Episode 69 - Quiet Riot - Metal Health (Part 2)

[00:00:00] Speaker A: You. [00:00:04] Speaker B: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only. Notwithstanding a copyright owner's rights under the Copyright act, section hundred and seven of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the rock Roulette podcast. [00:00:49] Speaker A: You. [00:01:12] Speaker C: Hey, everybody, welcome to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1100 albums, stuck it in the list, stuck it in the wheel, and typically every other week we spin the wheel, she picks a record for us and we do one side per week, unless it's really short, which has happened a couple of times. And we go through track by track and we rate the music, lyrics and production just based on our own personal tastes. Again, bunch of guys known each other for a long time, just wanted to do a podcast and here it is. And again, we want to thank anybody who's listening. We noticed that our megadeth episodes have done pretty well, so we thank you for listening and share it. If you like it, share it. If you got any comments, anything, criticisms, whatever it is, drop us a note and we'll listen. Maybe suggestions on what to do, maybe an off episode here or there. We're trying to work on something like that as well. So tonight we are a duo again. I have Mark. Oh, hi, Mark. [00:02:12] Speaker D: What's up, guys? [00:02:13] Speaker C: And I'm sav. Ciao, Bunasera. So last week we did the first side of quiet riot metal health, which was pretty much, I think, the entry into hair metal being very big on the radio. I mean, it kind of started there. I know Twisted Sister obviously, with I want to rock and we're not going to take it. These guys really opened up the door for what was about a decade of hair metal kind of ruling along with pop, basically ruling the nation. So I think the general consensus was that the first two songs are classics and then it kind of goes a little bit down from there. Not terrible, I mean, but a little bit different. Right, Mark, what do you think? [00:02:59] Speaker D: Yeah, well, like I think we said last week, it's hard because those two songs have so much nostalgia on it. If you were around back then, if you weren't around back then, then it may not be as big of a thing, but those two songs are still, I'm sure, stream pretty well. Still. I pretend to think the other stuff is. It's hard to judge stuff after those two songs. So maybe now we're starting a new side, maybe it'll be a little different. And coming off the first two songs, so I don't know. [00:03:32] Speaker C: Yeah, I mean, the first two songs are just back to back anthems, basically, for. Let's call it heavy metal. [00:03:39] Speaker D: Well, that's what it was then. It was heavy metal. [00:03:41] Speaker C: Yeah. This is what was considered. Maybe looking back, you're like, that's not here heavy metal, that's here metal. But back then, we're just calling it metal, basically, not a lot of different subgenres and this and that. Right? [00:03:56] Speaker D: I think I might have called it, like, pop metal back then, but the hair metal thing didn't really come until later. I don't think until after the decades were. [00:04:05] Speaker C: I mean, once all the other bands started ushering in, it was really considered hair mean, you know, like I said, two anthems back to back. The other songs aren't, uh. Cavazo has, I think the first song, like the solo, wasn't that great for such an anthem, but he's picked up since then. I think he's done a pretty decent job. The bass has been good, the drums, the musicianship. There's no fault, I don't think, as far as what the songs are. [00:04:38] Speaker D: No. Are we expecting every song to become on field of noise, like, through the whole record? There's very few records that happens. [00:04:52] Speaker C: I'm curious to see. I remember, like I said, the first four songs from side one. I didn't remember love is a bitch, but I do remember some of the titles on the second one, so maybe it'll bring it back. [00:05:08] Speaker D: Yeah, I mean, I haven't heard this in long. Yeah, I probably haven't listened to this probably since sometime in the than likely. I don't think I've revisited this in a long time. 40 something years. 40 years, right? Pretty much. It's a long time, yeah. [00:05:29] Speaker C: What do you say? It came out in 83, right? [00:05:31] Speaker D: Yeah, March 1183. [00:05:35] Speaker C: Crazy. [00:05:36] Speaker D: No, that's nuts. [00:05:37] Speaker C: Anyway, that's another thing that this podcast. [00:05:39] Speaker D: Has brought out our age, well, of how things. How far things are. When I think of when the 60s are, I think it's like 20 or 30 years ago. Meanwhile. [00:05:53] Speaker C: Sixty s and it's crazy. [00:05:55] Speaker D: Yeah, it's kind of crazy. 40 years ago was the know. [00:06:01] Speaker C: 20 years ago in the 80s. [00:06:03] Speaker D: Yeah. Everything's 20 years ago. That's what it is. [00:06:05] Speaker C: Yeah, I know. Group it in 20s for some reason, I think. Yeah. [00:06:11] Speaker D: All right, so this is breathless. Let's see how this goes. So kind of a gallopy kind of thing. Reminds me iron maiden with the gallop. [00:06:53] Speaker C: Yeah. I like, has a little bit of kiss, too. Right. I guess it's just kind of like that era. Yeah. Maybe something that could have been on lick it up. Lick it up was what? 84? [00:07:02] Speaker D: 84, 80. [00:07:07] Speaker C: Got a lot of screams in this record. I didn't remember that. [00:07:10] Speaker D: Yeah. I didn't realize he could get that high either. [00:07:15] Speaker C: Yeah, he's got some decent range. [00:07:19] Speaker D: I like the riff. That's actually pretty good right now. [00:07:23] Speaker C: Yeah. I like riffs like that when they're kind of, like, moody. I don't know if it's just my headphones. The production seems pretty bad on this one, though. I feel like it's very muddled. [00:07:35] Speaker D: Yeah. It's not as good as the other stuff, but. All right, well, let's see how it goes. [00:07:43] Speaker A: My control that was the take from me won't let me be you're too late I feel face. You take my way you leave me forever you got me. You take my breath away. [00:08:37] Speaker D: That'S not pretty bad. That's not bad at all. [00:08:39] Speaker C: Pretty good. I like it. [00:08:40] Speaker D: I like it. [00:08:41] Speaker C: I do remember this one? [00:08:44] Speaker D: I have no memory of any of these. [00:08:47] Speaker C: Yeah. I mean, like I said, I had my cousin's safe in New Jersey, so that's where I kind of went through instead of probably listening to it more than once. [00:08:56] Speaker D: I'm sure I listened to him more than once. But like I said, it's probably when it came out. Like I said, obviously the two first songs are easy and the lyrics started out okay. And then he got into a crappy little rhyme thing at the last thing I'm not expecting my control that's what you take from me. Damn my soul and you won't let me be me stop me in my tracks there's no looking back I can't see no, it's too much, too late I feel great. You see? I feel great. I don't know. That kind of messes up for me a little bit. You take my