Episode 58 - Metallica - Death Magnetic (Part 2)

[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 107 of the Copyright Act allows limited use of copyrighted material without requiring permission from the rights holders. For purposes such as education, criticism, comment, news reporting, teaching, scholarship and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the Rock Roulette Podcast. [00:00:49] Speaker A: You ram. [00:01:15] Speaker C: Hey, everybody. Welcome back to another episode of Rock Roulette podcast. That's right, the podcast that took over 1000 albums, shoved them in a list, and every other week, typically, we spin the wheel. She picks an album for us and we go through it track by track, and we give our opinions and ratings on each song based on lyrics, music and production. Again, just a bunch of guys who love music and form of discovery and rediscovery for us. So this week we have Steve back. [00:01:45] Speaker A: Stephen, behave yourself. Stephen, behave yourself. [00:01:51] Speaker B: What up? [00:01:53] Speaker C: We've got Frank. [00:01:56] Speaker B: My name is Frank. [00:02:09] Speaker D: Hello, everybody. [00:02:12] Speaker C: We've got Mark. Oh, hi Mark. [00:02:16] Speaker E: What's up? [00:02:18] Speaker C: And I'm sav. [00:02:20] Speaker D: Ciao. [00:02:20] Speaker C: Buena. So last week we covered the first half of Metallica's Death Magnetic, an album that was touted as being something closer to the older Metallica. And I mean, I think so far we found it definitely heavier than reload. But I would say this album has a foot in older Metallica and definitely a foot in, to me, not even the Black Album, honestly, but the kind of fuel refuel sorry, Load Reload era. So, what do you guys think? Frank, Mark, you guys were here last week. What do you guys think so far? [00:03:01] Speaker E: I think that's kind of right. I mean, I know they say this is the return of their thrash metal roots and there's parts of that in there that you can hear, but it's definitely a mishmash of like Load reload. And like you said, maybe Saint Anger kind of mixed together with that. So I'm not familiar with St. Anger that much. I know a couple of songs here and there, but it definitely is not like injustice for all Metallica or public's Metallica. [00:03:30] Speaker C: So, Frank, what do you think so far? [00:03:35] Speaker D: I'm going to say it's kind of like a blend of the classic Metallica and then some new sound in there that's more of the modern 2000s kind of thing. So definitely a nice blend there. [00:03:52] Speaker C: Steve, do you have any I know we had spoken before this and you said you haven't listened to this one in a while, so I'm not sure if you got a chance to relisten to the first side. [00:04:03] Speaker B: Not really, but from what I remember, it kind of shadow what Frank said from what I remember, it's kind of like kind of getting back to the older Metallica before load, but there's some of that newer elements added to it. [00:04:21] Speaker C: Which I mean, again, I would think it's Keeping Them Honest. I'm sure the whole label of being sold out and everything came along with the Black Album. And even though I think it's a classic and I think a lot of Metallica fans would probably agree whether or not it's a direction that they like. [00:04:43] Speaker A: That they went into. [00:04:44] Speaker C: I mean, my thing is this when you have good songs, you have good songs, and I think it kind of may personally dip down after that. So the reminiscing of the load and reload is what? I'm not digging too much here because there's still that vibe. But again, it just kind of shows that that's kind of where the headspace was. So they were writing what they were at that time. But we have the infamous second side today, which doesn't always bode well, it seems. [00:05:22] Speaker E: Yeah, second sides can be tough. Yeah, it really depends. And these songs are on the longer side. We even have like an almost ten minute song on this side. [00:05:36] Speaker B: Damn. [00:05:36] Speaker C: And we've got an unforgiven three, right? [00:05:38] Speaker E: And we have an unforgiven three. If it's anything like unforgiven two. [00:05:43] Speaker B: Just why, though, I don't know. [00:05:47] Speaker E: I don't know why they need to keep hitting the unforgiven over and over. [00:05:53] Speaker C: I guess when you're Metallican, you can do whatever the hell you want. [00:05:57] Speaker E: I guess so. I don't mean and there's still the unfortunate too much wawa pedal of Kirk Hammett on parts of this. And then there are parts where he doesn't use it. And I think it sounds better when it's not used as much as he uses it. [00:06:13] Speaker C: I think that's what harkens back to some of the older stuff, his solos. [00:06:18] Speaker E: Yeah, I think so, but I'm curious to see what the second side brings. Everybody. [00:06:31] Speaker B: Ready? [00:06:31] Speaker E: All right. So, Steve, you can do lyrics. You want to pull the lyrics up before we get going? [00:06:36] Speaker B: I was looking where do we find lyrics for this? [00:06:40] Speaker E: I think all I did was I typed in Death Magnetic full album lyrics and I found it. Whatever site. They're not always right, but pull up. [00:06:48] Speaker B: Whatever you need because I was looking lyrics agency and it wasn't there. [00:06:57] Speaker C: I think lyric genius. [00:07:00] Speaker B: I think I found something here. Dark lyrics. [00:07:04] Speaker E: Yeah, dark lyrics. [00:07:07] Speaker B: All right, so what are we starting on? [00:07:09] Speaker E: We're starting on Cyanide. [00:07:11] Speaker B: Okay, got it. [00:07:13] Speaker E: All right, so here we go here's. Cyanide. Yeah. See, that to me, sounds like something that could be on Reload. [00:07:53] Speaker C: That sounds very hair metal to me, actually. [00:07:57] Speaker E: Yeah, it's definitely different than the other stuff that was on side one. [00:08:01] Speaker C: Yeah, it almost kind of reminds me of Dalkin a little bit. That the riff. [00:08:06] Speaker E: Yeah. [00:08:07] Speaker C: And I'm willing to bet the farm that there's going to be wawa in the solo because well, there's Wawa now. [00:08:12] Speaker B: I was going to say he just couldn't help himself, could he? [00:08:14] Speaker E: Yeah, no, he's right on the Wawa, and he's not even using it on, like, lead. He's using it on the riff. [00:08:21] Speaker B: Right. [00:08:22] Speaker E: Jesus Christ. I mean, could someone just tell him, listen, dude, Wawa doesn't have to be everywhere. Doesn't have to be all the time. Doesn't have to be on every you want to use it on half the solo. Maybe not the whole maybe he gets. [00:08:33] Speaker B: Paid to use it like that. [00:08:35] Speaker E: Maybe he only gets money if he plays Wawa. [00:08:39] Speaker B: That's it. The more wah you do, the more mean. [00:08:42] Speaker C: I don't know if I missed it, but you know, the whole cowbell thing. There's got to be a skit where he's playing Wawa and someone comes in and just says, whatever. And the producer's like, no, Kirk, I think you need more. [00:08:59] Speaker E: Don'T I don't get wait, but wait, here comes here we go. See, that's actually better because it has no wawa on it. [00:09:12] Speaker C: Exactly. [00:09:15] Speaker E: All right, here we go. [00:09:22] Speaker A: You it. Believe in dream of death death angel kill brings final bleeding do they say, yeah won't you let me stay? They say, yeah hear me call your name, call your name suicide, I've already died you're just a funeral I've been waiting for sayonite living dead inside break the sifty shepherd forever more. [00:10:31] Speaker E: It actually like the chorus better than the verses. The chorus sounds the chorus sounds older. [00:10:39] Speaker C: Well, it is older. [00:10:42] Speaker E: What do you mean? [00:10:43] Speaker C: It's something they've done before. I can't put my finger on it now, for whatever reason. [00:10:47] Speaker E: Yeah, but that sounds like older Metallica. [00:10:54] Speaker C: It's kind of like the same progression. [00:10:57] Speaker E: Wow, that's not bad. [00:11:00] Speaker D: You know, it's just off. [00:11:07] Speaker C: Yeah, I think the I don't know what it is. [00:11:11] Speaker D: I can't pinpoint it. [00:11:14] Speaker B: I don't know. [00:11:17] Speaker D: It's like watching an 80s movie in 4K. It's just not right. You're used to that grainy VHS kind of thing, and here it is in 4K. It's like something is off. Like you can see the fake set. There's something too clean, not genuine. [00:11:36] Speaker E: Well, from what I read, I didn't notice this on the first side, but maybe because it was sound a little weird last week. Frank, they said that this is one of the first records well, not one of the first, but one of the records that was in the loudness war where everything was jacked up. So we noticed that the songs changed depending on what studio they were in. So they were definitely recorded in different places because I don't know if it happens on side two, but on side one. Right, like, the first two songs sounded different, and then the next three were like we were like, oh, why does that sound so different? And I'm not sure if everything is everything so jacked up. They're trying to make everything loud. [00:12:16] Speaker C: It's weird. Listen, I like the way the drums sound, but they're up front, and the guitars kind of get lost. And there's something off about the timing on the drums, too. [00:12:29] Speaker E: I don't not I like the chorus. [00:12:35] Speaker D: It's like one of those you know how they're remaking a lot of music using this dolby Atmos sound, and when you hear it, it's just like you miss that grainy, raw sound because everything is cleared up and it just sounds different. [00:12:54] Speaker B: Did you? [00:12:56] Speaker A: Yeah. [00:12:58] Speaker E: I don't know. [00:13:01] Speaker D: We'll see what happens next. [00:13:03] Speaker C: Yeah. [00:13:03] Speaker E: Well, I mean, the one thing at least you can hear bass on this. I guess, so. That's good. [00:13:08] Speaker B: Yeah. [00:13:09] Speaker E: Now, this is Robert Trejillo's first recorded thing with Metallica. Is that was what we said, right? Yeah. Because he didn't play on St. Anger. Because that was Bob Rock. [00:13:20] Speaker C: I don't think so. [00:13:21] Speaker E: Yeah, I'm pretty know. All right. Like I said, I like the chorus. I like the chorus better than the verses. And it's just weird. The more I hear the thing now, the more I keep thinking of hair metal. Now, Savino, now you tell me that it's like docking. It does sound very Dockney. [00:13:38] Speaker C: Yeah. I mean, at least the verse. [00:13:45] Speaker E: Let me back it up a little bit. [00:13:46] Speaker C: And then we can I mean, listen, Talking is one of my favorite bands from that era. So there's been something whatever, but I'm just kind of this is the first one that really strikes me like, just. [00:14:00] Speaker E: What was your favorite song? [00:14:02] Speaker D: What's your favorite song by Duncan? [00:14:04] Speaker C: Oh, man. [00:14:09] Speaker D: It'S taking too long. [00:14:12] Speaker C: Too many. [00:14:16] Speaker D: Really. [00:14:17] Speaker C: I mean, anything from Back from the Attack? Anything from tooth and nail. [00:14:28] Speaker D: I'm a big dream warrior fan myself. [00:14:31] Speaker C: Great song. That's insane. I don't know. I'd have to sit and really think about it for docking. [00:14:39] Speaker E: Yeah. I can't tell you because Lightning Strikes. [00:14:43] Speaker C: Is one of my favorites. [00:14:44] Speaker E: Like, I know all those songs, but I kind of avoided Dawkin in general. I know I've heard a lot of and that's not something that know, sought out. I know a bunch of their songs. I'm sure whenever we do get a docking record, I'm going to know a whole shitload of them. But it's not a band. I never bought anything from them. No, I know tooth and nail. I know. Dream warriors. I probably know ten others because you couldn't get away from it because it was there. But it wasn't a band that I went, oh, I need to buy this record. It's kind of like Rat for me. Every time I turn on fucking Hair Nation, fucking every time, rats all on. Every time I turn it on, I'm like, what the fuck? I don't even like this band that much. And they're always fucking on there for me. It's in the same thing. It's like that third level. Hair metal or second level, I should say. Probably hair metal for me. [00:15:44] Speaker C: I don't know, man. Third level. [00:15:49] Speaker E: No, the second level. [00:15:50] Speaker C: I mean, you cannot be third level with george lynch in your no, no. [00:15:54] Speaker E: I didn't mean third. [00:15:55] Speaker C: It might be one. [00:15:59] Speaker E: What do we call one a if I'm calling one? Bon Jovi. Docking was nowhere on any kind of level that they were talent, so they got to be two. [00:16:08] Speaker C: Listen, if you want to say who wrote catchier songs, then, yeah, Bon Jovi is going to win. [00:16:14] Speaker E: But as far as talent, well, no, I'm talking popularity. On the popularity scale. They're probably second level. [00:16:24] Speaker C: Yeah. Popularity wise. [00:16:26] Speaker E: Popularity. No, they're all great musicians. Like, Georgia Lynch is a great guitar player. I like the Lynchmont stuff better, I think, personally, but I don't know why. Anyway, whatever. This is not The Docking Show today. [00:16:40] Speaker C: Exactly, but this is why we do this, right? To talk about it. [00:16:45] Speaker E: Steve's like, I don't know who the fuck these guys are and I don't care. [00:16:47] Speaker B: That's right. I