Episode Transcript
[00:00:00] Speaker A: You.
[00:00:04] Speaker B: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These 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.
[00:01:14] Speaker C: Everybody, welcome 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 do one side per week, unless it's really short, which hasn't happened too often, and we go through track by track and we rate it based on lyrics, music and production. This is just our personal opinions. Again, we're not professionals, whatever that means. Just a bunch of friends who love music and wanted to do a podcast. And that's it. So we are a duo again. Tonight I have Mark.
[00:01:49] Speaker A: Oh, hi, Mark.
[00:01:51] Speaker B: Hey guys, what's up?
[00:01:53] Speaker C: And I'm sad.
So last week we wrapped up quiet, right? Mental health. The second side, which I think overall was probably better than the first. What do you think, Mark?
[00:02:09] Speaker B: I think overall it was. I mean, obviously the first side has those two big.
[00:02:15] Speaker C: Mean. That is a big ass one two punch for heavy metal.
[00:02:21] Speaker B: Yeah, it's probably one of the best one twos, I would think.
[00:02:24] Speaker C: Yeah, absolutely. And it did well, the episode, we got some straight out the gate. I mean, it's a pretty high listen to episode. So we want to thank everybody again, not only that episode, but whatever episodes you've listened to. And again, if you like it, comment, pass the word, and let's get those ratings in there for Apple. And again, thank you guys for listening.
I don't know, is there anything else to add, mark, other than this will be our first podcast going into the new year and we get to spin the wheel again, which is always incredibly exciting.
Yeah, it's always fun.
[00:03:08] Speaker B: I don't even think I want to even just try to say what I think it's going to be because I don't think. I know.
[00:03:13] Speaker C: Yeah. I was thinking of a band I kind of listened to yesterday I haven't listened to in a while. It starts with a p and is in that genre.
Oh, really? But, yeah, that might be a little bit too on the nose.
[00:03:25] Speaker B: Yeah, I don't really know what it's going to be, so I'm not even going to try to guess the wheel.
[00:03:33] Speaker C: First of you, let's see. This could be something exciting.
[00:03:36] Speaker B: Yeah, I'm excited. Let's do it. So this is the first spin of the new year.
[00:03:39] Speaker C: Spin.
[00:03:40] Speaker B: All right. Come on, wheel. Do something good. Here we go.
[00:03:44] Speaker A: You.
[00:04:07] Speaker B: This is probably a record you don't even know.
[00:04:10] Speaker C: I don't. I really don't.
So it's Stone Temple pilots shangri la di da. So is this with or without.
[00:04:20] Speaker B: Oh, this is with it. This is with Skylow island.
[00:04:23] Speaker C: It is. Okay. Yeah.
I kind of stopped after the third, honestly, and I always wanted to go back and listen to it, and I never have, so this would be complete fresh meat for me.
[00:04:36] Speaker B: Oh, this is good. So this is June 19, 2001.
This is the fifth studio album by Stone till the Pilots. They're one of my favorite bands of the 90s.
[00:04:51] Speaker C: They had some really good.
[00:04:52] Speaker B: Yeah. I like their overall vibe.
I like the guitar player. I like the bass player. I like the singer.
Their songs are super catchy, and they could be heavy when they want to be, but they could be super psychedelic when they want to be, or acoustic. They covered a big, wide range of stuff.
[00:05:13] Speaker C: Yeah. I mean, their first two albums, I think, were really good.
I wasn't crazy about the third one. I think they kind of went into that third album thing that kind of happened back then where they kind of went away from the sound, and there was a little experimentation.
Again, I haven't listened to that one in a long time either, so who knows?
[00:05:39] Speaker B: Yeah, I know.
[00:05:41] Speaker C: The COVID Yeah.
[00:05:43] Speaker B: No, actually, like I said, I like most of the stuff they do. I haven't listened to this one in a while, but I don't think I really hated this thing.
So supposedly, it was supposed to be a double album dedicated to the member of Andrew Wood, who was the singer of.
[00:06:01] Speaker C: Okay, yeah.
[00:06:02] Speaker B: What was the singer of? I forgot the name of the band. Mother love Bone. No.
[00:06:07] Speaker C: Mother love Bone.
[00:06:08] Speaker B: Right.
[00:06:08] Speaker C: Yeah.
[00:06:10] Speaker B: So there was supposed to be a.
[00:06:11] Speaker C: Double record, swing, green river, that started a lot of the. I could be wrong, but he was a big spur for what went on in Seattle.
His death really affected a lot of the musicians. I mean, obviously Temple of the dog had songs dedicated to him. Malfunction. Have you ever heard that? That's actually really good. I don't think I've heard in that.
[00:06:39] Speaker B: Um, so this record is O'Brien.
So he's. He's produced tons of shit. AC DC. Pearl Jam. Stone teller. Pilot Soundgarden. Red hot Chili Peppers. Bob Dylan. Rage against the machine. Bruce Springsteen.
He's done limb Bizkit. Corn incubus. So he's done nice.
[00:06:59] Speaker A: Yeah.
[00:06:59] Speaker B: He's done lots of shit.
So this is Scott Weiland on lead vocals and keyboards on tracks two eight and Deleo on guitar. Robert de Leo on bass and Eric Kretz on drums.
It's a lot of songs but it's not a long record.
It's 47 minutes. But there's 13 songs.
[00:07:23] Speaker C: 47 minutes.
[00:07:24] Speaker B: Yeah. There's a lot of short songs. A bunch of short songs. So um. It reached the top ten in the US. Top five in Canada.
What's it certified as? Gold. So it didn't do as good as the rest of the stuff did generally. But I haven't heard this in a long long time.
[00:07:44] Speaker C: I've never heard it.
[00:07:45] Speaker B: Days of the week was the single. I don't know if you remember that at all. And Hollywood bitch was the single days of the week. You might have heard.
[00:07:51] Speaker C: I mean by title. I don't know it. But maybe once I hear it.
[00:07:54] Speaker A: Yeah.
[00:07:55] Speaker B: Because I think days of the week did decent.
Yeah. It went to number four and number five on the mainstream chart. So went five on alternative. Four on mainstream rock chart in the United States. And it was on number one of the bubbling under hot 100 singles. There's so many freaking charts.
[00:08:14] Speaker C: Oh my God. I never heard of that.
[00:08:16] Speaker B: Yeah.
[00:08:18] Speaker C: Bubbling.
Maybe we'll be number one on the bubbling podcast.
[00:08:23] Speaker B: Maybe we will be bubbly. Bubbling.
Okay. So the first one is called dumb love. It's pretty short. 251 so they're going to be going in. Going out.
Here we go.
That's a little core sounding.
[00:08:54] Speaker C: Yeah. But still very STP though.
[00:08:56] Speaker B: Oh yeah.
[00:08:56] Speaker C: Reminds me of the first record.
[00:08:57] Speaker B: That's what I'm saying. It's very core like the first record. It's a very core sounding.
[00:09:01] Speaker C: Oh. Core. You said corn.
[00:09:03] Speaker A: No.
[00:09:03] Speaker C: I didn't want to disagree. I was like I don't think it sounds anything like corn.
[00:09:07] Speaker B: No.
It sounds like core.
[00:09:12] Speaker C: I agree. Absolutely.
[00:09:14] Speaker B: Yeah. It's a weird guitar thing going on there too. It just sounds a little.
Sounds a little weird. The actual guitar sound.
[00:09:21] Speaker C: They kind of have that thing going on in core though. Right. With some of the riffs. It's almost like they're bending the string.
[00:09:27] Speaker B: Yeah. I like Dean de Leo a lot. Like I said as far as like 90s bands goes they're probably my favorite 90s band. Like, even more Nirvana and Soundgarden and Pearl jam. I just like that they went around in different styles all over the place. They weren't, like, locked into one thing.
You had plush on the first record, right? And then you would hit the second record, and it was a totally different thing. Core was much heavier than purple was, so I'm really excited to revisit this because I probably haven't heard this in a long, long time, but I remember liking it when I heard it.
[00:10:01] Speaker C: Yeah. I mean, I like the opening riff.
[00:10:03] Speaker B: Okay. Who knows? You might end up liking this.
[00:10:07] Speaker C: Yeah.
Again, I've always wanted to revisit. I'm sorry, visit, because I've never heard this before, but I always said to myself, I like them, and I got to go back and listen to the stuff that I haven't listened to, and I just never got the chance.
[00:10:21] Speaker B: Yeah. All right, let me back it up. Here we go.
[00:10:24] Speaker A: You on loud talk on alcohol answer lie stimulate a needle in your eyes let it be blow your mind just yourself nearly when we're blind away I.
[00:11:07] Speaker B: Like that a lot, man.
[00:11:10] Speaker C: That's really good.
[00:11:11] Speaker B: Yeah, and I think his lyric are fairly good. And I could see back in the day, because he did a lot of that lower stuff on core, too, like the vocal part, and everyone would. They say it was a pearl jam. You were ripping off Pearl jam. I don't hear Pearl jam in that at all.
