Episode 72 - Bon Jovi - New Jersey (Part 1)

[00:00:00] Speaker A: You. This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only. Notwithstanding a copyright owners rights under the Copyright act, section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news reporting, teaching, scholarship and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the rock Roulette podcast, you Rabi, to another episode of Rock Roulette podcast. [00:01:17] Speaker B: That's right, the craziest podcast. They took over 1100 albums, stuck them in a list, put them in a wheel, and typically every other week we spin the wheel and she picks an album for us and we go through it side by side, one week each, track by track. And we talk about the music, the lyrics and the production, and we give it a rating just based on our own feelings. Again, just a bunch of friends who want to do a podcast because of their love of music. And first and foremost, we want to thank whoever is listening to us because we had a major upsweep in listens the past couple of weeks. So whoever you are, we really want to thank you. Whoever's been with us from the beginning, there has to be somebody we want to thank you as well. So again, give us a shout out, comments, whatever it is, but keep really appreciate it. So that's really exciting. And the other exciting thing, of course, is that we get to spin the wheel again. And here to spin the wheel is Mark. Oh, hi, Mark. [00:02:16] Speaker C: What's up, guys? [00:02:18] Speaker B: And I'm Sav. Ciao, bunasera. Yeah. So last week we wrapped up the second side of Stone Tipple Pilot's fifth album, Shangri la Di. It's a little bit hard to. A little bit hard on the tongue, but yeah, again, for me it was exciting because I hadn't really heard anything from them since the third record. So it was nice to hear something like that. And I would say definitely typical STP. Most of all, I enjoyed the record. I know, Mark, you were more familiar with. [00:02:57] Speaker C: I, you know, I think that they did take some chances toward the end to change it up a little bit, but, yeah, I thought it was good. Brendan O'Brien knows how to record them, like we said in the episode, so he did a great job. [00:03:10] Speaker B: Yeah, I like that they have a sound. I mean, you can tell it's them. Obviously, Scott Weiland has a unique voice. You know, when it's. It's. Again, it's a standout band, I think, from that time, even if I kind of dropped off after the third one. But I'm hoping next time the wheel spins, maybe we'll get something else. Maybe four, which I haven't heard either. So we'll see. But we get to spin the wheel again this week. Do I dare ask you what you think it'll be or what you hoping for? [00:03:45] Speaker C: Maybe, I don't know. I keep asking for something that's on the list. I won't divulge what I think is what I'm thinking of, but, yeah, I don't know. I keep saying, oh, I may want this, I may want that. I still think we haven't gotten really a grunge record. Really trying to think. [00:04:18] Speaker B: No, they were obviously wrapped up in kind of. They were, I think, packaged together with that. But I don't know that they would consider. And I mean, I know that you're talking straight up grunge, like from that era. [00:04:35] Speaker C: Yeah, we really haven't gotten that at all. [00:04:40] Speaker B: Yeah, I don't know. I'm trying to think. So the week before was quiet riot, right? So we got mega. That's quiet riot. We got SDP. [00:04:53] Speaker A: I don't know. [00:04:54] Speaker B: Maybe like classic rock, I guess we haven't had classic rock in a bit tag. Like real classic, straight up classic rock. [00:04:59] Speaker C: Or like Zeppelin or something like that. [00:05:02] Speaker B: Yeah, you know what I mean? Like one of the biggies. Whatever. [00:05:12] Speaker C: It is, there's no rhyme or reason what this wheel does. [00:05:16] Speaker B: Yeah, exactly. But she's picked well, man, I mean, like I said, the listens have gone up and SCP is a record breaker for us, without a doubt. [00:05:30] Speaker C: So far, there's a lot of people listening to that. [00:05:34] Speaker B: Yeah. [00:05:36] Speaker C: Generally. I don't know if everyone considers that a big record. For them, it's gold. But it didn't approach what the first couple did. But it was also later in time too. Almost ten years, eight years later or whatever. Yeah, it was a great record. I'm glad we did it. [00:05:59] Speaker B: Yeah, I was happy to see that on there for sure. [00:06:04] Speaker C: Well, I know you didn't really know very much from after the third record. [00:06:07] Speaker B: I didn't know any of it, honestly. Even whatever the releases were, I didn't know any of those songs. But it was nice. [00:06:17] Speaker C: It was fresh. Yeah. A 20 year old record, right? Yeah, it's fresh. It's 20 years old. But yeah, I thought it was a good record. To get. Even though it wasn't one of the two gigantic ones, I still think it was a really good record. [00:06:35] Speaker B: Yeah, I'm happy we got it. [00:06:37] Speaker C: So, are we ready to spin? [00:06:40] Speaker B: I'm ready. I am ready. [00:06:42] Speaker C: Very nice. Okay, here we go. [00:07:04] Speaker B: Wow. [00:07:05] Speaker C: How funny is that? We've been talking about this record so much. [00:07:11] Speaker B: Yeah. You want to say it this time? [00:07:14] Speaker C: No, you can say it. [00:07:16] Speaker B: Okay. Bon Jovi, New Jersey. Wow, this is a big one. [00:07:24] Speaker C: This was a huge record. You couldn't get away from this thing. [00:07:27] Speaker B: No. And I'll never forget, my cousin bought me this record. Every once in a while, he'd pick me up, I guess, from school and say, I don't even know where this record store would be. But he's like, I'll pick a record. And I remember going this one time, and there was nothing new out except for this. He goes, you want this? I said, man. Because bad medicine had been out already and I wasn't really a fan of that, but I'm like, okay, there was really nothing new. So I was like, all right. And again, this is one that I had just. I was like. And then one time, I just finally really listened to it. And, I mean, it didn't take that long. I mean, honestly, it was before born to me. My baby was released, and I'm like, this is pretty good. There's some really good stuff on here. I mean, I would probably say some people would consider this their best album overall. [00:08:22] Speaker C: Oh, I think it's the best record for me, anyway. [00:08:27] Speaker B: Yeah, there's some stinkers on here, but there's some really good stuff on here. [00:08:33] Speaker C: Yeah. I think this may be my favorite Bon Jovi song on this record. [00:08:37] Speaker B: I think so. I think if I had to pick one, this would be my favorite, too, overall. [00:08:43] Speaker C: So this is the fourth studio album released on September 19, 1988. Produced by Bruce Fairburn and recorded at Little Mountain studios of Vancouver, British Columbia, Canada. It went number one on the Billboard 200 in second week. After debuting number eight. It remains at the top for four consecutive weeks. How much does thing sell? Let's see what this is saying. What it sold. Here we go. United States. Seven times platinum in the United States. So it was big. [00:09:25] Speaker B: Yeah, this was a big record. [00:09:27] Speaker C: Yeah. I mean, you couldn't get away from this. [00:09:31] Speaker B: Well, you couldn't get away from slippery when wet. [00:09:35] Speaker C: No, I'm just saying. But then this came around. You couldn't get away from the sea. It was everywhere. And now the question becomes, is, from what I've been hearing, we didn't know this until fairly recently, Alec John such. He didn't play on this. That's what I've been hearing. [00:09:57] Speaker B: Yeah, well, I heard he didn't really play on any of them. [00:10:02] Speaker C: No, there was one he played, I think the one after this he played on, but I'm not too sure he actually played on this record. They're saying he's on here as bass and backing vocals, but yeah, bass player they have now. I think that's who played. I'm pretty positive. If anyone really knows the answer to. Yeah, let us know. But from what I recently heard, he didn't really play on this. [00:10:31] Speaker B: Well, I heard Eddie trunk mention, I mean, when he passed away, he on didn't play in the studio, but played. I mean, in general, I think it was a general comment. [00:10:46] Speaker C: And by the way, Bob Rock is an engineer on this. I like that. [00:10:53] Speaker B: So what did you say? How many did it sell? 7,000,019 I have overall. [00:11:00] Speaker C: Well, maybe the 7 million was at that time. [00:11:04] Speaker B: I think it's just state. What state? United States probably, right? [00:11:08] Speaker C: Yeah. Us United States. So maybe total. Yeah, United States. 7 million. [00:11:15] Speaker B: Yeah. [00:11:15] Speaker C: It's crazy. And who knows when the last time they certified been. Might have been certified later. Trying to see who we got. So we have Desmond child on here. Holly Knight is on here. Diane Warren wrote stuff for this. Desmond child wrote a lot of stuff here. 1234. And he helped write the song, I think we both think is our favorite Bon Jovi song. [00:11:51] Speaker B: If it's the one I'm thinking of, I think it's a lot of people's favorite Bon Jovi song. [00:11:56] Speaker C: Well, I don't know, but I think this record overall, I mean, I like slippery when wet, but I think this is a little more. Is it more mature? I don't know. I think it's just. [00:12:07] Speaker B: Yeah, absolutely. [00:12:08] Speaker C: You think so? [00:12:09] Speaker B: Yeah, I think it's more mature. I think the musicianship is slippery when wet is. [00:12:19] Speaker C: Good, but it's really of that time. [00:12:23] Speaker B: Yeah, I think this set them apart a little bit. I think, again, there's some. I mean, like any record, right? There's some songs where I'm like. But in general, I mean, there's some songs where I'm like, wow, this is like one of their best songs. [00:12:45] Speaker C: Well, this was supposed to be a double record. They wanted it to be a double record, but it was rejected by the record company because they were skeptical about the higher price .1 of the working titles supposedly was sons of beaches. [00:13:00] Speaker B: I know that. [00:13:01] Speaker C: Which alluded to the title of slippery and when wet. [00:13:04] Speaker B: Yeah, I remember that. Sons of beaches. And then he was like, oh, just a band from New Jersey. [00:13:13] Speaker C: Yeah. Well, did they do the same thing they did on this record as they did in the last record? Like they used to have, like, the pizza party where they used to have the kids. I think they did this. I remember that, too. [00:13:22] Speaker B: I think so, too. And they were kind of picked the order, too, I think. [00:13:27] Speaker C: Smart idea. [00:13:28] Speaker B: Yeah. I wasn't expecting this. This is big. [00:13:38] Speaker C: Oh, yeah. I mean, it's funny, because we've talked about this just off the podcast, I think last week we had a conversation about New Jersey. [00:13:47] Speaker B: Well, we were saying how we remember at one point we talked about how maybe they weren't as popular, but we looked at the album sales, and, I mean, even up until two or three records ago, they had sold, like, 8 million record. I'm like, wow. Holy shit. I would never have expected that. [00:14:06] Speaker C: No. And we're going to see. I have some. Have some ideas about Richie Sambro's guitar player. So, I don't know, I guess you'll weigh in the Tico Torres switch. [00:14:18] Speaker B: Yeah, I like Tico. Nothing fancy, but no. Moves the song forward. Yeah, I like him. [00:14:29] Speaker C: So what do you say we get started? [00:14:31] Speaker B: Yeah, let's start it. [00:14:33] Speaker C: Okay, so this is twelve tracks. So let me see. I'm sure we'll be doing at least six of this. [00:14:41] Speaker B: Well, going by the vinyl, I remember that it's five songs on the first side. I know that for sure because I have it on vinyl. [00:14:48] Speaker C: Yes, you're right. So that's what we'll do. We'll follow the record as it goes. [00:14:53] Speaker B: Yeah. [00:14:54] Speaker C: We'll stop at the fifth song. [00:14:55] Speaker B: Yeah. Which would be a great way to end the episode. [00:14:59] Speaker C: 100%. [00:15:00] Speaker B: Yeah. [00:15:02] Speaker C: So are you ready? [00:15:03] Speaker B: I'm ready. [00:15:05] Speaker