know nothing. [00:16:50] Speaker E: Oh, that's going to be fun when we hit one of those. That's going to be awesome. [00:16:54] Speaker C: All right. I don't think you're going to hate it, Steve. [00:16:56] Speaker E: No, he won't. [00:16:57] Speaker C: Else you're going to definitely appreciate the guitar playing, I mean, melodies, and look forward to it. Some of this stuff was a little bit heavier than 100% known for yeah. [00:17:11] Speaker E: All right, Steve, read some lyrics. [00:17:14] Speaker B: All right. We got sleep and dream of this death angels kiss brings final bliss completely empty, they say death, won't you let me stay? Empty, they say death, hear me call your name call your name suicide, I've already died gurges the funeral I've been waiting for cyanide living dead inside break this empty shell furthermore hold on. [00:17:51] Speaker E: So what do we think this is about? [00:17:54] Speaker C: I suppose it's just about death. [00:17:57] Speaker B: Yeah. [00:17:59] Speaker E: Okay, well and that was a big theme back in the day, too, right on earlier Metallica stuff, too, so I can see where they're trying listen, like we said last week, it's hard to pull that to go back into that headspace and get back to where they were the first three or four records. Right. It's rough. Besides the chorus, this sounds nothing like old Metallica. It sounds like something that could be on Reload. [00:18:23] Speaker B: Yeah. [00:18:23] Speaker C: In the beginning, it's supposed to be. [00:18:25] Speaker E: SOS SOS, okay, here we go. Here we with the continuation. [00:18:39] Speaker A: Ever more unfolding sleep riding on it they say, girl won't you let me stay? They say death, hear me call your name call your name suicide? I've already died. You're just a fuel I've been waiting for by your night living dead inside break the sifty shepherd forever more rain or are they tears the seam your concrete face for years the crying, weeping shedding strife year after year life after life leave freshly broken ground a concrete angel lit right down upon the grave which swallows fast it's peace and laugh op. [00:21:12] Speaker E: I guess that's where the Solo center I was waiting for. Like, when is this getting to the solo part? [00:21:16] Speaker C: All right, that, to me, all sounded like a demo that wasn't completely worked out. [00:21:25] Speaker E: Yeah. I don't know about that bridge. [00:21:29] Speaker B: I don't know. [00:21:31] Speaker C: It sounds like Lars is, like, trying to play, but he doesn't know it. [00:21:36] Speaker E: And Steve's a Metallica fan, too, and he's. [00:21:42] Speaker C: Listen, there's something missing. Like I said, I'd consider myself as much as a Metallica fan when it comes to the first five albums. [00:21:50] Speaker B: Yeah. [00:21:50] Speaker C: But that is just. [00:21:55] Speaker B: Quite sloppy. [00:21:56] Speaker C: And the guitars are so low. [00:21:59] Speaker E: Yeah. I don't understand that. [00:22:01] Speaker C: They're so back far in the mix. Be so much heavier. [00:22:09] Speaker E: Yeah. You wonder when they're mixing that. Who just didn't say. I mean, again, look at injustice for so, but whatever. But don't they hear it and go, oh, yeah, that sounds don't I think. [00:22:24] Speaker C: What happened is Lars snuck in, jacked up the drums. He might have whistled away and then left. [00:22:32] Speaker E: No one will hear it. Don't worry. [00:22:33] Speaker C: It'll be too late by the time you hear it's. Like albin. [00:22:41] Speaker E: All right, Steve, read the lyrics of the second half of whatever that is. [00:22:45] Speaker B: All right. So I'm kind of confused the way that they did the lyrics on this site because what I'm reading here doesn't pick up until the second half. So I'm assuming maybe it's just a continuation or, like a redo of the chorus. I was kind of lost, so I'll pick it up. From where I see now say is that rain or is that tears? That's the stain your concrete face for years the crying, weeping shedding strife year after year, life after life an air of fresh broken ground a concrete angel lay right down upon the grave which shallow fast its peace at last opiece at last again, fucking depressing. [00:23:46] Speaker E: Now, was that the second part there? [00:23:52] Speaker B: Yeah, that was the second part. Because, like I said, I think it repeats because the thing just says chorus. [00:24:01] Speaker E: Okay. Yeah. I wasn't too sure what they were doing with the clean part there. And then there was, like, those single note line things, and I was just, like I'm not too sure. [00:24:10] Speaker B: Yeah, it didn't sound good. It sounded super sloppy. [00:24:16] Speaker E: Yeah. I don't know. I'm curious to see I mean, the one parts I did like where they were doing, like, the little single note lines in that second part. And that I don't know what tell you call is it a bridge? I guess, where that sounded a little older style Metallica, but in general, this is definitely not a return to the older style by any stretch of the imagination. Now, are we taking bets about wawa on this? Are we saying yes? No. [00:24:47] Speaker C: I'd be amazed. Put the wawa away for the solo after having used it in the yeah. [00:24:52] Speaker B: You'Re used in the intro. How can you not use in the solo? [00:24:55] Speaker E: And he used it, like, in betweens, too. Right? There were some other parts in there. Little parts he was using it on. Frank, what do you think? So we were saying, wow and no WA. [00:25:03] Speaker D: I would say I have a better chance of being on a rocket ship to Mars in the next 20 minutes, that there'll be no WA in this song. [00:25:11] Speaker E: All right, here we go. Let's see. [00:25:14] Speaker A: All sam. [00:25:57] Speaker E: When you get in that rocket ship, what the you got to. [00:26:01] Speaker C: Play the sound mark. You got to come like a rocket ship sound. [00:26:04] Speaker E: Do I have a rocket ship sound? I don't know. [00:26:05] Speaker D: You know what this reminds me of? Like, when La a couple of weeks ago, decided to kick the fear goal for those who entertain in sporting. [00:26:20] Speaker E: I can't I thought there was no way he was not going to maybe this last bit. [00:26:27] Speaker D: Maybe this last bit. [00:26:30] Speaker E: No. [00:26:32] Speaker C: What the hell? [00:26:32] Speaker E: I hope underneath the solo, it's all over the place. [00:26:37] Speaker B: I wasn't even listening to that. I was trying to solo, but it was like, hurting my ears. Like it was the high pitched something. [00:26:45] Speaker E: Well, maybe you're starting to hear the balls to the wall production, like, you know what I mean? Where everything's jacked up. [00:26:51] Speaker B: Yeah, it's very possible. [00:26:54] Speaker E: It's very possible. [00:26:56] Speaker C: This one sounds like it was cut and paste. [00:27:01] Speaker E: Yeah, it doesn't sound like it was put together. [00:27:09] Speaker C: The riff that I said sounds like docking is not terrible. But again, it should be heavier. The song should just sound heavier. It gets a little bit heavier, the guitar sound and the chorus, but it's just in that and the guy's trying to solo and the timing on everything is just weird, man. [00:27:34] Speaker E: Well, let's see if Frankie's right. Let's see if he does get any wawa on this. I don't think so. I think he faked us all out. [00:27:40] Speaker C: I think he did. [00:27:42] Speaker E: Yeah. [00:27:53] Speaker C: There we go. [00:27:53] Speaker E: Frank. [00:27:54] Speaker C: Frankie, you can stay. [00:28:02] Speaker E: On. Frank figured it out. [00:28:08] Speaker A: He said yeah. [00:28:11] Speaker B: Exactly. [00:28:17] Speaker E: I can't believe that. Yeah, you're right. He couldn't help himself. [00:28:21] Speaker B: No, never can. [00:28:25] Speaker E: He went from never using wawa to using wawa all the time. So funny. Someone probably just said, hey, why don't. [00:28:32] Speaker B: You use that wawa pedal sound 100 times better? [00:28:35] Speaker E: Yeah, you can use it on everything. [00:28:39] Speaker B: Use it on everything and then play extra sloppy. It'll sound fine. [00:28:44] Speaker D: Like, wishbone you could put it on anything. [00:28:48] Speaker E: Wishbone. Here we go. What the fuck was that? Did you hear that skip? [00:29:16] Speaker C: Iron Maiden? No, he does it all the time. This is what I'm saying. He doesn't and then it goes into it. He's doing it the whole song. Go back. I'm telling you, he's been doing it the whole song. All right, I'm going to there's one measure, and then it goes into the beat. [00:29:35] Speaker E: All right, I'm going to back that up because I didn't hear that before. It sound like the record skipped. [00:29:39] Speaker C: Yeah. [00:29:43] Speaker E: All right, I'm backing this up. Here we go. [00:29:49] Speaker C: You ram. [00:30:04] Speaker E: I've never even noticed it. That's what it sounds like. [00:30:10] Speaker A: Yeah. [00:30:18] Speaker E: It's not starting off really great, is it? [00:30:21] Speaker B: No, it's really not. [00:30:23] Speaker E: I mean, he did the wawa, and then he turned the wawa off. I was like, oh, okay. [00:30:29] Speaker C: And that part wasn't my favorite part of the solo. [00:30:31] Speaker E: Yeah, that part over there. Yes, I thought so, too. I'd like that. All right, channel. [00:31:04] Speaker A: It. Won't you let me death, hear me call your name call your name suicide I've already died to just the funeral I've been waiting for say a night living dead inside break the sifty shepherd forever more, forever more, forever more it's just the funeral I've been waiting for. [00:31:54] Speaker E: Well, I think that part's not too bad. I kind of like that part. I think I like that part through the song, but I don't know, it's just yeah, no. All right, so I guess we'll have Steve go first since he's Metallica boy at this whole thing. Go ahead, Steve. [00:32:13] Speaker B: I was going to tell you about finished lyrics real quick. [00:32:15] Speaker E: Oh, is there more, please? [00:32:17] Speaker B: I mean, well, it's kind of the same thing. Repeated, but empty. They say, death, won't you let me stay? Empty, they say death, hear me call your name call your name suicide, I've already died here. This is the funeral I've been waiting for cyanide living dead inside break this empty shell forevermore, forevermore, forevermore is this the funeral I've been waiting for? Again, super fucking depressing. [00:32:50] Speaker E: I mean, the lyrics aren't horrible. [00:32:53] Speaker B: They're not, but you can go first. They're not bound, but I don't know, they're not, like, doing it for me. So I'm going to say six on the lyrics. Music. This one's kind of rough. It's kind of all over the place, right. I don't know. It didn't really make any sense. So, yeah, I'll say a six on this one, to be honest. Production, it's all right, but there's a lot of things that just don't sound good. So, yeah, we'll go six on this one, too. [00:33:49] Speaker E: Ouch. [00:33:50] Speaker B: Yeah. Mark what do you. [00:33:56] Speaker E: Mean? Lyrics? Okay. I think I'm going to have to do sixes across the board, too, even though there's parts of it that I'd like. All right. I think it's just so disjointed that it wants to be old Metallica, but it can't be. So when it can't be, they fall into the load. Reload era Metallica, which I don't know how many people particularly like, I'm sure there are people out there that love that record, and whoever you are, God bless. But I think for something that's supposed to be a return to form for Metallica, they fell off the wagon. So I'm going to do sixes across the board. [00:34:34] Speaker C: Sav yeah, I think I'm going to do the same because the lyrics aren't terrible like you said. But again, I feel like the music was copied and pasted together. It didn't sound like they were all. [00:34:53] Speaker A: Playing. [00:34:55] Speaker C: The same song at certain points, and the production was again, I just don't understand hiding the guitar so far back. At least if it was here. And again, it's not all the parts are bad, but very disjointive. Frank. [00:35:17] Speaker D: You know, I think I'm right there with all of you. Sixes across the board. It's just there's something off. I can't pinpoint it. The lyrics, they're okay. Nothing fabulous. The sound is I don't know, I keep wanting to hear that raw sound that I remember Metallica being in the it's just not there here. So I'm going to give it six as well. [00:35:48] Speaker E: Yeah, it's definitely not a return to anything. It's just whatever. But again, we say this all the time. Second sides are tough. You get past the stuff at the beginning and then you're like, will the second side be able to do anything? And so far, no. [00:36:05] Speaker B: That's not looking good for them. [00:36:07] Speaker E: Well, if you like that one, you're going to love this one because this is the Unforgiven Three. [00:36:13] Speaker B: All I'm going to say is, why. [00:36:17] Speaker E: Are you going to give a rating, like, before we even start? [00:36:20] Speaker B: Yeah, I'm giving it a little rating already. [00:36:23] Speaker C: Last one was the cheap knockoff of the first one. [00:36:27] Speaker E: Yeah. Do you think they're going to try to do the same stuff again? Like the same music again? [00:36:31] Speaker B: I hope not. If it does, I might just give it a zero. [00:36:36] Speaker E: Oh, that's rough. All right, here we go. Hold on to your horses. [00:36:54] Speaker A: Sam, I am not too sure what. [00:37:21] Speaker E: The fuck is going on here. [00:37:23] Speaker B: Am I listening to a fucking musical? What is