker D: They were different, right? [01:20:46] Speaker C: Yeah. [01:20:48] Speaker D: Well, maybe they knew this was going to be a signal and they changed the drum sound. I don't know why you would do. [01:20:52] Speaker C: That, but I feel like they're a little distorted, almost. [01:20:57] Speaker D: Yeah. And I'm not too super happy with the lead thing. I don't know, it's whatever. [01:21:04] Speaker C: Harmony straight out of the old I'm pretty sure he's actually played some of the same exact stuff. Yeah, but it's just not those songs. [01:21:14] Speaker D: It's just not as good, though. I don't know. There's something about the sound or something that I don't particularly like. It's not as clear or I don't know. They're using some kind of, like, harmony. I don't know if that's a device. I doubt it. Doesn't sound like it's double tracked to me. It sounds like it's a device doing the double tracking and different, making the harmony. I don't particularly like it that much. That part of it, yeah. [01:21:38] Speaker C: No, the projection isn't as good so far in this one, I feel yeah. [01:21:42] Speaker D: It feels a little thin. Right. [01:21:45] Speaker C: Again, it's, like, distorted to me. You would think this one would be cleaner than the other ones. Meanwhile, I think the other ones are clearer. [01:21:54] Speaker D: Yeah. [01:21:54] Speaker C: At least so far. [01:21:56] Speaker D: I see what they're trying to do with the solo stuff and make it that does hearken back to older stuff. I just don't think it sounds as good. I mean, maybe the productions is throwing me off a little bit on this. We'll see. Maybe it gets better. No. What do you think, Frank? [01:22:19] Speaker F: No, I like it. I like it. The whole intro, the ramp up there. I can hear what people saying. You can hear a little bit of one. I mean, I won't go as far as saying it is it, but I can hear the influence of it there for sure. I like it. [01:22:39] Speaker D: All right, here we go. [01:22:57] Speaker A: Push you around, it better just be down? [01:23:05] Speaker E: You pull away he hit the flesh. [01:23:09] Speaker A: You hit the ground mouth so full of lies tend to block your eyes just keep them close, keep praying, just keep awaiting waiting for the world now the day that never comes out when you stand up with your thought I never come. [01:24:01] Speaker E: Know the sunshine never come. [01:24:22] Speaker D: Yeah, the drums are definitely not as good sounding. Yeah, it's it's throwing me off it's making the song does not sound as good. [01:24:35] Speaker C: His voice sounds way different. [01:24:38] Speaker D: What drums? [01:24:40] Speaker C: Some distortions. [01:24:43] Speaker D: It's weird sounding. I don't know. It's either two up front or something's up. Something's up. I don't know exactly what's going on, but I know I don't like the production on this compared to the other three. [01:24:55] Speaker C: I mean, overall, the song hasn't crapped me yet. I mean, this could be now. [01:25:01] Speaker D: Well, you can hear what they're trying to do. You can hear what they're trying to do. Right. A song in the vein of those three songs that they said. Right. Yeah. [01:25:11] Speaker C: But I mean, this could just as easily have been on low too. You know what I mean? It could have been a ballad on I mean, again, it sounds like them, so I just don't necessarily think it's that great. [01:25:30] Speaker D: Yeah. Well, here are the lyrics. Born to push you around better just stay down you pull away he hits the flesh, you hit the ground mouth so full of lies tend to black your eyes just keep them closed, keep praying, just keep waiting. Waiting. For the one the day that never comes when you stand up and feel the warmth but the sunshine never comes no, no, the sunshine never comes I think the lyrics are better than the last song, personally. [01:26:02] Speaker C: Even the lyrics, too. I mean, the sunshine of this and it's definitely more in the vein of what they did. [01:26:09] Speaker D: Yeah. [01:26:10] Speaker C: Black and post. [01:26:14] Speaker D: Well, like I said, they're trying to incorporate some of the other things. It's just, again, a hard thing to