breath away you leave me breathless you got me helpless you take my breath away you leave me breathless you got me helpless you take my breath away so it plays around. [00:09:44] Speaker C: With the rhyme and the thing a little bit. [00:09:47] Speaker D: Yeah. I'm not a fan of. It's much too late. I feel great. [00:09:52] Speaker C: Yeah. No. [00:09:52] Speaker D: Could be better than that. [00:09:54] Speaker C: But it's like my heart. And start from the start. You know what I mean? [00:09:59] Speaker D: Yeah. All right, let's continue. [00:10:05] Speaker A: Inside out. That's how you turn my head. I never put too bad. Just got me running the best in a way. And leave me breathless. Yes. I don't have to take my breath away. Leave me breathless. I take my breath away. You take me out. Breathe and never let me go. You catch the. And you let me. Just. [00:11:13] Speaker D: For the solo guest there. I like the riff in the verse. The bass is pretty up there. They pumped the bass up a little bit because it's galloping through here. I can definitely tell you that. Whatever site I'm reading, the lyrics are wrong. [00:11:29] Speaker C: Oh, yeah. [00:11:30] Speaker D: I'm going to see if I can find some better lyrics because there's a part there that I'm pretty positive is not right. [00:11:44] Speaker C: I like that little bridge into the chorus, too. Into the solo. [00:11:52] Speaker D: Yeah. And like I said, the riffs are good. The things are good. It's weird that in this chorus he says, she takes my breath and before it was you take. He's changed it up. So he was talking to her before and maybe now he's talking to other people. Maybe. And that's why it's all she now, which is interesting thing to do. [00:12:17] Speaker C: A little change. [00:12:19] Speaker D: Well, I'm going to read this. Even though I know it's wrong inside out. That's how she turns my head. All my doubts are never put to bed. She's got me running blind. Never think I'll find sanity. Oh, hyperventilate. Nothing's in her place. She takes my breath away and leaves me breathless. Yes, I'm so helpless he takes my breath away. You leave me breathless. Now it's back to you again. I'm so helpless you take my breath away. I know this line is wrong. It says, you take me if I breathe. I don't think that's what he said. And never let me know you cast a spell on me. You don't let me go go. So, lyric is not horrible. It got better. [00:13:01] Speaker C: No. [00:13:03] Speaker D: But I like the riffs a lot. I like that intro riff. That's the chorus. And is that little like. [00:13:10] Speaker A: No. [00:13:10] Speaker C: I was going to say this is probably the third best song so far, I think. [00:13:13] Speaker D: Yeah, I kind of like this a lot. [00:13:16] Speaker C: Yeah. I just wish the production was better. [00:13:19] Speaker D: Yeah. Wow. I guess they spent it all on the first two songs. Spent all the money. Yeah. All right, let's hear guitar solo. [00:13:28] Speaker A: You can't let me just saga. [00:14:08] Speaker D: It was very worked out. It was very worked out. That seems like all his solos are very worked out. [00:14:16] Speaker C: Yeah. I feel like the metal health solo was the worst one so far. [00:14:21] Speaker D: Yeah, he's done a lot of good stuff on all the rest of the songs. [00:14:24] Speaker C: I mean, obviously, I assume these songs weren't written in order that they're listed on the record. They usually never know. It's weird, considering. I assume they would have said, this is going to be an anthem. [00:14:38] Speaker D: Yeah. But this one's pretty good. I like it. Yeah, he's doing a good job again, like I was saying last week, I don't think Frank kind of realized that Randy Rhodes was in quiet riot. I don't know if he realized that. Maybe he did. I don't know. Suddenly he didn't. But you're filling in for someone or replacing someone, I should say, that ends up being, like, one of the most popular guitar players ever and a lot to do with. Because he passed away. Didn't get to. He didn't get to do a lot of stuff. [00:15:14] Speaker C: No. I mean, I'm sure he would have kept playing with. [00:15:16] Speaker D: Yeah, no, no, I'm just saying. [00:15:17] Speaker A: But. [00:15:17] Speaker D: But just like, Jimi Hendrix dies. [00:15:21] Speaker C: I don't think he would have been too undone. I think he would have had a career 100%. [00:15:27] Speaker D: Yeah. He was a great guitar player. There's no doubt. But when someone dies that young, it makes, like, a mysterious kind of, like, thing out of it. You know what I mean? Whether it's Jim Morrison or Janice Joplin or Jimi Hendrix or Randy Rhodes. You know what? It's just when you die so young. Dwayne Alman. Right. All that stuff I don't remember. [00:15:58] Speaker C: Was it Leonard? Were they were the ones with the plate? No, they weren't the ones. [00:16:01] Speaker A: Right. [00:16:02] Speaker C: Leonard Skinner was the point. Leonard. [00:16:03] Speaker D: Leonard Skinner. Yeah. They were young, too, in their 20s. Yeah. It's kind of crazy. All right, let's finish it up. [00:16:17] Speaker A: You got me. Take my breath away. You leave me breathless. I don't take my breath away. You. [00:17:08] Speaker C: But I definitely remember it. [00:17:13] Speaker D: Have you listened to this record recently of some sort, or you just remember from back in the day? [00:17:18] Speaker C: I think that it was on my list somewhere on my phone. I don't specifically remember if I listened to it again, though. You know what I mean? It doesn't strike a memory with me. Like, oh, yeah, I listened to this recently because typically, if there is something here, what I've kind of listened to, like, I'll mention it, and just because I'll say, oh, yeah, last time I listened to this. It was this. Or was that like the motley crue? Last time I listened to this, I thought this would have been better than the one before. But I don't think it is like that struck a chord with me right away. [00:17:53] Speaker D: Yeah. [00:17:54] Speaker C: So I don't remember listening to this one. [00:17:57] Speaker D: This is a strong way to start the side. This is a strong way to start the side out. Yeah, I like it. Well, why don't you go first then? [00:18:06] Speaker C: Lyrics. Lyrics are fine. I'll say seven because I think I gave sixes to worse than this. Nothing great, but nothing terrible. I like the music. I'm going to say an eight on the music. The production is so mouthful to me. I think this would have been a stronger song, at least clearer. I'm going to say six on the production. What do you think? [00:18:31] Speaker D: Yeah, I think I'm going to do the exact same thing. Seven, eight, six. The lyrics are okay. They're fine. They got better. At least the first thing. I didn't like that little rhyme, but after that they were okay. [00:18:43] Speaker C: Yeah. [00:18:43] Speaker D: I like how he changed it from you to she, but he went back to you somewhere in the middle, so I don't know why. As far as music, I like the music a lot. Like the guitar parts, like the bass parts. The drum stuff was good. I like the riffs that were in there. His outro solo was good. His regular solo was good. Yeah. It's nice to have a strong