Episode 62 - W.A.S.P. - The Last Command (Part 1)

[00:00:05] Speaker A: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement, and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner rights under the Copyright Act. Section 107 of the Copyright Act allows limited use of copyrighted material without requiring permission from the rights holders. For purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the Rock Roulette Podcast. [00:00:49] Speaker B: You. [00:01:14] Speaker C: Hey, everybody. Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast. It took what are we at? 1103 albums, I think. Stuck them in a wheel, and typically every other week we spin the wheel. She picks a record for us, and typically we go through it one side per week unless we get a short one like we did last week, which we'll talk about in a little bit. And we go song by song, and we talk about the music, the lyrics, and the production, and we give it scores just based on our opinions, nothing else. Just a bunch of guys that wanted to do a podcast for our love of music. And that's about it. We're a little short tonight, but we've got Mark. Oh, hi, Mark. [00:01:53] Speaker D: Hey, what's up? [00:01:55] Speaker C: I'm sad we haven't done a duo podcast in a while. [00:02:02] Speaker D: Yeah, it's kind of weird now. [00:02:04] Speaker C: Yeah, I know. So last week we did Blink 182 Enemy of the State, which was a massive album, 15 million sales. So kudos to them. I know we were all a little bit all over the place with opinions, but listen, I'll say for what it was, it was solid. Just not necessarily my cup of tea. But, hey, I got newfound respect for Travis Barker, that's for sure, as a drummer. What do you think? [00:02:32] Speaker D: Yeah, I think he's the MVP of the album. I think. [00:02:39] Speaker C: Phil's little accents here and there, which I always appreciate. [00:02:43] Speaker D: Yeah, I mean, I listened to that record a bunch, I think, when it came out. So I remembered all the songs after the fact. I haven't listened to it in I don't know how long time. Probably good. Over 20 years, probably. I haven't listened to that record. [00:02:56] Speaker C: That was my first run through ever. [00:02:58] Speaker D: I know, it's pretty funny. Yeah, well, they're not your favorite band, so I get it. [00:03:04] Speaker C: I mean, again, like I said, not necessarily. That genre wasn't necessarily my cup of tea. [00:03:12] Speaker D: It was popular. [00:03:13] Speaker C: The production was good. [00:03:16] Speaker D: Yeah, no, I mean, it sounded pretty good. We got that. And now we get to spin the wheel again because it was a short run. [00:03:26] Speaker C: I know. [00:03:26] Speaker D: Which doesn't happen very often. [00:03:28] Speaker C: No. So, what are you thinking tonight? [00:03:31] Speaker D: I don't know. I keep saying what I think I still keep asking for some kind of real hair metal because you really haven't one of the had run those records since Cocked and Loaded, right? That's like episode, right? [00:03:48] Speaker B: Yeah. [00:03:49] Speaker D: I guess they were lumped in there. [00:03:54] Speaker C: I think. Curls. Curls? Curls was pretty hair metal. [00:03:58] Speaker D: Yeah, no doubt. But from the amount of records that are on there like that, I'm so surprised we don't get more of that. I figured we'd get one every other time we spun. [00:04:07] Speaker C: Yeah. Again, it goes to show how random this is because we go from Stevie Ray Vaughn to Blink 182. Yeah. [00:04:16] Speaker D: You couldn't be much opposite. It's pretty opposite. [00:04:21] Speaker C: I don't know what I'm thinking. [00:04:25] Speaker D: I'm going to stick with the hair metal thing because eventually that's going to work out, so I'm going to stay there. [00:04:29] Speaker B: Yeah. [00:04:29] Speaker C: Eventually we'll get something. I don't know. I'm thinking 70s or 90s. I'm kind of skipping the 80s. So maybe that'll give you the push that you need. [00:04:38] Speaker D: Maybe. We'll see. I don't know. Well, I'm excited. [00:04:42] Speaker C: I'm ready. [00:04:43] Speaker D: We ready to do it. Okay. [00:04:44] Speaker C: Yeah. [00:04:45] Speaker D: Here we. [00:05:09] Speaker C: Wow. Does that fulfill your need, Mark? [00:05:14] Speaker D: This doesn't fulfill my need, but I'm not a huge fan of this band. But it is the time frame. [00:05:22] Speaker C: This is Wasp. The last command. They have some good stuff on here, I think. I'm telling you, they're one of the underrated bands. I know that they had the shtick and everything, but Watts made some very solid songs, and I would dare to say that the headless children for quote, unquote Hair metal was probably one of the most standout albums of that genre. I have this somewhere. I don't remember all the songs. [00:06:02] Speaker D: I mean, I think I probably know a couple of song handful. I was never a Wasp, even back in the day. [00:06:09] Speaker C: Yeah. I wasn't, like a big follower, but whatever I listened to, I'm like, they got some good stuff. And I think the first song, the kickoff song, if this is the album, the right album, takeout is really good. [00:06:24] Speaker D: Well, I hope so, because they're, like, on the list of people I don't really listen to. [00:06:30] Speaker C: Yeah. That's why it's good to get this stuff. [00:06:33] Speaker D: Yeah. I probably would never listen to this, ever. [00:06:39] Speaker C: Tell you what, some of this otter stuff definitely generates some good listens. [00:06:46] Speaker D: Oh, yeah. No, I'm probably going to be happy that we got this because it's going to be one of those albums that I don't really listen to. And like I said, I didn't listen to it in the day. So is this their second record? Right? [00:07:05] Speaker C: Yes, this is their second. And the drummer on this is the drummer from Cockton Loaded. [00:07:12] Speaker D: Really? [00:07:13] Speaker C: Yes. So there's a tie in. Steve Riley went on to yeah. La gunn steve riley. [00:07:21] Speaker D: That's pretty funny. This is 85. This is SmackDown in the middle of hair metal. [00:07:28] Speaker C: And if anybody's seen Decline of the Western Civilization Part Two they'll know who Chris Holmes is. Yeah, the guy in the floating in the pool with his mom by him. [00:07:39] Speaker D: They said that was all staged, though, from what it was. It was so over the top. Yeah, but let's see. So Spencer Proffer is the producer. What has he done trying to see? I don't really. Oh, well, he did. Cheap track, Heart, Little River Band, eddie Money, Beach Boys, Wasp, King Cobra, Vanilla Fudge, ian Hunter. He's done pre production for Guns and Roses, Appetite for Destruction, Shout to Deli did pre production for them. And metal health. The first rock rig to reach number one in Billboard was 200, was produced and mixed by Popper Mental Health by Quiet Riot. [00:08:31] Speaker C: That was a good sounding album, too. [00:08:33] Speaker D: Yeah. [00:08:33] Speaker C: If I remember correctly, this is a pretty good sounding album. [00:08:37] Speaker D: Yeah. I'm excited because, again, I don't listen to Wasp very often. And there was just one of those bands in the day that I didn't pay attention too much to. So, I mean, I knew they were out there and I know the just I didn't really ever pay attention to, so so Blackie Loris is playing bass on this, but I think he plays guitar now. [00:09:00] Speaker C: I think so, too. [00:09:02] Speaker D: Yeah. I guess he played bass because there was no one else to play bass, so that's what he decided to do. I'm excited. [00:09:10] Speaker C: Yeah. Listen, if nothing else, I mean, you should definitely dig this first song. It's pretty solid from what I remember. [00:09:16] Speaker D: I think I remember. Wild Child. I'm pretty positive. I remember this album. I remember that. But, yeah, I'm excited. I'm sure the lyrics are not going to be spectacular. It's probably not going to be great, but I don't have a lot. [00:09:38] Speaker C: I don't remember everything on this one, but later on, like I said, Headless Children is definitely a serious record. This, I think, is a little bit different. [00:09:50] Speaker D: Yeah. All right, we ready to do this? I'm ready. [00:09:54] Speaker C: I'm ready. [00:09:55] Speaker D: All right, so the first song is Wild Child up. Here we go. All right. That's better than I thought it was going to be. I don't know what I'm expecting. I don't know what I'm expecting now. [00:10:43] Speaker C: They've written some good songs. Like I said, I think they had an over the top style with the dress and everything, but a lot of people would put them on their underrated, like most underrated 80s bands, like in this genre, without a doubt, they've written some really good stuff. [00:11:05] Speaker D: And it's weird. You can tell there's no click because I felt that the I don't know, I felt the beat fluctuate. [00:11:11] Speaker C: The drum came in. Yeah. [00:11:13] Speaker D: It kind of, like, came in and then the time changed a little bit. [00:11:17] Speaker C: Yeah. [00:11:18] Speaker D: Which is fine. [00:11:20] Speaker C: It's actually funny that I do hear the similarities in the drum sound to this. And mental health. [00:11:29] Speaker D: Well, yes. The same guy. So it makes sense. [00:11:31] Speaker C: Yeah. [00:11:32] Speaker D: All right. I kind of like it so far. I'm not going to beat this much. All right, here we go. [00:11:39] Speaker B: All right. I rather wind to bring the rain a creature of love and I can't be I want you cause I'm gonna take your love from him when I touch your face and I could don't you never should I got to keep my eyes and better life I'm a wild child coming out me I want you to touch me cause I want what you do I'm a wild child coming up I want you my bed cause I want what you do I want you, I want you I want you tell me. [00:12:52] Speaker D: Yeah, his voice is interesting. [00:12:55] Speaker