Episode 59 - Stevie Ray Vaughan & Double Trouble - Couldn't Stand the Weather (Part 1)

[00:00:00] Speaker A: You. This is our musical reaction, breakdown and. [00:00:07] Speaker B: Commentary analysis of this song. Under fair use, we intend no copyright infringement and this is not a replacement. [00:00:14] Speaker A: For listening to the artist's music. [00:00:16] Speaker C: The content made available on this podcast. [00:00:19] Speaker D: Is for educational and informational purposes only. [00:00:23] Speaker A: Notwithstanding a copyright owners rights under the Copyright Act. [00:00:26] Speaker B: Section 107 of the Copyright Act allows limited use of copyrighted material without requiring. [00:00:32] Speaker A: 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. [00:00:43] Speaker B: Even if the use of the work would otherwise be infringing. [00:00:46] Speaker A: Now on to the Rock Roulette Podcast. You. [00:01:14] Speaker C: Here everybody. Welcome back to another episode of Rock Roulette Podcast. That's right, the podcast that took over 1000 albums, put them in a list, and every other week, typically, we spin the wheel. She picks an album for us and we go through it side by side, song by song, and we judge it based on lyrics, music and production. Again, these are just our unprofessional opinions or just a bunch of guys that love music and have fun and wanted to do a podcast. So again, thanks everybody who's been listening. We've had an uptick in listeners and comments and everything, so just keep plugging away, spread the word. And tonight with us we have Frank. [00:01:54] Speaker E: My name is Frank. [00:02:09] Speaker D: You know, I have a little bit of a drama unfolding over here. I can't find my fucking headset. I need to find it before my phone dies. So hello everybody, thank you so much for joining in. [00:02:21] Speaker B: Frank always has drama. [00:02:24] Speaker C: We get the drama out of the way early maybe. [00:02:27] Speaker D: I'm like channel 47. I have a lot of novellas happening in my life. [00:02:31] Speaker E: You're UHF, man, I'm telling you, a lot of drama. [00:02:39] Speaker C: We have Mark. [00:02:40] Speaker B: Mark, what's up? [00:02:43] Speaker C: What was that? Oh, it's new. [00:02:45] Speaker B: Yeah, I change it up. I change up every once in a while. [00:02:47] Speaker C: New and quick to the point. I'm sav ciao, bunasera. And tonight we have a special guest from the Deep Dive Podcast Network, one of our brothers in the network, and a newly formed podcast called Rush Rash. We have Chad. [00:03:14] Speaker E: Yeah, that was excellent. I love that. Thank you. What a great welcome. [00:03:20] Speaker B: It's not an easy name to find. [00:03:22] Speaker E: Dude, that was clip for I need that clip. I'll send it to you know, the only other thing that's better than hearing that was hearing some certain podcaster on the Deep Dive Network with a British accent say Jazz Charles. It was just great. It was just brilliant hearing him say my name. That was know, check that one off the list. That's what I was waiting to hear. [00:03:45] Speaker B: So why don't, uh, tell everybody about Rush Rash before we get going? [00:03:50] Speaker E: Rush Rash. Well. Hey, Rush. Rash. It's a weekly listen through the catalog of the band Rush in a format that may not be unfamiliar to listeners on the deep Dive Network. If you listen to, say, oh, and the podcast will rock or CSI Pod Review or this show or many others, we oh, novel concept, spin a wheel and whatever comes up. We've got 165 songs loaded, which is the Rush catalog of songs that they wrote. So no covers. So, yeah, not unlike others. We will, however, listen to the instrumentals on this show because the music is such a big part of it, right? And we've really tapped into a great vein of the Rush universe and it's been quite a rush. We're into our 8th episode. It's a weekly deal. It's 90 minutes of fun and laughs and thoughts all through the Rush Rash spectrum. So we have people that come in that are various fans of Rush, whether they've got what we call a light itch or they got full blown dermatitis and anywhere in between on the spectrum, and we scratch the itch for whatever they want to hear that week. We hope they leave being satisfied. But I'll tell you what, after seven episodes so far with a few guests in there, we've had a great run and we're really just momentum is building. It's held a lot more work than we thought it was going in. But hey, all said, at the end of the day, it's very worthy thing because man, if nothing else, connecting with my old buddy Schatz and meeting all these great new fans of Rush and these bands and tribute bands that play Rush music. We just did an interview this week with a band that they are a progressive rock band and they do outrageous Rush covers. And that's why? Why not? They are probably one of the preeminent, I would say, in the Rush tribute space. You guys have no doubt heard of Why Why Not and we just interviewed those guys, a couple of Tim from Long Island himself. He and I actually have a bond there with being with places very familiar on Wall Street in Huntington. And Billy Alexander, who actually just today just released some new music. If you go to the Rush Rash feed on Twitter, you can see we shared something that Billy just shared today, keeping the spirit of the music of Rush alive. The sound of the music of Rush alive is what Why Why Not is doing. And we've got a bunch of guests booked already for shows coming up in the coming months that are from tribute bands from our lives, from both my life and my co host Shats Alan Schatzberg. He's back there in New Jersey. Mobile, New Jersey. He's going to go see Getty Lee here in a few weeks. New York. He's going to hook up with the guys at Why Why Not? There. He's going to do a little meet and greet downtown or I guess a hookup right before the show with Rush fans. This thing has blown up, guys. It's gotten so friggin crazy so fast. So we're having a wonderful time and encourage everybody to come and listen with us. It's just a lot of good, clean fun. So if you like what they're doing over there on Ask, the podcast will rock. We got no surprises for you. We just got Rush music instead. So come on over. [00:07:15] Speaker B: Everyone listen to episode three because he mentions Rock Roulette on that episode. So if you don't listen to any other episode, number three is the one you guys have listened to. [00:07:23] Speaker E: There you go. Going to have to share that one out tonight. [00:07:26] Speaker D: And by the way, we need to clear our calendars for January 5. Why? Why not? It's going to be playing in Noah, Connecticut. [00:07:36] Speaker E: That's a four way go. [00:07:37] Speaker D: Do it. [00:07:38] Speaker E: Go, guys. Yes. And you have to clear your calendars. We'll have to talk offline about time when you can come over and spin the wheel with us. Very happy to have you over. [00:07:49] Speaker C: Yeah, that'd be great. [00:07:50] Speaker E: Calendar is booking up fast, so get your Ointment, get your rich satisfied over here with the Rush Rash. We got it. Don't go there. Don't go there. [00:08:01] Speaker B: We'll go on Rush Rash and get the album, one of the songs from the album. We already did that's what's going to happen. [00:08:08] Speaker D: And by the way, we're going to have to record live from the show because that's a Friday, january 5. Lens on a Friday. [00:08:16] Speaker B: You don't think I'm dragging all my shit out there, right? [00:08:18] Speaker C: Imagine what do you got to do a time? [00:08:22] Speaker D: Come on, let's go. Let's make that happen. We need to make this happen. [00:08:26] Speaker E: Do it, guys. Do it. I'll copy all this out. We'll copy in the guys. And why? Why not? They just shared us out to their fans. So we're real excited. We're picking up audience really quickly and just having a great time with it. And so why don't you join in and get a little of that? You see, this is how the rash spreads. This is our job. [00:08:46] Speaker D: This is how the rash spreads. I love it. [00:08:48] Speaker E: This is what we're doing here. This is it. [00:08:52] Speaker B: Well, so last week we finished up Death Magnetic. Chaz. Are you familiar with Death Magnetic? [00:09:00] Speaker E: What? Are you kidding me? [00:09:02] Speaker D: Yes. [00:09:02] Speaker E: I love that album. [00:09:04] Speaker B: Do you have any favorites off of Death Magnetic? Do you know? Offhand? [00:09:08] Speaker E: Shit. Oh, gosh. [00:09:10] Speaker B: We're putting them on the spot right now, and no one's going to remember. [00:09:13] Speaker E: Well, the one about the wolf. Hold on. Now, let's see. Death Magnetic. So that song in particular may be Death Magnetic. In fact, yes. Hold on. I think it is. My son and I, when this album came out, we were in Southern California. I've got very fond memories of this record. Fucking love it. Cyanide all nightmare long. All nightmare long. That's it. Yep. No doubt. [00:09:39] Speaker B: Yeah, we were a little split on that. We think it ended really well. But it's not what I thought was going to be the intention of the record. And then Sabino told us, said, well, maybe that's not the intention. I thought the intention was to go back to early Metallica. [00:09:57] Speaker E: I thought it was to do that, but to also maintain what they've kind of done and move forward. So for me, it was a great transitionary record because, shit, guys, where were they? Right? This record was what? 20 07. [00:10:12] Speaker B: 20 08. [00:10:13] Speaker E: 20 08, right. Yeah. So that was a transitionary period, and then they kind of went from there holy fuck. To Lulu. So not shortly thereafter. So, I mean, they were really kind of going I thought they had kind of taken I don't know. To me, there were some songs on this that seemed like Masters continued, like they had kind of picked up where they were, like maybe they had picked up some old riffs that were laying around from that period, particularly with All Nightmare Long, I Want to say Cyanide My Apocalypse. I remember. Yeah. Quite a few of these tunes. Unforgiven Three. That gimmick. I mean, it's all right. It's a gimmick. Right? [00:10:54] Speaker D: You know what? So I shared this I was chatting with a peer of mine about our show, and they said, what did you do? And talked about Metallica and what we did, and it's like, you can't do a throwback album that was recorded in what did you say? 2008. [00:11:13] Speaker E: Right. [00:11:13] Speaker B: Throwback, okay. [00:11:14] Speaker D: 2008. You can't do a throwback album in 2008 and compare it to technology. That was in 1983, 84, 82. [00:11:25] Speaker B: Sure I can. [00:11:26] Speaker D: No, you can't. It's not going to be the same. [00:11:29] Speaker B: It's going to be better before yeah, exactly. [00:11:33] Speaker D: You can't get that same raw sound. No, you're not. So it's like, hey, cut them a break. You're not going to get that same raw sound. It was very clean. You're right. [00:11:45] Speaker E: Versus the old sounds. You're right. It was very much I would call it fucking what? Like, I'm sorry, can we curse here? [00:11:54] Speaker B: Yes. [00:11:56] Speaker E: I'm kidding. But it came off like it was done in a Pro Tools environment. Right. Whereas the earlier records, definitely, to your point, were done on a board. Right. There's a definite difference. Yes. [00:12:11] Speaker D: You know what? That's excellent call out. That's an excellent call out. Because some of the things that we called out was, like, how the vocals sounded different, how the drum sounded different a little bit. And I think Mark, the guitars, you said also stand out a little bit different. I mean, I get the wawa. You hate the don't know. [00:12:29] Speaker B: I don't hate the wawa. I hate the way he uses the wawa. Wawa in general. I'm fine know. [00:12:35] Speaker D: So Mark's obsession is when a guitarist uses too much wawa, and if the song doesn't end the right that I'm. [00:12:45] Speaker B: A big fan of the Fade Out. [00:12:46] Speaker D: The fade out. [00:12:48] Speaker E: Fade out. All right, I'm going to cover band. I fucking hate the fade out. Please make a decision. End it, make it tight. Because they could do it live. We know they can do it live. Come on, guys, give us that, please. It's live different. [00:13:02] Speaker B: You could do anything you want to do live. [00:13:03] Speaker E: Well, you could do anything you want, but give me something I can play consistently. And people go, yeah, nailed it. Because that's what people do, man. Especially I'm sorry. I digress being somebody who's in a cover band. [00:13:15] Speaker C: Don't worry. [00:13:16] Speaker E: Yeah, that's our trademark, by the way, Chaz. [00:13:20] Speaker B: We've played our share of COVID stuff, so we and by the way, Chaz. [00:13:25] Speaker D: This album I don't know if you know this, but this album was recorded in, I think, three different studios. Mark, is that correct? [00:13:31] Speaker B: That's why it doesn't sound the same. [00:13:32] Speaker D: All the way through fragmentation in the sound. Not me personally, but definitely Mark and Savino were able to pinpoint out and Steve as well. Right? Steve, who's part of the podcast, he was like, hey, this sounds different than the last one. And the end story was like, hey, these were recorded in different studios. [00:13:58] Speaker E: Yeah. That means a huge difference. Who was on the board? Where was it recorded? Yeah, man. Huge difference. Especially on what we've found in the Rush catalog. Right. Early records versus those really thin records in the 90s in particular. And I feel like they had finally gotten back to their sound by the by the aughts, but, yeah, definite distinctiveness there. And so you're saying, like, this album I didn't realize that, so that makes a lot of sense. I know what you're talking about. This that was just your Life, another one of the songs that I liked. I love the way that album kicked off, actually. It was like, finally, thank God, right? Metallica's back at least, right? The sound was there, but yeah, broke a beat. Scarred you're. Right? As I think back on this kiss. [00:14:50] Speaker D: You know, for me, it was like what was missing was that raw sound. Everything sounded too perfect. Yeah, exactly. And you just said it right now. And it resonates what my peer said. It was like, you listen to a recording that was done 2007 in a band that was found in 1980s, you're not going to get the same sound because that technology doesn't exist in a story. No, that's what I think, that you just nailed it on the head right now. [00:15:26] Speaker E: And you know what? I appreciate something you just said, too. Right. Then think about all the years they've been playing since those early recordings and how much more technically proficient they've become at their instruments. And how that's why I really liked this album. Because being somebody who plays their music and I have since I got their first records. I mean, I was in with this band since they were freaking basement tapes, guys. So I saw them at the where did I see them? Capitol Theater, Pasaic, New Jersey. On the first leg of the Master Puppets tour. It was insane. Metal church opened. It was wonderful. So I've been with this band a long time, and that said, always been into the guitar sounds and the differences between Kill Them All all the way through Ride the Lightning and Master. And I got to admit, I kind of fell out with them after justice, the sound started changing a little too much for my taste at that point. And I was much more into, more Praggy like Maiden, Metal Priest in that era while they were releasing all those great records, defenders of the Faith and okay, the not so great Turbo. Is turbo on your wheel? [00:16:36] Speaker B: Oh, yogic. [00:16:39] Speaker E: Okay. [00:16:43] Speaker B: Don'T say anything bad you don't want the wheel to know about. [00:16:47] Speaker D: Exactly. Before we spin the wheel, I want to ask Chaz one question, and that is this. So we live in the age of streaming services, right? That they are, quote, unquote, enhancing the listening experience with these, you know, cleaning up and things like that. Would you prefer to listen to your favorite band right now, Rush, in the raw format or the quote, unquote, enhanced format? [00:17:23] Speaker E: That's a great question. Rush was always pushing toward a better sound. And quite frankly, some of the records from the 90s need some improvement. So I might want to hear something that would enhance it or make it better. Because, man, it's already technically, in terms of the musicianship and what they're doing and my connection to it, it's already perfect. So whatever somebody can do to it to actually maybe even make those bad sounding records a little bit better, I'd be up for that. Hearing it at feel about that. [00:17:58] Speaker B: I don't know how I feel about wow. [00:18:00] Speaker D: I have to tell you, I'm a little bit surprised to hear that. [00:18:03] Speaker E: Well, think about it, man. Neil Peart, man, he was playing. This is where I was laughing at people. Because my honest truth is, when he started playing Simmons drums, I was like, see, when that became like, the predominant sound, it was like keyboards, Simmons drums, the friggin hair, the friggin jackets. I mean, they look like Flocked Seagulls, man. I was in the Maiden and Priest and Motley Crue and Docking and Rat Van Halen number one. So, I mean, come on, right? Rush had went down a path that I just could not follow. So if you could be quick on the Star Wars sound effects there, you have gone down that path, and I won't go there. And so for years, that's why I'm saying. But having gone back to the catalog, having matured and gotten past the image and all that shit and appreciating the music, there's some great music in that era, truly moving songs that rip my fucking heart out. When I finally came to go back to it, approach it, read the lyrics, appreciate the musicianship that's going on there, and say, damn, I wish the production and God, their image but get beyond that. The production I wish in those 90s albums was a little bit better. And then, shit, I mean, whoa, can technology improve moving pictures? Let's see. Because that's what I think Neil would say. That's what I think all of them would say. Especially with what Alex is doing today. Especially with where Getty is kind of leaning. He's just released. He's got his book coming out. He's got a tour that he's going on. My f in life. This is his book, is his autobiography. He'll be on tour here in weeks. My co host is going to see him at the Beacon Theater and he's put out a commercial on social media. And that's his new music behind the commercial. So he's itching to do some new music as well. And it's a little different than where Rush was. So they're always pushing the envelope to a place where sometimes, as fans, we admittedly we're like, no, I'm too uncomfortable with that. I'm not going with you to see you. I'll stay here with movie pictures. Bye. Come back when you do the retrospective tour. I'll be there. Right? And that's my biggest honestly, guys, my biggest regret is that I didn't go get to see them on the R 40 tour. And I missed that chance because obviously now that will never happen with Neil not being here. So I think in the spirit of he would he would say, Go for it. [00:20:36] Speaker D: Well, I truly appreciate your opinion on know, for me, this whole as we evolve in digital experiences and things like that, and call me on old soul, but there's certain music I like to listen to in a certain format. And I liken the situation. Like when we had vinyl that became CD. It's like there's certain vinyl records I will not listen to in CD because it just doesn't fit right, in my