do. You're pushing that against songs that are such classic stuff for them that it's hard to say, well, this song is just as good as that. It's a hard thing to do. I mean, I don't think you can ever really do that, but I just. [01:26:36] Speaker C: Think production you may ask them, they're like, we didn't really try to do anything. [01:26:41] Speaker D: I doubt that reality. They made a conscious effort to not use Bob Rock again. Right. Conscious because maybe they wanted to sound a little different. But this I mean, I don't think the production on this is really great. I think it's making the song worse. It feels a little disjointed, but well, maybe it'll change. Let's see. Maybe it'll change. It's got how much more longer it's got? Another five minutes. [01:27:13] Speaker C: Yeah. It's a long way to go. [01:27:15] Speaker D: Here we go. [01:27:17] Speaker E: You cross that line. Just be down this time. Hiding yourself, crawling yourself. [01:27:29] Speaker A: You'll have your time, God. [01:27:33] Speaker E: I'll make them pay. Take it back. [01:27:38] Speaker A: One day. [01:27:41] Speaker E: I'll end this day. [01:27:43] Speaker A: I'll splatter color on this grave waiting for the war. The day that never goes off with it. When you stand up and feel the warm. But I never told Jub is a fall. [01:28:51] Speaker E: At a word and never spoken. Yeah, love is a four letter word here in this prison I suffer. I put in into this I swear this off where the sun will shine this I swear, this I swear this. [01:29:19] Speaker A: I swear. [01:29:26] Speaker D: Before the solo comes you? I don't know, it feels a little feels a little forced to me, that's all. [01:29:34] Speaker C: Yeah. [01:29:37] Speaker D: I'm going to read you lyrics, push you across that line. Just stay down this time. Hide in yourself. Crawl in yourself. You'll have your time. God, I'll make them pay. Take it back. One day I'll end this day. I'll splatter color on this gray waiting for the one. The day that never comes. When you stand up and feel the warmth but the sunshine never comes. Love is a four letter word and never spoken here. Love is a four letter word here in this prison I suffer this no longer. I put an end to this, I swear. This I swear the sun will shine. This, I swear. This, I swear. This, I swear. I don't know. I got to say the one thing I like so far, I like his fills in this a little bit more drum wise. I like his fills a lot, actually. Different than he it feels different than he normally does. [01:30:38] Speaker C: It feels a little disjointed overall. [01:30:40] Speaker D: The song itself. Yes. [01:30:42] Speaker C: Yeah. [01:30:43] Speaker D: It wants to be something else, but it just can't be whatever they want it to be. It all right. I'm curious to see if we're going to get like, a fast solo or a melodic solo or what's going to happen or if we're going to go back to the WA or is he going to stay without the WA? I don't know. Let's see. [01:31:38] Speaker A: Sam it it sam it's full blown. [01:33:58] Speaker C: Instrumental at the end. [01:33:59] Speaker D: Yeah. [01:34:01] Speaker C: That was the best part of the song. [01:34:03] Speaker D: Yeah. I mean, for me, this is my least favorite so far. I'm going to go first, I guess. I'm going to give lyrics a six because I think it's about the same as the last thing for me, stuff is played fine. I don't know how you could say the musicianship is bad. Right. It's not what it is. It's just very disjointed. So I just can't give it up to the same level as the other stuff. I just can't. So I'm going to have to give it a six production. I'm going to give that a six, too. I'm going to triple six it because I don't know what's going on there. Some of the guitar sounds weird, too, like very thin sounding in certain parts. And I don't know. It wants to be something it can't be. Right. Before the solo, they had that and then you heard some of the one stuff. Right. Similar kind of stuff that it wants to be. It's just it was caught between a rock and a hard place, I think, and it tried to be something that really couldn't be for me. And I like the stuff before. It way better. [01:35:13] Speaker C: SAF yeah, definitely