C: I like his voice. [00:12:57] Speaker D: It's not bad. It's not bad again. It's better than I thought it was going to be. [00:13:02] Speaker C: It stand out. I think it's different. So he's the kind of guy, when you hear it and you know it's. [00:13:09] Speaker D: Him, I really feel it wasn't always. [00:13:13] Speaker C: The case back then. [00:13:15] Speaker D: Yeah. For me, I think it's a little too slow. I think it needs to be some BPMs a little faster. For me. It feels like it's dragging, though. [00:13:28] Speaker C: Yeah, I'm sure live. They probably tore it up. [00:13:31] Speaker D: Oh, yeah. I don't know what the beast permitted is on this right at the moment, but it just feels like it's dragging a little bit. Guitar sounds good. [00:13:44] Speaker C: Yeah. See, that's the thing. I never paid attention, so I really want to pay attention to him because, I mean, he did have a name for himself, right. Chris Holmes in that I mean, he was definitely spoken about as a guitar player. I don't think it was only for his antics. I think his actual guitar playing, but I never really actually paid attention to it more the songs. [00:14:11] Speaker D: Yeah. I haven't paid attention to him a lot. [00:14:14] Speaker C: Yeah. [00:14:16] Speaker D: But supposedly him and Eddie Van Halen were good friends back in the day. I think he borrowed his Explorer to record some stuff, from what I gathered. [00:14:29] Speaker C: Nice. [00:14:30] Speaker D: Yeah. So, yeah, I'm curious to see how his guitar stuff is. I'm curious. Well, I'll do lyrics with the first thing. I ride the winds that bring the rain a creature of love and I can't be tamed. I want you because I'm going to take your love from him. And I'll touch your face and hot, burning skin. No. He'll never touch you like I do so look in my eyes and burn alive the truth I'm a wild child come on and love me I want you OOH, OOH my heart's in exile I need you to touch me because I want what you do. I'm a wild child, come and love me. I want you my heart's in exile. I need you to touch me because I want what you do. I want you. The lyrics aren't bad. Yeah. Somebody has you I want you it's typical kind of stuff. [00:15:20] Speaker C: Yeah. [00:15:21] Speaker D: But it could be a lot cheesier and there has been a lot cheesier. [00:15:26] Speaker C: Oh, yeah. [00:15:29] Speaker D: All right, let's continue. [00:15:34] Speaker B: Telling him you run away. Cause I wanna know I'm sure it would let you go. Cause I can turn me on the time of play I'm higher I'm a wild child coming love I want you mom to neck out I need you to touch me cause I want what you do I'm a wild child coming out I want you, mom to neck down I need you to touch me cause I want what you do I want you I want you I naked he machine I want your love when the moons arise will appear. Just what is that? [00:16:53] Speaker D: All right, before the chorus comes in, let me read some lyrics. I mean, chorus solo, actually. So where am I? Okay. Tell me. Tell me the lies you're telling him when you run away. Because I want to know. Because I'm sure it's killing him to find that you run to me when he lets you go. Because I'm burning. Burning. Burning up with fire so come turn me on and turn the flames up higher and then chorus I'm a wild child come and love me I want you my heart's in exile I need you to touch me because I want what you do then it says it again. And then that bridge is a naked heat machine I want your love when the moons arise we'll feel just what it does so it's kind of stock for the time. Yeah, it's very stock. I mean, they're kind of like on the second tier, right. Bands, I would tend to say. [00:17:48] Speaker C: Yeah. I don't think they ever I mean, obviously they never got to the levels of some of the other bands. [00:17:55] Speaker D: No, they're like Dawkin level. Right. Dawkin is on the same level as these guys. [00:18:00] Speaker C: I would had I think Dawkin was bigger. So maybe Docking is like two these guys are like two B. You know what I mean? Kind of, yeah, I would say. [00:18:17] Speaker D: I know he put a big emphasis on his look and they looked a certain way. Right. Because that was kind of the thing to do in 85. [00:18:27] Speaker C: Yeah. There used to be a show on channel nine, I want to say, and it was late. I forgot the name of the show. But it was basically like a heavy metal show, and they did a quick little blurb with him. And he said that when he put this band together, he wanted the closest thing to prison inmates that he could find. [00:18:51] Speaker D: That's funny. [00:18:52] Speaker C: Yeah. [00:18:56] Speaker D: So do we know what Wasp stands for? [00:19:01] Speaker C: So I don't think it really stands for anything from my understanding. [00:19:07] Speaker D: Because on the COVID it's W dot a dot. It's always P. Dot. [00:19:12] Speaker C: Yeah, I read sometime he's like, what does it stand for? He goes, well, a wasp has a stinger, something like that. [00:19:21] Speaker D: Okay. [00:19:22] Speaker C: I don't think it stands for the typical meaning. I'm almost positive. I think it was kind of like an eyebrow razor. Like, what does it stand for? [00:19:30] Speaker D: Yeah, okay. I kind of like it. Like I said, I'm pleasantly surprised. [00:19:38] Speaker C: Yeah, it's a solid song. I don't remember the rest of the record, I'll be honest with you. I wish the production was a little. [00:19:45] Speaker D: Bit more yeah, it's not very punchy. [00:19:49] Speaker C: It's very just exactly. [00:19:52] Speaker D: Okay, well, let's see what Chris Holmes does solo wise. I'm going to back it up and then let's do it. [00:20:01] Speaker B: Sam. Sam. [00:21:07] Speaker D: One thing I have noticed is a lot of reverb on, like, the guitar. It's, like, so reverb that so it feels like it's washing away in the background. And what was the little with the little chimes? Yeah, what was that all about? [00:21:20] Speaker C: Yeah, I guess they were trying to do something different. It sounds like a song like this would benefit from kind of like a rip in solo. Yeah, but like I said, they weren't the typical band, I think, you know what I mean? They would do some stuff like this to try and make it a little bit more interesting, but yeah, it was okay. I mean, I think there was some cool stuff going on. He goes a little fast at times, but it is kind of in the background. [00:21:59] Speaker D: Yeah. I mean, for me, it's fairly stock. It would be what I would expect to be from a lower tier metal band of that. Like, this is where docking and them separate themselves because Dawkin has George Lynch, so obviously guitar player wides, we're not in the same you know, it's fine, it's competent. It's just nothing spectacular for like, if I never heard that ever, I wouldn't be like, oh, I wish I would have heard that. And like I said, the production is really weird. It's very subdued. This, to me, feels like the production is holding this back. To me, this could be a lot more punchy and a lot more in your face, and it's not it feels like there's someone to put a blanket and threw it on top of the not the fact of that it sounds like you're listening through a blanket. Just feels like everything's pushed down by the production. That's what it sounds like to me. To me, it feels like it should be much punchier, but it's not. [00:23:03] Speaker C: Yeah. Honestly, I thought the production was a bit bigger on this one, but I mean, again, it could be the version you listen to, you know what I mean? [00:23:10] Speaker D: Yeah. Whatever version this is, I don't like the production on this at all. [00:23:17] Speaker C: Yeah, it needs bigger production. Honestly, I thought that it had that or less production. Yeah, well, yeah, like I said, it needs to be meteor. And it's funny because when the song first came on and the punch came in with the drums, I was waiting for that boom, and I was like, Wait, where'd it go? Yeah, I'm sure there was a big. [00:23:40] Speaker D: I feel it drags a little bit. It's a little too slow. And between that and the sound is very washy. There's lots of reverb. It's just so washy that I think, like I said, if you took some of that stuff out, you would have had a little bit more punch to it. And I don't really hear much bass. To me, nothing standing out. [00:23:57] Speaker C: Yeah, I don't really hear much bass either. [00:24:02] Speaker D: We got a little bit more to go. Let's finish it out. Let's see if they change it up. I don't think so, but the same. [00:24:08] Speaker B: Come and love me I want you my heart I need you to touch me cause I want what you do I'm a wild out coming love me I want you my heart and exile I need you to touch me cause I want what you do I want you. [00:24:58] Speaker C: That'S another one, right? That fades out on a cool solo. [00:25:02] Speaker D: Yeah, I think the solo at the end is better than the solo in the middle. [00:25:05] Speaker C: Yeah, I would have liked them to something like that. I just felt like that kind of song needs it. Or even if you do something, let's say atmospheric, like they were kind of doing, and then they kind of go into like a second part like that. [00:25:24] Speaker D: Yeah. I don't know, it doesn't do a lot for me. I think I'm going to go first because I need to kind of get this off my chest to get me out of the gather way. Lyric wise, not horrible. I was expecting worse. I'm going to give it seven because it's kind of like right in the middle. Seven. See, I'm going to give it six. I'm going to give it six. That's what I wanted to give it. I was going to try to give it more musicianship. It's competent. That's about all I can say. I'm going to give that a six. And production personally, me, the drums sounded good. There's not a big like 80s gated snare reverb going on, which is weird for the time, right. Which I think the drums don't sound horrible. I think overall it sounds so unpunchy that