opinion. [00:21:11] Speaker E: Roll call harem. Something from the 60s. Like a Jimi Hendrix. [00:21:15] Speaker D: Yeah, exactly. Jimmy kind of things. Or rolling exactly to that. Sticky Fingers. [00:21:20] Speaker E: I'm going through some of the records. [00:21:21] Speaker D: I've got on my not just rock or metal, but also funk. [00:21:28] Speaker E: Oh, sure, yeah. [00:21:32] Speaker D: Otis Redding. I can't listen to Al Green. Come on. [00:21:36] Speaker E: Putting on a record on a turntable. I know exactly what you're talking about, dude. [00:21:40] Speaker D: Exactly. [00:21:40] Speaker E: Your question was about Rush. Rush is very particular. I don't know that I'd answer the same way about Van Halen. [00:21:46] Speaker D: Yeah, exactly. So now we evolved to this. Okay, so a lot of the music evolved to digital format. Most of us accepted it as a digital format. But now that the digital format is evolving to this new format that is supposed to be the most pure sound, do I accept it? [00:22:06] Speaker B: No. [00:22:06] Speaker D: I don't like to welcome. I listen to Appetite to Destruction in that dolby utmost environment. I was like, Get me the fuck out of this situation. I need to go back to when I heard it. First in a cassette format. Right. It just wasn't for me. That was just me. [00:22:28] Speaker E: Well, I'll tell you what, you have piqued my interest, man. I'm going to go check that out. I haven't done that. I want to hear this now. [00:22:34] Speaker D: Yeah. [00:22:35] Speaker E: Coming into audio just like I am Mark over here. Yes. [00:22:40] Speaker D: And by the way, I'm not an audiophile. I'm not a musician. I'm just somebody who just enjoys music a certain way. [00:22:47] Speaker E: Yeah. [00:22:47] Speaker D: And when you change my way of listening to music, it's going to draw my attention. [00:22:52] Speaker E: It's disruptive. [00:22:53] Speaker D: Yeah, it really is different, right? It really does. [00:22:56] Speaker E: Well, that's why you have a group of friends here to talk through these things. You'll be okay. [00:23:01] Speaker B: It'll be okay, Frank. Don't worry. [00:23:08] Speaker E: And that said, right? Yeah, man. [00:23:12] Speaker B: So what do we think we're going to get? I guess we'll go around the horn. Let's go to Chaz first. What do you think we're going to get? It could be to be an era of time or a genre or what do you think? [00:23:24] Speaker E: I'm going to think that I bring it with me wherever I go. So it's going to be the 80s. It's going to be hair metal. [00:23:30] Speaker B: Okay. Frank, what do you think? [00:23:33] Speaker D: I'm with Chaz, friday the 13th. I'm going to celebrate that all day long. [00:23:39] Speaker E: Heavy dream warriors, Dawkin. Can we get that specific, Duncan? [00:23:43] Speaker B: You could if you want. [00:23:44] Speaker D: Sav is a huge Duncan fan, so we're going to celebrate that right now. [00:23:49] Speaker B: There you go, sav, what do you think? [00:23:53] Speaker C: So, for whatever reason, the scorpions popped into my head today, specifically. But, yeah, I was thinking 80s, too, especially since my wife and I finally dove into Cobra Kai. [00:24:05] Speaker B: Oh, did you? [00:24:06] Speaker E: Yeah. [00:24:07] Speaker C: So a lot of good songs that they play on that show. [00:24:10] Speaker E: So I've heard Switch 625 by Def Leppard is featured prominently in the show. We played it out live and people went nuts, and I was like, I can't believe that many people remember this song. And then my singer Johnny Angel is like, yeah, man, it's in freaking cobra, guy. I was like, check it out. [00:24:27] Speaker B: Yeah, that'll do. [00:24:28] Speaker E: Recurrent and relevant. [00:24:29] Speaker A: I had no idea. [00:24:30] Speaker E: Holy shit, that would do it. [00:24:32] Speaker D: It's kind of like don't stop believing. When the sopranos came to an end, everybody was like, oh, yeah, I heard this song before. You never heard it before now, right? [00:24:42] Speaker E: Exactly. [00:24:44] Speaker B: Well, you know what? I'm going to stick with everybody. I'm going to say 80s. I've been saying 80s for a while. I wanted something super cheesy from the 80s, but I haven't gotten it yet. There's super cheesy stuff on the list. [00:24:54] Speaker E: What is super cheese? What's super cheese to you? [00:24:57] Speaker B: Anything that's super cheese to me is late 80s hair metal. Like late 80s, like when everything sounded the same and it didn't matter what singer you swapped out, what guitar player you swapped out. [00:25:09] Speaker E: Fair enough. [00:25:11] Speaker B: The Firehouse, we're thinking about pretty boy Floyd. [00:25:15] Speaker E: Okay. Pretty boy. Yes. So you're even further downstream. Like where I kind of like you guys are from the New York trice area, so we knew a few more bands. That a lot of the people. So I'm out here in Colorado, and there are a lot of people that don't know some of the great metal bands that I heard growing up listening to WDHA. WSO. What's the one? WBAB. All those stations out there. Right. And god, there's a band, dirty Looks. You guys remember dirty looks? [00:25:47] Speaker C: Dirty Looks? [00:25:48] Speaker B: Yes, I do. No, I don't think it's on the list. But now it will be on the list. And now you're setting something about it. [00:26:00] Speaker E: Yes. [00:26:00] Speaker C: All right. [00:26:01] Speaker E: Dirty Looks because they're the best ACDC cover band to make their own record. And I believe the reason I love them so much is they wrote a song about one of the DJs on WSOU. I think it's kind of Ruby. It's like, hey, Ruby. [00:26:16] Speaker C: Ruby. [00:26:18] Speaker E: Right. That was a great station. [00:26:20] Speaker C: It was a great station. [00:26:21] Speaker E: 89.580 FM, WSA pirate radio. [00:26:26] Speaker B: So now, since we've all picked 80s, it's going to do the opposite for us. [00:26:29] Speaker E: Right. [00:26:30] Speaker C: Exactly. [00:26:31] Speaker E: How far back do you go? How diverse is this? [00:26:34] Speaker B: It's in the 60s till now. [00:26:37] Speaker E: Okay, that's not bad. [00:26:39] Speaker B: Well, if you want 80s, I'd be surprised if it picked something from 80s. But the wheel does whatever it wants to do. We have no control of the wheel. [00:26:49] Speaker E: I know. [00:26:51] Speaker D: By the way, one day offline. Just ask market staff about Winter rose. Okay. [00:26:58] Speaker E: Winter Rose. Okay. Winter rose. [00:27:03] Speaker B: So are we ready? Are we ready to do this? [00:27:05] Speaker C: I'm ready. [00:27:06] Speaker B: All right. [00:27:07] Speaker E: Do it to it. [00:27:08] Speaker B: Here we go. All it's coming to the end. And it's yes. Thank effing God. [00:27:36] Speaker C: I can't see what? [00:27:38] Speaker B: You can't see it? [00:27:39] Speaker C: Wow. [00:27:41] Speaker B: Yeah. [00:27:41] Speaker E: Oh, my. [00:27:42] Speaker C: Everybody, if you hear Mark, he is now an ecstasy. He's got his on. [00:27:49] Speaker E: He's got his. [00:27:54] Speaker A: Cloak. [00:27:55] Speaker C: Call it out. Call it out. [00:27:57] Speaker B: Stevie Ray Vaughn in double trouble. Couldn't stand the oh, shit. [00:28:03] Speaker E: Wow. [00:28:04] Speaker D: Wow. I have to say, the wheel loves when we have guests. [00:28:09] Speaker B: It does love when we have guests. [00:28:11] Speaker E: Thank you, almighty wheel. [00:28:14] Speaker B: Wow. I don't know who's familiar with this record. I know. [00:28:19] Speaker E: To thank the wheel guys, you have to thank the wheel. Thank the wheel. Pay tribute to what do you do to honor your wheel? This isn't very inclusive. What are you doing to honor your wheel? When the wheel gives you that which you desire, what do you do to. [00:28:35] Speaker B: Honor we slap it like a redheaded steadchild and stick it back in the corner. That's what we do. [00:28:41] Speaker E: Howie, howie. Howie. So you must come up with a way to pay tribute to the wheel guys if you want it to keep paying these benevolence rewards to yeah. [00:28:59] Speaker A: The. [00:28:59] Speaker B: Wheel is just there. It does whatever it wants. It does the opposite of whatever you pick. It just does whatever it is. So this is 1984. This is the second studio album from Steve Ray One Double Trouble. I don't know. Sabino, do you know anything about this record at all? You probably don't, right? [00:29:26] Speaker C: I may know. You know what I mean? It could be one of those things where you don't specifically think you know, but then you're like, oh, I know this song. I mean, I probably heard more of this stuff from you listening to it. I wasn't one who actually followed him, so I knew of him. I knew style and definitely some songs, but I wasn't a follower, let's say. [00:29:51] Speaker B: Yeah, this is Mark. [00:29:53] Speaker C: Where does this land in terms of your favorites? [00:29:59] Speaker B: There's a bunch of favorites on this record for me. There's like four or five on this record. [00:30:04] Speaker C: Would you consider this one of your favorite albums by. [00:30:10] Speaker B: I think Texas Flood is probably my favorite album, but I like all his stuff. This is before he got the keyboard player. So there's no Reese Winans on this because I think the next record he got the keyboard player. So this is basically a three piece it's power trio. Pretty much. So there's a Hendrix cover on this? There's a couple of covers, but in Stevie Ray Vaughan fashion, the covers don't sound like any they sound like him, which I guess is the best compliment you can give anybody who makes a cover. [00:30:51] Speaker E: Oh, my gosh. He owns Voodoo Child. Come on, guys. [00:30:54] Speaker B: Well, that's on this record. That's on this no shit. [00:30:58] Speaker E: Yeah. I couldn't believe it's 1984. I'm looking this going what? Wow. [00:31:07] Speaker B: As far as guitar players, he's in my top five, probably. If I have to list the people who are influences on my guitar playing, he's in the top five. [00:31:18] Speaker E: Oh, I've got to say, the Live Alive album is probably in my top ten of all time. [00:31:24] Speaker B: Live Alive. [00:31:25] Speaker E: That's when he really owns every goddamn song he ever recorded. [00:31:28] Speaker B: Oh, man, that album, if anyone's seen any lives, if you just go to YouTube and do a search the one thing you kind of get what I get out of watching him play is that it almost feels like the music is not being played. It feels like music is being pushed through him. And there's very few people that happens with me. Van Halen is one. Hendrix is one. He's one. It feels like he's not even doing the playing. It's just happening. And he just happens to be the conduit where it's happening through. [00:31:57] Speaker E: Yeah. I was very fortunate to see him on the 89 tour in Step tour. [00:32:03] Speaker B: Oh, did you? I never got a chance to up. [00:32:05] Speaker E: Close at the Garden. It was fucking incredible. And yeah, you talk about channeling talk about watching just like a spirit flow through someone. Yes. So I never got to see Eddie, but I saw Stevie and I saw him up close and that was. [00:32:22] Speaker B: Never got to I did. Luckily. Get to see Van Halen once. Unfortunately, I didn't get to see him more than once. I got to see it once. Last tour I got to see. So unfortunately, I never got to see him. It's kind of funny. Like, when we were playing doing original stuff, I remember we had the poster on the wall. Didn't we know? Like, they put that guitar magazine out. Remember they had that poster with his hat and, like, the guitar, remember? I think I put it up in our rehearsal space, which was basically just a basement of somebody's. That's right. That's where everybody started. [00:33:01] Speaker E: Happened to be Dr. Ross's basement in the mansion in Pasadena. [00:33:06] Speaker C: What's that? We were literally a garage. [00:33:09] Speaker E: Van hell, yes. We've all been there. The neighbors. [00:33:17] Speaker B: Yeah, well, we did enough of that. And especially when we didn't know what we were doing. We didn't know what we were doing. It sounded like shit. [00:33:22] Speaker E: Oh, yes. That was the best time. That's when it was the loudest. That's when it was the most fun. And that's when yes, the neighbors heard it all. [00:33:33] Speaker B: So this song, the first one, is instrumental. It's called Scuttle Button, who is the writer of this. And this is an original, actually. So it's going to be a lot of guitar, which is going to be just right up my alley. I sometimes don't get enough guitar or I think there's more guitar in records than I actually remember. Like when we did the Motley Crue record, Girls, Girls, Girls, for whatever reason, I thought there was way more guitar in that record. And now when I listen back to it after a while, I'm like, there's not a lot of guitar in this record. At least not a lot of solo guitar. It was a lot of no, but in my head, remembering it back from the 80s, I'm like, there's a shitload of guitar in this. [00:34:17] Speaker E: And that's what my well, there is. I mean, the whole Motley Crue sound is so layered, and that's Mick Morris. And all I have to say is, fuck them, but long live Mick Mars. [00:34:29] Speaker B: I understand why, and I agree. [00:34:31] Speaker E: There you go. There you go. And actually listen to it. Mick is just he's very much like a lifeson in that he creates the soundscape that the rest of the sound then kind of gets displayed in, if you want to look at it that way, he creates that. The guitars are actually really big in Motley Crue. They are. Yeah. [00:34:54] Speaker B: Well, I was saying more like solo guitar. Like, I thought there was more solos. I thought there was more lead going on. And then when I listened back, I was like, yeah. [00:35:00] Speaker E: I was like, no, you're absolutely right. No, but it's tasty. It's tasteful. It's right where it needs to be. Allah, he is very much like the elder statesman of metal, of tasteful metal guitar. Like the David Gilmore of metal. I would go that far mick Mars is brilliant as a songwriter. [00:35:20] Speaker C: He's an unsung hero. [00:35:21] Speaker E: He truly is very much like Alex Lifeson, where these guys just create these sounds that you don't realize that is essentially the entire sound of the band. Everyone else is filling in. No offense to anybody out there. Hey, bass players and drummers and vocalists alike, keyboards, whatever, but these bands you're. [00:35:39] Speaker C: In a band with Neil Peart and Getty Lee, right? Masters it there. And they kind of take the forefront, obviously, getty Justin's, kind of happy to be like, hey, I'm back here. I'm good. [00:35:54] Speaker E: Right? Well, when you really realize what his when you finally do listen to it and you kind of see how that all comes together, how integral each one of them is right to that sound. Shit, we're getting something. We're going totally off tangent here from Stevie, which is, like, the other, but, uh, you know, I appreciate so much I mean, the whole spectrum, guys, right? You know? [00:36:19] Speaker B: Well, there's one thing you can say about Steve Rayvon. He's not in the background. [00:36:23] Speaker E: Oh, shit, man. [00:36:25] Speaker B: He's in his foreground as you can be as a guitar player. [00:36:28] Speaker E: God. Right. Those performances from Austin, City Limits, all. [00:36:33] Speaker B: That stuff is really good. He might actually be better live than he is on record. And that's really hard because he's really good on record. [00:36:41] Speaker E: Hell, yes. But come on, his best records are his live records. There's actually one out in Spotify. That's one that I picked up as a CD going to your favorite format, but I picked it up as a CD in the bargain bin at Kmart, I think, like, 20 years ago. It's the session they did with Albert Lee, and I would highly recommend it's on Spotify. Now everybody go listen to it live at Montreau. Another freaking great live performance. But, man, live alive. Come on. That record is just seminal. I mean, that's just Stevie Ray Vaughan at his absolute best. [00:37:17] Speaker B: He played 13 gauge strings, which would basically tear anyone's hands apart. [00:37:27] Speaker E: He could throw that shit behind his back and bring it back and keep playing. I mean, I saw him do it. It was insane. [00:37:34] Speaker B: I unfortunately, didn't get to see him. But anytime I see any guitar player now, like I was telling Savino and this is nothing against Kenny Wayne Shepard because I've seen him literally more than I've seen any other person. And I'm not really even a big fan of his. I just happen to end up at concerts where he's opening up. But every time I hear him play and anybody who plays in that style, I feel like, for me, there's no need to have that there. Because the guy that you want to be has already been, whoa. [00:38:04] Speaker E: Hey. [00:38:04] Speaker B: That wasn't good. He wanted to start. He wanted me to shut up. See, it's Kenny Wayne Shepard getting me. But the guy that you want to be has already been here. And it's hard when people play that much like him because it almost turns me off. It's just like I just don't want to hear this. [00:38:23] Speaker E: I know what you mean, Kenny. Wayne Shepard is really well appreciated here in northern Colorado. He comes out every year. [00:38:29] Speaker B: I think he's a great guitar player. [00:38:30] Speaker E: Big biker events. Yeah, people love him. I love a lot of his music. Yeah. But you're very, very referential. Some people do great stuff on his own. [00:38:42] Speaker B: And I guess some people would have said that Stevie Ray Vaughn is kind of the Hendrix cop, which is really not 100% true. [00:38:49] Speaker E: No, he mixed it, he took it, made it his own. And I think Jimmy be very proud of what Stevie did with it. [00:38:56] Speaker B: He's more of an Albert King cop than he is a Jimmy Hendrix cop. If I can find one of some of the pieces of playing, if you listen there's lines that he plays are exactly the same. Same phrasing, same everything. [00:39:13] Speaker E: So go listen to it's called In Session. It was released in 1999. And they got call it Stormy Monday. That's a great one. The call and response, the whole thing. But peppered in between on this thing is conversation between the two of them and Albert talking about First Time I Saw You and doesn't even get his name right. It's just so funny. You have to listen to it. It's wonderful. [00:39:37] Speaker B: Before we get going, I was telling sabrina I heard that Albert King hated it. He didn't like Jimi Hendrix at all. He didn't think he was a good blues guitar player. But I also take that in a stride because I don't think Albert King liked anybody's playing besides his own. So I'm pretty positive that it didn't matter who it was. He thought he was better than everybody. [00:39:57] Speaker E: Which is, I guess that's funny. Yeah. [00:39:59] Speaker B: If you're going to be that kind of guitar player, I guess that's what you have to know. [00:40:03] Speaker E: And I think, too, a lot of those guys were full of bravado. But I think there's some dialogue, I think, on the CD I'm talking about. [00:40:10] Speaker B: I think I've seen that. [00:40:11] Speaker E: Yes, yes. You have to check that out. Yes. It's fun to listen to that stuff. You know, another guy, it was like that RL. Burnside, real honorary. Some bitch. But man, I love his music. Oh, God, I can listen to him all day long. Ass pocket full of whiskey. Hell yeah. Hell yeah. [00:40:31] Speaker B: All right, here we go. This is Scuttle button. [00:40:49] Speaker A: Sat. [00:41:14] Speaker B: Get into that. So what are we thinking so far? The people who don't really know this. [00:41:20] Speaker C: I definitely know this song. [00:41:21] Speaker B: You know this