Episode Transcript
[00:00:00] Speaker A: You.
[00:00:04] Speaker B: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use. We intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These socalled fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the Rock Roulette podcast.
[00:00:49] Speaker A: You.
[00:01:15] Speaker C: Welcome back to another episode of Rock Roulette podcast. That's right, the podcast that took over 1100 albums, stuck them in a list, and every other week, typically we spin the wheel, she picks an album for us and we go through it. Typically one side per week, song by song, and we rate it based on lyrics, music and production. Again, just a bunch of guys who love music wanted to do a podcast and we're not professionals here. Again, whatever that means, just discovering and rediscovering some music that we grew up with or haven't ever listened to. So thank you everybody who's taken this journey with us, anybody who listens, we really appreciate it. Again, all comments, criticism, everything is welcome and trying to build a fan base here. So again, thanks anybody who follows us tonight, we are a duo. Again, I have Mark. Oh, hi Mark.
[00:02:06] Speaker D: What's up, guys?
[00:02:07] Speaker C: And I'm sad.
So last week the wheel picked WasP, the last command for us. And I know, Mark, that you've been looking for a cheesy 80s album, but as we discussed during the week, I think this is kind of middle of the road. I wouldn't consider it full on cheese metal.
[00:02:28] Speaker D: Yeah, no, that's not what I'm thinking because this is real early too. So what are we saying? 85? Right. So it's kind of like right in the middle.
But you do see the Motley crue influence and stuff that came a little right before it.
You can kind of see that kind of stuff happening. I mean, although black and littlest was, I think, playing around for a long time before this happened. So it wasn't just like one, two, three.
[00:02:57] Speaker C: I think they formed in the early eighty s. I would think so. They haven't been around too long.
[00:03:02] Speaker D: Well, I mean him, him. I mean him. I think he's been around for a while doing stuff, but yeah, no, it's exactly what I expected.
I'm just saying I wasn't a huge fan of wasp from the stuff I heard back then. So this is not really changing my mind very much. But again, second side, who knows? Maybe there'd be some stuff on the second side I like better.
I mean, it's fine.
[00:03:25] Speaker C: First three songs aren't bad. I mean, decent 80s metal, I would say. I think his voice is probably the same, though. I think he's got a pretty good voice.
[00:03:36] Speaker D: Yeah, now his voice is probably the savior of this.
I'm not a big fan of the guitar playing. So far, nothing really has done anything for me.
[00:03:47] Speaker C: I haven't found any solos, really, to hold on to. I mean, obviously some of the riffs are pretty decent, but as far as. Hey, wow, that was cool, that solo he just did. I haven't found myself saying that. Whichever one it is, the two guitar players.
[00:04:03] Speaker D: Me neither. So I'm just. I'm curious to see where we head up.
So the next one is blind in Texas. Do you remember this?
[00:04:15] Speaker C: I remember this because I read a story about it. I think that he had passed out drunk somewhere in Texas. And that was the basis of the song, if I remember correctly.
[00:04:24] Speaker D: Okay.
From already, like, pre looking at lyrics, I'm pretty positive that's what this is about.
[00:04:30] Speaker C: Yeah, I think that's what it is.
[00:04:34] Speaker D: The 80s. This is what a lot of metal. A lot of lyrics weren't, like, highbrow at all.
But that's okay, too. Every once in a while. It's good to have stuff like that, but it just depends on how good it is. You can have crappy, cheesy lyrics like this, and then you can have good lyrics like this. It really depends. It depends on the song goes back far.
[00:04:57] Speaker C: I mean, who are you by the who? I think Townsend wrote because he woke up. So, I don't know, hungover. I think that's the story. Like, he didn't know who he was, where he was.
[00:05:07] Speaker D: Yeah. I don't know, though. I think that's going to be a better song than Blind in Texas. I don't know.
I would kind of think.
[00:05:16] Speaker C: But booze provides inspiration.
[00:05:19] Speaker D: It always does.
[00:05:21] Speaker C: Yeah.
[00:05:21] Speaker D: Okay, so here we go. Blind in Texas, 1985. WASP Saff at the beginning is not bad, but the.
[00:06:06] Speaker C: So pretty standard 80s.
[00:06:08] Speaker D: Yeah, I don't know. There's something about the guitar tone on the solo stuff that just sounds a little funky. I don't know.
I remember this kind of sound. I remember, like, early Motley Crue, like the lead stuff sort of sounds like this. Not as bad as this, but this is some weird, like, mid range thing.
[00:06:28] Speaker C: That they're doing to me, it reminds me more of, like, a theater of pain guitar sound. Like when he switched over to that sound.
[00:06:38] Speaker D: Yeah, maybe you're right.
[00:06:41] Speaker C: And we mentioned it, too on the first side. I mean, definitely some stuff that sounds like Mick Mars's tone on those albums.
[00:06:49] Speaker D: Yes. It's weird.
[00:06:52] Speaker C: Would be nice.
[00:06:53] Speaker D: I don't know, even, like, Vinny Vincent had that kind of tone around the same. Around the same time.
[00:07:01] Speaker C: Agreed.
[00:07:02] Speaker D: And I'm not a super big fan of that weird mid range tone that they have going on.
[00:07:07] Speaker C: Yeah, me neither.
[00:07:09] Speaker D: But you want to know something? I think frickin'Randy Rhodes had that tone, too.
His tone sounded a little bit like that, too. I don't know if it was just the time or the production technique or whatever that was at that time maybe happening. I don't know. It's weird that a whole bunch of people would have that similar guitar tone.
So I don't know. That's the first thing that jumps out at me. And again, the playing is fine. It's nothing spectacular. It is what it is.
[00:07:37] Speaker C: But again, that opening solo, right? Nothing to write home about.
[00:07:40] Speaker D: No.
In the later 80s, it was like, all right, you could interchange people. Right? And it wouldn't matter who was playing it didn't matter. But here, it's not very good. That's all I can say.
[00:07:55] Speaker C: Yeah. And again, I don't know if Chris Holmes was known, if it's really just for his antics or just kind of.
[00:08:03] Speaker D: But is this him or the other guy?
[00:08:06] Speaker C: Or the other guy. But, I mean, when you think of Wasp guitar player, right? I mean, Chris Holmes is really the one that people had spoken.
[00:08:15] Speaker D: Yeah.
I'm going to back it up a little bit, and then we'll get into lyrics. Here we go.
[00:08:27] Speaker A: And I'll pass the hellhole. I couldn't get higher white light and moon shine tastes like fire I drank for free till I couldn't see I fell on the sun When I said here, I'm sorry tonight I take in my eyes close that.
[00:09:26] Speaker D: The riff is like the basic, like, rock and roll, one four five kind of riff thing.
[00:09:31] Speaker C: It's not bad, though. It's not a terrible song.
[00:09:34] Speaker D: The chorus is all right.
I like the melody in the chorus, I think better. And his voice on.
[00:09:40] Speaker A: I mean, you could.
[00:09:41] Speaker C: You could definitely hear it going over well live. I mean, I can definitely picture them live.
[00:09:44] Speaker D: Oh, yeah. Especially for the time. Hell, yeah. This is big. And anytime they were mentioning alcohol in songs back then, it was.
[00:09:53] Speaker C: Yeah, we all went nuts back then whether we drink or not.
[00:09:58] Speaker D: So it's an.