this? [00:37:28] Speaker E: It's definitely the same chords and stuff, except they're just doing on piano. Okay, well, at least it's not the same music, but I don't know. Do I know who plays piano on this? I have no clue. [00:37:49] Speaker C: Tommy Lee, baby. [00:37:55] Speaker E: Let's see who they're saying it. Does it I'm trying to get to where it is here. I'm looking. Let's see. I have no idea. I'm still looking. [00:38:23] Speaker C: Says it's James Hetfield. [00:38:27] Speaker E: Yeah. Piano. [00:38:29] Speaker B: Oh, shit. [00:38:36] Speaker C: So this one guy says, oh, that's Haynes Jetfield, world renowned pianist. And the next comment says, I wish he tried the guitar for once. [00:38:55] Speaker E: All right, let's continue with this. I mean, now it's gonna be like so you're calling it the Unforgiven Three? Is it gonna even sound I mean, we were complaining because the other one was the same. It was trying to be the same song. Is this going to be totally different? I don't know. [00:39:12] Speaker B: It's weird. [00:39:14] Speaker E: All right, here we go. Or continuing. [00:39:29] Speaker A: Ram. [00:39:54] Speaker E: Yeeha. [00:39:55] Speaker B: Yeah, that's exactly what I was thinking. [00:39:58] Speaker C: I was going to wait for him. [00:39:58] Speaker E: To do cowboy music. [00:40:01] Speaker B: Yeah. What the fuck's going on now? [00:40:04] Speaker E: I have no clue. [00:40:06] Speaker C: This doesn't make any beginning of the tribute to the conductor from SNM. It said like a symphony. Metallica. [00:40:17] Speaker E: Okay, good for him. I have no idea what this is. And this is like a seven minute, 47 seconds, 46 2nd song. [00:40:26] Speaker B: Holy shit. [00:40:28] Speaker C: Yeah. [00:40:28] Speaker E: And I have no clue what the hell is happening here. Like all the songs here are long. Like, they're all like injustice for all length, just not as good. [00:40:37] Speaker C: Well, you never know. [00:40:40] Speaker B: Maybe we'll find something good. [00:40:42] Speaker E: Here we go. [00:41:09] Speaker A: You how could he notice new dawn light would change his life forever that failure sea but pulled off course by the light of golden treasure was he the one causing pain with his careless dreaming? Been afraid always afraid of the things he's feeling he could just be gone he would just be alone you just belong how can I be lost if I've got nowhere to go? Search for seas of gold how come it got so cold? How can I be lost in remembrance I really and how can I blame you when it's me I can't forgive? [00:42:41] Speaker E: So what I can say is that I think it's better than Unforgiven, too. My question is, why is it called The Unforgiven? Because it doesn't need to be called the Unforgiven. It's actually not bad. I can't believe I'm saying that. [00:42:57] Speaker C: Yeah, I guess the theme from the last one was james couldn't forgive the person, and now James can't forgive. [00:43:10] Speaker E: It doesn't I know, but it doesn't really need to be called the Unforgiven. Like, you could have gave it a different name. The one from Reload, they tried to cop the chorus, too, right? Wasn't that and this one is not there. But they're doing the same thing, the hard verses and the soft chorus. Right. That's what they did on the first Unforgiven. But this really doesn't need to be I don't mind the music, and I don't think it's that bad. I just don't know why it needs to be called The Unforgiven. The Unforgiven was on that record. Do we need to make three versions of this song? That part I don't get, but as far as the music and stuff, it's not horrible. [00:43:59] Speaker C: Maybe he always saw it as a trivia, I guess. [00:44:04] Speaker E: I don't know. I don't think he thinks that. [00:44:06] Speaker C: Yeah, I don't know that. [00:44:08] Speaker E: I mean, hindsight being 2020, you could look at it that way. But do you really think when he was writing the Black Album, he thought, I'm going to make two more songs called The Unforgiven? [00:44:16] Speaker C: No. I don't know if he told the other guys that. [00:44:19] Speaker E: Oh, maybe that. I don't know. I mean, I don't hate it. I don't hate it. I was expecting more. [00:44:25] Speaker C: I think looking at the lyrics and Lars is like chains. Why does it sound like Unforgiven? Because it would be unforgiven. Two Man James, why does it sound like Unforgiven Two? Because it would be unforgiven. Three. [00:44:44] Speaker E: But I got to say, it doesn't sound like I like this. I think this is better than the one on Reload. [00:44:51] Speaker C: I would agree. [00:44:53] Speaker E: And it's definitely produced better than the song prior to this. At least it's a little more even as far as the mix goes. So what are the lyrics, Steve? [00:45:09] Speaker B: How could he know this? New dawn's light would change his life forever set sail to sea but pulled off course by the light of golden treasure was he the one causing pain with his careless dreaming? Been afraid always afraid of things he's feeling he could just be gone he could just sail on he'll just sail on how could he be lost if he'll never go nowhere? Searching for seas of gold how come it got so cold? How can I be lost? In remembrance I revive you how can I blame you when it's me I can't forgive? There's some forgive. [00:46:01] Speaker E: Okay. All right. It's not as bad as I thought it was going to be. I had very little hope for this, so I'm going to back it up a little bit and we're going to continue. [00:46:14] Speaker A: These days drift on inside of fall it's thinking of vocating it's thinking life outside a tail inside intoxicating he's gonna crown like his life what a much too shallow slipping fast down with a ship fading in the shadows now a can go away babe I'm gone away they got away you how can I be lost if I've got nowhere to go? Search for seas of gold how come it got so cold? How can I be lost in memories I rel? And how can I blame you when it's me I can't forgive sam you forgive me, not forgive me, forgive me, not forgive me, forgive me. Why can't I forget? [00:48:44] Speaker E: Okay, before we get I definitely know I'm calling the wawa on this one. [00:48:50] Speaker B: I mean, was he already previewing going at it already? [00:48:53] Speaker E: Maybe a little bit. I tried to stop it before that happened because I didn't want to be tipped off. [00:48:58] Speaker B: No, I was saying, like, prior. And was it like a chorus or a verse? [00:49:02] Speaker E: Yeah, there was a little wawa going on. A little bit stuff happening. Maybe he got it out of his system over there. I don't know. [00:49:09] Speaker B: Maybe. [00:49:11] Speaker E: So what are we thinking so far? Is it as bad as we thought it was going to be? [00:49:15] Speaker B: No, it's kind of interesting. Different than I thought it would be. [00:49:21] Speaker E: Well, did you think it was just going to be another copy of the first one again? [00:49:25] Speaker B: Yeah. [00:49:27] Speaker E: It'S a little different. [00:49:29] Speaker B: It is. [00:49:30] Speaker E: I like it. Yeah, it's definitely better than the song before it. It feels a little more put together and production is definitely better. All right. Steve lyrics all right. [00:49:49] Speaker B: These days drift on the inside of fog it's thick and suffocating the sinking life outside it's hell inside intoxicating he's running aground like his life waters much too shallow sipping fast down with the ship fading in the shadows now now is he cast away? They've all gone away they've all gone away how can I be lost if I've got nowhere to go? Searchers for sea of gold how come it scott so cold? How can I be lost and remedy I revive how can I blame you when it's me I can't forgive. Forgive me. Forgive me not forgive me. Forgive me. Not forgive me. Forgive me not forgive me. Forgive me. Why can't I? Forgive me. [00:50:49] Speaker E: I guess he wants someone to forgive. [00:50:50] Speaker B: Him, be a parent or not. Yes. [00:50:57] Speaker E: So, Sabina, what are you thinking so far? How do you like it? [00:51:01] Speaker C: Here's the deal. Do I think it's better than two? [00:51:04] Speaker E: Yes. [00:51:04] Speaker C: Do I think overall, it's a great song? Not necessarily. I mean, again, this and the one before could just as easily have been unload and reload. I feel like they started something here and they kind of drifted away from it more and more, which is fine. Maybe it just wasn't as. And again, I don't know who said whatever they said about it, if it was them, if it was oh, you know how things spread. Oh, we heard whatever, and this is going to be whatever, metallica returning to the old, but it seems to me more of a continuation, honestly. [00:51:52] Speaker E: Yeah. [00:51:53] Speaker C: Well, slightly heavier continuation, I guess. [00:51:56] Speaker E: Reviewers are saying it was kind of return to form, but I don't see it as much as they're hearing. [00:52:07] Speaker B: Yeah. No, I don't. [00:52:12] Speaker E: I mean, I just think they've changed too much as a band to go back to that. It's a little hard. Like, after the Black Album, I don't know if they could go back. I said this a whole bunch of times. Like, Savino and I talked about this before. If Cliff Burton was still alive, would there have been a Black Album? I don't think so. [00:52:31] Speaker B: Probably not. [00:52:33] Speaker E: I don't think so. Would Metallica be as big as they are now if Cliff Burton was still alive? I don't think they would ever I don't think they would ever went into that area. [00:52:48] Speaker B: They'd be, like, at the same level as Anthrex right now. Right. [00:52:52] Speaker C: But if you think about it right. And justice for all is really the album that broke him into the mainstream because of. [00:53:01] Speaker E: Well, but that's what you think. Do you think that would have happened. [00:53:04] Speaker C: Either, whether they would have gone from that to the Black Album if Cliff Burton was in the band? I don't know. Would they have been as big? I mean, they were pretty big. I don't know about Black Album big, which was a crossover. [00:53:16] Speaker E: That's what I mean. [00:53:17] Speaker B: But they're doing big shows in the Mean. [00:53:23] Speaker E: Who knows if who knows if and justice would have been the same if Cliff would have lived. It might not have been. You might not have had one. You might not have had any of that stuff. Who knows? It's an interesting thing to think about, right? Like, if he would have lived, would they have been the gigantic band that they are now? Who knows? Maybe not. [00:53:48] Speaker B: Maybe not. [00:53:53] Speaker E: Well, I guess it's time to go into the solo of this. Let's see. I'm going to back up just a little bit. We're going to see if he surprises us. Come on, Kirk. Everybody's rooting for you. Kirk. [00:54:09] Speaker A: Ram. [00:55:11] Speaker E: He almost got through it. [00:55:13] Speaker B: I was going to say almost. Second half of the solo part thing. [00:55:17] Speaker E: Yeah. Which is better than the whole thing being wawa. But you know what's kind of funny? What? I just noticed on this song, you can hear him playing and it's not like Kirk Hammett from back in the day. Right. You can hear him playing where he wants the wawa to be on. [00:55:34] Speaker B: Yeah. [00:55:35] Speaker E: And he's doing all the same things. He would play with the wawa on, except there's no. [00:55:43] Speaker C: My opinion is when he's not using the wawa, he sounds like old Kirkhammer, at least in justice for old Kirkhammer. [00:55:50] Speaker E: That's what I but like in this. [00:55:52] Speaker C: Song, to me, he was way more melodic in solos in the Black Album, whereas before it was more about and I'm not saying he was a guy who just played notes to play notes. But I feel like the solos on this album, like even this one could have been on Injustice for all. Except for that once he goes into the wall. But even the wawa parts are not they're like the old percammet with the wawa. That's how I feel. They're not as melodic as they are and put together and formulated, I think, as they were on the Black Album. [00:56:27] Speaker E: Yeah, I agree with that. I just think on this, for me, it sounds like for me, just as a guitar player, all I'm saying is that when I hear that first part of the solo, I like it better without the wawa. But I can hear in his playing that he wants that wawa to be on, because when the wawa kicks on, he's doing the same kind of stuff, but it sounds different because the wawa's you know what I mean? Like earlier stuff on this record, I heard a lot more of what you call, I guess, the Injustice Kirk. Right. A lot more notes. Or even the second half of the solo in Cyanide that you liked that part. That, to me, was more old school him. But yeah, it's hard. You got to think about it. So what year is this? It's 2008. Right. So he's been playing with that wawa since the Black Album. I mean, that thing's been on records a lot for him for what, over 20 years? No, ten years. Ten years. Over a decade. 