song? Yeah. You probably heard it from me a million times when I played it. Frank, have you heard this before? Is Frank still here? Did we lose Frank? [00:41:33] Speaker E: Frank Fellow. Shit. [00:41:36] Speaker D: I have to tell you that, yes, I heard this song many times. Cruising around your Hyundai Elantra hyundai Elantra. [00:41:47] Speaker B: Oh, I hear guitar. [00:41:49] Speaker D: Who's playing it right now? [00:41:51] Speaker E: Who's playing that? I can't sit and listen to Stevie Ray Vaughn and not pick up my guitar. [00:41:57] Speaker D: There you go. Thank you for motivating Mark. [00:42:03] Speaker E: Come on. That's like the best riff, right? Come on. You just love ScuttleButton, dude. Come on. [00:42:07] Speaker B: Yeah, I like that shit. [00:42:09] Speaker E: It has been like, I don't know, 15 years since I've tried to play that. I love that song. [00:42:14] Speaker B: His stuff's not that easy to play. [00:42:16] Speaker E: No, it is definitely not, man. No, it's a whole thing. If you're not playing Stevie regularly, you're not playing Stevie. Sorry. [00:42:24] Speaker B: Yeah. And Sabina, what do you think of the drums and the bass? [00:42:29] Speaker C: I find the drums to be a little bit boring, honestly. [00:42:33] Speaker B: I was going to bring that very he's very basic. He's very basic, but there's almost nothing when someone's like that, it's like being Michael Anthony and Halen. Like, there's nowhere to go. You can't really step on Eddie Van Halen, so you can't really step on him. [00:42:58] Speaker A: Yeah. [00:42:59] Speaker B: His job is Charlie Watts. This you know what I mean? We're going to play a beat. [00:43:02] Speaker E: Yes, exactly. [00:43:03] Speaker B: We're just going to play through this, because the other guy is the guy doing whatever he's doing. [00:43:09] Speaker C: Well, I mean, but then when you think about somebody like Mitch Mitchell playing with this is he he knew how to shine as a drummer. But again, I mean, listen, this is what do we play a minute of the song? I'm not going to judge him based on this. I'm just saying I feel he could. [00:43:26] Speaker B: Do a little bit more well, maybe somewhere along the line he'll win you over. [00:43:31] Speaker C: Yeah. [00:43:33] Speaker B: All right, let's continue. Short and to the point. Produced very well, though I must say. It's all clear. Who's the producer on this? Actually, Stevie Ray wanted double trouble. Richard Mullen, Jim Kapfer. And the executive producer John H. Hammond. [00:45:09] Speaker E: Yeah, but that was a hell of a band that he had at that point. Right. Wasn't that just Chris Layton? So we were talking about drums. Layton is a great drummer, like you said, charlie Watnett. Right. Just finding the place he needed to be in and not overplaying. And I think a lot of people maybe aren't used to that. Right. So it's definitely utility playing and there's nothing wrong with that. I'm thinking like the band that Rory Gallagher had with him in the early 70s, right? Same kind of energy as these guys, especially the bass player and the drummer. That combination, and I forget those guys. The guy in Rory Gallagher's, he had a weird name in Rory's band. I forget the dude's name, I have to Google it. But that same kind of intensity that you needed to keep up with that playing and that you had to keep it simple to keep up with that playing, because it wasn't like he was trying to overshadow anybody. It's that that's what was needed was just to keep up, to support it because it was central. Right. At least that's my opinion of it. I thought they did a great job. I thought they were just like right where they needed to be very much like Rory Gallagher's band. So they're trying to keep up with that genius. [00:46:18] Speaker B: Yeah. I mean, again, Steve Ray Vaughn is really the centerpiece of this whole thing. Unlike Mitch Mitchell, which he ended up being so much better of a drummer than you would think. That would have to be in the middle of that whole Hendrix thing. But it was the 60s, too, so, you know, probably right, because then that was kind of the style of the drummer back then, wasn't it? Really? [00:46:43] Speaker C: Yeah. I mean, there was definitely more the fills and the I'm all for laying down a simple beat. So it isn't oh, my God, that sucked. [00:46:57] Speaker A: It's simple. [00:46:59] Speaker C: It says he's a drummer with Kenny Wayne Shepard now. [00:47:02] Speaker E: No shit. [00:47:07] Speaker C: Layton is the drummer for the Kenny Wayne Shepard pet, according to I've seen. [00:47:12] Speaker B: Him play with him. He's been a drummer for a while. [00:47:15] Speaker E: So that could be seen as what? Salamato's stevie Ray Vaughn show. Maybe Eddie and the Cruisers Reference I remember that. [00:47:27] Speaker B: That was a good movie. So are we voting on the instrumentals? We usually don't vote on the instrumentals, but I'm going to keep with that. Even though I would vote on this. But I'm not going to people are going to know. My answers are in awesome. [00:47:46] Speaker D: For me, personally, it's like my two passions in life is music and cinema. And one of the greatest movies that was never made was a Quentin Tarantino movie called The Vega Brothers. And those who are fans on the stand, if there was an opening scene, this would be the soundtrack to that opening scene of The Vega Brothers. For me, this song right here, I love that's. [00:48:20] Speaker B: Great. [00:48:21] Speaker E: You can visualize with. [00:48:26] Speaker C: Soundtracky. [00:48:28] Speaker E: Yeah. [00:48:28] Speaker D: It's like they just finished clipping someone and they're walking back to their car. This is what I envision. A Quentin Tarantino music. Like credits. This is a song I want to hear. [00:48:40] Speaker B: And it's short. It's like 152. So yeah, if it's kind of in that situation. Hey, listen, he could go off and do six, seven minutes of this if he wanted to, but I guess he chose not to. [00:48:51] Speaker E: Shit. Well, live. He did live. He did, yes. This was extended live. [00:48:57] Speaker B: All right, so let me get to lyrics for the next song because there's actual lyrics in the next one. Okay, so the next one is couldn't stand the weather. So anybody obviously Chaz knows this. I know it. Savino, you know this, right? [00:49:15] Speaker C: I'm probably once it starts frank, do you know? [00:49:19] Speaker D: No, no. I'm going to be very honest. This is my first time hearing the whole thing. [00:49:23] Speaker B: Oh, there you go. Well, enjoy, my friend. Enjoy. Here we go, man. When you get guitar playing like that anymore. It's fucking I can't even yeah. [00:50:00] Speaker D: I gotta say, the last time I heard that was a skinny Max, so. [00:50:03] Speaker B: I appreciate my whole scene, Ray Vaughn vibe now. [00:50:11] Speaker E: I love it. [00:50:13] Speaker C: He goes from tarantino to skinnamax. [00:50:16] Speaker E: Skinnemax. Wow. It's not as bad as that movie that Eddie Van Halen did for the porn movie. He did some music for a porn movie. It was just oh, man. [00:50:26] Speaker D: Face. You need to elaborate on that right now. [00:50:31] Speaker E: Oh, yes. You can Google it on YouTube. Eddie Van Halen's porn soundtrack. Yes. And there's a video that he did with the porn stars and everything. It's embarrassing. It's a stain on his legacy. It's terrible. I think he was going through a very bad you know, was sober at the end of his life and lived the last few years very happily. I think we just look over this period and move on. Yes. It's not pretty. [00:50:54] Speaker D: He was sober. [00:50:55] Speaker E: Music isn't pretty. The video isn't pretty. Just google it. It's nasty. Yeah. [00:51:01] Speaker D: I'm going to do it right now. Thank you. [00:51:04] Speaker B: Yeah. Frank, this is for you. [00:51:06] Speaker D: Yeah. Mark, if you call my name and there's a long pause, just understand I'm Googling the situation. [00:51:18] Speaker B: There you go. Frank, you can use you should have. [00:51:21] Speaker E: Unchained playing along at the same time or something. [00:51:25] Speaker D: Love it. I'm going to google it. Thank you. But that's what this sounds like, by the way, Mark, opening scene of Skin A Max. Thank you. [00:51:36] Speaker B: Okay, here we go. [00:51:41] Speaker A: Sam. Sam. [00:52:45] Speaker B: Is that a little bit better? Sabino got a little more drums. [00:52:48] Speaker C: Oh, yeah. No, really nice. The ghost notes and everything. The coming in on that off time. [00:52:54] Speaker B: And yes, definitely the riff is fucking great. [00:52:58] Speaker C: Yeah, I definitely know the song. [00:53:00] Speaker E: The timing on that, man, that is you cannot do anything tighter than that. [00:53:06] Speaker B: No. Try to play that thing right. [00:53:08] Speaker E: Hell, yeah, man. [00:53:10] Speaker B: It's not as easy as it sounds. [00:53:12] Speaker E: New. You find any musicians that can get together and do that without practicing together, right. Wow. Holy shit. [00:53:19] Speaker B: Yeah. You forget how tight that band was. [00:53:24] Speaker E: They were so damn tight. Clams ass guys and that's waterproof, you know what I'm saying? [00:53:35] Speaker B: Frank, you okay? Is everything all right in Skin Central over there? Everything good. [00:53:45] Speaker E: He's watching this video. He found a. [00:53:50] Speaker D: Video right now. But promise you this, I'm going to Google what you said. [00:53:55] Speaker B: Do you need it again? Wait, hold on. It's again for you. Hold on. [00:53:58] Speaker E: Here it is. [00:54:02] Speaker D: And by the way, that sounds like the soundtrack. No, that sounds like the dubbed version of Rocket Queen. [00:54:14] Speaker B: Yeah, that's what it sounds like. [00:54:16] Speaker E: A little bit. [00:54:17] Speaker D: So, Mark, thank you for bringing that out. [00:54:19] Speaker B: You're welcome. I'm here to insert Guns N'Roses into your life whenever I can. [00:54:24] Speaker D: I know you do, because, you know, at the end of the day, the greatest rock band ever, but you won't admit it yet. [00:54:30] Speaker B: I like guns N'Roses. Why do you think I hate guns N'Roses for? [00:54:34] Speaker D: You heard Sam just now. He's choking, right? No, that wasn't that. Who was that? That was. [00:54:44] Speaker E: Corgi hair in my throat. I got a corgi run around here. Nothing against roses. [00:54:51] Speaker D: Oh, my God. I spent 40 years 40 years fighting these five knuckleheads. [00:54:58] Speaker E: Now I have a six. [00:54:59] Speaker D: Thank you, Sabina. [00:55:01] Speaker B: Why does he think we hate Guns and Roses? [00:55:03] Speaker C: So here's what happened, okay? [00:55:06] Speaker B: Is there a reasoning behind. [00:55:10] Speaker C: When Appetite for Destruction first came out? I wasn't a big fan. [00:55:14] Speaker E: It was an album that was fucking brilliant. Okay? That album's brilliant. [00:55:18] Speaker C: But that's what I'm saying, for whatever reason, for me personally, it was something that had to grow on me. And I can completely appreciate the fact that it's an amazing. [00:55:28] Speaker A: While and you. [00:55:29] Speaker E: Do acknowledge it's brilliant. [00:55:31] Speaker C: I'm talking about months. [00:55:33] Speaker E: Okay, there you go. All right. [00:55:35] Speaker C: But with Frank, it was this conversation that I remember having specifically, and I'm saying, no, I'm not a big fan. It wasn't like, oh, my God, they suck. But it's something that back then, had to grow on me. [00:55:51] Speaker E: Wow. [00:55:53] Speaker B: Okay. [00:55:53] Speaker E: Well, for me, 51 50 had to grow on me in the Van Halen World appetite. I was all in, though, right away. Hell, yeah. [00:56:02] Speaker B: From Frank. I don't know why you thought that. I don't like them. I think I'd like that record from the get go. [00:56:07] Speaker D: No, you didn't. Fake media, fake media, fake news. [00:56:13] Speaker B: Fake media, fake news. [00:56:15] Speaker E: Hey, we play Night Train. We play Night Train. I've tried to get the band to add Rocket Queen. I've tried to get them to Add. So, you know, at least I got night train. We love it. It's a great song to close it out with the energy. Guns N'Roses can't be matched. Appetite for Destruction is pure genius. [00:56:34] Speaker C: Yeah, it's an amazing record. [00:56:37] Speaker D: Unless you hear it in oh. At which point I want to go back to California and just kick whoever thought this was a great idea to convert into Adobe Almost. Right in the ding doom. Right in the ding ding. [00:56:52] Speaker E: I want to kick that person right. [00:56:53] Speaker A: In the ding ding. [00:56:57] Speaker B: That's what you said, Frank. I know. [00:56:59] Speaker D: Yeah. [00:57:00] Speaker B: Sorry. [00:57:00] Speaker E: Dolby. Dolby, uhoh dolby not good bullshit. [00:57:06] Speaker D: Anyway, let's go back to let's go. [00:57:08] Speaker E: Back to what we do. [00:57:09] Speaker D: Thank you. [00:57:09] Speaker B: All right, here we go. [00:57:11] Speaker E: Rocket. [00:57:18] Speaker A: If I need you right? Let it end up to be love won't walk away right when I get them I couldn't. [00:58:02] Speaker B: The groove is so good in that song. Just groove is so good. Every time I hear just his guitar playing, it just reminds me of how I can't be that good. [00:58:17] Speaker E: Well, so much of the SRV thing was his tone, man. Yeah, right? What was coming out of his fingers through those very thick strings on that strat right through those amps, man. I mean, shit. Right? He didn't have a lot of pedals, am I right? I don't think he did. [00:58:38] Speaker A: No. [00:58:39] Speaker B: Have WA, maybe. [00:58:42] Speaker E: Tube screamer, but nothing. Right. He just had a boosting. He had a channel boost and he had the WA. I don't think he had much more, though. That thick, really thick. Down to his man was, like we said, it was his fingers, it was those strings and yeah, he's just so technically just man just gifted. [00:59:00] Speaker B: He makes it sound so easy. [00:59:03] Speaker E: Yeah. And channeling, it was just channeling. It was just amazing to watch him. [00:59:08] Speaker B: Yeah. And I like the part where it changes up into the Leslie part in the middle over there. I like that, too. He's not just smashing in the face all the time, he breaks it up. [00:59:19] Speaker E: No, Stevie was a tone master dude and he was very diverse. There's a lot of difference. A couple of his records, frankly, I didn't like there was one in the think it was Soul To Soul. I'm not a big fan of that record for more, like the production value of it. I just thought it was kind of cheesy and I thought, again, having live versions of all those songs, I thought they were all just so much better live. And so, again, when that other one came out, was it posthumous? The Sky Is Crying was that yeah. [00:59:58] Speaker B: That'S a posthumous one. [01:00:00] Speaker E: And that's when you could tell stuff was unfinished. But there were good gems in there and you could tell there was great stuff to come. But obviously the big one off that one was, I think, Little Wing. And You Can't Touch that, like you said, like his covers, he owned those covers. It became so signature. [01:00:17] Speaker B: Yes, 100%. [01:00:18] Speaker E: And that's like, not uncommon with artists like Dylan, like we were talking about before, right, where other artists doing their music, the music is so much better. And I'll go right to Jimi Hendrix. Like Jimi Hendrix doing Bob Dylan. Hell of a lot better than Bob Dylan. Bob Dylan. I'm sorry, we were just talking about. [01:00:36] Speaker B: That the other day. [01:00:37] Speaker E: Right? Yeah. Right. So here's where the Falcon is, you know, the Falcon has heard the Falconer, and Stevie Ray Vaughn has done something more than Jimmy did with it. And to me, that's the signatures. That's the version of Little Wing that I will always know and love. Like, if I was to have one, pick one to play at my funeral, it'd be that one, right? [01:00:56] Speaker B: Yeah. Because we went over Access Boulder's Love on our one year anniversary again, and Little Wing was on that. And Little Wing always feels like on that record that it should be longer, and it was stuck in there just to be there, and it didn't have enough time to finish what it needed. It feels like it just fades out and it really needed. [01:01:15] Speaker E: You. [01:01:16] Speaker B: Yeah. [01:01:16] Speaker E: I'm with you. And I didn't like version at all. I didn't like what Clapton did with it. At. [01:01:28] Speaker B: We don't need to get into the Jimi Hendrix versus Eric Clapton thing because I know where my side of the situation sits, so and not that I don't like Clapton, but personally, me and I know people are going to probably jump all on top of me, but Hendrix is a way better guitar player than Eric Clapton is. It's just my thing. [01:01:48] Speaker E: Oh, amen, brother. I'm with you. [01:01:51] Speaker B: Whatever Eric Clapton wanted to do, Hendrix did, and I think he knew that, brother. [01:01:59] Speaker E: Say it. Keep going. [01:02:01] Speaker B: No, I don't want to. [01:02:02] Speaker E: Kill needs to say it. No, I appreciate it. He's a dick trap anyway, by the way, I'm sorry. [01:02:11] Speaker D: Debate via checks this week of great dual bands, and Mark had very strong opinions. [01:02:21] Speaker E: Really? Wow. [01:02:24] Speaker B: Yeah. [01:02:25] Speaker E: Okay. Okay. [01:02:27] Speaker B: I'm a big Hendrix fan. I take Hendrix over mostly everybody during that time frame, but that's just me. [01:02:34] Speaker E: You know what? I don't disagree with you. I don't disagree with you. [01:02:37] Speaker B: And I like Eric Lacton's stuff in cream. I like it a lot. And the stuff he did with John Mayo, I like that. [01:02:42] Speaker E: Yes, I agree. [01:02:44] Speaker B: But it kind of like got diluted after. [01:02:50] Speaker E: And I think his greatness is way overblown. I think it's like War of Attrition. He's been around long and he's been just healthy enough to be out on tour, be consistent right. And have good have a lot of money around him, to be able to have the best producers, the best songwriters and other things helping him. Yeah, I think there's a lot going on behind the scenes there. Honestly, the whole adopting the whole elder statesman of the blues thing, too, really kind of turned me off with him as well. I'm just like, whatever, dude. There's so many people that are more authentic and do it so much better. I honestly haven't listened to him in years and I don't like his politics these days and a bunch of other things, so I'm just like, whatever. His time came and went. I appreciate what you said. His early work was so influential for so many people. I'm not one of them. I do like a lot of the Cream stuff. I'll take that back. I like Cream and I was influenced by early Cream and certainly Disraeli Gears is one of the albums I have right there. But I don't hold him up in the esteem that Eric is God and all that bullshit. No way. He's not even in my top ten. I don't even think he's in my top 20. [01:03:55] Speaker B: Well, I know Savino and I had a cut. Weren't we talking about this before Sabino during the week? The Clapton Hendrix thing, I mean, to. [01:04:01] Speaker C: Me it's more about watching him play than anything else. But again, I'm not a guitar player. I feel that he guys say it about Steve Ray Vaughn where he kind of just plays and you feel like something just like when I see him solo, the way he plays, the style he plays. [01:04:24] Speaker B: Oh, Eric Clapton? No, he's very good. [01:04:26] Speaker E: Yeah, he's just not my bag, maybe. Not my bag. [01:04:31] Speaker C: Tears in heaven. Even with the sentiment and a lot of it know, especially when he got on the pop ear side of things. I don't like any