Couldn't get much I couldn't get higher white lightning moonshine tastes like fire I drank for free until I couldn't see I fell on the floor what I said is I'm blind in Texas the Lone Star is hot tonight I'm blind in Texas the Cowboys have taken my eyes yeah, it's definitely not. Who are you?
By any stretch of the imagination, though?
[00:10:27] Speaker C: Them cowboys have taken my eyes kind of.
[00:10:31] Speaker D: Because he can't see. Right. He's so fucking drunk that he can't see anything. So the Cowboys took it.
[00:10:35] Speaker C: Just pass out drunk. Yeah.
[00:10:38] Speaker D: All right, here we go.
Listen, I actually think that the guitar playing is better in this song than it has been in the prior ones. The lead guitar playing, it's just very generic, like this time frame, this sound, this stuff for me.
[00:10:57] Speaker C: But a very guitar oriented, though, right? I mean, there's already been two solos, and we haven't even gotten to the second verse.
[00:11:07] Speaker D: And. Listen, am I expecting Eddie Van Halen here? No, I'm not. But I think if we took other guitar players of the time, like Rat had a better guitar player.
Motley critic had a better guitar player.
Who else? In this time frame, Rat technically had.
[00:11:26] Speaker C: Two better guitar players. Right. Because, I mean, he doesn't get enough credit.
[00:11:33] Speaker D: Yeah. So I think there was a lot better bands at this point. That's why, for me, they're kind of, like in the middle of the pack kind of thing. There's some bands that are over them which are doing very similar stuff. But I just think that a. I think the production is not great. Again, I think that holds this back, too.
[00:11:56] Speaker C: I think it's more fist pump, and at least they would come across better that way. Yeah, but again, you know what it is 2006, right?
[00:12:04] Speaker D: Yeah, but it's just a remaster, though. It's not a remix, so they can't fix that much unless they're going to remix it, which they don't think they did. I mean, I'm not positive, but if they did, they did a shit job because it doesn't sound great.
[00:12:19] Speaker C: Agreed.
[00:12:20] Speaker D: Agreed. Here we go.
[00:12:29] Speaker A: Rebirth.
Ever since I spin loaded up in I better doubt what I said is, I'm sorry.
The place in my eyes wake up.
[00:13:14] Speaker D: It's kind of funny when. When they got to the end of that chorus, I knew they were going to hit that chord, that bong.
It was almost like stock, like mid 80s stuff to do.
I mean, his vocals are pretty good, though.
[00:13:29] Speaker C: I think he's got a good voice. I mean, it's very unique.
Let's say you've never really listened to WaSp, but now, you know, I'm sure if you hear it again, be like, oh, that's Blackie Lawless.
[00:13:41] Speaker D: Oh, no. I mean, I knew what he sounded like before saying, even if you hadn't.
[00:13:47] Speaker C: Which is nice. Right. Because that's not always necessarily a standout thing.
[00:13:52] Speaker D: Yeah. Well, for usually the better bands. Yeah. The lead singer usually is fairly prominent. So he's prominent.
This is his band, right? Is this really a band band, or does he own the name? And it's just basically him and everyone else is just.
[00:14:11] Speaker C: Yeah. I don't know the legalities of all of it, but, I mean, Blackie Lawless is so.
Because he's still going.
[00:14:22] Speaker D: He is still going. Wow. I hear there's some shenanigans going on.
[00:14:27] Speaker C: Yeah, I heard that recently, too. But then again, you hear that with everybody now.
So it's like this.
And again, that's not to generalize. I'm not saying everybody's doing it. I'm just saying a lot of it is coming out. So you kind of have to weed through.
Exactly.
[00:14:54] Speaker D: All right. So I drank Dallas whiskey and lost my mind I had high balls on Houston Three for a dime Everything starts to spin Loaded on gin I filed the door what I said is I'm blind in Texas the Lone Star is hot tonight I'm blind in Texas the cowboys have taken my eyes now this is the part I kind of like. I'd like when they call, like, towns out. So San Antonio and the West Texas town. El Paso, Corpus Christi and Waco. The yellow rose is wild.
[00:15:24] Speaker C: Tell you what, though, booze was cheap in Texas. According to the song. Three for a dime three for a.
[00:15:32] Speaker D: Wonderful three for a dime no one, he got shit face and couldn't remember.
[00:15:37] Speaker C: No kidding.
[00:15:39] Speaker D: There's a whole bunch of stuff coming on after this. All right, I'm curious. I want to hear the solo because there's actually a bunch of lyrics here. I don't know where this is happening, because I'm assuming there's some kind of talking part in here somewhere.
[00:15:51] Speaker C: Yeah, here we go.
[00:15:53] Speaker D: I'll back it up a little bit, and then we can go to the solo.
[00:15:59] Speaker A: In the West Texas town of Christian. Wake up, Hazen.
[00:16:35] Speaker D: That solo wasn't horrible. It was a little bit better, I think. A little bit better.
[00:16:43] Speaker C: The bass really isn't prominent either. Right, because it feels so flat underneath the solo.
[00:16:48] Speaker D: Yeah, I think it's just the production in general. It's not great. Yeah, I think it's weighing this whole thing down.
[00:16:55] Speaker C: Yeah.
[00:16:58] Speaker D: Who knows how much money they had to do this? Who knows? I don't know, but.
Hey, dude, let's party.
[00:17:06] Speaker C: Yeah.
[00:17:08] Speaker D: All right. Here we go.
[00:17:11] Speaker A: Raising hell in Austin just in the sun now without.
What was the matter with you? What you trying to do? I looked at the man and I said, oh, boy. I think I have another one of these.
It's time to do what? Go home.
But I don't want to go home.
What am I supposed to ride all the way back to?
I don'T understand.
What do you mean you got no more liquor?
How you say?
Come on, Detective.
Detective Blind Reflective.
[00:18:54] Speaker D: I'm going to have to look up the live version of this song and see if they do that whole middle part.
[00:19:00] Speaker C: Yeah, that could be a fun with the crowd, maybe.
[00:19:03] Speaker D: Yeah, I'm sure they use that for that.
So. Raising hell in Austin just after sundown when the who scow police decided to come round who scow? They said, boy, what's the matter with you? What are you trying to do? I looked at the man and said, oh, boy. I think I have another one of these. You're dreaming, buddy. What? Time to go home. It's time to do what? Go home. But I don't want to go home. Hell homes in California. What am I supposed to do?
Get on a horse and ride all the way back to LA? Yeah. Don't fall off. I don't understand. We ain't got no more. What do you mean, you ain't got no more liquor? Split goofball.
The hell you say. Suffer like, some of it's funny and some of it just makes zero sense. Why the hell suffer and split goofball? Is that the best they came up with? How about long hair or something? Like what they would do back in the 80s. Corn. Because you had long hair. Whatever.
[00:20:06] Speaker C: I mean, unless this was like some real exchange. And that's what the guy said, maybe.
Who knows?
[00:20:13] Speaker D: Well, hell homes in California. What am I supposed to do? Get on a horse?
[00:20:17] Speaker C: I know.
[00:20:17] Speaker D: Okay.
And then back to the chorus. And then it's as. I don't think it was as bad as some of the other songs that came before it.
[00:20:32] Speaker C: I kind of liked it.
[00:20:34] Speaker D: Yeah, it was fun.
[00:20:35] Speaker C: I mean, I do know the song. I just hadn't heard it in a while.
[00:20:40] Speaker D: Well, I'll go first. I'll have you go second, since you know the song lyrics.
I don't know. There's nothing spectacular in there for me.
I liked Widowmaker better. So I'm going to give this a six musicianship.