[00:11:29] Speaker C: No. I remember seeing SNL one time, and it was for whatever reason, when they did the news and the guy was like, oh, so simple pilots, I like them better when they were Pearl Jam. I'm like, I don't really think they sound like Pearl Jam.
[00:11:45] Speaker B: What? Except that his voice is a little lower. That's about it.
[00:11:47] Speaker C: Yeah, but it doesn't sound like Eddie Vetter. No, to me. I mean, if you listen to the dude from Creed and even the guy from maybe not so much, but definitely the guy from Creed, I would say I can hear it, but I think Scott Wyland had his own. He's very Axel here. That's what it really reminds me of. He sounds a lot like Axel Rose, you know, when Axel goes low, that's what this really reminds me of.
[00:12:14] Speaker B: 100%. Yeah. All right.
[00:12:16] Speaker C: But, yeah, it's really good so far.
[00:12:19] Speaker B: It's weird. And you kind of checked out and didn't, like, after the third record. But who would have known you'd get something like this on the fifth record?
[00:12:28] Speaker C: I'll be honest with you. I don't even think I realized, what did they do? They did the third record and then they did talk show.
[00:12:35] Speaker B: Or I forget exactly what the timing about. We'd have to look it up. I forget what the timing was.
[00:12:41] Speaker C: Yeah, but I don't think I even realized how many records they made until, like, one time I went and I was like, oh, shit. I mean, I like this band.
Like I said, I actually had them on my phone, but I just wasn't commuting anymore, so I never really got a chance to go back to the playlist.
[00:12:59] Speaker B: Yeah. So after Shangri La died, they didn't do anything.
Don't. I'd have to look at saying when talk show was up, but I think talk show was.
I think talk show was before this. I think this is when they came back together. Because I think talk show.
I'd have to look and see. I can't tell you exactly right now what it is, but you can look it up. If you find it, you can see.
So I'm going to read the lyrics anyway. Loud talk, dumb love lacerator come and touch, bleed to feel, feel to fuck keep you coming, coming back for more alcohol it's a lie stimulate a needle in your eye let it bleed, blow your mind touched myself, nearly went blind and then the chorus is. Couldn't find a way to live through the pain couldn't find a way, dumb love couldn't find another way to win the race couldn't find a way, dumb love. I tend to like his lyrics.
[00:13:55] Speaker C: Yeah, he's definitely obscure, too. I mean, there's some.
[00:13:59] Speaker B: Oh, there's probably tons of meetings going on here.
[00:14:04] Speaker C: So. Talk show was in 97.
[00:14:06] Speaker B: Oh, wow. So that was in between.
So that was between tiny music, which is the third one, and number four, which is obviously the fourth one. So that time between 96 and 99.
And then obviously they took a big break until 2010.
[00:14:33] Speaker C: Well, he was in velvet revolver then.
[00:14:36] Speaker B: Yeah. Which is also really awesome, which I've.
[00:14:38] Speaker C: Believe it or not, I've never really.
[00:14:39] Speaker B: Oh, man, I really hope we get that. Revivor is really good.
[00:14:44] Speaker C: Yeah, I'm hoping to get that again. You know how you don't understand sometimes where you haven't listened to something?
It makes zero sense to me that I've never listened to that, but I haven't.
[00:14:56] Speaker B: You'd like it. It's really good. All right.
[00:14:59] Speaker C: Yeah, I'm sure I will.
[00:15:01] Speaker B: Let's keep is rolling.
[00:15:04] Speaker A: Couldn't get out of bed kill a man, whatever. Find a way to live, another way to.
I.
Come on out, y'all. Come see yourself all alone come on out, y'all come alone see yourself all.
[00:15:51] Speaker B: Alone it before the solo gets on here. I like the way they layer the vocal. Like, he has some high parts going behind the dart, the low parts.
And they do a lot of layering, guitar wise, even though he's only one guitar player. Yeah, but all the stuff he plays is usually really good.
And I wouldn't say he's, like, an influence on my guitar playing, because by that point, I'd already been playing for a while already.
But obviously, this is 2000s, but as far as 90s bands goes, they're, like, up there. For me, everything they did was just generally, I like.
[00:16:33] Speaker C: I mean, this is straight up STP.
If I said to myself, well, after the third one, I want to hear something else, this would be what I would expect to hear.
[00:16:46] Speaker A: Yeah.
[00:16:46] Speaker B: And the riff is very similar to another song. I can't think of another one of their songs right off the gate.
It's similar. It's not exactly.
[00:16:54] Speaker C: The rhythm of. It reminds me of what you call a little bit, maybe sex thing, because it's like, maybe something like that, but it could be something else. It reminds you of Alison cheese a bit, too.
Yeah, this is kind of like the third.
[00:17:07] Speaker B: Yeah, this is kind of heavy. This is super heavy.
All right, I'm. I'm excited for guitar playing. Here we go.
That's a weird guitar solo.
Weird sound. Oh, yeah. No, dude. Generally, he plays for the song generally. Right.
There's not a lot of guitar wanking going on with him, but even that solo is really weird for him. It's just the sound is really strange.
But I like it.
[00:17:49] Speaker C: I fit the song.
I actually wanted it to be longer.
[00:17:54] Speaker B: Yeah, I could have done another four bars would have been good.
[00:17:57] Speaker C: Yeah. So maybe just kind of change it up a little bit.
[00:17:59] Speaker B: I mean, this song is 251. It's short.
All right, so the lyrics are. Couldn't get out of bed ten ton bricks laying on my head persecute the crucified kill a man for losing his mind and back to the chorus again couldn't find a way to live to the shame couldn't find a way, dumb love couldn't find another way to win the race couldn't find a way, dumb love and then we got bridge.
Come on out, you're coming home deceive yourself you're all alone come on out, you're coming home deceive yourself you're all alone and obviously solo.
I like the words. I don't know what the fuck he's talking about. Yeah, but whatever it is, I like it.
[00:18:38] Speaker C: I mean, it seems to have some kind of drug references in it.
[00:18:41] Speaker B: Oh, probably. Well, he was always trying to get clean.
[00:18:43] Speaker C: Alcohol addictions.
[00:18:44] Speaker B: He was always trying to get clean. He just could never do it. He would be clean for a little bit, and then he would just fall back.
Just as bad as Lane Staley. Right? Except he died a little bit later.
The same thing, though.
[00:18:58] Speaker C: It's sad. It's sad.
[00:18:59] Speaker B: It is sad.
[00:19:00] Speaker C: We lost a lot of people from this era.
[00:19:03] Speaker B: Oh, yeah. Most of them.
[00:19:04] Speaker C: I mean, even going into recently. Right. It's just.
[00:19:06] Speaker B: Yeah.
All right, let's continue.
[00:19:12] Speaker A: I couldn't find a way with the right way.
Come on out, coming home big cell all alone come on out, take yourself all night come on out, take yourself all alone come on out, take yourself all alone.
[00:20:01] Speaker B: You dumb love nice. You like it, right?
[00:20:08] Speaker C: Yeah. It was a really good opener. Again, this is what I would hope to hear.
[00:20:14] Speaker B: Yeah.
[00:20:15] Speaker C: You know what I mean?
This is the kind of stuff I would hope to hear from them.
I told you, too, like sponge, their debut album, which I hope we get. I love that. I sincerely, really like that record. And then the second one, I'm like, so they kind of did what the other bands did third. They did second, where it was like it wasn't the form of the first. So then you always wonder, okay, is this what they wanted to sound like years later? Recently, I heard the third one and I was like, this is good. This should have been the second record.
[00:20:49] Speaker B: Yeah.
Well, listen, as bands, right, we always.
[00:20:55] Speaker C: Talk about this being in bands. Sometimes you don't want to write the same thing.
And again, it's not like the third one wasn't a hit. I mean, they definitely had some hits, but it just wasn't my. Just because how much I really like the first two slump.
[00:21:13] Speaker B: Double pilots. Yeah.
[00:21:17] Speaker C: Really good one two punch from them.
[00:21:19] Speaker B: Oh, yeah. No, I mean, they didn't have a sophomore slump of any kind. Actually, I think the second record was bigger.
I think that's where they got really big. I'll go first, I guess.
[00:21:30] Speaker C: Okay.
[00:21:31] Speaker B: Lyrics. I like his lyrics.
I don't know. I mean, I could go eight. I think I'm going to do seven. I'd like to do eight, though. But I'm going to do seven because I got to remember what the rest is going to happen on the rest. So I might decide that's not the right number. But right now I'm going to say seven musicianship.
[00:21:49] Speaker C: Eight.
[00:21:50] Speaker B: At least eight productions. Eight. Brendan O'Brien is doing a great job.
He knows how to capture them. I don't know how many records he did with them.
I'm going to take a look and see if I can figure out how many records he actually did.
He did core, he did purple, he did tiny music, he did number four. So he's done everything up until this.
So he knows how to produce.
[00:22:23] Speaker C: But to me, it's funny, right, because it's the same producer, but I don't think that core and purple sound the same. I think purple sounds like this.
