Episode 68 - Quiet Riot - Metal Health (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 owners 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. You. [00:01:14] Speaker B: Harry. Welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1100 albums, stuck them in a list, stuck them in a wheel. And typically every other week we spin the wheel, she picks an album for us and we go through one side at a time, unless it's really short, which has happened a couple a few times. And we go track by track and we talk about the music, the lyrics and the production and we give it scores just based on what we think. Again, we're not professionals, just a bunch of guys who love music and have known each other for years and just wanted to do a podcast. And again, we want to thank anybody who listens, anybody who comments, anybody who favorites whatever you're doing, spread the word. Thanks so much. And again, drop us a line, we'll shout you out on the podcast, make you famous for the few people that listen to us. And again, just thanks for let us speaking and making this thing grow so little by little. So tonight we have Frank back. My name is Frank. [00:02:29] Speaker C: Am really excited to be back after a few weeks. Thank you. [00:02:34] Speaker B: We have Mark. [00:02:35] Speaker D: Oh, hi Mark. What's up, guys? I've been here the whole time. I feel like I've never left. [00:02:43] Speaker B: And I'm Sav. I don't leave either. Ciao Buena. So last week we wrapped up megadeth euthanasia, which Mark and I covered. And I would say mark, one of the highest ranking records we've done on the podcast. [00:02:58] Speaker D: Right over. Yeah, it's up there with all the higher stuff we've done. Yeah, it was pretty good. [00:03:04] Speaker B: Yeah, I mean, I'm glad I remembered as much as I did. And the second side was even better than I remembered. So again, I've always been a big fan. So I definitely played that tape out. Cassettes, those little things with the whole. [00:03:22] Speaker D: They wrote all around. [00:03:23] Speaker C: Yeah. Can I just share it? Suck that. I missed that one. [00:03:29] Speaker D: Sorry. [00:03:31] Speaker C: I'm sure. [00:03:32] Speaker D: Steve's not happy he missed that one, either. [00:03:33] Speaker C: I missed that. Sucked that I missed it. [00:03:37] Speaker B: So, Frank, do you have any memories of the record? Any. [00:03:43] Speaker C: I mean, of, like, it's Megadeth. And that's what you. I think that's the gateway band to deep heavy metal. Right. And I always enjoy their albums, their music, everything about them. So, like I said, I suck that I missed it. So good for you guys there, you got that? [00:04:05] Speaker D: Yeah. I had never really listened to a. [00:04:08] Speaker B: We got a spin coming today. We get to spin again, which is always a lot of fun. And as usual, let's go around the table and what do we think, guys? Frank, you've been gone for a couple of weeks. What do you think? What are we getting today? [00:04:25] Speaker C: Long 80s metal. [00:04:29] Speaker B: 80S metal. Mark, what do you think? [00:04:33] Speaker D: I would like 80s metal, but I don't know if that's what we're going to get. [00:04:39] Speaker B: We did both say the 90s last week. I think we were thinking more grungy 90s, but we really haven't got the right. [00:04:47] Speaker D: We really haven't got much grungy at all. Not really, unless you count the pearl drum record. But that's about it, really. And I guess maybe Jane's addiction, I guess sort of, kind of in a. [00:05:00] Speaker B: Roundabout way, maybe a gateway kind of. [00:05:03] Speaker D: To more of a gateway. [00:05:08] Speaker B: Classic rock again. I know we got a few classic rocks. We got a lot or something we've never had before. Maybe like an odball, kind of like a deep purple. [00:05:20] Speaker D: Yeah. [00:05:21] Speaker B: Which probably means that we won't get either and probably get some 80s metal. So, if nothing else, my predictions push better into your area. [00:05:32] Speaker D: Yeah. You don't really know how that's going to work out. So are we ready to do this? [00:05:40] Speaker B: I'm ready. [00:05:42] Speaker C: I'm ready. [00:05:43] Speaker D: Can you see the wheel? [00:05:45] Speaker B: I see the wheel. Oh, yeah. I see it moving. [00:05:49] Speaker D: Yeah. I'm trying to redirect things over here. Okay. All right. Here we go. [00:06:17] Speaker B: Holy cow. You guys nailed it. [00:06:19] Speaker D: Yeah. [00:06:20] Speaker B: Wow. [00:06:21] Speaker D: I never thought we were going to get this record. [00:06:23] Speaker B: Metal health. We talked about this, too, didn't we? [00:06:27] Speaker D: Yes, we did. [00:06:28] Speaker B: Because the producer, who was it? The one who produced wasp, right? [00:06:33] Speaker D: I believe so, yes. [00:06:35] Speaker B: I'm pretty sure. I think that's how we brought this record. [00:06:39] Speaker D: Kind of. [00:06:40] Speaker B: It's kind of crazy, I got to say. I remember the first time I ever heard this record. My cousin in New Jersey had it on tape, and he let me listen to it. I thought it was pretty good. I haven't gone back to it a lot, but there's definitely quite a few songs I think I remember, other than the massive hit, which everybody knows and which, to me, really started the hair metal infatuation. [00:07:09] Speaker D: Yeah, I agree. [00:07:11] Speaker B: That's the song that I remember, along with Twisted Sister, where it really turned the tide for hair metal. [00:07:19] Speaker D: Oh, 100%. [00:07:21] Speaker B: I don't even think it was called hair metal at this time. Just metal. [00:07:24] Speaker D: No, it was just metal. [00:07:25] Speaker B: Yeah. I got to tell my wife she was wrong. We did not get Paul Abdul. [00:07:32] Speaker D: Paul Abdul. [00:07:33] Speaker B: I was like, I don't think she's on the list. She's always like, you're going to get Brittany tonight. I was like, I don't think she's on the list either, man. I got to talk to Mark. [00:07:42] Speaker D: No. [00:07:42] Speaker C: Yeah. [00:07:47] Speaker D: This record, I remember this being, like, the first. It's not the first, but it's the most mainstream. I remember, like you said, this is where all the music started to go in this direction as an actual popular thing. This kind of started it, I think. [00:08:06] Speaker B: Yeah. It made metal cool on the radio, kind of. You know what I mean? I definitely remember. [00:08:17] Speaker D: So this is their third record. Even though the first two were only released in Japan, it was the first heavy metal album to reach the number one on the Billboard 200 chart, replacing the police's synchronicity at number one. [00:08:30] Speaker C: Really? [00:08:31] Speaker B: Imagine. [00:08:32] Speaker D: I remember synchronicity. I remember being a kid sitting in the car with my dad, and he went out and do sound. I remember listening to the top countdown stuff. The police's record was on the radio. You could not get away from that record. It was on all the time. Turned the radio on, and that freaking record was on. [00:08:50] Speaker B: It's a great record. Synchronicity. A lot of good songs. [00:08:54] Speaker D: Yeah. It's just the mere fact that this knocked that off of the. [00:08:59] Speaker C: And this knocked that one off. [00:09:01] Speaker D: Yep. And this sold 6 million records. [00:09:05] Speaker C: Wow. [00:09:07] Speaker D: So obviously, Randy Rhodes was gone by then because he had went to go play with Ozzy. Right, so who was in here? So, Kevin Dubrow, Carlos Cavazo on guitars, Rudy Sarzo on bass, and Frankie Benelli on drums. Two of the four already passed away. Frankie Bonalli passed away. Right. Yeah. [00:09:32] Speaker B: Frankie Benelli is pretty recent. [00:09:33] Speaker D: I don't ever know. I'm sure. I've listened to this. I haven't heard this in a long time. I know somewhere along the line I've listened to this whole album, but it's been a long, long time because this is 1983. [00:09:49] Speaker B: That's been a while. So what is that, 40 years now? [00:09:53] Speaker D: It is 40 years. March of 83. So it's a little more than 40 years. Yeah. [00:09:59] Speaker B: Imagine someone told you 40 years ago that the three of us would be doing this on a podcast and be like, wait, what? What's a podcast on the Internet? What? What's the Internet? [00:10:11] Speaker D: I know. [00:10:12] Speaker C: Yeah. Three mama lukes. Well, I know what a mama Luke is. [00:10:21] Speaker B: Crazy. [00:10:22] Speaker D: Yeah. The mere fact that this record. I don't know if they didn't really have much after this. Right. I mean, I know they put another record, but nothing was this big, though. [00:10:33] Speaker B: Well, no. Well, I mean, what happened was obviously, come on, feel the noise. Which was a Slade cover, and then they did mama, we're all crazy now. Which is another Slade cover, because they were basically trying to keep recapture lightning in a bottle. I don't know how well that record did, but believe it or not, I don't know if it was the one after that, which was QR three. They went a little bit poppier. Some keyboards and stuff. There's actually some pretty good songs on that record, too. [00:11:00] Speaker D: I think condition critical is the next record. Yeah. And then was it QR three after that? [00:11:07] Speaker B: I think so, yeah. So the singer had a reputation for being kind of a dick. [00:11:17] Speaker D: Yeah. [00:11:18] Speaker B: I don't think he was easy to get along with. That's my understanding. [00:11:24] Speaker D: Penis. I think that's my favorite job of all time. I use it a lot, but, yeah, I think he had the reputation of not being the nicest guy in the world. [00:11:43] Speaker B: Yeah, that's what I think, too. I don't think he was easy to. [00:11:47] Speaker D: He died of a drug overdose. Is that correct? [00:11:50] Speaker B: I thought he was sick. [00:11:52] Speaker D: I don't know. Maybe he was. I don't remember. [00:11:58] Speaker A: Mmm. [00:12:02] Speaker D: Fatal overdose by a combination of cocaine, painkillers and alcohol. Oh, wow. Yeah. And they didn't find him for six days. He was supposed to go over thanksgiving's dinner at Glenn Hughes's house. [00:12:16] Speaker B: Oh, wow. [00:12:17] Speaker D: And he never showed up. [00:12:21] Speaker B: Crazy. That's so sad. Six days. [00:12:26] Speaker D: Yeah. Well, you know, those drugs get you in the end sooner or later. You usually can't get away from them. But as far as this record. This record was gigantic. Gigantic. [00:12:44] Speaker B: It really was on the shoulders of one song. Yeah, right. Unless there's something I forget. But I'm pretty sure that once we go through this, we're like, I don't remember any of these other songs being played on the radio. [00:12:57] Speaker D: No, probably not. I'm not too sure. I remember a lot of the stuff on here. I mean, again, I can't tell you because I haven't listened to in a long, long, long time. It's probably been not 40 years, 35 years. I don't know when the last time I listened to this. [00:13:12] Speaker B: Yeah, it's been a while for me too. [00:13:17] Speaker D: Hit five, that song, which is come on, feel the noise, which obviously we're talking about, hit the hit number five on the 107 on the mainstream rock. That's not easy to do. The actual single by itself went gold. So that's a million units in the single section. I guess that's what it's saying. And so Spencer proffer, this is the same guy who did the Wasp record, and I didn't really like the way that was produced. [00:13:54] Speaker B: No, again, I want to say that. I'm going to say now, from what I remember listening to it on Cassette, I thought the production was good on this record. It was strong. But I also thought that listening to the Wasp record on vinyl was stronger than what we listened to. So I don't know. Actually, you know what? The first song, I think, on this album could have been at least an MTV hit if nothing else. Maybe not a radio hit, but an MTV hit. [00:14:21] Speaker D: Oh, the first one was a hit too. [00:14:23] Speaker B: Yeah. [00:14:26] Speaker D: It wasn't number one or anything, but it was 31, 37. It wasn't, wasn't small. [00:14:31] Speaker B: No. But it was definitely an MTV hit for sure. [00:14:34] Speaker D: Yeah. [00:14:35] Speaker B: I mean, again, MTV played such a big part, especially in this era. [00:14:41] Speaker D: Yeah. In a couple of years from now, they made or broke bands. If you didn't have an MTV hit in like 84, 87, you were not doing anything. [00:15:00] Speaker B: Yeah. [00:15:03] Speaker C: You know what, Mark? So who was it that joined us on the podcast that he did? Whole MTV influence, the classic rock guitar. [00:15:15] Speaker B: Right? [00:15:16] Speaker C: Yeah, that's right, Jeremy. 