my least favorite so far. I mean, I do like the instrumental parts at the end. Yeah, I just felt flat of whatever. I mean, again, I just feel like this could have been not the end part, but the song itself. The crux of the song could have been on load or reload. So, yeah, I'm going to probably give it triple sixes, too, because I think the production gets slightly better when it goes into the instrumental part. But yeah, I wasn't really feeling this one. Frank. [01:35:58] Speaker F: With the two of you, not my favorite at all. I don't know, it just had, like, a confused sound to it. So definitely going to give it five of the lyrics, five of the music, and the production, surprisingly, wasn't that great, so I'm going to give it five as well. So for me, it's five across. [01:36:19] Speaker D: Frank triple fives. I don't know if we've ever had a song triple fives. [01:36:23] Speaker C: I know. I was going to say, man, Frank great, man. [01:36:28] Speaker F: It's weird sounding. [01:36:30] Speaker C: Listen, we're honest about our votes. [01:36:34] Speaker F: It just doesn't seem like it belongs. [01:36:39] Speaker C: I do remember this song, though. I don't remember that in part, but definitely the chorus. I remember reading on the radio, I. [01:36:45] Speaker D: Don'T remember that at all. [01:36:47] Speaker C: Yeah, I remember the chorus once it came on. [01:36:53] Speaker A: Ah. [01:36:56] Speaker D: Yeah, I wasn't really I wasn't feeling that at all. You know, he has somebody describe it. Oh, it's like one it's like Fade to Black. It's like, welcome home, Sanitarium. You're like, it's like none of those things. [01:37:09] Speaker C: Okay. It's got the intro with the solo and whatever, and then it gets heavy, goes into instrumentation and stuff. So I can understand in a sense. But again, just because you're writing something kind of in the style just doesn't mean it's. [01:37:32] Speaker D: Yeah, some of the instrumental parts were okay. It felt so disjointed. Just felt disjointed. [01:37:39] Speaker C: I mean, yeah, I do like the instrumental part. Definitely some more maiden going on in there with the guitars. I definitely heard that, but, I mean, overall. [01:37:52] Speaker D: All right, so this is the last song on this side, so this is All Nightmare Long. This is the third single, supposedly. He's saying that the lyrics is he's he's trying to keep it very vague. So the chorus is a leftover from St. Anger. So whether that's going to be positive or negative, I guess we're going to find out. All right, here we go. All nightmare long. [01:38:47] Speaker A: Damn. [01:39:12] Speaker D: Better already. [01:39:14] Speaker C: Yeah, that definitely sounds like old school. [01:39:17] Speaker D: Yeah, that's 100% right. Yeah, right there. Yeah, I like it so far. Hey, maybe they're going to end strong on the side. Let's see it's. Seven minutes, 57 seconds. It's long. [01:39:36] Speaker A: You SA. [01:40:41] Speaker D: It'S so long. But that to me, does sound like older Metallica. I'm curious to see how the chorus comes in this now that we know it's from St. Anger. Like, what it's going to. [01:40:56] Speaker C: Mean? St. Anger is not a light album. [01:41:00] Speaker D: No. I'm curious to see how it's going to mesh with this because this is trying to be old Metallica here. There's no doubt. Stuff so fast, it's probably so hard to play just because and to be that accurate, you know what I mean? And that fast. [01:41:16] Speaker C: Yeah. [01:41:18] Speaker D: Got to give him credit. He's amazing at that kind of stuff. That's probably why he records all this stuff himself. [01:41:28] Speaker C: This intro could be a little bit shorter. [01:41:31] Speaker D: Yeah. But this is kind of like back in the day. This is kind of like what it was, though. [01:41:35] Speaker A: Yeah. [01:41:36] Speaker D: I mean, it's a minute and so forth. A minute of 44 without barely any vocal. [01:41:41] Speaker C: Yeah. [01:41:43] Speaker D: All right, let's go. [01:41:47] Speaker E: Luck run out call from the wreckage one more time horrific memories with the mind dark rudded cold and hard to turn path of destruction feel it burn still life incarnation still