I think it probably deserves a seven just because it's better than some of the other stuff. Some of the solo stuff was better. There's nothing really super memorable. Nothing. You go, wow, look at that. I can't believe that. So, I mean, that's probably what they weren't going for anyway. But still. And production, I'm still doing six. It still sucks.
It's not helping the songs out at all. I think the songs with a real production could have been a little bit better.
Go ahead.
[00:21:28] Speaker C: Trying to think on the lyrics, because I was like, all right, so music, I'm going to say seven. I'm going to skip the lyrics for now. Production, I'll say six as well.
So I don't remember what I gave. Some of the other stuff, I laughed at this. So just from the laughing and funny part with the thing with the spoken, I'm going to say seven, but I was just amused. And this is obviously not to condone alcoholism.
I don't know. I had fun with it. So I'll say a seven because I'm sure I gave lower scores to stuff before, but, yeah, I think they're kind of good at kind of getting these songs right.
[00:22:19] Speaker D: Yeah, this was better for them, I thought. But again, unfortunately, production is just dragging us down.
[00:22:28] Speaker C: Yeah.
[00:22:29] Speaker D: All right.
[00:22:29] Speaker C: It doesn't have.
[00:22:32] Speaker D: So next one is cries in the night. Do you remember this one at all?
[00:22:35] Speaker C: No, this one I don't.
[00:22:39] Speaker D: All right, so here we go.
You can barely even hear the guitar, it's so badly.
[00:23:17] Speaker C: Actually, the best, I think they've done so far, believe it or not.
Well, this time, though.
[00:23:23] Speaker D: Yeah. The solo part you can, but the rhythm guitar is so low.
[00:23:27] Speaker C: Yeah. You can't hear it. I like the tone on that lead, though. It's actually a nicer.
[00:23:34] Speaker D: Yeah.
[00:23:36] Speaker C: So clearly mid tempo ballad kind of.
[00:23:38] Speaker D: Thing, you know, I don't know if Wasp is good at mid tempo ballad, if that's really their niche, but. Their niche. But I don't know.
I feel like the last song, that's their thing.
[00:23:54] Speaker C: Yeah, they got a really good. It's forever free on headless children.
Like I said, if that ever comes up, I think that'll hit big with everybody. That song. Some of the stuff, too. Without a doubt. But that one, for sure.
[00:24:08] Speaker D: Yeah.
[00:24:09] Speaker C: Okay. It's not up to us. It's up to the wheel.
[00:24:13] Speaker D: The wheel has control. All right, let's continue.
[00:24:20] Speaker A: About.
Because I keep telling myself I'm only one of a kind.
My people are loud.
Nothing else matter coming.
I need to dream and I will pray I hear it.
[00:24:59] Speaker D: Okay. What do you think of that so far?
[00:25:02] Speaker C: It's not bad. The lyrics are pretty good.
[00:25:06] Speaker D: Yeah, I think they're doing a decent job with this.
[00:25:11] Speaker C: Yeah.
[00:25:12] Speaker D: So the verse is, I'm sitting down thinking about losing my mind because I keep telling myself that I'm only one of a kind My life is broke because my dreams were shattered for so very long Nothing else mattered that's not bad.
[00:25:27] Speaker C: No.
[00:25:30] Speaker D: And of course I'm hearing cries in the night I can't wait another day no, tell me no lies I'm standing cold in the light I lose the dream and I go crazy I'm hearing cries in the night like I said, maybe they're good at this mid tempo ballad thing.
Okay. I'm liking it so far.
Production is still shit, but there's nothing you could do about that. I mean, song wise, you got to kind of just assume that this is the way it's going to be to the whole thing.
[00:26:02] Speaker C: Yeah, I don't think any of these songs are gonna. Production on anything coming on this side is gonna blow us away, either, so.
[00:26:10] Speaker D: Yeah. Okay, here we go.
[00:26:17] Speaker A: And call out my name they think I'm cool and got no worries with fame But I didn't lose and I win with these people around here my patience west in I'm giving grab another it dreaming I go I'm here.
[00:26:57] Speaker D: All right. Before the solo gets there, I tend to like my metal or my rock with a little more melody. So this I kind of like a little bit better.
What do you think so far?
[00:27:13] Speaker C: Yeah, I like the way he's doing, how he's backing himself up on the vocals, too.
And it sounds like, at least that very initial part of the solo, the tone on the guitars, is the one from the beginning, which sounds better.
[00:27:30] Speaker D: Yeah, no, I think, in general, almost all this is better than lots of the other stuff there.
[00:27:37] Speaker C: And it's a little bit fuller sounding, I think, too. I mean, again, the production is not great.
[00:27:43] Speaker D: A little bit.
[00:27:44] Speaker C: I mean, it kind of started out really flat, and then it seems like maybe because of the vocals and everything, because he's doing a lot of that.
[00:27:49] Speaker D: No, his vocals are good. I like the background. I like the doubling of himself. I like that. I think as far as vocal wise, that's the best part of this record, I think, so far, for me.
[00:28:00] Speaker C: Yeah, I'd probably agree with that.
[00:28:05] Speaker D: Nothing? What?
[00:28:06] Speaker C: No, that's what I was going to say.
[00:28:09] Speaker D: Yeah. Not much else kind of helps this thing. I mean, his vocals are pretty decent, so. Yeah, they pull it my hair and call out my name they think I'm cool and I got worries with fame but I'm living to lose and dying to win with those people around here my patience wears thin I'm hearing cries in the night I can't wait another day no, tell me no lies I'm standing cold in the light I lose the dream and I go crazy I'm hearing cries in the night now, I would hope that the solo is going to be pretty decent in this. It would make me feel a lot better.
[00:28:47] Speaker C: But let's see what happens.
[00:28:50] Speaker D: Here we go.
[00:29:10] Speaker A: It path.
[00:29:37] Speaker D: I don't know.
[00:29:41] Speaker C: If I had a guess, I don't think either one of those two guitar players played that solo.
I just think it sounds completely different. The tone is different. What they're doing is different.
I mean, ultimately, unless they just went to do something different. I mean, whether or not you'd like the solo, you have to admit it's probably the most stand out, I think. Different, I think.
Yeah, I guess I just think it's the most unique.
I mean, definitely the tone.
[00:30:18] Speaker D: I just don't think it's not constructed very well. It has no beginning, middle and end. It's just kind of there. That's the only thing I can say. I think it's played better. It sounds better tone wise. But as far as it's not constructed very well, especially on a song like this. They tried to construct it a little bit. They did a bunch of apegiated things, and then they tried to, but they didn't build it up because then it went back. Instead of building up to something super duper like, my expectation would have been it build up to it like a crescendo thing, which it didn't really do.
[00:30:52] Speaker C: No. Yeah, but I still think they went.
[00:30:56] Speaker D: Back to the beginning thing again.
[00:30:58] Speaker C: Yeah. I mean, again, it wasn't.
[00:31:01] Speaker D: Doesn't say it's not them.
[00:31:04] Speaker C: Oh, no. To me, it sounded the most different.
Who knows? I mean, how many tiMes, honestly, though, have we played albums here where one or two songs, or sometimes more, the production just sounds different, or a drum sounds different, or a guitar sounds different.
[00:31:26] Speaker D: Do they think this is going to be a single? Is that what they thought it could have been?
[00:31:34] Speaker C: It wasn't mid tempo. No, I think it was.