I have to give it a five just because it's very meh for me. And maybe I did hear this stuff and I heard something like this and went, I'm not even going to waste my time with this. But it's so funny because I know who they are and I know at least two people in the band. I didn't know who was playing other stuff on there. So who's the other guitar player here? Randy Piper. Now, I don't know if this was Randy Piper or I mean, he's basically from Wasp. Has he done anything? Had he had his own stuff, but yeah, I didn't even know who he was. No clue. All right, you can go. [00:27:14] Speaker C: I mean, lyrics are fine, not a big deal. I mean, there's some cool imagery in there, but I'll say a six on the lyrics. I really like the music. I think it's a standout song. I'm going to say, I don't know, production. I'm going to say six. I'm going to skip the music right now. But yeah, I'm telling you, I want to say I heard a version of this where was punch here. So I don't know what version I had, because this song was typically my playlist. I always like this song. I'm going to say an eight on the music. [00:27:55] Speaker B: Wow. [00:27:58] Speaker C: I think it's really good. But the problem is this. I'm going to say eight now because I don't know what else is coming down the pike. So I know I always really like this song. There might be other stuff that's you know what I mean? Out the gate. I just think it's a really good opener. [00:28:22] Speaker D: Yeah. [00:28:22] Speaker C: I really wish it wasn't better. [00:28:23] Speaker D: It wasn't so washy. The production kills it for me. [00:28:25] Speaker C: Kills it. The production I heard here was a good spot. [00:28:34] Speaker D: Yeah. Well, I'm hoping the next song so the next song is called Ball Crusher. [00:28:41] Speaker C: Yeah. Listen, this is the band that had fuck like a beast. [00:28:51] Speaker D: Yeah. Listen, this is the time frame for this. I'm fine with that. I can deal with me some cheesy hair metal stuff. I'm good. But like I said, I've never really listened to them. So this, to me, feels like the first time I'm ever listening to this, because basically it is. And it's been out since almost 40 years ago. Yeah. [00:29:13] Speaker C: Listen to this. I could be on I don't remember the rest of it. I mean, like I said, headless children, I can recite forwards and backwards. [00:29:22] Speaker D: So maybe that's the reason why. Maybe a reason why you don't remember the rest of it. [00:29:28] Speaker C: Yeah. [00:29:29] Speaker D: We are going to see, that's why we do this podcast. Okay, so here we go. This is Ball Crusher. [00:29:48] Speaker B: Wicked. [00:29:49] Speaker D: I think it sounds better already. [00:29:52] Speaker C: Yeah, the production is better on this one. [00:29:53] Speaker D: I like I like the tempo better, so that's a cool riff. [00:29:59] Speaker C: I mean, it's simple, but oh, it's eight. [00:30:01] Speaker D: It's so 80s. It's so 80s riding on the court. [00:30:06] Speaker C: Well, let me tell you that I love that writing, though. [00:30:09] Speaker D: It sounds a little big fan of that. It sounds like a little like early Motley Crue, sort of. Kind of. [00:30:15] Speaker C: Yeah. Well, I mean, this is 85. Yeah, listen, honestly, if you look at the look of that, too, I mean, he looks like Shout of the Devil era, motley Crue, the dress and everything. But Motley Crue in 85 had already gone glam. [00:30:35] Speaker D: Already glam? Yeah. They were already out of that. They were in theater of paint time. [00:30:39] Speaker C: Yeah, exactly. [00:30:41] Speaker D: Okay. I backed it up a little bit. Such a wicked, vicious woman. Black magic voodoo queen lesbo Nymphomaniac oh, she's got a girlfriend that's 17. Bye bye, Ball Crusher bye bye, bye Ball Crusher bye bye, bye bye bye bye Ball crusher. Bye bye bye. Okay, I got the gist. He's painting a picture. It's okay. Again, I take it for the time what it is and what it is. But it's so funny that every time we start listening to records, there's always, even up to this point, there's a mention of 17 year old girls. [00:31:44] Speaker C: Well, 16 year old girl, 15. [00:31:47] Speaker D: Yeah, I know. [00:31:48] Speaker C: Horrible. [00:31:49] Speaker D: Hey, well, didn't Jerry Lee Lewis didn't he marry his cousin that she was 13? [00:31:55] Speaker C: He did something. Yeah. [00:31:56] Speaker D: So that was, like, in the 50s. So there you go. It's been going on forever. Okay, again, I like the pace of this a little bit better. I like the sound a little bit better. I still not hearing a lot of bass. I might have to just kind of, like, listen for that a little bit now. [00:32:14] Speaker C: Yeah. [00:32:14] Speaker D: Okay, here we go. [00:32:18] Speaker B: She win hijack a brand new car. I say AC. She said DC the damn bitches. [00:33:04] Speaker D: Okay, before we get I know where that's going. So stole the rent and drank all my JD. She went and hijacked my brand new car. I say AC. She says DC. The damn bitch is just too bizarre. That last line there feels like they tried to jam that fucker together. They were like, what can we put here? I don't know. Whatever we're doing, we're jamming it right in. So as much as I'd like the speed of the song and the sounds a little bit better, the lyrics, I think, are worse in this song than they never in the first song. But again, it's standard. But this is what was going on back then. This is not anything spectacular or different than what was going on. So if I put myself in the time frame and I take this and I put it against what was around on that time, I mean, yeah, maybe the Motley Crue stuff is better. Maybe the Bon Jovi stuff, as far as lyric wise is better, because this is like on the low brow side of the hair metal thing for me. [00:34:02] Speaker C: Well, this is like again, we talk about the kids and stuff, right? So you're a young kid and you get to say these lyrics out loud, right? You're like, you know, this is cool, man. I get to say bitch. [00:34:14] Speaker D: Yeah, bitch. I say AC. She says DC. I like, it's pretty funny how they fit that in there. And then the bridge part is I call her liar, her eyes burn the flame. [00:34:24] Speaker C: Liar. [00:34:24] Speaker D: The princess of pain. So is this girl a dominatrix? Maybe she is or she's not. I mean, obviously she took it. She hijacked his brand new car. Yeah. You know what I mean? She's out of control. She's out of control. I'm going to back it up just a little bit because I'm sure let's see if Chris Holmes can melt my face off. Let's see. [00:34:45] Speaker C: Yeah. [00:35:17] Speaker D: Mars. [00:35:18] Speaker C: I was just going to say it was reminiscent of. [00:35:24] Speaker D: Sounds like sounds like Mick Mars. If he had a learning disability and he hung out with Eddie Van Halen, but he didn't actually catch anything from Eddie Van Halen. I don't it's it's and it's so far back in the mix. It's so echoed out and so reverbed out. So it feels so washy just because of where it's put and the way the reverb that's on it, it's hard to even hear what the hell is going on. Maybe that's on purpose. I don't know. [00:35:53] Speaker C: Maybe. Well, I don't know. It sounded like at the end of the first song, he was doing some cool stuff. [00:35:59] Speaker D: Yeah. [00:36:00] Speaker C: If that was him. [00:36:02] Speaker D: Yeah. I don't know if it doesn't say who's playing each solo. Right. So I don't know. [00:36:07] Speaker C: I assume it's Chris Holmes. [00:36:09] Speaker D: Yeah, but it's saying the lead guitar is Randy Piper, too, so it could be Randy Piper. I don't know if it's either of them. I'm not a really big right at the moment. [00:36:23] Speaker C: Yeah. [00:36:27] Speaker D: I don't know. All right, well, we're only halfway through the song. The song is only 328, so let's see. Maybe that someone will redeem themselves toward the end. [00:36:36] Speaker C: Yeah. Mild or some at the end. [00:36:38] Speaker D: Okay, here we go. [00:36:47] Speaker B: For us, such a wicked victim. My go. And leave her in my side. I'm gonna say now, Jacob flame I am the daughter of the night. [00:38:18] Speaker D: They even pushed him farther into the back at the end. One even hard to hear. So the next verse is such a wicked vicious woman that hellraiser finally pushed her luck before. I'm going, leaving her in my dust. I'm going to her until she can't stand up. Because obviously you couldn't say that back then. So again, you're right. Like, oh, well, look, we can say the word there when they're not saying it. And I'm sure how much you want to bet that in concert that they use the fuck word. [00:38:49] Speaker C: Yeah, I'm sure they did. [00:38:53] Speaker D: Now, I got to say, I sort of kind of like the little bridge part. Now. There's some vocal things going on in the back. I'm not sure exactly what they were saying. All that other stuff before it goes I call her liar, her eyes burn the flame. Liar. The daughter of Desaid. Do you know who Desaid is? I had to look it up. [00:39:16] Speaker C: Yeah. He was a French normal who was. [00:39:20] Speaker D: Yeah, and erotic writings gave he had erotic writings that gave the rise to the term sadism. [00:39:28] Speaker C: Yes. [00:39:30] Speaker D: So props for pulling some history into his hair metal lyrics. So you can go first. And I want to hear what you say about this. [00:39:45] Speaker C: I mean, the lyrics are stupid. There's some stuff that's funny. It's almost like I want to give it a six because it's funny in certain parts. But if I gave the last one a six, I'm going to say five on this one, maybe even less. I'll say five. I like the music. I think the music is solid. I'm going to say a seven on the music production. I'm going to say six again, I think this is definitely suffering from underproduction, but I think overall, the song is the music of it is good. What do you think? [00:40:29] Speaker D: Lyrics. I'm