You know what I mean? When you think about some of the stuff from purple, like meat plow and the sound of the drums and everything, it matches this. Whereas core was a little bit tamer, I think, in production. And not that it was bad. No, but I think in the second one, I think that's where you kind of developed their sound. And then the third one, it kind of faded away because they did something different. But now I hear this and I'm like, yeah, this is what puts me back in that era.
This would fit comfortably on purple anchor, I think. I mean, it's kind of like the second production with a court feel.
[00:23:11] Speaker B: Oh, yeah, 100%. I'm just trying to see. So he did this one, he did that one, did number four.
And I think that's where he ended.
He didn't did thing in 2010, I don't think.
But he's doing a really good job here. So I like it a lot. I like the vocals. I like the way they use his voice in here.
Drums are solid. Bass is solid. I know that Dean and Robert pretty much write everything.
And this is a Dean de Leo. This is a guitar player.
Yeah. This is awesome. I'm curious to see what you think.
[00:23:55] Speaker C: Yeah, you know what? I'm going to say triple h. Because like I said, I fell away from the band and had. I listened to it and had the chance to listen to it. This is what. I don't know what number four sounds, obviously, like I said, but this is what I would want to hear from them, especially from an opening track. Yeah, well, listen, when you have.
What's the first one is?
I can't remember the name of the first song. Encore.
The birthday deathbed song.
[00:24:30] Speaker B: Come on.
[00:24:31] Speaker C: So you have that. And then number two starts off with me, plow, which is a really strong song. I mean, this is what, again, what.
[00:24:37] Speaker B: I would dead and bloated and then sex type thing, then wicked guard.
[00:24:40] Speaker C: Dead and bloated. Thank you.
[00:24:43] Speaker B: We played that song, too, didn't we?
[00:24:45] Speaker C: We learned it and I think we did it. We never played it live, though.
[00:24:48] Speaker B: I know.
[00:24:49] Speaker C: Unfortunately, never got the chance.
[00:24:50] Speaker B: I know. That was great.
[00:24:51] Speaker C: That's a great song.
[00:24:52] Speaker B: I love that song.
[00:24:53] Speaker C: Yeah. But, yeah.
Again, this is what I would want to hear from them.
[00:24:59] Speaker A: Oh, cool.
[00:24:59] Speaker B: I'm giving me a toll. I know you hadn't listened to this, and now when it came up, I was like, oh, this is going to be the perfect record.
[00:25:05] Speaker C: I was actually very happy when I saw this because I said to myself, I've never heard this one and I want to hear it.
[00:25:12] Speaker B: All right, so the next one is days of the week. This was a single I told you that went to, like, I got to see if I've heard this before.
It was a moderate hit.
The last time it was actually even played was in 2001, so it didn't stay in their set very long.
So it's going to be a little different than the last one, but that's what they do.
Yeah, that's one of the things I like. All right, here we go. Days of the week.
[00:25:50] Speaker A: Back from the dead I'm letting it go back for another one shoot me in the head I'll take it back taking it back I'll take it back when she's looking for a friend to get what she wants can't see to get enough more than I stand I'm holding her down holding her down she's down again I gotta find a way to find a way she be.
[00:26:36] Speaker B: You heard this, right?
No. Really? Wow.
[00:26:42] Speaker C: No. Never heard this song.
[00:26:44] Speaker B: And it's so different than the other song, but it's very poppy and very.
[00:26:48] Speaker C: But it's up their alley.
[00:26:50] Speaker B: And the melody is really good.
And it comes, like, right out of the gate. Now there's no intro, right? It just comes boom.
[00:26:59] Speaker C: Yeah.
[00:27:01] Speaker B: And I think you're going to like the lyrics on this, too. Monday back from the dead I'm letting it go back for another one Tuesday shoot me in the head I'm taking it back taking it back I'll take it back Wednesday she's looking for a friend she'll get what she wants can't seem to get enough Thursday it's more than I can stand I'm holding her down, holding her down she's down again I've got to find a way to find her where could she be four days of the week she thinks I'm the enemy so I like how they got days of the week in there, but it's not really like they're saying four days of the week. So it's Monday, Tuesday, Wednesday, Thursday, right?
[00:27:38] Speaker C: Yeah.
[00:27:40] Speaker B: It's pretty interesting how they work that out.
[00:27:45] Speaker C: Yeah, no, he's an interesting. He's definitely come up with some interesting lyrics.
[00:27:52] Speaker B: Yeah, I like his stuff a lot.
So what do you think of this compared to the other one?
[00:27:59] Speaker C: I like the other one better, but this isn't bad. I think this is a song that could. I'm waiting before I start passing. It's not bad, though. I'm not sitting here going, oh, boy.
[00:28:09] Speaker B: Yeah.
[00:28:10] Speaker C: Because it still reminds me of them. And it definitely reminds you of some stuff. I mean, honestly, one of my favorite songs by them is it's on purple. I'll remember, I'll look it up. But I don't think it was ever a hit.
But it's just one of my favorite songs by them. This reminds me of it a little bit.
[00:28:30] Speaker B: Yeah.
Here we go. Let's continue.
[00:28:41] Speaker A: One day left me for dead woke up on the phone time for when I want you taking them off through the open she got what she wants still never get enough she's falling me down I'm down again I gotta find a way find a way that you think one day Jesus was one just.
[00:29:46] Speaker B: Okay before they get back. I don't think there's any solo in this song at all.
I just like the way he changed it up. Like, he went from, like, the four days and now he's doing something. So now he's counting the days instead of giving names, which is pretty cool. So it's one day left me for dead woke up on the floor time for another one. Obviously a drink thing or a drug thing. Right.
And then today she's leaving me again can't take it no more out through the open door see, that's kind of interesting, too. It's like, one day. So he didn't say yesterday, he said one day, whatever day that was, now he's today.
And then the third one is three days. She's found herself a friend she's got what she wants still never get enough four days she's back with me again she's pulling me down pulling me down I'm down again.
So she leaves, right? She finds another guy. She's with that guy, and she comes back.
Yeah, and then the same chorus again. I've got to find a way to find her where could she be? Four days of the week she thinks I'm the enemy and then the bridge is Monday is gone Tuesday is fade in Wednesday is gone Thursday is all but wasted now interesting that he pulled it all back again, to the days. Again.
Very interesting way of writing lyrics.
[00:31:11] Speaker C: So they're saying it's based on how he felt when he got out of prison.
[00:31:15] Speaker B: Oh, really?
[00:31:17] Speaker C: Yeah. In 99, for violating his probation from heroin convictions.
Every day, he was faced with new challenges and new insecurities.
[00:31:27] Speaker B: Yeah, it's good.
[00:31:29] Speaker C: And the label made them release this as a single. They wanted coma to be the lead single.
[00:31:34] Speaker B: Yeah, coma is good, too. That's next.
[00:31:37] Speaker C: Yeah. So the song I was talking about was still remains on.
[00:31:40] Speaker B: Yeah, it's a good song on purple.
[00:31:43] Speaker C: Yeah.
Big fan of that song.
[00:31:46] Speaker B: I just like how that other one was really heavy, and this one's, like, super syrupy poppy, and it's just kind of, like, covers the whole thing. And his voice is totally different. He does none of the low stuff here. Right. This is more in the upper register of the song.
[00:31:57] Speaker C: But I like that again, that it's still them.
[00:31:59] Speaker B: Right. Well, this is what they did on the other records, too. This is all the kind of stuff that they did. And I like the fact in the guitar stuff is that if you listen really carefully, you can hear acoustic guitar behind everything, even though there is other electric stuff going on. You can hear the acoustic guitar happening, which kind of fills it out a little bit. It's pretty neat. And the bass playing is good. He does a lot of fill. He's very filly.
Lots of fills going on.
[00:32:23] Speaker C: I honestly wasn't paying attention to the bass. Yeah, I was really paying attention, kind of like, to the melody.
[00:32:28] Speaker B: Well, now listen to the bass. I'm going to back it up a little bit, and you'll hear this. So now we're going back to the back of the verse again.
[00:32:39] Speaker A: Back from death. I'm letting it go back on another one today.
Shoot me in the head. I'm taking it back. Taking it back. I'll take it back.
I got better away.
What, you think I'm the enemy this time? The enemy.
[00:33:12] Speaker B: There you go. In and out super fast.
[00:33:15] Speaker C: Yeah.
[00:33:19] Speaker B: All right, why don't you go first?
[00:33:23] Speaker C: Let me see.
So I think I'm going to go seven, seven, eight.
Because I went, obviously eight, eight on the first one.
Again, I do like it, and I think it could be a song that could grow me, but it does kind of have that vibe to it, which I do like.
What I do like about Brendan O'Brien, there's an oddity to his production with them, I think. You know what I mean? There's kind of like this ambiance that it's almost like if he cranked it up half a db higher, it would be that distorted, but it's not. It's at the fringe of it, but it sounds really good for them and their music.
I think he captures them well, and he captures them differently, even though, again, this does remind me of the purple production.
But I like it.
[00:34:28] Speaker B: Yeah, it depends on what song he's doing with them. Right. I guess that really depends on how he handles it. But, yeah, he's done a good job.