[00:31:40] Speaker D: The two singles are blind in Texas and Wild Child. From what I can mean. Maybe they thought it was going to be so they may they spend a little more time. It's still not great. But, yeah, the tone is totally different.
[00:31:53] Speaker C: Guitar wise, but, I mean, me personally, if I had to pick my favorite solo as of now, it would be that one.
[00:32:02] Speaker D: I 100% agree. Yeah, well, the other stuff is not great, man. The other stuff is.
So it's not very hard to make this the best solo, even though I wish it was, like I said, a little more composed, a little more ended up on a high or note than where it ended up.
[00:32:24] Speaker C: Yeah, I can hear that.
I hear exactly what you're saying. It was low a little bit. They went back low as opposed to just.
[00:32:32] Speaker D: Well, but it didn't feel like I expected the end to be a lot higher and to go high, because that's kind of what you expect to have happen. I mean, not all the time. Not every solo has to be that way, but in this kind of solo and these guys specifically, that's what I would expect. But it didn't exactly happen.
[00:32:50] Speaker C: They were trying to pummel was a fan of the Ben's thread.
[00:32:54] Speaker D: But you know what? It felt like it was afterthought, though. I felt like it went because, you know why? It went back to the little melody thing from the beginning. If they would have done the bend things at the end and then went to the melody thing, I would have liked it better, I think.
I think those bends could have been. Those unison bends could have happened before, like, at the end of the solo. You know what I mean? To end the solo, that would have been okay.
[00:33:17] Speaker C: Yeah.
[00:33:18] Speaker D: It's just weirdly constructed. But again, so far, I think this is one of the better songs on this thing for me, anyway.
[00:33:26] Speaker C: It's pretty.
[00:33:30] Speaker D: So we got. What do we got? We always still Got a minute left. So let's see now.
[00:33:34] Speaker A: I'm trying to get away so far I stand and breathe I'm not gonna cry Never die that's why I sing the song Not a matter of it turns out and all I'm getting right in the night I can wait until the day now that I tell me that I dream and say.
[00:34:40] Speaker D: It'S very Axel Rosey.
[00:34:42] Speaker C: Yeah. It was like Axel Rose meets Janice Chaplin.
I didn't like that ending.
[00:34:48] Speaker D: No, they didn't die.
And the production, I couldn't even hear the rhythm guitar. It just was just there.
So I know these lyrics are wrong, because when I was reading through them, it was wrong.
This is what it says, but I know it's not right.
Yeah, I'm trying to get away get away from it all. I don't think that's what he says. He says something else. It's similar.
I stand and scream, I'm not going to crawl the dream never dies that's why I sing the song. Like my maddening world. It turns on and on and I'm back to the chorus.
Like I said, I don't think it's a bad song.
I like the lyrics.
I think the guitarist tone for the solo stuff is way better than it is on the other stuff, so I think that kind of, like, helps it out a little bit. So I'll go first again. I'm going to give lyrics a seven because I think I like them a lot better.
I think the last time I give seven lyrics were the widowmaker, so I kind of like it. I guess I'd like it just as much as that musicianship. I'm going to do seven, and I'm still giving six on production because I don't know what these people were hearing when they were doing this, but it's just very bad.
This may be a little bit better, but not enough for me to give it any higher score because you can't even hear the rhythm guitar. It's all put in the back, and at least you can hear bass now, which is nice, I guess.
[00:36:25] Speaker C: Yeah, there was some good bass in there that I heard. Zero points.
[00:36:29] Speaker D: Yeah, that was okay. So, overall, I like the song better.
What do you think?
[00:36:36] Speaker C: Yeah, I think I'm going to say the same. I'll go seven, seven, six.
I mean, lyrically, I do think it's better than the last song, even though I gave it a seven. AgaIn, that was more because of the fun vibe of that one and the humor of it, I'm going to say.
But from an actual songwriting standpoint, I do believe these lyrics are better, but I'm not going to give them an eight. I'm not going to go past a seven.
Again. I think the guitar tone overall was better in this.
I'm not crazy. I mean, again, six on the production, like we said. Also, that thing with the drums, and they're kind of, like, muted and echoey when they do the fills and stuff. I've never been a big fan of that. I'd rather have them powerful than that because I think it actually takes away from it.
But, yeah, I mean, overall, the drums, not that.
Not bad, but I think this is the guy who wound up going to LA. Guns.
[00:37:46] Speaker D: Yeah.
Well, I'm still surprised that this is the same producer who produced metal. Quite right. I just don't understand mean. He's produced a lot of people. Cheap trick Heart Little River Band, Eddie Money, Beach Boys, Wasp, King Cobra, Kickaxe well, Kick, Vanilla Fudge, Ian Hunter.
[00:38:12] Speaker C: Are they on the list? Kickaxe?
[00:38:14] Speaker D: Yeah, they're on the list. I don't know if Kickax is on the list. I'd have to look.
[00:38:17] Speaker C: I think they're Canadian, actually. I've heard one of their records.
[00:38:22] Speaker D: If they're not, I'll probably put them on there just for the heck of it. Now.
[00:38:26] Speaker C: Yeah.
[00:38:29] Speaker D: Are they on here?
They're not, but they will be to see.
This is why the list keeps going up.
[00:38:37] Speaker C: This is it.
[00:38:42] Speaker D: Well, like I said, that was a little bit better, so I'm kind of happy that that at least, kind of.
[00:38:50] Speaker C: Hey, listen, I mean, for what it's worth, side two, first two songs, not too bad, right? Usually at this point.
[00:38:58] Speaker D: Well, that's what I mean. Yeah, well, that's what I mean. So I kind of think that it could be a lot worse.
So we will see.
All right, so the next one is the title track, the last Command. Do you remember that?
[00:39:18] Speaker C: No. I mean, at least not by name. Once I hear it, maybe.
[00:39:24] Speaker D: Okay.
All right, here we go.
[00:39:36] Speaker A: Sad time we made our mark and can you understand we'll fight till we fall but what do you want to do? That time is right for you? You stand on your feet and that's all stand up on I cross the line send out all the time and cry out here the call we are the last of it.
[00:41:00] Speaker D: Now I like. I like the progression at the beginning of the song, and they use that again. I kind of like that the solo thing is a little wonky. I mean, I understand what he's trying to do, but it just feels very. I don't know. It just feels like. Because the production is a little weird. It feels like it just floats out there a little too much. Like, I see the two forward, and it's not that I don't want it totally back, but it feels like it's so forward that it just sounds a little weird. I don't know.
[00:41:29] Speaker C: Yeah, so I kind of like the opening riff, but I feel like the verse and chorus go in a different direction.
And I'm not digging it. Like, I'm not digging the melodies, I guess.
[00:41:44] Speaker D: Yeah, the melodies are great.
[00:41:46] Speaker C: Yeah.
There's nothing to kind of hold on to.
You know what I mean? I can't tell you. I couldn't go back and sing this, even just hearing it.
I don't mind that little rain. And I think the tone, again, is a little bit closer to what the last song was as opposed to the tinnier sounding stuff that came before. So again, I like the tone a little bit better, but again, it suffers because I feel, again, the production, the music, the rhythm that's going on is so low compared to that, and there's no strength behind. It's almost like there's no support for it.
[00:42:37] Speaker D: Yeah. I can't believe someone who has done all these things can do this. Unless this was just so fast that no one had any time, they had no money, and they just did this quick.
I don't know.