life information hallucination parasite till you run what? [01:42:14] Speaker A: You come what you bear. [01:42:25] Speaker E: Cause we hunt you down with our mercy hunt you down on nightmare long be like rain upon your face feel I shift. [01:42:35] Speaker A: Every move we play cut you down. [01:42:38] Speaker E: Without a day cut you down all night belong yeah look run, I can. [01:42:47] Speaker A: Cry again, but your luck runs out time. [01:42:58] Speaker D: So what do you think? [01:43:02] Speaker C: Yeah, I mean, definitely better than the one before. The melody reminds me of in the Memory Remain. [01:43:11] Speaker D: Well, it's also the singing style, too. Again, like we said, his singing style changed after the Black Album or during the Black Album or whatever. So it's not the same kind that it was on Injustice for all. It's not the same stuff. [01:43:25] Speaker C: Yeah, he's got a little bit of the guttural thing going, though, at some point. [01:43:28] Speaker D: A little bit, yeah. I mean, the riff, like that riff that's right there that's pulled directly out of old shit. I mean, it sounds really good. I don't know, I'm not too sure I like the verses. I'm not too sure yet reading it, I don't know. [01:43:46] Speaker C: Definitely better than the one I'm like. I like it. [01:43:50] Speaker D: Yeah, because it is in your head trying to pull from that older stuff. Right. But it's just I don't know, it's just not as good. [01:44:03] Speaker E: That's the problem. [01:44:04] Speaker D: Seem like, oh, that part's really good. And then you expect it to do something and then it does something that they never would have done then. And you're like, oh, all right. So it starts off. One, two luck runs out. Crawl from the wreckage one more time. Horrific memory twists the mind. Dark, rugged, cold and hard to turn. Path of destruction, feel it burn. Still life incarnation, still life infamy hallucination, hallucination heresy. Still you run. What's to come, what's to be then the chorus is cause we hunt you down without mercy. Hunt you down all night, all nightmare long. Feel us breathe upon your face feel us shift every move we trace hunt you down without mercy hunt you down all nightmare long. Yeah, luck runs out. You crawl back in, but your luck runs out. So I'm going to back it up a little bit because I really like that riff. I want to hear that riff again. I like the riff a lot. [01:45:26] Speaker A: It. [01:45:41] Speaker E: Lock. [01:45:42] Speaker A: Run out. [01:45:47] Speaker E: Like that is not light is here to crush you out with your own fear. You hide, you hide, it will be found. Release your grip without a sound. Dear life immolation still life infamy hold those Sundays off here and say till you run what you come watch. [01:46:19] Speaker D: Me? [01:46:20] Speaker E: Hunt you down when I'm there hunt you down all night belong. Be not brain upon your fight. Be not shift every move we pray hunt you down without me hunt you down all nightmare long yeah, look run. [01:46:41] Speaker A: Out across lag in but the luck runs out down. [01:46:49] Speaker D: Yeah, boy. [01:46:53] Speaker C: Yeah. [01:46:55] Speaker D: But you know what I think it is, though? Like, when they're doing the riff, I think back in the day, they would have used that riff for the verse. That part, they would have used it here, they change it up and they do the verse the way the verse is. I think that's what's really throwing me off. Like, I'm expecting that to continue and it doesn't. And it kind of changes the pace a little bit for me, too. I don't know. Again, I like it better than the last song, but now that I know there's going to be a wawa solo. [01:47:25] Speaker C: In here because I heard it, it's automatically losing points. [01:47:30] Speaker D: What? I don't know if it's going to lose points. I mean, again, I think there's some good wawa wawa solos on the Black Album, even though there's a lot of wawa there, too. I think some of the solos a little bit better, maybe because they're a little more melodic and not as frenetic as some of the older stuff he used to do. That's where I think I don't like the wawa as much. Like, within all the fast