Episode 60 - Stevie Ray Vaughan & Double Trouble - Couldn't Stand the Weather (Part 2)

[00:01:13] Speaker A: It. [00:01:14] Speaker B: Hey, everybody, welcome back to another episode of Rock Roulette podcast. That's right. The crazy ass podcast that took over 1000 albums, put them in a list. And typically, every other week, we spin the wheel and she picks an album for us. And we go through it side by side, song by song. And we talk about the music, the lyrics and the production. And we give each of those a score. Again, we're not for professionals. We're just a bunch of guys who love music and wanted to do a podcast. And this is it. And again, we want to thank everybody who listens. We seem to have some pretty consistent numbers and they seem to be growing. So again, if you're out there listening, thanks. And also reach out to us, man. Tell us what you like, what you don't like. Anything we can change, anything we can keep doing. So tonight, let's start with the regulars. First. We have Mark. Oh, hi, Mark. [00:02:06] Speaker C: What's up, guys? [00:02:08] Speaker B: We have Frank. [00:02:10] Speaker A: My name is Frank. [00:02:25] Speaker D: Sorry, everybody. I was still on mute after Mark yelled at me for washing my hands on a hot mic. So hello, everybody. [00:02:33] Speaker B: I'm Sam Ciao Bunasera. And back from the Rush Rash podcast, we have Chaz. [00:02:50] Speaker E: What's happening, guys? Great to be here. [00:02:53] Speaker B: We have shots. [00:02:57] Speaker F: How are you? [00:02:59] Speaker B: Mark worked diligently to find those. So we have an intro for you guys. [00:03:04] Speaker C: If you would know how hard it was to find a chaz one, the schatz one was pretty almost impossible. [00:03:10] Speaker B: By the way, I was wondering what you were going to find. [00:03:14] Speaker F: Yeah, I'm impressed. [00:03:16] Speaker C: It took a while. [00:03:17] Speaker E: You blew me away. I cannot believe you found that. [00:03:20] Speaker C: There's a lot of German Shats songs that I found. [00:03:26] Speaker E: Okay. [00:03:28] Speaker C: So I had to try to find something that worked. Yeah, I think I have a feeling. [00:03:32] Speaker E: We'Re going to hear this again. [00:03:34] Speaker C: There's a lot of things called schatzmin or mine schatz. That seems to be a very popular schatz. [00:03:40] Speaker F: Well, in German, schatz means darling or beautiful. [00:03:46] Speaker C: Oh, there you go. [00:03:47] Speaker F: So mine Shats is my darling. [00:03:49] Speaker C: Well, there you go. Nice. [00:03:52] Speaker B: I think that's the most love we've ever had on this show. [00:03:58] Speaker E: Now that we know the meaning of the word, we won't hear it again. [00:04:03] Speaker B: We did the first half of Stevie Ray Vaughn's. Oh, my God. [00:04:09] Speaker C: Couldn't stand the weather. [00:04:10] Speaker B: What is it? [00:04:12] Speaker C: Couldn't stand the weather. [00:04:14] Speaker B: Couldn't stand the weather. I knew it was weather. I had it and then I just lost it. So, I mean, it was only the four of us, and Shouts gets to fill us in on his opinions on the second part, so we're looking forward to that. But I would say overall, four for four, we had a little kind of whatever on the COVID for the Jimi Hendrix. But it wasn't that it was bad. My opinion was I just wanted a little bit more aggressive. And then Mark played the live one and that's kind of like what I was looking for. But I mean, overall, I would say four for four. What do you guys. [00:04:55] Speaker C: I can't get enough of Stevie Ray Vaughan, so I'm good. So, Shats, what do you think about the first side of that? I'm sure you've heard this record. [00:05:03] Speaker F: Know I'm not a huge Stevie Ray Vaughan fan, so I only know what I hear on the radio. But he's a fantastic guitarist. I mean, he was rest in peace. He was phenomenal. [00:05:16] Speaker C: Yeah, he's one of those guys. [00:05:19] Speaker B: I'm discovering this now, so at least the depth of it. And I knew some of this stuff, obviously, but I'm hearing some of this stuff for the first time. [00:05:28] Speaker C: So yeah, for me, he's top five guitar player for sure. I'm sure. From what I read back in the day, I think they kind of pushed him into being like a Jimi Hendrix clone, which is really unfair because he's really not. [00:05:49] Speaker F: No. [00:05:51] Speaker E: He might have taken from Jimmy's Spell book, but he cast his own magic. But the Texas blues in there, he just kind of created his own easy. [00:06:02] Speaker C: He'S easy to say. Go ahead. I'm sorry. [00:06:05] Speaker F: He's definitely a Southern blues guitarist. And Hendrix came out of the blues also, and most rock guitarists did. So I'm sure he stands on the shoulders of Hendrix, but he's his own man. [00:06:22] Speaker B: For mean, I would have liked him more as a Hendrix poem for whatever reason, but obviously other than the COVID I'm not feeling you know, we also did two Hendrix albums. So in having gone through those things and listening a little bit more closely to what he did, I definitely see the differences. So if anyone doesn't have anything else to add, we want to start side two more. [00:06:56] Speaker C: Yeah, I'm going to start it. Hey, Frank, before we go, frank, what did you think of the first side? [00:07:01] Speaker D: I like it. [00:07:01] Speaker E: I like it. [00:07:02] Speaker D: A know, kind of like was I just know whatever I heard on the radio. But listening to the first side, it was really good. I enjoyed it. I kind of like Chaz's analogy there that he may have read from the Hendrix spell book, but he definitely made his own what was it you said, Chaz? [00:07:20] Speaker E: It was his own magic. His own magic. [00:07:23] Speaker C: His own magic. [00:07:24] Speaker D: He casted his own magic. I love that. So definitely. [00:07:32] Speaker C: It'S very funny. All right, so Steve is going to be very upset because this is his favorite Steve Ray Vaughn song, which is Cold Shot, which is a cover. But the arrangement's a little bit different from what I gather. So this is one of my favorites, too. [00:07:46] Speaker E: Oh, me too. [00:07:47] Speaker C: Yeah, it's an awesome song. So here we go. Cold Shot. Dary speaker thing that's going on during that. It's awesome. [00:08:17] Speaker E: The wetness. Yeah, that's a very wet. [00:08:21] Speaker C: That it's. That Leslie rotary thing that does it. So it's really awesome. Sabina, what do you think so far. How do you like that? [00:08:30] Speaker B: I got a little Hendrix on that. The tone, I think. [00:08:34] Speaker C: Yeah, a little bit. [00:08:37] Speaker B: Not necessarily what he's playing, but kind of the sound, the tone of it, I guess the wetness that you guys just mentioned a little. But it's clearly him. [00:08:47] Speaker C: And what are the drummers wetness? [00:08:49] Speaker E: And it's like, for me, the whole thing kind of sets up the whole kind of cold shoulder vibe of the song. Like, he's standing out in the cold, man. He's been brushed off. He's out in the rain. I think that song just it's like everything is underwater for this guy. Especially, like, when you get into it and you kind of get into the song. Yeah. I love this one. This is great. They nailed it. [00:09:13] Speaker C: What did the drummers think about so far? [00:09:17] Speaker F: I think it's an awesome song. I know it. And the beginning guitar riff is very well known. And I don't know. I don't think of Hendrix at all. I mean, that's all Stevie Wright. [00:09:36] Speaker C: I agree. All right, here we go. [00:09:40] Speaker A: Once was a sweet hell not a love and now I reach don't mean a thing and that's a ghost. I feel. [00:10:21] Speaker C: I forget how good his vocals are. [00:10:24] Speaker F: I was just thinking the same thing. What a great singer. [00:10:29] Speaker E: Right? [00:10:29] Speaker C: Yeah. He probably didn't like his vocals, though, I'm sure. [00:10:36] Speaker E: As long as one thing we heard for him. Yeah. And he just plays that guy, that Lonesome Dog, so well. And that guy that's been kicked to the curb, man. You just see him with his hat down, right. The rain coming off it. He's been given a cold shot. [00:10:54] Speaker C: Yeah. [00:10:54] Speaker E: You can feel it. Yeah. He's very emotive. [00:10:57] Speaker C: So he didn't write the lyrics. Obviously it's a cover. [00:10:59] Speaker E: But no, the way he delivers this. [00:11:02] Speaker C: A little bit of lyrics. Yeah. No, it works for him. [00:11:06] Speaker E: Great. [00:11:08] Speaker C: So it's once was a sweet thing, baby held that love in your hands but now I reach to kiss your lips it just don't mean a thing and that's a cold shot, baby yeah, that's a drag. A cold shot, baby I've let a love go bad typical blues. He's in the gutter. The woman did him wrong if he didn't write it. It perfectly. [00:11:34] Speaker F: Fits his whole thing that is singing the blues. And it's got such a great groove. This song so cool. [00:11:48] Speaker C: I think that's the drums. I liken him. He's just very steady. He's not very flashy. He's not like a Mitch Mitchell flashy all over the place drummer. He's just very super steady. [00:12:02] Speaker E: Yeah. Chris, like, in the pocket. He's one of those guys like Liberty DeVito. Right. [00:12:07] Speaker C: Shats. [00:12:07] Speaker E: I mean, he's just there. He knows and knows what to play just so definitive. [00:12:12] Speaker F: There's so much going on in that simplicity, if you listen to it. All these little ghost notes on the snare drum and it's just in the. [00:12:23] Speaker A: Yeah. [00:12:24] Speaker C: Yeah. [00:12:24] Speaker B: He uses a lot of ghost notes, which I like because I tend to use that in my stuff. So I really appreciate ghost notes. [00:12:35] Speaker C: Frank. [00:12:37] Speaker D: I really do. I love it as well. It just like Chad said, you just visualize it, right? Someone down out there in the cold, in the rain, down on their luck kind of thing. I really like it. So awesome. [00:12:52] Speaker C: All right, here we go. Let's continue. [00:12:56] Speaker A: Remember the way that you love me do anything I say now I see where wonder me the time of day and that's a ghost. I don't yeah, that's a day. That's a ghost. [00:14:35] Speaker C: Chaz, tell me what you think about that. [00:14:38] Speaker E: Well, I'll go back to right there before the entry into the