C: Okay. So the first song is. Lay your hands on me. [00:15:25] Speaker A: Rank one. It's a good one. [00:16:33] Speaker C: I do like the intro to this, though. I like the whole. [00:16:36] Speaker B: It's actually longer than I remembered. [00:16:39] Speaker C: Yeah. It's this long song. Almost six minutes. [00:16:42] Speaker B: Yeah. Well, a lot of it is this. How many minutes are we into it? Or at least a minute and a half, probably. Right? [00:16:47] Speaker C: Yeah, right. Almost exactly 129. Yeah. It hasn't even started yet. [00:16:51] Speaker B: Yeah. [00:16:52] Speaker C: No, I actually like the beginning. I like all the effects on the guitar and all the way they're using the delay and all that kind of stuff. And the spoken part. I kind of like that. [00:17:04] Speaker B: Yeah. The intro is cool. [00:17:06] Speaker C: These are days you could kind of get away with an intro this long. Yeah, I don't think you can do that now if it's not right to the point, right? Changing. Someone's changing it. But that's the whole point of this podcast, is to listen to it. Like you were putting the vinyl can't stop. [00:17:22] Speaker B: Exactly. But at this point, too, this is Bon Jovi after slippery when wet. They had a little bit of a carp launch, too. [00:17:29] Speaker C: I think they do whatever they want, pretty much, yeah. All right, let's continue. [00:17:37] Speaker A: Check this out by video. Video. You lay your hands on me lay your hands on me lay your hands on me come on, come willing in the evil help me live down on the table your mind, I'm yours for the right now the ruler that I meant for breaking what you get and always what you see what satisfaction what you give is always what you need no if you want me to lay my hands on you lay your hands on me lay your hands on me all you got to do is lay your hands on me lay your hands on me lay your hands on me. [00:19:13] Speaker C: So, what do you think of that so far? [00:19:15] Speaker B: I think it's good. I'm gonna be honest with you. I was never a big fan of this song. It's okay. I mean, listen, as an intro track, it's fine. It gets it going. It's upbeat. The words are typical, whatever. I just think in comparison to some of the stuff that's coming, this is a little bit more slippery when wet. I think that's what it kind of reminds me of. [00:19:42] Speaker C: I can see that. Well, it kind of makes sense, too. You don't want to start out with something that maybe people who like the other record, you know what I mean? It's very similar. [00:19:55] Speaker B: It's not terrible. It's upbeat. But again, if I go back to listen to this record, I don't listen to this song. [00:20:08] Speaker A: Okay. [00:20:10] Speaker B: What are you thinking? [00:20:12] Speaker C: I like it. What I always noticed was kind of funny. It didn't matter what they were doing as far as always, in the beginning of the song, you always hear the keyboard, right? And then for some reason, you don't hear the keyboard for almost the rest of the song. Or it's mixed down real low. You never really hear it, like, in the middle part of the song. It's always kind of like. I don't know, it's always kind of like, not really as upfront. It starts out there and then it goes away off track. [00:20:47] Speaker B: I mean, you could picture this being like a show opener, too, right? Kind of. [00:20:52] Speaker C: Oh, yeah. [00:20:53] Speaker B: Lights are low and you kind of hear the drums and the stuff going on. Maybe you don't see them. [00:20:58] Speaker C: I'm pretty positive they did open up with this. I think they did. [00:21:00] Speaker B: I want to say yes. [00:21:04] Speaker C: And Richard Sambora, I'm going to say now, I think he's very underrated. I like him as a guitar player. I think some of the stuff he does is very good. He plays for the song. Generally. He tries to put some flash into his stuff. During this time, you kind of had to. I have an interesting story about bad medicine when we get to the solo of that song. [00:21:32] Speaker B: Okay. [00:21:34] Speaker C: I like it so far. Again, it is very slippery when wet, which, again, is not a bad thing. I mean, it's only a couple of years removed. [00:21:46] Speaker B: Yeah. [00:21:47] Speaker C: Two years removed was 87 or 86. [00:21:52] Speaker B: I don't remember. Wait, this was 88? Yeah. [00:21:58] Speaker C: So we're slippery when wet was what? It ended in October, 87, the tour. So it had to be 86, right? Or was it 87? [00:22:12] Speaker B: 80. [00:22:16] Speaker C: That's the height of all this, right? [00:22:19] Speaker B: Yeah. [00:22:21] Speaker C: And listen, it's good. You got to say one thing about them. They know how to put a song together. Most of their songs generally don't feel like they're jammed together. Like, there's pieces that are just thrown together and no one thought about it. They do have some help. There are some good songwriters helping them, too. Not on this song, but on the next one. But like I said, it's good. I like it. I like the drums. [00:22:43] Speaker B: Yeah, like I said, it's not terrible. Like I said, I just feel like this album really has some really standout songs that really drew my attention in. So this wasn't. But again, listen, I'm here, and I'm kind of shaking my head to it. I think it's doing what it's supposed to do 100%. [00:23:09] Speaker C: Okay, here we go. [00:23:13] Speaker A: I'm a preacher I've been school maybe I feel the teacher if you show me how to get up on the ground I can show you how to fly never, ever come back now one. [00:23:32] Speaker C: Thing I do have to say is I always appreciated his rhythm playing. He's not just playing chords. There's a nice little riff thing going on there with a little rhythm. And when you're a new guitar player, that's a hard thing to do. Yeah, because I remember trying to learn this one back in the day because I probably had started playing guitar, maybe I don't remember if it was late 86 or early 87. So I do remember trying to learn things on this record. So, obviously, it was one of the records that I tried to learn stuff from back in the day when I first started playing that rhythm part always killed me. Now, it wouldn't be as big of a deal, but when you're first starting to play like, it's not poison where we're going. So it had a little more rhythm to. It had a little. It was harder to play if you were new. So I always appreciated that it wasn't as just like, stock as it could. It could have been much more stock than that guitar player. [00:24:33] Speaker B: Plus, I mean, right. He's the only guitar player. I mean, they fill it in with keyboards, but still, he's the only. [00:24:41] Speaker C: He overdubs. It's not like it's Van Halen way that he plays the whole song all the way through in one, but. But still, no, he knows how to fill the stuff in because live, he had to do it. He was the only guitar player, generally. John Bon Joey played a little bit of guitar live, but not a lot. [00:24:56] Speaker B: Yeah, I think it was mostly acoustic, though. He did. [00:24:59] Speaker C: Yeah, whatever, I think. [00:25:02] Speaker B: Yeah. [00:25:03] Speaker C: All right, let's get back to it. [00:25:05] Speaker A: Everything you want is what I need your satisfaction is a guarantee never ever come up free up. You want me to lay my hands on you lay your hands on me lay your hands on me all you got to do is lay your hands on me lay your hands on me lay your hands on me. [00:25:45] Speaker C: I'm going to read some lyrics before we get a little too far. And I did hit a keyboard, though. It's in the right hand side, but it's. It's not mixed very. It's not mixed as high as you'd think. I always think the guitar, like, takes it over, which is generally what happens. But now listening to it with headphones on, it's on the right side. [00:26:02] Speaker B: Yeah. But I also thought that this was a little bit keyboard, a more keyboard heavy song than what I'm hearing now. But I hear more guitar than anything else. [00:26:14] Speaker C: It tends to be in the middle. It tends to be at the beginnings and at the ends more. And the middle, sometimes it gets washed out. I don't think they pump them up as much in the middle parts. All right, so verse one is, if you're ready I'm willing and able help me lay my cards out on the table you're mine and I'm yours for the taking right now the rules are made for breaking what you get ain't always what you see but satisfaction is guaranteed they say what you give is always what you need so if you want me to lay my hands on you it's fairly obvious there's not much. Right. So. Lay your hands on me is the chorus. I like the chorus. The church is good. I mean, considering there's one phrase. Lay your hands on me. It's catchy. [00:27:00] Speaker B: Yeah. I mean, it is a catchy song. [00:27:05] Speaker C: And then the verse two is, I'm a fighter. I'm a poet. I'm a preacher I've been to school, baby I've been the teacher I kind of like that line, that little part right there. If you show me how to get up off the ground I'll show you how to fly and never come back down everything you want is what I need satisfaction is guaranteed but the ride don't ever come for free if you want me to lay my hands on you then back to the. Back to the chorus. Lay your hands on me yeah lay your hands on me lay your hands on me I'm going to back this up a little bit because I like the little part before the solo happens. So I like the little breakdown. So here we go. [00:27:44] Speaker A: Yeah. Come on, sa. [00:28:23] Speaker C: That's pretty good. I liked it. He's using all the tricks of the day, trilling a little whammy bar. I think I like the beginning part of the solo the best. And then the rest of it sort of. Kind of like. I don't want to say it's like you can throw any guitar player into this because I don't think that's the case. But he is doing of the time stuff. [00:28:48] Speaker B: But, I mean, it fits the song, right? [00:28:50] Speaker C: Yeah. No, and he's a good. He's a good guitar player. Very underrated, as far as I'm concerned. [00:28:55] Speaker B: Do you think that he had his. [00:28:57] Speaker C: Own voice or no, I think so. I think it's when they got to this record, I think, especially. And even on the last record a little bit, too, because obviously there's a couple of big songs on Slipper. A lot of big songs, actually. Right. Living on the prayer. [00:29:13] Speaker B: What did you play with a bad name? [00:29:17] Speaker C: What do we play all the time? [00:29:21] Speaker B: Wanda. Dead or alive? [00:29:23] Speaker C: Yeah. I think he has a signature sound. And like you said, this is like one of those songs where it's more of the generic kind of thing. I mean, you can hear a little bit of his bluesy thing, which he gets more of into this record a little bit, I think. But, yeah, I think he has a sound of his own. Again, there are parts of it, especially on this stuff here that's very hair metal post van Halen. You got to do x, y and z because that's what you have to do. I'm hearing tapping, so, I mean, I guess. No, he didn't really do that. But the Wemi bar stuff was there and it is what it is. It's not bad. I like it. It's composed. It's not super long. It's just the right amount for the song. [00:30:13] Speaker B: Yeah, it definitely fit. [00:30:14] Speaker C: Oh, yeah, no, it was good. I like it. So what are you thinking of? The drum. So. [00:30:23] Speaker B: I like Tico, again, not a flatchy player, but he does what needs to be done for the song. He's got good groove, so I appreciate his drumming. [00:30:36] Speaker C: Yeah, I like him. It's very solid. [00:30:40] Speaker B: Yes. [00:30:42] Speaker C: All right, here we go. [00:30:47] Speaker A: You won't lay my hands on. You're. [00:30:59] Speaker C: And the keyboards are back. Really? [00:31:01] Speaker B: Like. Yeah, I think that's the part where it kind of. I remember, and that's why I thought it was more of a keyboard heavy song, because of what's going on now, the organ. [00:31:14] Speaker C: Well, they kind of. [00:31:15] Speaker B: It's definitely more of a guitar driven song. [00:31:18] Speaker C: Well, I think most of their songs are more guitar driven, but, you know, what it comes down to is that I think they do lower him down during most of this kind of stuff. So I understand that they want to bring the guitar out and then they bring the keyboards back. And he's a company keyboard player, for what I can gather. [00:31:42] Speaker B: Yeah. It. He's on, like, soundtracks. He's