100% right. Right. A lot of these bands came to mainstream because of MTV and I think this is one of them. [00:15:29] Speaker B: Yeah. I mean, without MTV, a lot of. [00:15:31] Speaker D: Bands would not have 100%. Yeah. So are we ready to go do this or, Frank, do you have any more memories of this album back in the. [00:15:44] Speaker C: No. No. The two of you hit everything on the know. We share the same memories. So let's play this. [00:15:52] Speaker D: And we didn't even have MTV then because in the Bronx they didn't have MTV. There was no cable. [00:15:58] Speaker C: We had the Bronx. No table. Wht. [00:16:02] Speaker B: Wht. Sometimes you get videos on UHF. Remember that other kind? [00:16:08] Speaker D: Uh huh. [00:16:09] Speaker C: What was it called? [00:16:10] Speaker B: Uhf. [00:16:11] Speaker D: No, what was the channel called? What was the name of the show? [00:16:14] Speaker B: Oh, I don't the. [00:16:16] Speaker D: I forget the name of it because that's the only place we could have seen it. We couldn't have seen it anywhere else. It's impossible. [00:16:25] Speaker C: You know what's funny is because, all right, so we grew up in the Bronx. So in the Bronx, if we think about dudes'era, was affiliated with hip hop. And we had a lot of the video music box. [00:16:38] Speaker D: I think that's what it was. Yeah, I remember video music. [00:16:40] Speaker C: Video music box. It was a lot of hip hop, a lot of hip hop in that channel. [00:16:46] Speaker D: I remember, yeah, we must have seen this through some other video thing, because obviously, I don't know when the Bronx got cable. 91, maybe later than that. [00:17:01] Speaker C: 94. [00:17:03] Speaker B: 94, I left in 92 and we didn't have cable yet. [00:17:08] Speaker D: Yeah, in 91 I left and there was no cable. So it's crazy. So the mere fact that we saw all these things too, there had to be some kind of alternative outlet that we saw it on. [00:17:18] Speaker B: Yeah, honestly, I know sometimes you just don't remember where the hell we saw them. [00:17:22] Speaker D: I don't remember. [00:17:24] Speaker B: Well, I do know, but I do remember though, obviously we knew people who lived in places that had cable and they would record the shows, right? And we would just watch. [00:17:33] Speaker D: Yeah, I remember that ball. [00:17:34] Speaker B: Right. I think one of our friends'cousin would just basically record. What was it like if you put it on the slowest speed you can get, 8 hours on a VCR tape. [00:17:44] Speaker D: What was that? SlP. [00:17:46] Speaker B: Yeah. And they would just let it record the whole day. We just watch videos and whatever we liked. I think that's how a lot of our exposure was through that and the radio. [00:17:59] Speaker D: Because once this started to hit, it was just. It was on the radio all the. Yeah, so I'm ready. [00:18:08] Speaker C: Well, all I gotta say is, until my family moved to Yonkers, New York, we had cable in Yonkers. [00:18:15] Speaker D: Oh, yeah, well, of course. But in the Bronx, we didn't think. [00:18:21] Speaker C: What happened? [00:18:22] Speaker B: I'm saying MTV, I think at that point was still playing actual videos. [00:18:26] Speaker D: Of course. [00:18:27] Speaker C: Yes, they were. Yeah, absolutely. [00:18:32] Speaker D: Well, then you had VH one right then I think at that point too. [00:18:36] Speaker C: Yeah. [00:18:38] Speaker D: All right, here we go. So the first one is metal health. Bang your head. [00:18:45] Speaker A: You san any better than wasp to. [00:19:12] Speaker D: You listening back to this. [00:19:16] Speaker B: It'S familiar sounding, kind of. Yeah, it's a little bit warmer. There's a little bit more low end maybe. [00:19:27] Speaker D: Yeah, the drums still sound a little boxy. [00:19:29] Speaker B: Yeah. But honestly, the recording itself kind of sounds like it's from that era. [00:19:38] Speaker D: Oh, of course. Yeah. [00:19:43] Speaker B: I think a strong riff, right? I mean, you can hum this riff right away. [00:19:53] Speaker D: And the chorus is going to be what the chorus is. [00:19:57] Speaker B: I mean, this is like a party song. [00:19:59] Speaker D: Oh, of course it. All right, here we go. [00:20:21] Speaker A: Driver mama says that I never, never mind her handover I'm insane the teacher says that I'm one big brain I'm like a laser next ring a razor I got a mouth like an allocator I want it louder I'm on a rocket in it like the hour say your head, that'll help us drive you, man. Take your head, that'll help us drive you back. All right. [00:21:09] Speaker D: That is so fucking catchy. [00:21:11] Speaker B: Yeah. And I mean, honestly, think about that age, at that age, right, when this comes on, you're like, yeah, that's us, baby. You know what I mean? It just captures that whole movement, right? [00:21:26] Speaker D: Headbanger and his voice. [00:21:31] Speaker B: He's got a strong voice. [00:21:33] Speaker D: It makes the song. [00:21:35] Speaker B: He's got a good voice. Kevin Dubrow. I mean, I'll give him credit for that. [00:21:39] Speaker D: Yeah. Regardless of everything else, right. I mean, it's kind of. [00:21:43] Speaker B: I think one time he had said, I don't know if like a fan or whatever came up to him and says, oh, do you have any advice for a band that's trying to make it? And he was like, don't bother, because you'll never be as good as us. I want to say that I remember him saying something like that. And if not, if anybody knows, of course. But it just goes. It was one of behind the music. [00:22:03] Speaker D: Sure, I'm sure. No, I'm sure. I'm sure. He had a decent ego, especially after this happened. I mean, the first two records really didn't do anything. They were only released in Japan, I think, anyway. But, I mean, they definitely hit pay dirt with this. [00:22:19] Speaker B: Yeah. [00:22:20] Speaker D: All right, so here are the lyrics. Well, I'm an axe grinder pile driver mama says that I never, never mind her got no brains, I'm insane the teacher says that I'm one big pain I'm like a laser six string razor got a mouth like an alligator I want it louder, more power I'm going to rock it till it strikes the hour bang your head metal health will drive you mad bang your head metal health will drive you mad so there's nothing in here, lyrics, as far as, like, oh, my God, so spectacular. [00:22:54] Speaker B: But it's an anthem, right? [00:22:56] Speaker D: It's an anthem. Anthem for teenage kids. [00:22:59] Speaker B: That's a straight up. [00:23:05] Speaker D: What do you think so far, Frank? [00:23:09] Speaker C: It's like a popcorn movie, right? You go and watch it because you want to be entertained. And that's this album right now, you want to be entertained. So. [00:23:24] Speaker B: Yeah, I mean, this is a real strong way to start the record. [00:23:27] Speaker D: Yeah. Well, like I said, I don't remember a lot of the rest of this, so we'll see how the rest of it goes. But, I mean, you can't deny this song. And this is not a cover, either. [00:23:38] Speaker B: No. [00:23:40] Speaker C: By the way, this is the only song I recognize from the album. [00:23:45] Speaker D: No. You got another one? Oh, no. [00:23:47] Speaker B: Well, the only other song. [00:23:48] Speaker C: Okay. Thank you. [00:23:49] Speaker D: Only other song. Yeah. [00:23:51] Speaker B: Well, if you don't know the next song, then. I mean, you weren't around. [00:23:54] Speaker D: You weren't alive. [00:23:57] Speaker C: You were fake. You were fake. You were fake. You got it? [00:24:00] Speaker D: No, you couldn't escape the other song even if you didn't like heavy metal. [00:24:03] Speaker B: Yeah. [00:24:03] Speaker C: Got it. [00:24:04] Speaker D: Okay, here we go. [00:24:16] Speaker A: Outdated, I really wanna be overrated I'm a finder, I'm a keeper I'm not a loser and I ain't no weeper I got the voice jump, make the noise, won't ever let up open a noise, you join the cry feel the cry without your fear, no way back make your head never drop your bed make your head never drop head mental health of cure, you're crazy mental health appear, you mad mental health is what we all need like it all. [00:25:21] Speaker B: Scream. [00:25:22] Speaker D: Yeah. I mean, listen. Is his voice, like, super duper? Like. Oh, my God, I can't believe how good he sings. No, but he makes the most of what he has, and he's got a little bit of range and he uses it. I don't know about. Short of the song being good, like, musician wise. I don't think there's anything spectacular that's going on here. [00:25:47] Speaker B: No, just a simple riff, but, you know. [00:25:49] Speaker D: Simple riff? Yeah. I mean, it just. [00:25:53] Speaker B: All you need. [00:25:54] Speaker D: Hearing that just brings you back to where you were when you heard that song because it's so burned into your head. If you lived in that time. In that time. So it's just one of those. [00:26:10] Speaker B: Just pump it up. Oh, yeah, the metal horns. [00:26:16] Speaker D: Metal horns. Yeah. No, you can sit there and you're just bobbing your head because you're like. Yeah, this was the shit back in the day. [00:26:24] Speaker B: Yeah. [00:26:26] Speaker D: All right, so let me read the rest of the lyrics here. Well, I'm frustrated outdated I really want to be overrated I'm a finder, I'm a keeper I'm not a loser and I ain't no weeper I got the boys to make the noise won't ever let up hope it annoys you join the pack, fill the crack. Well, now you're here there's no way back. And then the chorus. Bang your head. Metal health will drive you mad and then there's the post chorus. Metal health will cure you crazy metal health will cure you mad metal health is what we all need is like a heart attack so this is an anthem for the music, right? Pretty much. So I'm going to back it up a little bit, and we're going to listen to solo. So, Carlos Cavazzo. Here we go. Oh, and saying that you have to be the guy that replaces Randy Rhodes in this. I don't. I don't know a lot of the stuff prior to this, so I don't really know what kind of stuff Randy was playing then. I don't know if it was the same kind of stuff. It was a little different because this band was different. But that's got to be a huge, big shoes to fill, no matter where that is. All right, here we go. And there's the Eddie Van Halen tapping tremolo, picking. Like, you can't. You can't get away from that. I mean, it's good. [00:28:21] Speaker B: Yeah. [00:28:21] Speaker C: You like it was Mark, Mark, Mark. Is this the same era, same time frame? [00:28:29] Speaker D: Well, yeah. [00:28:33] Speaker C: What album came out first? [00:28:34] Speaker D: Oh, Van Halen came out in 78. Okay. Yeah. [00:28:39] Speaker C: Okay. [00:28:41] Speaker D: Five years later, it was getting to be the thing where, if you were a rock guitar player, if you didn't do those things. [00:28:48] Speaker C: Okay. [00:28:49] Speaker D: You know what I mean? And I wasn't even playing guitar at this point, so this is before even me playing guitar. But that's what everybody did. You had to play the finger tapping. You had to do the tremolo thing. There's a lot of Eddie ism things that go in there, which makes sense, too, because they're California guys, right. So I'm sure age wise, they were very similar. So I'm sure they played in the clubs and around the clubs with, you know, it'd be almost impossible, I guess, if you're a guitar player coming from there, for you to not have that kind of influence. And it's just what it. [00:29:33] Speaker C: Saying. What you're saying is that Eddie set the standard at that time. [00:29:37] Speaker D: Oh, yeah. Like I said to me in rock guitar, there's two things. There's the Hendrix part, and then 20 years later, or whatever it is, ten years later is the Van Halen thing. So to me, those are the two big things that changed the way guitar players play guitar. I'm sure there's other people in the middle, but I'm talking about big tectonic shift where everyone has to do this kind of stuff because this guy did it. So Eddie's doing finger tapping. Everybody's got to try to do it. Not everyone did it as well or as musical or as, you know, there are guys who finger tap probably better than. It's just anytime you think of that stuff, you think of him. Anytime you think of really loud feedback and weirdy sounds and the Wawa pedal, you think of Jimi Hendrix. I do. Anyway, so those two things shifted guitar players from playing one way to another way. And then Van Halen came, and then I said, oh, shit, what the fuck are we going to do now? Now we got to keep up with whatever that is. That's why a lot of the 80s guitar players kind of could be interchangeable. Very few of them had super duper styles that were very unique, distinctive. Yeah, a lot of them. You could just say, well, I could take the guy