of that stuff either. [01:04:40] Speaker E: Tears in Heaven rips my heart out. That rips my heart out. I got empathy for the guy right at that time. And I think at that point, I would have considered myself a fan. I did see him live. He was another one I was able, very fortunately, to see live at Madison Square Garden. Pretty close. And you're right. Same thing with Stevie when they play it's another one, same venue. Dave Gilmore. Right. Watching people of that caliber play their instruments. Yeah. It's just you do see where they're a world apart in their ability, in their connection to their instrument, and just the way it flows from them. Yeah, that's something. [01:05:20] Speaker C: I mean, Dean Gilmore had so much feeling in solos, right? [01:05:24] Speaker A: Exactly. [01:05:26] Speaker E: Clapton gets to those same places. But I think the reverence of Clapton is so overblown. I don't think he's anywhere near as great. I think he's a wonderful guitar player. [01:05:36] Speaker B: You want to know? [01:05:37] Speaker D: Exactly. [01:05:37] Speaker B: You want to know my opinion? Here's my opinion. I know it's going to be very controversial, I'm sure, but okay. He came out with John Mayhall, I think all those English guys kind of took the blues stuff from America, brought it over, right. And started playing it. And so when he was doing that stuff in John Mayhall, there was no one really doing that. He was kind of like the guy of the 60s kind of doing that. The unfortunate part for him is that when Hendrix came out, where Hendrix had played all that stuff on the Chitlin Circuit, he played that stuff for real. He was with that right when he got there. It's like, oh, shit, this is really what it's supposed to do. If you have to read enough interviews of people going, we went to go see him, me, Eric Clapton, jeff Beck went to go see Hendrix at this club. We all sat there and went, now what the fuck are we going to do? [01:06:23] Speaker E: Right? [01:06:24] Speaker B: If those guys are saying that to mean I'm taking that to mean they didn't know that it could be played that way, and oh, shit, this is really what it's supposed to then. And then you can take the opposite side where Albert King says he sucks. You know what I'm trying to say? So who do you me? I believe for me, Hendrix is a step above Eric Clapton. As far as just guitar playing. For me, I know there are people eddie Van Halen loved Eric Clapton. That was his guy. I love Eddie Van Halen. So in some ways I love Eric Clapton, I guess. But as far as, like, besides the cream stuff and a couple. Of things after the fact. The stuff in the 80s was not great for me, and I don't know, it kind of got washed out and maybe Hendrix would have done the same thing, but maybe Hendrix would have done the same thing, except he died. So Hendrix never got into this shitty I suck period. So he died at the top of his thing. So there was really nothing. He's always going to be wherever he is. [01:07:34] Speaker D: I appreciate that. Right. Know, one of the things I always look okay when we have these debates and by the way, I'm not part of the group chat where Sav and Mark talk about this. Thank you very much. Okay. But at the end of the day, it's like, hey, listen, I'm left out of that, right? Because it's all good. Okay? The reality is you have to look the body of work over the years. And Hendrix was great for what, three years? Three years. [01:08:22] Speaker B: Three recording years. [01:08:24] Speaker D: Three or four. I thought it was like five recording years. [01:08:27] Speaker B: Three recording years. [01:08:30] Speaker D: How many years is Clapton? [01:08:33] Speaker B: Clapton fucking 60 years. [01:08:35] Speaker E: 60 years now. [01:08:37] Speaker D: So you can't just there's no comparison. [01:08:41] Speaker B: No, Hendrix never had the suck phase. [01:08:44] Speaker E: He did not had the suck space. [01:08:46] Speaker D: Exactly. My point is, like, there's no comparison. You can't compare the two. [01:08:52] Speaker E: He's still a better guitar player than Eric Lapton. [01:08:55] Speaker D: Okay, mark. Who said that? [01:08:57] Speaker B: Mark? [01:08:57] Speaker D: Was that Mark or was that yes. [01:09:00] Speaker B: It was Jimi Hendrix. [01:09:01] Speaker E: I think you should get one of those channeling. He was channeling. That wasn't him. He was channeling. It just happened. [01:09:08] Speaker D: It's like you have to look at the period of music that he would. [01:09:11] Speaker B: Yeah, no, it's not easy to write for that long. I get that. [01:09:15] Speaker D: Okay. You have to look at the period. No, but not only that, but you have to look at the period of music. Right. So certain artists are great for a certain period. [01:09:24] Speaker B: Oh, yeah. Hendrix might have sucked after the thing came out. I doubt he would have sucked. Whether he would have been as popular, as relevant. It's the same thing with Stevie Ray Vaughn. He's been dead for 30 years, right? He kind of got cut off when he was almost hitting, like actual commercial stuff right there. And unfortunately for know, he ended up dying in that helicopter accident. But it's the same kind of that maybe it's the same way I feel about Kenny Wayne Shepard, you know what I mean? And Stewie Ray Vaughn, it's the same thing for like, I don't need to hear anything else kind of doing that, because this is the guy for me that does that kind of style of music. [01:10:02] Speaker D: I get it, you're a fanboy. So no matter what I say, I'm. [01:10:05] Speaker E: 100% fanboy at the end of the day. [01:10:08] Speaker D: I'm just saying put into context career wise, where we at, what period they're recording in, what period they were popular in, and let's just say, hey, during this time, this is who was popular. [01:10:26] Speaker B: No, if I only take that time frame. If I'm only saying between, like, 67 and 70. For me, Hendrix is better, even though that's the same time. Cream, right? Pretty much. Cream a little bit earlier, but not much. So for me, anyway, let me read lyrics now because we're still on the second song here. So we're going to go into tangents, all right? [01:10:53] Speaker E: So we're not going to go into cultural appropriation versus appreciation with what he's done with the blues thing later in his career and what he's been recording. No. Okay. All right. Boy. [01:11:04] Speaker B: He hates chaz. You hate Clapton more than me. I don't even go anywhere near I just want to say, guitar playing wise, that's a hot take. [01:11:12] Speaker E: Well, it's in the playing, too. Go, guys. Because we know what he's capable of. And quite frankly, I just think he got so damn lazy as a goddamn guitarist and then he took this position as, like, the elder statesman is something he has no right to, I think, you know? Yes. All respect for his early work and its influence on my favorite guitarist, Eddie Van Halen, and influence on me. Early songs I stole from him in my early bands like DGF oh, God, the song Politician. Some of those Cream records I love the early Cream records. I got them all. But, yeah, where he went, I'm sorry. I would argue that the quality then of what he was around to do versus what Jimmy couldn't be here to fuck up really becomes questionable with where he went later. But that's a conversation for another day. [01:12:02] Speaker B: We said the same thing about Death Magnetic, didn't we? So we know that we expect it to be better because we know it could be done better. [01:12:09] Speaker C: Well, I just think, right, I said it was a foot in load and a foot in I don't even know. [01:12:17] Speaker E: If it was maybe injustice. [01:12:22] Speaker C: They were still in. And again, I don't know who announced it to be, oh, well, it's back to their roots. Because you know how the press does sometimes, right? They'll promote something the way they wanted to or you don't know if the band kind of leaked something and, hey, this is back to form. [01:12:41] Speaker E: I appreciate what you said. I appreciate that. It did sound like a more polished version. Like I said earlier, it was like hearkening back to Masters that era for me, but certainly when I started falling out with them, with Ant Justice, to me, this record was like a more polished, better version of what Aunt Justice could have been. This is the record that could have followed Master of Puppets back then and been stellar for me and kept me on the train longer. That's, I think, where I was going. [01:13:11] Speaker C: Yeah, injustice was a bit ambitious, I think. [01:13:15] Speaker E: Yeah, it didn't work for me. It got too thin. It got too aggressive in places. And I was, with other metal acts by that point, more praggy. And, I mean, that album was arguably a little praggy, but it just didn't do it for me. That's not what I want from Metallica. [01:13:31] Speaker C: Yeah, I mean, Blacken is one of my favorite songs by them, but, I mean, obviously one is a great spot on the album. Stuff is a bit long and a bit Harvester Sorrow. [01:13:46] Speaker E: Shortest straw. I can name some of those off top of my head. I mean, like I said, that was it where I kind of broke with them and then from that point forward, really wasn't a regular listener, again, for quite a long time. [01:14:01] Speaker B: Okay, here's some lyrics. So running through this business of life raising sand if I'm needing to ain't so funny when things ain't feeling right daddy's hand helps me see me through sweetest sugar love won't wash away rain or shine it's always here to stay all these years you and I spent together. All this we just couldn't stand the weather. Obviously. About a woman say what? Say what? Actually, you know what? I might not have even known some of these lyrics. And I'm looking at him, goes, Is. [01:14:32] Speaker E: That what he said? I'm like, what did he say? I got to look at it myself. I couldn't stand the have you guys. [01:14:37] Speaker C: Ever seen the video? [01:14:41] Speaker E: Yes. [01:14:42] Speaker B: The video is a little much. [01:14:44] Speaker C: It's very funny. [01:14:45] Speaker B: It is the latter rain. [01:14:50] Speaker E: Yes, it is hilarious. [01:14:52] Speaker C: And these people can someone took that. [01:14:55] Speaker E: The album cover. [01:14:56] Speaker B: Yeah, someone took that, yeah. You know what we should do? We should put you in the rain. Okay. No one ever thought, maybe we shouldn't take it that literally. [01:15:05] Speaker A: I don't know. [01:15:07] Speaker B: All right, so here we go. [01:15:08] Speaker E: There's Stevie with his rainface. [01:15:11] Speaker B: That's what it is. [01:15:12] Speaker E: Yeah. [01:15:13] Speaker A: After I stop at every season, we are travel tribulation and it's coming before don't. [01:15:47] Speaker B: All right, before we get solo, I'm going to read the rest of these lyrics because I think this is all that's here. Like a train that stops at every station we all deal with trials and tribulations fear hangs the fellow that ties up his ears entangled in yellow and cries all his tears changes come before we can grow learn to see them before we're too old don't just take me for trying to be heavy understand? It's time to get ready for the storm it's not horrible lyrics. Rats have no. [01:16:16] Speaker C: Pretty good, actually. [01:16:18] Speaker B: Better than I don't really think about his lyrics in that kind of sense. Like, I forget. Did he write this song, though? That's the question. I forget. I don't remember. I think so, yes, he wrote this one, so it's actually not that bad. I'm surprised. I don't really listen to the lyrics on his songs, but better than I thought. [01:16:37] Speaker C: Yeah. No, I like the lyrics. So in the video, he's playing a Hamilton guitar. [01:16:42] Speaker B: Yeah. I'm sure he didn't want to put his number one guitar in the middle of a rainstorm probably would have been bad for it. So it's probably something he didn't care about. I don't remember if I saw him playing that live. I mean, he played a bunch of different stuff live, but who knows? Maybe people were making guitars for him at that point to try to get him to play other stuff to try to sponsor him or whatever. Doris so who knows why? Yeah, I remember him playing some white Stratty guitar in some of the live stuff, but I don't know if it was Hamilton or not, but yeah, I don't think he wanted to take his number one guitar and put it into that. [01:17:21] Speaker C: Yeah. [01:17:22] Speaker B: Yeah. It probably wouldn't have been good for it more than so all right, so now comes the best part of all his stuff. Solo time. See I'm okay with Wawa. Wawa is fine when wawa is used correctly. Yeah. His note choices. And when you watch him do it live, it just feels so effortless like to watch him play through that. I remember. Who was it? It was John Mayer saying you can play Stevie Ray Vaughan for about 30 seconds and then your hand cramps up and you can't do that anymore. And that's kind of when I try to play that kind of stuff, I can't play it for as long as your hand starts that you just can't do that. [01:19:15] Speaker D: I didn't hear that from him. [01:19:16] Speaker B: What quote from what? John Mayer. He says that I'll see if I can find it, but I can see him find it before the episode's over. [01:19:24] Speaker D: Yeah, that'll be great to read. [01:19:26] Speaker B: Yeah. Basically, he says you can play like him for, like, maybe a minute or whatever the time frame is. And he says, and after that, your hand cramps and you can't continue to play because it's not as easy as it looks or it sounds the vibrato and just the little saturation. [01:19:46] Speaker E: But yeah, it's brilliant. No? [01:19:48] Speaker B: Yeah. [01:19:49] Speaker E: Mayor's a great guitar player. [01:19:52] Speaker B: Not in this song specifically, but stuff like Texas Flood and stuff like even like Voodoo Child, which is coming. There's so much stuff going on that just to play with the intensity. It's not that you can't play that way. It's to play with the intensity and the oomph that he plays with continually. That's where the problem becomes we all can do oh, forget it. We all can do Stevie Ray Vaughn for a little bit of time. And then once you get past a certain amount of time, you're just like, a, I don't know if I can figure out new stuff to play and B, this is starting to get really hard and my hand's starting to the I appreciate just the way he's so forward in his playing, and I just like that. I'm a big, obviously, guitar player, so guitar playing music that's like this for me, it brings the whole Hendrix thing, three piece kind of band. There's not really a lot to hide behind. You got to bring it or it's. [01:20:58] Speaker E: Not going to work. Hell yeah. That's what we were saying on another show, is that in a cover band, you can hide behind cockrock. You can hide behind a number of things in that music, but go play something that's stripped down an acoustic like Tears by Rush or something like this that's just so raw and blues and so much emotion. There's nowhere to hide. You are up there and you are on your own. Nothing to hide behind. [01:21:23] Speaker B: No. And he put on a show, too, while he was at and his singing is not bad either. What do you think of his singing civic? It's not bad, right? [01:21:33] Speaker C: No, I like his singing. It's very soulful. [01:21:37] Speaker B: Yeah. I don't know how much he liked his singing. I don't know how much he liked. [01:21:42] Speaker E: He didn't like his singing? No, he didn't. [01:21:44] Speaker B: He didn't like it at all. [01:21:44] Speaker E: No, he didn't. No, he's just like Jimmy. No, didn't like it. [01:21:47] Speaker C: I think he's a better singer than Jimmy Hendrix, though. [01:21:50] Speaker E: I agree. [01:21:51] Speaker B: I would agree. I would know. I don't know what I can't even, like, put into words. Like what? When I listen to him, I just it's something that you you can try to copy and you can kind of get the notes right. But it just never sounds the same. It's his touch, it's his hands, it's his vibrato, and it's just the thing that he does. And anytime I hear guitar players, like after him that are trying to do the same kind of music, it always feels like I don't know, it feels like you're hearing when you go into elevator music and you hear like, aerosmith in the elevator music version. That's what it feels like to me. Yeah. It's the music version of his stuff, so yeah, it's tough. [01:22:45] Speaker E: I'm with you. [01:22:46] Speaker B: All right, here we go. [01:22:56] Speaker A: SA. [01:23:50] Speaker D: You really want me to go first? [01:23:53] Speaker B: Yeah. [01:23:55] Speaker E: With that Van Halen video yet you've been watching. [01:23:59] Speaker D: I like it. Hey, listen, I love the jam music part of it. It's really cool. All right, Mark, I'm going to have to say something, though. It's the kind of music I listen to when I'm barside in some 40 plus bar, right? So 40 over Bar and Seaside Heights. This is the music I'm listening to, bro. So that's all I'm going to say. I love the jamming part of it. It's great. It's awesome. I really do. But I don't know, it just doesn't resonate. [01:24:33] Speaker E: There's a certain all that that implies in your tone with what you're saying there. I'm just listening to this at a bar at Seaside Heights and all that that implies. What are you saying? [01:24:47] Speaker D: I'm just saying it's the 40 and over. [01:24:52] Speaker E: Right, okay. [01:24:53] Speaker B: You do realize how old you are now, right? [01:24:59] Speaker D: I'm just saying that when I go to the bar, I show my AARP card and I'm getting a discount. [01:25:05] Speaker B: That's awesome. [01:25:06] Speaker E: So he's sitting down to a Michelobe, right? They're probably smoking in these bars. They're probably Michelobe Ultra doors in these bars. [01:25:15] Speaker D: I don't know what bars you go to, but I'm drinking Zima all day long. [01:25:19] Speaker E: Zima? Holy shit. That's down the shore. Why not? You're having a zima. [01:25:24] Speaker D: Exactly. [01:25:26] Speaker E: And you're putting a little capri or whatever the red stuff in there. Right? What the hell? The campari. You put in a little campari in. [01:25:39] Speaker D: Campari, but then we're doing Zima. [01:25:42] Speaker E: Okay, well, you got to mix the two. [01:25:44] Speaker D: Slippery Nipples. We're doing Slippery Nipples shots. [01:25:47] Speaker E: Dope boy. I'm sitting here watching Stevie screaming up on this Hamilton. What a cheesy guitar. He had his name emblazoned on the fretboard with the rain here. Oh, my is coming off. This is great. Oh, that got a reaction from Stevie. There you oh, they're washing the Arabs away. There they go. All right, they're gone. [01:26:17] Speaker D: So what I like about Storm is jam. I like the jammy portion of it all. [01:26:23] Speaker E: It's very. [01:26:26] Speaker D: Like I don't just it's very cold. It has this whole jam feel to it that you want to listen to. Carry on. I love it. I actually enjoying this song right now. [01:26:39] Speaker E: And having your beer. You're there at 03:00 for the early bird, right? And this song is on. You're going to the buffet, right. This is where you're at. And there's no shame in that with the zebra. There's no shame in that. No shame at all. [01:26:58] Speaker B: So are you going to rate it, Frank? What are we doing? [01:27:01] Speaker D: Oh, yeah, no, so far, honestly speaking. Okay. All kidding aside, I'm actually enjoying the jam portion of it, the guitar playing and everything like that. So far. I'm going to give the musician right there the music a nine in the production. A nine right there. I'm actually enjoying the music. [01:27:26] Speaker B: What about the lyrics? [01:27:28] Speaker D: The lyrics, I like the lyrics is pretty cool. I