start. [00:19:07] Speaker C: Yeah. I mean, back in the day, you would have flipped this over, right? Yeah, it is nice when you flip it over and the first song is like, boom. Oh, yeah. [00:19:18] Speaker D: Thank God. [00:19:19] Speaker C: You always expect the first song on the first song to be short. [00:19:22] Speaker D: Well, you hope so anyway. [00:19:23] Speaker C: Yeah, you, too. [00:19:25] Speaker D: All right, so the next one is battle axe. Here we go. A song I skipped. Run for cover. That's the next song, but anyway, that's fine. [00:21:15] Speaker C: I had a feeling. I was going to say, I think this is instrumental. [00:21:18] Speaker D: Yeah. [00:21:19] Speaker C: So little guitar. Solemn. [00:21:23] Speaker D: Yeah, well, it's the. [00:21:27] Speaker C: Eruption. Yeah. [00:21:28] Speaker D: It's the Eddie Van Halen effect, I guess. Right. Everyone felt like they needed to do this. [00:21:39] Speaker C: What did you think of it? [00:21:40] Speaker D: I thought it was good. He had a little classical thing in there. Obviously he's doing the things of the day. Whammy bar stuff and fast pickings. Obviously there's influence there. I mean, he's from the same. [00:21:59] Speaker C: Heard. I think I heard a little Randy Rhodes in there, too. [00:22:01] Speaker D: Yeah, a little Randy Rhodes. Well, the classical part of was a good. It was good. Is it necessary? I don't know if it's necessary. Maybe for the time it's necessary for now, it seems a little weird, but for then, maybe it was. We have to do this because we have to keep up. I'm going to say eight. I thought it was good for musicianship. Obviously, in production. What could I say in production? I don't know. Seven. I don't know. It was fine. It was good. It wasn't embarrassing or anything. Double seven. It wasn't embarrassing or anything. [00:22:53] Speaker C: No. [00:22:53] Speaker D: And it was good. I mean, he can play guitar, right? Obviously, yeah. So now let's go to the correct. [00:23:00] Speaker C: Song, which I definitely remember the title for. [00:23:06] Speaker D: When I was looking at this, I remembered this name. Now, whether I remember the song, I don't know. The name just clicked in my head. So maybe I do know this. [00:23:17] Speaker A: All right, so this is room for covering. I got a hurricane coming no one in the night I want to take my knees I want to bless my feet so it stop you hold tight, hold tighter you better run for cover I'm a hit my lover rock off of night. [00:23:59] Speaker D: I mean, that beat was used so much after that. I don't know how much it was used before this, but after this, it was used a lot. [00:24:10] Speaker C: It reminds me of wasp, too. So, I mean, I think the fact that it has the same producer, I'm assuming he clearly, because even other stuff has reminded me of the last command. And even his voice at times reminds me of blackie Lawless. [00:24:27] Speaker D: Yeah. [00:24:27] Speaker C: Which is funny because I never kind of picked up on it before. But knowing what we know, we know that a producer can absolutely have a massive effect on the way a band sounds. [00:24:40] Speaker D: Oh, 100%. Yeah. I think this is produced better than the wasp record, though. [00:24:47] Speaker C: Yeah. I think from what we're hearing, I would say this is a better produced record. [00:24:54] Speaker D: So are you ready for these lyrics? [00:24:56] Speaker C: Yeah. I can imagine. [00:24:58] Speaker D: You better get yourself running I got a hurricane coming no warning, surprise I'm going to take my leave I'm going to plant my seed semen is another kind of milk don't let it shock you hold tight, hold tight you better run for cover I'm a hit and run lover run for cover tonight get ready I mean, I don't hate the chorus. I think the chorus is very catchy. [00:25:26] Speaker C: I wish it was a little bit different from. Maybe that's it. The rest of it sounds like a chorus. Because when the chorus comes, they're like, okay, it sounds like a chorus, but it's not too much different from the verse. [00:25:38] Speaker D: It's like one long verse. [00:25:40] Speaker C: Yeah, basically. [00:25:42] Speaker D: Right? Yeah. I don't hate this. I don't think this is bad. [00:25:46] Speaker C: I like the beginning. It's kind of got the little double bass going and they got the bass following. I mean, they're pretty good rhythm section. [00:25:53] Speaker D: Oh, yeah, 100%. Pretty nice is good. [00:25:55] Speaker C: No. Simple but tight. [00:25:57] Speaker D: All right, here we go. [00:26:08] Speaker A: You think it's easy? Wanna be the reason when I tell you it leave? You better take up a. Tonight you better run for cover? I'm the hip runner? Run for cover tonight? Find yourself hide? No survivor tonight? Okay. Tonight watch out. [00:26:48] Speaker D: All right, before we get any farther. So obviously there's no double entendre in this at all. No, this is saying exactly what he means. [00:27:03] Speaker C: Exactly. [00:27:04] Speaker D: I like that. There was a little cool guitar thing in the find some shelter part right there. There was like a little riff thing going on. That was pretty cool. I liked it. [00:27:11] Speaker C: Yeah. There was kind of like that trip thing. Kind of like had they kind of tripped up, but it wasn't like this weird little fill. [00:27:18] Speaker D: Although it still sounds very similar to the rest of the song, though. It almost feels like a big run on sentence. [00:27:23] Speaker C: Yeah, it does. [00:27:24] Speaker D: Yeah. There's very few distinct parts. It's all kind of one thing. I still like it, though. [00:27:36] Speaker C: It's not bad. [00:27:37] Speaker D: So here it is. So you think it's easy? Want to be the sleazy? Well, I'll tell you it's nice. Ha. We're going to make a name? Ain't going to play no games? You better take the first flight tonight? You better run for cover? I'm the hit and run lover? Run for cover tonight? And then this bridge is. Find some shelter and hide no survivors tonight? Hold tight tonight? Yeah. Watch out. So I'm assuming there's a little bit of a break. I don't know if the solo comes right here or it's just like a breakdown. [00:28:11] Speaker C: All the men of this musical genre were apparently great in the sack. [00:28:18] Speaker D: Yeah, they all were. [00:28:19] Speaker C: Yes. Pretty much everybody was a Casanova then. [00:28:23] Speaker D: He's a hit and run lover. That's what he is. [00:28:25] Speaker C: Yeah. I mean, come on. [00:28:28] Speaker D: Here we go. [00:28:29] Speaker A: Watch out. [00:29:10] Speaker D: That drum part where that part was so 80s that bill's big Tom. The. [00:29:14] Speaker C: Yeah, it was good, though. I like the solo, too. [00:29:18] Speaker D: No, he's really good. [00:29:20] Speaker C: It reminded me of motley crue, too, in that part. [00:29:22] Speaker D: Yeah, the little bit. It's very little mcMarsy. [00:29:27] Speaker C: Yeah. Like shadow the devil. Like something that could have been on Shadow the devil. [00:29:31] Speaker D: Yeah. Which is around the same time, right? [00:29:33] Speaker C: I think so. 84. [00:29:35] Speaker D: No, 83, I think. 