on, like, solo albums, too. Right. [00:31:51] Speaker C: Where I haven't. [00:31:53] Speaker B: Albums, I'm pretty sure. [00:31:55] Speaker C: I don't know. I haven't heard any of his stuff. I'm sure he has. [00:31:57] Speaker B: Yeah. [00:32:00] Speaker C: It's just funny. The keyboard is not as. Not as prominent all of a sudden. Hey, keyboards. [00:32:04] Speaker B: Yeah. [00:32:06] Speaker C: Were you here all the time? I'm not sure. [00:32:09] Speaker B: Yeah. [00:32:12] Speaker C: It'S like he's there and then he's there, and then a few moments later. [00:32:19] Speaker B: Yeah. [00:32:20] Speaker C: And then it could be like six and a half hours later, and then he's. Whatever. [00:32:27] Speaker B: Yeah, well, he's definitely prominent in the next couple of songs, that's for sure. [00:32:32] Speaker C: Yeah. But I forget whether they do the same thing. They just, like, lower him down during the guitar parts. All right, let's continue. [00:32:45] Speaker A: Come on, come on, come on, everybody. I don't feel my heart if you want away now lay your hand on me are you. Lay your hands on me I'm not. Lay your hands on me lay your. [00:33:34] Speaker C: Hands on me I gotta say, the background vocals are good. Doesn't seem there's any. This doesn't say anyone else is doing backing vocals besides them. I don't know whether that's true or not. [00:33:42] Speaker B: No, it sounds like some female. [00:33:46] Speaker C: Yeah, I think so. [00:33:47] Speaker B: I saw her, too. [00:33:50] Speaker C: But it doesn't say here, it just says everyone sings background. [00:33:56] Speaker B: With the. [00:33:58] Speaker C: So I have a question. Do you think this is where Bob Rock got his style from. From being engineering from Bruce Fairburn? Do you think that that had an influence on the way he produced his. It sounds. It's not so far away from the stuff he did with like Motley crue and Metallica and stuff. [00:34:15] Speaker B: Like, I could. I can hear mean, honestly, I was going to say one part. It kind of reminded me of make Mars. He did something. It was like, oh, that kind of reminds me of. It could have bar. [00:34:32] Speaker C: That's probably what it. [00:34:34] Speaker B: And again, I mean, not to say that. Mean, obviously there are two guitar players that have. I don't think that it's the producer that made them do that. [00:34:41] Speaker C: No, I'm just saying sound wise, though. Do you think that because he was engineer with him that you think that it has something to do with it? [00:34:49] Speaker B: Could be. Well, Bruce Fairburn did slippery when wet too, though, right? [00:34:55] Speaker C: We'd have to look it up, but I believe so. [00:34:57] Speaker B: He did. Yeah, he did. Because I'm wondering if he was an engineer on that, too, just because, I mean, they're pretty big sounding records. Yeah, I think. [00:35:11] Speaker C: He'S done a lot of records, even up until 2021. Yeah, he was an engineer in lots of stuff. Survivor, loverboy, Crocus, black and blue. [00:35:28] Speaker B: So Bob rock engineered slippery one wet as well. [00:35:32] Speaker C: Yep, that's what I was going to say. Aerosmith, permanent vacation. He did a lot of stuff as an engineer before he was the. [00:35:43] Speaker B: Give Bruce Fairburn credit, man. I mean, these two records. Right. He did permanent vacation, he did pump. I like, what do you call with kiss. Right. I think he died, like. Right. Not too far after that. [00:36:02] Speaker C: Yeah, he died. [00:36:03] Speaker B: Yeah. [00:36:03] Speaker C: You're 100% right. Yeah, I'm pretty positive. Let's see, what year did he say? 99. Yeah. Because psychocercus was 98. [00:36:11] Speaker B: Yeah. [00:36:13] Speaker C: So, yeah, it was not long after. [00:36:17] Speaker B: Yeah. [00:36:18] Speaker C: Bummer. Yeah, it sucks. All right, so why don't you go first, tell me what you think. [00:36:32] Speaker B: Let me see. All right, so this is going to be a little bit on the lower scale because again, I know some of the stuff that's coming, and I don't think it's the worst. It's definitely not my least favorite on here on the record. I mean, the lyrics are just thock as I'll get out. I mean, I'm going to say. [00:37:01] Speaker C: I'm. [00:37:01] Speaker B: Not sure on the lyrics yet. You know what music. I'm going to say a six. It's okay. I mean, again, it's not a bad song, but I'm comparing it to what's coming, and I'm sure there's going to be some sevens and eights and maybe even a nine. There's probably going to be at least one nine on here. So when I compare it to that, that's where I have to put it. Production is fine. I'm going to say an eight on the production. I mean, I think it's done well. The nuances are there. I would like a little bit more oomph on the drums. A little bit more. But, I mean, overall, I still think it's produced well. And lyrics, I'm going to say a five on the lyrics. [00:37:43] Speaker C: Oh, ouch. Five. [00:37:45] Speaker B: I know, but, I mean, this is just so stock, you know what I mean? I don't. You know, what you get ain't always what you see, but satisfaction is mean. [00:38:00] Speaker C: Yeah. I like the one, like I said, the one line that I like, I'm a fighter. I'm a poet, I'm a preacher. I kind of like that, which I. [00:38:07] Speaker B: Think is reminiscent of Frank Sinatra. Right. [00:38:15] Speaker C: See, now you're going to make me change my thing, but it's not a bad thing. [00:38:19] Speaker B: Right? I think he's a big fan of his, so to pay a little tribute to him is nothing wrong. [00:38:28] Speaker C: I'm going to give the lyrics a six. I don't know if I'm going to give him a five. There are better things coming across. So I have to say that 100%. [00:38:35] Speaker B: I was wavering. Five or six. I was wavering. [00:38:38] Speaker C: You can go either way. I can see either way. Seven on the music. I like Richie Smith's guitar playing in this a lot. I like the rhythm part because I remember trying to learn that thing going, God damn it, I can't play this. What the hell is wrong with me? But I was only playing guitar, like, a year, so what would I expect? But still, it wasn't as easy as some of the other stuff because it just wasn't as easy. And production, I think I give a seven. I think it's good. I think Bruce Fairburn's doing a good job. Yeah, everything sounds clear. Everything's good. You can hear everything. I don't hear, like, a lot of bass. I mean, it's there, but it doesn't really stand out. [00:39:17] Speaker B: No. Well, if you listen to the drums, you can hear the bass. They were very much in times like. [00:39:23] Speaker C: Yeah, I got to kind of listen to that. [00:39:28] Speaker B: Yeah, it was very bass and drum doing the kind of the same thing. There wasn't anything. [00:39:39] Speaker C: Mean. I don't know. I'm trying to. It's saying. It's saying Hugh McDonald is not playing bass on know. I'm looking to see if I see it here. He says that he pays on the first track on Bon Jovi's record number, slippery Moon, wet track three. I don't know if this is really true. They're saying he didn't really start playing between until these days. We know what Alec John such left. I was 95, but I think recent stuff has come out. I mean, again, Bon Jovi, people have to get back to me on this, but I'm pretty positive that he didn't really. [00:40:18] Speaker B: Well, I mean, like I said, when he died, I just remember Eddie trunk saying he didn't play a note on the records or. I don't know if he said all records, most records, but he was there live. He played live, which I didn't know. But anybody who knows anything about Bon Jovi knows that it's really John Bon Jovi and band. [00:40:45] Speaker C: Oh, yeah. Because John Bon Jovi is the only guy who's actually signed and everyone else is just an mean. They did a great job of hiding that. [00:40:57] Speaker B: I mean, you had sent me the link. The video that I watched, wasn't it after this record that they were talking about it. It's very clear who steers the ship 100%. [00:41:08] Speaker C: Yeah. So from another thing I'm looking at now is that he played on the first two records, but I don't think he played on the first record. That record wasn't. They didn't even have the whole band together, I don't think, yet. [00:41:22] Speaker B: Well, definitely not on Runaway. I know that for sure. Because Bruce Springsteen's piano player played on Runaway. [00:41:31] Speaker C: Yeah. [00:41:32] Speaker B: Which I can't remember his name now. Roy. I forgot his. [00:41:38] Speaker C: Don't. I don't. I don't really know who knows what the real. Who knows what the real answer is. But no, it's a good opening song. It's a good way to start. It is very reminiscent of the last record. So that's a good thing. You're not buying this record and going, oh, my God, I don't know what the hell this is. [00:42:01] Speaker B: Yeah. It's actually funny because I remember when the next song came out, which I'm pretty sure was a lead single. Some people were taken aback by it. They didn't really think it sounded like them. So I do remember some weird reactions to this bad medicine coming out, I guess. Yeah. I don't know. I guess like I said, some people are like, oh, it sounds weird. Like, it doesn't really sound like them kind of does. [00:42:33] Speaker C: It does to me. [00:42:35] Speaker B: Yeah. So I was not a fan of this song either when it came out. And believe it or not, it's grown on me very recently. I'm talking like in the last couple of years when I heard it a few times on Sirius, I was like, it kind of grown me a little bit. I can jam with this. [00:42:55] Speaker C: I could kind of see that the lyrics are still a little too stock for. I mean, you go back and you look at Scott Wynn's lyrics and these lyrics like night and day. Yeah, but they're two different kinds of band. I mean, this is a party, know, even though they got a little more serious on this record. I mean, that's what they are. That's what they were. That's changed. [00:43:20] Speaker B: That's what I'm saying. When you think about the first song and this song. Right. And then kind of like the next few songs, they're almost like two different records in a sense, in terms of some of the subject matter and the musicality, the first two are very straightforward. [00:43:38] Speaker C: Yeah. Okay, well, with less waiting, here is bad medicine sa so you got a little bit of the talk box talking back to the last record. Yeah, I like the little finger picky thing, like right before that happens on the guitar. It's catchy chorus. You walk away going singing that chorus. So there's got to be something going on. If that's the case. [00:44:51] Speaker B: I think the chorus stands out more in the song. You know what I mean? I think it does a good leading up to it. So it kind of gets you more once you feel hear the song. And then it goes right, but it goes back into that chorus. It's a nice build up into going back to that beginning. [00:45:10] Speaker C: What do they say? Don't Boris get to the chorus. And they got to the chorus right away. So the chorus is. Your love is like bad medicine bad medicine is what I need shake it up just like bad medicine there ain't no doctor that can cure my disease so again, there's not much hiding. Exactly what he's saying. Love is like bad medicine for him. Listen, if you're a teenager, you want it straight to the point most of us to do anyway. So they're giving people what they want. [00:45:42] Speaker B: Yeah. [00:45:42] Speaker C: And this is a desmond child coat. Right. Obviously did pretty good. It went to number one on Billboard. Hot 100. [00:45:54] Speaker B: Did it really? I didn't know that it was number one. [00:45:57] Speaker C: Us mainstream rock, three us cash box top. I don't know what that is. That's a trade magazine. Mainstream rock obviously is. Mainstream rock. [00:46:10] Speaker B: Is that bubble thing here. Remember that bubble thing from when you were talking about STP and I said, oh, maybe we'll be number one in the bubble. Whatever. It was some weird thing that I've never heard of. I don't remember. [00:46:23] Speaker C: I know you're talking about. Yeah, like I said. So I remember trying to learn this song, and I do like the guitar playing on the verses of this song, because again, it's not the standard here. We're just going to play this power chord and we all let it. Whatever. He's got a little bit of movement going on there with the guitar, so I kind of like it. I kind of like it. [00:46:44] Speaker B: Yeah. [00:46:45] Speaker