follow it. I understand it resonates, so I'm going to give those an eight. [01:27:36] Speaker B: I was expecting a lot worse. Frank might like the song more than me. [01:27:40] Speaker E: I like the lyrics. [01:27:42] Speaker D: They're very like hey, here it is. It did it resonates, so I give it an eight. [01:27:48] Speaker B: All right, Sav, why don't you go next? Maybe you could be a little more straight ahead, Frank. I think he's had one too many Zimas. I think that's the problem. [01:27:56] Speaker D: No, it's not. No, come on. You don't like the jam session? [01:28:01] Speaker B: Oh, no, I love the song. [01:28:03] Speaker D: Okay. And the lyrics. The lyrics? You don't follow it? Does it resonate? [01:28:07] Speaker B: No. I thought you were going to slam that. [01:28:11] Speaker D: Oh, no, come on, let's be real. [01:28:14] Speaker C: Okay, so I'm going to say, just because we're starting off, I'll say a seven on the lyrics. I mean, they are good. I'm going to say an eight on the music and an eight on the production. It's a solid song. It's a really solid song. [01:28:30] Speaker B: Yeah. [01:28:31] Speaker C: And it could be revisited and even given higher at a certain point. [01:28:34] Speaker B: I'm just being conservative for the first one. [01:28:37] Speaker C: Conservative for now. But, I mean, I absolutely know this song. It's a really good song and it is a bar, so I could picture this. Definitely planning. I was just movie bar. [01:28:49] Speaker D: Exactly my point. Thank you for feeling this is a Jersey Chore song. [01:28:56] Speaker B: We're hanging out somewhere with the Z. [01:29:02] Speaker E: Never say goodbye. It's Bon Jovi, about some 18 in life. Come on. Some skid row. You're talking about? Stevie Ray Vaughn down the shore. I'm kidding. [01:29:17] Speaker D: You know what? [01:29:18] Speaker E: I'm messing with you. [01:29:19] Speaker D: That's some Bottles and James songs right there, bro. [01:29:22] Speaker E: Bottles and James. [01:29:23] Speaker B: Oh, my God. [01:29:26] Speaker C: Make that anymore. [01:29:28] Speaker D: Wow. [01:29:29] Speaker E: Holy shit. [01:29:31] Speaker B: Bartles, when's the last time you heard that? [01:29:35] Speaker E: Since it's that long, I think. Oh, my God. [01:29:38] Speaker B: Probably. [01:29:38] Speaker E: That's for sure. Holy shit. [01:29:41] Speaker B: All right, Chaz, why don't you go give us some ratings? What do you. [01:29:49] Speaker E: Want to say? Seven most of the time in a song like this with Stevie, I don't care what the hell he's singing, I just want to hear him playing. And I'm amazed that he sounds as good as he does, like, whatever he's singing. And when I find out what he's singing, I'm like, holy shit, that's amazing. I mean, to keep that in your head and just let that out and just fly and do what you do. But for me, no, it's not deep and meaningful. It's just deep and meaningless. And it's straight up Texas boogie rock. So I'm all good there, though. That's not a bad rating for me. So what's the next dimension? [01:30:24] Speaker B: So then we're musicianship and then production. [01:30:27] Speaker E: Oh, fuck, yeah. It's a ten and a ten. This is classic stuff for me. [01:30:33] Speaker B: Very nice, very nice. [01:30:35] Speaker D: Very nice. Thank you. I appreciate you making me less, like, crazy. [01:30:43] Speaker B: Is that possible? I'm not too sure. [01:30:47] Speaker E: You just might have met your magic crazy. We might just be kindred spirits that way. And the rest of them are all just looking at us like, what the fuck with these two? [01:30:58] Speaker D: I'm going to say, go back and listen to our Alice Cooper podcast on. [01:31:06] Speaker C: Frank's first podcast. [01:31:09] Speaker E: Oh, shit. Okay, I'm making my notes, guys. I got a whole friggin page of notes. I didn't think I was going to get all its follow up, I got to tell you, but I got to look at now. It's Alice Cooper episode. All right. [01:31:22] Speaker B: Yeah. [01:31:24] Speaker E: Well, I don't know where you guys stand there. [01:31:28] Speaker B: I'm going to do a seven on the lyrics. I like the lyrics a lot, but I don't want to go, like sereno. I don't want to throw into that. And again, I don't really listen to the lyrics. I've listened to this song for, like, 30 years, and I have no clue what he was even saying. [01:31:39] Speaker E: First time I ever fucking heard any of that. First time I really ever listened. Then reading it, I'm like, no, never would have picked that up. Hats off to him that he can do that. Dude my thing. I won't even get into it. But we're in the day and age when people can use iPads for everything. And so to be what Stevie did, what I saw, that man knew those lyrics off top of his head and was playing that while he was singing that, while he was doing everything else he was doing. He's just nuts. So hats off. Whatever the hell he's singing. [01:32:09] Speaker B: So I'm going to give musicianship a ten just because there's nothing that he generally plays that I don't like. So I'm going to do that. And production, I'm going to give a nine. I think it's produced very well. You can hear everything. There's nothing muddy. Again, it is three piece. Well, there is some overdub on this, which doesn't always happen, but I think the production on this is very good. I have nothing bad to say about that. Yeah, so the next song in our. [01:32:44] Speaker D: Before you do that, what I'm most amazed about is that Theory ron is rated number eight in the top 50 greatest guitars of all time. [01:32:58] Speaker B: Who's on top of him? [01:33:02] Speaker C: Clapton. Seven times. [01:33:05] Speaker B: Clapton, Clapton, Clapton. [01:33:06] Speaker A: Clapped. [01:33:09] Speaker D: Ego. [01:33:10] Speaker E: Where the hell is Mark the Bat when I need him? Hendrix was number one. [01:33:17] Speaker C: Number one. [01:33:18] Speaker E: Okay. [01:33:21] Speaker D: Jimmy Page. Eric Clapton. [01:33:26] Speaker E: Wow. They fell apart. [01:33:28] Speaker B: Fell. Perry. [01:33:30] Speaker C: Joe Perry. [01:33:32] Speaker D: I didn't say Joe Perry. Nobody's. Jimi Hendrix is ranked number one overall. [01:33:40] Speaker B: Okay, I agree with that. All right, so read it. Hendrix, number one. Who's number two? [01:33:46] Speaker E: BB. [01:33:46] Speaker D: King. [01:33:47] Speaker B: Who's number three? Keep going down. [01:33:49] Speaker D: Paige Clapton. Chuck Berry. And Chuck Berry was great. He was really order, though. You think so? [01:33:59] Speaker E: Yeah. [01:34:00] Speaker D: This thing's a you don't think Chuck Berry, number six is I don't think DB. [01:34:06] Speaker E: King's number two. I certainly don't think Eric Clapton's number four. No. No way. [01:34:10] Speaker D: Oh, man. I don't. [01:34:15] Speaker E: I heard Jimmy Page. Go ahead. [01:34:17] Speaker D: Keith Richards, Jeff Beck and. [01:34:24] Speaker B: Van Halen. [01:34:29] Speaker E: You need that. Meme. You got to get that, kid. Meme. The bullshit. [01:34:34] Speaker D: Yeah. [01:34:34] Speaker B: Seriously? [01:34:35] Speaker D: This is Google. Google doesn't want Google, just so you know. [01:34:39] Speaker E: Full of shit. [01:34:39] Speaker B: Holy shit. [01:34:41] Speaker E: You know what? Hold on. I only got one better for you here. Hold on. Give me the top. I'll get the top ten guitars of all time. Give me the top. [01:34:49] Speaker D: Goodness. Les Paul is down the list, and Slash is down on the list. [01:34:55] Speaker E: Well. [01:34:58] Speaker B: I could see Chuck Berry for influence. [01:35:00] Speaker D: Maybe Chuck Berry is up there. He needs to be up there. [01:35:05] Speaker B: I don't know if he needs to be in the top ten. [01:35:07] Speaker E: No, not top ten. [01:35:10] Speaker B: No. [01:35:12] Speaker E: All right, Hendrix. Oh, shit. For influence. Okay, Clapton, how about this list? See if you agree with this. Hendrix Clapton. Paige Beck. Stevie ray Vaughn. BB. King, eddie Van Halen. Chuck Berry, dave Gilmore. Dwayne Alman, keith richards, carlos santana, richie blackmore, brian may, tony omi. Holy shit. I don't agree with this one. John Frashante, Mark Knoffler, Angus Young, and Frank Zappa as a top 20. [01:35:43] Speaker B: I mean, it's not bad at all. [01:35:47] Speaker E: It's not bad at all. Yeah, I can't agree. I think Brian May deserves to be higher up. [01:35:54] Speaker B: Yeah, I think mean, look, I think we're looking at more we're also looking at strictly like a rock thing almost. But I can see the way BB. King has to be there. [01:36:05] Speaker D: I can see you're looking at Opportunity Lover. Just so you know, the only thing. [01:36:15] Speaker E: I asked for it, I asked to give us the top 20 electric guitarists of all time. [01:36:21] Speaker B: Okay. [01:36:22] Speaker E: Acoustic out. Right. So fair enough. Right. So I think in terms of influence, and I would be really interested to see how this was compiled and ranked. From what I hear, it was because it's so subjective, right. Varies on individual preference, criteria, particular sources. Right. There's so many things out there written about all these guitars. Everybody's fucking opinions, record sales, anything, right? Think about all that shit. So I would say this one, that kind of crosses over pretty well with the one you read. I think there are some notable exceptions. I don't know that I agree. I guess keith richards is very influential. And you know what? I've really just appreciated that myself recently, trying to look for different kind of things to put in my set list and coming back to some Stones tunes and being like, oh, man, playing this in drop know, with the Van Halen tuning, playing it with a little more of a Van Halen style. I'm like, Holy shit, this is great. Right? So we got a couple of songs we're doing that kind of we can fit the mold with. So maybe there I don't know about John Frashante, Red Hot Chili Peppers. [01:37:28] Speaker B: I mean, he's a good guitar player, but I don't think he's in the top ten for me. [01:37:31] Speaker E: No. Okay. [01:37:32] Speaker C: By the way, Rolling Stones, October 13. [01:37:41] Speaker B: The top guitar players, what's theirs? Go ahead. [01:37:43] Speaker C: 250 top guitar players. [01:37:46] Speaker E: What's the top ten here's already, where. [01:37:50] Speaker C: The list goes off? Number 250 is Andy Summers. He's 250. So right there, I'm like, you know, it's not a now I will tell you who the top ten are according to this. And this was released 10:00 A.m., October 13. Number one is Hendrix. Number two is Chuck Berry. Number three is Jimmy Page. Number four is Eddie Van Halen. Number five is Jeff Beck. Number six is Sister Rosetta Tharp. [01:38:26] Speaker E: Yes. [01:38:28] Speaker C: Number seven is Niall Rogers. [01:38:31] Speaker B: Forget about Nile Rogers. [01:38:32] Speaker C: Number eight is BB. King. Number nine is Joey Mitchell. And number ten is Dwayne old. [01:38:39] Speaker B: Now, here's the thing. [01:38:40] Speaker E: Now you're telling me. Niles Rogers? [01:38:43] Speaker B: Yeah. You're saying Niles Roger. [01:38:47] Speaker E: Is not better than Santana. [01:38:50] Speaker C: Tony Yomi is 13. Prince is 14. [01:38:56] Speaker D: That's disrespectful 15. [01:38:58] Speaker C: Keith Richards, 16. Robert Johnson, 17. Mother. Mabel. Carter. 18 is Tom Morello, 19 is Freddie King, and 20 is Stevie Raybone. [01:39:12] Speaker A: What? [01:39:13] Speaker E: No. I don't know. [01:39:15] Speaker D: Here's the thing about that list. It's not terrible. [01:39:21] Speaker B: It's just the positioning is way like are you saying that Nyla Rogers, even though he played all those songs and had big pop hits in the are we saying he's a better guitar player than BB. King is? [01:39:35] Speaker E: I do not think so, no. [01:39:40] Speaker A: I'm trying to see what this is based on. [01:39:43] Speaker D: But hey, listen, let's just talk a little bit about Prince. Prince was ranked Sev. What? He came up, like, 14. [01:39:51] Speaker C: He was in the team 14th. [01:39:53] Speaker D: He was 14. Is he that down to the list. [01:39:56] Speaker E: I don't know. Well, does he deserve to be higher in the list? Brian May wasn't even mentioned. [01:40:04] Speaker C: Here. In making the list, we tended to value heaviness over tastiness, feel, over polish invention, over refinement, risk takers and originators more than technicians. We also tended to give an edge to artists who channeled whatever gifts God gave them into great songs and game changing albums. Not impressive. Not just impressive playing. [01:40:27] Speaker E: Yeah, go for it. [01:40:27] Speaker C: Which I don't understand why. [01:40:31] Speaker D: Is Bold Diddley and all that? [01:40:33] Speaker C: I'd have to find them. [01:40:38] Speaker E: Steve Ray wanted 28. I didn't hear Dave Gilmore in that list. Where's Dwayne Alman? [01:40:54] Speaker C: He was ten. [01:40:57] Speaker E: Okay, that's fair. Where was slash? Where was slash? [01:41:03] Speaker C: I haven't seen him yet. [01:41:04] Speaker D: Not listed. [01:41:05] Speaker E: Angus Young. AC DC. [01:41:07] Speaker D: Not listed. [01:41:08] Speaker E: Malcolm Young? Never. [01:41:10] Speaker C: Well, no. Well, listen, it's 250 Alison lifeson. [01:41:14] Speaker E: I could keep asking. [01:41:16] Speaker D: Yeah, no, we're talking about so Sav was reading the one through 50 list. [01:41:22] Speaker C: Yeah, well, I know just the one through 20. I read. [01:41:25] Speaker D: You read the one through 20. Okay, here's the problem. There's so many great talents and to try to create out, like okay, what's the matrix they're going to measure them. [01:41:45] Speaker C: On is really what I was reading. So Randy Rhodes is 21. [01:41:52] Speaker E: Yeah, that's. [01:41:56] Speaker D: Right. [01:41:56] Speaker C: There James Hetfield and Kirk Hammett together at 23. [01:42:00] Speaker B: They're together? [01:42:02] Speaker D: How are you? [01:42:09] Speaker E: I'm sorry, I didn't say that. [01:42:13] Speaker C: I mean, teachers, 49. [01:42:20] Speaker B: This is Rolling Stone, right? [01:42:22] Speaker D: Yes. [01:42:23] Speaker B: A bunch of bozos. The only thing they got right is Eric Clapton's underneath Jimi Hendrix. That's the only thing they got right. [01:42:28] Speaker D: Oh, stop. Relax. [01:42:29] Speaker B: Oh, I got one. Back there again. Went back there again. [01:42:33] Speaker D: Relax. [01:42:34] Speaker B: All right. Why are they together? [01:42:42] Speaker E: The sound of the band. What about you? Davies brothers. [01:42:47] Speaker D: Crazy hendrix one. [01:42:49] Speaker C: Not yet. [01:42:50] Speaker D: Chuck Burry, does that make you feel better? [01:42:52] Speaker C: 35 is Clapton. Brian May is 33. [01:42:55] Speaker D: Brian who? [01:42:56] Speaker E: That doesn't make me feel good. [01:42:57] Speaker C: Brian May is 33. [01:43:01] Speaker B: No, listen, I'm not saying that eric 28. There's no way Eric Clapton should be that far down. [01:43:08] Speaker C: Buddy guy is 27. [01:43:11] Speaker D: It's not crazy. It's not crazy. I'll tell you what, james Taylor, 196. [01:43:26] Speaker B: I think, unfortunately, they're just mixing two guitar players that are so different that you're going to look at that list. And go, this makes no sense. [01:43:35] Speaker D: Leader four one. [01:43:36] Speaker E: That's what these things are designed to do. So people like us will sit here and say, oh, bullshit, bullshit. We'll debate it all day. The podcasting universe carries on, creates a life of its own with this stuff. [01:43:49] Speaker D: Jerry cantrell fuel. Jerry cantrell. 189 yeah, sounds about right. I can see. [01:44:00] Speaker C: Okay. [01:44:01] Speaker E: All right. That's respectful. But I believe he deserves to be higher. [01:44:05] Speaker D: I believe he'll never you know what? This is going to be another podcast go. We need to come together and Mark, I texted you this during the weekend. [01:44:14] Speaker B: No, I saw on our separate thing. Yeah, the non frank chat. [01:44:26] Speaker C: Yeah. [01:44:27] Speaker D: Okay. I appreciate you. Thank you for leaving out of that. Appreciate you. [01:44:33] Speaker B: Can I get to the next song now? Is that possible? [01:44:38] Speaker E: This is a long album, by the way. [01:44:41] Speaker B: The things that I used to do is the next song. This is from guitar. Slim wrote this. Is anything on this? It was originally written in 1953. It was a single. So this is a cover. But from what I remember about this cover, it's done very well. Yeah, it doesn't sound like it's from the all to me. [01:45:03] Speaker E: Stevie. [01:45:04] Speaker B: It's Stevie. Let's hear Stevie. [01:45:12] Speaker A: Things that I used to do the things that I use it what I won't, you don't know I use a doll and I cry do not go but. [01:46:00] Speaker B: Just the blues, my friend. Just the blues. Sabina. Do you like that or you don't like that? What do you think about it? [01:46:09] Speaker C: Yeah, listen, I mean, clearly there's feel behind it. Can I limp it in with a bunch of other songs? [01:46:17] Speaker E: Yeah. [01:46:19] Speaker C: Do I feel a difference in him? Yes, a bit. I would say I do feel a little bit more emotion in his playing than some of the other you know what I mean? This kind of, like, style of music makes sense. [01:46:37] Speaker E: No? [01:46:37] Speaker B: It makes sense, sure. [01:46:39] Speaker C: I mean, the song itself, obviously, we've all heard a million times. [01:46:43] Speaker B: Right. [01:46:43] Speaker C: You know what I mean? That whatever. But I do feel a little bit extra in his playing than some of the other stuff that we've heard. [01:46:50] Speaker B: Yeah, I think that's where yeah, well, it's because his guitar is so good. That's what it comes. [01:46:56] Speaker C: I do feel a difference in his guitar playing as opposed to some of the other stuff that we've listened to that's been in this vein. [01:47:06] Speaker B: Absolutely. It stands out. [01:47:08] Speaker C: It does. His voice is good in this as well. [01:47:15] Speaker B: Yeah. Like I said, I think for this oh, yeah. It's right in his pocket. Yeah, it's right in his so so do you still think it's a lot Hendrix y to you? Because I know that at one point you said to me know you thought he was like a Hendrix copy. [01:47:29] Speaker C: Yeah. I mean, honestly, listening to the first two records, not as much. No. I don't know. I guess I had it in my head. Either that or there's got to be something that I've heard, right? [01:47:41] Speaker B: Is there something the next song you're going to hear? [01:47:43] Speaker C: Oh, yeah. Well, yeah, obviously. But maybe there was something that I heard from him that just reminded me of it. [01:47:50] Speaker B: Well, I think that was the proof. [01:47:51] Speaker C: I don't feel it as much now. [01:47:55] Speaker B: I think that was the prevailing thing, I think, over the time that he was copping him a little bit and that I think that was maybe a criticism back then. I don't hear it as much as other people hear it. I mean, there's obviously something there. [01:48:09] Speaker E: He was doing different things with it, too. He was taking this thing and doing different stuff with it. He was drop tuning things. I think this song was open tuning because I remember trying to play this stuff and like, wait a minute, this isn't in standard tuning because I could not make anything work. And that's when I found out that Stevie was actually doing that quite often. And that's why that combined with the way he attacked the strings and those really heavy strings and that friggin, just God given tone just made what he was doing to me just so distinctive from it. Took what Jimmy laid down foundationally and added those elements of just the Texas blues that really just kind of, I think, perfected what Jimmy was doing all along, really. It just