83, yeah, I think so. Pretty positive. But yeah, no, his solo was great. Was a good solo. I never really paid attention to him as a guitar player ever. At least on this record, he's doing really good. Yeah, I liked it. [00:30:01] Speaker C: That little thing reminded me of kind of Eddie Van Halen, too. [00:30:09] Speaker D: It's impossible for guitar players of this time frame, know, not have some kind of sound like that. I mean, just kind of what it mean. Pretty much every guitar player wanted. They were copying the Van Halen playbook from the color of the singer's hair. [00:30:29] Speaker A: Right. [00:30:31] Speaker D: Guitar players had to be a hot shot guitar player who didn't really have that. Everybody pretty much. [00:30:47] Speaker C: It was always kind of like, what is the singer? You figure the singer is going to be decent and hitting a lot of high notes and then a lot of focus is how good is a guitar player? [00:31:00] Speaker D: Yeah. And it just got worse as it went along. And then it ended up being a little too cartoony. This is campy for the sake of being campy, you know what I mean? Because they're on purpose doing it, but I think toward the end, it ended up being like that. But I think they were taking themselves seriously on. [00:31:29] Speaker C: Gift. [00:31:30] Speaker D: Yeah. Even before this album, probably. [00:31:36] Speaker C: Yeah. I don't know. I mean, I forgot what the interview I'd seen, honestly, I don't even know that it was this album. It could have been the next one where he was like I said, somebody's like, what advice would you give to somebody who wants to start out and don't. Because repeat is good as us. Something like that. [00:31:53] Speaker D: Yeah. Well, when you just sold a worldwide 10 million record, unfortunately, the next thing didn't do very well. I mean, I don't know how would it sold, but it didn't do as much as this, obviously. [00:32:08] Speaker C: No. [00:32:11] Speaker D: All right, let's continue. [00:32:15] Speaker A: I got a hurricane coming don't worry, I'm gonna take my leave I wanna tight whole tide rock on cover I'm a hit run up, better run up, run out watch out, get out hold out you, you. [00:33:40] Speaker C: They 100% did this live and the concert, right? [00:33:43] Speaker D: Yeah, they did this thing live 100%. Right. Because they worked this thing out. And how many other hair bands? I don't know whether they copied this kind of thing. I'm sure everywhere. So it's a very influential record in all the metal bands that are in this genre coming up. [00:34:04] Speaker C: I could just picture them telling Franklin, stop. [00:34:11] Speaker D: Now. This was definitely a song they probably played live because you can see how they had. They had. That worked out. This is definitely a live song. I mean, it's not a bad song. [00:34:19] Speaker C: I don't hate it. [00:34:22] Speaker D: Did you go first before? I think I'll go first. [00:34:24] Speaker C: Yeah. You want to go first? [00:34:28] Speaker D: I don't know. Lyric wise, is it worse than breathless? Maybe I'm going to give it a six. Just because I think that even though the melody has nothing to do with the lyrics, it just feels like it's a little bit of run on sentence. There's a lot less defined parts for me, but musicianship. I liked it. I'm going to give it an eight. For musicianship and production. I think it was better than the prior one, so I'm going to give it a seven. But I liked it. His guitar playing was good. Drums were good. I liked it. [00:35:09] Speaker C: I don't know lyrics. I'm going to say a five. I mean, just because I feel like we've heard this so many times, you know what I mean? Different ways, but I don't know. I'm going to take my leave. I want to plant my seed. That sounds like something someone else would have written in another band. [00:35:30] Speaker D: Well, but see, here's the question. Is he one of the first guys to write that? You know what I'm trying to say? Maybe you can look at it that way, too, that everyone was copying his kind of thing. [00:35:41] Speaker C: So I don't know, because I think I've given other lyrics. I think I gave the other one six, so I think it's worse than that one. Okay, so I'm just going to say a five. I'm going to say a seven on the music. Overall, it wasn't bad. I just wish there was a little bit more. A little bit more dynamics. I just felt like there wasn't. So I like the main riff, but it's kind of like the whole thing. But I do like to. The drummer got to shine a little bit. So that was cool. Production, I'm going to say seven on production. It was better than the last one. [00:36:16] Speaker D: Yeah, I thought it was better than the last one. [00:36:21] Speaker C: Again, not a terrible song. You could picture crank in this. Like, if you're listening to it, if you're in the car, it's probably not one you're going to skip. [00:36:31] Speaker D: No, they're doing pretty good so far on the second side. Yeah, pretty strong. Well, again, you're not following those two songs, right? So it's easier. It's easier. All right, so the next one is let's get crazy. Does this ring any bells? The name sounds familiar, but, I mean. [00:36:52] Speaker C: That could be just because Prince had the let's get crazy. [00:36:55] Speaker D: Yeah, maybe. That's what I'm thinking of. [00:36:56] Speaker C: It's possible. All right. I don't know. I mean, it sounds familiar, but I don't know if it's because of that. Maybe I didn't remember run for cover. I did remember breathless, and I remember battle axe to. As soon as you mentioned. I think this is an instrumental. [00:37:13] Speaker D: Yeah, well, I saw it was like a one. It was 139, so it was pretty short. I figured that's what it was. All right, so here's let's get crazy. [00:37:33] Speaker A: One. [00:37:35] Speaker D: Now, I have to stop this here just because. How much stuff, like, after. After this record sounded like that. Holy shit. Like a lot of stuff. So you got to kind of think, how influential was this on the bands that came after? [00:37:51] Speaker C: Yeah, I guess the best way to do it is you kind of have to do an inventory. Right. And kind of look at what came before and what came right after it. Because. Yeah, I mean, it's easy to say, yeah, this kind of sounds like stuff that it does sound influential. And then you're wondering, like, wow, could it be that influential? Or just was it kind of, you know, what in the. In the. [00:38:19] Speaker D: Mean. [00:38:20] Speaker C: I don't mean his screaming in the mean. I guess if you look at people like Rob Halford and you know what? [00:38:30] Speaker D: But that thing. That thing. How much was that done? Holy shit. You probably could find. Every hair band in the world probably had a song that did that. [00:38:41] Speaker C: Oh, probably at some point in the song. [00:38:44] Speaker D: Yeah. [00:38:45] Speaker C: That was the whole everybody clap your hands moment right in the song. [00:38:50] Speaker D: Or bang your fist in the air right as that's going on, or whatever it is. But I think I have to take it more of. It's not as a stock thing, but it's like they did it probably first, more than likely. I mean, I'm not 100% positive, but I would tend to think that this had to be an influence on other bands that were trying to get