[00:42:51] Speaker C: Like I said, I think I have this on vinyl. So I think after. After we complete this, maybe this week, if I can find it and dig it out and just say, like, hey, I remember this sounding better on vinyl. Let me just kind of hear and see what it sounds like as opposed to what we were hearing.
[00:43:08] Speaker D: Yeah. Who knows?
[00:43:09] Speaker C: I am curious.
[00:43:10] Speaker D: Well, here are the lyrics.
You don't know what's in our hearts this is our time we've made our mark and you can't understand we'll fight till we fall but what do you want to do? The time is right for you to stand on your feet and answer the call Stand up for the first time and shout it Whoa, the last command is heard across the land Stand up for the first time and cry out Whoa, hear the call we are the last command Now I'm not sure what this is about.
[00:43:41] Speaker C: I'm thinking it's kind of like an anthem about them now.
[00:43:45] Speaker D: You think so?
It's like we're all on the same side kind of thing.
[00:43:50] Speaker C: Yeah, that typical rock thing. I mean, listen, even I wrote lyrics like this back in the 80s. Yeah, party and blah, blah, blah. We're here to.
[00:44:05] Speaker D: This is not even party. This is just kind of like we're on the same side, we're together. Well, I don't know. So now you're going to hear the second verse. You're going to tell me if you still have the same idea after you hear this.
[00:44:16] Speaker A: I had the dreams, the flag I heard a scream that cut through the still of the night Just like a night but that was just that day the darkness has gone away I stand on the edge and I let my life stand out all of that time Shout out across the land all of that time cry out here the destiny that I control and break the bond that set me free forever.
[00:45:22] Speaker D: Yeah. So I'm not sure what it means after the second verse. I'm confused now and now it feels like it's like war so I'm not sure where we're at Because a thousand times I had this dream the flag was high I heard a scream that cut through the stow of the night Just like a knife but that was yesterday the darkness has gone away I stand on the edge and I pledge my life and then chorus. And I'm not sure. And then the little pre chorus, the pre or bridge, whatever you want to call it, is the destiny I control will sever and break the bonds that set me free forever.
So I'm not sure. It could be the same thing we were talking about before, but I really don't like the verse. The verse, it feels just, like, cobbled together.
[00:46:16] Speaker C: Yeah.
[00:46:17] Speaker D: It doesn't flow very well. No, he holds the note just like a knife to hold it, just so we can get to the end of the thing. Because it's so short that it won't Fit.
I don't think it's very good. I think, lyric wise, I don't think it's as good as the other stuff so far on this side.
[00:46:34] Speaker C: No, it's kind of agreed. And like I said from the beginning, this is Filler.
This is Filler because it's a title track.
[00:46:44] Speaker D: The title track.
[00:46:45] Speaker C: Right.
[00:46:45] Speaker D: I know. I was going to say the same thing.
[00:46:48] Speaker C: I mean, I think it's a cool, technically name for the song and album.
And, I mean, if you look at the album cover, it's him holding a flag.
[00:46:56] Speaker D: Yeah, there's a flag in here, too. The flag was high.
Well, let's see if they can do something with the solo here. It sounded promising from before, so I'm going to back it up just a little bit.
[00:47:09] Speaker A: Set me free my Ram safe guitar players there.
[00:47:56] Speaker D: I think.
I don't think. I don't think it's the same person, but it's just. I don't know.
It feels very.
I hate to say stuff like this, because it makes me sound like a music snob.
Excuse me.
It makes me feel like these guys learned how to play guitar a year ago.
I hate to say that, because it's obviously not the case. It's just the guitar players that I listen to. This would never happen.
This just sounds like they're not even playing the same instrument. To people who I listen to, guitar player wise, it's just weird. It's a weird thing.
[00:48:38] Speaker C: But overall, I still think it's better than anything we heard up until the one before. Kind of. I mean, I think there's still a little bit of feel to it.
Whereas the other ones were just. I really felt like nothing and again, maybe it's just the tone of it for me.
[00:48:59] Speaker D: It's not just the tone. Not for me anyway. I don't know. I mean, the phrasing and just like the ideas are right, but I don't know if they can be actually done correctly. Does that make any sense? Yeah, I think they know what they want to do, but maybe they can't actually do it. I don't know.
[00:49:21] Speaker C: I understand that it's the delivery.
I can't think of the word.
[00:49:29] Speaker D: Execution.
[00:49:30] Speaker C: Execution, exactly. So the thought is there, but the execution doesn't match the thought.
[00:49:35] Speaker D: Yeah, I think so. For me anyway. I'm sure there are people that love this stuff and they're. Well, this is a great guitar playing for me, not so much, but I don't know who I'm trying.
I guess you have to take the same people in the same space, right, of where they are.
And so you're talking docking, right? Sorta, kinda. Even though Dockin's probably bigger than, um. But George lynch, how would you even make that? Kind of can't.
You can't. And if you take has, you know, Robert Crosby and Di Martini, which arguably are better guitar players than these guys.
Who else? Motley Crue is in the same kind of. Motley Crue is bigger band. The music is similar, sort of kind of ish.
And Mick Morris is a better guitar player. I don't know what other bands around this time are just the same like this. I don't know.
[00:50:37] Speaker C: I mean, just to bring up one. I mean, poison's first album wasn't that 85?
[00:50:42] Speaker D: Yeah.
[00:50:43] Speaker C: So where would you put CC's playing?
[00:50:46] Speaker D: He's better than these guys on the first one. He's still better than these guys on the first one. I mean the first one was very demoy. So I don't really like the tone on that record that much.
And it is a little cheesy because it is super duper hair metal, right. But I still think overall he's a better guitar player.
So my opinion. Opinions are like assholes, everybody has one. But for me I still think he's a better guitar player. Even though some of it's a little cheesy. I mean this is just as cheesy.
So I don't know, were their songs much better? I don't know. They were a little more poppier. It was more poppier.
[00:51:28] Speaker C: As a non. Obviously as a person who can't play a solo to save his life.
I don't even look at this and I'm not saying that I could play this stuff. Obviously, I probably couldn't, but just listening from a standpoint of, hey, do I like this solo?
No.
I mean, again, I do think that the last two songs are so far the two best solos that they've done.
[00:51:55] Speaker D: Agreed.
[00:51:55] Speaker C: But again, the other stuff, I'm just like, wait, what? There's, like nothing there.
[00:52:02] Speaker D: No melody there wants to be. And they're trying. It's just that, like you said, execution is not being executed. Right. And maybe in later records it gets better.
[00:52:14] Speaker C: Yeah, that's what I was thinking. I don't remember how the album that I like, I'm going to be honest with you, how the solos are, I really don't.
And it doesn't mean that they're not good enough to remember, but sometimes you're just not really paying attention to certain things.
[00:52:32] Speaker D: Yeah, I don't know. I mean, for me, it doesn't. Does nothing.
I don't know. All right, let's finish this up. We're almost done.
[00:52:42] Speaker A: Stand up for the last time shout out Stand up for the last time crying out well, here's all we are the laugh of it all Here we are the laugh of man.
[00:53:26] Speaker D: Rang for me so far as the filler song.
[00:53:45] Speaker C: Yeah, this is one of my.
[00:53:47] Speaker D: Which is weird because it's a title track. You would think this would be the song that would be the.
[00:53:54] Speaker C: Well, I mean, technically, like I said, it's kind of a cool title.
[00:53:58] Speaker D: I don't hate the chorus. The part I don't like is I like the stand up for the first time and the shout it part with the woe O at the end. I think they could have done something with that end and got rid of the woe O and did something with the shout it maybe and would have been better.