stuff he does, I'd rather have him do that without the wawa. [01:47:57] Speaker C: Yeah, agreed. Like he did in that other one. [01:48:00] Speaker D: Yeah, I think it's better when he does that. And maybe some of the slow stuff. Having the wawa is not a bad idea, but I don't know, for him, maybe just in his playing, I like it better without. All right, here we go. [01:49:15] Speaker A: Okay. [01:49:16] Speaker D: Well, he used the wawa only at the beginning, which I think was better, and then he went back to the regular sound, which I thought it was better. I don't know if I like the solo that much, but I appreciate that there wasn't wawa through the whole thing. I don't know. There's some weird things he does. Like, at the end of that thing, the way he was playing off the riff, I don't really like that too much. I don't know. [01:49:42] Speaker C: Parts of this are high, right? They're like a lot of high notes. [01:49:47] Speaker A: Yeah. [01:49:47] Speaker D: He rarely goes well. I think in the black album, he did a little more low stuff, but here it's really high. But it's more up the fretboard. But I don't know. There's parts of the song I really want to like a lot, and then there's other parts where I go I'm not sure. [01:50:04] Speaker C: I feel like it could grow on me listening to it more. [01:50:12] Speaker D: Yeah. [01:50:14] Speaker C: I don't think it's as good as the first two songs. [01:50:18] Speaker D: No. [01:50:18] Speaker C: But I do like that. You know what I mean? I do like the riff. [01:50:22] Speaker D: Yeah. No, I like the riff a lot. All right, let me read lyrics, and then we can get back. One, two luck runs out the light that is not light is here to flush you out with your own fear you hide you hide but will be found. Release your grip without a sound. Still life immolation still life infamy hallucination heresy still you run what's to come, what's to be then back to the chorus then 1234 and then solo. We're going to come back. What are you thinking, frank? How do you like this so far? [01:51:02] Speaker F: I love it. I really like know. You know what's making it sound much better that I've called it a crappy song. [01:51:11] Speaker D: This is very true. [01:51:15] Speaker F: I appreciate it a lot more. [01:51:18] Speaker D: Yeah. The other song, I mean, this song sounds I don't know if it would sound as good. Funny part about that is I think if this came after the first two songs, I don't know if I would like it as much as I do now just because it came after the other song. I like the riff, though. [01:51:34] Speaker A: I have to say. [01:51:38] Speaker D: I like the riff. I'm not too sure if I'm super pumped about the rest of the song, chorus and verse. [01:51:46] Speaker C: Yeah. I mean, I think that's what it is, right? It's lacking a little bit in the melodies, maybe. [01:51:54] Speaker D: Yeah. No, I would like that riff to go through the verse. That's my opinion. Like, I would like that riff as the verse riff, but I don't know. Well, we got still 234. See what they do in this. [01:52:11] Speaker A: Yeah. [01:52:12] Speaker D: It's a long song, man. Here we go. It I didn't realize they were coming back with another solo again. [01:53:15] Speaker C: Yeah, but that was I don't know. That was, like, noise to me. [01:53:21] Speaker A: Really? [01:53:22] Speaker F: You didn't like how that guitar just roared right into it? [01:53:26] Speaker C: I like the riff. I mean, honestly, most of the things that the riffs that are going on underneath the solos all seem really strong, but I don't know, that just, to me, sounded like noise. Well, the first part of the hadn't done that. [01:53:43] Speaker D: Yeah. The first part of the watt, I got in. Like, I liked the part without the watt. After a little bit better. [01:53:50] Speaker C: It's definitely better. But it gets buried, too, right. [01:53:54] Speaker D: It gets buried a lot. [01:53:56] Speaker C: Yeah. But I feel like, honestly, a lot of times his solos get a bit buried, at least in the heavier stuff, if you listen back to it. [01:54:07] Speaker D: Yeah, well but who knows? I think they're a little bit controlling when it comes to stuff, so who knows