from Steelheart and I could put him in this band, take out from that band, put him in that band, especially in the later was just. It was really like that. [00:31:11] Speaker C: So in your opinion, mark, what you're saying is the wawa was really brought to front and center by Hendrix and the finger tapping was front and center by Eddie van Halen? [00:31:26] Speaker D: I think so. I mean, I know in the Wawa, I know Eric Clapton used a little bit of wawa and the blues breakers, but I think Hendrix brought it to the real forefront, center. And then after that, now everybody's got to fucking use it because now that's where it. [00:31:43] Speaker C: Yeah, I can agree with that. [00:31:46] Speaker D: You can hear a lot of Van Halen in that solo. I hear like three or four things, like, wow, that's like everyone's kind of doing. And it's hard to remember back that far because we're talking 40 years ago and I wasn't even playing guitar then, so it's just one that when you hear it, you're like, wow. [00:32:06] Speaker C: What's amazing to me is that music 40 years ago sounds so crisp today. [00:32:12] Speaker D: Oh, it's because the way it's produced today is produced so compressed and the loudness is balls to the wall. There's rarely any dynamic now. It's really, how loud can we make it and how compressed can we make it? [00:32:27] Speaker B: Yeah, I know we complain about the productions all the time, but it's ridiculous, the loudness of it. I mean, just lose, right. All the dynamics and not all music. I mean, I'm talking about, let's say, rotten. Again, not all rock music, but a lot of even the guys who are still around that are still making music from this era, you listen to the stuff that they're doing and it's crazy. It feels as if you don't even need a producer, you know what I mean? Someone just jacks everything up to ten, goes into the booth, records everything and then mixes it at eleven. [00:33:04] Speaker D: Yeah, well, you know what I think it is too. I think because of the, back in the day, they had to record for album, for vinyl. So you didn't have that kind of big dynamic range that happened when cds happened. So you had to record it a certain way and you had to sequence the record a certain way because as it got closer to the middle of the record, the bass started to go away. Because it's just the nature of the vinyl stuff. You may not have realized that back in the day, but that's the reason why they only had a certain amount of time. And maybe that's why sometimes things got sequenced a certain way, because you couldn't fit it all without it sounding like shit. So once the CD came out, once the mp3 came and all that kind of stuff, there was no limitation on that anymore. People just tried to make it as loud as possible. Because louder is better. If it's louder, it's a better song. [00:33:55] Speaker B: It's like that SpongeBob episode for anybody who's seen it. Squidward tells everybody to play loud. They just break all the windows and. [00:34:04] Speaker D: That'S what it is. All right, let's get back to this. Here we go. [00:34:45] Speaker A: Bang your head. Wait, the death. We're all mental, man. If I have your. I raise the dead. It's rock about take your head. That'll have a rocket. Take your head. You. [00:36:15] Speaker D: Know, so funny about that. I forgot about that whole little part after the solo. [00:36:19] Speaker B: Yeah, so did I. [00:36:21] Speaker D: Because you're so used to hearing for me, I remember the first verse, right? Like even the second verse, I don't really remember. I remember the first verse and I remember the choruses, but I didn't remember that little post chorus thing and the bridge thing. And guitar playing was pretty good there. [00:36:42] Speaker B: Yeah, but we think about it, right? In 83, liking this music and hearing a song like this. [00:36:54] Speaker D: Well, since Frankie picked eighty s first, let's let him go first. Go ahead, Frank, go first. [00:37:02] Speaker C: You know what? It's very nostalgic for me. I hear a lot of my favorite bands in this music. One of the ones that came on is that little bass, intermittent solo kind of ish that brought me to Motley Crue. She goes down. [00:37:21] Speaker B: You talked that ruble, though, right? [00:37:23] Speaker C: Yeah, exactly. If you listen to the Motley crue, she goes down bass solo situation in this song, you hear similarities. So, honestly speaking, this is the grassroots of metal, and I really appreciate it. So I'm going to give the music a ten because of that. The production for the time or what it was, I'm going to give it a nine. And the lyrics so far, I'm going to give it an eight. [00:37:51] Speaker D: That's a very strong one. Sabino, go. [00:37:55] Speaker B: All right. Yeah, I'm trying to think of how to rate this in terms of. All right, so as a kid, I'm going to rate this as a kid, me hearing this for the first time, being a metal fan, I probably would have given the lyrics at least a nine. So I'll say that, you know what? I'm going to go. The production is not as strong as I thought it was, but it's not terrible. So I'm going to say nine, nine, eight. I mean, again, I have to rate this as. You know what I mean, from where I was back then. Listen, I still think it's a good song. I mean, if this song came on the radio, I'm sure I wouldn't turn it off. [00:38:36] Speaker D: Oh, no, I'd never. [00:38:37] Speaker B: This isn't something that hasn't lost. It's a great song. It's simple. And the lyric speaks to people who love this kind of music. [00:38:48] Speaker C: By the way, sav, the music itself, understand, is the grassroots for future metal songs. [00:38:58] Speaker B: Yeah, I mean, this again, this album. [00:39:00] Speaker D: Ushered in the era of ten years, almost, of this. Right? [00:39:06] Speaker B: Yeah. It's. So long doors, man. [00:39:09] Speaker D: Yeah. So I'm going to have to give it through a nostalgic lens, too. I can't look at the lyrics and go, well, these lyrics are shit. Because normally I would probably give the lyrics a seven, realistically. But for what the song is and what the song did and the chorus by it, just from the chorus, think everything else out. So I'm going to give that a nine. I'm still going to have to give the music a nine. I'm going to give the production an eight. The musicianship is fine. I don't know a lot about Frankie Benali's drum work. It's very simple in this thing, but it's perfect for the song. There's nothing. [00:39:53] Speaker B: He's a good drummer. I've heard him play on mean. I think he was supposed to be a good guy. There was a big thing about him passing, and a lot of people spoke out about spoke for him. [00:40:08] Speaker D: Yeah. So to me, you can't take the nostalgic factor out of that. [00:40:14] Speaker B: Yeah, there's just no and just a heads up, Rudy Sarzo didn't play bass on this song. Chuck Wright did. [00:40:20] Speaker D: Oh, really? Chuck Wright? [00:40:22] Speaker B: Chuck Wright. The guy's played on like a million things if you look his discography. [00:40:33] Speaker D: It's not saying that here. It's saying that it was Rudy Sars. [00:40:35] Speaker A: Though. [00:40:41] Speaker B: On this song. [00:40:43] Speaker D: No, I know that, but I didn't realize that. Okay, well, let's go to the next one. [00:40:55] Speaker B: Yeah. Anybody here? Frank, you definitely know this one. [00:41:00] Speaker D: Yeah, I'm not even going to say what it is. [00:41:02] Speaker B: Don't even say it. [00:41:03] Speaker D: Here we go. [00:41:08] Speaker A: Come on, feel the noise girl rock your boy we'll get wild wild wild wild wild wild. [00:41:21] Speaker D: Do you remember that? Now, Frank. [00:41:25] Speaker C: I just got to say you right, like, it impacted me emotionally and I'll share later. Why? [00:41:37] Speaker D: Is it another makeout song? [00:41:39] Speaker C: No, it's not a makeout song. I'll share it later. Why? Go ahead and play it. [00:41:47] Speaker D: Okay, I'm going to back it up again here. We got. We hear it again from the beginning. [00:41:55] Speaker A: Come on, feel the noise girl rock your boy we'll get wild wild wild wild wild wild so you think I got an evil mind you honey, I don't know why, I don't know why so you think my finger not at a time it makes me money I don't know why I don't want anymore I know come on, feel the door girl rock your voice we'll get wild come on, feel the noise girl rock your voice we'll get wild wild angry. [00:43:05] Speaker D: So obviously this is a cover, right? This is Slade. Have you ever heard the original Slade version? [00:43:11] Speaker B: I want to say yes, but I don't remember. [00:43:13] Speaker D: I don't remember either. [00:43:15] Speaker B: I don't think it's too. You know what I mean? This isn't like a ace freely 2000 man kind of thing. I think it's just like an updated version. [00:43:26] Speaker D: All right, Frank, before I start reading lyrics, explain to us why you had a visceral reaction to this song. [00:43:39] Speaker B: He's actually off. [00:43:41] Speaker D: He disappeared. [00:43:43] Speaker B: Is that the reaction he's building up. He's building up the story. That's what it is, I think. [00:43:47] Speaker D: Okay, so I'll read lyrics then. And then he can tell us why. Yeah, so obviously it's the chorus. Come on feel the noise girls rock your boys we'll get wild wild wild wild wild wild so you think I got an evil mind? I tell you, honey, I don't know why, I don't know why so you think my singing is out of time? It makes me money? I don't know why, I don't know why so come on, feel the noise girls, rock your boys we'll get wild, wild, wild, wild, wild, wild come on, feel the noise girls, rock your boys we'll get wild, wild, wild, wild, wild, baby wow. So now, Frank, tell us why you have such a reaction to that. [00:44:36] Speaker C: Yeah. So the two of you know that I really was raised in Puerto Rico, right? So I came to the Bronx a little bit later on in life. I was, like, 14 at the time, I think, kind of. And so, being raised on the island, I remember my grandfather. So cable tv was not available in much of the island. It was available in the immediate metropolitan area where my great aunt lived in. So my grandfather used to take me to my great aunt's house to listen to MTV and watch these videos and hang out and stuff like so. And this is one of the videos that I remember very vividly watching on MTV, along with a lot of Tom petty videos and stuff like that. So this is why he resonates so well in my heart. [00:45:29] Speaker D: Yeah. I'd be surprised that you wouldn't know this song. Impossible. [00:45:35] Speaker C: It's impossible. This is a very big hit song in Puerto Rico at the time because. [00:45:40] Speaker D: It'S a hit song everywhere. [00:45:42] Speaker C: Yeah, everywhere. But I think that in Latin America, metal resonates a lot. And this is one of those songs that is like, one of those anthem songs that we always remember. [00:45:56] Speaker B: Yeah. I mean, metal in Latin America, obviously, South America, Europe, it hasn't most. It's sheen. Okay, you know what? [00:46:12] Speaker C: It was an anthem. It was an anthem in a lot of Latin America. Right? So Puerto Rico, South America, and things like that. So you always think about rock and roll. There's certain bands that stand out to you, and this is one of those bands that stand out in your. So, of course, this is the path to Americana music. And like I shared, one of my favorite things was Saturdays. My grandfather used to take me to my grand aunt's house because she had cable tv, and I used to plop down, watch MTV there for hours on end watching the same videos in Luke, because at that time, there was very few videos. Right? So this is one of those videos, and Twisted sister was one of those other ones, but Tom Petty was front and center as well. And what's the other song? That I think it's going to come to me. I'm going to remember it in this podcast. But there's one other song that stands out. The guy wearing a headbandana, no shoes, and playing guitar and, like, color tv. That's one of the dire straits. Dire straits. Yes. Sav. Yeah, you hit it. [00:47:31] Speaker D: They were for nothing and your checks for free. [00:47:34] Speaker C: Yeah, exactly. And Madonna was a huge hit as well. But as far as metal and rock and roll, this is one of those songs that really, for me, and I think a lot of Latin America, really stands out. [00:47:48] Speaker B: It's actually funny because I remember being in Italy, and a lot of people I knew were very big into dire straits, but not that dire straits. Like, they would say that that sucks. And I didn't really know them. I mean, I knew salt into swing, which is, like an amazing song, but I didn't know the other stuff. But when that stuff, they're like, oh, my