going to give it around what the other one had. There's some interesting things that he's trying to pull off in there, which I like, that he tried to pull some kind of weird history lesson into things, even though it had to do with the sex part of the whole thing. It's fine. Again, it's the give a pass musicianship. I think I like it better than the other one, so I'm going to say seven. I like the riff, but yeah, production. I'm going to do six again. I think it's a little bit better than the last one, but not by very much. I don't think it needs more production. I think it just needs different production. [00:41:04] Speaker C: Yeah, but even those bridges, right, where even like, if you listen to the toms and everything, I mean, they're just flat. Yeah, it's a very flat because there's too much on them and I think they should be more powerful, but he's kind of detracting away from that. Listen, again, I think the band should have the final sign off, so I mean, if this is what they were going for, I don't know, but maybe it was again, hey, let's try to do something a little bit different, maybe. [00:41:38] Speaker D: And who knows how much control they really had anyway? Who knows? I think their first record did decent, right? So they got to make another one. So this could be it's a sophomore thing. You got probably a lot less time to write music. [00:41:55] Speaker C: Listen, these guys have a lot of records, you know what I mean? They have to have at least ten studio albums, so I would say, well. [00:42:04] Speaker D: How many and they're still touring. Yeah, but how many are the original band from this time? There wasn't that many from I think. [00:42:09] Speaker C: It'S just Blackie Lawless. [00:42:11] Speaker D: Yeah, pretty much. [00:42:12] Speaker C: But I think he was always the main guy anyway. Of course. [00:42:20] Speaker D: Well, the next one calls Fistful of Diamonds. [00:42:24] Speaker C: I remember this song, too. [00:42:26] Speaker D: Okay, cool. Let's see. Two big New York banks posted strong second quarter earnings despite increased loan loss reserves. J. P. Morgan had a 52% gain, while Chase Manhattan's profit rose 45%, adding. [00:42:40] Speaker B: Fresh ammunition to his 8th month effort to take overload. [00:43:06] Speaker D: The drums just sound so met and neat. They're anemic. Yeah, it's just there's no punch, there's nothing. It's just they're there even the Snare. [00:43:14] Speaker C: Hits at the beginning. Just my headphones. You're saying it, too? [00:43:17] Speaker D: No, the Snare hits are just like you heard him hit it, but it wasn't even like, Snares. I don't know. So this is the guy that did quiet rides thing. Like, I don't even understand this. [00:43:29] Speaker C: Yeah, the drums are definitely punchier. [00:43:33] Speaker D: Better. [00:43:33] Speaker C: It could be the drummer, too. I mean, that was also Frank Benally playing. [00:43:40] Speaker D: All right. [00:43:41] Speaker C: You know what, though? If you think about mean, do you remember when we did Cockton Loaded? There was a similar drum sound. I mean, remember we were saying how the drums were anemic and everything. So, I mean, maybe it's part him, too. [00:43:58] Speaker D: Yeah. [00:44:01] Speaker C: Was it Tom Mormon that did that one? [00:44:03] Speaker D: Yeah, I think so. [00:44:04] Speaker C: I forgot who did that one. [00:44:06] Speaker D: Yes, Tom Mormon. I'm pretty positive. You're right. All right, I'm going to back it up. Let's see. Let's see how we can save this, hopefully. [00:44:20] Speaker B: Money makes me crazy money drives me insane diamond, silver don't let Christ I feel I want it out it's my claim I hold my hand out I take it out I wanna I live on the glory I made I wanna man, the day I surprise my name. [00:45:02] Speaker D: Okay, that's not horrible. [00:45:05] Speaker C: No, I'm telling you, man, they're not a bad band, man. And his voice there's a lot of passion in his voice. [00:45:12] Speaker D: I think it's definitely different than other stuff. [00:45:16] Speaker C: I heard a little bass in there, too, I think. A little bottom end bass, like very low. [00:45:24] Speaker D: So here. Money makes me crazy money drives me insane diamond, silver, gold and precious steel I want it all it's mine to claim I hold my hands out I take it all I want a fistful fistful of diamonds I live for the glory and fame I want a fistful fistful of diamonds the millions are calling my name so obviously it's about obviously about money and what it does. Obviously, this is fairly straight ahead. He's not trying to hide anything. But I could say one thing. His voice is very unique. So you know it's wasp. By listening to the voice, I think you could take everything else out of it and stick his voice on something else. You would think it's wasp. Yeah. I mean, the music is very early. What they would call heavy metal at the point. Right. It wasn't hair metal at this point here. It's heavy metal. [00:46:15] Speaker C: Yes. [00:46:16] Speaker D: The hair metal thing only came later. So I usually rail on the late 80s being so crappy. But this, to me, is crappy in a different way. Again, it's like you said, it's the third tier of heavy metal at that time from what was going on. [00:46:33] Speaker C: To me, like I said, it's kind of like a two B or two B, I guess. [00:46:41] Speaker D: There's a reason I really didn't like this. Maybe the production doesn't help for me, guitar playing wise, that would never do anything for me. I like some of the melodies are okay. I think his voice is okay. But short of that, for me, there's not very much that I personally like here. And it's probably why I never listened to them back in the day. But I'm willing to listen. I don't really have a preconceived notion of them because I don't really know very much. I know who they are. I know a little bit of history of what they are, but I don't know any records or any albums at all. But obviously I know who they are, so I don't remember any of us listened to this that I remember us listening to. [00:47:30] Speaker C: No, I mean, like I said, my cousin listened to it, but I didn't really listen to like, I knew songs here and there, but then, like I said, when Headless Children came out, I read about it, actually, in Italy in a magazine, and it sounded really interesting, and I got it. I'm like, wow, this is actually really you know, I went back to some of the older stuff and I'm like, oh, this isn't bad. I don't think it's as good as that, but you can definitely hear that sound. [00:48:01] Speaker D: Yeah. Production is killing this for me. Even if it was, if I'd liked a little bit better the music and the lyrics, just production is crappy. [00:48:10] Speaker C: Yeah, it's definitely flatter than I remembered. I mean, like I said, super flat. I swore I heard a better version of but I don't know, maybe on. [00:48:20] Speaker D: Vinyl, just maybe it sounds better there. [00:48:23] Speaker C: Yeah. [00:48:24] Speaker D: All right, here we go. [00:48:28] Speaker B: Come here. To me it's power that rules the game the death and I silver and all this green I live it out I damn the shame the root of all evil can hear me call. I want a fistful. Fistful. I die. I live by the glory of fame. I want a fistful. Fistful. I die. The million of calling my name solitaire, come cast the smell of magic the smell of green I stack my dad intoxicated my freaking hat a famous place. I get what you can buy. [00:49:26] Speaker D: Okay, so let me read some lyrics and we can talk about that. Fortune come here to me it's power that rules the game seduction of silver and lawless that's pretty funny. Lawless, greed, I love it all damned ashamed the root of all evil I can hear me call and I meant back to the chorus. I want a fistful of diamonds I live with the glory and fame want a fistful fistful of diamonds the millions are calling my name and then I guess this is Bridge. Solitaire come cast a spell of magic the smell of green I stack my dollars high intoxicating my mind's wreaking havoc a famous face I get what you can't buy his voice reminds me of something, and I can't tell you what it reminds me of. Reminds me of somebody else, but I don't know who. [00:50:16] Speaker C: So the funny thing about him, he was born in Florida, but he was raised in Staten Island. [00:50:21] Speaker D: That's really New York, I think, a little bit. Yeah. I just for he's I think he's friends with Ace. Really? He was a big friend his back in the day. [00:50:33] Speaker C: Yeah. [00:50:35] Speaker D: I remember reading something about him knowing him before they were signed and all that kind of stuff. So he's been around a while. He didn't get into it much like Twisted Sister, they didn't get to it until, like, ten years after a lot of other people got picked up already, you know what I mean? So he's kind of ten years behind everybody else. I mean, I think that I like the lyrics better in this song than even the last one. I think they're better. Again, production, for me, is just killing the whole thing. And I don't know, I like different guitar players in this. To me, like I said, this is a low grade Mcmars. Mcmars is a really good guitar. I really like Mcmars. I think he's an underrated guitar player from that time frame. I think he gets lost sometimes in the Motley Crue Circus. That's motley crue. [00:51:29] Speaker C: Yeah. [00:51:29] Speaker D: But I don't think they would sound as good with a different guitar player, I don't think. And here it feels like it wants to kind of be like, you know, they're doing all this stock metal stuff for the time. Right. But I don't know, for me, as a guitar player, I'm sure even the drums for you, this is not very inspiring for me. I don't listen to this and go, I need to play Wasp. I need to do what think I. [00:51:54] Speaker C: Think they're decent songwriters, though. I mean, none of it's been