how they push things back the way they're supposed to? Who knows where the dynamic is with Think? I think technically it's easier to control Kirk Hammond than it is to control Dave Mustaine. That's just kind of what it is. I don't think they could control Dave Mustaine like they control don't. [01:54:37] Speaker C: Yeah, I don't think so either. [01:54:38] Speaker D: No, I don't think so. I mean, he says that, like, all the solos on the first and second record, the stuff that he played was he was copying his stuff. I don't know how true that is, but who knows? I have no clue. I wasn't expecting another solo here. [01:55:04] Speaker C: No, not right there. No. [01:55:06] Speaker D: And again, like I said, a lot of the riffs I agree with. You are really strong behind it. [01:55:11] Speaker C: Yeah. [01:55:15] Speaker D: All right, here we go. [01:55:53] Speaker A: It hunt you down without a day hunt you down I'll not be alone. [01:55:59] Speaker E: Feel I breathe upon your face feel I shift every move we pray hunt you down without you down I'll not be alone yeah, look run I can. [01:56:15] Speaker A: Cry again but you look run it's Dart. [01:56:54] Speaker D: I'm going to read right now whatever part this is here. I like that. I wish that was the verses. Tell you the truth then you crawl back in into your obsession never to return this is your confession and then I guess this counts as chorus, I guess. Hunt you down without mercy hunt you down all nightmare long feel us breathe upon your face feel us shift every move we trace every move we trace hunt you down without mercy hunt you down all nightmare long yeah. Luck runs out. You crawl back in, but your luck runs out. Your luck runs out. That part right there, that was right before the last chorus. I like that a lot. I wish that was the verses instead of the verses that were there. [01:57:36] Speaker C: Me, personally, it's funny because I feel like the Heaviness is good. It's just the melodies. The melodies really hearken still more to more. The recent stuff, which, again, isn't necessarily a bad thing, depending on who you ask, but I feel like it needs something else from him to make it better. [01:58:03] Speaker D: Yeah. [01:58:04] Speaker C: Just because the riffs are really strong. [01:58:09] Speaker D: No, I like the riffs in this song a lot. I just think, like, when that fast part came down, if it was back then, I think he would have continued at the fast stuff during the verse and would have done whatever, and then the chorus would have been wherever the chorus was. But that's why I'd like that other part that was there. I thought that would have been good. As a verse. So why don't you go first, then? [01:58:33] Speaker C: So lyrics are okay. All right. I'm going to flip it this time. So I'm going to go with the music. I'm going to say seven on the music. I'll say seven on production. It still felt a little more distorted with the drums and everything, but it wasn't terrible, I don't think. Whereas the song before felt like it suffered from the production. I don't feel like this one did. I just don't necessarily feel it was as great as the first two. I'm going to say I'll say seven on the lyrics. I mean, they were better than the ones before, a little bit more interesting. So mark oh, did I just say yeah. Triple seven. [01:59:32] Speaker D: Triple seven. Frank. [01:59:36] Speaker F: I get ready to play that again because I'm right there with Sav. Seven across the board. It was loud and at some points it was a little distorted, a little noisy. But still, I don't know. I liked it definitely a lot better than the previous one. I liked the music a lot, the production there and then the lyrics were okay. I liked them. They were enjoyable. Don't give those seven. [02:00:06] Speaker E: Nicky Titty, baby. [02:00:07] Speaker D: Seven, seven, seven. This is Nicky's night. I'm doing sevens across the board, too. [02:00:12] Speaker C: Nice. [02:00:13] Speaker D: Nicky Titty, baby. Seven, seven, seven. [02:00:17] Speaker C: Nicky Titty, baby. Crawl through a river shit. [02:00:22] Speaker F: How come that one got the Sean Connery voice? [02:00:27] Speaker D: Morgan Freeman. [02:00:28] Speaker