signed, right? [00:39:08] Speaker C: Yeah, I would think so. I mean, this is a big ass selling album. Yeah, it definitely made noise. [00:39:16] Speaker D: Come on. Feel the noise. [00:39:18] Speaker C: Yeah, exactly. [00:39:20] Speaker D: Yeah. Obviously, they did that. [00:39:34] Speaker A: Matching wanna mean machine. You. Yeah. Get hot nasty climbing in my freezer I'm a rocket in the morning and in the night not gonna find a mama makes it still right. Get down let's get crazy right now let's get crazy all right. [00:40:12] Speaker D: I think I've heard the song before. That chorus sounds really super familiar. Yeah, I mean, you know, he's still using Mama that's a 70s thing. I mean, it's not that far out of the. [00:40:26] Speaker C: Could be a run for some of the worst lyrics over here. Again, I'm not expecting poetry. [00:40:36] Speaker D: No. [00:40:39] Speaker C: It kind of reminds me a little bit of dio, too, this song. [00:40:42] Speaker D: I know. I was thinking of that, too. [00:40:45] Speaker C: I think the drum except has something to do with that. Because, Vinny, I'm almost positive that. I'm pretty sure he did it for the first record where they put him on a little bit of an elevated platform so he wasn't just on the ground. And it kind of gave it this sound. And this is what this is reminding me of. Not that this song sounds differently from other, but I really picked up on this one. [00:41:10] Speaker D: Yeah. He's a good drummer, though. From the things I've been hearing, he's a good drummer. [00:41:15] Speaker C: Yeah, I mean, I've heard him do like, other. Yeah, I've heard him do some cool stuff. Like Alex Amani, the italian guitar player. I think his first instrumental record he played on there. He did some cool stuff. Yeah, no, the record that I was talking about that I like the head. [00:41:35] Speaker D: He was on there. [00:41:35] Speaker C: That's Frank Bonali playing. [00:41:37] Speaker D: Really? Did quiet Wyatt break up at that point? [00:41:41] Speaker C: Yeah, probably. [00:41:44] Speaker D: Was he actually in Wasp at that point or he just record the record? [00:41:48] Speaker C: He was an. In Wasp. Yeah, he was just a studio drummer at that point. [00:41:55] Speaker D: Got you. Oh, yeah. There's some bad lyrics. I'm looking ahead already. Okay. Looking for some action want a mean machine getting hot and nasty climbing in between I'm a rocket in the morning and in the night I'm going to find a mama that makes me feel all right, get down let's get crazy right now let's get crazy. All right, the next verse is like, put my log in your fireplace nice. I actually think that really works better than this. [00:42:29] Speaker C: Can't wait to see. [00:42:31] Speaker D: Oh, yeah. Here we go. Isn't that worse than log in the fireplace? It's worse. It's a little hard to find something worse than log in the fireplace, but that's worse. [00:42:57] Speaker C: That's funny. [00:43:02] Speaker D: And this is like, 83. There were no parental advisory lyrics yet. [00:43:09] Speaker C: You imagine some kid gets a hold of this and goes, and they're playing. [00:43:14] Speaker D: It really loud in their room. [00:43:15] Speaker C: Yeah. Mommy, what does this mean? Why? To kiss your lips, not the ones in your face. Can I have that record, please? [00:43:23] Speaker D: What record are you listening to? I don't understand. [00:43:28] Speaker C: Why is Jason Voorhees on the COVID of this record? [00:43:33] Speaker D: That's what reminds me of I'm going to back it up just because I have no choice here. Backing it up. [00:43:52] Speaker A: You want to kiss your lips, not the ones on your face. Your innocent job is really out of place. Ahead in need of assistance? I stop on my phone? Ain't no way tonight I go home alone? Get down. Let's get crazy right now. Let's get crazy. Ha it. [00:44:39] Speaker D: Okay, so I'm going to back this up. [00:44:41] Speaker C: So we smoke on the water in that, too. [00:44:43] Speaker D: Yeah, I know I did. Bass was playing the same way. Yeah, that's okay. If you're going to steal something, steal something good. [00:44:52] Speaker C: Yeah, exactly. If you're going to come close to something? [00:44:57] Speaker D: Want to kiss your lips, not the ones on your face. Your innocent jibe is really out of place. Yeah. In need of assistance, a dog from my bone. See, and you think the Gene Simmons lyrics are bad? This is worse. Again, I'm still going back to log in the fireplace. [00:45:14] Speaker C: Again. [00:45:14] Speaker D: This is still worse than log in the fireplace. [00:45:17] Speaker C: Listen, if we keep going. [00:45:18] Speaker D: Log in the fireplace is funny. Listen, if you what I'm saying, if. [00:45:25] Speaker C: We keep going, man, eventually we're going to get to that. [00:45:28] Speaker D: Yes. [00:45:28] Speaker C: Sooner or later, hopefully, everybody's on for that podcast. [00:45:32] Speaker D: Oh, that's going to be a good one. Ain't no way tonight I go home alone? Then back to the chorus again. So I'm assuming that the solo is going to save this. This is a filler track to me. [00:45:51] Speaker C: I feel like there's something good there. You know what I mean? [00:45:55] Speaker D: Music wise is great. [00:45:56] Speaker C: Yeah. It could be a better song. And I think that the music doesn't lend itself to these kind of lyrics. [00:46:07] Speaker D: Yeah. [00:46:08] Speaker C: Which is weird. [00:46:09] Speaker D: If this was Dio, you'd have some dungeons and dragon lyrics on this. [00:46:12] Speaker C: Yeah. [00:46:13] Speaker D: And it would work. [00:46:14] Speaker C: It's even like a rock. I mean, honestly, when I hear let's get crazy, I'm taking, you know, he's talking to the crowd. [00:46:19] Speaker D: Yeah, right. Oh, no, this is about a woman, a mama, so to speak. All right, here we go. [00:47:09] Speaker A: Dr. Caden. [00:47:11] Speaker D: Now, I don't really know if they need to do that. That little weird, like, stop and then go back into the intro. It just felt a little weird. [00:47:23] Speaker C: It almost felt like the song was ending, right. [00:47:25] Speaker D: Yeah, I think they could have done it a different way. They could have got back to that. They could have just came into, you know what I mean? Without having that little break, maybe. [00:47:34] Speaker C: And honestly, I think the solo should have been longer. [00:47:37] Speaker D: Oh, it was real short. [00:47:38] Speaker C: Yeah, I think it should have been at least four more bars. They could have given him. [00:47:43] Speaker D: But it was good, whatever he was doing. [00:47:45] Speaker C: Yeah, it was good. I was getting into it. I mean, honestly, so far that is my favorite part of the song. I got to say I'm a sucker for that. Doom, doom, doom, doom. I mean, I love that. The simple little whatever. [00:47:57] Speaker D: Yeah. I think the music part of this is good. I like the music part a lot. All right, I'm going to continue from here, I guess. Here we go. [00:48:08] Speaker A: Running through my face I shot up a sky keep running in my brain way I'm rocking in the morning and in the night I'm gonna find a rock of makes it so right get down let's get crazy right now let's get rain