C: So here we go. [00:46:46] Speaker A: I gotta be the super power over me I need more than a shock get the fall out of me and I got all the people down I want to breathe. [00:47:07] Speaker C: So I'm going to read that lyric. I got a fever I got a permanent disease it'll take more the doctor to prescribe a remedy I got lots of money but it isn't what I need going to take more than a shot to get this poison out of me I mean, there's a little double entendre there. [00:47:28] Speaker B: Yeah. I will admit, though, Tico's doing something that I've never, believe it or not, never paid attention to. He's doing this little thing on the hihat, which is kind of cool. This little. I've never known. [00:47:43] Speaker C: Really. [00:47:44] Speaker B: Again, I probably never listened to this record on headphones. Honestly. [00:47:52] Speaker C: Like I said, it's not a bad song. It's just you got to kind of. [00:47:55] Speaker B: No, yeah. It grew on me very recently, I would say. I've never hated it, but it was never. [00:48:06] Speaker C: Well, it's the first one you heard, too. And then the last part is. And I got all the symptoms. Count, one, two, three. I like that part, too. [00:48:14] Speaker B: Yeah. [00:48:15] Speaker C: And the pre chorus is not bad. So we're going to get into the pre chorus. [00:48:20] Speaker A: You please, can I. When you're on your knee now, it's all the kisses of it. I need a doctor like you're. [00:48:58] Speaker C: I always thought that that part right there always felt a little. Always felt a little jammed in. [00:49:04] Speaker B: Oh, that bad man thing. [00:49:06] Speaker C: Yeah, bad. So, I don't know. I mean, I don't hate it. I'm just saying it feels like that was a secondary thought thing, you know what I mean? So the pre chorus is, first you need. That's what you get for falling in love then you bleed you get a little but it's never enough and when you're on your knees that's what you get for falling in love and now that this boy's addicted and your kiss is the drug and then back to the chorus. So, I mean, it's not bad. I mean, it's very catchy. I always felt that. That part felt like it was always jammed in there. [00:49:39] Speaker B: Yeah. [00:49:42] Speaker C: But again, I like the guitar playing on it. I like the verses a lot. [00:49:47] Speaker B: Yeah. [00:49:51] Speaker C: I got to listen to the hihat stuff now. It's on the verses. [00:49:54] Speaker B: Yeah, listen to it. Yeah, when the verses come, you'll hear it again. I don't know if it's his version. Protection seems a little bit drier on this one than I remembered. I thought it was a little bit bigger. Like, you can't really hear the hiat much. I mean, the snare is loud as hell, and the vocals are really up there. [00:50:14] Speaker C: Yeah. This is not the remastered version, so this is the original, I believe. [00:50:18] Speaker B: Yeah. This kind of reminds you listening to it on vinyl. [00:50:20] Speaker C: So here you go. [00:50:23] Speaker A: I don't need no needle to make it feeling I don't need no energy that doesn't leave a track I got a show for your affection like a monkey on my back there ain't no paramedics gonna. [00:50:44] Speaker C: Yeah, he only does it one time. [00:50:46] Speaker B: Yeah, I thought he did it twice in the other one. [00:50:48] Speaker C: He might have. I mean, it was interesting. I never heard that ever in my life. [00:50:51] Speaker B: No, me neither. Again, I'm not saying, like, oh, my God. But it's just like, oh, he did a little. [00:51:00] Speaker C: Me either. Okay, so I don't need no needle to be giving me a thrill I don't need no anesthesia or a nurse to bring a pill I got a dirty down addiction it doesn't leave a track I got a Jones for your affection like a monkey on my back there ain't no paramedic going to save this heart attack it's a very rhymey. [00:51:19] Speaker B: Yeah. And I'm pretty sure that 1988 me singing this song got a lot of these lyrics wrong. [00:51:28] Speaker C: I'm sure he did. Yeah, I think. I think we all did. It is. All right, let's continue. [00:51:46] Speaker A: How the form of this is. Don't give them the drum. Shake it like I come out of me, baby. [00:52:23] Speaker C: Okay, so before we get into the solo. Yeah, I do like the pre chorus and see, this time the bad medicine didn't seem as fucking jammed in. So maybe they had to do some edit or something on the first one. And that's why it sounds like it's just like. Because this one sounds a little more smooth. The other one feels like it was just like, here's this thing, and it's just there. Maybe they kind of came over to later, or it didn't come out right, and they had to cut tape and put it right on there. So maybe that's why it was very jarring. I don't know. I'd be curious to know if that's a thing. [00:53:00] Speaker B: Yeah, it could bake. [00:53:03] Speaker C: Back in the day, you couldn't really just cut and paste. You have to cut the tape and pretty good. You got the right thing. That must have been a very crazy. [00:53:16] Speaker B: I've been watching some of those classic album things on. Yeah, we're cutting the tape on Amazon. So, like, watching the old. I saw, like, disraeli gears and, God, I forgot what else I saw. Black Sabbath, paranoid. And talking about just how they did the overdubs. And even, like, Judas Priest. I mean, that's actually a really good one. When they do the sounds effects, which I already knew, like metal gods. They banged a draw full of cutlery to do, like, marching. But there was another thing where they were trying to do a whip, and he had the whip, but it didn't work. So they hit acoustic against the table, and that's how they got. We didn't have sound effects. We did it ourselves. [00:54:04] Speaker C: Well, that's probably why it sounds so good. [00:54:06] Speaker B: Yeah, it sounds great if you hear the song. [00:54:10] Speaker C: All right, so I'm going to back it up a little bit to the solo. [00:54:13] Speaker A: It. Here we go, baby. [00:54:43] Speaker C: Now, I really like that solo, but I could tell you that part where he bought things. Those are just open strings. I remember trying to have to play that fucking thing, trying to learn that, and it never fucking sounded right. I never tried to replay it recently, but I remember it was one of the songs. It wasn't my first song. I was trying to learn, but it was while I was learning. And I got to that part, and there was the transcription in the guitar magazine, and I was like, what the fuck is this? And why doesn't it sound the same way while I'm doing it? Now, whether they were doing it wrong, I mean, it's possible that transcription wasn't right. But I remember looking at the thing going, that's just open strings, and he's just hitting, like, the bar and I was like, I don't know, this was funny, the things you remember. I was trying to learn how to play that, and it was past my ability, you know what I mean? So it was just one of those things I sticks out in my head trying to learn how to play that. [00:55:47] Speaker B: It is a little bit showier, though, right, than the first solo? It feels like it's a little bit shreddier in that. [00:55:55] Speaker C: And there's a horse whistle. Eddie Van Halen, false harmonic dive bomb. [00:56:00] Speaker B: But even at the end, it's kind of like the fast thing, and it sounds a little bit. There's nothing wrong with it if it's a song, but I do notice a little bit less composure, I think, than the other. [00:56:17] Speaker C: No, I think it's super duper composed. I don't think that's at all off the cuff. [00:56:22] Speaker B: Well, yeah, maybe I'm using the wrong word. I shouldn't say composure. [00:56:30] Speaker C: It's a little more show. [00:56:31] Speaker B: Yeah, exactly. Which is fine. I mean, listen, it's not a bad solo. It fits the song well. [00:56:37] Speaker C: That little part in the middle makes the solo, really, because it's a different thing. You know what I mean? How is he making that noise? Like I said, I think he does have his own style again, especially in this time frame. Everyone kind of had to do the discussed. I've discussed multiple times on here. To me, there's two big events. There's Hendrix and what happens after that, and then there's Van Halen and what happens after that. You can hear the Van Halen influence here, the harmonic with the dive bar and some of the other things that he's trying to do. Everyone had to get in line and do what they had to do. [00:57:20] Speaker B: I want to say the solo in the next song is a little bit more of what I think of him. [00:57:26] Speaker C: I agree. [00:57:28] Speaker B: As in something attributed to him doing, as opposed to these two, where it's. [00:57:34] Speaker C: A little bit more of the time what you're expecting to do and what you're expecting to do. Guitar player. [00:57:41] Speaker B: Yeah, but again, not bad. [00:57:44] Speaker C: That's good. No, I like it. I'm not saying it's bad at all. I like it. I'm backing it up a little bit and then we'll continue. [00:57:53] Speaker A: I need a running out of breath for you. When you find your better, do you think what you can get up and there's something better when I'm like, what? I get up that I. I can go, I your day, I want it. [00:58:59] Speaker C: Before we get to the end part here, the verse three, I like how I like how they do. So did it kind of go half time or is it just because he's all by himself playing drums on that third verse? It wasn't halftime, right? [00:59:14] Speaker B: No, I don't think so. [00:59:16] Speaker C: No, it was just he was by himself. I kind of like that little breakup. Yeah, it helps a little bit on the verses. So I need a respirator because I'm running out of breath. You're an all night generator wrapped in stockings and a dress when you find your medicine, you take what you can get because if there's something better, baby while I haven't found it yet I. [00:59:33] Speaker B: Never knew he said that. No, oh, my lord there's something better, baby while they haven't found it yet I don't know what that. I thought it was basically. You know when you're looking at closed captioning and it doesn't know what it says. It says inaudible. That's what that was to me. [00:59:53] Speaker C: Well, there was another part in the chorus where he goes, your love's the potion that can cure my disease. I didn't remember the potion. I don't remember that either. I don't know that he said that. [01:00:03] Speaker B: Or there was that awkward, which I guess I knew was there. But now, to me, really stands out. When they don't say, when he goes. When they don't say, your love is, like, bad, Madison, they go, your love, bad medicine. And they kind of skip that in between. I'm like, God, that sticks out. [01:00:25] Speaker C: Yeah, I don't like that part. I always remember that being there. [01:00:28] Speaker B: Yeah, I remember. And I'm like, it kind of sticks out. I'm like, I don't like that. It's almost like they ran out of breath. [01:00:34] Speaker C: Now, this could be the part really, where this is definitely written to be a live thing because the part that's coming up always was a little, to me, like, didn't need to be there. So that part gets a little bit cringey. A little bit. [01:00:52] Speaker B: Another part that's coming up, either. [01:00:54] Speaker C: The part that's coming up here. [01:00:55] Speaker A: We're not done. One more time with feeling. All right, help me out now, y'all. What I need, you guys. I can't come out of me, y'all. Bad medicine. [01:01:54] Speaker B: Yeah, I don't like that. Your love bad medicine I just. [01:01:58] Speaker C: Your love. I don't hate that. But the middle part reminds me it wants to be a wannabe. James Brown. [01:02:05] Speaker B: I was going to say James Brown. Yep. And even Bruce Springsteen kind of. I hear a little bit of that in there. [01:02:11] Speaker C: Well, then maybe more Springsteen, because I think that was a big. I don't. I don't hate the song. It's a very catchy mean. There's a couple parts in there that I could live without, but I don't think, lyric wise, I'm going to stick with the seven, the six, because I think it's very similar to the prior one as far as lyrics go. [01:02:37] Speaker B: For me. [01:02:40] Speaker C: It'S a lot of samey same lyrics. Rhyming rhyme lyrics. Usually in the songs that are like this. He's very rhyming rhymey. [01:02:51] Speaker B: Yeah. [01:02:55] Speaker C: Again, is it horrible? No. Was there worse stuff? 