bad. [00:52:00] Speaker D: No, it's decent. It's decent. But to me, it's on the lower. And I'm not a big Dawkin fan either. Huge Dawkin fan. But I know more Dawkin. But I know more Dock, and I know dawkins better than them. [00:52:10] Speaker C: Well, I mean, Dawkin also had George Lynch, you know what I mean? [00:52:13] Speaker D: So it's like well, there you go. No, but I just think in general. [00:52:17] Speaker C: Dawkins got a good voice. [00:52:19] Speaker D: Yeah. And I think that their songwriting was a little bit better. That's why they're probably the two A and not two B. [00:52:26] Speaker C: These guys are I would say docking is like two and these are probably like two way, if I had to. [00:52:33] Speaker D: Is that what you think it is? [00:52:35] Speaker C: Well, yeah. Listen, there's parts of Dawkin that are definitely one, without a doubt. I'm just talking about fame, like, popularity wise. So that's how I'm kind of I would probably base this, because, again, growing up and listening to this music, you knew who they were, of course. You know what I mean? Whether or not you knew their songs, you knew who they were or they. [00:53:05] Speaker D: Were in the magazines all the time. [00:53:07] Speaker C: Yeah. They were in this. And again, whether or not you whatever, they did enough to kind of keep their names out there, I just don't think they ever achieved the level. [00:53:19] Speaker D: Yeah. [00:53:23] Speaker C: I'm not saying obviously, they weren't like the Bon Jovi, Poison, whatever, but I mean, they had a few hits. [00:53:31] Speaker D: Yeah. [00:53:32] Speaker C: Whereas these guys, I don't know that. [00:53:35] Speaker D: I don't think so. [00:53:36] Speaker C: Like, a mainstream hit? [00:53:37] Speaker D: No, I don't think so. Not that I know of. But again, I'm sure there's a lot of people who love this and went to the shows. I'm sure because they were popular enough where they had a bunch of records in the 80s. So if they weren't selling anything, they wouldn't have gotten a chance to do anything. [00:53:51] Speaker C: No, exactly. Yeah. So they must have been selling. Yeah. I'm not going to sit here and say, oh, my God, this shit is fucking awesome. No, but it's not bad, though. I listen, whatever say. Take this any way you want to. I will take this over last week, any day of the week. [00:54:10] Speaker D: Yeah, that's where you and I differ. [00:54:14] Speaker C: I would take this any day. [00:54:15] Speaker D: There's parts of this I'm just like. [00:54:17] Speaker C: Yeah, I believe. Yeah, but I don't know. [00:54:23] Speaker D: This is a gold. It sold 500,000. [00:54:27] Speaker C: Yeah, I was just going to look that up. [00:54:29] Speaker D: Yeah, 500,000. [00:54:31] Speaker C: Yeah. [00:54:33] Speaker D: Okay. [00:54:33] Speaker C: Again, do I think it's oh, my God. Mark, would you crazy. But it's not bad. It gets the head banging a bit. [00:54:44] Speaker D: Yeah, I agree with that. All right, I'm going to back up. [00:54:46] Speaker C: We've heard worse on this podcast. Listen, there may be worse coming down the pike. [00:54:54] Speaker D: This is very true. There's some bad stuff on there, man. [00:54:56] Speaker C: I really don't remember what I'm saying. Even on this record. [00:54:59] Speaker D: It could be yeah, I don't know. All the if it's like every other record we've listened to, the second half is not going to be very pretty. [00:55:07] Speaker C: Yeah, maybe they who knows? Maybe this one will surprise you and. [00:55:10] Speaker D: Be hey, you never know. All right, I'm going to back it up and let's see what someone does. [00:55:19] Speaker B: It SA levi strong to study a 1.4. [00:56:06] Speaker C: Soft economy. [00:56:07] Speaker B: The strong dollar. [00:56:14] Speaker D: That was better. It was better than the other two, I thought. [00:56:19] Speaker C: Yeah, and you can those are two different leads. I would yeah, I think so. [00:56:24] Speaker D: Yeah. I was going to say it sounded like two different guys. I don't know who's who. [00:56:29] Speaker C: I don't know either. Listen, I haven't been impressed. To me, it's definitely not about the guitar play, you know what I mean? Or necessarily either the individual musicianship. I just think the songs are bad, you know what I mean? They're listenable. I mean, God knows we've listened to some stuff where it's like, yeah. [00:56:57] Speaker D: Again, this to me, is what I expected. [00:56:59] Speaker C: It is going to be yeah, it is exactly what it is. You know what I mean? [00:57:07] Speaker D: All right, we're almost done with this, so let's continue. [00:57:14] Speaker B: I live on that glory I want a fistful I never the million in my name this fall I live out the glory and faith I wanna be like dam it's three for three on. [00:58:09] Speaker C: The fade out with the solo. [00:58:11] Speaker D: Yes, three for three. I'm I'm a sucker for the fade out because you never hear fade outs anymore. So now I hear fade out that's kind of interesting. I like fade outs. All right, so I think I'm going to give it seven on the lyrics. I think I like these lyrics better. I like the melody in the chorus. I think I'd like his vocals. I think, for me, throughout the whole thing, I think his voice is very unique. I kind of like his vocals more than I like anything else in this. I think I'm going to give the music a seven. I can't give it any higher than a seven. Seven even pushing it. To me, I'm giving a seven based on this whole record so far, as opposed to compared to another record, because if I compare it to some other record, I probably give it a five. It is what it is. [00:58:58] Speaker B: Production. [00:59:01] Speaker D: Production. I'm still doing a six because for me, the production is killing this record. Killing this record for whatever's going on here. Again, it sounds so unenergetic. It sounds like they didn't capture the energy, if there was any energy. It's not getting put forth in the production at all. It's just I think that's killing it more for me than anything. I think if the production is a little better, it would be more middle of the road for me. [00:59:35] Speaker B: Yeah. [00:59:35] Speaker C: Lyric. Well, I give the last one a five. I'm going to say six on the lyrics. I really like that last verse. I think it's really good. Ah, I gave the last one a six. Seven on the music better. [00:59:53] Speaker D: Do you like the music better? I mean, it's at least as good as the other one for me, so. [00:59:57] Speaker C: I give it's not bad. Yeah, fuck it. I'll say seven. Say seven on that. Yeah. Production is a six. [01:00:03] Speaker D: Again, I don't think it's going to. [01:00:06] Speaker C: Get again, like I said, again, I don't remember all the songs. I remember this one and the one before, and I remember saying, no, these are pretty good songs. Again, these are not songs. I'm like, oh, my God. But listen, there was better back in the day and there was worse. It's like any time frame, right? But I do like the fact that they do have kind of like that metal sound, which I can appreciate. It's like the simple, straightforward metal. [01:00:37] Speaker D: Well, I think it kind of got more commercial after this kind of stuff, because I think the stuff started to be Bon Joviish kind of stuff. That's where it started to get really commercial. And we're super duper popular. No, this is less of the hair metal and more even though it's in the same genre, this is more of the heavy metal that you would hence what I'm trying to say. I would know you put this in the Judas Priest category of the time frame. Not as good as Judas Priest, but in that genre of what it sounds like. And the Jewish priest people are going to be probably trying to say, because. [01:01:19] Speaker C: I was thinking the same thing. I mean, I'm just thinking of, like, metal, you know what I mean? Not what would become defined as hair metal, but just metal. And to me, that's what this is. And it's kind of cool in that regard. It's not as shitty as I think. I mean, I think they're pretty decent songwriters. Again, it evokes a time, too, man. We just kind of fucking raise your. [01:01:50] Speaker D: Fist and yeah, well, it's it's it's definitely before this stuff becomes very became very popular. Yeah, it's before this became super duper popular. Super duper polished. I mean, you could almost say that maybe the songs were better at that point, but if you like this, you may not like what's coming down the pipe in two. [01:02:16] Speaker C: Think about even if you take the first Two Miley Crue albums, right? Like, to me, those were especially, like, Shout Out to Devil. It's just like metal, you know what I mean? It was kind of like before. Obviously, they. [01:02:31] Speaker D: I take Tom Worman production over this seven days a week, all year round. [01:02:36] Speaker C: Listen. Tom Worman on Shout of the Devil is that's listen, I haven't listened to it in a while, but if it comes up here and all of a sudden I listen to it, I'm like, what was I thinking? If not, I think that album, for what it was, had perfect, like, it was dirty sounding, you know what I mean? But it wasn't flat. [01:02:59] Speaker D: Now, this is flat. [01:03:01] Speaker C: Yeah. [01:03:03] Speaker D: Super flat. All right, well, the next one's called Jack Action. I don't even want to know what that means. Okay, here we go. [01:03:14] Speaker C: Yeah. [01:03:35] Speaker D: Now, even the cowboy sounded dinky. It sounded dinky. It's like someone recorded it across the room. Yes. The guitar sounds a little bit better. There crunch to it. I don't have a problem with the guitar tone in generally, the lead tone. I don't really particularly like either of them. [01:03:53] Speaker C: I don't like the leads at all. [01:03:55] Speaker D: But not even the playing. Just the sound is really I don't like the sound, honestly. [01:04:00] Speaker C: The solos