we gotta get right now yeah. Raise it. Ramy bar work. [00:49:40] Speaker C: Yeah. [00:49:40] Speaker D: Whimmy everywhere. Let me finish the lyrics, I guess. Intoxication running through my veins a shot of the past keep running in my brainwave a shot of the past keep running in my brainwave I don't know if that's right. [00:49:54] Speaker C: Thank you. [00:49:55] Speaker D: I'm rocking in the morning and in the night I'm going to find a rocker. It makes me feel right and then bunch of stuff. I don't hate the chorus. [00:50:05] Speaker C: It's not bad. [00:50:06] Speaker D: I like the chorus. [00:50:07] Speaker C: It's a little empty sounding. Overall, I feel the song is. [00:50:10] Speaker D: Yeah. Again, I don't know. Well, you can go first because I know you're going to slam the lyrics. So go ahead, do it. [00:50:18] Speaker C: So it's like part of me wants to give it a six just for the sheer audacity and the fact that there's no underage women. Every time I hear something this blatant, I'm always waiting for that cringe line. [00:50:29] Speaker D: 16. You're 15? [00:50:32] Speaker C: Yeah, 15 according to mountain crew. [00:50:35] Speaker D: Yeah. Well. [00:50:40] Speaker C: I'm going to say five. I wanted to give it a six for the audacity of whatever. But these are pretty bad lyrics. Music. I'm going to say seven. I did like the bass and the thing. I mean, I like them as a rhythm section. I'm a sucker for that. The thing where the bass and drums really follow each other. I'm going to say seven. On production, I felt it was a little bit empty. It wasn't terrible. It wasn't as cluttered, as breathless, but it felt a little empty. Like I feel they could have used something else going on. But not terrible. [00:51:25] Speaker D: No, actually I'm going to give the same exact scores. I can't give it more than five, but I would like to give it six just for the mere balls to do that especially. Well, this is probably one of the records. Why. Look, listen to this. This is why we need parental guide. Parental stickers on the thing. Because of this. Like, your kids aren't hearing that outside. Anyway, whatever. I think the music was good. His solo was a little too short, but it was good. [00:51:54] Speaker C: Yeah, it was good. [00:51:57] Speaker D: I guess the production is okay, but it is a little empty sounding. It could be a little bit better. Is it horrible? Horrible. I mean, this is really the first time. It's really starting to get a little cringy lyric wise. Bad. Like, bad, bad. I know. Run for cover you didn't like as much, but still. I still think run for cover is better than this song. Yeah, well, that's what I'm saying. You gave run for cover five. So you're saying run for cover is as bad as this? That's what I'm trying to say. [00:52:31] Speaker C: Well, I mean, that's what it is, though, right in the moment, because you don't know what's coming. You don't know good or bad is coming. And sometimes you kind of judge it in the moment. But, I mean, to me, it's more. [00:52:43] Speaker A: About. [00:52:46] Speaker C: You know, what I mean, when the lyrics are just so stuck and they're just kind of made to rhyme. [00:52:51] Speaker D: Yeah. [00:52:51] Speaker C: And again, I'm not saying this guy has to be complicated or whatever, but I think we gave better scores on the first side, at least lyrically. I mean, musically, I had a couple. [00:53:07] Speaker D: That were not really. [00:53:09] Speaker C: No, there you go. [00:53:12] Speaker D: Not really. It's very similar. It's very similar. But let's say we would give it four, but we're giving it five because he had the balls to do that. That makes things a little easier to swallow. [00:53:24] Speaker C: All right, so we'll say that then. That's fine. [00:53:26] Speaker D: We would give it four, but we're going to give it five just because. Who would do that? [00:53:30] Speaker C: Just because of the audacity of some. [00:53:32] Speaker D: Of this stuff in 1983, nonetheless. [00:53:36] Speaker C: Yeah. [00:53:38] Speaker D: Okay, man. [00:53:39] Speaker C: If they did this live, I bet you, like, he probably stuck his tongue out after that. Live. [00:53:43] Speaker D: Oh, I'm sure. I'm going to see if I can find visuals. I'm going to try to see if I can find a let's get crazy live thing and see if I can post it up. All right, so the last one is Thunderbird. I don't know. This is actually a tribute to Randy Rhodes, right? [00:54:00] Speaker C: Yeah. [00:54:01] Speaker D: Okay. [00:54:05] Speaker C: Pretty sure this is about. [00:54:06] Speaker D: Is it pro or not? Pro. [00:54:09] Speaker C: Oh, yeah. I think it's a tribute to him. Yeah. Okay, let's see, and I think this is. Who was it that played the bass? I think it was the one guy. He didn't play bass on the other ones he played on. [00:54:32] Speaker D: Chuck Wright. [00:54:33] Speaker C: Yeah, Chuck Wright. [00:54:35] Speaker D: No, he doesn't play on this. He plays on metal health. [00:54:38] Speaker C: I thought I read that. He did. [00:54:39] Speaker D: And metal health and don't want to let you go. Those are the two he plays. [00:54:42] Speaker C: Oh, okay. I thought I read that he had played on this, too. [00:54:45] Speaker D: Yeah. [00:54:47] Speaker C: Unless he helped write it. I read something about him involved. Maybe. It could have been wrong, though. [00:54:52] Speaker D: It's saying. This is Dubrow. Kevin Dubrow. All right, here we go. [00:55:01] Speaker A: Hello, you. Yes, it's me. You can come back. You fly in free. You think you found everything that you need. Fly away, fly away to your new home. Across the seas. Leave your nest. I, baby, leave the best thing that you feel. Whoa, whoa, whoa. I thunder, light off, Thunderbird. [00:56:20] Speaker D: Now. Is it pro? I'm not sure. I don't know. It's a little weird just because, like. Hello, you. Yes, it's me. You can't come back. You're flying free. This is saying he wants to come back and you can't come back, or you can't come back because you're over there? I don't know. [00:56:46] Speaker C: Well, no, this was after he died. [00:56:49] Speaker D: Oh, is that. What is it? [00:56:50] Speaker C: No, I think so. Yeah. He died in 82. [00:56:54] Speaker D: Is this about death, or is this joining Ozzy? [00:56:57] Speaker C: No, I think it's a tribute to. [00:57:00] Speaker D: Okay, I need to look this up now. I could be wrong. Okay, so then that makes it the. [00:57:03] Speaker C: That's my understanding. It was done as a tribute to Randy Rhodes after he died. [00:57:11] Speaker D: Okay. [00:57:11] Speaker C: Because he died. [00:57:13] Speaker D: You're right. [00:57:14] Speaker C: Yeah. [00:57:15] Speaker D: Okay, so that makes a million tanks more sense. I take back everything I said. [00:57:21] Speaker C: Listening to the lyrics, I can understand. Like, if he was alive, it'd almost be like a ballady jab at him. Like, you can't come back. Yeah. [00:57:29] Speaker D: Okay, so you can't come back. You're flying free because you're in heaven now. So you can't come back. So you think you found everything that you need. Fly, fly away to your new home. Across the seas. Oh, leave your nest, oh, baby, leave the best thing that you've been. Fly