100,000%. There's worse stuff than this. It's not his best stuff, but I like the song. I like the guitar solo. Like I said, I have a memory that's attached to this song just because of the solo musicianship. I'm going to give a seven. I still think the music is good. I like the drum playing, the drumming. I like the guitar playing. His vocals sound good. He's not to the point where he can't sing yet. Right. So he's still in his wheelhouse to do that. And I'm going to say seven foot of production. Again, I think it's great. Great. Think it's good? I think the stuff that come up after this is better. [01:03:39] Speaker B: Yeah. [01:03:42] Speaker C: What do you think? [01:03:43] Speaker B: So I think I'm going to say exactly the same six on the lyrics. I think they're slightly better. They're not great. They're slightly better. I think some of the innuendos, you know what I mean? He kind of kept it all medically related, but, yeah, I'll say six. Yeah, I'll say seven on the music. It is catchy and it is a good lead off single. And, yeah, I'm going to say seven on the production. I think the first one had some more nuance to it as a song. It had more going on, but again, it's fun. And, I mean, I do like the fact that I think this is an album where we've done songs right, where the first song is really good, second song is really good and kind of starts declining, you know what I mean? But I think this album is the exact opposite. It's like you kind of get past these two songs and all of a sudden you're like, whoa, whoa, whoa, whoa. That's what I feel. [01:04:52] Speaker C: I think they're giving you what people would expected from slippery when wet, sort of, kind of. And then they go all we're. Now we're going to change this up a little bit on. So next song is born to be my baby. This is another Desmond child thing. Richie Sambora. Desmond child, John Bon Jovi. Where did this thing end up? This ended up us. Billboard Hot 100 number three and number seven on the mainstream rock tracks. Yeah, it's just. I guess it's a little bit Bruce Springsteeny. Bruce Springsteeny, I would think. [01:05:42] Speaker B: But I like a little bit of that. [01:05:44] Speaker C: Yeah, a little bit. All right, here we go. I think that it's. It becomes ridiculously catchy. Don't ever underestimate the nana nana nanas. [01:06:12] Speaker B: Yeah. I think non words sung well can be very catchy. You know what I mean? La la la and Shana. Nas and Bobo woes. And if they're done well, like, in this case, they can be incredibly catchy. And they grab you right from the beginning. [01:06:33] Speaker C: Yeah, it does kind of grab you. The count in and then the Nas. [01:06:37] Speaker B: Is good, and it's a powerful. Already, I think the production on this one is better. [01:06:43] Speaker C: I agree. Yeah. I like the drums, the way the drums sound on this. All right, here we go. [01:06:57] Speaker A: Got jobs for this bill. We got something that can't take away all of our life outside I don't need nothing when I'm by your side we got something that'll never die hard dreams hard drive my heartbeats like a drum all night let the flesh what's the one? Let's go. Cause there's something I know deep inside you my baby baby, I was ready to be your man we got something to believe even if we don't know where we're stand only God, I want to be my favorite baby I was made to be old man. [01:08:09] Speaker C: Yeah. [01:08:11] Speaker B: I mean, this is just good song. I mean, the verse is catchy, the pre course is catchier, and the chorus, you know what I mean? Yeah, it's just catchy on top of catchy. On top of catchy. [01:08:23] Speaker C: Yeah. No, and the keyboards are now in our main part of the verse, right? [01:08:29] Speaker B: Yes. [01:08:30] Speaker C: And then it comes in and there's a little bit of the talk box. It's kind of like a sister song to what you'll call it on slippery. [01:08:39] Speaker B: Went wet living on a prayer living. [01:08:41] Speaker C: On a prayer, right. [01:08:42] Speaker B: Yeah, that whole. The couple. And that's what I was thinking, too. [01:08:50] Speaker C: There's a very good story in that. And the lyrics are better right off the bat. Rainy night and we worked all day we both got jobs because there's bills to pay we got something they can't take away our love our lives close the door leave the cold outside I don't need nothing when I'm by your side we got something that will never die our dreams, our pride so it's a very working class, which is Bruce Springsteen, which is very much like the other song that was gigantic on the record prior. The working class ethic kind of thing going on. Always works. And the pre chorus is catchy, too. My heart beats like a drum all night flesh to flesh, one to one and it's all right and I'll never let go because there's something I know deep inside and then that you were born to be my baby and the baby I was made to be your man we got something to believe in even if we don't know where we stand only God would know the reasons but I bet he must have had a plan because you were born to be my baby and baby, I was made to be your man yeah. It's good songwriting. [01:10:03] Speaker B: Yeah. [01:10:04] Speaker C: It's leagues above the lyrics. If you added both the lyrics from the last two songs together, it's still not better than these lyrics. [01:10:10] Speaker B: Yeah. To me, this is where the record kicks off. Really kicks off. [01:10:16] Speaker C: Yeah. Drums are good, keyboards are good, and I think even in the second verse, if I remember correctly, the guitar is a little even more. A little more prominent than it was, because I think it doesn't hold off, because in the first one, it holds off to the second half of the verse. I think it starts from right from the get go. [01:10:33] Speaker B: Yeah, it's very keyboardy. [01:10:35] Speaker C: Yeah. Well, I'm saying the guitar is. The guitar is very keyboardy. Yes. [01:10:39] Speaker B: Yeah, I know. But I'm saying in general, too, as you were saying. I mean, even me, I thought the first song was way more keyboardy than it was, but it wasn't. It's way more guitar. But this is very keyboardy in general. [01:10:51] Speaker C: Yeah. All right, here we go. Verse two. [01:11:00] Speaker A: On a tv train it ain't fancy that's okay all time always close better hang on tight buckle it's a bumpy ride you can't hit you down the road alive. [01:11:25] Speaker C: So there's a lyric here. I never know. He said, so I'm going to read it. Which one? So light a candle, blow the world away table for two on a tv tray it ain't fancy, baby, that's okay our time, our way so hold me close better hang on tight buckle up baby it's a bumpy ride the next thing I never knew, put this. [01:11:45] Speaker A: Oh, really? [01:11:46] Speaker B: I just knew it, because I remember reading along to the lyrics because I. [01:11:50] Speaker C: Don'T know what I thought this was, but it's where two kids hitching down the road of life. I had no idea that's what he said. Our world almost. [01:12:01] Speaker B: I think saying the road alive, like the way alive on my. [01:12:05] Speaker C: That's probably what I thought it was. [01:12:07] Speaker B: Yeah. [01:12:08] Speaker C: And in this one, the guitar is definitely more up front than in the first verse, so it goes through the whole thing. And I like it because it's, again, not straight chords. Like, there's just riffs and rhythms and stuff going on there, which I like. And in the second verse, it feels like the keyboards are a lot less than in the first one. They were super prominent in here. They're not as prominent again. [01:12:30] Speaker B: Yeah, no. You hear them leading into the verse. It's like that ding ding ding ding. Kind of like little fill on the keyboard, and then the guitar takes over. [01:12:39] Speaker C: Yeah. Okay, so let's get to the pre chorus. Here we go. [01:12:47] Speaker A: All night we'll get back and I know that you live in my heart till the day that I die because you my favorite baby I was late to be old man we got something to believe it was on the way but I feel it must have had a plan you my favorite and better I was made of beyond, man. [01:13:30] Speaker C: Before the guitar solo happens. Yeah. The pre chorus changes a little bit. If we stand side by side all night there's a chance we'll get by and it's all right and I know that you'll be live in my heart to the day that I die I don't know if that's correct. I think that's ever incorrect. But the all nights and the all rights, that's a very bon jovi thing to do. [01:13:56] Speaker B: Yeah. I mean, they do have good background vocals as a. You know what I mean? Yeah, they're very background vocal driven, and they do have good full background vocals. [01:14:10] Speaker C: Yeah, I agree. [01:14:12] Speaker B: I think they all sing. I don't know if Tico sings, but I think they. [01:14:16] Speaker C: The other one says he. I mean, you're right. To me, this is where this record starts. [01:14:26] Speaker B: Yeah. And I know the solo is coming up, and I think the solo is, again, another very. It's a catchy solo, and to me, it's the first really standout solo of the record. [01:14:39] Speaker C: I agree. [01:15:05] Speaker A: Saints like a drug. [01:15:19] Speaker C: Yeah. Solo is very good. I mean, you can start. This is more what I think, what his solo sound like. There is the last ending harmonic dive bomb thing that is kind of obligatory to the time. One thing I have to say, though, is the drums, I think the drums are mixed better here. It does have that 80s reverse gated snare thing, but in this song, it sounds totally fine. Like, if the drums were super duper dry here, I don't think it would have as much power as it does. [01:15:55] Speaker B: No, I think overall, it's a better produced song. It's more powerful. Again, I think this is where the album kicked. And again, I think when I bought it, I didn't really like bad medicine. When I put the first song, I didn't really like it, so I kind of tucked it away for a little bit. But like I said, I took it out before this song was released, so I was happy when I saw. I don't know if you. Do. You remember the video where they're, like, in the studio and they actually stop it at one point and they're like, richie and John are talking to each other while the song's playing in the background? I'm like, shut up. Go back to the song. [01:16:35] Speaker C: Go back to the song. Now. I also like the part that comes after the solo, too. I like the way they get back into it. [01:16:43] Speaker B: Yes. [01:16:44] Speaker C: It shows you a writing of a good songwriting. So I'm going to back that up a little bit so we can hear that. Here we go. [01:17:00] Speaker A: Beats like a drug all night let the flesh what you want and I never let go there's something I know deep inside you be my baby baby, I was late to be your man we got something, you believe it even if we don't know where we're stand only God reason but I had a plan you were gonna be my baby I was made to be your man you were born to be my favorite I was made to be your man I. [01:18:22] Speaker C: The last pre chorus, because all the pre courses are different. So my heart beats like a drum all night flesh to flesh, one to one it's all right and I'll never let go because there's something I know deep inside I like that. They always keep the first two lines. Are they always the same? No, they don't. So the first one and the third one are the same. The second one is different. So the first one and the third one are. My heart beats like a drum flesh to flesh, one to one and the second one is, if we stand side by side, there's a chance we'll get by and then they go do the smartest thing. They went back to the nana nanas. Actually, I was even saying, like, at the end of the chorus, because you were born to be my baby and baby I was made to be your man. Then they repeat it again. You were born to be my baby. And baby, I was made to be your man. With that little drum build up. [01:19:13] Speaker B: Yeah. [01:19:14] Speaker C: It's a very good, well written song. [01:19:18] Speaker B: Yeah. I mean, they had to be happy when they wrote this one. [01:19:22] Speaker C: Yeah, no shit. Who wouldn't be? All right, why don't you go first, then? [01:19:29] Speaker B: So I'm going to say. I'll say seven on the lyrics. It's definitely better than the first two. Without a doubt. I think it tells a story. It's a little bit more, I think. I'm not going to say in their wheelhouse. I'll take that back, because, I mean, the other one's two, but, yeah, again, it