15, 1617 years. Whatever it is at this point, you get used to that. That's the sound you put on records since 91. Right. And now you're 2008. [00:57:43] Speaker C: So let me pose this question to you and Steve, being guitar backgrounds, do you consider him a good soloist in general? Going back to any. [00:58:00] Speaker E: You want to go first? I'll go first. [00:58:02] Speaker C: I'm not saying he's a bad guitar player, and I don't want to, because maybe I never considered him and I'm not saying that he's a bad soloist, but in terms of the memorable me personally. So I'm asking the two of you from a guitar background. [00:58:22] Speaker E: I think back in the day, for me, I didn't think a lot of his stuff had a lot of melody. I think it was a lot of notes. I think it fit the music for back in the stuff he was doing back in the 80s, master of Puppets and justice for all and stuff like that, it fit the music. I don't consider him, for me, a great guitar player. I think Dave Unstained a better guitar player than him. That's just my I think there's more sometimes he has notes just for notes. For me. I'm not saying he's a bad guitar player by any stretch, but for me, no, I actually think he was a better guitar player on the Black Album because he had more melody. But somewhere along the line after the Black Album, I don't know what happened. I think he relied too much on the wawa pedal. He used it on that record, and then he feels it became a crutch, I think, for him, and I think it's hard for him to go back to the stuff that he did prior to the wawa pedal. For me, I'm not a big fan of his as far as guitar. When we used to play, when we played whatever Metallica songs we did, I rarely did anything that he did because I feel that I can kind of, like, improvise in that kind of thing and make it sound very similar to what he's doing and not even play what he's playing. Does that make sense? I didn't have to play what he was playing. I forget what song we did. What song did we do? For don't think I I don't think I played anything like the end part of that solo. I didn't play anything that he played. But I don't think you could tell because I think a lot of his stuff is not as memorable. I think the memorable stuff happened on the Black Album. For me. Now, this piece is obviously other songs where he's following chords and there's lots of good stuff. As far as me as a guitar player, I don't find a lot in his playing that I particularly like for me. But that doesn't mean he's not a good guitar player just because I don't like the way solos and stuff. I think he was better before, I think for the music they were doing in the 80s, he was a good guitar player for that. I think he was really good on the Black Album. I think that changed his playing a little bit because I think Bob Rock forced him, because if you watch the making of that, he's hard on him, man. He's hard on him. And I think he went back and I think he ended up having to make things more melodic and all that kind of stuff. I don't know if he's the guy that gave him the wawa pedal, but again, he's not an influence as far as for me as guitar playing because I think there were people who did it better than him personally. But he's far from a bad guitar player. I don't know. I hesitate to say that he's bad because I don't think that's the truth. Do I particularly like him that much? No. But I do like his playing on the Black Album. I think that's probably as far as, like, worked out solos that fit the song. I think that's probably his best stuff. But I do like some of the earlier stuff. But when I think of Metallica, I think more James Hetfield's guitar playing than I do his is that weird? Like, the rhythm playing and the stuff that he that's I feel that's more what the Metallica thing is. And you could throw another guitar player in there and it wouldn't change it that much for me. So I don't know if that's an answer. I don't know if that's your answer or not. [01:01:57] Speaker C: No. Yeah, it makes mean. [01:02:06] Speaker E: I think we lost. Oh, he's back. [01:02:12] Speaker C: Did I cut out, too? [01:02:13] Speaker E: Yes. [01:02:14] Speaker C: Oh, Mark, you cut out before, didn't? [01:02:18] Speaker E: Yeah. Well, we couldn't hear don't. I hope that's the don't I don't consider him an influence in my guitar playing by any at all. But I know the people who love him. Right. And big Metallica fans. But for me, James Hetfield's, the guy, his rhythm playing is ridiculous. Your hand would cramp up trying to play that shit. [01:02:40] Speaker B: Fucking ridiculous. [01:02:42] Speaker E: It's fast and it's complicated, generally. A lot of it, especially the early stuff, way harder. So I think him as a guitar player for me, what do you kind. [01:02:56] Speaker B: Of I think Metallica is more like a riff oriented kind of thing. And I feel like Kirk Hammond's like the guitar player you get into when you first try to play a lead. So you kind of try to mimic his leads because they're kind of easier. Right. And not as whatever. That's what I kind of see a lot of kids doing. Right. I remember that's what my cousins would do. They would know. Kirk hammett themselves. [01:03:23] Speaker E: Kirk hammett themselves. [01:03:25] Speaker B: Yeah. [01:03:26] Speaker E: So do you think Dave Mustaine's a better guitar player than him? [01:03:29] Speaker B: Yeah, definitely. [01:03:32] Speaker D: All right, Mark, so here goes a question for the two of you for the group, zach Wild or James Heffield. [01:03:42] Speaker E: As far as what guitar players go? [01:03:45] Speaker D: Yeah, exactly. Most influential? [01:03:49] Speaker E: James Heffield. If you're asking about influential in style, yeah. Dame james heffield. And there are two different guitar players. One, I consider Zach Wad the lead guitar player more than I consider him, even though obviously he plays rhythm. But James Hetfield is basically a rhythm guitar player for he. I know he plays some leads on some stuff, but it's not what he mainly does. So as far as the influence, I would think he'd have to be more influential than Zach Wilde, I would think. Am I crazy about that? I would think it would have to be James Heffield. [01:04:21] Speaker C: I would think so, too. I mean, Zach Wilde didn't come into his own until later on, obviously, with Ozzy. But I give him credit. I mean, he came in after Randy Rhodes and then JK. Lee, so he had to formulate his own he. [01:04:36] Speaker E: No, he's a good guitar. I like his early stuff a lot. I'm not really into the Black Label stuff, but I liked his early Ozzy stuff a lot. [01:04:46] Speaker D: All right, here goes one more for you, then. Kirk Hammett or dimebag? [01:04:57] Speaker E: I would think you'd have to say Dimebag. Yeah. I mean, again, Kirk Hammond is like what Steve says to me. There's sometimes just a lot of notes going on and really not as much happening. Although, like I said, I like some of the early think. I think when James Heffield probably told him what to play is probably when it was better. I kind of influenced. Yeah. I think influence wise, you have to pick Dimebag over him, even though obviously he was around. I mean, I don't know. For me, he's never been a guitar player for. [01:05:37] Speaker C: See, when you listen to the Pantera album, the one thing I found interesting about Diamond, I was waiting for his solos to be whatever, but I didn't find the solos to be that memorable as much as what he did during the rhythm parts. To me, that's where he stood out. I'm like, oh, okay. I kind of get it now when people talk about him. [01:05:59] Speaker E: Yeah. [01:06:01] Speaker C: And it should always be about how many notes you can play and how fast and what you can do. [01:06:06] Speaker E: Yeah, but it is especially during that time frame. What you're talking about, the 80s guitar playing was all about what you could do and how fast you can play generally. [01:06:17] Speaker C: But Dimebag was also the only guitar player as opposed to there wasn't any playing. He was doing the rhythm pretty much, yeah. So James Hetfield obviously does the rhythm. [01:06:28] Speaker E: I don't even think, if I remember correctly. And the Metallica people will probably either yell at me or tell me I'm right is that I pretty much don't think that Kirk Hammett played very much rhythm guitar on any Metallica record. I think that was all James Heffield, if I'm correct. I remember reading that somewhere. I could be wrong, though. Don't kill me, Metallica fans. I'm pretty positive. Steve do you know? But I'm thinking He, I don't think he played very much. I don't think so. They were very in control of that stuff, like Headfield and Urich. They were the people running that show as far as, like, that, he was so picky about having his rhythms being right that I don't think that he played very much. And I could be wrong. And hopefully someone comes back and tells me I'm wrong if I'm wrong, but I'm pretty much I thought I remember reading that back in the day that it was all James Hetfield playing all the rhythm stuff. But I don't know if that changed, like, Black Album wise. Like, did it change there? Not that Kirkhammer can't play it. I just think that Hetfield is very picky about that. To get that. [01:07:47] Speaker C: Mean, the whole discussion, too, was that I think I read it last week where they said I think fuel I keep saying fuel load and Reload were more band effort, where they were kind of sitting around together. But this was a return to form where James and Lars basically brought stuff in and that's what they started. You know what I mean? That was really the yeah, well well. [01:08:12] Speaker E: Let'S finish the song because we only had a little bit to finish, and then we'll talk. [01:08:15] Speaker C: Yeah, we were off on a big tangent here. [01:08:17] Speaker E: Oh, gigantic tangent. All right, let's finish this out. [01:08:26] Speaker A: Pull off course by the light of golden treasure how could he know this new dawn's light would change his life forever? How can I be lost if I've got nowhere to go? Search for seas of gold how come it got so cold? How can I be lost in remembrance I rel so how can I blame you when it's me I can't forgive? [01:09:32] Speaker E: All right, Steve, why don't you read the last parts of that thing? Is it a repeat or is it just new stuff? [01:09:38] Speaker B: There's a little bit of new stuff. [01:09:41] Speaker E: Okay, go ahead. [01:09:42] Speaker B: Set sail to sea but pulled off course by the light of the golden treasure how could he know his new dawn's light would change his life forever? The chorus. [01:10:00] Speaker E: Okay, I'll go first. I don't think the lyrics are horrible. I'm going to give them a seven. The music's better than I thought it was going to be. I think I'd like it better than Cyanide, so I'm going to give that a seven. Then. I like the production much better than the first one on this side, so I'm going to say everything was clear and it didn't sound as balls to the wall for me, so I'm going to give it an eight. Frank. [01:10:35] Speaker D: I like the lyrics, so I'm going to go ahead and give that a seven. Like the sound, the music. I'm going to go seven across, actually. I like this one. [01:10:48] Speaker E: Oh, sevens across. You know what that means. [01:10:51] Speaker D: Here we go. [01:10:52] Speaker E: Here it goes. Nikki titty, baby. Seven, seven, seven. There you go. [01:11:06] Speaker D: What do you think? [01:11:10] Speaker C: All right. I do think it's better than the last one, and I do think it's better than unforgiven, too. Would I ever listen to this song again if it came on? Probably not. So I'll do triple sevens because the last one, I think I did triple sixes. So I do think it's better. But I don't know, it's unmemorable to me. I mean, unforgiven is memorable. And these other two are to me personally, just unmemorable. [01:11:43] Speaker B: Nikki titty, baby. [01:11:45] Speaker E: Seven, seven, seven. Yeah, I agree with that. [01:11:51] Speaker C: Yeah. I don't know. [01:11:54] Speaker D: You know what it is? [01:11:55] Speaker C: Captured the. [01:11:59] Speaker B: What do you see? [01:12:01] Speaker D: Yeah. For me, it feels like it could be the soundtrack to some B rated movie that is going to hit the climax scene like a vampire movie, and we're just going to see the climax, and the main characters are just there debating. Okay, we know we're going to die. This is our final moment. You hear this song play out, but we're going to go out in a blaze. This is the song you hear. Like, this is my song. It comes on on Skin a Max, by the way. [01:12:38] Speaker E: All right, Steve, do it. What do you think? [01:12:41] Speaker B: I'm going with everyone else. I'm going triple sevens on this one. It's better than last, but doesn't quite do it. I don't know, everything's just a little better than the last song. So yeah, we'll go triple sevens. [01:13:00] Speaker A: Nicky Titty, baby. [01:13:02] Speaker D: Seven, seven, seven. [01:13:04] Speaker A: Nice. [01:13:08] Speaker E: I mean, I was expecting much worse, so I guess that's why I gave it sevens across, because the unforgiven two was worse. To me, this at least was different enough where you didn't even have to call this the unforgiven. That's what I was saying. And it's kind of weird. I don't know if he could sing the way he used to sing either. So how are you going to go back to that kind of playing? He doesn't sing the same anymore. [01:13:32] Speaker B: No. [01:13:33] Speaker E: Since the Black Album. Right. It changed. He actually sings now, which I don't think he didn't sing sing as much as he did prior. But I don't know. Can you go back that after you've been doing this for like, 15 years, can you go back to the old way? I don't know. [01:13:52] Speaker C: If you think about songs like Fade to Black, right. I mean, he sang as much as he could for James Hadfield and, I mean, he did a pretty good job. [01:14:03] Speaker E: No, I'm not saying he didn't sing, but now his voice is so different. [01:14:06] Speaker C: Yeah, no, I think now he's even I mean, in the Black Album, I wasn't taking, like, lessons. They were showing him taking lessons. [01:14:13] Speaker E: Yeah, that's where it changed. [01:14:15] Speaker C: Sing. [01:14:18] Speaker E: Yeah, that's