[00:54:15] Speaker C: Yeah, I did like the chorus better. The chorus did grand me more as the song went on.
[00:54:21] Speaker D: Yeah, I agree.
[00:54:23] Speaker C: But definitely the verse. Like I said, there was nothing really there to kind of hold on to.
[00:54:29] Speaker D: Well, then why don't you go first this time?
[00:54:35] Speaker C: I don't know what to say about the lyrics.
Well, I think for music and production, I'll say six and six.
I'll probably just say the same for the lyrics. Just make it easy. I mean, they're okay.
They kind of got that fist pumping.
[00:54:57] Speaker D: Yeah, I'll just say triple sixes. I think I'm going to do the same.
I don't think that the lyrics. I mean, the lyrics aren't horrible, but the melody is just not. I like the chorus better than I.
[00:55:08] Speaker C: Do the verse agree.
[00:55:11] Speaker D: And as far as the solos goes, they try, and it's just the execution just doesn't work for what they're trying to do. It's not great.
You have to say, what music am I going to give my time in this time to? Right. Even you have striper around the same time. Right? I Tend to think they're the same level, probably. Maybe striper a little bit hot, a little bit higher, maybe. But in 85, maybe the same.
Maybe the same level of band, you know what I mean? But I still think Striper is. Guitar playing is definitely better.
[00:55:42] Speaker C: Yeah, I would say so.
[00:55:43] Speaker D: Yeah. So it's hard because I can hear exactly what they're trying to do. It's just they can't do it, so it sucks.
All right, so the next one is running wild in the streets. Do you remember this at all, or.
[00:55:58] Speaker C: No, just the title. Even this last command, honestly, I didn't remember.
[00:56:04] Speaker D: Yeah, I like the name of the album. I like the name of the song.
The execution doesn't work.
[00:56:13] Speaker C: Yeah, I know. That wasn't a strong.
[00:56:15] Speaker D: Hey, listen, they got two more songs. Maybe if they can pull out the two next songs. The second side is going to be better than the first side, which never happens.
[00:56:23] Speaker C: Yeah, could be.
[00:56:25] Speaker D: All right, here we go.
Now, that beginning didn't sound like that. Sound like a Metallica song. Pompom. Pompom. What song is that?
[00:57:09] Speaker C: Yeah.
[00:57:12] Speaker D: At least the first couple of chords.
I don't know. I think so. Dun dun dun dun dun dun dun dun.
Obviously, I don't think that came before this. Anyway, I don't remember.
[00:57:28] Speaker C: I definitely don't like that opening solo. I think they've gone back to that.
[00:57:32] Speaker D: Oh, the sound was back to the other.
[00:57:33] Speaker C: Yeah, yeah.
[00:57:35] Speaker D: And again, is this Chris Holmes? Is this the other guy whose guitar sounds like this? I don't know. I assume it must be Chris Holmes, but I could be wrong.
[00:57:43] Speaker C: I mean, honestly, at this point, I don't think it makes a difference. No, I'd be curious saying that, but.
[00:57:50] Speaker D: It doesn't make a difference.
[00:57:52] Speaker C: There's nothing. There's no, I mean, like you said, who knows? Maybe it is something that just gets improved later on.
[00:58:04] Speaker D: Yeah, I mean, listen, you can say that the edge wasn't as good of a guard guitar player on the first record as he was when they got to, what you call it, the one that's your favorite. What's your favorite?
[00:58:20] Speaker C: Oh, mine is unforgettable fire.
[00:58:23] Speaker D: Is that your favorite?
[00:58:24] Speaker C: Yeah, like I said, he got better. I really heard full through. And when I first started really getting into them.
Yeah. In the beginning, he was a bit more raw.
[00:58:41] Speaker D: Yeah. Well, this is the same kind of idea. So maybe they get. By the time they get the headless children, maybe it's better.
[00:58:47] Speaker C: Yeah. I mean, again, that's funny, because that's the one thing I don't remember the solos or anything. And who knows? Maybe for the same reason. Maybe they just didn't stand out to me.
[00:58:58] Speaker D: It's possible.
[00:59:01] Speaker C: Blackie Lawless. Because I know Blackie Lawless played guitar on that album. He wasn't playing the bass.
So I don't know if he did any solo.
[00:59:11] Speaker D: Maybe it's better. I don't know.
[00:59:13] Speaker C: Yeah.
[00:59:14] Speaker D: I mean, I think he played bass early on. Out of necessity, I think. Yeah, there was no bass player.
All right, here we go.
[00:59:29] Speaker A: Looks like I've got to be the leader as my voice is yell, you can't hear them we'll go. That is behind me now together I'm sending proud we're free now I need the drop running wild in the street.
[01:00:05] Speaker D: I need the crowd running fade horn. Yeah. And whatever guitar, whatever little guitar thing that was going on there was. Okay.
[01:00:25] Speaker C: Yeah. I do like the Chicka Chicka chicka chicka chicka kind of. I've always been a fan of that kind of progression.
I just feel like the melody is not there. Again.
[01:00:37] Speaker D: The chorus is better than the verse.
[01:00:40] Speaker A: Yeah.
[01:00:43] Speaker D: So I'm running to beat hell looks like I've got to be the leader as my forces yell. You can hear them. You can hear them all the way. We'll go the distance all the way. Stand behind me now all the way. No turning back all the way because we are together.
So it's. Again, it's the same kind of sentiment as one of the other songs prior.
[01:01:04] Speaker C: Yeah, that's what it sounds like.
[01:01:09] Speaker D: But. Yeah, the verses are rough.
[01:01:14] Speaker C: Yeah, they're rough.
[01:01:18] Speaker D: Again. It's not surprising. Second side, it always tends to fall apart a little bit.
[01:01:23] Speaker C: Yeah, but, I mean, it started out decently, right? And now these two songs really just sound like second side. Nobody's going to.
[01:01:32] Speaker D: No one's going to hear these things. Let's just.
[01:01:33] Speaker C: I'm sure that. I assume that hopefully no band ever really thinks that.
I'm assuming that had we made records, we never would have said, oh, you know what? This song isn't that great. We'll just put on the second side. We're like, well, how about we just don't put it on the record?
[01:01:51] Speaker D: Yeah, this is true. Well, but you never really know. I mean, sometimes you're getting pressured from the company, record company back then, right, to put something out and you just have to write stuff and it may not be the best.
[01:02:01] Speaker C: Yeah, there's definitely that, too.
[01:02:04] Speaker D: 100%. You got to.
[01:02:05] Speaker C: Just got to come up with something. Right. Because you got to make, hey, we need whatever, nine songs, ten songs, whatever it is. So you got to write something.
[01:02:13] Speaker D: Yeah.
Okay, here we go.
[01:02:22] Speaker A: Hear my forces scream.
You can't see them, can't see them.
We're gonna sit down.
We are together.
I'm standing proud, we're screaming now I need the crowd running out. I need the crowd running.
[01:02:59] Speaker D: All right, before that happens, they're going to be doing your favorite thing again.
You like that? At least it's doing.
[01:03:08] Speaker C: I mean, this is what I've always been like to chug, I guess you call it, right?
[01:03:13] Speaker D: Yeah, it's a little rough. Even the choruses feel a little jammed together.
I'm standing proud. I like. We're screaming loud. I'll lead the crowd. The running wild in the streets. I don't know. For whatever reason, it just doesn't fit as well. I don't know.