C: Morgan Freeman. [02:00:29] Speaker F: Morgan Freeman. [02:00:31] Speaker D: Yeah. So for me, I liked a lot of the riffs. I liked the lyrics better than, obviously, the prior. It still feels a little confused about what it wants to be. It wants to be old school Metallica, but it can't be. But I don't know. And maybe it's because of the melodies. I don't know. It's better than the last song. But I'm curious to see what's going to happen on side two now, because are we going to have our typical it's going to start to fall off? I don't know. I mean, the first couple of songs. [02:01:07] Speaker C: Are kind of strong. A foot in the old and a foot in the new. [02:01:13] Speaker D: Yeah. I don't know if that's what they were trying to do. Again, how do you get back to the time when you were 22, right, when you were writing 25, when you were you know what I mean? It's not easy. Who can go back to that time? [02:01:30] Speaker C: Definitely some of the fastness and whatever. Like I said, some of the melodies. [02:01:35] Speaker D: Are a little yeah, I agree. [02:01:39] Speaker C: And it's weird how the production I always find it OD. And again, I know that people don't record songs necessarily. Obviously, you don't record songs in the order that they're on the record. But it's just funny when production changes and you notice a production change and then it happens in the song after, and you're thinking like, all right, they just recorded this differently. Whatever. But then all of a sudden, in the next one, you hear it again and like, okay, well, were these recorded together? Were they recorded different places? And that's why because I know we've came across one album where we figured out that songs that sounded the same with different production were recorded in a different place. I don't remember which one it was. [02:02:28] Speaker D: I was just going to say that right now. This was recorded in Sound City stranger Law and Metallica HQ. So there's three places this was recorded, so maybe that's why it sounds different. [02:02:38] Speaker C: Yeah, that could be it. And I think they're hands on. I mean, I don't know how much Rick Rubin lets them, whatever, but I don't necessarily see Lars and James sitting in the back. [02:02:55] Speaker D: No, I would think no, but he. [02:02:59] Speaker C: Also said, too, that Lars had said that this album was more like the old school in terms of they came with stuff written already, and I think the other ones were more jammy. [02:03:14] Speaker D: Yeah. Well, I'm curious to see what side two provides next time. That's my. [02:03:28] Speaker C: Yeah. [02:03:30] Speaker D: And then this is the first album with Robert Trujillo on it and the second to share writing credit to all the band members, which that doesn't happen very often. [02:03:43] Speaker C: No. That's right. Because Bob Rock played bass on St anchor. [02:03:49] Speaker D: Probably. Yeah, I think so. Yeah. Because I think Jason Newstead was gone already. [02:03:53] Speaker C: Yeah, well, they were auditioning. [02:03:55] Speaker D: Yeah. I like Jason Newstead a lot. [02:04:06] Speaker C: Telling you, man. Some kind of monster. I think the girl I want to say she was from L Seven or Kitty, but I think she was the best one. When you look at the base auditions. [02:04:21] Speaker D: Maybe they thought they couldn't do that. [02:04:24] Speaker C: They didn't say anything. But me personally, I've seen it a couple of times. I'm like, she is it, man. She was just so smooth. And I'm not saying that Robert was bad, but I know that I would say maybe second best. But she was really good. [02:04:43] Speaker D: Yeah. That was an interesting movie, I have to say. Documentary. [02:04:47] Speaker C: Yeah. That gives you a totally new perspective on but you know what, though? They were going through stuff. James wound up back in rehab recently, so yeah. [02:05:03] Speaker D: Doesn't hold on forever. What's his name? Just come go back into yeah. When he hurt his knee. Steven Tyler. [02:05:12] Speaker C: Steven Tyler, right. [02:05:14] Speaker D: Yeah. And that was prescription drugs. Like, they're probably OxyContin or something. I would assume