chorus. That really simple. Tom hit boosh. It's just like that one note, the boom. It's right there, right where it needs to be, and it transitions right in. It's just like Shats was saying, so simple. There's such an economy there. And so I was more keyed in because I know the guitar part to this song. And I think this wet tone, the Leslie sound is like a popular load. I know in the headrush we've got this model. I think a couple of amps I've got have got the same kind of tone, kind of modeled in for the wet tones. But listening to those drums, man. Yeah, just that nice shuffle that's just so constant and such an economy there, man. I'd love to play with a drummer like that. It was just so, like you said, in the pocket and just owning it, driving that song. [00:15:33] Speaker C: I really like that guitar solo. I think his note choices are just like spot on. His phrasing is spot on. He's one of those guys that you don't mind that he goes off a little bit too long. Just when you think it's going to stop, he comes back in and does more stuff. And that's okay because not every guitar player you want to listen to play that much. [00:15:53] Speaker E: And you know what? And that's one of the things, actually, people I remember people saying that Stevie was kind of know he overplayed shit. And I just never agreed with Mean. Yeah, he could play the shit out of things and he could play for a long time, but I never call that know, like a guy like, ain'tve he overplays shit? Stevie Ray did not no, I don't think so. [00:16:15] Speaker F: Yeah, there's guys that just throw a million notes at a solo and okay, that's fine. But Stevie, his choice of notes and chords in the solo is so tasteful. It's not. It's just tasty and beautiful and the recording is so clean. The drums sound awesome. And it's just three guys. There's no overdubs, there's not a lot of stuff going on. It's just bass, drums and guitar and then vocals. And it just sounds so clean and nice. [00:16:52] Speaker E: Yeah, and I think that the criticism that I was referring to was really I guess there were those years where he wasn't quite so sober and he was playing live. That's where he kind of get dinged with that where they're like, yeah, he might have gone on a little too long and thrown a little too much at that, but no, I've never noticed that on the recorded works. It was always about the live performances. But I was fortunate. I saw him and he was sober at that time and just virtuoso. Incredible. [00:17:18] Speaker C: Yeah, I don't have that feeling with him. I think he can play fast and he throws it. As every good guitar player that I particularly like, they know when to use that and when not to use that. So he can go fast like anybody's business. And like you said, live there's a little bit more of that. But I never sat there and went, oh, he's playing too long. I think he should stop playing. That would be like saying he would. [00:17:44] Speaker E: Never do right now. [00:17:47] Speaker C: Sav, what are you. [00:17:51] Speaker B: Of like? It reminds me kind of like a background song, you know what I mean? Kind of like a song you settle into where it doesn't knock you over, but you kind of leave it and kind of close your eyes and BOP your head like it's one of those things. Kind of just feel it. [00:18:11] Speaker C: Let me do a little bit of lyrics before we get into the next the last verse. So this is the second verse. Remember the way that you love me do anything that I say now I see you out somewhere and you won't give me the time of day and that's a cold shot, darlin. Yeah, that's a drag. That's a cold shot, baby. We'd better learn from that. I didn't even know he said we better learn from that. I don't remember he even said that. That shows you how much I listen to lyrics when I listen to him. [00:18:41] Speaker F: Well, his lyrics are kind of slurred, so it's tough to really hear what he's saying. It's just all a little bit garbled. [00:18:50] Speaker C: I kind of like tune. [00:18:51] Speaker F: That's his style. [00:18:52] Speaker C: I just kind of tune that out. I listen to the music and I know, obviously there's lyrics going on. I can hear lyrics, but I don't listen to him for lyrics. Even though some of his lyrics are really good, I don't really listen to him for lyrics. [00:19:06] Speaker F: No, it's the music. [00:19:08] Speaker C: Yeah, I agree. [00:19:10] Speaker F: And the vocal melody is great, but what he's saying, really, it's kind of backseat. [00:19:15] Speaker E: There were some songs he wrote later in his career that were very autobiographical, very personal, and I did pay a lot of attention then. But this stuff, the early stuff where he's know when he's just being Stevie Ray on the guitar. No, I could care less what he's singing. [00:19:33] Speaker C: Yeah, you just want to hear guitar. [00:19:35] Speaker E: You know, unless he's playing Voodoo Child or I mean, he's playing someone else's song and making something new of it. Yeah. Then, sure, that context, which is basically. [00:19:45] Speaker C: Other than that, this is a cover anyway, but I don't know the original. [00:19:49] Speaker E: I don't know the original. Right. It's not that recognizable to me. So to me, this was him all along. [00:19:55] Speaker C: Here we go. [00:19:56] Speaker A: I really meant I was sorry. Forever cold and you pain you showed your appreciation by walking out anyway and that's a cool shot. The day magical shut we let our love go back sam it don't let. [00:21:07] Speaker C: I shoot up co so what was that in that last little in that last little groove? Was that the ghost notes on the Snare that I was hearing doing that? I wasn't sure what I was hearing there. It sounded different than the other verses. [00:21:27] Speaker F: The very end. [00:21:29] Speaker C: No, that part in the last verse, it sounded like the snare he was hitting I don't know if he was hitting it twice or I didn't know what that was. I'm going to have to back up now. See, I'm backing up. Let's see. Let's see if I can get to where it is. Right there. [00:21:48] Speaker F: That little oh, yeah, those are ghost notes. It's two hits on the snare. It's a soft hit. And then the backbeat. [00:21:56] Speaker B: Yeah. It just kind of rides it along with the cut through. [00:21:59] Speaker C: You know what? It sounded a little more prominent in the last verse. I didn't notice it as much in the first couple of verses. Maybe I wasn't paying attention, I guess. [00:22:08] Speaker E: Yeah. [00:22:08] Speaker B: I mean, he's in it throughout the whole song. [00:22:12] Speaker C: Was it that prominent all through the song? I just wasn't listening to I think so. [00:22:15] Speaker B: I mean, I was I was picking up on it. You mentioned, too, last episode, too, though. We're talking about the ghost notes he did on some of the stuff, which was pretty cool. [00:22:25] Speaker C: I like his sound. Whatever they're doing, recording him is really good. [00:22:29] Speaker F: Oh, the drums sound awesome. They're so big and full. And those toms are like. [00:22:36] Speaker E: Yeah, really, really deep. Yeah, really crisp. [00:22:40] Speaker C: All right, Sav, why don't you go first? Oh, well, you know what? Let me finish lyrics up and then we'll go. Okay. I really meant I was sorry. Forever causing you pain you showed your appreciation by walking out anyway thank. Chorus. I'm not going to read chorus is basically the chorus out, but I don't know how are you going to do the lyrics if it's not really his lyrics? So what are you going to give as far as we have to rate them? But what do you think, Seth? [00:23:06] Speaker B: So the lyrics are they're not like, these big, deep lyrics, but I like the way they flow. So based on the flow and the sentiment, I'm going to say seven music. All right. So I think I'm going to go triple seven on this one just because it's a little bit more simplistic than the other stuff. But I do find it like a cool song, just maybe not as grand as some of the other stuff that happened on the first side. So I'm going to go triple seven. Frank oh, no. Sound mark or should I say the next person? [00:23:47] Speaker C: Oh, triple seven. Oh, you know what? Thank you. Hold on, hold on. Were you waiting for me? Okay, so I'm sorry. Here we go. [00:23:54] Speaker E: Nicky Titty, baby. [00:23:56] Speaker A: Seven, seven, seven. [00:23:59] Speaker C: There you go. It's a seven. Seven, seven. Sound. [00:24:03] Speaker B: Let's have the new guy go. Shats, why don't you go next? [00:24:06] Speaker C: Oh, let shats go. [00:24:07] Speaker F: So it's lyrics, music. And what's the third production? Production, well, production for me is a ten because it's just so clean and in your face. All of the instruments, the vocal delivery is great. He is such a great singer, so I have to give that a ten. The lyrics themselves are just a great blues story, so I will give that a seven. And the music is this is one of his, even though it's not his, it's a cover, it's one of his most popular songs. I hear it all the time on the radio. So I'll give that a ten also. [00:24:56] Speaker C: Nice, chaz. [00:25:00] Speaker E: Nice. Yeah. Well, the lyrics, seven, they're not his. They're not bad. I think. Good choice, right. I think for a song that fits his wheelhouse. So I think him choosing this song, he chose it wisely, so might even rate it higher than that. But seven, the music itself, god, I mean, how could it really be anything other than a ten? This is like a master class in SRV's wet tone. I mean, seriously, like I said, this is the model tone that you're going to find in all the pedals that you can go out and buy and be the next great rock star on one patch and then Texas Bluesman on the next patch and then Brian Mann the next patch, and whatever you want to be. But the music on this one, right? The riff, I mean, that's just so immediately signature, right? And those solos just friggin'masterclass as we mean, and the tastefulness of not only every note, but the technique, the way he strikes them, the feeling. Right. That kind of comes across on this. Like we said, the images that get conjured up, it was all pretty vivid. This is one beat dude, man. He's down on his luck. He's down and out. So kind of captures that great Texas blues sound. It's got his kind of stamp on it. And I think the production yeah, solid. It's tight. I think the thing for me is it was