[00:34:35] Speaker C: I do like the first one better, but, I mean, this is not a bad.
[00:34:38] Speaker B: No, I actually think I like the lyrics. I like the lyrics better on this one than I do on the other one. I mean, I don't hate the other one by any stretch of the imagination.
So I'm probably going to do eight on the lyrics and then music.
I'm trying to think it's probably going to do it. Is that always easier?
I'm going to do eight across the board, I think.
Production, too. I like his production. You're right. He knows how to produce them. He knows what techniques to use on both things, whether it's the heavy stuff or when it's the more poppy stuff. Right.
He did four records with them, so he kind of knows. He knows what to do.
[00:35:40] Speaker C: Yeah, but, I mean, I like that the sound of the drums are unique.
You know what I mean? I mean, the fact that he can kind of give them a uniqueness, even when it comes down to drums, because they do have not so much in the first one, but by the second one, he kind of gave the drummer this sound and kind of made it his, which I like, too.
[00:36:05] Speaker B: It's a hard thing to do on drums.
[00:36:08] Speaker C: It is. Especially on drums.
[00:36:10] Speaker B: It's hard without it. Yeah. There's very few people where that actually happens.
I haven't listened to this in a long time, but, yeah, I'm really happy so far.
[00:36:22] Speaker C: Yeah, this is what I expect so far.
[00:36:25] Speaker B: Yeah. All right, so the next one is coma.
Here you go. Yep.
[00:36:44] Speaker A: It's over racing.
You let you go out there hanging.
Don't jump.
[00:37:12] Speaker B: It's a little different.
[00:37:14] Speaker C: Yeah, that's good.
[00:37:15] Speaker B: It is really good.
That.
[00:37:18] Speaker C: Such a simple riff.
The production is, like, on point, and he does the interesting thing in the verse and the chorus is just. Whatever, but it's kind of like. No, I mean, listen, like I said, first two records, I was a massive STP fan. Never went to see him again. This is one of those bands that. It makes zero sense to me that in the period where I'd seen the most concerts in my life, I didn't see certain people, and this was one of them. And again, it wasn't as if. I mean, like I said, I've always liked Bruce Springsteen, but I was the only one in my group that liked him. I understood if people didn't want to, but this is everybody I knew was an SDP fan. Yeah.
Just never got to see them. Never went to see them. I don't know why. I mean, maybe the timing.
[00:38:06] Speaker B: I got lucky.
[00:38:07] Speaker C: It had just been the timing.
[00:38:08] Speaker B: I got lucky. And I saw them in 2012 at Bethel woods up in New York, here, where we are.
And, yeah, I got lucky.
He did pull Axel Rose, though, and he didn't come out for like an hour. I'm assuming it was drug related. More than likely. I don't know that, but I'm pretty positive. It had to be what it was. Literally. The opening band, I can't remember their name. They opened up. I probably could look it up and find it. And then it was literally like an hour before they got on.
Everyone was getting a little bit frustrated. Awesome, though. We're really, really good. I'm really glad I got to see them.
So, yeah, I like this a lot. So it's so different. And that weird guitar thing is weird, too.
[00:38:57] Speaker A: Your appetite, sensational.
Devouring 1000 soul and the same old story, the break up in my heart don't jump, nobody think that, nobody hears that, nobody breathe.
[00:39:50] Speaker B: Going to this little part, I'm going to read some lyrics.
I don't want to get too far. So verse one. Tarn feathers hide your feelings, if you even know the meaning. Your high road is overrated, you left your guru out there hanging. And then the chorus is just like, don't stay, don't stay twice.
And then the second verse is. Your appetite's insatiable, devouring 1000 souls, it's more or less the same old story. The princess and the whore, the lady. Then don't stay, don't stay. Then he changes the chorus up like it's different. Nobody sees it, nobody hears it, nobody breathing in a coma. So keep your secrets, your perfect secrets it's just a game but no one's playing.
And the drums on here, really.
I never really noticed. They really sound like this all the time.
[00:40:41] Speaker C: He's got a good groove, you know what I mean?
He's not virtue also, per se, you know what I mean? He's not somebody's blowy, but he has groove, which I really like. I like groove in songs a lot, you know what I mean?
And I like when. Again, the drums accentuate the riff.
So that's what he's doing. He's playing along to the riff, which I really like because it elevates the riff. Right. It makes it that much heavier when the drums are playing with it.
[00:41:15] Speaker B: And he's got a weird snare sound.
I just noticed.
[00:41:19] Speaker C: But that's what I'm saying. I associate. So I said to myself, if I heard this on the radio, would I necessarily know was them? And when he first starts singing, he said, no, but then I'm like, yeah, but that sound. You know what I mean? That production and drum sound sounds like them.
[00:41:38] Speaker B: Yeah, no, it's good.
[00:41:42] Speaker C: Yeah, really good.
[00:41:43] Speaker B: I'm going to back it up just a little bit.
[00:41:45] Speaker A: In the coma lion waiting on the footwell vacation don't get way don't say nobody say that nobody hears it now by river and I come keep your secret, y'all from a secret it's just, again, know what?
[00:43:31] Speaker B: Good guitar solo fuzz. And he knows how to use the walk correctly.
[00:43:36] Speaker C: Yes.
Yeah, I was waiting for that, though, because they went into that soft part. I'm like, okay, I'm liking this. I said, but please, come on, do a ripping soul. Come out of this heavy. And they did. I mean, they went exactly where I would have wanted them to go.
[00:43:51] Speaker B: I like that little break, too.
[00:43:54] Speaker C: Yeah, it was cool. It didn't take away from the song. And like I said, it went into exactly where I wanted it to go.
[00:44:02] Speaker B: Yeah, it's a really good song. So the last version, really good song. In a coma lying, waiting desire fills the lonely craving so many trampled under footwear but more to fill the trophy cases and then obviously back in the chorus, then solo.
But, yeah, if you're an STP fan, I don't know how you could not like this so far. I mean, they're doing a great job.
[00:44:27] Speaker C: I think if you're a rock fan, you can't.
[00:44:29] Speaker B: You should. But there are some people.
[00:44:32] Speaker C: There's nothing wrong with us.
[00:44:35] Speaker B: Some people, they don't get it, I guess. But for me, I don't know much more what you would want out of a record for them so far, at least. Anyway.
All right, let's continue.
[00:45:03] Speaker A: It's just a game. I know, I play it.
[00:45:13] Speaker B: Goddamn. What a good way to start off. 2024.
Yeah, very good.
I guess I'm going to go first. I guess I'm going to give it an eight on lyrics. I'm going to give it a nine on musicianship.
I think the riff I like, the little things that remind me, like almost Tom Morello.
I think they're probably using the same technique he uses to do that with the switch or pick up like Ace freely does when it goes on and off.
Doing that is really awesome. I really like that. And production, I'm going to give that an eight, too. So far, I haven't heard bad production on this thing at all. It's just really good. Yeah. There's a reason why he's produced as many records as he's produced.
Yeah, because it sounds really good. Yeah. I like this one a lot. And they were probably right. It should have been the lead single. Probably.
[00:46:16] Speaker C: Yeah. But you can understand, too. I mean, the other one's a little bit catchier.
[00:46:19] Speaker B: Of course.
[00:46:20] Speaker A: Yeah.
[00:46:20] Speaker B: I mean, it's not a bad song. I like this one better, though.
[00:46:23] Speaker C: No, so I'm going to say a seven on the lyrics only because I gave the other one an eight. So just to throw a little bit of whatever. But, yeah, music. I'm going to say a nine. I mean, that was really good.
I'm trying to think if I want to give an eight or nine on the production. I mean, it's the same as the other one, but this one had more dynamics and I felt that they were captured really well. I mean, I like the way the drum sound.
He almost played a little bit like John Bonham. I felt in know I'm going to see a nine of the production. Let's give Brendan a bigger tip of the.
[00:47:08] Speaker B: Of the. A little bit of the sound was a little Bonhamy, too, I thought when he went to that little break thing and even the stuff he was playing was kind of like that.
[00:47:16] Speaker C: Yeah, but even, like, when he switched over to the ride again, it's groove jam. Bonham had groove, right?
[00:47:25] Speaker B: Yeah. So this record is what, 23 years old as of 2024, right?
Yeah.
It's crazy.
[00:47:38] Speaker C: I know. Forget it. I don't even think about that stuff anymore.
[00:47:42] Speaker B: This thing was released before 911 happened.
It was released in June, so it's kind of crazy to think it's that far back.
[00:47:52] Speaker C: I know.
[00:47:53] Speaker B: So the next one is Hollywood bitch.
This riff was actually written before the second album, Purple, had been released.
[00:48:02] Speaker C: Oh, wow.
[00:48:03] Speaker B: So it goes back that far.
Let's see what you think of this. Isn't it sucky that you didn't pay attention to this now?
[00:48:13] Speaker C: Yeah, I mean, again, I also don't know if at that point my tastes could have changed. Diverged a little bit, too, though. Yeah, I think I was starting to listen a little bit more to jazz and techno and not that I strayed away completely from rock, but I kind of took a little bit of a Breather, I think. And that's what it was.