themselves haven't been no. I think the fade out solo on the first song so far, from what I Can remember, has been the best thing solo. [01:04:09] Speaker D: I can agree with that. [01:04:12] Speaker C: I'm not a guitar player, but I feel that even I haven't been all. [01:04:20] Speaker D: The outro solos to me have been better than the main solos personally. [01:04:24] Speaker C: Yeah. [01:04:25] Speaker D: So I'm going to back this up a little bit so we can get back to the lyrics. But I'm liking the guitars in this, but the drums like, that cowbell sounds like someone recorded it from, like, 50ft away. Couldn't you put a mic right on it? [01:04:38] Speaker C: That was bad. I agree. I totally agree. [01:04:41] Speaker D: I don't know what they're doing there. All right. [01:04:46] Speaker B: I've been out all around I feel there everywhere he killed my bed today with a gun I can hear now he can run when I'm looking for looking for Jack Action to get my satisfaction looking for Jack Action I can look. Damn noise behind it. [01:05:46] Speaker D: What was that? I don't even know what the fuck that was. [01:05:49] Speaker C: I was just kind of thrown off by the chorus. The chorus just felt like it was from a different song. [01:05:55] Speaker D: Chorus sucks. [01:05:56] Speaker C: Yeah, that chorus was really bad. [01:05:59] Speaker D: I thought that the idea in the verse was good. I don't know if it was executed great, but some of the stuff felt a little forced. [01:06:10] Speaker C: That chorus really felt forced. [01:06:12] Speaker D: I don't know where that I've been uptown all around I've looked here and there everywhere he killed my babe today with a gun I'll get him now he can't run well I'm looking for looking for Jack Action so is Jack Action the guy's name? [01:06:28] Speaker C: I guess so. Or his nickname Jack Action. [01:06:32] Speaker D: I just have to even see there's such a thing as what Jack Action is. I'm assuming Jack Action is the actual person. I assume so. I'm looking for Jack Action I'm looking to get my satisfaction I'm looking for Jack Action I'm looking yeah, that's not great. No. But the melody itself was yeah. Again, his voice is okay. [01:07:03] Speaker C: Different. Yeah. I like the riff. Again, just very simple. But I do like that. And I mean, again, the production, I think, on the verse is better. It sounds a little bit fuller. [01:07:18] Speaker D: The drums are still sucky and the bass is pretty much nonexistent for me. [01:07:23] Speaker C: Yeah. You know, when you hear the bass when he does what do you call it with the symbols, then you can hear it because he's like, all right. [01:07:33] Speaker D: I'm going to listen. Here we go. [01:07:35] Speaker B: I can't believe she's going to wear you better run you know I don't play my life is on the road look at Jack now here's my girl when I'm looking for looking for I'm looking for Jack Action to get back that is factor looking for Jack Action I'm looking with walk away. I must do it. He's all mine my bullet and his life is mine to claim it now it's time. [01:08:50] Speaker D: All right. That's very sucky. I'm not liking this song at all. I don't know. Everything feels like it's jammed together. That chorus does not fit the rest of the song. I don't know what the fuck is up with that. So here's the verse now I can't believe she's gone away he better run you know I don't play took my babe my life he's on the run look out, Jack now here's my gun yeah. Actually, the best part of the verse is the looking for looking for that end part. That's the best part of the song. And then this chorus is back to the same thing, which sucks. And then the bridge even the bridge was kind of weak. It didn't really help. Like, if it wasn't there, it'd probably have been better off. Oh, no. A man with the water wage I'm a suicide brigade he's mine, he's all mine my bullets are bearing his name and his life is mine to claim it's time now it's time so I'm just going to back that up to the end of that because there's some weird little sound thing going on right before the solo. I'm not even sure I'm really not sure what the fuck I appreciate. They're trying to make some kind of an imagery here about this guy killed his girl, so now he's going to go, this guy Jack Action, killed his girl, so now he's going to go and get this guy. But yeah, it's not a very good song. [01:10:11] Speaker C: Yeah, like I said, I like that main riff, but the rest of it's low. [01:10:16] Speaker D: Yeah, I don't know if we can say that. All right, so here we go. Solo time. [01:10:23] Speaker B: It sam OMERS. [01:11:03] Speaker D: The second guitar player is the better of the two. I'm not sure who the second part the second part was better than the first part. The first part, that's like if you just started playing guitar for a couple of years and you wanted to put a solo down, that's what it sounds like. This is very uninspired. The vibrato is very weak, the note choice and the phrasing is weak. It's just weak. Second guy, at least it's a little bit better. Sounds like whoever that guy has been playing guitar a little bit longer and you can tell. It just sounds a little bit better. But overall, still not anything to write home know you want to talk about. And I'm going to bring one of my favorite guitar players into the know. People say H freely can't play. He's sloppy. Ace freely slays these people on the ground. So if he sucks, right? If people say he sucks, what are these guys? I don't even understand that's. Not even about playing fast. It's not even very memorable. You forgot about the solo. As soon as it's done, there's nothing that brings you back to say, oh, I remember that part. No, there's nothing to remember. See, this is what I was afraid of. I was like, this is what I was hoping it wasn't going to be. But as per normal on our podcast, once you get past track three, it's either going to be okay or it's going to start to fall off the cliff. And I'm starting to think it's falling off the cliff. [01:12:37] Speaker C: Yeah. Again, I think it had after the dinky, little dink dink dink. I like the riff, and I thought the production had potential. I do still like that part of it, but yeah, it's kind of like all over the place. [01:12:54] Speaker D: I'm going to back it up a little bit and see and see what's? I mean? It's not a short song either. 417 so it's long for them. So there's another verse, I think. So. Here we go. [01:13:09] Speaker B: Action. Where are you? It's been too long since I know won't give up on you till I'm done you'll be dead soon you can't run I'm looking for looking for I'm looking for Jack Actor to get mad satisfaction I'm looking for Jack Actor looking for Jack Actor. I'm looking. [01:14:21] Speaker D: Guess he got him. I mean, he's been looking for this guy for a while. He's obviously having no luck. Now, I have a question about this lyric. Jack. Action. Where are you? It's been too long since I've known what does that mean? Since he's known what? [01:14:37] Speaker C: Where he's been, I guess I guess. [01:14:41] Speaker D: I think that's where he's he's not very good at finding this guy. [01:14:44] Speaker C: Won't give up on you well, maybe Jack Action is just really good. [01:14:48] Speaker D: Maybe. He must be really good. With a name like Jack Action, you got to be really good. [01:14:52] Speaker C: Yeah, exactly. [01:14:54] Speaker D: Won't give up on you till I'm done you'll be dead soon you can't run no, because I'm looking for looking for that's the best part. I don't think the riff and the verse is bad, but they're two different songs. I don't know what's going on for the chorus. [01:15:07] Speaker C: Yeah. It's just weird. So you can actually buy this on vinyl? On Etsy. [01:15:14] Speaker D: Good. What am I going to do with that? That's my question. [01:15:20] Speaker C: Listen, I already have it on vinyl. [01:15:23] Speaker D: Lucky you. Yeah. I'm going first. Jack action lyrics. There were some ideas that are good, but I think this is the worst so far. I'm getting that a four I don't like. I don't even want to know. The funny part is they gave him a name and it's Jack Action. Like, I don't know. If you had to pick any name to give, somebody would be Jack Action. [01:15:51] Speaker C: Jack Action is like one of those streets of video action movies from, like, Jack Action. [01:15:58] Speaker D: Yeah, jack action. [01:16:03] Speaker C: Jean Claude Van Damme is Jack action. [01:16:07] Speaker D: Jack Action musicianship. Six. I like that riff in the verse. And the second half of So is okay. Everything else sucks. The big one. And production still doesn't help this. I mean, the guitars sound okay on this, but I'm still saying six. It doesn't help this and that. Horrible fucking cowbell. Horrible cowbell that they couldn't even kind of put the mic to the right onto the cowbell. It sounds like they recorded the cowbell from across the room. [01:16:55] Speaker C: Maybe that was Jack's Action playing it from far away. [01:17:00] Speaker D: You think so? [01:17:02] Speaker C: I don't know, man. Yeah, that was very like, Chintzy Dink. [01:17:07] Speaker D: It was bad. [01:17:10] Speaker B: I got to have more cowbell, baby. [01:17:12] Speaker D: Or even good cowbell. [01:17:14] Speaker C: Yeah. [01:17:18] Speaker D: Okay. So what do you think? [01:17:24] Speaker C: I don't know. Lyrics. There's a couple of lines. I'm just going to say six in the lyrics. I've given five to other stuff that I liked. Yeah. Music. I mean, I'll say six, too. And again, it's just really for that riff. [01:17:46] Speaker D: That's the only reason I gave it a six. [01:17:48] Speaker C: Yeah. So production. I'm going to say a seven on this one. Only. Because I like that riff. And I think this is the fullest that it sounded so far. So just because I'm bad, the other stuff was I just want to say seven on this one, because I think that part