noticing all the nuance in the drums, in fact, like sitting here and kind of discovering it for the first time in that way, even though I've always appreciated them, not the way I did tonight, just kind of focusing in on it. So, yeah, for me, that would be a ten on that dimension. [00:26:43] Speaker C: Nice. Frank yeah. [00:26:46] Speaker D: As far as the production, I felt like they were right here in my living room. I mean, it was so clear, so crisp. It was just really great listening. So I'm going to give that a ten. As far as the music itself, I like a good blue song, and I think they played it really well here. As I'm continuing to learn a little bit more about Steve Ray Vaughn here. I like it. So I'm going to give that a nine. And then the lyrics. I'm a little hesitant to rate the lyrics because they're not his, but I'll give those a seven. So I'm going to get a 7810. [00:27:26] Speaker C: Very nice. I guess it's me left as far as lyrics. I'm going to stick what everyone else says. I'm going to give it a seven. Musicianship. Stevie ray Vaughn. It is one of my favorite songs by him. If I had to take it just for guitar solo, I would probably say it's not my most favorite of what he plays. So I, for me, would hesitate giving it a ten, even though I can easily do that. I'll probably do a nine because I don't want to blow myself and blow my load and find out I should. [00:27:56] Speaker E: Have myself and then blow your load. [00:27:57] Speaker F: You are quite I should have a clip. [00:27:59] Speaker C: I just walked into that. [00:28:00] Speaker E: Jeez. That's what she said. [00:28:03] Speaker C: Heinous. Anyway, see, I have sound effects, too. [00:28:10] Speaker E: Nice. [00:28:11] Speaker B: I always think that guy yours. Alive, not penis. [00:28:15] Speaker E: What do you think he said? [00:28:17] Speaker B: Heinous. [00:28:18] Speaker C: Heinous? [00:28:19] Speaker B: Yeah, it sounds like it says heinous. [00:28:24] Speaker C: Okay, wait a minute. I like that better. I like that better. [00:28:28] Speaker D: He's not saying heinous. [00:28:30] Speaker C: No. Listen, I'll play it again. Hold on. Wait. Here it goes. Heinous. There you go. Yes. [00:28:45] Speaker E: Windscreen. There. We heard the p. Yes. [00:28:48] Speaker C: So I'm going to give the musicianship a nine, and I'm going to give the production a ten. The drums to me, like Chad said, I haven't really listened to the drums that intently, and they're produced so well, and you can hear everything. So production wise on this thing, this song is really good. All right, so the next one is Tinpan Alley. Does anyone have any kind of history with this song at all? [00:29:18] Speaker E: It's the roughest place in town, man. [00:29:22] Speaker C: Yes, it is. This is another cover. [00:29:28] Speaker B: Based on the title. [00:29:29] Speaker C: Yeah. This was written by Robert L. Getdins. He was an American san Francisco Bay area blues and rhythm musician. He was born in Texas, but I guess he moved to California during World War II. So I don't know the original of this either. I only know this version. [00:29:48] Speaker E: No, I only know Stevie's and what I remember. This one is kind of like spacey. As far as Stevie Ray Vaughn goes, this is like kind of like him doing atmospheric kind yeah. Oral soundscape, kind of. [00:30:06] Speaker C: So let's let's get into this. Let's see. I don't think very many of us besides me and Chaz probably heard this thing. Here we go. Tinpan Alley. [00:30:18] Speaker A: SA dam sam. [00:31:33] Speaker C: For me, this is what he excels at, this speed of music and guitar playing in this thing, there's going to be lots of guitar playing. This is a nine minute and twelve minute song. Twelve second song. So there's going to be lots of guitar in this. That's why I was hesitant to give Cold Shot a ten because I don't know, I haven't listened to the song in a while. But now that I'm hearing it back, there's going to be guitar in here that's going to, I think, kill Cold Shot. So this is his wheelhouse for me anyway. [00:32:08] Speaker F: I mean, hearing a little BB. King in there. [00:32:14] Speaker C: Yeah, the Kings are part of his lot. Well, there's a lot of Albert King in that. So that's when everyone says, oh, it's a Hendrix copy, I would disagree. I would say it's more of an Albert King copy. There's some phrases he uses that are almost exact copies, but within the other stuff that he does, it's going to be an interesting song. So get on the ride. It's nine minutes. Here we go. [00:32:48] Speaker A: SA went down the Timber alley, see what was going on. Things were still hot down there. Couldn't stay very long in the it all the people down there's living for the whiskey. Why did you. [00:35:19] Speaker C: Now? Bass playing is really good on that, too. So she's so in the pocket. [00:35:24] Speaker E: Yeah. [00:35:25] Speaker C: It's tight. Yeah. I mean, there was literally over two minutes before the vocals even came in. You would never hear these days, ever. [00:35:34] Speaker E: No. And you have this really atmospheric playing from a guy like Stevie. So, like, to me, I know we've been throwing around a bunch know, obvious influences, but there's another one that's in here, it's pretty obvious to me, and that's David Gilmore. There's a really as much as Stevie. Yeah, stevie is definitely putting his own stamp in, like in terms of economy players. Right. So Gilmore no one more economy than him. Right. So you can see where there's this real blend where Stevie goes right to where David would go, and then he throws his own thing in, which is really, I think, kind of cool. But there's this overall kind of ambiance or the spaceiness to this song. There's a real kind of depth. And that's where I was kind of going that this is like his to me, if anything in his catalog was like anywhere near that kind of praggy, kind of deep space, kind of oral experience, it's this one just because they really captured the depth of all those tones. And then to me, this just really feels like Shine on Your Crazy Diamond a little bit. Just like with a Texas. I was just about to say that. [00:36:38] Speaker B: There'S parts where I just expect it to kind of blow up and have when David Gilmore goes really electric in it. [00:36:45] Speaker E: Yeah. [00:36:46] Speaker B: I wonder what the original one of this sounds like. [00:36:49] Speaker C: Yeah, I don't know. [00:36:52] Speaker E: We're nowhere near done yet. Yeah. Where do you hear this? This is a great one, because I. [00:36:55] Speaker B: Think the song is from 53 originally. Unless Roger Waters says, oh, Tim Pan Alley inspired. [00:37:04] Speaker C: I mean, it's possible. [00:37:05] Speaker E: I wrote it. I wrote it and I'm going to rewrite it. [00:37:09] Speaker C: It's just one of those things. He excels in this even live, like, the song is even better live. It's just like voodoo child. Live. [00:37:18] Speaker E: Like he does this so emotive. Yeah. [00:37:21] Speaker C: Well, every note, you can feel it. And to quote Chaz's favorite guitar player, John Mayer, you can only play like Steve Ray Vaughn for 30 seconds before your hand cramps. [00:37:34] Speaker B: Right. [00:37:35] Speaker E: Self destruct. [00:37:39] Speaker C: This is an example of that, where he doesn't lose a beat. He doesn't have any idea. He knows exactly what he's going to play. He's throwing these things out and to come up and be that fluid and be able to play in the beat that way and go in and out of the beat the way he does with all the spacing and all the stuff that he does, it's not an easy thing to do. Well, anyway, you can do it crappy, but it's hard to do. Well. [00:38:08] Speaker B: Personally, not having known all this, it's some of the most interesting stuff he's done, the whole album. [00:38:13] Speaker C: And really, it's a simple blues progression. It's a simple blues progression, though. [00:38:18] Speaker E: Right. [00:38:18] Speaker C: But his guitar playing because there's a little bit of the rock thing in there. So the Hendrix part that comes through, besides the blues stuff, that's what makes it so interesting. And again, you just want to hear him keep playing guitar. You don't care what the hell else is happening. [00:38:32] Speaker E: Right. It's got this really haunting kind of ambiance. They've really got the space of it. And his guitar is really like I mean, the emotion coming through every one of those notes, man. And then when he just he's really great at ramping it up, bringing it down, and just putting the feeling in there. Right. And that, to me, is tone. Right. It's the feeling. [00:38:53] Speaker C: And he seems to know how and where he's going to put things and how to bring it. Like you said, bring it up. And he knows the beginning, the middle of the end and what he's going to do. [00:39:03] Speaker E: Yes. [00:39:06] Speaker C: Any really great guitar player, that's what you expect. Those guys know they can make the solo sound a certain way and where they're going to go, and then I'm sure there's going to be if I remember correctly, there's be parts where he's going to bring it all the way back down. Again, the emotion is just like a roller coaster in this song. [00:39:23] Speaker E: Exactly. As someone said, it's very fluid. Right. I mean, that's the way he plays. It's very just emotive. It's like it just comes in waves. And that's how it comes across, too. Right. So you can kind. Of feel the emotional depth of the song, and then I think what they captured production wise just enhances all of that. [00:39:40] Speaker C: Yeah, I would be shocked if this wasn't a one take thing. It sounds one takey to me. I don't know what take it was. Yeah, it doesn't sound like I haven't heard of Punch in yet that I've noticed, so I don't really know. I don't know 100%. But to me, it sounds like it could be a one track thing. Just play it and see what happens. Maybe they did it 20 times for all I know, but it sounds like it's all one take. All right, well, I guess I'll read some lyrics because there's not going to be a lot in this anyway. So went down to Tinpan Alley, see what was going on. Things was too hot down there. Couldn't stay for very long. Hey. Hey. Alley's the roughest place I've ever been. All the people down there living for the whiskey. Wine and gin tim pen Alley is a tough place. [00:40:42] Speaker A: I heard a woman scream yet I peep