on, Thunderbird, fly. Fly on. Spread your wings to the sky. Fly on, Thunderbird, fly. So, his voice is not super great for ballady stuff. I've kind of noticed. [00:57:59] Speaker C: It's not bad, though. I mean, I think it starts off kind of. I like the verse. I don't like the chorus. Yeah, I think there's definitely a little bit of a queetie aspect to this song, too. [00:58:11] Speaker D: Oh, in the chorus? [00:58:12] Speaker C: Definitely a little bit of something. [00:58:14] Speaker D: Yeah. Later on, you mean? [00:58:17] Speaker C: No, here. Even the way that the chorus, the vocals on the chorus, the way they're recorded. But I totally remember this song, too. [00:58:30] Speaker D: I don't remember this at all. [00:58:31] Speaker C: Yeah, I definitely remember this alum, too. [00:58:34] Speaker D: Okay, well, let's continue. [00:58:40] Speaker A: And I'm alone in the shadow of what we've done and I can't help but think that someday you'll be back home whoa, right away fly away to your new home across the bay lamb who baby leaves the best thing not you. Fail. Night off under the sky off under the sky. [00:59:59] Speaker D: Back that up a second. We can hear that. I like his vocal on the second verse better. And you can almost hear him, like, breaking up when he was trying to sing it. [01:00:08] Speaker C: Yeah. I mean, by all counts, Randy Rhodes was supposed to be a really nice. [01:00:15] Speaker D: Think they were. I think they were go. He had to go play with Ozzy Osborne. He had no choice, really. Who knows if he wanted to leave them or he didn't, but he got the opportunity that he had to take. So. On your own and I'm alone in the shadow of what we've done and I can't help but think that someday you'll be back home fly away, fly away to your new home across the bay and give your best o, baby leave the best thing that you've been and then back to the chorus again. It's rough, man. I mean, like I said, you could hear him kind of breaking up, singing that second verse there, and they left. It mean, they were probably still friends after he left. I'm sure they were. [01:01:03] Speaker C: Yeah. Hey, listen, I mean, for what it's worth, their biggest album was without Randy Rhodes. [01:01:12] Speaker D: It's very true. [01:01:13] Speaker C: So who knows what they would have done if he stayed, had he stayed in the know. It's always that discussion, right? When someone leaves or, God forbid, dies. What would have happened if you bring up metallic all the time, a band that's massive. [01:01:32] Speaker D: Massive. If Cliff Burton was stayed alive. [01:01:34] Speaker C: Yeah. I mean, like, you know, you could see the injustice for all happening. But would the black album happen? Don't you? Don't know. [01:01:44] Speaker D: And who knows? If injustice would have happened the way it was? It might not have been the same, either. Who knows? [01:01:53] Speaker C: What do you call. Wouldn't you'd hear based on that record? [01:01:59] Speaker D: Yeah. [01:01:59] Speaker C: Burton had played. [01:02:01] Speaker D: Yeah, no, I don't think that would happen. All right, so let's hear the solo. That's pretty good. [01:02:49] Speaker C: Yeah. [01:02:50] Speaker D: He's been pretty consistent through the whole record. [01:02:53] Speaker C: He has, yeah. I thought we're in for kind of again, the first solo, I think, is the worst one. [01:03:02] Speaker D: Through this whole record. He's been awesome through the whole record. I'm. I'm really happy with his guitar playing. [01:03:07] Speaker C: Yeah. [01:03:09] Speaker D: If it's the song, it's good. I like it. [01:03:15] Speaker C: They're good players, obviously. [01:03:17] Speaker D: Yeah. You're not going to take him. You're not going to take him as, like, the guy that reinvents the wheel. You know what I mean? That's not him. But as far as, like, solid guitar playing, he's a solid guitar player. [01:03:33] Speaker C: But even comparing this to Wasp. Right. [01:03:37] Speaker D: He destroys whoever's playing guitar in Wasp destroys that. [01:03:41] Speaker C: We only really liked one or two solos. [01:03:43] Speaker D: Yeah. And it was like he's been playing for a long time, and they just learned how to play, like, last year. I mean, it really wasn't great, but his guitar playing has been really good. It's been composed. You can tell that he works his stuff out, that he's not on the fly trying. And there's something to be said about on the fly, too. [01:04:12] Speaker C: Yeah. [01:04:12] Speaker D: If you're a good enough guitar player. Right. You can get away, but you can do some magical things on the. Generally, working things out is probably a good idea. And some of the best guitar players work it out. Brian may works it out near Sean from Queen. I mean, from journey works it out. Right. There's a lot of guitar players who work out their. [01:04:37] Speaker C: I mean, I like that he plays with melody, you know what I mean? He plays for the song. It's not just all about flash and notes. [01:04:44] Speaker D: No. I mean, there's a little bit of that, but that's the time. [01:04:46] Speaker C: But it's controlled, right? It is controlled in a tasteful way. [01:04:50] Speaker D: Yeah, no, it's good. Yeah. And again, in the shadow of somebody who just passed away. [01:04:57] Speaker C: Right. [01:04:57] Speaker D: And he's the replacement guy for the band that he used to play in. He's got to have a certain level of talent to kind of do that, which is not an easy thing. Even though Randy Rhodes wasn't, like, super known for being in quiet riot. Right. As far as. [01:05:18] Speaker C: I don't think so. Do you ever remember hearing of quiet riot until this came out? Because I didn't. I didn't know until late afterwards all the history and everything that was actually with the band. [01:05:34] Speaker D: No, but I'm saying for him being himself, just having to follow that up, that's all. Yeah. All right, let's finish it up. [01:05:45] Speaker A: When I feel I live take care but think of me will be okay fly away lion thunder, wing to the sky right. On the night only through the night I. [01:07:19] Speaker D: It's a good way to end the. [01:07:20] Speaker C: Record if they put that at the end, because, I mean, obviously most records don't end with a ballad, but clearly it was made to stand out at the end. [01:07:28] Speaker D: Oh, yeah, 100%. Yeah. No, they put this on purpose at the end. Yeah, the chorus started to grow on me a little bit as long I heard it. [01:07:41] Speaker C: Yeah. I really like the verse, though. Like you said, there's a lot of emotion in his voice and. And the melody is really good. So, I mean, again, sometimes you think of bands like this that have these big hits, and, I mean, come on, feel the noise for all it's worth. You could say it's a little cheesy and camp, whatever, but it goes to show, when they do a song like this, I'm not saying it's my favorite of the thing, but it shows range and the fact that they can do different things and do a decent. [01:08:29] Speaker D: It's a tough thing. So what do you think? [01:08:38] Speaker C: I. I'm going to say seven on the lyrics. Clearly, they're heartfelt and there's a lot of emotion in it. I'm going to say seven on