of it. They captured well, and that's the only reason. Well, because it sounds fuller. [01:18:16] Speaker D: I have hopes for the next song. It's the last one on this side. Widowmaker. I like the name of it. I'm hoping that it can maybe end the size strong and not and not suck the big one like the last song. All right, here we go. Maiden. Yeah, that's what it sounds like to me. [01:19:04] Speaker C: Yeah, I can hear that. [01:19:06] Speaker D: Yeah. Listen, they got some sound effects going on, and they have used that in a couple of other songs, too. They use sound effects in a couple of things so far, which is kind of like the time. It's kind of like the time, though. A lot of people were doing that, too. [01:19:19] Speaker C: Yeah, but I mean, if you listen to their stuff, he experiments. I mean, the further he goes along with voices and sounds. So he's always been big into stuff like that. [01:19:31] Speaker D: Well, it kind of makes sense with the visual, I think. All right, here we go. Before we go, those drum things, couldn't they be bigger? Couldn't they sound up in your face a little bit more? Why? They sound like they recorded a million miles away. [01:19:58] Speaker C: Well, listen, for this part, I'll forgive them because I understand, but without a doubt for the other stuff where it should be, like, slamming and it's not that's unforgivable. I'll give them a pass on this because let's see where this is going again. I know I've heard all these songs. I just don't remember. I remember the first, the first and the third for sure. The second one kind of this one, I remember the name, but I don't remember this part of it. [01:20:28] Speaker D: I like the name, so maybe it'll be okay. We'll see. [01:20:31] Speaker C: Yeah. [01:20:53] Speaker B: Close. Saints away the hand doing. I've seen the tears that fall like rain for waste and all the ruin a shadow has to fall from me on you I have to claim all that my wrath is blind the balance is where you hang I'm the widow maker I'm the widow maker, the father. [01:22:10] Speaker D: What do you think of that? [01:22:13] Speaker C: I think there's a good concept in there. I feel the execution is a little weak. [01:22:22] Speaker D: Yeah, there were things I was expecting to happen. It didn't happen. [01:22:24] Speaker C: Yeah. There was a big build up from the intro. Right. And it went right into the quiet verse. I'm like it was so jarring, and I just think they should have kept with that riff because it's a cool riff in the beginning, and they build it up and then they just stop for the verse. I'm like. I think the verse is cool. I mean, I think the melody is good. But again, honestly, I feel like the Gurton's heart is faded and to the left side only. It's weird. I feel like I don't even hear it on the right side. [01:22:57] Speaker D: I have to pay attention. I wasn't paying attention to that. [01:22:59] Speaker C: Yeah, it could have just been me, but I just feel like a little more, umph yeah. Because he's singing his heart out. Right. I feel like in every song, he's singing his heart out in every song. And he's big, but the music needs to be bigger with him. [01:23:20] Speaker D: Yeah. [01:23:21] Speaker C: It's not the chorus just kind of like well, obviously there's a cool concept there, though. [01:23:31] Speaker D: This is about the American Indians, right? American Indians, I assume. [01:23:35] Speaker C: Well. [01:23:36] Speaker D: A thousand years I've roamed the plains and waved the hand of doom. I've seen the tears that fall like rain from the waste and all the ruin the shadows cast that falls for me on you. A time to claim all that's mine. My wrath is blind. The balance is where you hang. I'm the widowmaker. I'm the lord of the wings. I'm the widowmaker. So it's going into that iron maiden territory? Sort of. I mean, there's not a lot of lyrics to this. There's not a lot of lyrics on this song for something that's five minutes and 18 seconds. [01:24:11] Speaker C: Yeah. I mean, apparently just about all destruction, not just that. [01:24:15] Speaker D: Oh, is that what it is? [01:24:17] Speaker C: Well, I'm reading one person's interpretation. [01:24:22] Speaker D: All right, well, let's continue. Let's see what it does and it's never heard. [01:24:27] Speaker B: Fall down upon my ear madness, rage and wars I've seen a million year the smell of sorrow fill the field and lingers in the sky the litter crown will swallow down the thousand fill my eyes I'm the will make a lot of the way. I know it's. [01:26:08] Speaker D: Well again, I think, like, the same thing I said in every solo. When this is a thing, it's just it's not very memorable. It wants to be melodic, but it's just not really very good. There's possibility here. Right? [01:26:23] Speaker C: Yeah. [01:26:24] Speaker D: But I think it just falls short, and whether that's on the band or on the producer or on whoever, I mean, I think it may sound the best out of all the songs, maybe. [01:26:36] Speaker C: Well, it's definitely the most up front. Right? Yeah. I would say, because all the other. [01:26:41] Speaker D: Ones feel like they're not up front at all. [01:26:43] Speaker C: Yeah. They're, like, pushed off. [01:26:48] Speaker D: So the cries of sadness never heard fall upon my ear fall deaf upon my ears the stench of madness raging wars I've seen a million years the smell of sorrow fills the fields and lingers in the sky the littered ground will swallow down the souls that fill my eyes and then back to the chorus. So I think lyric wise, I mean, it's not horrible. [01:27:10] Speaker C: No, it's pretty good, the lyrics. [01:27:13] Speaker D: Yeah, I think that you're right. If they would have kept the riff going through that verse, because I think that's what I was expecting. I mean, listen, maybe they did it on purpose. Like, oh, let's just bring it down to nothing. It's going to freak people out. I'm like, but does it make the song better? [01:27:28] Speaker C: No, which is fine. Again. All right. So forgiving that part where it just kind of stops and it doesn't I don't think the verses are bad. The melody is bad. I just wish it again, just had a little bit more. Like you could barely hear any guitar really in it. It just needs to be a little bit yeah. And again, in the cases like this, when we complain about the production, you say to yourself, well, is it fully the producer's fault? Is it the band saying, this is what we want it to sound like? [01:28:02] Speaker D: I don't know. I think Both had to take fault on this. It's not just one guy, I don't think. [01:28:10] Speaker C: And listen, production wasn't great on everything back at this time either, right? [01:28:14] Speaker D: No, of course not. [01:28:16] Speaker C: I listen to Dock and Tooth and Nail is, like, one of my favorite Docking albums. But the production is weird. It's kind of dirty and almost raw to the basement. Raw. [01:28:30] Speaker D: It's weird. [01:28:31] Speaker C: It's still got, umph you know what I'm reading? [01:28:34] Speaker D: I'm reading the thing. It's saying it sold a million copies. Sold over a million copies. But at the bottom of this, like, we were talking about Wikipedia before, it said it was only gold. So was it platinum? [01:28:46] Speaker C: Maybe only in the US. It was gold. [01:28:49] Speaker D: It's only showing three certifications, 50,000 in Canada, 20,000 in Finland, and 500,000 in the United States. But they're saying that it went to number 45 on the Billboard 200 in early 86 and sold over 1 million copies. Maybe it never did. Who knows? I don't know. I'd have to look up the actual certification that they're going to say, here last command by Wasp. Is it saying if it did that? I'm not sure. [01:29:38] Speaker C: I mean, it had to do decently, right? I mean, they were getting albums. [01:29:45] Speaker D: Yeah. All right, while we looked at it. [01:29:49] Speaker C: I'm reading it sold over 1 million copies. [01:29:51] Speaker D: Okay. Must been starved for music in 1985. That's all I can say. [01:30:01] Speaker C: Come on, it's not that bad. We heard a lot worse back then. [01:30:06] Speaker D: Yeah, it's not great. [01:30:08] Speaker C: Yeah, listen, it's not like it's not whatever. But, I mean, what's this overall? 12 million? [01:30:20] Speaker D: Okay, let's continue on the way I'll. [01:30:25] Speaker B: Make a lie of the way that I'm the will make ALM you without me I'm the way. [01:31:21] Speaker D: Sam I don't know. Now, see, I was looking over here. They they estimate they have sold over 12 million records worldwide, but they're saying the last in command being certified as gold. So I don't know who's right. Is it gold? Is it platinum? I'm not sure. [01:31:59] Speaker C: Either way, I would think it probably sold a million. Like I said, they were always out there, right? You always heard their name out there and they've made 15 albums. I looked. [01:32:16] Speaker D: Yeah. [01:32:21] Speaker C: Again, you're not going to ask the average person, even back in the 80s, whether or not they may have heard of the name, but if you ask them to name a song, they probably wouldn't be able to. And I'm talking about your Z 100 listeners. [01:32:39] Speaker D: Yeah. Well, no, obviously that music hit to a different level than yeah. [01:32:43] Speaker C: But it was also more polished, it was more commercial. Right. I mean, this isn't really meant to be commercial or I mean, again, it's just metal. [01:32:54] Speaker D: Yeah, I guess. [01:32:56] Speaker C: Was there any more lyrics? No. [01:32:58] Speaker D: Right, hold on. No, there's no more lyrics. That was it. Yeah. For a five minute song. It doesn't have a lot of lyrics in it. [01:33:07] Speaker C: No. Well, the intro was kind of long too. [01:33:09] Speaker D: Right, yeah. Well, let's see. I think the lyrics aren't bad. I'm going to give lyrics a six. I'll give lyrics a seven. I think he tried to