what I mean. [01:14:20] Speaker C: He never did stuff like that before. Like, he just sang whatever it was. [01:14:26] Speaker E: Well, this one is the one coming up is called The Judas Kiss. Has anyone ever heard this? I don't think I have. I might have. [01:14:31] Speaker C: I know the title for sure. [01:14:33] Speaker E: The title is very familiar. All right, let's see if they can pull this around. Maybe this will be better than the last song. Who knows? It's eight minutes long. So prepared. [01:14:47] Speaker B: Oh, boy. [01:15:35] Speaker E: So what are we thinking? Is this sounds like is this trying to be old Metallica? Is it not? [01:15:41] Speaker B: I don't think so. I don't know. It kind of had a build up and it seemed like it was going to go somewhere and didn't. [01:15:53] Speaker C: Again, I feel so far, and again, I probably have to relisten to everything. But other than the first two songs, which just I don't sense in much difference, this is along the same lines to me. It's just slightly heavier versions of what was already going on. And this is after not really. I mean, St. Anger had heavy elements as well, but maybe if we listened to that, we'd be saying the same thing. [01:16:25] Speaker E: Maybe. [01:16:27] Speaker C: But obviously the production is different on this one, right? [01:16:31] Speaker E: Oh, yeah. Well, I think. Yeah. But this to me feels like the unforgiven three and this recorded in the same place because it sounds very similar. I don't know. Let's see. [01:16:57] Speaker A: Saul has turned its back when the days have turned its black when the fear of duck your tongue when the fire dead and dawn don't what now where go? When you think it's all said and done when you are the Oscar side self is written dead goodbye twisting on a turn again when the beach is ever don't now where go I? When you think it's all said and done sell your soul to me I will let you pray passify your demon bow down surrender us to me submit infectiously sanctify your demon into a fear you don't exist cannot resist the dude and care. [01:18:18] Speaker E: See, to me, there's pieces there that want to go somewhere you can hear it like the first parts of the verse. Old Metallica never would have went into that change that happened right there where he started singing. Like, they would have pushed that through the verse. I think that would have been a better choice. [01:18:38] Speaker C: I mean, there are things that do sound like ometallica here. I think they're bits and pieces for sure. [01:18:45] Speaker E: I agree. [01:18:47] Speaker C: The guitars are just not as crunchy, you know what I mean? [01:18:53] Speaker D: They're raw. [01:18:56] Speaker A: Yeah. [01:18:58] Speaker D: They're just not clean. They're very cleaned up here. [01:19:00] Speaker C: Yeah. Do I expect these ties to sound like teenager, early 20, Metallic and the sound and everything? I mean, no, but that's part of what the charm and everything of what it was. So, I mean, again, we're sitting here basing this on hearsay that this was supposed to be whatever, but Metallica, I can't imagine. Like, I know Rick Rubin is a name producer, but I just can't imagine that they ultimately would give over full control. So I think they said like, hey, Rick, here's what we want the album to sound like. And Rick says, OK, I can do that for you. I'm sure he had hands on somewhere because it definitely sounds differently than Bob Rock. But I don't like some of these songs could be better with just heavier production. Me personally, I think, and they suffer a little bit from that. [01:19:55] Speaker E: For me, it's not even the production. For me, it's the choice of the choices he's making in the song, like I said, like the verse here, because when he's singing that first part of the verse, it sounds like old James Hetfield right to me. And then somewhere in the middle of the verse, he changes it up. And I don't think it helps the song. I think it fully more pulls it back into the Load Reload era by doing that. If he would have just played through it. And then there's some cool guitar stuff like that, super fast, like that's hard to play. It doesn't sound that hard to play until you try to play it at the speed that he's playing it and as precise as he plays it. So that's why you got to give him credit for the rhythm work he does, even on stuff that you may not particularly like. It's not usually that easy to play, but he's been doing it so long that it's second nature to him. But I think they're making decisions that they wouldn't have made prior to The Black Album. That's my thing. [01:20:59] Speaker C: And then you also say to yourself, right, your favorite groups, at what point do you say to yourself, they just don't write them like they used to? [01:21:10] Speaker E: Well, you said that about you, too, right? Where was the point for you when it changed? Where you were like, okay, after Now. [01:21:16] Speaker C: I Can't mean so to me, it bounced a bit because, like I said, I love Doctoring Baby. I didn't really like pop. Zuropa is half okay for me, and All That You Can't Leave Behind was kind of, whatever, trying to reach back to it. But then how did this Man Atomic Bomb, to me, was their best record in a while, personally? And then after that, it's been hard to hold on. There's some songs here and there that I absolutely love, where I think they're brilliant and it's amazing songwriting, but some of it sounds very almost too simplistic. So, I mean, I say to myself as a Metallica fan who liked them from Kill Them All until, let's say, The Black Album, even at this point in the album, you still have memorable songs. So I don't look at Kill Them All especially right, the Lightning, which is personally my favorite, and Messer of Puppets, I mean, to me, Justice For All is a bit long winded, but I don't what and this is just us? I mean, what do you think, Steve? Right. At a certain point, maybe this is just what they're writing, and either you like it or you don't like it. [01:22:38] Speaker B: Yeah, I kind of feel the same way. The way you were kind of thinking I was thinking back about the albums. Right. So Kill Them All you can think of the songs on there. Most of those songs are memorable. Same thing with Ride of Lightning master puppets. Everything up to The Black Album is pretty much you can remember most of the songs in those albums. And then. Kind of now with Load, Reload. [01:23:12] Speaker D: Whatever. [01:23:12] Speaker B: The fuck the other one seen anger, right? [01:23:15] Speaker C: Yeah. [01:23:16] Speaker B: It's not like they're that memorable, so it's kind of losing that. [01:23:24] Speaker C: When you think about the riffs he's doing, harry's kind of there is a bit of that, because he does do a lot of that. [01:23:29] Speaker E: Right. [01:23:29] Speaker C: Where it's not just one straight riff. It's almost like three or four different songs that he plays within one. [01:23:36] Speaker B: There's a lot of changes going on. [01:23:39] Speaker C: Yeah. But I'm not feeling I honestly thought going into this, I would have liked the album overall better, but I'm just getting memories of Reload. [01:23:54] Speaker E: Yeah, I was hoping it was going to be better. I mean, I think it started out like it was going to, and then it just started to fall back into that thing. And again, I think it's the choices. I think once they made the Black Album, I don't think they can go back to what they were doing prior to that. And again, you can hear the pieces, but if you took old Metallica and said, well, if you were playing this first verse part, you never would have switched. But the Black Album Metallica changed up so much that that's what they would have done there. And I don't know if they didn't do that as much there either. I just think the songs were better. [01:24:30] Speaker C: Yeah, that's what I think, too. I mean, again, if you're a Metallica fan that says, I don't like anything past in justice for all, fine. You didn't like the transition to Black Album, but being a Metallica fan and liking the heavier stuff and hearing the softer stuff, and I said to myself, oh, okay. But they're just well written songs. There's good riffs right. There's good structure. And not that these songs aren't necessarily structured, but I don't know, it's almost like I want to like this. I really do. Especially after having not liked Load Reload and St. Anger, I wanted to go into this and say, okay, yeah, this is supposed to be heavier. Cool. Maybe I didn't get it the first time, kind of, because I listened to this briefly once, and I don't know, maybe I felt the same thing then, and I just didn't remember thinking this. Like, Wait, this isn't that different. [01:25:27] Speaker E: No, it's not. I mean, there were pieces, I think, that are different. I think there are riffs and things that they wouldn't have done on Reload and Load, but they fall back instead of continuing the things that maybe people would want to hear, they fall back into something that hearkens to this Load Reload saying Anger sound that I'm sure there are Metallica fans who love that stuff. Right. And then it really depends on what kind of Metallica fan you are, I guess. Again, I wasn't big into them until the Black Album, so I remember hearing it when I was a teenager, and I didn't like it as much back then. But I've grown to let I have to see what times I think it was probably like later 80s, like 87, 80, when Injustice For All came out. I think that's when I went back a little farther and like, oh, this is not as bad as I thought it was. But I remember in the mid 80s when was Master of Puppets 84, 80 was 86 86. Okay. So I remember ride the lightning and master puppets when I was in high school. I remember not liking that stuff then, but later on in the decade, I listened back and was like, all right, now I see what's going on here. And I was hoping to get I don't think I wanted Injustice For All because I don't think that's what I wanted. I would have liked something from maybe Mess or a puppet sound, you know what I mean? That's what I was hoping that they would go back to. And there are pieces here that I can hear. It's just that they make weird changes and choices which they never would have done back in the day. I keep going back to this verse. In this song, the first part of the verse sounds like old Metallica, and then it transitions to new Metallica, the way he changes his voice and sings. I don't particularly like it as much because it's not as good as the stuff that's on the Black Album. You almost can forgive that because the songs are so much better. Even if you don't particularly like it because you're a Metallica fan. I don't know if you could say the songs are bad because they're not bad. Again, I don't know. I wish it would be different. [01:27:46] Speaker C: What I want to do is to people who listen to this or hopefully listen to this podcast, please comment. Tell us for somebody who does not like the blackout and doesn't like Load, doesn't like reload and doesn't like sane anger, or maybe you do, like, comment on this and say, hey, you know what? I stopped listening. After injustice for all. Then Death Magnetic brought me back. Why did it bring you back? What are you hearing that hearkens so much back to that know? If you're out there, please comment. Because maybe I don't know, maybe we're not hearing these are just our right. [01:28:22] Speaker E: So well, Steve, why don't you read lyrics? [01:28:26] Speaker C: Yeah. [01:28:30] Speaker B: All right. When the world has turned its back when the days have turned pitch black when the fear abducts your tongue when the fire is dead and gone so what now? Where go I? When do I think it's all said and done? When you're ostracized, selfish written dead goodbyes twisted on the tourniquet when the pieces never fit so what now? Where go I? Well, you think it's all said and done these are some confusing lyrics. [01:29:15] Speaker E: Okay. [01:29:15] Speaker B: Bow down, sell your soul to me I will set you free pacify your demons bow down, surrender unto me submit infectiously sanctify your demons into abyss you don't exist you cannot resist the Judas kiss. [01:29:37] Speaker E: His lyrics aren't lyrics. There are good lyrics. [01:29:40] Speaker C: Yeah. [01:29:42] Speaker E: I wish the music would fit the lyrics better, personally. [01:29:46] Speaker A: Yeah. [01:29:47] Speaker C: And there is a heaviness there and I feel that they hold back on it. [01:29:52] Speaker E: Instead of going gung ho, we're going to make a record like we made in 86. Right. So they're saying, this is the path we're going to go down. We're not going to fall into any of the stuff we did from 91 on. Right? This is what we're going to do. But maybe they weren't going to do that. Maybe it was just a critic saying that it was back that way. Maybe you're right. Maybe we're assuming that's what they wanted. [01:30:14] Speaker C: Yeah. Maybe that's not what they called out the shot. Or maybe somebody heard one of the first two songs. Know this is metallica. Yeah. I mean, there's going to be some of it. I mean, we're Metallica, you know, we're the same band that wrote Kill Them All and we're the same one that wrote Reload. This is all metallica. So, again, this doesn't sound like anybody else. It definitely sounds like them. [01:30:43] Speaker E: Well, let's continue this because we have another five minutes and 46 seconds. [01:30:46] Speaker A: Yeah. [01:30:47] Speaker E: Here we go. [01:31:20] Speaker A: Fire when the eagle drips your range. [01:31:23] Speaker E: Assassinate the living flame before we go, what other Metallica songs that sound