[01:03:30] Speaker C: There's also, like, a weird thing I feel where they stop the verse to go into the chorus. It's almost like, especially the first time, it felt like the fill went like, one measure too long compared to where it was supposed to be.
And this time, I don't think he did the fill going into it. I think he just stopped, but it still kind of felt like everybody wasn't on exactly the same page. Yeah, that could be just my perception of it.
[01:04:01] Speaker D: It's possible.
All right, let's see.
Let's continue it. Here goes. Solo time.
I guess I'll read the verse first. I guess a heavy dose of mean. Yeah, I'm a lethal combination. Hear my forces scream. You can see them, can't you see them? All the way. We'll go the distance all the way stand beside me now all the way no turning back. All the way we are together and then chorus. I mean, the all the way parts aren't bad. All right.
[01:04:38] Speaker C: Yeah.
[01:04:41] Speaker D: But overall, I think you're right. It feels like they stop and it feels like they jammed it together, but. All right, here we go.
[01:04:51] Speaker A: I need to stop running.
Ramp thought that was the best part of the solo.
[01:05:36] Speaker D: It felt a little more put together.
[01:05:39] Speaker C: Yeah, a little more. Showed a little bit of chops there.
[01:05:43] Speaker D: A little bit. Yeah, it wasn't bad.
[01:05:47] Speaker A: All right, I'm standing out. We're breathing out. I leave the crowd running wild in the street I leave the crowd running wild in the street I'm standing out whispering now I leave the crowd Running wild in the way I leave the crowd running wild in the face running wild and dream.
[01:06:33] Speaker D: I don't like the end that much.
[01:06:35] Speaker C: Yeah, I don't like the ending that much, either. I think they just wanted to stop.
[01:06:40] Speaker D: I like the little unison bend things, like you were saying before, but they were so back behind into the mix, you couldn't even hear.
Yeah. Again, suffers from production. Suffers, suffers.
[01:06:52] Speaker C: And again, like the last one, I mean, hearing the chorus more and more, I definitely liked it. And I can picture kind of singing along to the chorus, which everybody's like, put the hook in the chorus, I guess.
[01:07:07] Speaker D: Yeah. Well, I'm going to give it sixes across.
I don't know. Am I going to give seven in the music just for the solo part? That sounded a little bit, but I'm going to give. Throw them a bone. I'm going to say in the music part, because I like the end part of that solo. I'm going to go six, seven, six.
I think at least that part over there, they were showing a little bit of, why can you do this? Before, it sounded a little more professional. You know what I mean? That's a weird sound. Right? Weird thing to say. But it just sounded more like, here, I actually can play guitar. Look, I can do some things. I'm not saying you have to shred all the time because that's not the case, obviously. But I like that part. It sounded like it fit exactly what it needed to be. I wish a lot of the other solos were like that.
What do you think?
[01:07:54] Speaker C: Yeah, no, I mean, I think I'm going to do sixes across, but I do agree that that one part was.
Again, I'm not saying it's like, oh, wow. But it felt a little bit more like, hey, that's cool. You can do this. You know what I mean? And it's not just notes, but it is cool, I think, overall, two sixes, though.
[01:08:23] Speaker D: Yeah, I agree.
All right, well, so the last song is Sex Drive. Do you remember this one at all? Do you remember this one at all?
[01:08:33] Speaker C: No, I don't think so.
[01:08:37] Speaker D: It seems to be a theme with them. Fuck like a beast. Sex drive.
[01:08:42] Speaker C: Yeah, well, that was the thing, too, is that after the next album, which I think was inside the electric Circus, and they did have the children that he did, like Crimson Idol, so he started writing stuff more serious. And I think Crimson Idol is like a concept album and it took a little bit for them to kind of get back to this. And I think they lost some fans because of that.
[01:09:09] Speaker D: And probably the time was changing, too, if you're talking four, three or four albums after this. I mean, in the 90s already. We're in the 90s already, so, yeah, it's a little rough.
It's rough to be a heavy metal band from the 80s going into the 90s, right? Early 90s stuff.
All right, here we go.
[01:09:44] Speaker A: I got a message for you.
Thinking about it all the time.
Your line is bad and it runs to your head. If you can't get out your mind, you and they can be.
The rock is on the phone, you can stand now you're feeling it off your props around your body language you understand I'm talking about makes you feel our thing, you better die.
[01:10:22] Speaker D: So what was that weird drum thing in the first verse? You hear that? What the fuck was that?
[01:10:28] Speaker C: I don't know.
[01:10:30] Speaker D: It was kind of driving, and then all of a sudden it's like someone skipped the record.
[01:10:34] Speaker C: Yeah, that sounded off. I agree. I totally heard that. I was like, wait, what was that?
[01:10:40] Speaker D: What was that? And I like the beginning. I like the screaming part at the beginning. This is really, like, what I think, like, mid 80s metal is, for me, the way this sounds. I mean, the lyrics are ridiculously bad, but, yeah.
[01:10:53] Speaker C: Jesus.
[01:10:54] Speaker D: I got a message for you. It's something you love to do. You're thinking about it all the time. You're lying in bed and it runs through your head because you can't get it off your mind. You've been thinking pink and you're losing sleep that rushes almost all you can stand. You can feel it getting hard and your crotch starts to throb. It's body language you understand.
It's not even good sex lyrics. It's bad. It's bad.
I'm talking about a sex drive. Ooh, it makes you feel so alive sex drive, ooh. It's everything you fantasize but for teenage boys and in the middle when they're 1514, this thing, this is like, ooh, look what he's talking about.
It's just funny.
[01:11:39] Speaker C: I mean, I like the drive of the song.
[01:11:42] Speaker D: Yeah, well, except for that little weird drum thing. I like the drive.
[01:11:44] Speaker C: Yeah, I don't know what that was. Well, let's see if it happens again in the negave versus if not, who knows?
[01:11:52] Speaker D: Well, even if it does happen, who made that decision?
[01:11:55] Speaker C: Yeah, I didn't like that part.
[01:11:57] Speaker D: Someone, just the producer said, hey, whoa, whoa. What the fuck? What is that. You want that in there? No, we can't believe that in there. It sounds like shit.
[01:12:05] Speaker C: And I was like, wait. Yeah.
[01:12:08] Speaker D: All right, here we go.
[01:12:14] Speaker A: It's a stupid to believe to feel a second to know you pull the trigger, baby, you gotta get to believe don't have to cripple the West. You want all you can get. I need to get close to that. Yeah, you can take a licking and keep on. Take it out. You want to go? I'm talking about electrify.
You better die.
[01:12:45] Speaker D: Maybe the solo might be good in the song. Maybe it's possible. The little part that I heard starts.
[01:12:50] Speaker C: The way the other one kind of ended.
[01:12:52] Speaker D: So the drum part does happen, but it's just not as abrupt.
Same kind of idea, but as much. No, last one was. First one was bad.
[01:13:02] Speaker C: Yeah. I don't like.
[01:13:05] Speaker D: These lyrics are just ridiculous. Like a dog in heat all dirty love is a treat and you know it's just too good to believe that feeling second to none. You pull the trigger on your gun, baby, you got to get some relief your hands, they tremble and sweat and all you want and you want all you can get. You need to get close inside you can take a licking and keep on ticking because you want to go all night.
It's so typical. Like, what? This was in the mid 80s? Yeah, so typical.
[01:13:40] Speaker C: What's that famous log in the fireplace? Kind of.
[01:13:46] Speaker D: This is worse than log in the fireplace, actually.