the door some cat was working on any weather lord with a two by four hey, peace place as it all the people down there's living for the whiskey why did you. [00:41:57] Speaker C: Before get into the solo or whatever is left of the song? The one thing I have to say is that he's so good at coming in and out of his little pieces of the chords, playing the piece of chord, then doing his fell. It just feels so effortless. That's what amazes me a lot, because other guitar players, you hear them try to get in and out, it's not as easy. [00:42:21] Speaker E: Right. There's effort there and you can feel it. Like you said, though, with him, it's like, again, he's fluid. He just rolls into one and out of one and into the other. But I googled it while we were listening. This is one take. [00:42:34] Speaker C: That's what I figured. Sounds like one take song. [00:42:36] Speaker E: Yeah. And you ain't heard nothing. [00:42:40] Speaker C: Amazing. That it's one take. Yeah, but I don't think you could get that interaction between the instruments and stuff if there was overdubs. It's just because he's playing off the drums and the bass is playing off stuff and it does sound like they're all playing together at one time. I wonder if the vocal did it say if the vocals were done one take, two, or was that overdubs? [00:43:00] Speaker E: So the whole track oh, wow. Captured the whole track. It was notable because the version that made the album was captured in a single take. [00:43:09] Speaker F: All live, everyone together. They didn't do the rhythm track separately. [00:43:16] Speaker C: No. [00:43:16] Speaker E: And every one of them was a single take and they put it all together into another single take. I don't know. Just reading a quote here. [00:43:24] Speaker C: No, it sounds to me like when I listen to it, because there's so much interplay between the stuff that there's no way you could have done that without being playing at the same time. No. And that's one of the things you don't hear anymore now, very rarely or any musicians at this point doing something. No. [00:43:43] Speaker E: Right. It's like we were talking about everything these days. Sounds like it was produced with Pro Tools. [00:43:48] Speaker C: Well, because it is. [00:43:50] Speaker F: And the guys don't even have to be in the same studio. No, they're all playing from different areas. [00:43:58] Speaker C: Yeah, well, the worst parts that I've found, the more that I started listening to music, anything after 2000, what they started doing now is now they're starting to straighten out all the drum parts. They put the drum parts on a grid. So you play your drum part and they shift things into time. So if you're out of time, they shift you into time. And I remember I forget where it was. It was on YouTube somewhere where they took Van Halen and they time corrected it. It sounds so crappy because being that much on time for that kind of music doesn't work. [00:44:35] Speaker F: You lose the realness the human side. [00:44:39] Speaker E: Of playing to keep time. Al was playing to keep with know he was not playing to keep time. He was yeah, he was playing off his brother. They were playing off each other. They were not playing to keep time. No. Eddie was terrible at keeping time. In fact. [00:44:59] Speaker C: Well, you know what it is? You know what it is for me is that I'm okay with a little bit of variation. Like, if a song is 120 beats a minute or 100 or 90 beats a minute, whatever it is, it's okay if it fluctuates into 92, 93 while the song goes on. But the way it is now, basically they're just putting it all exactly perfect. [00:45:19] Speaker E: They're just hit and play. They just push play and go out there and mimic it. [00:45:23] Speaker B: Yeah. [00:45:25] Speaker F: Well, there's a thing about being able to play ahead of the beat or being able to play behind the beat. And all of that nuance makes it real. And you take that away and it's just you might as well spit it out of Chat GPT. [00:45:43] Speaker C: You might as well take one of. [00:45:44] Speaker E: Those whiplash sound effects. Do I have whiplash following? [00:45:50] Speaker B: Yeah, you dragging. [00:45:55] Speaker E: That's it. That's it, right? Yeah. [00:46:02] Speaker C: It's an unfortunate thing that a lot of this stuff I mean, there's still people who are doing it the right way, but I really don't know how much of that is going on. I think even things that you think are not are being altered. You know, one I saw that I was telling Sabino out that was really surprised Michael Buble like, he can sing, but they were pitch correcting him in the studio, too. Wow, that's nice. I don't understand. Makes no sense. [00:46:32] Speaker F: Yeah, it's like, sorry, Chess, you don't even have to be a good musician anymore. It's like, yeah, we'll fix that. We'll fix that. Don't worry. About it. Be a good singer. [00:46:47] Speaker C: Oh, you sang that thing right on the first chorus. We're just going to take it and cut and paste it into the second chorus. [00:46:52] Speaker E: Exactly. It'll be exactly like the first. It's perfect. [00:46:57] Speaker C: It's the little mistakes that make the music. Exactly. And did you hear the story that Savino tell, the story that you told me about? [00:47:07] Speaker B: Oh, and he was on an interview with Howard Stern and Sweet Emotion, he's playing in the beginning, it's Survivor slap, but as he's playing it, it breaks and it falls on the ground. But that's part of the beginning. He's like, what's his name? Adams. What's the producer's name? [00:47:26] Speaker C: Mark. [00:47:26] Speaker B: He did the guy who did the album that we talked about. He mentions him specifically. [00:47:32] Speaker C: Well, does he? Yeah. I don't remember. [00:47:34] Speaker B: I forgot his oh, I forgot his. [00:47:42] Speaker E: Do a quickie. [00:47:43] Speaker B: But basically the thing breaks and it falls on the ground, and it's in the song. In the beginning, he's like, no, it sounds good. Leave it in. [00:47:56] Speaker C: That would never happen today. They would have fixed that. [00:47:58] Speaker F: No, that's cool. [00:48:01] Speaker C: It is cool, and I never noticed it. So if you go back and listen to it now, you can hear it fall down. Now that you know it's there, go back and listen to the Sweet Emotion at the beginning. You're going to be like, oh, yeah, that thing fell on the ground, but. [00:48:15] Speaker B: They left it in. [00:48:17] Speaker E: Well, it's like zeppelin. [00:48:19] Speaker B: I don't care. It sounds good. Leave it. [00:48:23] Speaker E: Yeah. Well, like the beginning of friends. Zeppelin. You got Plant the airplane's going over and Plant says, no, leave it. Leave it. [00:48:31] Speaker F: Yes. [00:48:34] Speaker C: Well, back in the day, what our first recorded stuff? There was no digital when we first recorded early ninety s ninety one we recorded on 24 track tape. There was no mistake. You had to go in there and know your songs because you were trying to get at least the drums down straight so you could go back and do stuff. These days, I don't even think you have to do that. But I could tell you, though, I think that if more people went in with the mindset of the way you used to have to do it and don't rely on that, we can fix it. You'd end up with better songs, I think. But I don't know how many people would really go back and do that now. [00:49:19] Speaker F: The songs nowadays are just so mechanical, except for the Foo Fighters. They're old school. But. [00:49:34] Speaker E: Our friends in Why Why Not are putting out great music, light and Shade, that record by Why Why Not? I would encourage everybody to go check that out. It's incredible, the musicianship that's going on out there. [00:49:45] Speaker F: Yeah, also old school. [00:49:47] Speaker E: Exactly. [00:49:49] Speaker C: Are they recording on tape or are they recording in digital? [00:49:52] Speaker E: Yeah, they're all digital, I believe. [00:49:56] Speaker C: But you can do the same things that you did on tape in digital if you don't try to straighten out drums. If you don't try to pitch correct vocal, you still can record the same. [00:50:04] Speaker E: Exact no, you let the artists record the artist in their contribution. Right. And everything that that artist can do to make that recorded work representative of themselves. And I think that's what they do. They kind of apply themselves that way. [00:50:19] Speaker C: Well, it doesn't have to be perfect. [00:50:20] Speaker B: Mark, who was it? Was it Tom Horman when he said about recording Vince Neil? [00:50:25] Speaker C: Oh, yeah. [00:50:25] Speaker B: It was like but he basically they spliced takes together because it was so hard to ever get a solid take from him. So he would take basically the best bits and pieces and stick them together. [00:50:45] Speaker E: Everyone's seen a video of David Lee Roth explaining to Joe Rogan how they did so much of the splicing with Eddie's solos. Right. And certainly at the interviews that Ed revealed that himself, that he and Ted would do that, take ten tracks and splice this, that, and the other thing, and then he'd have to go learn it. Right. That's why his solos were like nuts, and he's all over the fretboard because well, they're all different parts kind of spliced together. But the thing was that he then went and learned it. He actually did go and do that. Right. [00:51:20] Speaker C: So that's where his I think that was more later on when he started to overdub the first couple of records. All those things are straight through. [00:51:29] Speaker E: Most of those things went straight through. I know a lot of those were yes, that's right. [00:51:32] Speaker C: Yeah. That might have been later on. [00:51:34] Speaker E: Yeah. [00:51:35] Speaker C: I would tend to think, but still, the end. To have to go back there and do that, learn your stuff that you didn't even play like that. [00:51:41] Speaker E: Could you imagine? [00:51:42] Speaker C: Oh, my God, what a pain in the ass. Especially here we go. Oh, yeah. Seriously, here we go. [00:51:53] Speaker A: I heard a pistol shoot. Yeah. [00:52:00] Speaker C: See, that's how you know it's live. That they did that in one take. They made that decision right there to do that, whether it was in rehearsal or whatever, we're doing that when that part comes, I'm going to back that up because I want