But I mean, again, these are things that I've always wanted to go back. But again, you know what? I'm glad I didn't go back to it. I'm doing it now. Yeah.
[00:48:44] Speaker B: That's awesome. Right? So here we go. Hollywood bitch.
[00:48:50] Speaker A: Saka.
Pictures of what should ever be. So can I kill? So you wanna die? You want it slowly with seven lines. Blow up a bitch with the fire like a smile. Wish wet in a suitcase loves to drive wild. So kill a kill. Yeah, you gotta die. Everybody touching every single night.
You never keep it. Cause you know yourself if I.
You'll never lose because you never had it.
If I was saying I wish. Hollywood.
She goes again she goes again.
[00:50:18] Speaker B: That'S a good riff, too.
[00:50:21] Speaker C: It is. I'm not feeling this one as much as.
[00:50:23] Speaker B: No, I really like it.
I really think it's good. I like the fact that they did that really long verse before they got into the chorus.
[00:50:35] Speaker C: It takes a long time to get to the chorus.
[00:50:36] Speaker B: Yeah. I mean, over here, it's like broken up and things, but to me, it feels like one big verse.
[00:50:42] Speaker C: Yeah, that's what it feels like, too.
[00:50:45] Speaker B: And then what's really weird, like, some of the guitar stuff, it's reminded me very led Zeppelin y. Because maybe because it's the way it's layered up. Like, stuff that was done a little bit later in Zeppelin stuff, you know what I mean?
It reminds me of that, just the way he's kind of doing all that. I really like it.
So you're on the outside, you're looking in, you're taking pictures of what you've never been. So kill to kill. So you want to die. You're burning slowly with seven lives blow up the bitch with a firecracker smile.
Switchblade in her suitcase loves to drive them wild. So kill to kill, you're going to die. Everybody's searching every single night.
You'll never keep it because you sold yourself. And by the way, you'll never lose it because you never had it. It's all the same. Rock star life turn on the switch. Hollywood bitch so fake that she seems real, she goes again. Rock star life turn on the switch Hollywood bitch so fake that she seems real, she goes again.
Are they saying what this thing is about, who it's about? Maybe.
[00:51:53] Speaker C: I don't know if it's just about somebody who's phony or if it's about a specific person. I mean, that's what it sounds like, right? Like some phony Hollywood person. So again, I don't know if it's about someone.
[00:52:10] Speaker B: Mean.
[00:52:10] Speaker C: The lyrics are good.
[00:52:11] Speaker B: Yeah, the lyrics are good.
It might grow on you. I'm going to back it up a little bit. Let's see.
[00:52:16] Speaker C: It might. I'm not passing judgment yet. I just feel like the first and the third ones are just super riffs, you know what I mean?
[00:52:27] Speaker B: Yeah.
[00:52:29] Speaker C: I'm going to let it sink in.
[00:52:30] Speaker B: Okay.
It does sound like almost like a mixture of core and purple together, like a mush. It's not as heavy as core.
[00:52:37] Speaker C: Yeah, maybe the third one, too, though. I want to see some of that in there, too.
[00:52:43] Speaker B: Yeah, a little bit.
[00:52:43] Speaker C: I could be wrong, though, because again, I haven't listened to that one in a while.
[00:52:46] Speaker B: Yeah. All right, here you go.
[00:52:57] Speaker A: She's on the west side. She's looking down. She says about it with what she'll ever be talking.
Everybody touches every single night.
You never keep it cause you saw yourself in other way.
You never lose it cause you never had. It's all day.
I love wish Hollywood bitch the face. She brings me up. She goes again.
Hollywood fish. The face shape is real. She goes again, Hollywood.
[00:54:01] Speaker B: She goes again.
It's really short.
[00:54:07] Speaker C: Oh, is this?
[00:54:07] Speaker B: Yeah, really short.
So, so the part where, I guess it's a precourse, who says you never keep it because you sold yourself and by the way, you'll never lose it because you never had it. That's what feels zeppelin y to me a little bit.
That's the way the guitars and stuff sound. So the second verse is super short. She's from the west side. She's looking thin. She feels her body what she'll never be. And then it's just basically the same stuff all the way through. It's not a lot of lyrics, but I like the riff. I like the riff a lot.
I'm going to say on lyrics, I'm going to have to say six because I don't think they're as good as dumb love.
But they're still good. It's just not as good as dumb love. If I'm going to keep that as being seven, right? This can't be seven for me, so it's got to be six. I like the music. I think music is. I'm going to give music an eight and I'm going to give production an eight. I like the music and production.
I would like the guitar solo, but I can understand. I mean, he's playing for the song, you know what I mean? So if the song says it doesn't need it, he's not doing it just to do it.
[00:55:17] Speaker C: Yeah.
[00:55:18] Speaker B: So I give him props for that.
And I like his vocals. I think his vocals.
He's doing the lower axle Rose thing again, right?
[00:55:31] Speaker C: Yeah, absolutely.
[00:55:33] Speaker B: Guess that's what we're going to call it now. It's the axle Rose voice.
[00:55:38] Speaker C: That's just the timber of it. I guess it just reminds you of like when Axel goes.
[00:55:42] Speaker B: Yeah.
[00:55:43] Speaker C: So more than low.
[00:55:48] Speaker B: Yeah, yeah. All right. Why don't you go and tell me what you think?
[00:55:53] Speaker C: This one's a hard right. So I'm going to say seven on the lyrics and an eight on the production.
Again, I'm not going to can't fault.
So I know this might sound harsh, but I have to judge it against the other songs. When I gave a seven, I'm just going to say a six because it just didn't resonate with me. And I don't think it's a bad song. So maybe the voting seems a little bit lower, but just in comparison, that's kind of where I have to go with it.
But I don't think it's a terrible song. But it didn't necessarily stick.
[00:56:33] Speaker B: What are going to be all your thing? Six across the board.
[00:56:36] Speaker C: 768768.
[00:56:37] Speaker B: Okay.
Yeah, I think I like the music more than you like the music.
I like the riff a lot.
[00:56:46] Speaker C: It's not a bad riff.
I'm just comparing it though, to what else I gave a seven to.
[00:56:52] Speaker B: Yeah, no, I get it.
[00:56:53] Speaker C: I don't think it's in that. Yeah.
[00:56:57] Speaker B: So the next song is called wonderful. I haven't heard this in a while, so I don't even remember this that much.
As soon as it plays, I'll probably know what it is. It's like one of those things.
But I want to think this is probably going to be slower. But I don't know, I forget.
Let's see.
[00:57:23] Speaker A: If I were to die this morning would you tell me this? Jesus, would you be my navigator?
Would you take me to a place we could hide as I fall in love I wonder what I love.
Cause speed moving.
No. I'll be waiting in.
[00:58:13] Speaker B: I remember now. This is a slow one.
It reminds me something else, though. I don't know what it reminds me of.
Reminds me of something. Yeah, I like that he uses the megaphone voice on the last line of the chorus. It's pretty cool.
Yeah, this is definitely in their wheelhouse, too.
[00:58:35] Speaker C: Yeah, I just got to let it settle in.
[00:58:38] Speaker B: Yeah, I know.
[00:58:41] Speaker C: Almost just because I feel like there's no real melody there.
You know what I mean?
[00:58:46] Speaker B: Yeah, I think a couple of the lines felt a little shoehorned. I mean, I like the lyrics. I'll read the lyrics. I like the lyrics. They just feel a little shoehorned.
I like the music, like the riff and I like the playing.
[00:59:01] Speaker C: Yeah, that's the thing. I think I'm not feeling its melody.
[00:59:06] Speaker B: Yeah.
So the verse is, if I were to die this morning would you tell me the things you wouldn't have. Would you be my navigator? Would you take me to a place we could hide?
As I'm falling out I wonder what I lost. I must be moving on I know I'll be waiting here alone.
So, yeah, I think it's more than.
[00:59:28] Speaker C: I mean, lyrically it reminds you of still remains, right. When he says, if you should die before me, ask if you can bring a friend. Yeah, but I was kind of hoping it would kind of give me that vibe. But again, I think it's the melody.
[00:59:44] Speaker B: That'S not as good, but I think the music is really good.
[00:59:47] Speaker C: Yeah.
Well, let's see if maybe we've had other songs right. Where it doesn't click right away and then you kind of hear it again. Well, let's see if another first.
[00:59:59] Speaker B: Let's see if he can save it. Who knows? I'm curious.
I know the song now and I remember it, but I don't remember whether I liked this thing a lot back in the day or not. But I like it now. But I think the melody could be stronger.
Yeah. All right, here we go.
[01:00:17] Speaker A: I want to ask you, give me.
Haven't been the best with all that I have.
Wish I lay beside you.
I think I spread myself a little, too.
As I'm falling down I wonder what I want.
You must be moving on.
No, I'll be waiting.
You're the everything.
Let me leave moon, y'all wondering.
[01:02:06] Speaker B: Solo. I knew he was going to use a slide on that, too.
