Episode 73 - Bon Jovi - New Jersey (Part 2)

[00:00:00] Speaker A: You. [00:00:04] Speaker B: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act section. Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the Rock Roulette podcast. [00:00:49] Speaker A: You. [00:01:14] Speaker C: Everybody, welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1100 albums, stuck them in a list, stuck them in a wheel. And typically every week, every other week, we spin the wheel and she picks an album for us and we go through it track by track. Usually one side per week, unless it's really short and we can stop yapping long enough to do it, which barely ever happens. But I think you guys know this now because we have a bunch of listeners. And again, thank you. Obviously, you know the format. We go track by track and we rate it based on music, lyrics and production. And again, we're just a bunch of guys, old friends, that want to do a podcast and just having fun at it. And again, I've mentioned it before, but guys, whoever you are listening to us, we have a major upswing recently. So thank you so much. And again, maybe if you want to leave a comment, what you like, what you don't like, we're more than happy to listen. And that's it. And special shout out to Rockarola. Right, Mark, who left a comment for us. [00:02:17] Speaker B: Yes, sir. [00:02:19] Speaker C: And going through the crew, we have Mark tonight. Oh, hi, Mark. [00:02:24] Speaker B: What's up? [00:02:26] Speaker C: And we have Frank. [00:02:28] Speaker B: My name is Frank. [00:02:43] Speaker D: Excited to be here tonight. [00:02:45] Speaker C: And I'm sad. Ciao, bunase. So last week, the wheel picked a very popular album for us, Bon Jovi's biggest selling album, New Jersey. And I mean, it's. I'm pretty sure it's my favorite. And reason being, starting last week, we did the first side, last three songs on the first side, to mere three of the strongest songs they've ever done. And the first two aren't bad. A little bit more reminiscent, I would say, of slippery one, wet, but still not terrible songs. A pretty strong side, I would say, from stem to stern. Overall, Frank, what do you think? You weren't here last week. What do you think of the first side of New Jersey. [00:03:28] Speaker D: I mean, amazing. The whole album is just great. But that first side is just. I think that's where most of the hits came from, right? [00:03:41] Speaker A: Yeah. [00:03:41] Speaker C: Other than the ballad on the second side, really. [00:03:44] Speaker D: Let me just see here. So bad medicine born to me by baby living in sin was lay your hands on me a release? [00:03:55] Speaker C: I don't know. I think they did it on their acoustic maybe. [00:03:59] Speaker B: Not sure. I'm looking. [00:04:01] Speaker D: Bad medicine was a top hit. That was a number one. Born to be my baby. I think that was top three for sure. [00:04:11] Speaker C: Living in. [00:04:11] Speaker D: Yeah, that was definitely what happened. [00:04:15] Speaker C: Living in Tim was a big MTV hit. Right, the video. [00:04:19] Speaker D: Yeah. But that wasn't necessarily like a billboard hit. [00:04:23] Speaker C: I think that was more of a video hit. [00:04:26] Speaker D: It was more of a video hit, but not like a billboards hit. It was a top ten song. If I had to take a guess, it was somewhere like number. It probably topped out around seven or maybe six. Born to be my baby. I know that was a top five. It wasn't a number one hit. And the reason why I remember that is because John Bon Jovi complained that the version that made it to the album was not the version that they wanted, that there was a slower version of that song that he felt if it was recorded onto the album, would. Bit of number one. [00:05:02] Speaker B: Well, it went to number two. All right, well, number two on cash top box three on Billboard, seven on mainstream. Lay your hands on me was another single. Peaked at number seven on the Hot 100. [00:05:19] Speaker D: Living in sin. [00:05:20] Speaker B: Hold on. Bad Medicine was in the top ten. No, bad Medicine was number one. [00:05:29] Speaker D: Sorry. Yeah, that was number one. [00:05:31] Speaker B: Living in sin was blah blah blah blah blah. Number nine, number 37 of mainstream rock. [00:05:41] Speaker D: Wow. [00:05:43] Speaker B: Yeah, they had a ton of. There was five singles from this record. Well, you have a five single record after that. [00:05:55] Speaker D: What made this album so great is that it came at the heels of slippery and wet, which was the album that launched them to the stratosphere of rock. And it was insanely successful for them. It was a big hit all the way around. And to have this album follow up, what did just come out? 88 Eightyat and Slippery one wet came out probably 87, 80, late 86 or early. [00:06:27] Speaker B: I was talking about last week. Let's see. Hold on. I'll tell you, it was. I'm looking all over the place. 86, 9th and August 18. So middle of the year. [00:06:46] Speaker D: Middle of the year. And then they had the tour, and then right behind it had a successful tour. They come home back to Jersey, and then they record this album as a follow up. So to have five hits off of your follow up of that one was just absolutely sensational. It's great. [00:07:03] Speaker B: Yeah, no, it's a great record. [00:07:05] Speaker C: Yeah, I think it's their first really mature record, I want to say. I think they kind of stepped away a little bit from the stuff they'd done before. Obviously the subject matter and just the overall writing. [00:07:27] Speaker D: But there was a lot of overarching themes that kind of mirrored slippery one wet here. Some of the lyrics about it too, right? [00:07:34] Speaker C: Like born to be my baby and even living into reflections of couples. What do you call blood on blood too. Kind of like wild in the streets telling a story about growing up and kind of springsteenie lyrics. [00:07:55] Speaker D: So 88 Eightyn for me was like the real time where I guess you