to hear that again. I like that. [00:52:28] Speaker A: I heard a pistol shoot. Yeah, it was a 44. Somebody killed a crap shooter because it didn't shake right. And roughest place I've ever been. All the people down there here kill it for the whiskey. Why did you jam SA, you with his hand on his card says it's a red boy now. Lord, nobody wrong. Hey, in the it's. [00:56:28] Speaker C: I don't see one bad note in that. [00:56:31] Speaker A: How long was that? [00:56:33] Speaker C: Nine minutes and 12 seconds. Yeah. [00:56:35] Speaker B: I would never think that. [00:56:37] Speaker C: Well, no, because there's such interesting guitar playing, and he brings it up and takes it down so much that it doesn't feel that long. [00:56:52] Speaker E: It's restrained. [00:56:54] Speaker B: Right. He goes fast at times. [00:56:59] Speaker F: There's almost restraint. [00:57:00] Speaker E: He lets it out. Yeah. [00:57:03] Speaker F: A meditative quality to that song. You could just get into it and lose yourself and just everything goes away. And you just listen to that. The tone of the side stick on the drums, on the snare drum. It sounds like he recorded in a cavern. [00:57:26] Speaker C: Yeah, that floor time, too. When he hit the floor time to boo yeah. Was great. Yeah. [00:57:32] Speaker F: Like a cannon. [00:57:34] Speaker C: And it's one take and no one really made a mistake through the whole that's remarkable. It is kind of remarkable. All right, let me read the last part of the lyrics and then we can do some reading. So this is the third verse. Second verse. I heard a woman scream yeah. I peeked through the door some cat was working on Annie with a lord with a two x four hey, hey, alley's the roughest place I've ever been all the people down there living for their whiskey, wine and gin and then the last verse well, there's actually two more verses. I heard a pistol shoot. Yeah, it was a 44 somebody killed a crapshooter because he didn't shake Ratle and roll and we're going to do a chorus again. And then the last verse is, I saw a cop standing with his hand on his gun said, this is a raid, boys now, lord, nobody run. [00:58:27] Speaker A: So. [00:58:27] Speaker C: It'S a rough place in Penn Alley people getting hit with two by fours. [00:58:32] Speaker E: Well, and you hear the gunshot when they're playing. He's like, I heard a gunshot. [00:58:37] Speaker C: That's so. [00:58:40] Speaker E: Yeah, well, he does that a couple of times, like with the sending run the guitar, but certainly the snare shot for the gun. But that was the other thing I was going to comment on, I think, when she was gone, or he does that. I think it was in the other song where it's just like and you were gone, and like, he's so good at just throwing in that downcast note, sliding down the fretboard on the E string or just doing those quick descending runs to get that accent in. That's just classic, Stevie. Those accents, like you said, they just know where to do it's. [00:59:15] Speaker C: Awesome. All right. Hey, Frank. Well, we'll let you go first if Frank's still awake. [00:59:22] Speaker D: I'm here. [00:59:23] Speaker C: I'm just enjoying so what did you think about that? [00:59:26] Speaker D: I love know it's something that I can just listen to after hours in a Tennessee bar that's just dimly lit, just sitting in the corner listening to jam out kind of thing. I love the production. I mean, they literally sound like they're playing right in front of me. So I like the whole thing so far. It's really cool. [00:59:50] Speaker C: So what do you give it as far as rating goes? [00:59:53] Speaker D: I'm going to give it a ten in the production. The musicianship, I'm going to give it right there. I'm going to give it an eight. As far as the lyrics, I mean, they're fun lyrics. Nothing deep. They're just playful. So I'm going to give those a seven. So I'm going to give, say, ten. [01:00:14] Speaker C: SAF. [01:00:17] Speaker B: I'm going to say an eight on the lyrics. I mean, I like the story about it. You feel what's going on. Well, whoever wrote it paints a vivid picture, which is cool. You're kind of in there. I'm going to say a nine on the music. Again, I got lost in it, and I thought it was half the time that it was, but again, I get lost in hearing all the parts of Shine On You Crazy Diamond. That's really what it reminded me of. But I really liked the soloing. I thought he did some really interesting stuff and it was solid all the way through. And I'm going to say a nine on the production. I thought it was produced exactly the way it should have been. And I like the fact that even when the drums, when he pops, there's no perfect, you know, all the levels are just so perfect that nothing is out of. So Chaz. [01:01:20] Speaker E: Speaking on, so. [01:01:24] Speaker B: I'm going. [01:01:25] Speaker E: To say this one. Yeah, production ten, certainly for what Frank said. They're here, they're playing for me, right? They just can't get more immersive lyrics. Seven. Didn't write it again, I think. Great choice. And that's where I think rating a seven is fair here, because he chose this, he's like, yeah, I like this song, I'm going to play it. I can feel this one right. So I think the lyrics meant something to him, whether he wrote them or not. So I think it was a good choice. And then the musicianship is a ten. So it's 710. [01:02:04] Speaker C: Chefs. [01:02:07] Speaker F: I'm kind of in the same boat on that. The production of it is just phenomenal. So clean and crisp and hypnotic. So ten on the production. And musicianship, the fact that they did that in one take live is phenomenal. That's a ten. And the vocal delivery is so great. He sounded like an old black guy from the singing that song, especially when he gets down into the lower register at the end of the verse, is really cool and the lyrics okay. It's a good story. So also a seven on that. So 710 for me, too. [01:03:01] Speaker B: Mark. [01:03:02] Speaker C: Yeah, I think I'm going to have to agree with I like these lyrics, I think, a little bit better than the last one. So I'm going to give an eight. Musicianship, again, the fact that it was one take and that I don't hear any flub notes or he's like in the pocket, he's on every break he's on, every turnaround, he's on. I'm going to give that a ten. That's why I hesitated to give Cold Shot a ten, because I knew probably that Tim Panahi was going to be a ten for me. I appreciate his playing within this style, and he's done this on a bunch on his records. So when he's in this speed of playing you almost notice his speed even more just because it's such a slow blues. [01:03:46] Speaker E: Right. You're absolutely right. It's that restraint combined with the expression explosion. Right. He's so restrained, and it gets so quiet. Then there are these freaking crescendos that come out of nowhere. It's just like screaming. And the thing is, you can hear every note. Yes. [01:04:05] Speaker C: And the space that he leaves in the right places. It's always mostly about the notes you don't play as opposed to the notes you do play. So he's a master leaving that space and letting it breathe and then coming in either fast or even with one note. That's the BB. King thing for me. Like, you could play one note and it sounds great. [01:04:28] Speaker E: That's the gilmore. Yeah. [01:04:30] Speaker C: I'm going to give production a ten because just going that the drum sound was great. And we haven't talked about the bass playing. Tommy Shannon. He's so good that you almost forget he's there, but he's so in the pocket is. We don't really talk about him at all in this so far, I don't think. [01:04:49] Speaker E: Michael Anthony. Yeah. [01:04:51] Speaker C: It's one of those things like he's just there. Solid. So it's awesome. [01:04:56] Speaker E: Doing his job. [01:04:57] Speaker C: Doing his job. All right, so the next song is Honey Bay. This is an original. Does anyone have any kind of history with this song? [01:05:04] Speaker A: At. Mm hmm. [01:05:08] Speaker C: What do you think, Chaz? You have a history with this song. What do you. [01:05:13] Speaker E: Think? From what I remember, this one's more upbeat. I don't know. To me, this always kind of seemed like filler, if I'm being honest. So not top of my list. But it's a fun tune, I got to be honest. [01:05:36] Speaker C: It's been a while, and it's short. It's 246. It's short 245. [01:05:41] Speaker E: Yeah. When I remember, it was just kind of like that's, just there. I think I used to skip over it. [01:05:47] Speaker C: All right, let's see how it goes. I haven't listened to this in a while either. So this is Honey Bee. [01:05:59] Speaker A: Like a Quinn bitterness. Sweet as can be hi, I'm the king, baby. Buz with me. Loving your hive end of your life tell me, little baby that you'll buz me all the time, all the way we give, just can't live don't make me wait to feel your woman break ignore every time that be the chance come on, a little baby let them make some Roman. [01:07:10] Speaker C: It's very it's very upbeat. Fifty s to me. [01:07:18] Speaker E: Upbeat fifty s. It sounds like the precursor to perhaps another song that he wrote later on. I think he was kind of fleshing out an idea here with the guitar parts, and so that's why I was always like, okay, it's cool. But quite honestly, it was always I think the lyrics just made me feel silly, and I just kind of go right past it. My honey and my bee and all that. Just like, whatever. Buz with me. [01:07:47] Speaker C: Yeah. [01:07:47] Speaker E: Not into that. [01:07:48] Speaker C: The double entendre lyrics came through and. [01:07:51] Speaker E: You'Re like, no, this actually doesn't help the song. [01:07:55] Speaker C: Yeah, it's a little bit of a double entendre he's trying to do. [01:07:58] Speaker E: Yeah, a little bit, but it was just kind of like it was weak and to me it sounded so goofy, it was embarrassing. [01:08:06] Speaker C: Guitar playing is good, though. [01:08:08] Speaker E: Oh, of course, yeah. [01:08:09] Speaker C: And it's so weird, the tone is so different than the other song. Like last song, it was such a clean tone. And this now it's a little more overdriven and so it hits you in the face a little harder. But, yeah, I can see where the lyrics could be, like, make this to be more of an album track for me. Just like, let's put this on. And short too. Well, it makes a lot of