[01:02:09] Speaker C: Yeah, you said you knew it.
[01:02:12] Speaker B: I knew he was going to use a slide on that. Yeah, it sounded like that would be something he'd do. You know what? It reminds me of something, Beetley, and I can't tell you what it is.
[01:02:19] Speaker C: Yeah, I was just going to say that that part definitely reminded me of.
[01:02:24] Speaker B: See, the part I think with almost.
[01:02:25] Speaker C: Like something in the way. Yeah, maybe kind of like that.
[01:02:30] Speaker B: Well, I can tell you where I think the melody kind of loses me is like. So this is the second verse, I want to ask you to forgive me. I like the first line. I like the melody.
And then I haven't been the best with all I had. That part right there feels a little jammed together. I don't like the way the melody goes there. I wish I'd only laid beside you. I think I spread myself a little too thin.
And then the chorus again. And then I guess this is bridge. I guess it says chorus too over here, but it's probably bridge. You're the everything that led me to believe. Hold on, hold on. You're the wonder in everything that's wonderful. I mean, I like to send him into the song. So it's about a woman, I assume, right. That makes him better than who he is and that he wishes he would have been more with her than whatever else he was doing, right. And that maybe she could lead him around. And, like, music wise, it's great. The music is really good.
[01:03:25] Speaker C: Yeah, I do like the music.
[01:03:27] Speaker B: I don't like the melody as much. I now hate the lyrics, but I think the melody could be stronger.
That's all.
[01:03:35] Speaker C: It just feels last minute. I don't know. You know what I mean? Like, it's not gelling.
[01:03:42] Speaker B: Yeah.
Let's finish it out. We only got a little bit of left, but I think I have an idea how I'm going to vote on this right away.
[01:03:52] Speaker A: I don't feel anything at all.
Think I'm moving on know you be safe but not alone y'all be everything and to believe how I want to that wonderful know you.
[01:04:48] Speaker B: Yeah. I think the music is really, really good.
I think the music's really good.
[01:04:57] Speaker C: The chorus, I mean that you're the everything that led me to believe part. I like the melody in that.
[01:05:02] Speaker B: Yeah, me too. The verse is a little like I said, I like the first line at every verse. And then the second line, I don't like that line.
[01:05:09] Speaker C: Just goes somewhere that.
[01:05:11] Speaker B: Yeah, there's no way for me to break this up. So I'm going to take it out on the lyrics just because. So I'm going to say six.
I might have to do five. I don't think the lyrics are bad, but I have to take the melody has to come out of the lyric side for me.
And music wise, I think I have to give it an eight. I just think music wise, it's really good.
And production, I'm still going to give it an eight because I really think he's doing a great job at separating the instruments and finding a sonic place for all the things that are going on.
So this really has nothing to do with him. I don't think. I mean, maybe he could have said, hey, the melody is not that strong. Maybe we could rewrite the melody.
Do I take points off of that? I don't know, but I have to take it out on the lyrics because I can't take it out on the musicianship part because it's just too good for me. Anyway. I like the guitar solo. I think the solo with the slide solo is good. The bass parts are good, and the acoustic guitar playing is really good. So what do you think?
[01:06:27] Speaker C: Yeah, this is the hard one. Because, again, I do like the music. I just don't like the melody.
So, lyrics.
[01:06:43] Speaker B: You got to take it out on the lyrics. You got to take it out on the lyrics because where else are you going to take it out?
[01:06:48] Speaker C: I don't think I can because I kind of like the lyrics. I think these lyrics with a different melody would have done. So I'm going to judge it based on that.
I'm going to say six on the lyrics. I mean, they're okay. There's some nice sentiments in there.
Again, I'm going to say six on the reason I say six on the music. I'll say seven on the music. I'll say seven because taken away from whatever, I think that there was something better there. And as it faded out, I did it like the chorus better than I did before.
And I'll say eight on the production. I mean, again, just.
I don't know.
Do I say that this is a song that I would never listen to again? I think it's a song where I'm like, you know what?
Let me try this one again. Kind of like the one before, too. I don't think there's songs that I would never, ever listen to again. There's songs where I'm like, you know what? I didn't really like these two. Let me try them again.
Whereas the first and the third, the second one just sandwiched in between those two songs.
[01:07:59] Speaker B: Yeah.
I just realized here that for the next song, they're given an idea what the song is about, which is probably, I think it has something to do with his ex wife, this next song. So this is called black again.
Yeah. So far, it's not really a bad record, like I said. No, short of that stupid melody thing that's going on in that song. You're right. If they could have fixed the melody, it would have been a better song.
[01:08:32] Speaker C: I mean, listen, the fact that this is their fifth album, and they're still pulling songs out like dumb love and coma. I mean, you got to give them credit.
[01:08:39] Speaker B: Oh, yeah.
And the times were changing, too, so it wasn't the 90s anymore.
[01:08:46] Speaker C: Yeah, I mean, I don't think they cared.
[01:08:48] Speaker B: No, they didn't care at all.
[01:08:50] Speaker C: I give them credit for that. This is definitely STP, whether you like.
[01:08:53] Speaker B: It or not, here we are.
[01:08:55] Speaker C: Yeah, exactly. If you're not a fan of them, you're not going to like it.
[01:08:58] Speaker B: All right, so here's black again.
[01:09:16] Speaker A: It.
[01:09:25] Speaker B: So what do you think of that? It's weird.
[01:09:28] Speaker C: It's interesting. It's weird. I'm like, okay, where are they going to go with this? I wonder if they're going to. If they're going to use it just as an intro or if he's going to sing over this as like the.
[01:09:37] Speaker B: Chorus or the verse, maybe.
[01:09:39] Speaker C: Or the verse.
[01:09:40] Speaker B: Yeah, I don't remember.
[01:09:41] Speaker C: Yeah. Wondering where.
I don't know that I want a melody over this. Unless he can find a good one. If it's kind of like a musical intro that they kind of use in between, it's possible.
But I like the rhythm of it.
[01:09:59] Speaker B: That weird fuz thing.
[01:10:00] Speaker C: It's almost like a waltz, kind of like a doom.
[01:10:03] Speaker B: There's a weird fuz thing going on, too. Yeah, it's weird. All right.
[01:10:10] Speaker C: Very curious.
[01:10:10] Speaker B: Yeah, I'm sure I remember it once it starts going, but I don't remember it right yet. So let's see.
[01:10:22] Speaker A: And.
Seems to matter really.
I'll be here waiting for the black cloud to leave you I'll be here to hold your hand when you're tired and lonely she can't sleep she's not well she can't be she can't eat she can't sleep she's not world she can't raise.
[01:11:14] Speaker B: See, I think there's another little melody issue.
[01:11:19] Speaker C: I like the chorus, though.
[01:11:21] Speaker B: No, I know. I like it. No, I think, like, the end part of the chorus, it kind of loses me a little bit, the end part of the chorus. But I do like the chorus.
[01:11:28] Speaker C: Yeah, a little bit. I can hear that.
[01:11:32] Speaker B: Yeah.
[01:11:32] Speaker C: I mean, the verse is a little OD, but it's not as they didn't sing. I don't think it's as bad as what was going on in that other one.
[01:11:40] Speaker B: Yeah. And they didn't sing over the part that you didn't want them to sing over.
[01:11:43] Speaker C: No. Yeah, they just kind of use the rhythm, which is fine. Yeah, I really do like that chorus. I mean, I like the chords that they're using and what he's doing.
[01:11:53] Speaker B: Yeah, it's very interesting.
It's them, but it's nothing like they've done before.
You know what I mean? Unless they did something with tiny music that was kind of like this, which I don't remember. But it's not the standard stone temple pilot song. There's pieces of it there, but it's not like.
I don't know. Maybe it's just the beat, like you said. Maybe it's the walty kind of thing that's going on. But I do like it, though.
All right.
[01:12:31] Speaker A: Hold your breath underwater and now you rise to the surface only take me as a ship that might hold you carry to the show when you're tired only she can't eat, she can't sleep, she's not she can't breathe, she can't she can't eat, she can't sleep, she's not where she can't reach lonely.
[01:13:30] Speaker B: Let me read lyrics before we get too far. We're way far already, right? Okay, so the first verse is, when you're fed up and lonely and nothing else seems to matter, really. I'll be here waiting for the black cloud to leave you I'll be here to hold your hand when you're tired and lonely she can't eat, she can't sleep she's not well she can't breathe she's in bed, she's in hell she can't eat, she can't sleep she's not well she can't breathe she's in bed, she's in hell but she'll never really be alone as long as I'm beside her and then second verse is. Hold your breath underwater and know you'll rise to the surface slowly think of me as a ship that might hold you carry you to the shore when you're tired and lonely and then back to the chorus. The lyrics, not bad at all.
[01:14:18] Speaker C: Yeah, I'm digging this one, man.
Supposedly it's funny because what I didn't like about the verse in the first one, I didn't care at all. I dug the verse and I'm digging the chord, honestly. The part now that I'm not crazy about is that beginning part. That's not bad. But out of this verse, I kind of wanted them. Out of the second chorus, I wanted it to go somewhere else. I didn't want it to go back to the.