the music, and I would say seven on production, too. It was a little bit. Again, I feel muffled. I kind of felt like the piano got buried a little bit. [01:09:07] Speaker D: Yeah. [01:09:08] Speaker C: So, yeah, it gets triple seven. [01:09:12] Speaker D: You know what that means. [01:09:17] Speaker C: I don't think we've had that in a while. [01:09:19] Speaker D: No, we haven't. Well, frank kind of, like, didn't want to do the seven, seven, seven last week. He's like, I'm not doing the seven, seven, seven. [01:09:28] Speaker C: What do you think? [01:09:32] Speaker D: I think we're going to be doing the same thing. We're kind of like sympathico on this record, so. Yeah. Lyrics, they were okay. I like them. There was a little bit of jamming, some things in there, here and there, but overall, they were better than the last song. Way better. And the chorus kind of got to me. I kind of liked it a little bit. I liked that they left his cracking vocal while he was singing the second verse. [01:09:59] Speaker C: Yeah, I heard that, too. I was like, oh, they didn't fix that. [01:10:04] Speaker D: Nope, they didn't fix it today. They would have fixed that, but no, not. And I wish that the piano didn't get as buried. And Carlos Cavazza was great on the solo. Again. So there was a lot to like. I mean, it's a fairly strong side of an album which had two gigantic first songs. Yeah, but since it's seven, seven, seven, I got to play another seven. Seven, seven. [01:10:31] Speaker C: Yeah. [01:10:32] Speaker D: Let's see, what do I do this time? Okay, let's do this. Nikki titty, baby. Seven. Terra was. Tweety was just like. He was like holding off. So what do you think overall about the second side? [01:10:49] Speaker C: It's not bad. I mean, I think that it could be something I would go back to. You know what I mean? I think it's a record that can be played at a volume. You know what I mean? It's kind of like. Obviously, the first two songs, I mean, slick by Cadillac is okay, but I mean, the second set, it's fairly strong, I mean, especially for the era. And do I think it's. Oh, you know what I mean? No, but there's some good stuff. Again, I know some of we've said about some of the stuff that we listen to. We probably won't go back to this record, but I think for fun. It's a fun record. [01:11:35] Speaker D: Yeah, it's definitely a fun record. Yeah. Like I said, some of the lyrics notwithstanding, right? [01:11:42] Speaker C: Yeah. [01:11:45] Speaker D: I think it ends up pretty good for that overall. [01:11:49] Speaker C: Yeah. I mean, again, they're good at their instruments. They know what they're doing. They were trying to write simple songs. It sounds like an album that was made to be played live. I mean, you could hear these songs played live and they had the alert of moments of where you can hear the crowd participation. It's sad, too. Again, I probably have listened to condition critical at least once or twice in my life. But when you see something, is it. But at the same time, right. This is built on two songs. I mean, this sold 2 million albums on the basis of two songs. [01:12:30] Speaker D: No, 10 million albums. [01:12:32] Speaker C: 10 million. 10 million big on MTV. [01:12:38] Speaker D: Six in the United States and four worldwide. Outside. Yeah, four worldwide. [01:12:45] Speaker C: I don't know if there were any other big MTV hits. Again, this is when they started dictating. [01:12:56] Speaker D: Overall, it's not a bad record. It's better than I remembered. I mean, I haven't listened to it probably in 40 years. But when you have two big singles like that, it's hard to. [01:13:08] Speaker C: And especially when they're up front. Right. [01:13:10] Speaker D: And they're up front because you know. [01:13:12] Speaker C: That everything is going to get compared to that. [01:13:15] Speaker D: Yes. [01:13:16] Speaker C: There's no waiting. [01:13:18] Speaker D: No. But I think the second side was strong enough where it wasn't super disappointing. [01:13:23] Speaker C: No, not at all. I mean, I would say probably the second side overall is stronger than the first. [01:13:27] Speaker D: Yeah. If you take the two big songs. Yeah, 100%. [01:13:35] Speaker C: I was actually very hyped that when I saw this come up last week, so I was very happy. [01:13:41] Speaker D: Yeah. Wow. And there's not a lot of quiet right on our list right at the moment. So for this, to pick this one. [01:13:49] Speaker C: Go searching from some groups, right? Yeah, some fan groups and see what. [01:13:53] Speaker D: Comes up, see how many are out there. All right. So why don't you do your thing? [01:14:00] Speaker C: So we are part of the deep dive podcast network again. Like I always say, great bunch of guys took us in right away. Check them out. If you want more individualized and knowledgeable podcasts about specific bands like Queen Maiden, Van Halen, Tom Petty, Uriah Heap. Absolutely. Check them out. Our buddies are rush rash. I think they just put out another. I saw them put out something. Was it marathon? I forgot which song. I saw what they picked and actually meant to shout it out and I can't remember what song it was. Check them out. So, mark, where are we on the interwebs? [01:14:44] Speaker D: On the interwebs. Rockwillette pod on all the social media stuff. Rockwillettepodcast.com please share out our episodes. Give us some five star reviews wherever you listen to your podcast shows because that helps us move up in the algorithm so more people listen. So next week we get to spin again. But this was a great spin. I'm glad we got this. [01:15:10] Speaker A: Yeah. [01:15:11] Speaker D: I was hoping somewhere along the line we would get this, but you never know. Over 1000 records on there, it's hard to predict what's going to be up there, even though there are big swaths of discographies on there. Sometimes you don't get those big swaths. You get these little things that you don't have as many albums of. You figure less of a chance. But that shows how random the wheel is. [01:15:32] Speaker C: Exactly. It was Manhattan project, by the way. Rush fresh. I had it in my head. I was like, I know it's a famous. Yeah, I had fun listening to this. I was actually curious and excited about the first side and even more curious than excited about the second side to see what I could remember. [01:15:53] Speaker D: I was curious about the whole record. [01:15:55] Speaker C: Yeah, I remembered more than I thought I would, honestly, because I hadn't heard. [01:16:01] Speaker D: It in such a long, long. I don't, I didn't remember anything except for the first two songs or maybe parts of like run for cover. I think I might have remembered that. I definitely didn't remember. Yeah. But it was good. I really liked mean. And again, Carlos Cavazo is a really good guitar player. [01:16:21] Speaker C: Yeah. I mean, definitely. Talented musicians. Without a doubt. [01:16:24] Speaker D: I never really paid a. [01:16:27] Speaker C: He's a good singer. His voice fit the music. [01:16:29] Speaker D: Yeah, no, it was good. I liked it. All righty. Well, I guess we will see you next week. [01:16:35] Speaker C: Ciao. Ciao. [01:16:36] Speaker D: See you guys later.