sense since the last one was nine minutes and this is on a record, so you can't have many long songs after the nine minute song on vinyl anyway, right? [01:08:45] Speaker E: Yeah, exactly. [01:08:45] Speaker C: Good point. Sav, what are you thinking about this? Is this what you thought it was going to be all about? [01:08:51] Speaker B: Yeah, I mean, listen, it's not like, hey, this sounds completely different. I mean, clearly this is in his wheelhouse. The lyrics are whatever. I mean, I'm bopping my head to it, though. It's like catchy. [01:09:04] Speaker C: It's catchy. [01:09:05] Speaker B: Yeah, it's like a little diddy. Basically, the simplicity of what's going on in terms of the verse is always he comes in with a solo and he just complicates everything, like, in a good way. [01:09:23] Speaker C: True. So I don't know if he did did he do one verse or two verses? I don't even remember. It kind of like just blew by. [01:09:29] Speaker B: I don't know, just bouncing my head. [01:09:31] Speaker C: I think it was two, so I'm going to read two because I think that's what he did. Like a queen bean is. Honey, you're as sweet as can be. I'm the king, baby. Buzz with me. Dive in your hive and into your life. Tell me, little baby, that you'll buz me all the time because the way we kiss just can't miss don't make me wait to feel your warm embrace each and every time that we get the chance come on, little baby let's make some romance so it's silly double entendre where you can't really say what you want to say. So you're trying to work around it. [01:10:04] Speaker B: Yeah, well, I mean, the bee and the honey, I mean, that's been used a lot of times. [01:10:12] Speaker E: Yeah. To me, it feels like he was trying to do something with pride and joy again. Yeah, that's where I was alluding to. I mean, to me, this was like pride and joy. Kind of redux and the lyrics were so corny. Pride and joy is just such a great song. [01:10:28] Speaker C: Yeah. Much better shots. What do you think so far? [01:10:33] Speaker F: I think this is a filler song. This is just taking up space on the side musicianship, it's always going to be good, for sure. But, yeah, it's coming off the previous song. This is just fillers. It's taking up space till the next song. [01:10:53] Speaker C: Yep. Frank, what do you think? [01:10:58] Speaker D: A little bit different than what we've been listening to so far. Kind of agree with that. It feels like a filler song, but we'll see where it goes. [01:11:07] Speaker C: Okay, here we go. [01:11:10] Speaker A: Baby, when you move your hip shake it all around and take me by the bound I want you all the time just because you know you really have give me a bug, Sam. Sam Ma. [01:12:32] Speaker C: After the last song, I'm like, wow, that could be like 1 minute, it feels like. [01:12:37] Speaker E: Yeah. [01:12:40] Speaker C: All right, I'll finish our lyrics up short and derivative. [01:12:44] Speaker A: Yeah. [01:12:45] Speaker C: It does sound like there are licks in there that sound like, come on. [01:12:49] Speaker E: The opening of the solo is the other song for note, almost. [01:12:54] Speaker C: Well, I have noticed if you listen to him long enough, you notice the things that he does. And I think we all do that. As guitar players, you have things that you do things that you do. I must have stolen I think I've stolen like four or five of those things that I just heard him do. I'm like, oh, shit. I play that all the fucking time. God damn it. [01:13:12] Speaker E: Got that out of SRV edition. [01:13:16] Speaker C: Yes. Unfortunately, there wasn't one of those. Unfortunately, no. [01:13:21] Speaker E: But there was something my friend had and he had some Stevie licks. [01:13:26] Speaker C: The lyrics are, yeah, you really groove me baby, when you move your hips shake it all around and change me pound for pound I want you all the time just because you know you really have to give me a buz so the lyrics, they're silly. I'm going to go first just because I need to get this out of my system, the lyric wise anyway, I'm going to give it I love Stevie Ray Vaughn. I'm giving lyrics a five just because to me, it feels like we need to throw this thing on here. And the B thing has been done way before him. But music wise, I'm sticking more with for me as a guitar player, I'm going to give that an eight. I'd be hard pressed to give it less than that just because his guitar playing is so good, even though if it's a little derivative of what it could be. And production, I mean, it sounds fine. It doesn't really stand out to me. So I'm going to probably give that an eight. Chess. [01:14:25] Speaker E: I think I'll give the lyrics a six because I do think they're six worthy. I think the production is still a ten. I could hear everything. And I love the playing. Yeah, the playing is a lot of fun. I can agree with where you're at with the eight on that. I think that's fair. I might even go nine. I think that he did take his licks and he went someplace else. With it. I mean, he made a new little run there, so I'd say it's a nine. So what do we say? Six, eight, six? What? 910, 6910 shots? [01:15:09] Speaker F: Well, I'm in the same camp with you guys. The lyrics okay. He probably wrote it in about five minutes in the bathroom while he was shaving. I say a five on the lyrics. Production not as good, not as clean as the previous songs. So I say an eight on the production. The musicianship is always a ten. I mean, they're just rock solid, and he is rock solid, and everything he plays is magic. [01:15:46] Speaker C: SAF yeah. [01:15:49] Speaker B: I'm going to say a five of the lyrics, too. Music was again, I'm basing this on what he's doing and even some of the cool stuff that the drummer was doing. So I'll say eight on that. And production, we're going to say seven. Just based on the fact that I wish I had a little bit more. I think the song could have used a little bit more of that. [01:16:14] Speaker C: But. [01:16:14] Speaker B: Yeah, again, it's just a little diddy that I was just bopping my head to. So, I mean, if nothing else, it was. [01:16:25] Speaker D: You know, it was kind of funny when he said he kind of wrote the lyrics, like, while shaving. It kind of reminds me of that music urban legend that Steve Tyler wrote, walk this Way on a wall in a stairwell. Kind of a thing. Just hanging out. No, I like know, again, the production is just great. And Mark, where was this recorded? [01:16:46] Speaker C: I believe the record plant. No power station. New York City. [01:16:53] Speaker E: Wow. [01:16:53] Speaker B: Kidding. [01:16:55] Speaker C: They came over to New York to do this and listen how good this thing sounds. This is in 1984, right? [01:17:03] Speaker E: Yeah. [01:17:05] Speaker C: It shows you when you have good equipment and good producers at that time, you can make something that sounds really good and it still holds up sound wise. What, 30 years later? [01:17:15] Speaker E: 40 years later, yes, 40 years. [01:17:17] Speaker D: Absolutely amazing. [01:17:18] Speaker E: There were some of his records that came later that were a little thinner. Quite frankly. You're right. This one stands out. [01:17:25] Speaker D: The production is just great. Anything? Again, a ten. The music there. I'm going to give it a nine. I just love the jam. I mean, the guitars just pop, everything. It's just so great all the way around. The lyrics, I don't know, I don't really connect with them really well. So I'm going to give those a six. But I really love the production of the whole so far, it's been great. [01:17:53] Speaker C: All right, so we're on the last song on the side now. It's kind of funny. They reissued this thing a bunch of times. They've added if you want to listen to something for 2 hours, there's a 2010 Legacy Edition, two CD reissue that has another literally, I don't know, whole bunch of live stuff. And there's another 25 songs. [01:18:22] Speaker B: Wow. [01:18:24] Speaker C: Yeah. With a whole bunch of stuff. Obviously. We're not doing that version. [01:18:27] Speaker E: I think Chef was saying something about having to get his beauty sleep tonight, so yeah. [01:18:34] Speaker F: I'm good for one more song. [01:18:35] Speaker B: I think we'd be recording the longest podcast in history, pretty much. [01:18:41] Speaker C: All right, so the next one is Stang Swang. Another two and a half minute, almost three minute song. I know this song. I haven't heard it in a long, long time. So I'm going to let everybody just revel in what this is going to be and kind of figure out for themselves what they think it is. [01:18:59] Speaker B: This is an instrumental. Yeah. [01:19:03] Speaker C: So here we go. It's for the drummer already. The drummer is in the place. There you go. Before we get him going. So the saxophonist on this is Stan Harrison. He played with and recorded with Bruce Springsteen southside Johnny, Dana Ross, lee Palmer, Little Stephen, david Bowie, radiohead Duran Duran, steve Rayvon, Mick Jagger. The Talking Heads. They Might Be Giants. Jewel he's basically. [01:20:18] Speaker B: So nobody famous? [01:20:20] Speaker C: No, it's all obscure people that no one's heard of. [01:20:24] Speaker B: Yeah, they just pulled them out of the street. [01:20:27] Speaker E: Yeah. All these schmucks they take up off the street at the power station down. [01:20:32] Speaker C: And this isn't Chris Layton on the drums. This is Fran Christina from The Fabulous Thunderbirds. Did you see? [01:20:45] Speaker E: Yeah, it's interesting. They went to New York and they're working, actually in a studio that Steely Dan recorded in a lot know and think about some of the Asia is one of the best records of all times in terms of auditory recording like production, like we've been talking about tonight. I think a lot of it has to do probably with what was going on in the booth and where they were. And here's that same idea. They're bringing in different musicians now for different songs, probably to get probably what we heard at the beginning there. Right. She's probably really good at doing that. [01:21:18] Speaker C: Yeah, I was surprised that was him because it didn't sound like what he and so now it makes more sense that's who this is, it's somebody else. But it's kind of funny. Like, you'd think of Steve Ray Vaughn as this super blues guy and now he's doing a little bit of jazz thrown into