But.
[01:14:49] Speaker B: So supposedly this is about his ex wife and her struggles with addiction and mental health. And the irony, of course, is that Scott is well known for battling his own demons through his career and reaching out to her to create a counterbalance system for each other, something that was done for him countless times by his friends and family. A sort of ambivalent song of warm love and cool cloudy days is really nice analogy of Weiland's own tumultuous and talented history.
So, yeah, he's the one that's always needed somebody to help him, right?
[01:15:18] Speaker C: Yeah.
[01:15:18] Speaker B: Now he's putting his hand out to doing. Trying to see he's going to help her with her addiction, which probably he couldn't do.
[01:15:25] Speaker C: Yeah, I mean, I can understand the counterbalance. Maybe say you don't do it, I don't do it kind of thing.
[01:15:32] Speaker B: All right, I'm going to back it up. See? Let's see what. Let's see where they go.
[01:15:56] Speaker A: You.
She can't be, she can't speak. She's not.
She can't reach.
She can't be. She got.
She can't reach out.
Yeah.
[01:16:33] Speaker B: It's a weird little song, but I like it. There's like, tremolo guitar, and I like the guitar solo is nothing spectacular, but it fits the song perfectly.
[01:16:42] Speaker C: Yeah.
Like I said, I wanted it to be more along the lines of what they were playing under the chorus. I thought it would have been more emotional to me as opposed to going back to the beginning, which, again, I liked on its own. But then when I heard the melodies, I felt those almost didn't fit. Yeah, but it's not bad, though.
[01:17:08] Speaker B: No.
Well, why don't you go first, then?
[01:17:16] Speaker C: So I'm going to say seven on the lyrics. I mean, they're simple, but clearly there's a heavy sentiment behind them.
Music.
Not sure if I want to give it a seven or I'm going to say seven.
Technically, there's parts I can give an eight to, but I'll say seven as a whole.
I don't know what to do in the production. If I want to give it an eight again, I'm going to say seven on the production. I felt there was something a little bit lacking. I don't know what. You know, you can't put your finger on it. Yeah, I guess. Triple seven.
[01:17:58] Speaker B: Triple seven.
[01:17:59] Speaker A: Nippy tippy baby. Seven, seven, seven.
[01:18:05] Speaker C: Part of me thinks it could go in eight in the middle, I would say with the music, like maybe listening to it again.
But it's just funny how when that beginning part came, I was like, oh, that's cool. That's interesting. But then I felt like it didn't fit in with the rest of the song, kind of the notes and everything.
[01:18:27] Speaker B: Yeah, it's a weird little song.
I think I'm going to do a lyric seven, like you did. I'm going to do seven on the music, too.
And I'm going to give Aidan production, I think, because I think they really did a good job of keeping all that stuff separated. There's a lot of background vocal, cool background vocal stuff and things I liked in there. Like I said, short of that little melody thing at the end of the chorus where kind of, like, it overlaps itself, there's just little places where I think it could have been a little bit stronger. But I do like the song. I think it's a really good departure for them, that it's not exactly.
[01:19:08] Speaker C: It's got a unique sound.
[01:19:09] Speaker B: It's a unique sound.
So this is the last song on the first side. It's called hello. It's late.
I don't know if I remember this. Like I said, I'm sure I do remember this, but it's been a while.
[01:19:24] Speaker C: Did you remember this last one?
[01:19:26] Speaker B: Yeah, I remembered it after I heard it.
So this song was created in the purple era.
I don't know how close to purple this is, but I guess we'll find out.
So this is. Hello, it's late.
Oh, that definitely sounds on the purple error.
You know what I mean?
It's so similar, but. All right, let's continue.
[01:20:17] Speaker A: You know, I try stop the rain.
Did you read about it? Did you think about it?
Did you cry?
Nothing came, nothing matters again I didn't last alone but I'm just sitting on this miracle round and music is too loud it's just a game that we used to play didn't take to take it all the way it gives me just because it can't be erased when.
[01:21:25] Speaker B: Mars playing is really good on that.
[01:21:37] Speaker C: Yeah. Again, I'm not feeling the melody.
[01:21:39] Speaker B: This is kind of, like.
[01:21:42] Speaker C: All over the place. And I feel that there could be a better melody.
[01:21:49] Speaker B: Yeah.
I don't hate it.
I think melody could be a little bit better. I like the music a lot. Again.
[01:22:01] Speaker A: Yeah.
[01:22:01] Speaker C: I mean, I like that it reminds a little bit of. It's a little beetlesque to me.
[01:22:07] Speaker B: Again.
[01:22:10] Speaker C: Psychedelic, kind of, almost too.
[01:22:12] Speaker B: Yeah.
So the verse is hello, it's late, I know I tried to stop the rain did you read about it? Did you think about it? Did you cry? But nothing came nothing matters again I didn't think I'd last that long but I'm just sitting on this merry go round and the music is too loud it's just the game that we used to play I didn't think we'd take it all the way it kills me just because it can't be erased we're married I don't think the lyrics are bad.
I think it's a melody thing. Again.
He seems to be. Has a lot of introspective lyrics on this.
[01:22:56] Speaker C: Yeah.
I think in general, his lyrics are probably introspective.
Doesn't everybody always question, is it plush? Where he's like. And the dogs defined her, right?
[01:23:15] Speaker B: Yeah.
[01:23:16] Speaker C: And everybody's like, what the hell is he talking about?
[01:23:20] Speaker B: Serial killers, maybe. Serial killer, maybe. I don't know. All right, let's continue.
[01:23:28] Speaker A: It's late I know we try to win the game did you hear about it?
Did you dream about it? I know you cried now change nothing matters again I didn't think we last alone but I'm just sitting on this miracle and the music is too loud it's just a game that we used to play I didn't think it all the way it gives me just because it can't be raised with me.
[01:25:21] Speaker B: I like the solo.
[01:25:22] Speaker C: I think that was the best part of the song.
[01:25:24] Speaker B: The solo? Yeah.
[01:25:26] Speaker C: Well, yeah, that part. The music underneath it even, like, what he did with the guitar. Right. Because he came in with that effect, and it wasn't even the beginning. It kind of wasn't there, and all of a sudden, it was there. The way he did it was really cool. It was in the middle of nowhere.
[01:25:38] Speaker B: Yeah, he used that, like, rotary. He used the rotary, like, leslie sound effect, and that was pretty good. I liked know he's a good guitar player, and he plays with the song, and his riffs are generally really good. See? And this thing, it just feels like. It's almost like a run on sentence. It feels like there's very little separation between the chorus and the verse, so it feels like one big, long thing.
So that might be what's thrown it off, too, maybe. Obviously, that was on purpose.
[01:26:03] Speaker C: The chorus better this time, I think, though.
[01:26:05] Speaker A: Yeah.
[01:26:05] Speaker B: It starts to seep into your head a little bit.
[01:26:08] Speaker C: Yeah. I mean, this is the kind of song where I would picture myself kind of alone in a room listening to it. You know what I mean? Like, on the record player and just kind of laying on the bed and kind of letting it seep in that way and enjoying it.
But not from a critical. Not from the point where what we're doing, where you kind of sit there and judge it. You just kind of let it seep you just kind of listen to it and that's it.
[01:26:37] Speaker B: Yeah. I think this is a song. The more you hear it, I think the better it gets. Probably more than likely.
[01:26:42] Speaker C: Yeah. I mean, listen, I said, like I said, the chorus grew on me. I really like the solo part. I mean, the music and everything going on.
I'm like, there's a melody there that I don't feel like he's kind of getting. At least not in the verse. Like I said, the chords grew on me.
[01:26:59] Speaker B: So verse two is, hello, it's late. I know. We tried to win the game. Did you hear about it? Did you dream about it? I know you cried, but nothing changed. It's probably getting divorced or something. That's what it feels like to me.
Because he had a lot of marriages and a bunch of marriages.
Well, supposedly what this thing's saying is that who the subject of this song is, he was married to somebody and got divorced in February 2000. Then he was seeing another woman who I think was the person from the last song. The woman, the drug problem in 98 when he separated with her.
Got separated with her in 98, and then divorced with this woman in 2000 and then got married again, I guess, to this married woman. I guess we had divorced again.
What I gather there's a lot of stuff going on.
So it's just like, now you can see to say it's a game that we used to play. I don't even think we take it all the way. Meaning I didn't think we get married. Right. It kills me. Just suppose it can't be erased. We're married, so it feels like just the breakup and the divorce and all that kind of thing.
[01:28:14] Speaker C: So you may have known this, but I just saw this by accident. In late 2020, Wyman's son Noah debuted his new band, Suspect 208, which also features Slash's son on drums and Robert to Hero's son on bass.
[01:28:27] Speaker B: I didn't know that.
That was 2020.
[01:28:33] Speaker C: Yeah.
[01:28:36] Speaker B: When he died. He died in 2015, didn't he?
2020.
Can't be.