[01:13:48] Speaker C: Yeah, this could be.
[01:13:50] Speaker D: Log in the fireplace is stupid, but it's actually very smart. Even though it's stupid, it's at least interesting. Log in the fire. That makes a lot of sense. But this is just like. This is just doing it for the sex, not sexes. In my head now, for the sake of doing it.
I just don't know. I just don't know.
Penis. That's what it is.
Okay, here we go. Here's a solo. Let's see.
So the solo wasn't bad.
It still was mushed into the middle of the song. You couldn't hear it. I like the beginning part.
[01:15:13] Speaker C: Weird transition from the solo going back to.
[01:15:18] Speaker D: Yeah, it's weird. It's a little weird. But again, no one's really. It doesn't sound like anyone's paying attention on this record at all. Is there a lot of drugs going on here?
Someone's not doing their job.
I'm going to back it up a little bit because I want to hear this little part that he's doing here. And there's a little drum fill, right. That wasn't bad.
Okay.
[01:15:57] Speaker A: What you need by that. Happy it.
[01:16:11] Speaker D: I like that solo better. It felt a little more. It just felt like it flowed a little bit better.
Still has that weird sound again, but the sound I don't like. But as far as the playing goes, it was mean.
[01:16:25] Speaker C: That main riff is not bad, right? I mean, it's simple, but it sounds.
[01:16:30] Speaker D: Like something else, though.
[01:16:31] Speaker C: Yeah, it sounds like a lot of.
[01:16:34] Speaker D: I mean, to me, this is a very motley crue song to me.
[01:16:40] Speaker C: Yeah, I can hear that for sure again.
[01:16:46] Speaker D: But his vocals are pretty good. His vocals seem to be good throughout this whole thing.
[01:16:50] Speaker C: Yeah, I've always liked his voice. I think he's got a lot of emotion. He's got range in his voice.
And it's funny because that one part where the riff kind of plays by itself before the drum is omph enough, and then it kind of dies a little bit when everything else comes in, which is OD.
[01:17:21] Speaker D: Yeah.
All right, let's finish this up.
[01:17:37] Speaker A: Talking better close, Hammy. That don't hit the spot.
[01:18:05] Speaker C: Ah.
[01:18:09] Speaker D: That'S too funny.
[01:18:12] Speaker A: Yeah.
[01:18:13] Speaker D: And then. So then the only one of the part that says, I guess I was like, after the solo, come here and take what you need, baby.
This thing, it's just bad. So bad.
All right, you can go first on.
[01:18:29] Speaker C: This four on the lyrics.
Again, I'm not going to say what a song. Like Sex drive, I expect metaphors and whatever, but I don't know what to say. I mean, I like that main riff. The rest of it is, I do like the verses, too, actually.
This one, actually, I wasn't crazy about the chorus, but I did like the verses. I'll say six production. I'm going to say a seven on this one again, only because of that one piece. So if I'm going to ever throw this guy a bone on this, I'll say it's just for that. That one where I feel like it kind of stepped up and I was like, oh, that sounds good. Until kind of the other stuff came back in again, I'm like, whatever.
[01:19:20] Speaker D: You're giving lyrics of four? Yeah, I'm going to give lyrics of five.
Similar. I just can't.
The melody is okay in the chorus. It's all right. It's whatever. A musicianship. I'm going to give them a six still.
I like that little one. Little solo part I liked. The main was okay.
It's whatever. And I don't know. I'm not giving anything over six on production for this thing.
There's some interesting things on here, but it really does hold. I mean, I don't know how much it holds the record back, but it holds the record back.
This hasn't changed my opinion of Wasp whatsoever.
I will probably never go back and listen to this record ever again.
But it just reinforces why I don't particularly like them so much. I mean, there are parts here and there that I like.
It is what it is.
[01:20:20] Speaker C: I mean, a wild child is overall probably my favorite song from this record.
I may go back, I think, like I said, I want to see if I find the vinyl and just see if it just sounds better.
[01:20:37] Speaker D: I don't think it's going to sound better.
I don't think so. Well, that was fun. Even though I don't particularly like wash that much. I mean, it was interesting to listen to this. It's something that obviously I was a teenager when this game came out, so I knew WASp, but I never listened to them. It was just never a thing that I ever wanted to listen to.
And this kind of reinforces why for me, this reinforces why for me. I mean, I'm sure there are people who love this, and if you love them, good on you.
Maybe you like stuff that's later on. Maybe the later stuff is better. Maybe I'll like the later stuff more. Or maybe we'll get another one somewhere down the line.
[01:21:16] Speaker C: Yeah.
[01:21:19] Speaker D: Anyway, that's that.
[01:21:22] Speaker C: So we're done. Another record is in the books.
[01:21:26] Speaker D: It's in the books. So now we get to spend next week again. Woohoo.
[01:21:29] Speaker C: Yeah, we get to spend and hopefully we'll get some people back. Frankie's been busy, Nick's been busy, so maybe we'll get Steve.
[01:21:39] Speaker D: Yeah, we're not used to doing a.
[01:21:41] Speaker C: Full house in a long were.
We went through a few records where it's just the two of us, and then it wasn't the two of us for a see.
[01:21:56] Speaker D: All right, Sabino, do your thing.
[01:21:58] Speaker C: Yes. So, as always, we are part of the Deep Dive podcast network again. Great bunch of guys.
More individualized when it comes to what they cover. You've got Tom Petty, Rush Queen, our buddies at Rush Rash. Give them a shout out again because we had a great time with them on the show. So check those guys out. Check the whole network out. I mean, again, if you're a fan of a rock band, it's probably going to be on there. And Mark, where are we on the Interweb?
[01:22:30] Speaker D: On the interwebs. We're on Rock roulette pod, pretty much Instagram, Facebook threads. We're still there. Mastodon. We're still there. We're everywhere.
And Rockwilletpodcast.com drop us a note, send us an email. Tell us if there's a record you want us to stick on the list. If it's not in there and we think it'll fit, we'll stick it in. Just like we said earlier on today, the list keeps getting bigger. We went through this many records and it hasn't gotten smaller. It just keeps Getting bigger.
[01:23:00] Speaker C: No, I mean, I found the notes from the first podcast where I actually had written my introduction and I said at that point that we have 900 albums on the list and now we're over 1100. So I don't know how the hell we found that many records that we hadn't put in yet, but I don't know.
Listen, the list could be infinite ultimately, right?
[01:23:29] Speaker D: Yeah. It's going to be impossible for us to get through the whole list no matter what happens.
[01:23:33] Speaker C: Yeah, it gives us longevity.
[01:23:37] Speaker D: Yeah. I mean, 1100 albums, you'd be here for the rest of your life.
[01:23:41] Speaker C: Yeah. So, I mean, again, obviously want to thank everybody for listening.
I think we mentioned it last week. We jumped up pretty far on good Pod. So listen, whoever's pushing us to get those ratings, thank you so much. And again, just comments, criticisms, whatever. Maybe even if you guys are like, hey, how wouldn't you guys try this for one show? We're open for anything.
[01:24:08] Speaker D: Yeah, throw us a line. Tell us, give us some ideas. We may reach out to you too to ask you some stuff. So, yeah, throw us a, shoot us an email on rockwilletpodcast.com and we'll shout.
[01:24:20] Speaker C: You out on the podcast.
[01:24:23] Speaker D: All right, guys, we'll see you next week.
[01:24:26] Speaker C: Ciao. Ciao. Later.