his what the fuck can't this guy do? [01:21:38] Speaker F: My question. [01:21:42] Speaker C: And I'm not a super big jazz guy. I know Savino's a big jazz guy, but I appreciate the jazz thing because I've tried to do that kind of stuff and it's not my bag, baby. Not my bag. [01:21:54] Speaker E: You can't see this, but I'm doing jazz hands right now. [01:21:57] Speaker C: Hey, are you good? [01:22:02] Speaker A: Yeah, baby. [01:22:08] Speaker C: Here we go. [01:22:55] Speaker A: Sam sam sat vote on instrumentals, but. [01:24:13] Speaker C: I think we're going to vote on this one just because sabina, why don't you go first? Because I know you like this stuff a lot. So what do you think about this? [01:24:21] Speaker B: Yeah, well, obviously there's no lyrics music. I'm going to say an eight on the music. I mean, it was cool, had that jazzy vibe. I wish there was a little bit more of the sax, actually. A little bit more trade off, maybe. I really liked it when they were doing the where he was doing the guitar and the sax are kind of doing the same thing. That was pretty cool production, I'm going to say. I wasn't crazy about the production, honestly. I thought it was a little thin. I thought it could have had just listening to a lot of jazz, it could have had a little bit more. I felt like the drums were a little thin, even though they were really cool, what he was playing, so I kind of wish he had a little bit more, I guess. Bombast, you could say. So I'm going to say, but it wasn't terrible. Again, everything is clear. I mean, the album is really well produced and again, if you played this for me now, I wouldn't think this was done in 84. I mean, the production is just crystal clear, so I'm going to say seven on the production. How about you, Mark? [01:25:26] Speaker C: Yeah, I always appreciate this because it's so different to hear him do this now. He does something similar in a slower thing. Riviera paradise is another thing. It has a little bit of a jazzy thing going on, so he seems to do that in a lot of his instrumental stuff. Yeah, I'm going to give eight on the musicianship. I probably could give higher if I wanted to, just because it's an instrumental, I'm probably not going to give it higher and there's not a lot of blistering guitar from him, but the part with the sax and him together is very cool. Production was okay. I'm going to give it a seven. I think you're right, it could have been. Had a little more oomph into it, but it wasn't bad by any stretch. Schats, what do you think? [01:26:13] Speaker F: I really dug this song. I like this small member, three, four piece jazz, modern jazz, and I thought everything sounded great. The bass, I love that driving bass, I think that's really cool. The drums itself is a departure from the other stuff that we heard. Just jazz, rhythm and it was solid. It was solid. And of course, Stevie's playing is always great and the sax was a nice addition, so I'm going to give this a nine overall. Just a nine in production and musicianship. [01:27:11] Speaker C: Yeah, I didn't even talk about the bass stuff. The bass was doing some crazy yeah. [01:27:15] Speaker B: The bass is great. [01:27:16] Speaker C: Good stuff. Again, he's such an unsung hero and when you watch him play live, if you ever seen him play live, he's so unassuming of a guy, but he plays, so it doesn't seem like it doesn't really matter what you throw at him. It doesn't seem like he can just play whatever utility player. Yeah, well, I don't even know if he's a utility player. I don't even think it's utility. I just think that now that rhythm section together kind of they had a thing that was going on. Yeah. And it doesn't matter what you throw at them. [01:27:47] Speaker E: Yeah. [01:27:49] Speaker F: He creates the platform for the whole band. And the guy just the way I'm hearing him, he sounds like he's just standing there. He's not flashy, he's not showy. He's standing there next to the drums doing his thing and it's just perfect. All the right. [01:28:07] Speaker A: Yeah. [01:28:07] Speaker E: Yeah. They were very much like Rory Gallagher's band. They were just there know, they did exactly what they needed to do to let the feature artist really shine like Stevie, you know, with the vocals and the guitars. He was the standout. Those guys, they propped him up and made him look great. And they were always where they needed to be. And as we've heard on this record, they were captured. I mean, we we can hear the evidence of those guys being exactly where they needed to be to make this stuff swang. Like, in this case, you asked where I was at on it. I think for me now, I'll be honest, right. With the record. From what I remember, these were the two tracks that closed the record out. And so I would just typically not listen to them. When I was younger, I wasn't big into jazz at all, but I did know this song existed and I liked it for the fact that it was like a curveball. I always love when artists expect to do one thing, do something else, because you can go play it for people that, you know, like jazz and say, Here, listen to this. And then they listen to it and they're like, oh, that's pretty good. And then you're like, yeah, it's know. And so it's always, ah, the surprise. But the reason I liked Stevie's take on jazz for the simple reason that to me, this was like kind of straightforward as much of a straightforward kind of jazz presentation you could get. But Stevie like, kind of infused I wouldn't even call it Texas blues as much some rock and roll elements in some of his runs know, they were kind of classic, kind of like just rock and roll riffs kind of being thrown in with the blues, with this jazz kind of progression that he's playing. So to me, it's just kind of funky that way as I was listening to this with new ears. So again, I think the production I happened to just like the way the record was done overall ambiance and feel of the thing. And now we said the power station. I think that place was just known for having that deep kind of reverb that live I think they had a big live room there, right? It was kind of known for that. And so I wouldn't be surprised if that's where they were doing all this stuff. So I think a tune like this, where the drums aren't as big, it might sound a little thinner or maybe just not as prominent as we're hearing in the other tracks. But overall, I just think I could hear everything, particularly, like you said, the bass and the freedom he was taking in the lines, it was really great. And the fact that I could hear it, so nothing was muddy. So, yeah, that's a good take. [01:30:38] Speaker C: Did you give me actual numbers? [01:30:40] Speaker E: Ten. Yeah. [01:30:42] Speaker C: Ten. Okay. [01:30:43] Speaker E: I think nine to ten. Nine and ten. [01:30:44] Speaker C: Nine to ten. Okay. [01:30:46] Speaker E: Nine and ten with no lyrics. [01:30:48] Speaker C: Frank? Frank, what do you think? [01:30:51] Speaker D: I'm right there. I like artists that play outside of what you typically hear them do or see them do. So I kind of like the jazz thing. I know. Mark, you're not going to appreciate this. The first couple of seconds there, when they were jamming that first opening part, I heard a little bit of elements of the South Park Openings theme. Bro. [01:31:12] Speaker A: I don't know, I just heard a. [01:31:14] Speaker D: Little of the opening theme. Just a little bit. No, but it's pretty cool. I love it. I like it a lot. I enjoy yeah, prime is exactly you hear a little bit of that. Prime is in the beginning there, but I liked it. I'm going to give it an eight in the production and an eight for the music overall, so I liked it. [01:31:39] Speaker C: So I guess my question is going to be for the people who haven't really chaz and I have heard a lot of this record, but the people who haven't heard the record a lot, what do you really think about did it change what you thought that he did? Because I know there's always going to be the people who think he does one thing and maybe not a surprise when they hear some of the stuff he does. Sabina, what do you think? [01:32:01] Speaker B: I wasn't completely surprised in terms of again, like I said, I know at one point I said, oh, you know, he kind of sounds like I don't I don't feel that mean, but I don't also feel that there was anything on here other than maybe the jazz thing where I was like, wow, Stevie Rayvon did this. So I think I'm familiar enough with his general vibe to kind of expect what was on here. But again, I mean, a song that's done well is done well if it's the style that he adheres to and you do it well. But obviously, I was really listening for the guitar playing and I was very impressed with it and obviously listening to the bass and the drums. So, again, I wasn't blown away, but it's a solid record, without a doubt. [01:32:53] Speaker C: Frank, what do you think? [01:32:56] Speaker D: I got to say, this is going to be like the third album from this podcast that I have to say I've never heard before. It changed my outlook and I'm definitely gonna see, but I can definitely see myself revisiting it and having it on my playlist to follow through again. Never really listened to Steve Ray Vaughn that much other than what you hear on radio here and there. But, yeah, I definitely like the album. [01:33:23] Speaker C: Appreciate. [01:33:23] Speaker D: I'm definitely going to bookmark it. [01:33:29] Speaker C: Shats, what do you think? Because I know you haven't heard all of his stuff. So what do you think? Now hearing more. [01:33:36] Speaker F: I need to download this album. What was the name of it? [01:33:41] Speaker C: Couldn't stand the weather. [01:33:43] Speaker F: Couldn't stand the weather. [01:33:44] Speaker C: Yeah. [01:33:45] Speaker F: I have to now hear the first side. [01:33:48] Speaker C: Yeah, the first Side has a bunch of good stuff. [01:33:53] Speaker F: Yeah, that slow tune, the Long tune, really spoke to me. The first song, of course, is a popular song that I've heard before. And this last jazzy song was very cool. So, yeah, I have a new respect and admiration for Stevie Ray. And I'm definitely going to download this one and put it in my playlist. [01:34:19] Speaker C: That's awesome. Well, I think Chaz and I know where we stand. Probably we've heard the record before. [01:34:25] Speaker E: I think they've been downloaded and integrated