[01:28:47] Speaker C: No, his son.
[01:28:48] Speaker B: Oh, his son. Oh, yeah.
[01:28:50] Speaker C: That's what I'm saying. His son. His son and Robert Torhill.
[01:28:53] Speaker B: Oh, that's pretty cool.
[01:28:55] Speaker C: Yeah.
[01:28:57] Speaker B: Didn't know that.
What's it called?
[01:29:02] Speaker C: Suspect two oh eight.
[01:29:03] Speaker B: Is the band to give that a listen? Maybe.
[01:29:07] Speaker C: Yeah.
[01:29:08] Speaker B: All right, we got 50 seconds. Let's finish it out.
[01:29:14] Speaker A: This miracle and it's just a game that we play I didn't take it all away.
It gives me. Just because it can't be raised with Mary, Mary, Mary Mary.
[01:30:03] Speaker B: Does grow on you, though.
[01:30:06] Speaker C: Yeah, it does.
[01:30:09] Speaker B: So why don't you go first?
[01:30:12] Speaker A: Um.
[01:30:17] Speaker C: See, it's kind of hard because obviously, there's a lot of sentiment behind the lyrics.
All right. From kind of a sentimental standpoint, I'm going to say seven on the lyrics, I'll say a seven on the music, and I'll say an eight on the production.
Again, I think it's the kind of song that seeps in.
Yeah.
Especially when I like that effect. I mean, that's what I said. If I wasn't here listening to kind of break it apart and whatever, I think if I heard it straight through, I'd probably enjoy it more. You know what I mean? It does create kind of like an effect, and I think the production has to do with that, too, so that's why it's definitely good production.
[01:31:13] Speaker B: Yeah, I think.
[01:31:14] Speaker C: What do you think?
[01:31:14] Speaker B: I'll do seven on the lyrics, music. I can go back and forth. I think I'm going to give it an eight, just because I like the bass playing a lot. I like the various little sounds that are going on, like little bird things going on with the slide. And then he has that pretty cool solo in the middle where it starts really slow. And then he does do a little heavier thing where that Leslie comes in and rotating speaker sound.
And the productions are good. I mean, just to keep all that stuff separated and sounding good.
He's been doing a really good job, generally, on this whole record. For me, I forgot about this record as much. I mean, obviously, I've listened to it, but it's been a long time.
It's been a long time.
[01:32:00] Speaker C: No, listen. I think those two songs are the standout so far, but I think that this is a kind of record where maybe even the ones that I wasn't too, too crazy about, I could probably go back and say, you know what? I like this song a little bit better now than I used to.
[01:32:20] Speaker B: Yeah, well, again, this is like your pearl jam for me. When I want to listen to verses, I thought that I just gave up on them, and I was like, I don't like anything they're doing. And then I tended to like the record more than I thought.
[01:32:38] Speaker C: But honestly, though, for what it's worth, I don't think I really realized how many records. You know what I mean? I don't think I realized how many records they had done after that.
[01:32:52] Speaker B: Yeah.
[01:32:55] Speaker C: Like you said, right? Sometimes something puts kind of a bad taste in your mouth, and then when you kind of hear something, maybe it's, well, the last one sounded like this. So this is going to.
But there was a little bit. I mean, there was a gap, right, between postcards.
[01:33:12] Speaker A: Right.
[01:33:12] Speaker C: And then the fourth one.
[01:33:18] Speaker B: Yeah, three years. So core 92, purple 94, tiny music 96, number 499, Shangri Ladi dot 2001. And then they didn't do anything till 2010.
That was the last record with him.
[01:33:36] Speaker C: Yeah.
[01:33:38] Speaker B: But, yeah, I'm really happy we got this, because, again, I should probably listen to this record more, because I do like Stone Temple blinds a lot. So I obviously have listened to this record. I remember all these songs now. Like, if you ask me what. Hello, it's late. Was before. Right now, I probably couldn't tell you what it was because I didn't listen to this record as much as I'd listened to some of the others. Right.
But I like a lot of the stuff on here. I mean, I like the fact that they're willing to go. I mean, they could just do a whole record of dumb love. Right, or Coleman. But they don't. They stretch themselves out a little bit and. Does it always work? No, it doesn't always work, 100%, but that's part of doing it. Right. Not every song is going to be great, but the mere fact that they're allowed to do this, and they've been doing this pretty much from the get go, so it's not, like, a strange thing to do. Right.
But they are pushing their boundaries a little bit for themselves. Things and songs that they didn't normally do, especially, like the last three, maybe on this side.
[01:34:42] Speaker C: Yeah. Overall, I do think it's up their alley.
It's reminiscent of the older stuff. And again, the fact that fifth album, you may think that a band like this may or not be able to come up with some songs that they do, but, yeah, I'm glad this came up because, like I said, I've always wanted to go back to these records that I've never listened to. I mean, even talk show, I never listened to. And I would say to myself, I want to hear it. So I had them on the list, but honestly, once Covid hit, I didn't have the time to.
Once you don't have a commute.
[01:35:19] Speaker B: Yeah.
I'm glad this came up to me. This is a good record, and it's interesting for me to hear you listen to this because you've never heard it and you're like, wow, this is like, out of the blue.
[01:35:36] Speaker C: Yeah.
But I mean, again, for what it's worth, for the first two albums, I was definitely a fan, and I would have been a fan for the third one. I mean, I hope that one comes up too. Honestly, if I really had to pick one from them, because go through core and go through purple, be like, yeah, great, that one. I'm like, all right, sit back. You haven't heard this in a while.
[01:35:59] Speaker B: Yeah, sometimes it's one.
[01:36:01] Speaker C: It was the same with vital.
I'd written vitalogy off, but I mean, going back to him, there's a lot of good stuff on there.
[01:36:08] Speaker B: Yeah. I didn't think I liked it at all.
[01:36:10] Speaker C: Even rush test for Echo. I don't know. Sometimes you get in that mind space, maybe.
Who knows? Maybe at that, certain times, too. Like I said, at this point in the early aughts, I was more into listening to jazz. And I think I said maybe just kind of needed a break. I didn't like all the stuff that was going on, but obviously this wasn't necessarily mainstream either. Right? You weren't hearing this really on k Rock, which was kind of like the last station that was kind of playing some of the heavier stuff.
[01:36:43] Speaker B: Generally, this thing is doing pretty good. As far as our reviews go, nothing lower than a seven, eight.
It's good. We generally like it. I mean, I knew I liked it. I just hadn't listened to it in a long time.
Probably since in the early 2000s, probably. I haven't listened to this 20 years. So I'm glad we got it. And it's a good record. If we're going to start off 2024, it's stone temple pie. This is a good band to start off with.
[01:37:10] Speaker C: Yeah, I think that's a good. Again, even the stuff that I wasn't crazy about, I mean, there's still stuff that's good.
[01:37:16] Speaker B: Yeah, there's still pieces.
[01:37:17] Speaker C: Nothing where it's straight through, like.
[01:37:19] Speaker B: Yeah, there are pieces about it that you like. Even though you might not like the whole song, you can say the music is good or you like the lyrics here and you don't like that production.
[01:37:29] Speaker C: Exactly. The production. I mean, the production is obviously solid. He does a really good job with them.
[01:37:34] Speaker B: Yeah, he knows what to do with them. He knows how to produce. Yeah.
Awesome. All right, well, why don't you do your thing?
[01:37:44] Speaker C: We are part of the Deep Dive podcast network. Like I always say, great bunch of guys who took us in right away. More individualized. If you want podcasts about specific bands like Maiden Queen, Uriah Heap, Tom Petty, Rush. Again, a shout out to our.
And, um, you know, we got to join them. What do you coming year. So, yeah, just check it out. And again, a bunch of knowledgeable people. And Mark, where can they find us? On the interwebs.
[01:38:15] Speaker B: On the interwebs. We are rockroillet pod on all the social media. Please comment. Please share out our episodes, give us five star reviews wherever you listen to your podcasts and rockrouletpodcast.com. We have all of our Spotify lists, if you haven't noticed. If you didn't know.
All of our episodes have our picks in Spotify lists. So you can go there and listen to whatever songs that we've picked that came up at a certain level, usually more than seven, seven or higher. They're generally up on the. So.
[01:38:54] Speaker C: Yeah. And tell us if you think we're crazy. We missed one. Yeah, no, this should have been on.
[01:38:58] Speaker B: That should have been on the list. Well, you can make your own list then, but this is our list anyway, so I'm excited for the second episode of 2024 where we get to do part two of this.
[01:39:09] Speaker C: Yeah, I'm very much looking forward to it. I mean, overall, I'm digging this. It's got a good vibe. And like I said, even the stuff where I said, there's still stuff there that's good.
[01:39:21] Speaker B: Yeah. They're a great band.
[01:39:22] Speaker C: I'm very glad we got this. So I guess we say happy new year to everybody, right? Health and happiness, and let's make rock roulette number one, man.
[01:39:31] Speaker B: That's right.
All right, guys, see you next week.
[01:39:35] Speaker C: All right. Ciao. Ciao.
Channel.