God, this is so bad. I was like, okay, I'll take your word for it. I mean, I wasn't a massive fan of those songs. [00:48:16] Speaker D: Mean, that was a big song, too. [00:48:18] Speaker C: You know, Mark, the one podcast talent that you invited to them, he was the first one. I think he's based out of Seattle. I forgot his name. Who joined us? Who was. [00:48:36] Speaker D: Jeremy. [00:48:37] Speaker C: Jeremy, yes. He did a whole podcast about MTV and how MTV defined music and stuff like that. And for me, MTV defined a lot of the music that I listen to today, and metal being one of them, of course. [00:48:57] Speaker D: Well, everybody. Well, if you grew up in that know, eventually you had to run into. So. So shout out to the classic guitar rock podcast with Jeremy. [00:49:06] Speaker C: Yes, absolutely. Yeah. If you ever have a chance, just listen to his podcast about MTV and the influence that it had on America. [00:49:14] Speaker D: It's crazy. All right, here we go. [00:49:16] Speaker A: So you see I got a funny face I got no worries and I don't know why I don't know why anymore come on feel the noise, girl rock your voice with it wild, wild wild wild wild wild come on feel the noise, girl rock your voice we'll get wild wild, wild come on. [00:50:12] Speaker D: Say, is that scream again? [00:50:14] Speaker B: Yeah. [00:50:17] Speaker D: It's kind of funny to me that we never did a song when we were playing covers. I don't know why. Why did anyone ever bring this song up? [00:50:24] Speaker C: Because it's, like, sacrilegious. You can't play this song as a cover band. [00:50:29] Speaker A: No, come on. [00:50:31] Speaker C: There are certain songs you can't play. [00:50:33] Speaker B: You know what it is. Some songs, as popular as they are, you don't know how it's going to go. It may go over because, I mean, honestly, think about some of the songs that we did that were so damn popular. And we played it and it was like crickets. And sometimes I'd sit there, go, really? [00:50:50] Speaker C: I mean, come on, dude. I mean, guys, come on. There are certain songs you don't play and cover, like in. God. [00:50:56] Speaker B: Well, this is a cover. [00:50:57] Speaker C: You don't play that well. This is a cover. This is a popular cover. Yeah. [00:51:06] Speaker D: I don't think we ever played the song ever. [00:51:08] Speaker B: No, I never, ever playing this song. Not even joking around, you know what I mean? [00:51:13] Speaker D: No. [00:51:14] Speaker B: Yeah. [00:51:17] Speaker D: All right, so here are the lyrics. So you say I got a funny face I got no worries and I don't know why I don't know why oh, I got to sing it's some disgrace I'm in no hurry and I don't know why I don't know why anymore no. And then obviously back to the chorus, which you can't get it. I mean, you got to give Slade props for writing the song. [00:51:44] Speaker B: Yeah. I mean, it's catchy as hell. [00:51:46] Speaker D: It's super catchy as hell. I just want to see something really quick while I want to see. [00:51:55] Speaker A: If. [00:51:56] Speaker D: They say anything about Slade's version and what it actually. [00:52:06] Speaker B: Slade. The name Slade comes up a lot with the hair metal guys as an influence. [00:52:11] Speaker D: Well, I think Def Leppard is a big fan of Slade. [00:52:15] Speaker B: Yeah. Paul Dennis, remember talking about it, too. [00:52:23] Speaker D: That's really funny. They were produced by Chad Chandler, who was Jimi Hendrix guy. That's funny. So February 73 is when the come on field of noise came out. So a whole ten years later. So it was a big hit for them, too. I mean, not as big. It only reached number 98 in America. But still. [00:52:55] Speaker B: I'm sure there are people who knew that this was a cover when it came out. I didn't know it was a cover. I had never heard this at that point. I had never heard of. [00:53:02] Speaker D: Yeah, I probably didn't know. [00:53:04] Speaker C: I didn't know it was a cover. [00:53:07] Speaker B: As a band, they made some noise. [00:53:10] Speaker D: Yeah. And again, this is very anthemic. Right? Very anthemic. [00:53:18] Speaker B: People saying things about, who cares? This is one of those one two punches, right? Like we talked about. Girls, girls, girls. Right. With wild side and girls, girls, girls. I mean, this is a massive one two punch right here. [00:53:32] Speaker D: Yeah. [00:53:33] Speaker C: It's the gateway to metal song. [00:53:36] Speaker D: Yeah. But it's very hard to have this good of a one two in a row. Yeah. [00:53:41] Speaker B: I mean, within this genre or whatever you want to call it, subdivision of. [00:53:49] Speaker D: Yeah, of course. Well, at that time, it was just metal. It wasn't even classified as hair metal. It was just metal. [00:53:54] Speaker B: Yeah. [00:53:55] Speaker D: All right, so here's a guitar solo, and I like this guitar solo a lot because I can almost hum this solo and know what it is. So that's usually the mark of a really good solo. Yeah. All. Here we go. [00:54:32] Speaker A: Samable. [00:54:50] Speaker B: And it's the perfect solo for the song. Right. It's got melody, it matches the music. It doesn't interrupt the song. It's kind of like the song just really keeps on going. [00:55:01] Speaker D: It's a song within a song. [00:55:02] Speaker B: Yeah. [00:55:04] Speaker D: And I got to say that there's a lot of technique going on in there, too. [00:55:08] Speaker B: Yeah, it's way older. Yeah, I noticed that, too. [00:55:10] Speaker D: You're like, in the first one, it's a little more like trying to cop other people. And this one is not as much. I mean, I think there's a little randy in there. Sort of, kinda a little bit. I can hear that in some of the faster things. You know what I mean? Obviously not that similar, but he did a great job on the solo. I mean, you couldn't add, like, if you had. [00:55:30] Speaker C: What did you say, Mark? What did you say about Randy? [00:55:33] Speaker D: About Randy Rhodes? Yeah, there's a little on the fast. [00:55:44] Speaker C: You have to go ish. [00:55:46] Speaker D: Well, yeah, but this is Randy Rhodes band, though. [00:55:53] Speaker C: Yeah, but you have to remember ish. [00:55:57] Speaker D: Yeah, no, it's ish for the rest of the episode. [00:56:05] Speaker C: I'm going to focus on this part. [00:56:08] Speaker D: No, it was really good. [00:56:10] Speaker B: No, I could hear some of that. [00:56:13] Speaker D: Yeah. [00:56:18] Speaker C: On the influence part. Yeah, I get it. [00:56:20] Speaker D: Yeah. Well, I mean, listen, he had to step into his shoes and take this over after Brandy was left, so he couldn't have been a crappy guitar player. [00:56:31] Speaker C: That's not the big shoes to fill. [00:56:33] Speaker D: That's what I meant. Yeah. [00:56:36] Speaker C: It's crazy. [00:56:37] Speaker D: But the solo is perfect. The solo is perfect for the song. It does exactly what the song needs. You can hum it. If you can hum it 40 years later, that means it's a good solo. [00:56:50] Speaker C: I just think that he was the guitarist for the band that was at the course. [00:56:58] Speaker D: Yeah, yeah, they made a good choice. He was with them for a long time, I think, too. [00:57:06] Speaker B: It's funny because the two brothers, the Cavazo and Sarzo, their brothers were both in another band, Hurricane, but it was the opposite where who played the bass and the other one played the guitar. [00:57:17] Speaker D: That's too funny. [00:57:18] Speaker B: Yeah. [00:57:20] Speaker D: Well, again, that whole California scene, everyone knew. [00:57:26] Speaker B: How to go right for this kind of music. [00:57:30] Speaker D: Yeah. I mean, that's when it was starting. Right. That's when everything once they got signed and then just Motley Crue got signed, like probably around the same, little after. Right. Or around the same time. [00:57:42] Speaker C: Is it really California where metal was born? [00:57:45] Speaker D: Well, no, I don't born, but, no. [00:57:48] Speaker B: I mean, metal came up mean. Obviously a lot of the british bands had influence. [00:57:56] Speaker C: Yeah, I was going to say it came from England. It came from a lot of. A lot of the metal songs came from England, influences wise. But the american version, was it born? [00:58:11] Speaker D: I don't know if it was born any. I mean, for this type of metal, which ended up being the hair metal, glam metal that was all sunset strip. I mean, it was there before because Van Halen was playing the same kind of clubs, right. Late seventy s. And by the way. [00:58:27] Speaker C: I think that's where we left off with Jeremy, that one day we're going to do a podcast around UK and american influences on music and what came where from where. Yeah, he owes us that. [00:58:44] Speaker B: So too fast for Love was actually 19 80, 81 on their original, that leather Records release. [00:58:50] Speaker D: Okay, so it was before that, but. [00:58:52] Speaker B: The electra version was 82, which was. [00:58:54] Speaker D: Still one year before that. [00:58:56] Speaker B: And shout at the devil came out. [00:58:58] Speaker C: I remember the electra. So you said, savvy, there's one more. Before Electra. [00:59:04] Speaker B: Well, they had like, their own leather records. It was kind of like their own thing, I think. [00:59:10] Speaker C: Yeah. [00:59:11] Speaker B: And then Electra Records picked it up, obviously being the main major label at that point. [00:59:18] Speaker C: No. [00:59:19] Speaker B: Okay. [00:59:19] Speaker D: Yeah. And that record's a little more. It's rock, but it has some punkiness into it, too. A little bit of that going on. [00:59:28] Speaker C: We need. [00:59:28] Speaker D: It's not a straight metal record, I don't think. [00:59:30] Speaker C: Okay. You need to get Jeremy, by the way, bark. [00:59:35] Speaker D: Okay. [00:59:36] Speaker C: He also does this debate, UK versus us rock. [00:59:40] Speaker D: Okay, well, we'll have to let him know. [00:59:42] Speaker C: Yeah. [00:59:43] Speaker D: All right, let's continue. [00:59:49] Speaker A: Why you think we ever waste this time? You should know better I don't know why I don't know why anymore come on feel my noise, girl rocket boy we'll get wild, wild, wild come on feel the noise, girl rock your boy we'll get wild, wild. [01:00:46] Speaker D: Now that part with the drums there, that. That's definitely awesome for live. The drums just by themselves. [01:00:54] Speaker B: Oh, yeah. Get the hands in the air. You can keep that going for a while. [01:00:59] Speaker C: Yeah. [01:01:03] Speaker B: Back to back anthems. [01:01:06] Speaker C: You know what, guys? I know the two of you are going to hit me on this. When you listen to the guitar riff on that one, I kind of hear a lot of I won't forget you, baby by poison. In that guitar. [01:01:23] Speaker D: Yeah, I'm sure there was a lot of that going on. [01:01:28] Speaker C: I hear it. [01:01:31] Speaker D: It was the place a lot of stuff sounded like that. [01:01:33] Speaker B: Yeah. Well, I mean, poison was what, 85? The first one. [01:01:36] Speaker D: Yeah. So they could have been playing around in California beforehand, right? Obviously. [01:01:41] Speaker B: Oh, yeah. Well, again, if you wanted to make it in this genre, that's where you had to go. That's what these bands were coming. I mean, who did you really mean? I know some of these bands didn't start out. I mean, poison is not originally from LA, but they're considered an LA band, right, because they came out of that guns and roses too area. Who? [01:02:04] Speaker D: Guns n'Roses, too, basically. You know, Axel came from. [01:02:13] Speaker C: Mean. Yeah, they came from Indiana. Dove came from Seattle. The only one that's really from California was slash. [01:02:22] Speaker D: And what about the drummer? [01:02:27] Speaker C: The drummer was not originally from California. I forgot where he was from. [01:02:32] Speaker D: Yeah, probably. [01:02:34] Speaker C: Yeah. [01:02:36] Speaker D: So I'm going to read the lyrics before we play it out. So the last verse is. Well, you think we have a lazy time, you should know better. I don't know why I don't know why you say I got a dirty mind I'm a mean go getter what the fuck is that supposed to mean? I don't know why I don't know why anymore oh, no. And then obviously that little Drum break into the chorus. And now we're going to go into the bridge. So you look up the drummer, Frank, and I'll continue this and we'll talk about when we come back. [01:03:06] Speaker A: Don't watch your voice. We'll get wild. We're gonna get wild. We're gonna get one tonight. Rocket tonight. Look at. [01:04:03] Speaker C: Love, the classic 80s fade away. [01:04:07] Speaker D: I'm a big. I'm a big fan of the fade