in our playlists for quite a long time. [01:34:29] Speaker A: Yes. [01:34:30] Speaker C: Yeah, it's just one of those things. I remember when I first heard him, I just couldn't wrap my head around some of the stuff he did and how it was so fluid. I think it's still the Hendrix thing for me as far as, like, he reminds me of that just because it's just the way he just comes at the guitar and how fluid everything is and he feels like he could play whatever he wants, whenever he wants to. And that's probably why he's in my top five guitar players. I'm sure there are people who don't like him, I would guess, but I would have to question their guitar playing in general if they don't like him. I don't know if I would have much in common with anyone guitar player. [01:35:20] Speaker E: Who doesn't like him in the halls of greatness. And honestly, I think the only reason that the comparison to Hendrix stands is because he did select choice cuts from Jimmy's Catalog to revisit and put his own stamp on, right. So that will always be there. And so. No, I do hear Hendrix. He evokes Jimi Hendrix for me, and he just like other bands that I know and love and have influences that we all recognize, they kind of take it, make it their own and go someplace else with it. And so, for me, Stevie always did that. But no, his signature songs, what he did with Cold Shot, whether he wrote the lyrics or not, don't give a shit. It's the music that I'm listening to, right, that Couldn't Stand the Weather. This album is just loaded with so many great songs. Tin Pan Alley, of course, but. [01:36:22] Speaker C: What. [01:36:22] Speaker E: More can be said? [01:36:24] Speaker C: It's friggin class, seminal work. It's classic. [01:36:30] Speaker F: The production of it. [01:36:33] Speaker E: If there is hendricks power station. Yeah, man, that's incredible. It sounds like Asia. [01:36:39] Speaker F: If there is Hendrix in there, it's taken to another level because no Hendrix recording sounded like that. [01:36:51] Speaker C: No. Well, yeah, it's a different time, too. Well, that's it. We went over the first two Hendrix albums, and what I get out of those is just the experimentation, since there was really none of that stuff available when they were doing that. And it was basically done on a track, at least the two that we've listened to. I don't think he got to 16 track until his last studio record. So there was just some amazing things that were done in there. Just because you're like, I can't believe they invented these things. So it's interesting to hear an evolution. And the mid 80s, there's a lot of records in the don't like the sound of. So just because it was recorded here and whatever, whoever was doing it did an awesome job because it's great. [01:37:53] Speaker E: Absolutely. [01:37:56] Speaker A: Yeah. [01:37:56] Speaker F: Hendrix invented all that stuff. [01:38:01] Speaker C: And the Beach Boys, all that kind of inventive things that happened in the late 60s, you take it for granted now, but that stuff didn't exist when they were trying to do these things. Now you have echo and delay and all these things that you have. You didn't have that back then. No one had it. They had to make that stuff up as they went along. So it's a different thing. But, yeah, I do agree. As far as the cleanness goes, I don't think it was as clean as the stuff is here. It makes a lot of sense. That's good. So, wow, we actually got through this a little quicker than the first one. [01:38:40] Speaker E: That's good. [01:38:42] Speaker C: I think that episode is like over two and a half hours, I think. [01:38:46] Speaker E: Oh, I bet. [01:38:46] Speaker C: Yeah. I think I had trouble uploading it to the host. I had to lower the quality down a little bit because it was too big. So why don't you guys tell us about Rush Rash? [01:38:56] Speaker E: Again, I told you last time, so I'm going to let Shats tell you this time. Schatz. [01:39:03] Speaker C: What's? [01:39:03] Speaker E: Rush rash. [01:39:05] Speaker F: Well, Rush Rash, you know what it is? It's a deep dive into the full catalog of recorded music of Rush. No live tracks. No what's it called? [01:39:25] Speaker C: No. [01:39:25] Speaker F: Cover copies. Cover songs. It's all their original music, recorded studio recordings, and it's a blast. When I first started it, when Chaz you first mentioned it to me, I was like, all right, I'll try it out, but I'm having a blast. And it's just a load of fun. And it's starting to grow some legs and I love it. I can't wait to see where it goes. [01:39:58] Speaker E: Yeah, a format that's not unfamiliar or lost on you guys. We spin a wheel, 165 tracks, we take what comes. Although we did get our first Mulligan, and we're only like eight shows in. I don't know if you guys take Mulligans or do you call it something different here? When you respin the Wheel, do you ever respin your Wheel? [01:40:16] Speaker C: We've only done it one time because we just didn't want to do that band that close, even though it wasn't as close. We have a rule of ten albums before you can revisit, so we won't be able to do Steve Ray one again for another ten records, which for us is 20 episodes, so that's our kind of rule. But we will mulligan if need be. And I think there was one other Mulligan, I don't remember what it was, but very rarely does it happen. [01:40:43] Speaker B: We got the Rolling Stones, didn't we? And it's actually kind of like a greatest hits. [01:40:48] Speaker A: Yeah. [01:40:48] Speaker C: And I think we had and I took it out of The Wheel. Yeah. [01:40:55] Speaker E: We had. Why not? The band on. And so we had Billy Alexander and Tim Storachi. And Tim is bass player, very well known on Facebook for just the way he's able to just kind of recreate, getty Lee's signature sounds and he's just a powerful bass player in his own right. But we went to spin The Wheel and we get a track that's got no bass on it, so it was just like food. Time out, we got to respin The Wheel. So we didn't even really ask, we just went ahead and did it. But we're eight episodes in, we got a lot of songs left to go, we've got a lot of great guests coming up, a lot of bands that are Rush tribute bands, so from the world over. So we've got moving pictures. Scotland coming in this week, we're going to be interviewing them. We've got oh gosh, Shats. We've got Shats's band coming in. They play out live around the New York metro area. [01:41:52] Speaker F: Solar Federation. [01:41:53] Speaker E: Solar Federation. [01:41:56] Speaker F: New world men. [01:41:57] Speaker E: New world men. We're working on who else? 20, 112. So a bunch of guys coming in over the next few weeks and then a bunch of friends of the show as well, in between. So, yeah, it's Rush Rash podcast. We're out there at Spotify, Apple podcasts and wherever you can, Google podcasts, you name it, we're in all those very. [01:42:24] Speaker C: Very nice sabino, want to do your thing? [01:42:27] Speaker B: Yep. Well, we are all part of the Deep Dive Podcast network. Great bunch of guys that took us in from the beginning, so we are happy to be part of this. Obviously we met. Rush rash do this. So, again, thank you guys for being on the show, obviously, and a little bit more individualized, obviously, like, you guys are doing the of we're all over the place, but it's all about the music and having so and Mark, where are we on the oh, we're everywhere. [01:43:02] Speaker C: On the interwebs, pretty much rock Roulette Pod on all the things everywhere. Whatever social media. Spotify. We just got our Spotify list up, so if you'd like to hear what we picked, they'll be on our spotify list. So each episode has a spotify list. So you can kind of go look and add our playlist to your playlist if you like, some of the things we picked. So that's our new thing that we're doing, trying to get some people involved in that part of it and rockwillettepodcast.com. Leave us a note anywhere. Social media, email, all that kind of stuff, all that good stuff. We like to hear from everybody to hear how full of shit we are. Or are we on the money? Yeah, I don't know if we are or not. Who knows? I'm sure we say things that no one likes, but whatever. [01:43:50] Speaker E: You're on the shit? Are you on the shit? You guys on the shit here? [01:43:54] Speaker C: We may be on the shit list. It's very possible. [01:43:58] Speaker E: Oh, I make my way on that list daily. Yes. [01:44:02] Speaker C: Well, we can't wait to get on your guys show. [01:44:05] Speaker E: You going to have to come over when you want. Well, I want to ask you, do you have any rush on your wheel? [01:44:10] Speaker C: Oh, we have everything for Echo. Yeah, we did test for Echo. [01:44:15] Speaker E: Okay, cool. All right, great. Yeah, but very cool. We'll find a date, get everybody, come on over, and we'll specialize. We'll find whatever the wheel grants us. [01:44:27] Speaker C: We may have to mulligan if it's a test for Echo track, though. [01:44:30] Speaker E: Okay, that's fair enough. [01:44:32] Speaker C: I don't know if I want to do another one. [01:44:36] Speaker E: Well, we're not as rigid as Mark and Corey over at and the podcast will rock. Our godfathers in the podcasting world or the Corey Morissette podcasting universe, the CMPU for those. [01:44:53] Speaker C: He does a lot of podcasts, and. [01:44:55] Speaker E: Corey will take you there. Yes. How many podcasts is he not on at this point? [01:45:00] Speaker C: I can't how many podcasts does he do? Is it of his own? At least four, right? [01:45:04] Speaker E: At least, yes. And he's going to be on our show. He's coming in on November 1. We'll have him. [01:45:10] Speaker C: Oh, very nice. [01:45:12] Speaker E: Yes. [01:45:14] Speaker C: Well, we appreciate you guys for coming on. Thank you for going in this crazy thing that we do and throwing all these songs in one episode. So we don't have a lot of time for chewing the fat, even though we still do it. [01:45:29] Speaker E: Anyway, you know what? Thank you. This was a lot of fun. [01:45:32] Speaker F: Yeah, it was a blast. And we look forward to having you guys on our podcast. Absolutely. [01:45:38] Speaker C: Sounds good. All right, guys. All right. [01:45:42] Speaker D: Thank you. [01:45:43] Speaker E: All right. [01:45:43] Speaker A: Cheers. [01:45:44] Speaker E: Thanks, everybody. [01:45:45] Speaker F: Thank you. Peace out. Bye.