kind of brought that flavor that just made it like just perfected the meal, man. You know what? [01:48:58] Speaker B: Yeah, I agree. [01:48:59] Speaker E: Yeah. [01:49:02] Speaker B: He stands out in this thing just because of his attack and the way he plays. And he takes a basic blues thing and he just pushes it forward, similar to what Hendrix did on his playing. Just took the blues thing and kind of pushed it into a place. [01:49:14] Speaker E: Even though he was the integration of the Texas blues that had so much to do with it, man. Because he's a little more traditional sound. Yes, very traditional. And he gets that tone, and that's what's insane, right? The tone that would come out of his stuff. Because again, his setup was so bare bones, man. That was him. We were hearing him. [01:49:34] Speaker B: So here are the lyrics. Obviously, he didn't write these, but I guess we'll take them for what they're worth. The things that I used to do? Lord, I won't do no more? The things that I used to do, lord, I won't do no more? I used to sit and hold your hand, darling? And cry? Obey, do not? Go I'm going to read a little bit more and I forget where I stopped but I'm going to read a little bit more I used to search all night for you, darlin Lord and my search would always end in vain. I used to search all night for you, darlin, Lord, and my search would end in vain. But I knew all the time, darlin, that all that you did was I can't read that you was hid out with your other man. So it's basic blue stuff. You know, you do the first two lines, you repeat the lines. So he's just basically taking this guy's song and using it as a vehicle for him to play guitar on, which is what he does. [01:50:27] Speaker E: It's the voodoo that he do so well. [01:50:30] Speaker B: 100%. All right, let's continue. [01:50:33] Speaker A: I use a search on not your darling blood am I searchwood always in advance I use a search on that lamb love of my search wood always in back that you was here that with your other man sam. Sam. Sam ram sam. Damn. [01:53:43] Speaker B: That's what you call a long guitar solo. [01:53:47] Speaker C: You know what, though? I like the soloing better than I feel like I almost don't want lyrics of this song. Right. I just rather listen to him solo. So out of curiosity, shouldn't we page any kind of influence on him at all or? No. Do you know? [01:54:04] Speaker B: Never heard that ever. [01:54:06] Speaker C: I felt a little Jimmy Page and, you know, when it was almost like borderline a little bit sloppy, kind of, but it just brought it in. [01:54:14] Speaker B: Well, you know why? Because probably they're both listening to the same kind of music. They're probably listening to the same sources. [01:54:20] Speaker C: Yeah. So probably one before. [01:54:25] Speaker B: Sources are probably the sources are probably the same. More than likely. So that's probably why you're starting maybe you hear some stuff that Jimmy Page did. Maybe just because they were both listening to the blue stuff from the same. [01:54:37] Speaker C: It'S just some of it felt like it was almost away from him, but purposely and then he just kind of reeled it back in. [01:54:46] Speaker B: Well, it shows you how much go ahead. [01:54:49] Speaker E: Yeah, go ahead. [01:54:51] Speaker B: It shows you how much an influence the blues was on all those guys. Like the guys from the 60s who pulled that back and he took it even to the next thing after them. [01:55:01] Speaker E: Yeah. And just realize, too, right, that during all that time when Stevie was coming up and he was just, like, learning and playing, paige was out there. Right. Zeppelin was huge. Right. So undoubtedly that blues influence because that's what I think you are hearing, like the rock influence in Stevie's playing because that's where Stevie kind of took I thought he had some heavier elements than Hendrix ever really brought into the music, too, at times. Tonally. And I think that was like rock influence. Right. That was more of stuff that kind of came after Jimmy and Zeppelin was a part of that. So kind of like we said, like Albert King and all those guys. Buddy guy baby king. Freddie King. You know, those dudes. The guys, of course, without saying Hendrix. But I think yeah, there's no doubt that beyond that, he had to have been influenced by guys like that. I would say even Billy Gibbons, I would say. You got to think about some of the Texas blues guitarists that were around at that time and what their influence was. No doubt. I mean, if you hear stevie jam down on some americana, on some really interesting stuff that I've heard in bootleg recordings, he was just so diverse and amazing. [01:56:19] Speaker C: There's a couple of shreds in here. Right. That really fast. [01:56:23] Speaker E: Right? Yeah. Right. Shredding. Yeah. Like, almost like he was doing the swoop picking. Yeah. [01:56:31] Speaker C: Straight up shred. [01:56:32] Speaker E: Sweet picking. Sweet picking. Yeah. [01:56:34] Speaker B: Well, again, his playing is fairly fast, even for the blues. The only guy I can really think that nowadays you would kind of not compare him to but has the same kind of thing, maybe is joe bonamasa. He's fast like that. [01:56:52] Speaker E: Yeah. [01:56:54] Speaker B: I'm not a big fan of his, but I know of he kind of does the same kind of same kind of deal. And obviously, stevie Revon paved the way for the guys that are now doing that kind of stuff, because, really, there wasn't a lot of guys that were doing it like this through the little rock part of it. You know, there were other guys. [01:57:16] Speaker E: There were there were guys to that point on the rock piece. Right. So johnny winner was big at that time, too. Right. And then you had other guys. Right. Lightning Hopkins, t Bone Walker. There were a bunch of guys in texas that were making big music that was very influential on him. So you want to talk about where does that harder edge come from? That's where I think it was. I think it was probably more of his contemporaries at that. [01:57:41] Speaker B: Right. [01:57:41] Speaker E: So kind of taking his love of hendrix and kind of blending it with, again, the albert king stuff. [01:57:46] Speaker D: Right. [01:57:47] Speaker E: The really deep kind of Texas blues stuff. But then all the other guitarists that were there at the scene, I think it was all really formative, and I think you see a lot of that feel and that vibe in that performance at Austin city limits. You get the feeling like that they're a really working class bar band that's making it big. Right. And that they came up with people that were there and influencing them. They were kind of the best of the bunch, I think, out of the whole region. Right. If you kind of look at it that way. [01:58:18] Speaker B: Yeah. Because anytime you see them live, you feel like they could be in the bar somewhere playing for you. [01:58:23] Speaker E: Exactly. Yeah. In Amarillo, Texas. [01:58:30] Speaker B: Right. Hold near zima together and, oh, wow, look at this guy playing guitar. Playing guitar. [01:58:35] Speaker E: I don't know that I would order a zima in Texas, guys. I'm just saying. I don't know what I go to. [01:58:39] Speaker B: No, it's probably a bad idea. [01:58:41] Speaker E: Not a good idea. Not in the unincorporated parts. Might never see again. We don't go out that far. [01:58:50] Speaker B: We got 58 seconds. Let's finish it up. [01:58:53] Speaker E: Go. [01:58:53] Speaker A: I'm all sending back to your mama. Darling Lord I'm going back to my family too I'm all send you back your mama, darling Lord I'm going back to my family too nothing I can do to believe in Atlanta I just can't get along with you. [01:59:50] Speaker B: So I'll read you the last part of the lyrics. I'm going to send you back to your mama, darlin lord, I'm going back to my family too I'm going back to send you back to my to your mama, darling Lord and I'm going back to my family too nothing I can do to please you, darling I just can't get along with you it's just so funny. The lyrics are like, typical blues stuff, but it's funny when I listen to the song, I don't even listen to the lyrics. It's so weird. His guitar is so much like, in your face that almost like you don't listen to even what he's singing about. Like, you hear melody, right? [02:00:31] Speaker E: You hear the melody and it's the inflection, it's the raw feel and the energy that's going along with that guitar playing and the rest of the music. Yeah, honestly, you're absolutely right. Other than those really standout tracks, the rest of it, I just want to hear him play. [02:00:47] Speaker B: All right, Chaz, why don't you go first, then? What are you giving this? [02:00:51] Speaker E: I think the lyrics aren't so bad. He wrote this one, right? [02:00:55] Speaker B: No, this is a cover. [02:00:57] Speaker E: This is a cover. Okay, then the know again, whatever. He chose them. What's fair? I mean, he didn't write them. Do we do an NA on this one? It's a good song. It's a seven. It's okay. It's not bad. And again, I think the music is another 1010. It's going to be a sweep for me. It's going to be hard. [02:01:18] Speaker B: Cool. All right, I'll go first then we'll get the guitar players out of the way. [02:01:27] Speaker E: Don't let my dog out while you vote. [02:01:30] Speaker B: I'll do a seven on the lyrics. The standard blues stuff, it's not horrible, it just is what it is. Guitar Playing wise, as much as I love his guitar playing and I think in this song there's a little bit more repetition for me even though I know that that stuff happens and I can hear licks that he uses all the time. I'll give this one probably a nine. I won't give it a ten because I kind of think that there's a little bit of repetition there that I could probably live without. But production is great on this. I think, again, you can hear everything, so I'm probably going to give that a nine. SAF yeah. [02:02:15] Speaker C: I mean, again, stuff like this, it's funny, right? When you hear music like this, that standard blues and you hear it from certain bands where you feel like, hey, we need to do a song like this. And you hear a guy like this saying, I'm going to do a song like this. And I mean, I was really digging it. There's a difference, clearly, with who's playing something that you've heard so many times. [02:02:41] Speaker B: Yeah. [02:02:41] Speaker C: So, I mean, lyric six, whatever. Typical whatever, right? Music. I'm going to say an eight again. I mean, I really liked it. I was really feeling it. And yeah, production. I'll say nine on the production. Again, I know I'm being a little conservative and I can probably go back and even maybe go back a little higher because I'm really enjoying this. So when this first started, I'm like, okay, here we go. Right? [02:03:10] Speaker B: Well, yeah, you know what it is, because anytime you hear a band who just does that because we need to try, oh, we're going to do like anytime the hair metal guys try to do, like, a Blue song, you're like, okay, this is just not going to happen. But this stuff, because it's so authentic to his thing, it doesn't feel that way. It feels like he's doing a song, and this is the kind of song I do. This is not like, oh, we're just. [02:03:34] Speaker C: Doing a Blue song to do again. I mean, I compliment his voice. I mean, I really like his voice. There's a lot of soul behind it, his inflection and tone. [02:03:44] Speaker B: And he probably didn't like his voice, like Chaz said, more than right, Frank? [02:03:50] Speaker C: Oh, Frank said he texted. He had to drop off you're. [02:03:59] Speaker D: I'm a big blues. Like, I am enjoying the music right now, the lyrics. I'm going to give it a seven. I really do the music and production, I'm giving it nine. Like I said, it's right there. I'm enjoying it. I'm enjoying the music. I'm enjoying everything about it. So it's awesome. So I appreciate it. [02:04:27] Speaker B: Yeah, because you really haven't listened to very much of him right, at all. Exactly. [02:04:33] Speaker D: Yeah, exactly. So you're talking to somebody who enjoys a lot of blues music. So I'm hearing this for me the first time, and I like it. It's right there with the genre. I enjoy it. [02:04:48] Speaker B: Yeah, he makes it. So you're not thinking it's just, oh, someone else is just doing a Blue song. Because that's his thing and that's what he does. Like you said, you want almost the lyrics to stop so you can just listen to him play guitar. [02:05:05] Speaker C: Yeah, and I was actually okay with the long solo at that point when it sounded like he was going to stop, but he actually went a few more bars, I'm like, okay. [02:05:17] Speaker D: That'S a great call out. It's like you almost want the lyrics to stop to hear the guitars, so yeah, I appreciate that. [02:05:27] Speaker E: Absolutely. [02:05:27] Speaker B: Well, I think that's what it is with a guitar player like this. Hendrix, things like that. I don't even need anything else. I could just listen to him play guitar. [02:05:38] Speaker C: Because you can feel him playing. That's what it comes down to. [02:05:42] Speaker B: Yeah. It's even weirder if you watch any if you're Frank, if you go and just do Steve River on live. It's even better live. Yeah. You almost can feel that. You feel like the electricity thing happening, because this is not coming from him. This is coming through him. [02:06:01] Speaker C: He makes it look super easy. He's one of the way he plays. He makes it look super easy. [02:06:09] Speaker B: Yeah. It's not as easy as it looks. [02:06:11] Speaker C: No, he makes it look easy. Like, I can do this. [02:06:14] Speaker E: Look at this guy. [02:06:15] Speaker C: He's just like. [02:06:19] Speaker E: Nah, Mark, it's time to be honest. Let's be honest. It is as easy as it fucking looks. [02:06:23] Speaker B: Sure it is. [02:06:24] Speaker C: This guy's not that good. [02:06:26] Speaker B: All right, so before we get into the Hendrix cover, I'm going to play the John Mayer thing that I was talking about. So let's see if this is the. [02:06:37] Speaker C: One I'm thinking of. [02:06:38] Speaker B: Yeah. Tell me if you can go. [02:06:40] Speaker F: There's not a lot of people that you hear demos, you hear bootlegs, and you go, wow, this guy figured it out before he even walked out his house. And what that thing was was half brutal force and half finesse. It's bend as hard and as fast as you can bend, but hit the note like a paper airplane landing perfectly on the street. I think if you'd never heard of him before, to watch a guy come out on stage and not even consider that it might possibly not go over, I think is what makes people kind of defend themselves for a minute over. [02:07:20] Speaker E: What? [02:07:21] Speaker F: Is this really? Can I really believe this? What's going on? I was listening to Poison and Motley Crue, and then I heard Steve DeRay Vaughn, and there was a big regime change in terms of posters in my bedroom wall. If these weren't good tunes, they would just be excuses for guitar playing, and people would have eventually looked the other way, or he would have been a guitar playing phenomenon. Only within guitar players. Very few guitar players make it to the housewife contingency and Steve Ray Vaughan did. And it's a testament to the triple threat of his voice, his guitar playing and his tunes. To play like Stevie Ray Vaughan. There are some people, and myself included, who given a certain time of day, certain part of the set, certain culminating energy that happens in the room. You can play with that same intensity, but you can only do it for about 20 seconds. And then your entire arm cramps up and you got nothing. [02:08:21] Speaker B: That's pretty that's pretty that that sums it up. [02:08:27] Speaker D: Yeah, I get what he was saying. When you listen to a specific artist and you change your posters, I get it. [02:08:40] Speaker B: Guns and roses. [02:08:44] Speaker D: No, for me, it was soundgarden. [02:08:52] Speaker E: Oh, hell, yeah. [02:08:53] Speaker D: Alison Chains. It was right there. That's when I changed my oh, Mark. [02:08:58] Speaker C: Wouldn'T you equate the same kind of thing to what he just said? Didn't you kind of have that turnaround. [02:09:03] Speaker B: Where I'll tell you a good story? So we started playing music in the 80s, probably just like you did so you would listen into what of the time was, right? So I remember when I had started, I probably was only playing like, three years when he passed away. He died in 90, right? So I was either three or four years, either 86 or 87. I started to play because back in the day, everything was about Tremolo bar and doing all those kinds of things. I stopped I forget what it was. I remember I moved out of the Bronx and I found out that I was cheating. My vibrato wasn't as good as it could be, right. I listened literally for like, a straight year. I took the Whammy bar off of my guitar, right. I didn't play with the Whammy bar anymore. And I just played his music for like a straight year and worked on vibrato by listening to his vibrato. So I can kind of understand, like, going from that and going, oh yeah, I can't really do this, I'm cheating. I'm using this thing that makes it easier for me to do stuff, but I really need to try to work on that. And the only way I'm going to do that is to take the stupid fucking bar off, listen to what he's doing, and try to copy what he's doing. And I did that for like a year straight. I didn't listen to anything else but him. [02:10:25] Speaker E: Wow. [02:10:25] Speaker B: For like a year straight. And that fixed my vibrato. And it's just one of those things where I didn't realize that it was doing that to me, you know what I mean? Because it's there and you use it because, oh, well, I can just take the Whammy bar and just wiggle a little bit. I can kind of fake that through. But you can't really fake that. Once you start thinking about it, you're like, oh, yeah. So that's where he ended up becoming probably like a little bit before he passed away. And then when he passed away, I was like, oh, yeah, I have to sit down with this for a little bit of time. So I took literally a year and I didn't play anything but his music for like a year. [02:11:05] Speaker D: Wow, really? Whole year? [02:11:07] Speaker B: Mark literally like a whole year. Yeah. I put all the other guitars away that I had and I had this one Strat style. I still have it. It's like a purple I don't know. You remember this? It was like a Strat guitar single coil. It was like a purple Kramer. Do you remember that thing? [02:11:22] Speaker C: Kramer? [02:11:23] Speaker B: Yeah, it was a Kramer, but it was Strat style. [02:11:33] Speaker D: Times Square to get Mark. [02:11:35] Speaker B: No, I don't think so. I think I got that in Bronze, I think, the local music store. So that was not the kind of guitar I played at all because it was 80s, right? So what did you play in the 80s? [02:11:44] Speaker E: Yeah. [02:11:45] Speaker B: You played Floyd. Yeah, I have two Kramers from the 80s. [02:11:50] Speaker E: Yeah, I have one. Kramers I dropped all that stuff and. [02:11:56] Speaker B: Just said, I'm going to play this guitar with nothing and just try to figure out how to do vibrato and just do it. I'm almost starting over, but just, like, listening to his music. So that's why he, for me, is like one of my in my top five guitar players, because he kind of taught me how to do that kind of stuff. And even though I can play similar to his thing, I agree with the John Mayer thing. You can only do it with that kind of intensity and hitting the notes like he said on a thing. But he hits it so hard, but it doesn't look like he's playing that hard. And he always hits the notes like it's just right there. But try to do that for the amount of time