out. [01:04:10] Speaker C: Yeah, fade out. [01:04:11] Speaker B: And the solo. Right? In the fade out. [01:04:12] Speaker C: Yeah, solo and the fade out. [01:04:13] Speaker D: Because usually that's the best parts of. [01:04:15] Speaker B: The solo and the fade out a lot of times. Yeah, there's some really good stuff that happens. [01:04:18] Speaker D: And you're like, God damn it, why are you cutting it off? [01:04:23] Speaker C: So, sav, I have a question for you as a drummer. [01:04:26] Speaker B: Sure. [01:04:29] Speaker C: What note is that drum beat at? [01:04:33] Speaker B: What note? Yeah. Are you getting a little too technical for me, buddy? I mean, it's easy to play exactly what I mean. [01:04:46] Speaker C: Because here's the thing. I heard it before elsewhere and it sounds like it's a very foundational note. [01:04:55] Speaker B: Well, I know the beat itself is very common. You know what I mean? [01:05:02] Speaker C: Yeah. [01:05:04] Speaker D: That'S probably a lot of songs. [01:05:06] Speaker B: Yeah. Okay. Whether or not it starts the song off or not. But, I mean, it's. So. FYI, Stephen Adler was originally from Cleveland, Ohio. And that is not his real name. [01:05:21] Speaker D: Oh, really? [01:05:22] Speaker C: Oh, it's not? [01:05:23] Speaker B: Nope. I never knew. I read his damn book. [01:05:28] Speaker D: Frank is like Guns N'Roses Central. How does he not know that? [01:05:32] Speaker B: Have you ever read Stephen Adler's book? [01:05:35] Speaker C: No. I know he lived a fucked up life. [01:05:41] Speaker B: Yes, but he got the shaft from the band, man. Big time, according to him. So, Stephen Adler's real name is Michael Coletti. [01:05:52] Speaker D: He's Italian. [01:05:53] Speaker B: Or as we say, Nelly Coletti. [01:05:56] Speaker C: Coletti. [01:05:57] Speaker B: Yep. He's a pizza. [01:06:02] Speaker C: Wow. Really? That's his name? [01:06:05] Speaker D: All I want to know is how much drugs do you have to do for guns n'Roses to kick you out of the band? [01:06:11] Speaker C: I mean, he had a really big drug problem. He had a stroke. [01:06:15] Speaker D: No, I know. [01:06:16] Speaker C: Yeah, he had a stroke because of it. [01:06:18] Speaker D: But I'm just saying, you have to be really fucked up to have guns and roses. Say, you know what? You're doing way too much drugs, even for us. We need to kick you out of the. [01:06:26] Speaker C: Listen, GNr did not really do a lot of drugs. [01:06:30] Speaker A: Oh, come on. [01:06:31] Speaker C: Maybe they did a lot of drinking. [01:06:34] Speaker D: They did a lot of drugs, too. [01:06:36] Speaker C: No, they didn't do a lot of drugs. Didn't have a heroin problem for a slight moment. [01:06:42] Speaker B: For a slight moment? [01:06:43] Speaker D: Okay. That never kills anyone. [01:06:45] Speaker C: No, I mean, the dude came around. [01:06:48] Speaker D: Well, of course, pacemaker now, too. [01:06:51] Speaker C: He really does because of his problems. But the reality is he was there. Him and Nikki six used to hang out and do a lot of heroin. I think he was there when Nikki six died. [01:07:04] Speaker D: I think you're right. [01:07:05] Speaker C: I think he was there when Nikki six died. And I think it was that at moment he was like, maybe I should cut this shit out. But as far as Stephen Adler, did he get the shaft, whatever? I don't know. Maybe not according to him. [01:07:23] Speaker B: Because he said that he had a lot more to do with the songs than people probably thought. And I think they kind of. So he was fired from the band because of his drug abuse in 90. Then he was reinstated after signing a contract, which he vowed to stop taking drugs. But when they went to record civil war, it was so bad that he was unable to perform. He said that he tried playing 2030 times. [01:07:55] Speaker D: But isn't he the drummer on that track? [01:07:57] Speaker B: I believe so, yeah. [01:07:59] Speaker C: Until Matt Soren came along and eventually was like, you need to go, because he was constantly out because of his problem. [01:08:08] Speaker D: Well, that's what I'm saying you got to do lots of drugs for guns and roses to kick you out. [01:08:11] Speaker A: That's a lot. [01:08:13] Speaker C: At this point, when they were recording. At this point, when they were recording, use your illusion one and two, which took, what, 25 years for them fucking to record, right? So at this point, that's what it felt like, right? It's like, dude, they were trying to come straight and clean and they were waiting for that one band member to catch up. I think that's what happened there a little maybe. We don't know. We will never know, really. But he's definitely one band member that you wish he was there for. When GNR came around for the reunion along with Strand. Izzy Strandland. I don't know, he was just weird. He just kind of went his own way. [01:09:10] Speaker D: I don't think he wanted that anymore. [01:09:12] Speaker C: Yeah, I don't know. But he recorded Italy strangling ju hounds. [01:09:17] Speaker B: Yeah, that was okay. I had that. [01:09:22] Speaker C: I don't know, it's weird. I don't know. I just wish that all of them were able to perform at the same time. [01:09:34] Speaker D: That's not going to happen because it's been like seven years or eight years and they still haven't gotten him back except for a couple of shows at the beginning. Other than that, that's not happening. Anyway, before we go on any more tangents, I'm going to go first. Okay. [01:09:45] Speaker B: We didn't rate the song. [01:09:47] Speaker D: Yeah, I'm going to have to do this again on nostalgic purposes, too. So just for the chorus and I'm gonna have to give the lyrics a nine. I'm gonna give the music a nine. And I'm gonna give the. And I'm gonna give the production an eight. Actually, I'm probably going to give production a nine because I did. The production on this song is better than the first one. And guitar playing is great. All the parts that he plays guitar wise are perfect for the songs and the places he does it. I'm really impressed with the guitar playing on this song, so I don't know what the rest of it's going to be like, but for this song, it would be hard to be better than that. Saf. [01:10:30] Speaker B: So, yeah, I'm going to say a nine on the music. I'll say a nine on the production as well. I do think it was better than the first one. Lyrics? I'm going to say a seven. I mean, it's not his lyrics, again, from a nostalgic standpoint, but just because he wrote the other one, I feel like they really captured. And this is kind of like the b capture. Like, the first one is kind of like the a capture of what we would have. And this is kind of like, maybe not the b but a one. I think I gave the other ones. Did I give them a 9? May have, but whatever. I mean, this song is freaking. It's a great song. You know what I mean? It's just so fun. Back in the day, I never got tired of hearing this song. Like, without a doubt. I mean, any twisted sister. [01:11:27] Speaker D: I wouldn't turn it off now. [01:11:30] Speaker B: No, I was bobbing my head the whole time. I heard this song a million times, and now that it was on, it was, like, fresh. [01:11:37] Speaker D: Yeah. [01:11:39] Speaker C: Frank, you know what? I'm giving production a nine. I'm going to give music an eight, and the lyrics are seven. Like, yousef, listening to the song right now, I was like, all right. I'm bopping my head and just enjoying it. [01:12:03] Speaker D: All right, well, now we're getting into the stuff that we may not know. So the first two things hit you really hard. [01:12:11] Speaker C: This is one of those cds that you bought, and you enjoyed the first two songs, and the next ten, it suck ass. [01:12:17] Speaker D: I don't know. I don't remember. [01:12:19] Speaker B: I heard this the first time. I thought it was pretty strong. I don't remember everything. There's definitely. I'm looking at some of the titles, and I remember other stuff that I think the next one's a ballad, actually. [01:12:30] Speaker D: Okay, well, it sounds like the name of it. So this is called don't want to let you go. And who is it written by? It is written by Dubrau and mean. He pretty much wrote Kevin Dubrow almost everything on, so, yeah, I saw that. [01:12:48] Speaker B: I wouldn't have thought that he had done by himself, pretty much. [01:12:54] Speaker D: All right, here we go. Don't want to let you go. [01:12:59] Speaker A: Damn. Wants to have a girl like you but I'm the one and it's right somebody comes along and doesn't play a song my wish becomes delight he'll try to take it from me don't want to let you go not gonna get fun on me don't wanna let you go it's better you wanna let you go. [01:14:07] Speaker D: Shopping before the. We get into the next thing. I'll back that up, but I don't know, the beginning guitar thing was a little wimpy. I wasn't really super into the tone of that thing. And I would think someone would have done that over. [01:14:26] Speaker B: It was very 80s, right? [01:14:29] Speaker D: Oh, that beginning. It's like another song. [01:14:35] Speaker B: I just had it and I lost it. [01:14:38] Speaker C: I don't know about you guys, but I hear a little bit of beast of bourbon. [01:14:43] Speaker D: Beast of bourbon, really? Yeah, I guess. Yeah. [01:14:49] Speaker B: Interesting stuff. [01:14:50] Speaker D: Yeah. The bass is doing awesome. The guitar thing at the beginning was a little weird. I don't know what that was all about. It sounded a little sloppy. [01:14:56] Speaker B: I know what it reminds me of. [01:14:58] Speaker D: What? [01:14:58] Speaker B: But slower. One thing leads to another. Because I want to say the tone is the same, too. [01:15:10] Speaker D: Yeah. [01:15:11] Speaker B: One thing leads to another. [01:15:13] Speaker D: I mean, it's not horrible. [01:15:15] Speaker B: No. I wish there's a little bit more separation because that bam bam just kind of keeps going. It's going through the chorus, you know what I mean? [01:15:22] Speaker D: Yeah. [01:15:23] Speaker B: There's not a lot of differentiation going on between. There's not a lot of dynamic. But the production is actually pretty good, too. Right. I mean, I'm thinking, like, hey, this is a potential hit. [01:15:36] Speaker D: Yeah. That's probably why they did that, I'm sure. So the lyrics are, everybody wants you. Let's start this again. Everybody wants to have a girl like you. I'm the one and it's right. Somebody comes along and says, they play your song. My wish becomes his delight. He'll try to take you from me. I don't want to let you go. Not going to get far from me. Don't want to let you go. You're special, you're one of a kind, so don't want to let you go. So obviously he's worried about someone taking his girlfriend away from him. Or it's someone he wants, but he can't get. [01:16:14] Speaker B: Yeah, it sounds like a mix. [01:16:17] Speaker D: Yeah, it sounds like a mix, actually. [01:16:18] Speaker B: No, I mean, I don't think he has this girl. [01:16:20] Speaker D: Oh, you don't think he has her yet? [01:16:21] Speaker B: Well, but then he does. He does say he'll try to take you from me. [01:16:25] Speaker D: Yeah. So maybe he has her and this guy's. [01:16:27] Speaker B: I guess if he doesn't want to let her go, he should have her, right? If he doesn't have her, I would think so. [01:16:32] Speaker D: All right, let's see how the rest of this goes. [01:16:42] Speaker A: My time is wasted, you say I told you so, told you so. You can't lie for fact. He'll try to hold you back, you make the tension grow. He'll try to take it from me. Don't want to let you go. You're not gonna get up from me. Don't wanna let you go. You special, you're one of the kind money can buy. Don't want to let go. [01:17:32] Speaker D: All right. Before solo comes up. I'm going to back it up. [01:17:35] Speaker B: So, mark, call me crazy. I'm hearing a little of. Sure. No. Something in there, too, maybe. [01:17:39] Speaker D: Yeah. I was just thinking to say the same thing. [01:17:42] Speaker B: Right. It's the bass thing and the drums all of a sudden. Yeah, kind of that late era kiss. [01:17:49] Speaker D: And the drums are pretty good on that, actually. I like his playing on. Actually, his playing on this song better than the other two, I think here. [01:17:59] Speaker B: It's a lot of groove, right. Which is great. I love that he know. I love when drummers again, I think I've said it before, but when they play along with the actual riff. So kind of like the accents are there again. Herman Rarebell from the Scorpions does it a lot, which I really. That it gives the riff that extra. [01:18:18] Speaker D: Yeah, no, so he's doing really good. And the bass resource is doing a great job. Like I said, I'm not too sold on the guitar stuff