tells a story. It kind of gives you something and I think it's relatable. I think this is the kind of song that, when we heard it, we were like, oh, I want to sing this to a girl right away. You know what I mean? I just felt that. And the girls probably, like, I want a guy to sing this to me. So I'm going to say an eight on the music. I mean, just great all the way around. I'm going to say a nine on the production because I gave the other one an eight. I may have given it an eight, but I'll say again, I'm going to stick with the nine, though, because it's really well produced. And again, the drums are more prominent and it's just a great song all around. [01:20:33] Speaker C: Yeah, I'm going to agree. Seven on the lyrics. I like the story, I like that it kind of relates back to the other song, so it's kind of like a companion to the other song, actually. Probably better than the other song, actually, as a song itself. All the parts are super catchy. All the parts are super catchy. You can't really complain about any of this stuff. Music is great. I think the drumming is stand out in this song. I like all the little breaks. I like all the little build ups, so I'm going to give that an eight. And, yeah, production, I'm going to give a nine. So far, it's the best produced of this. It feels like it's more live that they spend a little more time on getting all the sounds that they needed to do and all the changes in the way they changed the lyrics around and how they go back to the nan Nas again, that's a great, awesome production to do all that stuff. It's great. So now we get to the controversial song. [01:21:35] Speaker B: Yes. [01:21:36] Speaker C: So this was super controversial back in. [01:21:39] Speaker B: The video was controversial, too, right? Wasn't it? [01:21:41] Speaker C: I remember video was controversial. Yeah. I'm going to look at that right now as soon as I do this, and we can talk about that a little bit. So living in sin is. Is this all by himself? He wrote this? Yeah. This is only him. [01:21:59] Speaker B: Oh, wow. [01:22:00] Speaker C: Only Bon Jovi. The video was black and white. [01:22:10] Speaker B: Yes. [01:22:12] Speaker C: So a couple struggling with strict catholic parents. Pretty much is what it comes down, basically. Yeah. [01:22:20] Speaker B: And hypocrisy. I'm pretty sure he's catholic. And I think this comes from a struggling point of view. Right. It doesn't come from a. This is a really good song, too. [01:22:43] Speaker C: In general, if you're a teenager and this is the time you're listening to this, a lot of people look at this and go, I totally understand what's going on here. [01:22:56] Speaker B: Yeah. It's very relatable. [01:22:58] Speaker C: Very relatable. Super relatable. And a slower song. It's not really a ballad per se, I guess. Is it a ballad? [01:23:07] Speaker B: It's ballady, but it's not your typical hair metal ballad. Right, because that's on the second side. [01:23:14] Speaker C: Yeah. [01:23:16] Speaker B: That typical kind of. This is just a mid tempo story, really. [01:23:24] Speaker C: Yeah. All right, let's get into it. So living in sin, you close? [01:23:45] Speaker A: I don't need no preacher to tell me your mind I don't need no doubt I don't need no questions I could answer but I only need one answer still get me through the night I can't tell me just where it been I go to love, let go and be all just as wildly end we're living on earth just say we're living in sin. [01:24:56] Speaker C: So the lyrics are very like. Would be in every teenage movie of the time. [01:25:02] Speaker B: It's funny, right? The beginning sounds just like the George Michael song. I was waiting for that. I don't know which one came first, but I was just almost waiting for that part to come in. [01:25:16] Speaker C: Yeah, we're very similar. So there's another line here that I didn't know what it said, so it's right at the beginning. So I don't need no license to sign on no line. I don't think I ever knew. That's what it said. I don't need no license. And I thought it said, I don't know why. That's what I thought it said. Obviously, that's not the case. Which makes sense. License. I don't need no preacher to tell me you're mine we don't need the church to tell us what we want to do? [01:25:44] Speaker B: Yeah. I don't need a marriage license, yeah. [01:25:47] Speaker C: I don't need no diamonds I don't need no new bride. I just need you, baby, to look me in the eye it's what guys tell girls when they're trying to get to sleep with them when you're a teenager. Right? [01:25:58] Speaker B: Yeah. Well, I do think, though, this does come from an honest. I don't think this is, what do you call, meatloaf? Which is like, tell me you love me. He's like, let me sleep on it. This comes from an honest standpoint. [01:26:20] Speaker C: And then I just need you, baby, to look me in the eye. I know they have a hard time. Your daddy don't approve, but I don't need your daddy telling us what we should do. Which was in all the movies, from the father telling the girl what she should do and the guy saying, I don't care what your father is telling me. So it's very, for the time, 100%. And probably always, basically, now there are a million questions. [01:26:48] Speaker B: Whole thing, right. Of like, do what I say, do what I say, don't do what I do kind of thing. So it's probably like, listen, your dad is probably doing the same thing. [01:26:59] Speaker C: Of course. Now, there's a million questions I could ask about our lives. But I only need one answer to get me through tonight. So, baby, can you tell me just where we fit in? I call it love? They call it living in sin. Is it you and me? Or just this world we live in? I say we're living on love they say we're living in sin so it's very. The things that you would hear. [01:27:21] Speaker B: Yeah. [01:27:22] Speaker C: And that the church would tell you. [01:27:23] Speaker B: Simple but powerful lyrics. I mean, it's painting a picture. It's relatable. [01:27:30] Speaker C: And again, the drums with the big snare sound, it does help this out, too. [01:27:37] Speaker B: And, I mean, this is all keyboard driven, too, right? I mean, up until this is very keyboarding. [01:27:44] Speaker C: Yeah. [01:27:45] Speaker B: In the beginning, it's all acoustic guitar. [01:27:48] Speaker C: In the back and a little bit electric. So you got the acoustic and a little bit of electric. It's good. Yeah. And I think that just looking at song things, that on the next record, they use similar guitar things in another song, which was another big song, so it's a lot. Very reminiscent. What's going to happen to the next record, too, with some big songs. All right, let's continue. [01:28:20] Speaker A: Fighting for God. Give me both. Turn out the light or will I bring a diamond? Your heart is made of stone. You can talk stupid nothing stay together for alone but I promise it forever. [01:28:51] Speaker C: Now, there's also Richie Sambora singing in the background here, too, I think in certain parts, which is really good, which they do really well, and it's just your parents are telling you to do these things, but look what they're doing. Is it right for both our parents to fight it out? Most nights then pray for God's forgiveness when they both turn out the lights aware that ring of diamonds when your heart is made of stone you can talk and still say nothing but stay together but alone. See, I didn't know what that line was either. I thought it was stayed together for long. I don't know why, that makes no sense to me now, but it shows you. Like, when you listen to the ring, I'm like, oh, that's not what it says. [01:29:34] Speaker B: Yeah, believe me, like I said, I think it was bad medicine. I'm like, that's what he said. [01:29:41] Speaker C: Or is it right to hold you and kiss your lips goodnight? They say the promise is forever if you sign on the dotted line. So only if you sign on the dotted line that it's forever. Yeah. So your parents are doing these things and look, it's just as bad, it's worse. Is that better than what we're doing? [01:30:02] Speaker B: Yeah. No, I mean, this is tapping into a sentiment and that resonated with kids and first love and, you know what I mean, what you did and didn't do. It's simple, but it's really well written and it has a very powerful meaning to. [01:30:31] Speaker C: Video. Wasn't the MTV, didn't like this video too much? [01:30:34] Speaker A: I don't think. [01:30:36] Speaker C: But hey, what are you going to do? It's Bon Jovi. You got to play it. I don't think that they didn't play it right. [01:30:47] Speaker B: I remember seeing it. I don't think it was that bad either. What were they really showing? Right. [01:30:55] Speaker C: No, I think they did show it. It's not like Frankie's makeout song, which they didn't show, so. All right, let's. Let's continue. Here we go. [01:31:13] Speaker A: Just where it love that go and leave it always we're living on love let's say we're living whoa, ran. [01:32:09] Speaker C: I like the way he plays with a delay in the solo and there are still a little bit of artificial harmonic dive barmy things. I mean, I think that's just got the poor for the course for the time, but I don't think that this can be confused with anybody else. [01:32:30] Speaker B: But it's a solo that I look forward to hearing. Just like the one before. You know what I mean? It's a solo. I remember like, it's a standout solo to me. The way it fits into the song and the melody of it. Just like the one before. I look forward to hearing it. [01:32:48] Speaker C: Oh, yeah. It helps the song. It's not just a solo, just because of the solo. Because, like we said, a lot of the late eighty s stuff, not them particularly, but a lot of the stuff that got signed really late in the early ninety s, you could switch out guitar plays. No one would know. And in this one that's not the case because he does have his own style. And like I said, I feel he's a little underrated and not really. People don't really talk about him as much when you're talking about guitar players in the. Know what I mean? But he does some really good stuff. Catchy. And for the song. And I like how they come back into the song over here. So I'm going to a little bit. [01:33:28] Speaker A: Yeah, you I tell me where we live I call it love call it living you, me or just this world we're living we're living on love or are we living in sin I don't know just where we sometimes scare I know where. [01:34:45] Speaker B: Rally did the chorus and the verse format and then they went into something different from the outro. And I love the notes he hits at the end. [01:35:22] Speaker C: Yeah, that's very Bruce Springsteen y part there is very springsteen. No, it's a very well written song. And the mere fact that he wrote this himself and he didn't have anyone else. [01:35:37] Speaker B: I think he wrote bed of roses by himself, too, probably. [01:35:41] Speaker C: Well, bed of roses is very similar. [01:35:43] Speaker B: Yeah, it's atmospheric with the piano and. [01:35:47] Speaker C: You know, it's a great song. [01:35:51] Speaker B: Yeah. [01:35:55] Speaker C: Like I said, the end of the side is really good. Yeah. Like the first two songs come in, but this is where they're headed. So they give you the slippery wear and wet stuff at the beginning and now they're doing this kind of stuff. And the lyrics are better. It's not as stock. [01:36:16] Speaker B: No. And I mean, I think this is a pretty different song for them. [01:36:20] Speaker C: For them? Oh, yeah, 100%. Well, this is what started some of the stuff later. Right. To sound like. [01:36:25] Speaker B: Yeah. [01:36:27] Speaker C: So. Yeah, I like all the changes. I like that drum fill at the end right there. That was a cool drum fill. Yeah. [01:36:34] Speaker B: When he does like the double fill, the double know, instead of doing it once, he goes through it again. Yeah, I like that too. [01:36:41] Speaker C: Yeah, that was really good. And the bass was good on this. Whoever is playing bass on this? Who knows? I know McDonald is Alex on such. I don't know, whatever, whoever's playing bass is. And I like the really big chord. Like when they come back, that one chord, and then it kind of fades and they use that, too in the next record, too, on a bunch of songs. So it is kind of a template for stuff that's going to happen later. So it was really good. Let's see. I guess I'll go first. Since you went first last time, I think the lyrics here