like battery? Battery similar. I mean, it's not battery, obviously, but. [01:31:36] Speaker B: Isn'T like the is that or is getting maybe four horsemen. Was that what it was? I don't know. [01:31:42] Speaker E: I don't know. That's what it sounds like to me. I think it sounds like battery to me. Obviously it doesn't sound like it, but it harkens like if normally he would have continued to go through that, right. But now he's going to make this change here. And this is the part that I think which I don't particularly like as much. [01:31:59] Speaker A: Don't. Now we go out here. When you think it's all said and done venom of a life insane about to do your fragile vain eternal life is just a mate patronizer complicates go now we go out here. When you think it's all said and done you bow down sell your soul to me I will get you pray pacify your demon bow down surrender unto me submitting fastest layer sanctify your demon into a fear you don't exist cannot resist the jewelry sam sam SA. [01:34:42] Speaker B: Can I say, once you've heard one Kirkhammett Solo, have you heard them all? [01:34:46] Speaker E: Yeah, unfortunately, I think it does. [01:34:50] Speaker C: That solo part was very Metallicy sounding, though. Very old. [01:34:54] Speaker E: Yeah. If the wawa was not on 1000%. [01:34:58] Speaker C: Once he shut it off I mean. [01:35:00] Speaker E: He didn't really shut it off. All he did was no, he didn't shut it off. All he did was he took the wawa and just cocked it back and he left it in one place, but he didn't really shut it off. I think it would have been better sounding without that, but I don't know. [01:35:16] Speaker C: So here's what I envision in the studio, right? That part when it just before the guitar came in with that big WA, that picture kind of like Kirkhammett sneaking behind James and doing and James is like, oh, fuck, he's using it again. [01:35:34] Speaker E: Well, they must like it because they let him use right, Steve, read the lyrics up until we're at right now, all right? [01:35:46] Speaker B: When the storm is black in your sky intuition crucify when the ego strips your reign assassinate the living flame so what now? Where go I? When you think it's all said and done venom of your life insane fills into your fragile vein internalize decimate, patronize and complicate so what now? Where go I? When you think it's all said and done? And the chorus? [01:36:24] Speaker E: Yeah, I mean, the lyrics are good. [01:36:28] Speaker C: They aren't. [01:36:30] Speaker E: I can feel that it wants to be I can feel what it wants to be, but it just can't get there. It just can't get over itself. Yeah. Because you can hear pieces of it, right. It's just they can't get out of their way. [01:36:41] Speaker B: There's definitely pieces there. It's just not coming together. [01:36:45] Speaker E: No, it's not. [01:36:48] Speaker C: But again, is it based on the fact that they just can't ride like that anymore or they just don't want ultimately, it comes down to the fact that who knows? Because, again, this is a band that I think is really in control of their own. They really have full control over what they do. So my thing is, this is what they wanted to sound like. Do you like it? [01:37:21] Speaker E: Yeah. I don't know mean, I would have preferred it to be a little bit different and I'm not that big of a Metallica fan, you know what I mean? Obviously I know stuff, but when I hear certain parts, I'm like, oh, they just had to continue with this. If they didn't change it, it would be a better song for me. But again, here's my thing. If it's not going to be like the Black Album is, right, I would prefer it to be the old way. That's how I look at it. Like there's some weird in between thing that's going on and that's been happening since Load and Reload, right? Like, there's parts and you're just like so if you're not going to be the Black Record and you're not going to have songs that are written like that and very well written and very precise and the solos are very worked out and all that kind of stuff. If you're not going to have that and make it be like that, then I would prefer the older sound. That's just me, I don't hate because. [01:38:13] Speaker C: I think even some of these parts, too, are a little bit sloppy, right. When they do the accents a little bit. [01:38:19] Speaker E: It's not as bad as Cyanide, though. [01:38:22] Speaker C: No. It's not as bad, but they still feel slightly off. [01:38:26] Speaker E: Yeah. Wow. I don't know what that's all about. All right, let's continue. [01:38:32] Speaker A: I've become your new god now you Sam. Sam you followed you from dawn of time whisper thoughts into your mind watch your power, Mr. Crowd lured your children never found help your kings of music round in the heart of evil man plant the seeds of my own plan strong and powerful will fall find a piece of me and all inside you also bow down sell your soul to me I will set you pray pacify your demon bow down surrender unto me submitting faithlessly sanctify your demon into a fear you don't exist cannot resist the duet care god it. [01:40:59] Speaker E: There we go. [01:41:02] Speaker C: I like that again. [01:41:03] Speaker E: I mean, there were pieces of that song I like. Just I wish it would have came together a little bit more, just like we said with the damn Yankees. Things to me know I have higher expectation. I feel they can be. [01:41:19] Speaker C: I mean, they got criticisms of a band. It's one thing to be so, like, oh, I don't like any song from this band. But to say, like, I consider myself a fan for part of their career and I expect them to be able to do better, I mean, that's a compliment, ultimately, right? [01:41:34] Speaker E: I agree. Frankie, why don't you go? Oh, well, before we do that lyrics are there more lyrics? All right, read the lyrics. [01:41:42] Speaker B: There's lots of lyrics. Judas leos recite his vow I've become your new god now. Followed you from dawn of time whispered thoughts into your mind watched your towers hit the ground lured children's never found help the Kings abuse their crown in the heart of a feeble man plant the seeds of my own plan the strong and powerful will fail peace find a piece of me and all inside you also. [01:42:22] Speaker E: Yeah, the lyrics aren't bad at all. I mean, I usually don't have a problem with his lyrics generally. All right, Frank. [01:42:32] Speaker D: In the spirit of the baseball playoffs, this album so far, for me has been like that ball player that hit a bunch of home runs in game one and then strikes out a bunch in game two and three and then hits a bunch of home runs in game four and then strikes out in game five. Right. And you really want them to come through because that's your star player. That's what this album is like for me so far. I love this song. It really does bring back a lot of that metallica old school sound, or at least as old school as we can get with a lot of the modern touches they have in there. So for me, personally, I'm going to give this AA for the lyrics, the music, and the production all the way across. [01:43:15] Speaker C: Wow. [01:43:16] Speaker E: Frank like this a lot. [01:43:17] Speaker D: I did. It sounds to me, personally, I hear a lot of the metallica. Yes, I understand what Staff was saying. It's like there's something holding it back. What you said also, Mark, like there's something holding it back from being there. And I think some of that has to be that. We're talking about artists that are, what, 30 years older from their first came out. So, yeah, there's going to be certain elements they're going to hold back on, but I like this one a lot. So, yeah, give this one a triple eight. [01:43:50] Speaker E: Who wants to go next? [01:43:51] Speaker D: Sav. [01:43:52] Speaker E: Sav goes next. [01:43:54] Speaker C: Yep. I'm going to say an eight on the lyrics. I mean, I thought there were really good lyrics music. I mean, I liked it overall better than the last one. It's hard because there are parts that I want to give an eight to and there are parts that I want to give, like a six to. So I'll say seven again, but I do like it better than the last song. And production is fine. I'll say an eight on the production. I mean, for what it's worth, I feel that it got across some of the heaviness and I feel some of the other ones didn't. And there were parts that kind of reminded me of a little bit of the older heaviness and it came through. So I'll say that. Steve. [01:44:54] Speaker B: I'm probably going to go triple seven on this one. Lyrics are all right. Music is like there's parts. Yeah, it's like it wants to get there, but it's not quite there yet. And then production, that's all right. It's not awful. But, yeah, I'm going to give it a triple seven. Morning, p titty baby. Seven, seven, seven. [01:45:30] Speaker E: Yeah, I think I'm going to do eight on the lyrics. I like the lyrics a lot. I'm like with Savino on the musicianship, I want to give in it, this parts of it. I want to give an eight parts. I want to give it a six. So I'm going to cut it in the middle and do seven. There's parts that I really wish would have continued or they would have not tried to do new stuff on and just try to play it old school a little bit. So give the seven. I'm going to give an eight. Now, the one thing I can say is that somewhere along the line, they remastered this for itunes. I'm not playing it from itunes. So I wonder if we're hearing the improved version, even though this is not on itunes, because supposedly there was a lot of digital distortion in the first one. So maybe this is not the brick walled one. So maybe that's why it sounds a little bit better than I was expecting. So I don't know. [01:46:22] Speaker C: So maybe I was right about when I first heard this record, and I thought it was because I bought this when it first came out for, like I said, my boss. [01:46:32] Speaker E: Yeah, in 2015, it was rereleased on itunes, but it was mastered for itunes Mastering, but I don't know. Maybe we're getting that as well. I'm not sure. All right, so the next thing is instrumental suicide and Redemption. Ten minutes. So we're going to go through this in big pieces. [01:46:53] Speaker C: I read there's a drum solo in it, too. [01:46:56] Speaker E: Here we go. [01:46:57] Speaker D: Is there a string section, like an orchestra or something like that? [01:47:00] Speaker E: I don't know. Well, here we go. [01:47:03] Speaker D: All right. Thank you. I like that. I like instrumentals. [01:47:08] Speaker E: Here we go. Suicide and redemption. [01:47:51] Speaker A: Sam. Sam. Sam. [01:49:17] Speaker E: So what are we thinking so far? Am I am I crazy? And that this is the best thing so far. [01:49:23] Speaker C: I think this song has way too much structure to be an instrumental. [01:49:28] Speaker E: Yeah, I know. [01:49:30] Speaker C: I mean, he couldn't write a lyric to this. [01:49:33] Speaker E: Yeah, and it sounds pretty good, too. [01:49:39] Speaker B: The intro kind of gave me that Orion vibe, how it kind of faded in. [01:49:49] Speaker C: How far into it are we, Mark? How many minutes? [01:49:52] Speaker E: 205. [01:49:54] Speaker C: I mean, they really haven't done anything. [01:49:56] Speaker B: Yeah. [01:49:56] Speaker C: No, there hasn't been a solo. [01:50:00] Speaker E: No, there hasn't been a solo. This should be a song. [01:50:05] Speaker B: Yeah, right. Can I tell you what? I do like the fucking bass tone. It's some pretty gnarly bass tone going right now. [01:50:14] Speaker E: Yeah, I'm not too sure I like the whole mix of it. It's a little weird for me, so I don't know what's going on there. But as far as, like, a song goes, this could probably be one of the better things on the record and has no lyrics to it. Isn't that weird? Like, you listen to this, no one could have figured out lyrics of this thing. I don't know. [01:50:40] Speaker C: It's funny, right? Because now hearing the bass in this song, when he kind of had that little kind of by himself section. We haven't talked about the bass once in this album. No, nobody's mentioned his bass playing other than the story behind of him joining the band. Really? [01:51:01] Speaker E: I don't really think it's that stand out. [01:51:04] Speaker B: Yeah, there's nothing really showcasing anything. [01:51:08] Speaker E: And this is like his first record, though, with he really you know what I mean? Can he really push that, too? [01:51:14] Speaker C: Know when you look at the record, right, the way they talked about mean, so what happens? Metallica gets has Cliff Burton, who basically is allowed to do whatever he wants them to. He has a bass solo on the first record. Right. The guy unfortunately dies, and their Metallica be like, listen, you can never ever do what he does again. You'll never ever be what he is or have the importance or the prominence that he will have. Like that's done. That has to be the conversation. As much as they like these people, I guess I just don't think there's any base that stands out, you know what I mean? And one thing I've learned from this podcast is, listen for the bass. Because we found some bass lines and things even, like, La guns. We were talking about the bass player. [01:52:05] Speaker E: Yeah, it is true. We haven't really said anything about the bass in the whole record. [01:52:10] Speaker C: No, but you see, you do yourself. [01:52:13] Speaker D: A disservice that, hey, listen, you go down the list and there's going to be a lot of band members that have died and passed along the way. Look at Alison chains. At the end of the day, you're never going to replace them, but you can't hold the next