in the verses, but we'll see what the solo brings. Maybe it'll be better. So the lyrics are some things money can't buy. Your smiles pasted my time is wasted, you say I told you so, told you so. You can't tell lies from facts. He'll try to hold you back. You make the tension grow, grow and grow he'll try to take you from me. And then the chorus, I think, is a little different. Don't want to let you go. You're not going to get far from me don't want to let you go. You're special, you're one of a kind so don't want to let you go. Some things money can buy. Don't want to let you go. Don't want to let you go. So the lyrics are not horrible. [01:19:08] Speaker B: The genre. Right. That third song kind of ballad. [01:19:14] Speaker A: Well, it's not really. [01:19:15] Speaker D: This is like mid tempo, though. That's kind of mid tempo. [01:19:17] Speaker B: It's kind of like I won't forget you by poison. [01:19:19] Speaker C: Right. [01:19:19] Speaker B: I mean, that wasn't really too slow. It was more of a. Yeah. [01:19:23] Speaker D: Just a little faster than that, though. [01:19:25] Speaker B: Yeah. [01:19:27] Speaker D: All right, here comes the solo. Let's see what happens. [01:19:34] Speaker A: Don't wanna let go. [01:20:09] Speaker D: Was bad. [01:20:10] Speaker B: That solo kind of reminded me of it, too. Who played Mark? Do you know who plays insurance or something? Is that ace or is it Paul that plays the solo? Do you remember? [01:20:18] Speaker D: I believe it's ace. I believe it's ace. It's very similar. Well, the groove is very similar. [01:20:24] Speaker B: Yeah. It's just very reminiscent of that song, I think. [01:20:27] Speaker D: Yeah. The only one thing I don't really like about his guitar playing. His vibrato is very fast. I like it a little wider and a little slower. So anytime I hit, like, super fast vibrato, even when ace freely does it super fast, I'd like. I don't like that too much. It's not my thing. But it wasn't a bad solo. [01:20:47] Speaker B: No. [01:20:49] Speaker D: He's a good guitar player from what I can gather. So from what I hear and hear. Yeah. All right, let's continue. [01:21:02] Speaker A: But I'm the one and it's right? Comes along and says he takes us off. My wish becomes delay? He'll try to take it from me? Don't want to let you go. You're not gonna get my coffee? Don't wanna let you go. You're special. Don't wanna let you go. Tell me I don't wanna let you go. Especially don't wanna let you go. Don't wanna let you go. Don't wanna let you, don't wanna let you go. Let you go. I don't go. [01:22:56] Speaker D: Happens at the end of those songs all the time. So funny. What did you think of that? [01:23:03] Speaker B: It's okay. It wasn't bad. I mean, I like the. [01:23:06] Speaker D: It's so groove, but it's not 80s metal. It's like 80s, like pop rock kind of, sort of. [01:23:12] Speaker B: It's like 80s album rock almost. Right. You could almost picture journey doing a song like that. [01:23:18] Speaker D: Yeah. All right, why don't you go first, then? [01:23:28] Speaker B: I don't know. I mean, I think the lyrics are very stock. I'm going to say five on the lyrics. Honestly, I was going to say six, but kind of looking back at them, I mean, your smile is pasted. My time is wasted. A lot of this stuff is just kind of written to rhyme, I feel. And it doesn't have at this point, that nostalgic thing isn't there, either. Music wasn't bad. I'm going to say a seven on the music and I'm going to say an eight on the production. I thought it was produced really well. The drums are really good. The bass. This is kind of like the sound that I remember associating with when I first heard it, saying, wow, it sounds good. Like, it's powerful. Kind of smart. [01:24:11] Speaker D: Yeah. I think the nostalgic thing now is not going to save that, unfortunately. So I'll probably give it a six on the lyrics. It's not something. There's a lot of stock stuff going on there, and I'm not a big fan of the rhyming scheme. A little bit. It's all right as far as music goes. Like, I like the bass, I like the drums. I don't know if his voice fits this kind of music that as well as the heavier stuff, because his voice is very. He has a little bit of that rasp, but it's not a rasp in the way that it would fit in like a very poppy. Because this is more pop rock than it is metal. It's very 80s pop rock. There's lots of bands that were doing stuff like this. Yes. So in that way, I'm going to give it a seven and in production I'll probably give an eight on that. I thought it was produced pretty good. I liked it. But there's no nostalgia in this for me. This doesn't brings back zero memory for me. [01:25:18] Speaker B: I do remember now this thing back, but I didn't even think back then. It was one of my favorites. Yeah. [01:25:25] Speaker D: Frank, did we lose? [01:25:37] Speaker C: No, no, I'm here. I'm muted. [01:25:39] Speaker D: So what do you think? [01:25:44] Speaker C: I'm still evaluating the whole thing. [01:25:50] Speaker D: It's thrown you for loop. [01:25:52] Speaker C: Yeah, it really has. It really has a little bit. [01:25:54] Speaker D: I didn't expect that to be coming after those two songs. [01:25:57] Speaker C: No, me neither. Me neither. Can I loop back on this one? [01:26:05] Speaker D: Yeah. Don't forget, though, because we're going to go to the next one. I'm going to ask you about at the end of the next one. So think about it for a little bit. Be ready, be ready. Okay, so the next one is slick black Cadillac. I'm not too sure if I remember. [01:26:19] Speaker B: I remember this one. [01:26:20] Speaker D: Oh, do you? Okay. [01:26:21] Speaker B: Yeah. [01:26:21] Speaker D: I might remember, too. We'll hear when it starts. Here we go. [01:26:24] Speaker A: Slay Cadillac wheels what it takes to get me off I want to drive all night in my wheel tonight feels all right feels all right I don't need no promise height I'm too reckless to survive it's like a car breaker it's the day of feels all right it feels all right I've been in a place like cadillac it makes it feel like a king I'm only one thing and that's a slave that travel. [01:27:38] Speaker D: So what does it sound like to you? I'm just curious if you're thinking the same thing I'm thinking of. [01:27:43] Speaker B: I mean, it reminded me a lot of wasp. [01:27:46] Speaker D: You think? [01:27:47] Speaker B: I think so. [01:27:49] Speaker D: That's not what I. [01:27:50] Speaker B: Even his tone. [01:27:53] Speaker C: To me, it reminded me a little bit of slaughter, slaughter up all night sleep all day that same energy. [01:28:04] Speaker D: I know you're going to think I'm weird for sound. Saying what? [01:28:07] Speaker B: I think it sounds like you could be right. I may not have picked up on it, so let it rip. [01:28:11] Speaker D: It sounds a little queenish to me. The vocals and the delivery and the delivery of the lyrics, it's like a queen. Not any of their big stuff, but, like, stuff that would be just tucked away on the album where it wouldn't be like a super popular song. [01:28:26] Speaker C: Can't blame you I can't say you're. [01:28:28] Speaker D: Wrong can't say you're wrong there's parts in there. I'm like, wow, I wonder if that was on purpose, because it just. [01:28:34] Speaker B: Well, I mean, listen, if you're going to be influenced. [01:28:37] Speaker D: No, I know. I'm not saying he sounds like Freddie Mercury or they sound like queen. I'm just saying there's parts of it that. Huh. And especially, like, the rhyming in the verses is very queen ish to me. And definitely all those vocals are very. And not in the way, like, def Leppards does vocals. It's more like the way queen does vocals. [01:29:03] Speaker B: There's a drumming, too. Yeah. But to me, the production on this is flatter. I mean, this kind of reminds me of what was on wasp. Right. Where better production could make it a better song. I mean, it's not great, but it could be amped up. And again, this technically. Right, another. It's a car. [01:29:24] Speaker D: Yeah. [01:29:25] Speaker B: So you appeal to people. Cars, slick back. I don't have a cadillac but it's car. [01:29:40] Speaker D: I don't know, as far as that goes, what else it could mean. But I think it's definitely a car thing that this is about cars, right? [01:29:53] Speaker B: I think so, yeah. I don't think it's, like euphemism from anything else. [01:29:56] Speaker D: No. So here it is. Slick back cadillac ooh just a big black set of wheels is what it takes to get me off I'm going to drive all night spin my wheels all night it feels all right oh, yeah it feels all right I don't need no driver's license I'm too reckless to survive it's like a carburetor instigator feels all right yes, it feels all right driving in the slick black cadillac got a solid go. Hubcaps and then there's the weep yeah. [01:30:25] Speaker B: I was like, steve, huh? [01:30:26] Speaker D: Yeah it makes me feel like a king I only need one thing and it's a slick back cadillac ooh, give it. [01:30:34] Speaker B: So I think the solo is coming too, right? It sounded like the solos. [01:30:38] Speaker D: Well, no, I think. I think it's another verse. I think. [01:30:39] Speaker B: Oh, is there? Okay, maybe it's just a little. [01:30:42] Speaker D: Yeah, there was just that little break in the middle. Yeah, here we go. [01:30:46] Speaker A: No, I gotta pull it up a whistle. Rock and roll the speed hence they can take me high until it comes. I hear one word right. Time. Crime making head time. You can love everything. It's like an institution of revolution feels all right. Feels all right robbie. To sleep on it makes it feel like a thing. I only need one thing and that's San queen ish. [01:32:00] Speaker B: Yeah, I can hear it there for sure on the back of vocals. [01:32:03] Speaker D: The big vocals and those reverse vocals coming back in. And the little piece. I hear it now that I said, it's hard not to hear it. All right, so the lyrics are. I got a fully equipped rock and roll machine at speeds that take me high, high dead man's curve. I hear one word, drive, drive see those parts right there when they're doing all those vocals? That sounds so queenie to me, too. And the way they break the verse up. My machine is making headlines gives me love and everything. It's like an institution of revolution that's a cool line. I like that. It feels all right oh, yeah, it feels all right then it goes back to the chorus again, so the words might get saved. Just because it's an institution of revolution that's better than it's a carburetor instigator. [01:32:58] Speaker B: Yeah, I know. [01:33:00] Speaker D: Like institutional revolution, though. That's all right. So I assume there's going to be a solo coming, so I'm just going to back it up a little bit. [01:33:41] Speaker A: But I disappeared and that's a price I got a Cadillac monkey on my back and I don't mind, don't go I don't mind coming in a place that Cadillac, it makes me don't like to take only me one thing and I. Wait a minute. [01:34:25] Speaker B: A lot of verses in this song. [01:34:27] Speaker C: A lot of very rocky horror picture show kind of. [01:34:31] Speaker B: Yeah. [01:34:33] Speaker C: A lot of verses like that. [01:34:35] Speaker B: Right in there, too, though. Like some Mick Morris tone and some of the stuff that he's done. I'm hearing some of that, too. I mean, these guys are pretty much contemporaries at this point. [01:34:46] Speaker D: And there's a little meatloaf going on, too. [01:34:48] Speaker B: Yeah, I could hear some of that. [01:34:53] Speaker C: You could really hear a lot of the bands that we heard after this. [01:34:58] Speaker D: Right, well, before this. Well, meatloaf was before and so was queen. [01:35:05] Speaker C: Queen was before meatloaf was before this. [01:35:08] Speaker B: Yeah. Bad out of hell. [01:35:10] Speaker D: Yeah, in the 70s. [01:35:11] Speaker A: Really? [01:35:11] Speaker B: Yeah. [01:35:13] Speaker C: Wow, okay. [01:35:14] Speaker D: Yeah. So there's a little bit of that. It's the way the verses are broken up and the little vocal things that are happening that remind me of a lot of that stuff. [01:35:22] Speaker C: How about Rocky horror picture show when that was. [01:35:24] Speaker D: Yeah, it's a little bit of that, too. [01:35:28] Speaker B: I think that was the 70s as well, wasn't it? [01:35:31] Speaker D: I think so. [01:35:34] Speaker B: 75. [01:35:35] Speaker D: Yeah. There you go. Okay, so they're pulling influences for a bunch of different places to make this up. And some of the guitar things in the middle, I can hear the Mick Mars tone or the Mick Morris thing going on there. [01:35:52] Speaker B: Like, a little bit of this and a little bit of his tone when he switched over to theater of pain. Kind of. [01:35:59] Speaker