are better. I'm going to say eight on the lyrics. I'm going to dare to say probably eight on the music. The keyboards are good. I like the acoustic guitar in the background. The electric guitar complements everything. I like his solo a lot. And production. I'm going to say nine again. I think it's as good. It's produced as well as the last one. And obviously they knew this was going to be a single. Probably there was a little more time invested in making this sound really good. And I'm surprising how much I like the big snare thing because usually that's like the. God, here's the big snare coming again. I think maybe after this record, it got a little overused, you know what I mean? And then everyone had to have the big snare. But it works here. [01:38:10] Speaker B: Yeah, I'm going to say an eight on the lyrics, too. I mean, I like the story it tells. I like the sentiment behind it. I'll say an eight on the music as well. It's just a really good song and. Yeah, I'll say a nine on the production, too. I mean, it does everything it has to do. [01:38:33] Speaker C: Yeah, I think it's really good. [01:38:34] Speaker B: It's a really strong song. [01:38:36] Speaker C: Super strong. Super strong. And again, it's a little more adult for. Even though the sentiment is going back to teenagers. I think it's different than some of the other stuff. Even stuff at the beginning of the record. [01:38:55] Speaker B: Yeah, it's not your typical. I mean, I guess technically it is a ballad, right? I mean, the tempo of it is just as slow as anything else. But, I mean, the subject matter is different. The music of it is more interesting because, I'll be honest with you, I'm not a big fan of the stereotypical ballad on this record, which is coming up, will come up in the next episode, but I've never been a big fan of that one. [01:39:24] Speaker C: Well, it's ballad speed, but the subject matter is a little bit different. [01:39:34] Speaker B: This probably wasn't anybody's wedding song, whereas the other one probably was. [01:39:38] Speaker C: Yes. Well, living in sin and born to be my baby could be complimentary songs, too, if you kind of think about it. You know what I mean? It's very similar, but almost in reverse. [01:39:49] Speaker B: Right. Where it's like they kind of started out as kids living in sin, and now the next phase is this other phase of them being together and you're soon being married. [01:40:02] Speaker C: Now comes a song which I think we both were alluding to prior, which is blood on blood, which I feel, for me, is my favorite Bon Jovi song. [01:40:11] Speaker B: Yeah, I'd probably say this is my favorite Bon Jovi song of all time. [01:40:16] Speaker C: Yeah. I remember hearing this going, wow, that's different for does still. I think it does lean a little bit in the Springsteen ish area where. [01:40:26] Speaker B: It has the characters and the growing up and what they did and. Yes. Agreed. [01:40:32] Speaker C: I mean, I think they're at their best when they sing songs about things and stuff, as opposed to bad medicine or lay your hands on me. I think the songs are better when they're actually singing songs about family and relationships, friends and people and situations where. [01:40:53] Speaker B: You can really put yourself in, even if you don't relate specifically to this. I mean, we talk about stupid shit that we did growing up, and that's really what this is. It's about growing up and who's where now and who isn't and who you don't talk to anymore. Right. [01:41:15] Speaker C: And it's a fairly long song. 617. So that's why the first side is a little bit longer, because this song and bad medicine and even lay your hands on me is almost six. Yeah, I know. Yeah. But in a minute and a half of it is all intro. [01:41:30] Speaker B: Exactly. [01:41:31] Speaker C: Yeah. All right, let's do it. Here we go. Blood and blood. Now, before we even get. I remember hearing that going, wow, that's different for them. I didn't think that it was going to sound like that. [01:41:49] Speaker B: No, but then you got a guitar. What do you call those? Would you drag the pick scrape? There you go. Pick scrape. [01:41:58] Speaker C: Obligatory 80s pick scrape. Yeah. [01:42:01] Speaker B: I love them. [01:42:03] Speaker C: No, but this is done a little bit different, though. [01:42:05] Speaker B: Again, it fits perfectly here. [01:42:07] Speaker C: Yeah, it's great. This song wouldn't be the song the same without the pig scrape. [01:42:11] Speaker B: No. [01:42:12] Speaker C: I'm going to start it over again. [01:42:14] Speaker B: Okay. [01:42:17] Speaker A: You. [01:42:36] Speaker C: Now, drum wise, that's got to be the most. He's, like, really been out there and, like, doing what he's gonna do. [01:42:42] Speaker B: Yeah. They give him nice open space, and again, he's. It's nothing, whatever, but he's solid. You just lay back on him, which is what a drummer is supposed to be. [01:42:56] Speaker C: Yeah, I like his drum parts. I like his drum parts there. [01:42:59] Speaker B: Really? [01:42:59] Speaker C: A lot. [01:43:00] Speaker B: Yeah. I've always appreciated him as a drummer. [01:43:03] Speaker C: And I think, if I remember correctly, I'd like the verse. Drum beat, too, if I remember correctly. Yes, I like that a lot. He gets to stretch a little bit and do something. Little things that he doesn't normally do. [01:43:15] Speaker B: Yeah, it has kind of a little gallop to it. [01:43:18] Speaker C: All right, I'm going to back it up a little bit. And let's continue. [01:43:51] Speaker A: Friends forever and what you said was what you did when it was me and Danny. Mommy. We could each other promise hold it only once on one just as short as the river love one on one with Santa what? Stand out love one on one and I'll be everybody else. Your kingdom cow. [01:45:00] Speaker C: Like a little piano thing. [01:45:02] Speaker B: Yep. [01:45:03] Speaker C: Like that a lot. Yeah. I mean. [01:45:05] Speaker B: I mean, this is another case, right. The verse is catchy, the pre chorus is catchier, and then the know, it's like building, building, building. Like born to be my baby. [01:45:15] Speaker C: Yeah, definitely. And this is John Bon Jovi, Richard Sambora and Desmond child. [01:45:21] Speaker B: Yeah. [01:45:22] Speaker C: So. And the lyrics are just so. They evoke pictures, which is always good. So I can still remember when I was just a kid where friends were friends forever. And what you said is what you did. Well, it was me and Danny and Bobby. Anytime you put people's names in like that, Tommy and Gina, they'll never back down. Anytime you do stuff like that, it always works. So well, it was me and Danny and Bobby, and we cut each other's hands and he'll type. Who? A promise that only brothers understand. I'm sure anyone listening to know did blood brother thing. [01:45:57] Speaker B: Yeah. I mean, a song like this, even if Danny and Bobby aren't real, they're just representations. It's just fill in the. Because, you know, especially we've all known each other for years, right? So there's like, yeah, I remember we did this, or we did that and, okay, we didn't do this, but we did this. And. You know what I mean, everybody has their own blood on blood stories. [01:46:23] Speaker C: Do they still do cutting people's? And do kids even do that now? [01:46:27] Speaker B: Oh, God. I hope it's a little bit dangerous. It's way dangerous now. [01:46:31] Speaker C: It seems like it's more dangerous now. [01:46:35] Speaker B: Wait. Yeah, we did that. And this guy's sick. This one's dead. [01:46:39] Speaker C: Yeah. Back in the day, no one really even thinking about that stuff, but now it's like, wow. And then in the pre chorus, we were so young. And then the so young part is Richie Sambour. [01:46:52] Speaker B: Richie Samboura. [01:46:53] Speaker A: Yeah. [01:46:53] Speaker C: Sounds really good. Which is reminiscent of wanted that are alive. Right. So same kind of idea. One for all and all for one just as sure as the river is going to run. I like that. So blood on blood, one on one we still be standing when all is said and done blood on blood, one on one and I'll be here for you until kingdom come blood on blood. [01:47:16] Speaker B: Yeah. I mean, simple, but it tells a story. And you feel like you're in this. You're kind of watching a movie of them doing this stuff, right? [01:47:29] Speaker C: Yeah. All right, let's continue. [01:47:32] Speaker A: Bobby was all hero because he had this fake. I dream when I got cigarettes. Bobby took the rap for me. What's enemy? This white trans girl we do in our tan. She took us to this cheap motel and turned us into man. But we were sorry I was falling off the water just shut at the river. God, let's never say what day let all. [01:48:42] Speaker C: Before we go to solo. [01:48:44] Speaker B: Yeah. [01:48:44] Speaker C: So he brings Bobby back again in the second verse, which is great. It references the other one. It's very smart. Well, Bobby was our hero because he had a fake id. I got busted stealing cigarettes and he took the rap for me. Danny knew this white trash girl. We each threw in a ten. She took us to this cheap motel and turned us into men. That's a sentiment that you hear in lots of stuff like that back in the day. And pre course is the same again. Course is the same again, but it just all flows very well. You listen to the lyrics and you can see exactly what's happening. You get a picture. And getting the picture is really what it's about and why the song is. [01:49:24] Speaker B: So it's a story. [01:49:25] Speaker C: Yeah, the story. Well, I think the last three songs, it all had a story. [01:49:30] Speaker B: Yeah. [01:49:31] Speaker C: And I think that's why it's better than bad medicine and better than lay your hands on me. Because you hear about. [01:49:37] Speaker B: Those are generic, right? Just what do you call them, suck me, fuck me songs, basically, right? They're generic. I'm not saying they're not relatable or you can't appreciate them. Fine. But I mean, this is born to me, my baby. It's a love song. But again, like you said, it's a working class love song. Living in sin is relatable. Especially people with first experiences, first loves. And this too, this song is even more relatable to us now, right? I mean, back then, we technically would appreciate it, but he was obviously a little bit older than we were. But now, looking back, this is a song that we could write now about things, and it would still have that sentiment. [01:50:27] Speaker C: Yeah, well, bad medicine is about semen. [01:50:32] Speaker A: Is another kind of milk. [01:50:34] Speaker C: But it's kind of funny, actually. These things are in reverse order. It should be blood on blood, living in sin and born to be my baby. That should be the order. But they reversed it. Really? I don't even know if they realized that. [01:50:45] Speaker B: Yeah. Well, this is, like, reminiscent. Right? So this is kind of like. Well, this almost makes sense because I picture him older, reminiscing about the stuff that happened, I guess, before. [01:50:57] Speaker C: Maybe you're right. [01:50:59] Speaker B: That stuff. [01:51:00] Speaker C: Yeah, I guess you're right. Yeah, I guess it isn't in a better. It should be the last one, I guess. But, yeah, I like everything about the song. And the keyboard is really prominent in the chord. Yes, super prominent. They're not really hiding it this time. It's kind of like right up front. [01:51:16] Speaker B: No. [01:51:18] Speaker C: I'm going to back it up a little bit so we can go to solo. Here we go. [01:51:27] Speaker A: You gam. [01:51:59] Speaker C: Yeah, that little. That little drum fill right there, that's very Springsteen to me. Like, born to run. [01:52:06] Speaker B: Yes. But that end piece and even the beginning, the first three chords, the way he starts, the solo, I mean, that's straight up Bruce Springsteen. The way the solo ends, that's straight up Bruce Springsteen. But one thing I noticed, and I could be wrong, and you tell me if I'm wrong. The tone, especially on this one, reminds me of the tone that Mick Mars has on Dr. Feel good. [01:52:28] Speaker C: Yes. [01:52:29] Speaker B: It's not as loud, but that tone reminds me of, like, without you, the solo. [01:52:37] Speaker C: Who's the engineer on this? [01:52:39] Speaker B: Exactly. So I'm thinking that his hand is kind of, like, where that's coming into. [01:52:44] Speaker C: Oh, 100%. There is no doubt. And the solos, again, you're not