unlikely. I don't know. But probably considering his prior stuff, so who knows? All right, well, this is cool so far. I'm glad we got another Metallica record. It's about time. [02:05:31] Speaker C: Yeah, it is funny, though, right, how the Wheel can pick two albums from one band. And there are bands like, how many albums does ACTC have on this list? 20? [02:05:46] Speaker D: I'll tell you right now. How many now? There's a lot. No, one, too. Like twelve. [02:05:54] Speaker C: Okay. I mean, Kiss has how many? [02:05:57] Speaker D: Alice Cooper probably has the most, but it picks him. Yeah, kiss has a lot. 1234-5678, 910, 1112, 37, about 20. [02:06:13] Speaker C: And James addiction. Right. They picked that. And we kind of called an audible. [02:06:17] Speaker D: On that one because it was and there's only three of those on it's. It's totally random. It does whatever it wants. [02:06:28] Speaker C: Funny. [02:06:29] Speaker D: It is kind of funny. [02:06:31] Speaker C: Well, I will say that we are part of the Deep Dive Podcast Network, as always. Great bunch of guys and a whole bunch of famous bands. If you want know if you got your check them out. They got Rush, they got Queen, they got Maiden, they got Tom Petty, rye heap. You name it, they got it. So if you want something a little bit more individualized, check them out. They're not all over the place like we are. And Mark, where can they find us? On the web? [02:06:58] Speaker D: On the Interwebs rockwillette pod and then rockwilletpodcast.com. Leave us a message. We appreciate everybody listening to us rant and rave about Kirk Hammond and his fucking wawa pedal. [02:07:12] Speaker C: Yeah, that should be a podcast all of its own. That could easily. [02:07:20] Speaker D: Mean we're not the only ones who said that. This is not anything. Now, some people just don't understand why happened so much. [02:07:30] Speaker C: That's what it is, right? It's not even about the usage, it's the nonstop. I mean, you got away, at least on this one so far. Once a little bit better all, which is nice. [02:07:43] Speaker D: A couple, I think. Right? A couple or only one? I forget. Now, Frank, what do you think so far? What do you think of this first? [02:07:57] Speaker F: Oh, I was on mute. Sorry, guys. I like it a lot. I like the first side. The first two songs actually were really good. That power ballad, that fifth one, not so much, and it ended. The side strong so far. I like the nice balance all the way around. [02:08:19] Speaker D: Yeah, I'm curious to see what it does. Well, part of it is, anyway, they're trying again, give them credit. They're trying to get back to some older stuff, and in some places they do, because there's definitely riffs on, especially that last song. You would never heard that on the Black Album ever. [02:08:33] Speaker C: Oh, no. The melodies and again, I don't feel like the melodies because the melodies on the Black Album are really strong. [02:08:44] Speaker D: Yes. [02:08:45] Speaker C: I think after that, Me went downhill. [02:08:51] Speaker D: It's hard to follow something like that up, man. It's just hard. So you got to give them a little bit of slack. Give them a little slack, you know what I mean? Because it's hard to follow a gigantic record like that with anything. [02:09:03] Speaker C: Yeah, and give him credit with the Black Album, man, because there's hardcore Metallica fans that still like it. [02:09:12] Speaker D: And the Metallica fans that don't like it. Like every band, it's been real. We will see you next week, I guess, and we'll finish this thing up and let's see. I'm curious to see what the unforgiven three brings us I didn't realize I was on here. [02:09:32] Speaker C: Yeah, I think I had forgotten about that. I think we talked about it, though. [02:09:36] Speaker D: Did we? [02:09:37] Speaker C: We did the second one. I think so, but don't quote we might have. [02:09:40] Speaker D: That was a long time ago. [02:09:41] Speaker C: Yeah, exactly. [02:09:42] Speaker D: I don't remember. I'm lucky I remember what I listened to today, let alone 25 albums ago. All right, guys. [02:09:52] Speaker C: Later, Choco. [02:09:54] Speaker F: Bye, everybody.