D: Yeah. Well, we got. Let's see. We got 26 seconds. Let's finish it up. [01:36:11] Speaker A: Read it like Holly it sound for the wide. Take it back. Yeah. Tell me to say, like Cadillac. Give it to feel like a thing. [01:36:43] Speaker C: Girls, girls, girls. [01:36:48] Speaker B: So, mark, that thing is. That's a left, Paul, that. [01:36:54] Speaker D: Yeah. You know what that is? Wow. Well, nowadays you can do it with a little button, a kill switch. But the way ace rail used to do. Yeah, he used to roll the volume on the neck pickup off, and then he would just switch it between the back and the front to get the. So it's basically. It's similar to what Tom Morello does, but he has a button. He uses that button to do that. [01:37:17] Speaker C: Oh, Tom Morello sees what. [01:37:19] Speaker D: Yeah, it's a button. But he got it from Mace freely, too, because he's a big kiss fan. So that little. It's easy to. [01:37:33] Speaker B: This song begged for a solo. [01:37:34] Speaker D: I know, but I got to read some of this lyrics here before we get to the end, just because they're what they are. So I got the coppers on my trail just for me and Apb sirens spinning me who's winning? And they're after me they're after me before I know just what happened I disappeared to their surprise I got a Cadillac monkey on my back and I don't no, I don't so this course is a little different, I guess. Driving in a slick back Cadillac, it's got a solid gold hubcaps makes me feel like a king I only need one thing that's a slick back Cadillac. And then they go up in the Bon jovi thing, up to another key, a little head. Right. Everyone does that. But this is before Bon Jovi, obviously. [01:38:19] Speaker B: Yeah. [01:38:20] Speaker D: Slick black cadillacs it's got a gold hubcaps slick black cadillac I lay it down, spin wide I get laid in the back. Yeah. Driving a slick black cadillac it makes me feel like a king. All right, so before we get to this one, Frank, you have to give us your ratings on the other song. [01:38:40] Speaker C: No, let's finish this one first. [01:38:44] Speaker D: Oh, what with this give. You want to do the thing? All right, so you go first. [01:38:52] Speaker C: I don't know. I hear so many influences on this song. It's like the production. I got to give it an eight. The music, I give it an eight. The lyrics I'm not so crazy about. I'm going to give it a six. And what I like about this song is it influences a lot of songs that we talked about right now. [01:39:19] Speaker D: Yeah, there's lots of songs in there. It's just not done as good as those songs. [01:39:26] Speaker C: No. [01:39:26] Speaker D: Yeah, that's the problem. [01:39:29] Speaker C: Yeah, it's a little bit weird, right? [01:39:31] Speaker D: Yeah, I know what they're going for. I'm going to go next, so I'm going to start with production. The production is flat, so I don't particularly like the production. I think production could have made the song better, so I'm going to give that production a six. I don't like the production. It feels so flat. Musicianship, I mean, it's okay. I'm going to give it a seven. And lyrics, the only thing that could possibly save this from me destroying the whole thing is the. It's like an institution of revolution, because I kind of like that line. So I'm going to say six. I would probably give it lower, but I like that one line. But there's just too many things in there all mushed up together that I'm trying to hear. There's a little bit of rocky horror. There's a little bit of meatloaf. There's a little bit of queen. [01:40:28] Speaker C: That's what I like about it. [01:40:30] Speaker D: Well, no, yeah, the idea is great. I just don't think execution is. I don't think it's executed that well. It's just like having all those things in there, but they're just not as good as the things that they're trying to copy. So that would be my only thing. I mean, it's hard. You're coming from the first two songs that are such big things, especially the one he wrote, which is mental health. You go from that and then you're here. I don't understand how that happens. [01:40:57] Speaker C: I don't know. I feel like it's a gumbo. It's a gumbo. Oh, it is a lot of influential. [01:41:02] Speaker D: Yeah, it's a gumbo. I'm going to have to use that, too. [01:41:05] Speaker B: It's a metal gumbo. [01:41:06] Speaker D: It's a metal gumbo. That's it. That's the line. I got to write that down. [01:41:10] Speaker B: There you go. [01:41:13] Speaker D: All right, so you go ahead. I have a feeling you're going to have the same problems I have. [01:41:18] Speaker A: Yeah. [01:41:20] Speaker B: So listen, I gave the last lyrics a five. [01:41:23] Speaker D: Yes. [01:41:26] Speaker B: I'm going to say the same on this one. And again, it's just like, so standard. And it's. When you hear the title slick Black Cadillac, these are the lyrics that I expected. You know what I mean? So I'm going to say five again. Music is okay. I'm going to say a seven. It started growing on me, I think. But I definitely remember this song. And I know I knew it started with them saying slick black Cadillac. So it was kind of growing on me. So the production originally was going to give us six. I think it kind of got better as the song progressed. So I'm just going to say seven on the production. I mean, again, simple, little. [01:42:08] Speaker D: It's just hard. [01:42:09] Speaker B: Not as good as the first two. [01:42:11] Speaker D: It's hard coming from the other songs. It's just hard. [01:42:13] Speaker B: Yeah. [01:42:14] Speaker C: So are you saying I'm basing my ratings from nostalgia? [01:42:21] Speaker B: No. [01:42:24] Speaker D: If you didn't know the song, I. [01:42:25] Speaker C: Did not know the song. [01:42:26] Speaker D: For me, there's no nostalgia in this at all. That's why I'm giving it the things I'm giving it. I understand what they're trying to do. Okay, so now you have to go back to the other song. So what are you giving the other song? [01:42:42] Speaker C: I'm going to give that a seven. [01:42:44] Speaker D: Which part? Lyrics. Okay. [01:42:47] Speaker C: Yeah. The musicianship. I'm going to give it a seven. Production. I like it. I don't want to give it a straight seven. I'm going to give it an eight. Just avoid the nicky. I don't want to give it to. [01:43:10] Speaker D: Poor Nick. [01:43:12] Speaker C: I don't want to give it to. [01:43:16] Speaker D: Understand what. I understand what they're trying to do. And like I said, I do hear. [01:43:23] Speaker C: The things on there, but this song that we're talking about right now is like. I don't know, I just feel like. Like I said, it's like the gumbo. [01:43:35] Speaker D: It's a gumbo of lots of stuff. [01:43:37] Speaker C: Yeah, exactly. It's the gumbo of a lot of other stuff. That's why I like it so much. Well, here we go. [01:43:45] Speaker B: It's not bad. [01:43:47] Speaker C: Did you look up better gumbo? Are you googling better gumbo? [01:43:51] Speaker B: No, I'm actually. So I'm trying to see. I think this was actually on their older record. [01:44:05] Speaker D: It was a quiet ride, too, I think. [01:44:09] Speaker B: I think it is. Yeah. So I'd be curious. I mean, listen, that makes it more contemporary with the stuff that we're talking about, right? In some of the things or ahead of some of the things. [01:44:18] Speaker D: Yeah, maybe. [01:44:19] Speaker B: And I mean, if that's Randy Rhodes playing, be interesting to hear that version, too. [01:44:23] Speaker C: Oh, my God. [01:44:27] Speaker D: All right, well, let's get to the next thing first. So the next song is love's a bitch. [01:44:35] Speaker C: I love it already. I give it an eight. [01:44:38] Speaker B: Eight for the title. [01:44:40] Speaker D: Eight for the title. [01:44:40] Speaker C: Eight for the title. [01:44:43] Speaker D: All right, here we go. That's a little bit of Led Zeppelin going on there. Just the way it's recorded with the really far back. [01:45:08] Speaker C: Yeah. [01:45:10] Speaker D: Okay, here we go. It's more metal. [01:45:13] Speaker B: Gumbo. [01:45:21] Speaker A: Sat again. I've been alone since I don't know when I keep on running and I don't know why just giving me a pack of lies out of breath and I'm out of time misery is what I might not be, baby, not the be. It's. Praise it. That's a bear. Look at that. [01:46:28] Speaker D: Like, I'm not too sure about this yet. [01:46:32] Speaker B: No, I don't feel like there's anything to really hold on to there. [01:46:36] Speaker C: I beg to differ. Let's play it nice. [01:46:41] Speaker A: Good. [01:46:42] Speaker B: Listen, this is why we do it, man. Everybody has. [01:46:47] Speaker D: On the second part of the verse, it feels like that's a little bit of crammed together. [01:46:52] Speaker B: Yeah, he went somewhere. I thought it was actually going to go in a different direction. It was almost like a mistake. It sounded like. [01:46:57] Speaker D: Yeah, it feels like I crammed it together. Well, let's see what the second verse has. Well, I'm going to read the first verse, then we'll go to second verse. Oh, love's got me by the ass again I've been in love since I don't know when I keep on running and I don't know why love's giving me a crack of lies out of breath and I'm out of time misery is a rough fight loves a bitch, baby yes, it's great loves a bitch, baby yes, it's crazy loves a bitch, baby loves a bitch yeah, it's crazy. Loves a bitch I think he's trying to say love's a bitch. [01:47:31] Speaker B: I believe so. [01:47:35] Speaker D: All right, so here we go. [01:47:36] Speaker A: Cat with diamond eyes love power again hypnotize, turn me more than twice she'll make you think that it's overnight you're all alone in a room and your body shakes yummy. I call dream baby dream. Praise it. Lots of fear baby. Praise it is. [01:48:28] Speaker D: All right, before we get to solo part, I sort of kind of like the chorus, even though it's very simple. Yeah, it's catchy. [01:48:41] Speaker B: So this website that I'm looking at, it says, I guess based on this song, you may also like super Freak by Rick James. And I'm just Ken from Barbie. Barbie movie. I was like, wow, that's a big. I don't think either one of those. [01:48:59] Speaker D: Songs when I'm thinking of this. No. [01:49:02] Speaker B: Yeah. Nor do I think of those two songs together at all. So kudos for. [01:49:08] Speaker D: So what was the first one again? [01:49:10] Speaker B: Super freak by Rick James or I'm just Ken by Ryan Gossi and the Barbie? [01:49:15] Speaker D: Why the hell does that have anything to do with this? [01:49:17] Speaker B: It says you might also like. [01:49:20] Speaker D: Oh, thanks. So if I like this song, I'm going to like the Ken song. [01:49:25] Speaker C: I don't know, the opening rift. The opening part that you played. Can you play any chance we could hear that Again? [01:49:36] Speaker D: Yeah, let me see where I am over here. So I'm at 216. Okay, hold on. [01:49:41] Speaker A: Here's rake. [01:50:20] Speaker C: The lyric sound. Fly high to the angel. Slaughter. [01:50:25] Speaker A: Yes. [01:50:25] Speaker C: Slaughter. Slaughter. I hear a little bit of slaughter. [01:50:28] Speaker B: That opening. Listen, if we had a big fan base, I think that you'll be calling out your slaughter comparisons in this episode. [01:50:36] Speaker C: What do you mean? You're going to be calling me alley go fuck yourself slaughter. [01:50:41] Speaker B: I didn't say that. [01:50:42] Speaker D: I might be like, I don't hate that beginning. I don't hate it. [01:50:47] Speaker B: I don't, actually, because I was a. [01:50:53] Speaker C: Little bit of duncan in there, too. [01:50:55] Speaker B: Yeah, especially that. [01:51:00] Speaker D: But that screaming part is definitely a Robert plant thing. [01:51:04] Speaker C: Yeah, but how about the suicidal tendencies? Keep breaking my heart. That beginning. Trying to think of the song. I think it was live. Like a suicide. Maybe it'll come to me eventually. [01:51:20] Speaker D: Okay, well, we're going to play the solo. Let's see what happens. [01:51:23] Speaker C: Thank you. [01:51:24] Speaker D: Well, actually, I have to read the lyrics first, so. Like a cat with diamond eyes love's power it can hypnotize done me in more than twice she'll make you think that it's overnight, it's kind of jammed. You're all alone in a room that's wrong note your body shakes, your feet are cold. It's a weird lyric. Okay, let's see if the solo saves this. [01:51:57] Speaker A: Yes, it is. [01:52:46] Speaker B: Speaking of Robert Plan, when the guy first starts doing the song, he's in. Yeah, no, that was like straight up Robert plan. [01:52:54] Speaker D: I mean, the guitar solo wasn't bad. [01:52:56] Speaker B: Yeah, it reminded me