mistaking this for anybody else in this time frame, playing guitar. This is him. This is what he sounds like. This is him more. The phrasing and the choice of notes and what he's doing, the way he's playing. He has some of the little flashy stuff, but it's put into a way that it's not just flashy for flashy sake. [01:53:11] Speaker B: No. [01:53:12] Speaker C: And those are the kind of guitar players I like, guitar players that are not. It's not like I can't swap everybody out from another band. And who would care? You can't put friggin Cece, the villain here because it wouldn't sound right. [01:53:25] Speaker B: No. [01:53:26] Speaker C: And not that I hate cc the ville, but you know what I'm trying to say. Even him, he's a little more standoutish, too, because most people don't sound like him either. Whether you like him or don't like him. Right. Whether you think he sucks or he doesn't suck. [01:53:37] Speaker B: Yeah, I'm looking forward to that one. I'm looking forward to a point where. [01:53:41] Speaker C: I can talk about which one we get. That's the question. But this song has everything that you want. It has great lyrics, has great music, it has a story, it has pictures in your head that you kind of go through. And I think almost the best part of the song, I think, is coming up. So I'm going to back this up a little bit. I'm going to hear the drum fill again. Here we go. [01:54:47] Speaker A: Him through the years of miles between us it's been a long. I got that call in the dill night I feel like by your side blood on blood like blood on blood you yeah. Just like the sad rose like what I want with better when I was there but I want and I belong like, yeah, you. [01:56:52] Speaker C: He'S an uptown lawyer Danny. He's a medicine man. And me, I'm the singer. The long hair rock and roll band, they just stop it. And then they go back to the rift thing. At the, um. Through the years and miles between us it's been a long and lonely ride but I've got that call in the dead at night I would be right by your side now. You could go right back into the chorus there. But they don't. They do that little build up thing. And where versus Sambora kind of like, sings the background parts like the dead or alive. [01:57:25] Speaker B: I mean, it is very Springsteen, and maybe that is why I love it so much. But it's an epic song for them. Right. It's got dynamics. Again, I think that we would not be the only ones to argue that this is probably their best song. [01:57:45] Speaker C: Yeah, well, I mean, it'll really top three for. Well, some people may like the hair medley stuff more than this, but to me, this is what Bon Jovi does very well. [01:57:58] Speaker B: This is what they can be, right? [01:58:01] Speaker C: Yes. [01:58:02] Speaker B: I think these three songs prove. And again, I'm not saying that there's. Listen, there's good stuff on. I haven't listened to a record since these days, straight through, honestly. But, I mean, they can write a song, so they're generally pretty good songwriters. But I just think that these last three songs kind of elevated them and even his voice. Right. He's doing stuff in the high range. I don't think he really did before. [01:58:35] Speaker C: No. [01:58:35] Speaker B: And it's done so well, and I just think it even accentuates the know. It elevates the song even more. What he's. [01:58:44] Speaker C: And. And David Bryan was really good. His fills and stuff on the keyboard were really, really. Everyone did an awesome. Don't you. Why don't you go first, then? [01:58:53] Speaker B: Yeah, I mean, I think as a musician, whether or not you enjoy their songs or whether or not you even like the song, you have to appreciate the fact that, hey, they did a pretty good job on this song. [01:59:03] Speaker C: Yeah. [01:59:04] Speaker B: All right, so, lyrics. I'm going to say an eight on the lyrics. I mean, again, just simple. But that storytelling is, again, it's relatable. It's fill in the blank. Right. If your friend is not a lawyer, he's not this. Or you didn't do this. Exactly, but you did this. You can still relate to the always. So there's two actually funny things I want to say before I forget. So on the vinyl I had, there was a scratch where it says, danny, he's a medicine man. So it would skip over and over. It would say, he's a medicine man, over and over until I move the needle. [01:59:43] Speaker C: Are you expecting that to happen every time the song comes up? [01:59:46] Speaker B: Yeah, kind of. I'm like, he's a medicine man. Medicine man. I was like, oh, my God. But I also also found it funny when he's like, I'm just a singer and a long haired rock and roll band. I'm like, Bobby and Danny are probably jealous of you, bro. [02:00:01] Speaker C: Yeah, well, one's a doctor, right? One's a lawyer. [02:00:04] Speaker B: I mean, again, not that that's whatever, but there's no shame in what you're doing. Music. I'm going to say a nine. It's epic. Again, I would probably rate this their best song and production. I'll say a nine as well. It did everything it had to do. So, yeah. What do you think? [02:00:31] Speaker C: I'm going to give lyrics a nine. I don't think there's better lyrics in his catalog than this, personally. I think he takes all the things that he does good with, storytelling and putting people in there and using names and stuff, and he just boils it down to that. Probably the best of those songs, because these three songs are very similar in that nature. So, yeah, I give that a nine. And musicianship, I give it a nine because everything's good. Keyboard's good, bass is good. Drums are good. Guitar is really good. Vocals are really good. I like when Richie Sambora sings behind him. I think that, to me, is the sound of Bon Jovi is those two guys, him singing line and bon jovi singing. I mean, richie Sambora singing after. So, for me, that's what I equate as being their sound, and I like the changes that they made. I liked where they did things. They didn't keep it super stock. They actually changed it up, which I like. I like when there's different changes in there, like that. They could have easily went right back into the chorus or easily went right back into the verse and did the same exact way, but they didn't, so it was very well done. And as far as production goes, I'm giving that a nine. I didn't think about the Mick Mars guitar sound thing until you told me. But, yeah, it does sound very similar, which makes sense, because he probably engineered part of that, too. That's how he got his sounds, because that's what he wanted to hear. [02:02:03] Speaker B: And it's actually funny when you watch those classic album stuff and they have the producers and the engineers, it goes to show how much the engineers are actually involved. [02:02:12] Speaker C: Oh, yeah, those guys get the sounds and stuff. So, yeah, they're very important. Sometimes more important than the producer is. [02:02:20] Speaker B: Yeah, absolutely. There's definitely times in there I'm like, wow, this song would not have been the song without the engineer. The producer wouldn't have gotten what the engineer got on this song. [02:02:33] Speaker C: No. And we got to say that this got better as it went through. I mean, that's a hell of a way to end the first side of a. [02:02:44] Speaker B: Absolutely. [02:02:46] Speaker C: It's a great three songs in a row for me. Three songs in a row. Probably three of my more favorite of Bon Jovi songs in a row. I had this record on, like, super duper repeat for a long friggin time back in the day. Back in the day. [02:03:04] Speaker B: You want to talk about a one two, three? We talk a lot about two punches, but you want to talk about a one two three punch. I think this is where, again, whether or not people like them as a band or whether they're lumped in or whatever, I just think that these three songs really showed growth and maturity. Not that there's bad stuff on the other stuff, but this just feels more like a band that kind of grew up 100%. [02:03:39] Speaker C: Yeah, I totally agree. Well, I don't know what else we can say. We're kind of gushing about the last three songs here. [02:03:48] Speaker B: As soon as I saw the wheel pick that says I cup. [02:03:54] Speaker C: I think the next side is a little bit of a mixed bag for me. [02:03:57] Speaker B: Yeah, me too. [02:03:59] Speaker C: I still like it. I still like it. But I think these three songs for me, I mean, I don't want to give it away, but I think these three songs on this record are my favorite. Three songs on this record. [02:04:10] Speaker B: Oh, absolutely. I mean, there's some decent stuff coming up, but what they did with these three songs, they definitely don't do on the second side. [02:04:25] Speaker C: And there's a kind of a theme on the second side, which we'll talk about then, too. [02:04:29] Speaker B: Yes, there is a little bit of a theme. [02:04:30] Speaker C: There is a theme where they were headed. Sort of. Kind of. Where they ended up going. Sort of, kind of. [02:04:34] Speaker B: Exactly. I agree with you. I was just thinking that absolutely there is a theme where you hear it and you're like, oh, wait, this is them now. [02:04:44] Speaker C: Or even more stuff that he did. [02:04:49] Speaker B: Yeah, but even, like, wanted, right? Wanted kind of started, I think. [02:04:54] Speaker C: Yeah, this trend started. [02:04:55] Speaker B: A thing. Right. And then his thing. But band wise more, I guess you hear what's coming up 100%. [02:05:07] Speaker C: All right, Serena, do your thing. [02:05:10] Speaker B: So we are part of the Deep dive podcast network again, like I always say, great bunch of guys. And if you want stuff that's more band unique, like Rush, like our friends at Rush, rash and Uriah Heap, Tom Petty, Iron Maiden, queen, you name it, they probably got it. So if you're looking for specific stuff, check them out. Knowledgeable, not as mixed up as we are. And, Mark, where can they find us on the interwebs? [02:05:38] Speaker C: Rockwood pod. On all the socials. We are rockwoodlitpodcast.com. Remember, we have Spotify playlists that we do for each episode. So there are 35 playlists. Something somewhere around there, however many albums we've done. So we have a playlist for each where our picks go on the playlist. So it's pretty cool. [02:05:59] Speaker B: I know what three songs are going to be on this playlist for sure. [02:06:02] Speaker C: Well, looking at the thing right now, I think the whole first side is going to be on the playlist. [02:06:08] Speaker B: Oh, is it? [02:06:09] Speaker C: Yeah, I think so. That's just the way, the worst way it's coming out. I'm looking at my thing right now. Am I right? Let's see. No, actually, most of it. Most of it. But anyway, yeah, it's a great record. I'm glad we got this. It's so funny that we were talking about this record just recently, and it came up. [02:06:30] Speaker B: Yeah. Again, this is one of those records I'd never this. Girls, girls, girls, too. Like, these massive albums that you think about in this genre. It's like, we're never going to get. [02:06:43] Speaker C: Those, but here they are. [02:06:45] Speaker B: Here we are. [02:06:47] Speaker C: All right, everybody, we're super excited to finish this thing up next week. And please share us out. Give us five stars on wherever you rate your podcast, share our episodes out to other people. If you'd like what you hear, write us on social media. If you have albums you think we should put on the list, let us know. If it's not there, we'll throw it on. If it works within the genre of music that we're doing, which is rock, hard rock, metal. So even though there are a couple of little outliers on the list, we won't say what they are, but there are a couple of outliers. [02:07:22] Speaker B: There's some more poppy stuff, right? I would say. [02:07:25] Speaker C: And there's some rock stuff that's not hard rock at all, but rock. But I would say it's kind of classic rock. [02:07:32] Speaker B: Anyway, regardless, I think we added some stuff because it was part of our youth, right. And stuff that we liked 100%. And again, anybody who's listening, thank you so much. Wherever we got this big jump from. Thank you so much. Spread the word. Yeah. [02:07:47] Speaker C: You guys are awesome. [02:07:48] Speaker B: We appreciate. Thank you. [02:07:49] Speaker C: We appreciate you guys. [02:07:51] Speaker B: Absolutely. [02:07:52] Speaker C: All right, guys, we will see you next week. [02:07:54] Speaker B: Ciao. Ciao.