create some imagery there about war and all that kind of stuff, so that's not bad. It's definitely better than the lyrics. Prior musician slip. Again, it doesn't do very much for me. I could take this and leave this. This is probably why I never listened to this, because I probably heard some of it back in the day. I said, yeah, I'm not even wasting my time on this, because for me, it wasn't especially guitar playing. Wise just doesn't even think I was I wasn't even playing guitar then, so I don't know, but looking at it back now, it's like, oh, my God, it's not great and I don't know. So I'm going to give it a seven on the musicianship because I don't think it's bad. The solos are just very, eh nothing I remember about them. The technique's not great sound I don't particularly like. They don't do anything for me as a guitar player, it's whatever production still six. I'm not going to go higher than that just because I don't know. The choices are just so poor all over on this song, too. You could have kept that going. Like, if that was an Iron Maiden song, they would have kept the heavy thing going through the verse and would have been a little more we're comparing apples to oranges. Iron Maiden is a better band than them. It is what it is. I mean, what else are you going to say? It's truth. So they're better songwriters, they're better musicians overall. Right. Like, the difference between hearing Iron Maiden solos and hearing this is. [01:35:02] Speaker C: They'Re not. [01:35:03] Speaker D: Even the same league. So I don't know what I'm expecting to hear, but it does zero for me. Zero. This is just like you with the with the other thing with the with the blink one, eight, two. I'm on the downside of this. I just don't know. I don't know if side two is going to get any better, but I don't know, it's rough for me. This is almost treading into late 80s hair metal territory because it's like mid eighty s. I want to be heavy metal, but I just can't be because maybe the players are just not good enough. I think he's okay. I think if it was him and he had better musicians around him, I think it would have been better. That's just what it comes down to for me. Yeah. I mean, the drumming is not great. [01:35:53] Speaker C: Well, geez, guys kind of worked the forefront of the because they came out in 82, I think. Or they were formed in 82. In the first album was 84. This is 85. [01:36:02] Speaker D: Yes. The next year, again, back in the. [01:36:05] Speaker C: Day, I'm sure they did right. [01:36:07] Speaker D: Yeah. They didn't have a lot of time to write the second record, so maybe that's part of the problem, too. I don't know. Well, you let me know. What do you think? [01:36:15] Speaker C: Yeah, no, listen, I think there's good ideas here, without a doubt. So I like the lyrics. I'll say seven on the lyrics. I mean, I thought they were they were pretty good. I thought the music was okay. The execution was kind of like it felt like it wanted to be kind of a big song, you know what I mean? But it kind of wasn't. So I don't know. I'll say six on the music. I mean, there are parts that I would have given a seven to. I like the beginning rift, I think, that they're doing, but they never kind of keep going with it and yeah, production, I'm going to say a six again. [01:37:13] Speaker D: Production is killing this thing. Killing it. [01:37:16] Speaker C: If they ever remastered this. [01:37:18] Speaker D: Well, this could be the remastered. This is a 2006 release. This is a 2006 release. So this is a remastered version. [01:37:27] Speaker C: That's the problem. Maybe the original is better. Maybe like the 1985 one is just wrong. You know how, like Kiss, when they did was it smashes stretches and hits ruined. I mean, the production on Imagine, that was the first time you ever heard what was really bad on there. [01:37:46] Speaker D: There's a lot of bad stuff. [01:37:48] Speaker C: Yeah, but if those were the first times you heard those and you're like, oh, my God, wait, what? But then you actually go back to the original. I love it loud. Imagine if I love it loud. You heard unsmashes trashes for the first time. And then you go back and you listen to the one from Creatures and you're like, oh, my God, this drum sound is amazing. [01:38:08] Speaker D: Yeah. [01:38:10] Speaker C: I wonder if they flatten this out. [01:38:12] Speaker D: I don't know. [01:38:14] Speaker C: I'd be curious. Maybe over the weekend, I'll see if I can find like, a vinyl copy. Because even Wild Child, man, I'm telling you, I don't remember it ever sounding as flat as it did on this recording. [01:38:28] Speaker D: It's flat. [01:38:29] Speaker C: Yeah. I had that song on my playlist. [01:38:35] Speaker D: Even with all our votes, I mean, stuff is still coming in round seven, which is middle of the rows. A couple of sixes. I think you saved a couple. [01:38:45] Speaker C: Yeah. Listen, it's not top tier, but I think at least the first three songs are pretty decent metal songs. [01:39:00] Speaker D: Yeah. [01:39:03] Speaker C: Again, this one, I think, was meant to be bigger, but we kind of, like, didn't get there. [01:39:14] Speaker D: It could have been. I mean, the widowmaker had a good the idea. The planting of the ideas was okay. And there was some good stuff. It's just the execution wasn't great. And that has nothing to do with production. That's nothing to do with production. That's choices they're making to do that. So regardless of remix, no mix. It was bad choices. I mean, the musicianship wasn't bad. And I probably gave it one of the higher ones. 77 is kind of like in the middle for me. I'm curious because. [01:39:46] Speaker C: Listen, solo wise, I haven't liked any of them. Honestly. [01:39:51] Speaker D: They're not great. [01:39:53] Speaker C: I really haven't. I was again, I never really paid attention to Muse more about the song, so I couldn't even tell you, like, hey, Mark, listen, it's going to be a good solo. I know this one. [01:40:04] Speaker D: Well. It's so funny. [01:40:05] Speaker C: He had a name, Chris Holmes. I mean, I don't know if it was just his antics that gave him the name or maybe I thought he was you listen to player, you listen. [01:40:15] Speaker D: To Steve Ray Vaughan. Right. And are they even playing the same instrument? I don't think, like, look into those two things, it's like I don't know. I don't even know how to compare the two things together because they're not anything the same. And take the style but I'm just saying take the style out of it. Just pure playing of guitar. There's nothing that's in common with either of them. One's good and one is not good. That's really what it comes down to. Really? [01:40:45] Speaker C: Yeah. I mean, the production on that album was better, too. [01:40:48] Speaker D: Yeah. It's around the same time, too, right? 85. [01:40:51] Speaker C: Yeah. 84, I think it was. [01:40:55] Speaker D: All right, well, hopefully next week maybe they'll save it on the second side. I don't have much faith in that because that's not usually how it happens. But you never know, anything could happen. I'm glad we got this anyway, because I would never have listened to this. Will I ever listen to this again? Probably not. [01:41:12] Speaker C: I've said that, too, about I know. [01:41:15] Speaker D: But I'm just saying as far as I'm glad we listened to it because at least it gives me a frame of reference about what they are more than just a couple of things that I know. [01:41:27] Speaker C: Yeah. I mean, again, I would say decent three out of five. Well, the first one, I think, is a pretty good pretty strong song. Like I said. I just wish there's more. Umph, and I'm really not hearing it. So again, I don't know if it's in this and listen, I'm not going to say, like, if the production is better, we're going to give them tens. No, when you hear something good that could happen and it doesn't happen because it's flat, it's frustrating. [01:41:56] Speaker D: Of course. Yeah. All right, well, why don't you do your thing? [01:42:01] Speaker C: Yeah. So we are part of the Deep Dive Podcast Network and a great bunch of guys who took us in right away. They include guys like Rush Ratchet that were on our show a couple of weeks ago, and hopefully we'll be appearing on their show as well. So check that out, we'll let you know. And a little bit more individualized for flavors like Rush, of course, there's Queen, there's Uriah Heap, Tom Petty, you name it, they're probably on there. So Zeppelin, Aerosmith, and not like we do, where we just are all over the place where we go from Stevie Rayvon to Blink 182 to Wasp. [01:42:39] Speaker D: Yeah, that's what it is. [01:42:43] Speaker C: Well, I mean, if anybody ever questioned the randomness, we say it all the time. Clearly this is random. I mean, you can call it all rock. Yes, absolutely. But what comes out and the type of rock it is, is obviously random. And Mark, where can we be found? On the web? [01:42:59] Speaker D: Rockwood Pod, on all the social media? Rockwoodpodcast.com. Please go and share our episodes. Give us five star ratings on wherever you listen to your podcast, whether that's Good Pods or Apple Music or Amazon or Spotify, wherever those places are, give us five star reviews because that moves us up so more people can listen to us. So we continue to do these crazy reviews of albums that clearly not planned out. Yeah, clearly not planned out. [01:43:31] Speaker C: So, yeah, good pods. We jumped up. I mean, if anybody's listening to us on Good Pods or please just reach out to us because apparently we jumped from what, Mark? Like thirty s to number three for some categories. [01:43:46] Speaker D: So we appreciate everyone who's doing that. So please continue to do that stuff. It helps us out. [01:43:51] Speaker C: Absolutely. [01:43:53] Speaker D: All right, everybody, I guess we will see you next week. Later.