something, too. Yeah, I know, but, yeah, I mean, it's melodic, right. It could be a lot worse. [01:53:08] Speaker D: Oh, yeah, it could be a lot worse. I just don't know if his voice works on this. For me, his voice is really, like, in that kind of first two song place. So far, when he's gotten a little softer thing, I don't particularly like his voice as much. I don't know. [01:53:28] Speaker B: He's very gruff. Right? [01:53:30] Speaker D: Yeah. [01:53:31] Speaker B: And sometimes the gruff works and sometimes it doesn't. So maybe he could do that lower register because, I mean, clearly he's in key, right? I mean, he can sing. [01:53:41] Speaker D: Yeah. [01:53:41] Speaker B: So maybe lay off some of the gruff when you're like, what's his name? From Cinderella. Right. When he sings slowly, he's got that very smooth voice. [01:53:52] Speaker C: Whatever. [01:53:52] Speaker B: Right. So Tom Keefer. [01:53:56] Speaker C: Tom Keefer. Let me just tell you, he's a great blue singer and guitar as well. [01:54:04] Speaker B: They were a good, I mean, long, cold winter, if we ever get that. That is a complete standout from this era. [01:54:11] Speaker C: Complete. Yeah, it really is. What, he doesn't push himself. Yeah. [01:54:22] Speaker D: Because his voice, when he starts to push it can be a little grading on the ear. [01:54:25] Speaker B: Yeah. I mean, when I first heard Cinderella like night, you know, but then the album kind of grew on me, but then, like, long, cold winter came out, I was like, jesus, this is really. [01:54:36] Speaker D: Mm hmm. Yeah. Well, maybe we'll get it. Who knows? [01:54:39] Speaker B: Yeah. It's on the list, right? [01:54:41] Speaker D: Yes. The wheel decides what it wants. All right. [01:54:44] Speaker C: Hopefully you'll get it. Hopefully. [01:54:46] Speaker D: Hopefully. [01:54:46] Speaker B: Yeah. I'd love to get that record. [01:54:49] Speaker D: Here we go. [01:54:52] Speaker A: Gotta keep on moving all. You'll pay the bill cover. You gotta keep her running or you'll feel the pain keep a running, keep it around, baby that's a fear it praise it not the fish bitch, bitch baby, not the baby praise. It's a day now it's a baby. [01:56:00] Speaker B: It's funny, at the end of that, I was like, please don't go into that doom. You know what I mean? That. [01:56:07] Speaker C: No, I got to say, I appreciate the passion put into that last bit. [01:56:14] Speaker D: Yeah, I was just going to say I liked his vocal at the last part. [01:56:17] Speaker C: Yeah, he really meant it. He delivered the message. I appreciate that. [01:56:24] Speaker D: Not, like today where they would have fixed all the parts in the vocal that they didn't like that much. I appreciate that they'd left some things in there that are not 100% right on the mark. Sometimes too perfect is not good either. Depends on the song, I guess. So the last bunch of lyrics are. Don't you wait, don't stand still. Gotta keep on moving or you'll pay the bill? Go by car, go by train? You gotta keep running or you'll feel the pain? Keep on running, keep on running. So, Frank, why don't you go first? Frank, did we lose you again? [01:57:13] Speaker C: Right here. Can you hear me? Hello? [01:57:15] Speaker D: Yeah, I can hear you. [01:57:17] Speaker C: Yeah, perfect. [01:57:18] Speaker D: Are you calling from Puerto Rico? [01:57:21] Speaker C: No problem. No, I'm right here. I'm right here in Yonkers. I will say that I did not. It's not my favorite song so far, so I don't know. I give the musicianship a seven. The lyrics, although I appreciated the last bit of the song, I did not appreciate all of it. So I'm going to get out of six as well. As far as lyrics and the production, I don't know. I give that a seven. I think that the production made the song a little bit better than what it was personally sav. [01:58:10] Speaker B: Yeah, this is a little bit of a tough one. I don't think it has a lot of staying power. But again, kind of like the other one, it grew on me the more it went on. So this could be a song, too, that I hear again, I'm like, oh, you know what? I like it better this time. But in the moment, which is what we judge, I'll see a six on the lyrics. There's a couple of cool lines in there, but again, nothing where it's whatever. I mean, love's got me by the ass. Again, I'm going to say seven. I mean, the music was played well for what it was. It was played well. Solo was fine. The way he uses his voice production, I think it was better produced than the last one. So if I gave the last one a seven, I'll give this one an eight. Again, I think for what it was, it was well produced. Mark. [01:59:04] Speaker D: Yeah, I'm going to say six on the lyrics, too. Obviously not spectacular. I appreciate the trying in the vocals, but that's more on the musicianship side for me. So I'm going to give that a seven. I like the guitar solo. I like the end solos. They were pretty good. I think his guitar playing generally on this record is pretty good. So I don't have much bad things to say. And production, I think it's better than the last one. I gave it a six, so I'm going to give this a seven. It's not a horrible way to end the side, but, oh, is that the. [01:59:37] Speaker B: End of the side? [01:59:38] Speaker D: I sent this. The end of the side? Yeah. [01:59:39] Speaker B: Wow. I guess technically this is the ballad. Really? Not the. [01:59:44] Speaker D: Yeah, well, unless there's something on the second side I don't know about. [01:59:47] Speaker B: Yeah, could be. [01:59:49] Speaker C: Wow. So this is the end. [01:59:52] Speaker D: This is side one. [01:59:53] Speaker C: Wow. [01:59:54] Speaker A: Side one. [01:59:55] Speaker C: All right. [01:59:57] Speaker D: Yeah. I don't know. Like I said, I don't remember hearing all this stuff. I'm sure I heard the record back in the day, but I don't remember a lot of this stuff. So this is. To me, it's kind of new. I'm like, oh. But it's hard because the first two songs are so strong, it's almost impossible for anything after that to be as good. You know what I mean? It's almost impossible not to be let down by the songs that came after. It's hard. [02:00:35] Speaker B: I definitely remember the first four, without a doubt. Like, listening to now, I don't remember this. Loves a bitch too much. But again, listening, definitely. Like I said, the first two, obviously. Slick, black catalytic. [02:00:45] Speaker C: Absolutely. [02:00:46] Speaker B: Because I remember the way it started and everything. I mean, going back to don't want to let you go. I do want to say that I do kind of remember this one. Like I said, and looking at the titles for the second side, I want to say that I remember some of that, too. But I guess I got to hear it before I. Because, I mean, again, straight through. I don't know how many times I've listened to this record. I definitely have just. I don't know how many times from when the last time was. [02:01:16] Speaker D: Well, like I said, the other songs have so much nostalgic quality that it's so hard to beat those. It's just hard. Like, if they didn't have this big nostalgic thing for you, right. It would be really hard to. [02:01:30] Speaker B: But I think they're good songs, though, right? You know what I mean? They do have that big nostalgic factor. Because, listen, there are songs, you know, that you probably loved back in the day. And you listen to them now and you're like, that is good. Or movies, right? Some movies that you thought were amazing. And you go back and vice versa, too, right? Stuff that you didn't like back then. And all of a sudden you're like, yeah, movies. You're like, you know what? That was better than when I watched it the first time. [02:01:59] Speaker C: But I think your appreciation for the arts dictates that. Or maybe your personality, right? Your personality evolves as you age. So, like, things that you. [02:02:22] Speaker B: Lose them again. [02:02:24] Speaker D: I don't know. It's a very good question. No. [02:02:33] Speaker B: I mean, I think the gist of what he's saying I can understand, too, because certain songs put you in certain moments, right. And maybe they're only valid in that moment. And some songs you just like, no matter when or where it associates you with or doesn't associate you with. [02:02:59] Speaker D: Yeah, no, I agree. It's hard sometimes to take yourself out of that situation because that's what it was. [02:03:09] Speaker B: Yeah. You could have a song that puts you back in a bad place. [02:03:13] Speaker D: It's very true. [02:03:15] Speaker C: Hello. [02:03:15] Speaker B: And you may not like it for that reason. It could be a great song. But you're like, you know what? This brings me back to this situation where whatever it was, it's like, screw this song. [02:03:25] Speaker D: Yeah, I got a couple of songs like that. [02:03:28] Speaker C: Are you able to hear me now? [02:03:29] Speaker D: Yeah, I can hear you all right. [02:03:32] Speaker C: Yeah, no, I agree with staff. Right. So there's certain things that you hear back as your taste evolves in music and as you age, certain things that made sense when you were younger was great, but now, as your age does, makes less sense and you can't relate to it. [02:03:53] Speaker D: Well, I'm glad we got this because this is something, again, that when's the last time anyone else listened to this record? You know what I mean? If we did listen to the whole thing all the way through. [02:04:04] Speaker B: It'S interesting like this. Do well with the audience, too. Right. I feel like when we get stuff like this, it kind of spurs on. [02:04:12] Speaker D: Well, because there are probably a lot of people like us who know the big songs from this. Right. But don't necessarily remember the rest of the record because those two songs overshadow the record so much. We shall see if the same thing that happens on a lot of records, or the second side, I think there's no way it can be as good as the first side. It's impossible because it just didn't go through all the way like that. Right. [02:04:43] Speaker B: I don't think we're going to get anything as strong as the first two, but we may get songs that we like better than what's there. We know what we just listened to. [02:04:51] Speaker D: Yeah, it's possible. [02:04:52] Speaker B: So overall, it could be better, even if it isn't better than those two. [02:04:57] Speaker D: And by the way, Chuck Wright played bass on metal health and don't want to let you go. And Chuck Wright right now is in. I didn't realize I knew the name was familiar. He's in Al Scooper's band right now. He's been in there for a while. [02:05:12] Speaker B: Did you look at his discography? [02:05:14] Speaker D: Yeah, it's ridiculous. [02:05:15] Speaker B: It's insane. I mean, he's big with 80s guys. He's played on so many records. [02:05:25] Speaker D: All right, Sabino, so why don't you do your thing? [02:05:27] Speaker B: Yes. So we are part of the Deep Dive podcast network, like I always say, great bunch of guys who took us in right away. Check them out. If you are looking for something a little bit more individual and certain bands, I mean, they got it all. They got queen, they got maiden, they got rush. Again, a shout out to our friends at Rush Rash. Get together with those guys as soon as we can again, because that was a really good podcast about Stevie Ray Vaughan, Tom Petty, Uriah heap, you name it, you got it. So if you want a little bit more knowledge and knowledgeable people talking about bands that they, you know, check them out and check us out, too. And Mark, where can they find us? On the interwebs. [02:06:09] Speaker D: On the interwebs. We have Rockroillette, pod everywhere, rockrolettpodcast.com. Leave us a five star review on wherever you listen to your podcast that helps us move up, whether that's good, pods or podchaser or iTunes or wherever that might be, we appreciate everybody, again, everyone listening. Try to reach out to us on the social media. We'll try to get back to you and trying to put some other special things together that is just not in the same kind of vein that we have going on, just but a little twist. So hopefully that's going to happen fairly soon once we can get everyone all together. So this was good. I liked it. I was very happy that we got this and me and Frank wanted, I. [02:06:51] Speaker B: Was very happy it came up and. [02:06:53] Speaker D: Me and Frank wanted eighty s and we got 80s. [02:06:56] Speaker C: Yes. [02:06:57] Speaker B: I was like, I'm going to wish your wish into effect, your prediction into effect. [02:07:04] Speaker D: Yeah, it was good. All right, everybody, we shall see you next week to finish this up. [02:07:10] Speaker B: Ciao. Ciao. [02:07:11] Speaker C: Good night. [02:07:12] Speaker D: Later, guys.