that some of the songs, like, even in the song that's coming up, which is eight minutes of Voodoo Child, it's a hard thing to do. Like the way he does it. He's just one of those guitar players that resonates. He resonates. And like you said, too, at the end of his life, like that last record, he was getting actual video play. Wasn't he? Savino at that time? [02:13:01] Speaker E: I want to say yes, he absolutely was. [02:13:05] Speaker B: Like 89, 80 career. Yeah, he was clean, right. For the first time exactly. [02:13:12] Speaker A: In a long time. [02:13:13] Speaker E: I'd seen him on that tour. Yeah, man, it was good. [02:13:17] Speaker B: So he unfortunately had started this, I think, to do a little bit of a crossover and then unfortunate. [02:13:24] Speaker C: Yeah. [02:13:25] Speaker B: And look, Eric Clapton's in that situation, too. You know the story, Frank, don't you? Do you actually know the took he took Eric Clapton's helicopter. He wanted to go first, so he said, let me take your helicopter because I need to go first because I need to get to the hotel. And so he took Eric Clapton's seat on the helicopter that crashed. [02:13:51] Speaker D: Oh, my God. [02:13:52] Speaker B: I'm not saying anything. [02:13:54] Speaker D: Yeah, it's just crazy. [02:13:58] Speaker B: It is kind of crazy. I mean, obviously, I don't want to see Eric Clapton die in a helicopter clash either, but. [02:14:07] Speaker D: Chaz we have a lot of back channel chats, and apparently I'm excluded from other back channel chats that came to light tonight. And one of the information coming forward. [02:14:24] Speaker E: On this podcast. [02:14:29] Speaker D: Tonight. [02:14:35] Speaker C: We'Re going to conference Frank in. [02:14:39] Speaker D: I'm the guy who lives in Westchester always omitted. Right. Anyway, the whole point is, like, guitarists and I want to. [02:14:55] Speaker C: One of the. [02:14:56] Speaker D: One of the things I hope we get to do is rank guitarists that we're talking about, right. [02:15:04] Speaker E: That would be. [02:15:08] Speaker D: Know. So on the chat that I'm included on, I was like, hey, how about we do a podcast ranking guitarists and where they are kind of thing. And I don't know if all of you know that Eric Clapton was the one to know. He was considered I forgot who interviewed him. It's like you considered one of the number one guitarists of all time. How does that feel to be number one guitarist of all time? And Eric Clapton was like, ask Prince what it's like to be number Prince. [02:15:40] Speaker B: Prince was a good guitar player. [02:15:42] Speaker D: He really is. And it makes you wonder if he ever made a metal guitar, a metal song, what would that look what would that look like? [02:15:54] Speaker C: Listen to chaos and disorder. Yeah, I think that's the name of the song. It's the name of the album, and I think it's the name of the song. It's straight up rock. It's a great song. [02:16:09] Speaker D: It makes you wonder, right? Makes you wonder. [02:16:14] Speaker E: One thing I don't wonder is that on any list, john Mayer would never show up as a great guitarist in. [02:16:19] Speaker B: My you don't like? [02:16:22] Speaker E: Not really. And I don't like his songwriting. No way. Nowhere near. I don't like his opinions. I don't like his attitude. I don't like his whole public persona. He can just go scratch as far as I'm concerned. I'm not fairfield don't like him. I'm intellectual. All that bullshit we just listened to. [02:16:45] Speaker B: I'm not a big fan of his sappy girly music that he makes, but I've seen him play guitar. I think he's a good guitar player. I wouldn't put him in, like, top 100 or anything. [02:16:59] Speaker E: No. Yeah, not at all. I saw him chat. [02:17:03] Speaker D: Have you heard him in Death and Co? [02:17:06] Speaker E: I've heard enough to not want to hear anything anymore. So if there's something I mean, I'm happy to I will keep an open mind. I am nothing if I am not open to changing my opinion on music. If there's something there that's accessible to me that I haven't heard but everything I have heard, no, thanks. And like I said, the interviews and what we just listened to, I'm just like I can't listen to that. No, I don't agree. I don't like him. I don't agree with him. Don't want to be around him. [02:17:43] Speaker B: I don't hate him that bad. I don't hate him that bad. [02:17:46] Speaker C: I don't like his songs, but no, me neither. He's considered, I guess, a good guitar. I'm definitely not a fan of his music. [02:18:03] Speaker D: Chaz, do we need to do a podcast around guitarists? [02:18:09] Speaker E: Great. [02:18:10] Speaker D: Of all times? And I threw some ideas at Mark and through our chats or whatever, and the team shared their thoughts. But one of the guitarists that I enjoy listening to is Vernon Reed from Living Color. And where he ranks when it comes to metal. [02:18:32] Speaker E: Top 100 for me. For sure. [02:18:34] Speaker D: Yes, for sure. Where in the top 100? That's one of the things. [02:18:38] Speaker E: Just over 50. Yeah, I would go that far. I've had that discussion. He's great. He's great. It's just really hard to wedge him in because he's very as innovative as he was. He was innovative because he was so goddamn good at being derivative. I. Think. And that's just, I guess, my very opinionated. Opinion. But he's excellent. I love his work. I cannot play like him at all. I've tried to play even Cult of Personality, man. Just can't keep up. So I'm not worthy, but it's just not my bag. He's more in my mind, like, gosh praggy experimental. [02:19:23] Speaker B: Yeah. [02:19:27] Speaker D: I appreciate that you said that right now, because what comes to mind is going to be one other artist along, that experimental guy. [02:19:43] Speaker E: What's his name from King Crimson? [02:19:48] Speaker C: Robert Frip. [02:19:49] Speaker D: Yeah, there it is. Thank you, Sav. I was struggling. [02:19:53] Speaker C: You're welcome. [02:19:53] Speaker D: Struggling for that. Thank you. [02:19:55] Speaker E: Like a combination of Frip and Jeff Beck and, you know, he's created some really wild sounds that evoke all those players. Yeah. And that's kind of the problem, is that he does evoke all of them, but he does it in such a way that he's done something unique, I think, and makes his own sounds. And hats off, man, he's still out there. And I saw some videos. Shit, he was just here in Denver. He was amazing, my singer. [02:20:20] Speaker D: Yeah, he really is. He's right there. And you know who is another artist right there? Tom Morello. [02:20:27] Speaker E: Yeah. He's got a very unique thing going. Yep. [02:20:30] Speaker C: Yeah. [02:20:30] Speaker D: He's got a very unique thing going. I for me personally, it's like Tom Morello and Vernon Reed are right there. How they experimented with guitar sound. Different eras. [02:20:48] Speaker E: Yeah. Right. And I would put them in that level of contemporary virtuosity with your Joe Satrianis and your Steve Vise and your Dweezel Zappas and all these guys. They all belong in that same club. I mean, Luca and, like, the guys that are a little older and the elder statesmen that are around right now. Right. Just these brilliant players across so many different dimensions that have all done things. But Vernon's very unique. He's got a unique voice. So for me, he falls in the top hundred where Steve Lucather does not. Right. Lucathur is a great player, but for me, he's not in the top 100. [02:21:25] Speaker D: All right. [02:21:25] Speaker E: Yeah. [02:21:26] Speaker D: So when we do this podcast, Mark, write it down. [02:21:29] Speaker E: Okay. [02:21:30] Speaker B: When we do this, for me, Vernon Reed, I haven't heard enough of his guitar playing. The stuff that I've heard in Cult of Personality is very out there. I can't even grab the timing of some of the stuff that he plays there. I'm just like I don't know where that's even coming from, but I really haven't heard very much from them. [02:21:48] Speaker A: Really? [02:21:49] Speaker E: I just listen to that record. Just go listen to that record. [02:21:53] Speaker B: I can't listen to it because it. [02:21:54] Speaker E: Might come up breaking. [02:21:59] Speaker B: I want to be fresh. [02:22:00] Speaker E: That's cool. [02:22:01] Speaker B: I want to be fresh. [02:22:03] Speaker E: Integrity. [02:22:05] Speaker D: Chad. Sorry. We go over to CHANDED, but that's what we do here. [02:22:10] Speaker E: What the freak time is it, guys? I feel like I'm in a time warp here. Let my dog out. I'm like, Shit, I had to go put him to bed. I had to tuck him in. I had to go put him on bed upstairs. [02:22:18] Speaker B: Yeah, we're going to be doing so we're going to end this side on Voodoo Child, and then we're going to do our next episode. We'll finish it up. Let's start voodoo, child. [02:22:27] Speaker E: Yeah. [02:22:28] Speaker B: Man here we go. I say when I play this song, I think I play it is like a combination of Hendrix and Steve Ray Vaughn. I think I like this version better. I think heresy it is for me to say, but I think when I do play it, I think I do a kind of combo of both of them. I really liked his version a lot, though. [02:23:51] Speaker E: The only heresy in what you say is that you're not referring to the version on Live Alive CD. Ray Vaughan version of this song. Yes, actually, I don't think this version so here's where I'll diverge with you a little bit. I don't think his recorded version is up to Jimmy's. I think Jimmy stands out as no, Jimmy's is the source material. It's the Holy Grail. But Stevie's live version gives that song to Stevie. The ownership of the song goes to Stevie with the live version off of Live Alive. [02:24:31] Speaker B: Yeah. No, I can agree with that. I can agree with that. I don't hate this version either. [02:24:38] Speaker E: No, not at all. I think Jimmy's is better, though, the end of the day. [02:24:42] Speaker B: I'm trying to remember, though, drum wise. Savino what does Mitch Mitchell do on this? Because we did so at the beginning is the same. [02:24:50] Speaker C: He's basically like he's following along with the my problem with this version is that it's too clean. The production is very clean, whereas Jimmy's was so raw. And that's that's my issue. [02:25:09] Speaker E: Right. Jimmy's version explodes from the speakers. That's when, like, you understand that sentiment of, oh, shit, what are we going to do now? [02:25:19] Speaker C: Yeah. [02:25:20] Speaker E: Screaming out at you. Yes. [02:25:22] Speaker B: Yeah. [02:25:22] Speaker C: It's almost like a metal song kind of at that point. This is, to me, just a bit too clean. Although the bass is pretty pronounced in this, which I do like. [02:25:33] Speaker B: It's very he's an actually pretty good bass player. Every time I've seen him play, he's always been on point, everything I've seen. [02:25:41] Speaker C: So I do like that. [02:25:43] Speaker B: You guys are starting to turn me around. I thought I had an opinion on this, but I might be wrong. Dope all right, here we go. [02:25:55] Speaker A: Drop it down with a heavy mind to a mountain drop it down with a heavy mind pick up the pieces mega mall might even ride a little time cause I'm a voodoo cow there. [02:28:57] Speaker B: Maybe I'm trying to I do hear all the live stuff, so maybe I am thinking more of the live version. I am thinking of this version. Although I like that little interlude part. I like that he changed. He changes up the first part, too. I think there's a part that he changes at the beginning of the song that Hendrix doesn't do. But yeah, I could see why the Hendrix version is a little more it is a little more explosive. It's just not as long, though. It's a lot shorter. [02:29:28] Speaker E: Right? It is, yeah. And it is just what was said. It's an explosion, man. The rawness. [02:29:36] Speaker C: I mean, I think when it hits the double time, it starts amping up that intensity when he does that. I really like that part. And I mean, I like with the drums with the ghost notes and everything, but I don't feel like that's what needs to be played in this point. But then he goes into that Dorsey kind of thing and then it fits perfectly. Right. So a little more, um and the bass. [02:30:07] Speaker B: Is the is the drum pattern the same as what Mitch Mitchell does? [02:30:15] Speaker C: I don't think so. I think he's actually playing it a little bit more complex, but just not as intense because he's doing almost like a jazzy kind of thing. He's almost doing more of like a John Densmore playing Voodoo Child. Okay, so it's cool what he's playing, but I just feel like it's kind of like a song, at least in the heavier parts to go heavier. Just like when he did the double time, I mean, that sounded really, you know, keep the jazz for that little Dorsey thing. That sound, which I don't remember if it's in the original because it does seem like he's going off on. [02:30:52] Speaker B: I think this arrangement is the same stuff he does live, though, right, Chaz? I think the arrangement is the same. [02:30:57] Speaker E: Pretty much the same, yeah. It's just as someone as was said before, it's too clean for me. Right. It's got to be more raw versus that live version. And you're right. Like, when I think back on versions, it's very easy in your mind to cross over because there are distinct differences in the versions and there are distinct ones here that you've called out distinctiveness. But for me, the signature is that live version. [02:31:23] Speaker B: Yeah. Well, yeah. Anytime I've seen it live, the energy is just a lot higher than it is on here. [02:31:28] Speaker E: Oh, hell yeah. They played a little faster. I think BPMs are a little ramped up and he's just going man. [02:31:36] Speaker B: Yeah. [02:31:36] Speaker E: This is when you can see he's possessed. He's not just channeling something. He's totally possessed when he's playing this song. Yeah. [02:31:44] Speaker B: And you can hear it in parts of it here. I think they were trying to capture that thing, but I don't think it was captured. [02:31:51] Speaker E: Right. What if they had a Ted Templeman in the studio? Holy shit. Imagine that. That would have been great. Yeah, they would have nailed it. They would have gotten that. They would have captured it. [02:32:02] Speaker A: Yeah. [02:32:02] Speaker E: Because who knows how many times with the right production, it might have eclipsed Jimmy. [02:32:07] Speaker B: Who knows how many times they've done this when they got to this point where they recorded this. This could have been the 50th take for the 20th take. [02:32:13] Speaker E: Who knows? Yeah, that's true. I don't know the history of it. [02:32:16] Speaker B: Yeah, it could kind of sucked all the life out. I mean, it's just not obviously not bad. [02:32:21] Speaker C: It's a great if you said this is oh, hey, guys, listen, we did a cover of this song, listen to it. I said, oh, I wouldn't say it sucks. I wouldn't be embarrassed putting out a cover of this song like this. [02:32:36] Speaker E: Oh, no. And that's it. This does feel like such an outstanding cover version. This isn't like not like he owns it when he plays it live, it feels like a cover version. Really great. Very competent cover version. That no, it wouldn't kick you out of bed for eating salt beans. Yeah, exactly. Competent. [02:32:53] Speaker C: That's a perfect way of saying it's. Very competent. [02:32:55] Speaker E: Totally. But it's beyond yeah, I agree. [02:32:59] Speaker B: Okay, here we go. [02:33:08] Speaker A: I didn't mean to take up all your sweet time give it right back to you the rest of my day rain as well feeling like don't be late, don't be late cause I'm a voodoo guy it. [02:35:07] Speaker B: Was some cool drum stuff right there. [02:35:09] Speaker E: Yeah. [02:35:10] Speaker C: I mean, again, the drumming is really good. I really like what he's playing, but for Voodoo Child, it's like he's playing some really cool stuff. I mean, Ghost Noting, I've always done I've done a big fan. I love the way he's doing it's. Really cool. He's flowing even there, like what he was doing there. [02:35:32] Speaker E: Yeah, right at the. [02:35:37] Speaker B: That'S how and that's how you play with wawa. Not the Kirkheimet Wawa. [02:35:43] Speaker C: The funny thing is, too, is that's. [02:35:44] Speaker E: How you bring in accents, too. The way brings in that Texas blues accent there to kind of accentuate and make what Jimmy did just a little different. Right. Really? Just give it that down home blues feel. Oh, God. [02:35:59] Speaker B: And it's funny. Like we're saying, well, this version is not as good as the live version. [02:36:02] Speaker E: And this version, oh, it's phenomenal. [02:36:05] Speaker B: Yeah, it's phenomenal. Hell yes, it's phenomenal. But it's not as good as his live version. But this is still a great it. [02:36:12] Speaker E: Rips your head clean off, right? [02:36:14] Speaker B: Pretty much. [02:36:15] Speaker E: I was listening to that. [02:36:16] Speaker B: You're like holy crap. [02:36:16] Speaker E: Absolutely right. Yeah. How could I said such a thing a moment ago? What am I, an idiot? What the fuck is wrong with me? [02:36:24] Speaker B: No, you're 100% right. [02:36:25] Speaker E: The other version is so much even more powerful than this. [02:36:28] Speaker B: Yes, I know. Once you got into that part right there, you're like, holy fuck. Exactly. If you were to put something out and your guitar sounded like that, you would be 100% happy with the way that sounded. [02:36:42] Speaker E: Hell yes. Boy, how many people I think he's. [02:36:44] Speaker C: Channeling some of the Heaviness in the guitar from the original. [02:36:48] Speaker B: Yes. [02:36:49] Speaker C: Right. It's not being matched by the drums, I feel. And the other funny thing is when he's playing with the hihat during the verse, you can barely hear it, but then once he switches to the ride, especially when he hits the bell, it's so loud and that's how it should be, you know what I mean? [02:37:05] Speaker E: That's what I'm production. [02:37:10] Speaker B: Different drummer, though. Mitch Mitchell is a different drummer. [02:37:16] Speaker C: You know what, I don't remember everything that Mitch Mitchell played in this, but honestly speaking, he may be playing this more complex than even the original. [02:37:24] Speaker B: Oh, probably. He's a good drummer. [02:37:27] Speaker C: Yeah, no, he's very good because he's. [02:37:29] Speaker E: Got that Texas Blue Shuffle in there too integrative, which I do not think you have in Jimmy's version. That's where these guys that's why I said those little accent notes that Stevie throws in at the end to make it distinctly Texas blues. There is that element that Jimmy just did not have that really makes what Stevie did with it, I think, something different and unique. [02:37:50] Speaker B: Yeah. And since his version is so much longer, he gets to stretch a little more with Hendrix. Really? This song was over two minutes ago for Hendrix. [02:37:58] Speaker E: Yeah. Well, again, right, at this point, this is the COVID version and it's allowing him to showcase. When Jimmy was doing it, jimmy was creating it, you know. Yeah. [02:39:59] Speaker B: There was a little Mitch Mitchell at the end over there. [02:40:03] Speaker C: Give a little bit. [02:40:08] Speaker B: I'm going to play this really quick. I'm not going to play the whole thing because it's eleven minutes, but I'm going to play peace. So you think that's different, Samino, than he was playing it on the recorded version? Yeah. You like that better? [02:41:27] Speaker C: It sounds like Hendrix playing it. It reminds me of like the original trio kind of playing with the bass and the drums and the intensity. I think there's a massive difference. It's