person from trying to be who they are and make the band shine, either. And that's something that I often feel like to your point, Metallica's pace. Yeah. I feel like they say, hey, you can't take the main stage anymore. You need to be in the background. But how does that affect the music in the long run? [01:53:01] Speaker C: Yeah, I mean, we know that they busted James's balls basically the whole time he was in the band. I mean, they admit to it and he says, Guy looking at Jason. Oh, who did I say James? Yeah. Sorry, Jason. But just like, this is a band. This is a heavy band. This is a band with some bass. Can stand out. And again, is it them? Is it him? Does he shine on the next record where all of a sudden he kind of breaks out? [01:53:35] Speaker E: I don't know. Well, let's see what they do with this. So we're two minutes and we have a 751. Thank you. [01:54:18] Speaker A: Sam. Ram SA. Sam. Sam. Sam. [01:57:16] Speaker E: I'm going to stop it right there for a second. So that Solo supposedly is James Hetfield. So you can tell it sounds totally different. [01:57:22] Speaker B: Yeah, it does. [01:57:23] Speaker C: I thought they were going into unforgiven four. [01:57:27] Speaker E: But I got to say, though, it's not bad. See, the worst part, this definitely should have been a song, right? [01:57:33] Speaker B: So your lyrics over this? [01:57:35] Speaker E: Yeah. [01:57:37] Speaker C: I mean, again, they've gone at least, what, four minutes deep before getting into any real anything different? [01:57:44] Speaker E: Yeah, it was, like, four minutes or so before they got to so we're now 538 of and we have 419 left. But actually, is it weird to say that this is my favorite song on the record? [01:57:59] Speaker B: No, it's kind of seeming that way for me, too, right now, because it's structured really well. [01:58:04] Speaker E: The riffs are really good. It's definitely not old Metallica, but out of the new Metallica stuff, it's the better kind of new Metallica. That makes sense. Weird. So strange that he couldn't get lyrics to this thing because it sounds like it's just like a demo they played and then no one got put lyrics on top of it. All right. [01:58:33] Speaker D: I like it. Personally, I got to tell you, I wish I knew this song beforehand. I would have made it the on home music when someone called Sex Support. Get the route up for the technicians. [01:58:44] Speaker E: You know, I like it a lot. It's scary that, like I said to me, this is the best song on the record. [01:58:50] Speaker D: I really do. I like it a lot. Yes. [01:58:52] Speaker A: With you, it's. [02:01:12] Speaker E: Wondering if that was Kirk. I don't think it was. I think it was still James. I think it didn't sound like Kirk Hammond, even though there was WABA on it. [02:01:22] Speaker C: You think? [02:01:23] Speaker E: I don't think it was. Supposedly, there's two versions of this song, one with Kirk Hammond and one with James Tefio, but it's saying that this is a James Heffield. I mean, it didn't sound like Kirk Hammond to me. I don't know. Just the way it was picked, it's weird. I can almost pick out his fast playing. It doesn't sound like that to me. But I could be wrong. [02:01:49] Speaker C: Could be right, too. [02:01:51] Speaker B: Could be, yeah. [02:01:52] Speaker E: I don't know. [02:01:53] Speaker D: It could be right, too, Mark. I know, I like that. [02:01:57] Speaker C: Maybe you're right. [02:01:58] Speaker E: I got 50 50, I think. [02:02:00] Speaker C: Yeah, there you go. [02:02:02] Speaker E: 50 50 again. [02:02:04] Speaker C: Anybody listening? Let us know if you know. [02:02:06] Speaker E: Yeah, let us know. All right, so we got two, three left. Let's play it out. [02:02:13] Speaker A: You. Sam. Sam. SA. [02:04:15] Speaker B: Have to play that out for that long? [02:04:19] Speaker E: No, probably not, but it's not like they did anything. But I don't know, it felt like a ten minute song for me. It was long. Yeah. I'm going to rate this, even though it is instrumental. I'm not going to do lyrics, obviously, but I'm going to give it an eight on music and eight on production. Again, I say it again, this may be the best song on the record, that if it had lyrics on it, it probably would be the best song here. It's almost the best song here without lyrics. I don't understand. I don't understand what's everyone else think. Sav, what do you think? [02:05:11] Speaker C: Yeah, I mean, I like the riffs, so I'm going to say eight. I think the parts were worth an eight, but there's no way in hell that this song needed to be that long without anything really happening. But whatever, they're Metallica rights, they do whatever the hell they want to. And I'll say an eight on the production, too. [02:05:38] Speaker E: Yeah, it's long. [02:05:40] Speaker C: Yeah, it's long and very repetitive. So what I'm looking at is the individual parts, which, again, like we all have mentioned throughout listening to it, this clearly should have been a song. [02:05:51] Speaker E: Yeah. And it didn't need to be a ten minute song either. It could have been a five minute song. It probably would have been a good song, too. [02:05:59] Speaker C: Isn't this a double album? Right? It was a double vinyl, right? [02:06:05] Speaker E: I think yeah, it was at least four. Yeah. Well, it has to be. That's what the songs are. So long. You will probably only get a couple songs on the side. Really? Because it's so long. [02:06:13] Speaker C: Especially after this. [02:06:14] Speaker E: Yeah. Seriously. Steve, what do you think? [02:06:20] Speaker A: I don't know. [02:06:20] Speaker B: I think I'm going to go seven on the music, because, again, it really does sound like it should have lyrics to it. It kind of doesn't remind me of the old Metallica, like Ryan or Know. It kind of doesn't have that instrumental feel to it. So, yeah, I'm going to say seven to it and production. I'll say eight. I didn't really hear anything that was that bad and everything kind of sounded good in the mix. Yeah, we'll say seven and then yeah. [02:07:01] Speaker E: What are you saying, Frank? [02:07:03] Speaker D: You know what, I gotta say that I'm surprised that the three of you being musicians, completely missed the mark here. As someone who used to watch three of you. I used to watch you guys jam, sit down and just rock out and hang out and just have a good time. That's what this was about, this Metallica just jamming out, having a good time, just being themselves, laying their hair down kind of thing. And it's just pure rock. So I'm going to give this ten. [02:07:35] Speaker E: Holy shit. [02:07:37] Speaker D: You know what? I really do like it a lot. It's just like, let's just rock out. And that's it. The only thing I wish they would have done, maybe a little, but not necessarily because Metallica and it's like, when you think about GNR, they did double talking jive, and there was, like, that part. They did the lyric, and then the rest of the song was just jamming out, and then they faded to acoustic. I think that was the one part that I wish I would have heard. But overall, this is just dumb rocking out. I like it. And I'm just surprised that the three of you being musicians, that you don't recognize that well. [02:08:14] Speaker E: No, I think we gave it eight tens. I don't know what I can get. I didn't give Jimi Hendrix tens. [02:08:21] Speaker D: I know you can do that, bro. [02:08:23] Speaker E: I don't know if I'm giving this a ten, but I mean, eights for me, for an instrumental that really probably was a little too long than it should have been. I'm looking at it more like this could have been a good song. That's how I'm looking at it. It didn't feel like a regular instrumental that they would normally have done. Right? But as a song, if you cut this down to like, five minutes, as a five minute song, it probably would have been great. [02:08:44] Speaker D: I know, but you know how it is, dude. You throw a bunch of musicians together and they're all feeling their vibe, they could play for 25 minutes straight. [02:08:52] Speaker E: This is true. [02:08:52] Speaker C: But that's the thing, though. They're playing the same thing over and over. I mean, they're playing a song structure, which, again, is fine. I mean, it's good. And I understand what you're saying, Frank, for sure, but I don't know, it's not structured. [02:09:12] Speaker D: No, I just feel like it fits the metal. It's not like a jazz song. Like jazz. When you go into a jazz jam session, it's like you got ten people playing different songs. And somehow it all mixes in together. It's like one guy is playing one song, another person is playing another song, another person another song. But it somehow all fits and they play forever until somebody says, all right, you guys need to get off the stage, that kind of thing, personally, but I like it. I just thought it was just, hey, rock stars, rocking out. [02:09:44] Speaker E: Well, now we're finally down to the last song. Five minutes and 1 second. [02:09:50] Speaker D: I hope this is like him talking, saying, thank you so much for listening us tonight. [02:09:56] Speaker E: It's called my apocalypse. [02:09:59] Speaker B: Here we go. [02:10:01] Speaker E: Let's see if they can end it super strong, right? Maybe they can, hopefully. Let's see. We're all pulling from Metallica to do that. So let's see. [02:10:11] Speaker A: Dam it. [02:10:53] Speaker E: What are we thinking of that? [02:10:56] Speaker B: I felt as like some tornado soul is that what I was thinking of? Or some megadeth. [02:11:07] Speaker E: It's more thrashy than anything. Some of the other stuff that's on here so far, it's definitely in the step of older Metallica. Right. We saying that. [02:11:21] Speaker B: Has that classic Scunky threshold. [02:11:24] Speaker E: Now, are they going to change it up, is the question. [02:11:30] Speaker B: Probably. [02:11:32] Speaker E: All right, here we go. I backed it up a little bit. [02:11:38] Speaker A: Clap the full back crawl out of this skin reach and pull that pin fear thy name extermination desecrate inhale a fire so we cross that into the crib total eclipse. [02:12:16] Speaker E: If this, to me sounds like this is the attempt that everyone was probably hoping for yeah, they're. [02:12:28] Speaker C: Not doing any. [02:12:31] Speaker E: You don't like what? [02:12:36] Speaker C: Yeah, but then he actually sings along to it. [02:12:43] Speaker E: I can get that. But to me that this definitely feels now if he can stay away from the wawa pedal in the solo, it'll be better. What were the lyrics, Steve? [02:12:58] Speaker B: All right. Claustrophobic crawl out of this skin heart explosive reaching pull that pin feel thy name extermination desecrate inhale the fire so we cross that line into the grips totally eclipse suffer into my apocalypse. [02:13:21] Speaker E: Not bad. Not bad. This is, to me what I was expecting more of the record to sound like now. Shorter of them changing anything here and trying to go Black album load reload, you know what I mean? This is a decent attempt to try to go back to something that's older. That's my opinion. I'm not saying it's perfect by any stretch of the imagination, but I mean, I would take this over Cyanide or the Unforgiven Three, really, technically. So let's see if they can continue this. [02:14:01] Speaker A: Deadly vision prophecy reveal death magnetic pulling close to steel feel thy name annihilation Desolate inhale a fire so we cross that line into the grip total equipment my apocalyptic it pushing metal ripping hands up body mannequins, drilling blood leading gas maggle flex stepping by dripping Buddy Valentine shadow face spitting glass split apart split apart split apart spinning out you. [02:15:49] Speaker E: So, what do we think? I actually like that a lot. [02:15:54] Speaker B: And there was no hua. [02:15:56] Speaker E: There was no sounded to me. This is the closest that they've tried to get. If they were trying to get that way. I'm enjoying this just because this is what I expected the record to. [02:16:12] Speaker D: Mark. Any any indication where they recorded this song? You mentioned earlier when we started out that they recorded in different venues. [02:16:21] Speaker E: This one was recorded in three place. This is in three places. Sound City, shangri La Studios in Malibu, and their own thing in San Raphael, California. So this was recorded in three different places, it looks like. That's what it's saying. [02:16:43] Speaker C: Music cities, Tennessee. [02:16:46] Speaker E: No, Sound City. This is all La. Yeah, it's all I mean, that's where. [02:16:52] Speaker D: Food Flight is recorded as well. [02:16:54] Speaker E: Yeah. [02:16:55] Speaker D: Sound City. [02:16:57] Speaker E: So they had their own place. They had La studios in Malibu and then Sound City in Los Angeles. [02:17:04] Speaker D: They recorded in three different places. [02:17:07] Speaker E: I'm trying to see if any of the other tracks were recorded in three different places. Not saying on this one. Just trying to go through some of them and seeing that's what it's saying. I don't know if it means the whole record or was just this song, but I don't know, it's better sounding to me than lots of stuff here. So I'm good with it. [02:17:32] Speaker D: Yeah. So far. [02:17:33] Speaker E: Yeah. [02:17:34] Speaker D: Thank you. [02:17:35] Speaker E: What are the lyrics, Steve? [02:17:37] Speaker B: All right. Deadly vision prophecy reveal death magnetic pulling closer still feel the name Annihilation Desolate inhale the fire so we cross that line into grips total eclipse suffer into my apocalypse my apocalypse crushing metal