still very tight, but it's kind of got that garage band feel, which you know what I mean? Like that, but tight. [02:41:52] Speaker B: Difference. Why don't you go first? I'm not even going to read lyrics because we went over these lyrics in the original. [02:41:58] Speaker C: I don't know what I gave these lyrics to last. [02:42:01] Speaker B: I don't remember. [02:42:02] Speaker C: I'll say seven on the lyrics. I mean, he's pretty good at printing, doing imagery and stuff like that. I'll say again, an eight on the music. It was really good. So production, I was going to say six just because it kind of pissed me off so much, but it wasn't terrible. [02:42:32] Speaker B: What is that noise? [02:42:33] Speaker E: That noise. What is somebody he's watching that goddamn Van Halen video. Did you hear that? There was like a. [02:42:48] Speaker A: Look. [02:42:49] Speaker B: The noises go at the same time. [02:42:55] Speaker C: It is that it? [02:42:58] Speaker E: It's gone. It's gone. Whatever it was, that's fine. [02:43:05] Speaker B: Okay, sorry to interrupt. Continue. [02:43:10] Speaker C: Yeah, I'll say seven on the production. I mean, I could probably give it a six, but again, just miss some of the intensity. That's all I gotcha. [02:43:21] Speaker B: Frank, come on, you're around Frank. He's there. I see him. All right, Chaz, you go, then. [02:43:33] Speaker C: He just downloaded the Skin and Max app. [02:43:36] Speaker E: That's it. That's what it is. I'm going to say. Yeah. So if we're not voting on the lyrics, because you've already done that, then the music, for me, it's ten and ten. Yeah, it's not for me. Like I said, a lot of opinions thrown around, but at the end of the day, it's seminal work, not faulted. [02:44:01] Speaker B: No, I'm going to say eight. Everyone's kind of, like, changed my mind a little bit. I always thought I liked this version better than the live version, which is not really the case, so I will admit when I am incorrect, but I'm still going to give it a nine for music and I'm going to give it probably maybe an eight on production. I think the production could have been a little bit better. And guitar playing, as far as not, I mean, I could have given it. [02:44:29] Speaker E: Easily given yeah, production could have been better. You're absolutely right. [02:44:33] Speaker A: Yeah. [02:44:33] Speaker B: It could have been a little bit better. But again, no. [02:44:39] Speaker E: Well, they produced it, right, guys, if Templeman has been behind the board, right? It depends who's behind the glass, who's behind that board at the end of the day, especially something like that, right. Where you would hope that they would be micing that and that was all being captured live and raw, and you would expect that that band would be together. At least that's what I would have done if I was like the guy trying to capture that, because that's a live thing. And that just felt like we were saying a little too clean. [02:45:10] Speaker B: Yeah. [02:45:11] Speaker C: And I mean, honestly, compared the hihat in the first song, right? It was very clear, very loud in scuttlebutting. [02:45:19] Speaker E: Oh, yeah, you noticed that too. [02:45:21] Speaker C: Right. And compared that to the Hihat in this and you can barely hear it. So, again, it could be who produced this, who produced that? Or who knows? I mean, again, we always talk about, is it the band's fault or the producer's fault, in case like this, and you say to yourself, did Stevie Ray have if he wasn't behind the box, did he have enough say to say, hey, make it sound like this because it's a second album. Who knows at that point, who's specifically calling the shots at that? [02:45:56] Speaker B: It makes it makes a lot of sense. But this turned out to be good for a side. I haven't listened to this record in a while, obviously. I like the record that's really good. I haven't listened to it in a long time. Yeah. Again, it's all about him. It's all about him. [02:46:13] Speaker E: All killer. No. Filler this album. Yeah, seriously, guys, there's not one bad freaking song on this album. I mean, look at side two to come. [02:46:22] Speaker B: Yeah. [02:46:23] Speaker E: I won't even throw those out. [02:46:25] Speaker B: Yeah. Pretty much everything on side two is really good. Too. [02:46:27] Speaker E: Everything on side, too. Yes. [02:46:30] Speaker C: Listen, the fact that I can appreciate the stereotypical Blue song just because of the way he's playing through it, I. [02:46:38] Speaker B: Didn'T know what you were going to feel about this, because when it came up, I'm like, Savinah's not going to like this at. [02:46:45] Speaker C: I mean, I literally closed my eyes and just as he was soloing and again, when he went on and he did the free extra bars, I'm like, okay, I was just keep playing, man. Don't go back to the verse. [02:46:56] Speaker B: Yeah. Most of the time you're like, all right, can you stop playing already? But him, you're just like, no. Can you please play more? [02:47:01] Speaker D: Please? [02:47:02] Speaker E: Yes. [02:47:02] Speaker C: There's so much feel that's to me, the most important thing. There's so much feel behind the playing that's it. [02:47:10] Speaker E: He runs you up and down. That fretboard man. Yeah, he really does. He owned it. Just owned it in a way that so few people are capable of doing. [02:47:18] Speaker B: Yeah. That's why he's in my top bunch of guitar players. He makes me feel the same way when Hendrix plays. It's just the same kind of thing that just comes out of him. And they're not the same guitar player by any stretch of the imagination. But it's just the feeling that you get when you hear them play. It's amazing. And then when you try to play the songs and try to play it with that kind of intensity and that kind of feel, it's almost an impossibility. So it's in his hands. And you're never going to recreate that. No matter if you buy the guitar, if you buy all the amps, if you buy the pedals, it doesn't matter. You can do a facsimile. It just won't be the same. So, Chaz, why don't you let people know again where we can find you? [02:48:10] Speaker E: Oh, gosh. I can be found all over the place, it seems. But these days I'm spending most of my time at Rush Rash podcast on, I guess, the platform formerly known as Twitter. You can interact with us there, but on Spotify, on Apple podcasts, you can find Rush Rash with Chaz and Schats. That is the formal name of the podcast. We've got another one that's actually I am actually sitting here in the final stages of production on the first episode of Regarding Rogers. So my partner, Greg Wolfie. Wolf, this is the second season of our Regarding series. It's kind of this mini podcast concept like we were describing earlier with Lulu. Right. We listened to the entire album, Lulu, track by track. And that was one episode, one track and then one episode to recap that whole thing, that horrible, miserable, wonderful experience, and let it live on in perpetuity. Well, Roger Waters has re recorded Dark Side of the Moon and just released it last Friday. [02:49:19] Speaker C: I'm afraid to listen to that. [02:49:21] Speaker E: Well, that's why we thought, wow, that's perfect fodder for season two of Regarding series. And that became regarding Roger. And so, you know, we got that going. And like I said, I'm sitting here wrapping on this so it'll drop, um, so I can be found there again. And it'll be with we're launching on Spotify and on Apple podcasts with that. And we are on social media at Regarding Roger again on that platform we can't seem to get off of, but we are also on Facebook regarding Roger podcast, rush, Rash podcast and all the other stupid ones. You have to have to get on what threads and Instagram and all these other damn things. So, yeah, so we're getting into all that crap and having a lot of fun, learning a lot along the way and getting to meet great guys like you. So thank you so much for having me on. And this was a lot of fun, man. It's been so long since I've sat down and listened to something other, you know, bizarre music. So, yeah, this has been a great break for me. Stevie is the best man in terms of just this genre, right. Texas Blues for me, it was like all summed up in Stevie Raybon. So, yeah, that was a great you. [02:50:41] Speaker B: Know, it's a little different, we find the same way is that usually your attention span these days is not like that. So you don't sit down and listen to a record through. You pick pieces or you grab a song here and there. So it's kind of weird sometimes to sit down and go, well, we're listening to this record in its entirety. [02:50:56] Speaker E: Yeah. [02:51:00] Speaker B: But it changes your opinion. It changes your opinion because now you see, because now you remember, oh, this is what it was like when we listened to records straight through. We didn't skip things. [02:51:09] Speaker E: That's a great point. And it was an experience. We've talked about this a lot, how you would sit down with the album cover, especially with Rush, because Rush was an experience. The album, you had to read the narrative to go along with it. Then you got, oh, there's a much bigger story going on here right now. Those were the earlier albums, and certainly they carried it on through at the end of their career. But I wasn't so much into it by that point, certainly when I was much younger. So 20, 112 hemispheres, like that whole experience, right? But even with an album like Lulu, right? So this is where we're finding this little podcast miniseries. Just go through the album together and leave it out there for people is a good format, because it's one of those things where these works that we're looking at are challenging for the listener. The artist is actually demanding something of you. Right. And I think that's one of the things that we found with Lulu, that if Metallica and Lou Reed had been honest about what was required to appreciate what they were trying to do, they would have said, that up front, and it wouldn't have been when I bought it. Like, the fucking disappointment and just like the utter violence of throwing that goddamn CD in the garbage when I bought it. I'll never forget it. I was like, holy shit, I waited for this smash. No way. It was like one and done. But here we are, twelve years later, we've gone through it. And the only reason we went back to it with Regarding Lulu was because we had heard that when Lou Reed died, david Bowie said to Lou's widow that Lulu would go down as Lou Reed's masterpiece. And it was like, what? So a guy like Bowie saying that? And I got wind of that, and I was just like, wow, that sounds like fodder for a podcast. Let's go back on the Deep Dive Network and do that. That sounds to me like academic Deep Dive 101 right there. Let's go do it. So that was our approach, and we took it and we did it. And I still have to take showers, and I still sometimes cry when I reflect on how I felt after the filth at some of those episodes. It was a really challenging work. And that's really kind of the point of what we're doing, is that in my mind roger Waters, what the fuck are you doing? I mean, all due respect, I get his concept, but how can you possibly improve Dark Side of the Moon? Yeah, guys, right? Preposterous thing. Now I got to put my politics aside, his politics aside, I should say, in regard to trying to regard his work these days. It's going to be particularly hot right now given everything going on in the world. And Rogers, what he's been kind of notorious for in the press for the past couple of years, we're trying to put all that aside and just focus on the work. The work is he re recorded Dark Side of the Moon. Here we are, what, 50 years later, and he's informing the original work, paying homage to it, his old bandmates, apparently, or at least Nick Mason's on board, no comment yet, added Dave Gilmore. But he's been very respectful to Dave and been very deferential. And he's been, I gotta say, after going through the first track. So he went through Speak to me. He's bringing new content, new perspective, somebody who is essentially all these years older and wiser and feels like people didn't really get it. His vision, what they were casting then, didn't really come through. And he wants to kind of come back and try and draw it out again for folks. And I quite frankly, didn't know that there was this overall overarching theme to Dark Side of the Moon, so I didn't know that there was a manifesto there that I was somehow missing out on. I think I was maybe too spaced out with my headphones and other things to accompany the sitting session of that experience of sitting and enjoying a record from beginning to end. Right. The heartbeat on through to the end of the record and the heartbeat, that concludes it. Right. So other than the weirdness that you could maybe connect that work to what? To wizard of Oz, which is an experiment I never tried, apparently you could start Dark Side of the Moon and wizard of Oz at the same time. [02:55:26] Speaker C: And there would be I find that hit or miss. [02:55:31] Speaker E: Okay. [02:55:31] Speaker C: I've seen people do it. Yeah. [02:55:34] Speaker E: But right beyond that, I really had no idea that there was some kind of manifesto that they were putting forward with Dark Side of the Moon. So apparently Roger feels that we didn't get the point, so he's come back now. He's brought a new flavor to it. It seems to me, so far, like, every song is like, at least a third, if not longer than the original. So he's definitely applying new treatments. First one we've heard Speak to Me, which is just really always, ever been an intro to me. He has enhanced. He's got now a new message, and again, he's kind of bringing something different. Everyone so far has said, so far, so good. We're ambivalent at this point, Wolfie and I are both like, okay, yeah, it's fine. He's setting us up, but we're going to go through all ten tracks and then we'll recap it at the end. So if either any all of you or one of you want to come on and enjoy us on that journey, you know what ten tracks are on this record. Let me know if there's a certain track you'd like to sit in on. And what we do is we listen to the original, we listen to the new, and we discuss. Right? So it's basically compare contrast on Dark Side of the Moon, 50 years hence. [02:56:45] Speaker C: And from there's no drum doing this one. [02:56:48] Speaker E: You know what? [02:56:49] Speaker C: I don't think there's any drums on this version. [02:56:52] Speaker E: So the only track I've heard, I want to say, like you guys, I try to keep it fresh. I want to keep the integrity of the first listen kind of thing. I did hear the track Money, because he put it out as, like, a single, and I heard maybe the first minute and a half. Can't say that I recall drums off top of my head. In fact, it's a really creepy kind of spoken word treatment of money that I recall kind of previewing. So Speak to Me, there were no drums. [02:57:23] Speaker C: It's a strange thing. Well, my son is 17. He heard about this album, and I was playing it one time, actually on vinyl here. He's like, oh, that sounds pretty good. And then he listened to it once. He goes, I don't really get it. Some songs are good. And then a few weeks ago, he comes back to me, goes, Now I get it. He goes, this album is amazing. And he. Buys a t shirt. Yeah. And he's like, do you know Roger Waters? I was like, yes, of course I know roger Waters. He goes, do you know that he re recorded? I was like, yeah, but I haven't heard. He goes, it sucks. That's what he said. To like it to it eventually. [02:58:11] Speaker E: Right. But he just got into this profound place with the original. Right. So yeah, nothing, I mean it's like that's the idea. What is he thinking? It's got to be. Come on. So this is our exploration so far. Jury is way far out on this thing. So that's what we're doing regarding Roger. And that drops tomorrow first episode. In addition to Rush Rash with Chaz and Schatz where you can find me. [02:58:39] Speaker B: Very nice. [02:58:40] Speaker E: Thanks again guys. And where you're totally invited. The door is totally open. Let's find dates and have some crossover here. [02:58:47] Speaker B: Yeah, sounds good. Savino, do your thing. [02:58:50] Speaker C: Well obviously we are both part of the Deep Dive podcast network. So as I always mention and just as Rush Rash is very specific. And now regarding Roger, regarding Lulu, where we're all over the place, if you want something to specific to listen, know a little bit more concentrated and probably more educated than we are, check them out. Great bunch of guys. I mean they took us in, right? So and Mark, like Chaz said, where are we? Everywhere. [02:59:22] Speaker B: Oh, we're everywhere. Rockwillet Pod, pretty much every place. Rockwelletpodcast.com, please share our episodes out. Leave us reviews on whatever podcast platform that you use because that helps us move up into algorithms. So we're trying to move up but we know that we get records sometimes that people are not going to like or never heard of or we get records that we wouldn't think that everyone would be interested in. That's always the opposite kind of thing that happens to us. [02:59:55] Speaker C: Europe is still one of our top, isn't it? [02:59:57] Speaker E: Yeah. [02:59:58] Speaker B: It's kind of weird. [03:00:00] Speaker E: Those episodes I would encourage people to listen to because those are the ones that are going to be fun. Going to be a new exciting thing to hear about. [03:00:08] Speaker B: Oh yeah. Like this episode we're doing right now. I mean everyone knows where I stand on this. So it's not going to be a but you're not going to wear Frank stands or where Savino stands. I seriously thought Savino was going to be like, I don't want to listen to a fucking eight tracks of blues. It's going to drive me crazy. [03:00:27] Speaker C: Well listen, I mean I knew his style. I mean obviously the stuff that I've heard is in between, you know what I mean? Those two kind of variations, the Scuttle wedding and the but if it's done, my thing is this. If the song is good, it's good. Whatever style it is. If it's a good song, it's a good song. And I mean clearly he writes, he's a good guitar player, he gets you into it. And especially from being a musician and being around music, and that's how you really learn to appreciate. Yeah. Listen, I'm digging it. [03:01:06] Speaker B: I'm glad everyone's not freaking out. I put it on there, and I put it on there, and I was like, people are not going to like this if it comes up. It'll probably never come up, so it won't matter. There's like 1050 albums on our wheel. Yeah. So the odds of this album coming up are probably very slim, but here we are. But we all picked the it said, oh, you want the 80s? Here's some 80s for you. But not the 80s you thought it was going to be. [03:01:33] Speaker E: No, that's it, man. I love it. [03:01:36] Speaker C: I mean, production wise, it does not sound like a 1984 album, that's for sure. [03:01:41] Speaker B: No, it sounds good. [03:01:42] Speaker C: Yeah. I know we always talk about the current state of production and rock, but just the actual I think if you compare some of the other stuff in 84 to this, production wise, it's not going to be as good. [03:01:59] Speaker B: No. [03:02:00] Speaker C: Well, I would agree, but other than that, it's pretty damn good, the production. [03:02:07] Speaker B: Well, we got four more tracks next week, and the next side is pretty good. It's good, too, so it's not going to be on the downturn at all. [03:02:18] Speaker C: Good. [03:02:19] Speaker B: All right, guys. We will see you next week. [03:02:22] Speaker E: Yeah. [03:02:22] Speaker C: Ciao. Ciao. [03:02:23] Speaker E: Very good. Thank you very much. Later.