ripping skin tossing body mannequin spilling blood bleeding gas mangle flesh snapping spine dripping bloody valentine Shatterface spitting glass split apart split apart split apart split, split it out. [02:18:19] Speaker E: Okay. Yeah, I'm okay with this. So let's continue a little bit closer. [02:18:31] Speaker A: Demand takes the steering wheel. What makes me know what time to cross over for European till I feel the skin, the bones, they all rattle. Future path, they disagree, that's all the way the bones, they all shatter. I stopped to see the end in me. See the end in me. Cross the full back. Climb out of this gear we can pull that pin bio lake annihilate a wounded to my eyes. Obliterate exterminate at Lock and south. Denied fear thy name is hell. Awaken destiny inhale a fire. But we cross that lion into the clip total eclipse. Maya cockle lamp. Paris awaken my apocalypse. Demon awaken. My apocalypse. Heaven awaken my apocalypse. Come up forever. My apocalypse. [02:20:22] Speaker E: If I have any criticism of that, I don't like the ending that much. [02:20:26] Speaker D: Oh, here we go with the ending. Oh, my God. What's you mark with these endings? [02:20:33] Speaker E: I think it should have just like. [02:20:37] Speaker D: I just feel like you need closure. We have to have a session, one of these podcasts. Talk about Mark's closures, any closure. [02:20:45] Speaker C: Mark likes the fade outs. Mark needs a couple more fade outs. [02:20:49] Speaker E: I like fade outs. Once in a while. Well, you don't hear them anymore, so I'd like to hear Fado. [02:20:54] Speaker C: It's funny because there's parts of that song that remind me of stuff from Seasons in the Abyss and even the way it sounds. I'm like, who produced Seasons in the Abyss? I mean, he also did the two before, but just this really reminded me of stuff from Season, even the two lines where he says, fear thy name annihilation desolate inhale the fire. I was like, it sounds so much like Tom Moriah when he kind of like, screams a little. [02:21:30] Speaker E: I was I was okay with finish once you finish the lyrics out because I know there's a whole crap load of lyrics. [02:21:38] Speaker B: Sure. What makes me drift a little bit closer. Dead man takes the steering wheel. What takes me now it's time crossover. Forced to repeat until I feel see through the skin the bonus, they all rattle. Future in the past, they all disagree. Flesh falls away the bones, they all shatter. I start to see the end in me. See the end in me. Claustrophobic, climb out of the skin, heart explosion. Waiting for that pin violate, annihilate a loser to my eyes. Obliterate, exterminate, at least accept, deny, feel thy name has hell awaits, destiny inhale the fire, but we cross the line into the grips. Total eclipse. Suffer into my apocalypse. Tyrants, awaken my apocalypse. Demons, awaken my apocalypse. Heaven awaken my apocalypse. Suffer forever my apocalypse. Some dark lyrics. [02:22:50] Speaker E: Yeah. I'm going to let Steve go first. Go first, Steve. [02:22:56] Speaker B: All right. I don't know lyrics. We're going to say seven on the lyrics. They were good, but I don't know, I'm not the apocalyptic music. I'll probably say a nine on this. Maybe I might be stretching too much, but definitely like, I guess my favorite song I've heard so far and kind of brings me back a little bit to the older Metallica. So maybe that's why I'm a little more partial to it. But, yeah, we'll say nine and then production is solid. Everything kind of has place, so we'll see eight. Sav. [02:23:49] Speaker C: Yeah, I'm going to say seven on the lyrics. I'll say an eight on the music and an eight on production, too. It was well structured, right. It didn't go into any weird whatever. It just was what it was. Yeah. Who knows? I mean, this could have been something that they heard and said, oh, hey, listen to mean, I would say even more than the first two songs, this captures a little bit more of that. I mean, definitely a strong way to end the record, without a doubt. Especially with some of the shit we heard before this mark. [02:24:35] Speaker E: I'm going to throw eights across the whole thing. [02:24:36] Speaker C: Eight. [02:24:37] Speaker E: Eight. I think this is more of what I was expecting. I wish the whole record was similar to this in style because I think that's what a lot of people were kind of like, hoping that it would be, especially after all the reloads and loads and reloads and St. Angers and stuff, that if they could have got back to songs of this length five, six minutes, you know what I mean? As opposed to, like, the Anjustice for all link songs with 910. Right. Long songs. But this, for me, is what I was expecting. So, I mean, everything was good. I liked the lyrics, I liked the music, like the production. Some really fast downstroke things he was doing there is ridiculously fast that if you tried to do that, your wrist would seize up. So it sounded like older Metallica to, you know, to me, either you're going to do this or you're going to do new stuff. So I would rather it be like this. So I'm going to give eights across. Very strong ending. [02:25:42] Speaker D: Frank, again, in the spirit of baseball. This is our slugger. That was great in game one. In game two disappeared in game three. Four showed up game five disappeared in game six and came out big in game seven. This is our game seven and this is our slugger. And they ended it really strong. I really like the song a lot, actually, and I'm going to give it AA across the board. The lyrics were great. The music was great. This is what I was hoping the album was all along, personally. [02:26:19] Speaker E: Yeah, I 100% agree. I think a lot of us wish it was like that, but alas, can't be that way. [02:26:27] Speaker D: Yeah. One of the things I want to take away is like, Rick Rubin produced this album all the way through and I don't know, it just seemed kind of, I think to your point, Mark, where it was like, okay, I'm just here to you, tell me what you want. I'm going to deliver it, in a way. And the band seemed kind of like, okay, we want to do a little bit of old school, but we want to do what we used to do. And I don't know, it kind of delivered a mixed message in this one. What do you think? [02:27:01] Speaker E: I think that obviously it was Rick Rubin and Metallica, so I don't really think he had 100% control of that. You're right. He's doing what they want. I don't know. Like I said, if they could have done my apocalypse for the rest of the record, I would have liked it better, I think. Is it a bad record? No. Could it be better? 100%. Was it what I was expecting? No, I was expecting more old style Metallica. And even though I got it in pieces here and there, the first couple of songs and then in the middle, it kind of floundered for me. And it tried to be stuff that they were doing after the Black Album. That's not my favorite stuff. I don't know. It could have been better. I was hoping it would be better. [02:27:57] Speaker C: I'm glad it ended on a strong note, though. [02:28:00] Speaker E: Thank God it ended strong. I mean, are we thinking that side one is still better than side two? [02:28:07] Speaker C: I think so. [02:28:09] Speaker E: I'm looking at our ratings. We have three songs in the eight, a couple of sevens and a six, one seven and one six. And then we got a seven, a six, a seven and eight. A six, an eight. There were more songs I think, we liked on the first side than on the second side. But I tell you the truth, I think that the instrumental and the last song to me were the strongest things that were there and that if they could have done something with that instrumental and made it a song, if they could have produced more songs like My Apocalypse, I think I would like the record a lot better. But it did go number one, so what fuck do I know? [02:28:58] Speaker D: Really did it? [02:29:00] Speaker C: I mean, it didn't it's still Metallica, right? [02:29:03] Speaker E: Well, yeah, it went number one against. [02:29:07] Speaker D: What was released that time? [02:29:09] Speaker E: Oh, I don't know what was released. I'm just looking at the Billboard 200 was one. Top Rocket was one alternative one. Top hard rocket was one. [02:29:19] Speaker D: It doesn't tell you what was released at the same time. [02:29:24] Speaker E: No. It sold 2 million albums in the US. Alone. It went double platinum. [02:29:33] Speaker B: Okay, hold know so it's Allek it's the name. [02:29:40] Speaker E: Yeah, of course. [02:29:44] Speaker D: Listen, they went 74 minutes. I mean, at the end of the day, they went back as far as they could. Right. So you're talking about a bunch of musicians that are 30 years into their career to go back to their roots, and that's not easy to do. [02:30:02] Speaker E: No, but they obviously can do it, though, because look at the last song. If they wanted to if they really wanted to. Right. They could, but maybe, like, said they didn't want to. [02:30:13] Speaker D: I don't know. Is it that they don't want to, or is it that they're limited to those three or four songs? [02:30:21] Speaker E: Who knows? [02:30:22] Speaker C: I think either one is possible. Right? [02:30:24] Speaker D: Yeah. [02:30:25] Speaker C: I think if this was an EP want the whole album to be like this. [02:30:28] Speaker D: If this was an EP, this is a perfect ten. Right. So an EP is like, what, four songs, five songs, an EP mark, something like that. Yeah. So let's say this was an EP and we take the five songs that we like. This is a perfect ten across the board. [02:30:47] Speaker E: I don't know about that. [02:30:49] Speaker D: You don't think so? [02:30:50] Speaker E: No. But if it was just a short record and we took the ones that we liked that were eight yes. It would be a much better it'd be a stronger record. [02:31:03] Speaker C: Yeah. [02:31:05] Speaker D: All right. [02:31:06] Speaker E: But this is a long review, man. [02:31:09] Speaker D: We're up to this is like a three day album. [02:31:12] Speaker E: Jesus, 74 minutes. We're up to 151 minutes already. [02:31:18] Speaker D: I could have broadcasted this on a plane to Iceland, for Christ's sake. [02:31:24] Speaker E: Go blame Metallica writing ten minute, nine minute song. So before we go into our usual spiel at the end, want to let everybody know that please share all this stuff out on social media, reviews on Apple, wherever you listen to your podcast, help us. So that would be great. We also have a new thing that we did. We basically have Spotify playlists for every album that we've reviewed. So you can head over to Rockwellettpodcast.com, go to whatever episode you want, and there'll be a playlist there of the songs that we've picked, the highest rated song. So we're going to be doing that from now on. So that's all done, which would be awesome. So if you want to just add those to your playlist in Spotify, you can do that. And we're probably going to have some more guests. We're working with a couple of people from the Rock Roulette I mean, from the Rock Roulette from the Deep Dive Podcasting Network. Rush, rash, chaz and yep. They're new on the thing. They do Rush, so they're going to try to join us next week. We're going to try to have them on. Chaz and Shats from Rush Rash are going to try to get on with us and see if they can have a good time with our format, which is similar to theirs, except we do a whole record and they do one song, see what they think about all they focus on. [02:32:55] Speaker B: That's it. [02:32:56] Speaker D: That's their whole rush on just rush. That's it. [02:33:00] Speaker E: That's it. All right, I'm going to try to get on their podcast, too. Okay. [02:33:04] Speaker D: I'm going to have to brush up on my Rush. [02:33:06] Speaker E: Yeah, who knows who you're going to get? It's random like ours, so you can get a good song or a wacky song. So who knows? [02:33:17] Speaker C: I mean, Mark, if we get rushed again, we can do it, right? It's far enough. [02:33:21] Speaker E: Yeah, I think so. I'm pretty positive. Yeah. Ten Records. It has to be. [02:33:26] Speaker C: Yeah, it's got to be, right? [02:33:29] Speaker E: Was a while ago. All right, so once the video, why don't you do your thing? [02:33:34] Speaker C: Well, you already mentioned them, but just like Rush Rash, we are part of the Deep Dive Podcast Network, obviously more individualized than we are with Orush Rash being a Rush podcast. But not only that, they've got Queen. They've got Uriah Heath, they've got Tom Petty. So again, if you get that favorite artist or someone you really like and you want something a little bit more individualized, then check it out. And as Mark said, we are everywhere on social media, right? [02:34:05] Speaker E: Rock. Roulette pod everywhere. And please share out the episodes, give us reviews. That kind of helps us get farther out there in the podcast world. And any of that kind of stuff helps us out. So we appreciate everyone listening to us, especially on a long album like this. This is a long episode. [02:34:29] Speaker C: There's a lot of meat and potatoes in this episode that's for sure. [02:34:32] Speaker E: Yeah, there definitely is. But I guess next week is the wheel spin again. So we should have some people on here next week to hopefully join us and see how they feel about whatever we get. [02:34:49] Speaker C: Yeah, they get to criticize what the hell we do. [02:34:54] Speaker E: Well, we criticize what we do, so it's different. [02:34:58] Speaker C: Yeah, exactly. [02:35:01] Speaker E: All right, guys, so I guess we'll see you next week. [02:35:05] Speaker C: Ciao. Ciao. [02:35:07] Speaker D: Take care, everybody.