could say hair Meadow and Glam Meadow was sitting at the top. And it just seemed like this was the time where a lot of great bands were releasing a lot of great albums. Actually, I would say probably starting from 88. And for the next ten years. We just got some really great rock music coming out from that ten year span. A lot of great groups came out during that time for this time here, 88 I remember some of the albums I remember around that 88 89 was Van Halen. Was this the year where Van Halen first released with Sammy Hagar or was the second? [00:08:41] Speaker B: This year would have been. So that would be the second record. [00:08:45] Speaker D: The second record which was a big hit. [00:08:47] Speaker B: Yeah, that did pretty good. Well, that finished what you started on and stuff. [00:08:51] Speaker D: Yeah, and then we had Ozzy came out with no rest for the wicked around this time girls, girls, girls came. [00:09:01] Speaker B: Out around this time no, girls, girls, girls 87 87 Eightyn would have been Dr. Feelgood. [00:09:08] Speaker D: Dr. Feelgood. All right, let me see. We had. Right around this time, injustice for all came out right around this time, right? No, it was a little bit. Yeah, it was 88 Eightyn LA guns came out around this time with their debut living color. Just a lot of great music, a lot of great bands. [00:09:36] Speaker C: Yeah and justice roll was 88. I don't know why 86, which I. [00:09:42] Speaker D: Think that was the. As far as I can remember, that was the first video that you were not able. They couldn't play it before a certain hour for whatever reason on MTV. [00:09:53] Speaker B: Which one? [00:09:53] Speaker C: I think it was the first video they ever did. [00:09:55] Speaker D: It was. It was the first video that they ever did. And it was the only video. You could only watch it after a certain hour. [00:10:06] Speaker B: Well, didn't they have a problem with living in sins video? They did. We talked about that right yeah. [00:10:10] Speaker D: Did they? [00:10:11] Speaker C: Yeah, it was, like, controversial. I don't really remember. [00:10:15] Speaker B: It wasn't banned, though, right? It wasn't banned like the Monica Crue video. [00:10:19] Speaker D: No, I don't think so. Or the prodigy video. That was a great video. [00:10:31] Speaker B: Yeah. So this record kind of solidified them. [00:10:36] Speaker D: It really did, yeah. [00:10:38] Speaker B: Those two records in a row and. [00:10:42] Speaker D: This tour introduced the world to Skid Row, the New Jersey, which was just one of those. Yes, he did. [00:10:54] Speaker B: I think they were buddies, and I think him and Snake Saber were budies. And whoever made it first, you know what I mean? They were going to help the other guy. [00:11:02] Speaker D: All right. So they did the right thing and skid row. They put out two really great popular albums. [00:11:14] Speaker C: Yeah, the first two albums are pretty good. They transitioned into heavier and did it well, and they kind of did it first. Right. It was a big deal when you would go from their debut album into slave to the grind. [00:11:31] Speaker B: Yeah, I remember. I remember saying, wow, this is fucking really heavy. [00:11:36] Speaker D: And it was great. [00:11:37] Speaker C: But it was well done, though. But I think that's kind of what they wanted to do. I'm sure eventually they'll come up and we can do a little investigating, but my understanding was that's kind of what they really wanted to do, and they. [00:11:56] Speaker D: Had to tone it down for the Bon Jovi tour. [00:11:59] Speaker C: No, I think just tone it down to kind of make it, honestly to kind of push it through. [00:12:06] Speaker D: Yeah, they were great, those two albums. [00:12:09] Speaker C: Who's the bass player? Rachel. [00:12:11] Speaker B: Rachel Boland. [00:12:13] Speaker D: Boland. [00:12:13] Speaker C: Is he the bass player? I mean, he's got a heavy bass tone on that first record. [00:12:18] Speaker B: Yeah. I think he's one of the main songwriters, though. Yeah. It was a time, if you were a rock music fan, it was a good time for you. But the funny part about it is that pop was still going on around the same time, too. There was some big pop stuff at the same time. Even though it felt like hair metal was controlling everything, there was still a lot of big, gigantic pop stuff. [00:12:43] Speaker D: Oh, yeah. And a lot of in the rap side of things, too. In hip hop, you had a lot of around this time. And again, this is just a great era. I think this is a great era for music across all genres. And again, I just think about 88 eightyn. I think this is where public enemy came out with fear of the black planet, which turned out to be a great album. [00:13:07] Speaker C: Yeah. [00:13:09] Speaker D: So just definitely a great time to be here. And this album here especially was just one of those. When you think back to that era, this stands out. [00:13:18] Speaker B: I'm pretty sure. [00:13:19] Speaker C: People would refer to this as pop metal. [00:13:22] Speaker D: Yeah, right. Pop metal. [00:13:24] Speaker B: I think we say it all the time. We didn't really call it that, though. I don't remember either. [00:13:27] Speaker C: Yeah, we weren't calling it hair metal, but I don't think so. [00:13:31] Speaker B: Pop metal. Maybe I heard back then, but I never heard hair metal. That was only a later thing. [00:13:36] Speaker C: Yeah, I want to say that exactly. I don't remember calling it hair metal during it. No, I don't remember. I just used to say, I don't know, maybe rock. Kind of like rock metal. Maybe they would say rock too, I. [00:13:53] Speaker D: Think at this point. [00:13:55] Speaker C: To me, bands have made it in Judas priest. Oh, yeah. Poser metal, I heard, for sure. [00:13:59] Speaker B: Oh, yeah, that's for sure. [00:14:01] Speaker C: That was around back then. [00:14:03] Speaker B: Yeah. Well, anyone who liked the heavier bands was calling this poser metal, right? Pretty much, yeah. And they weren't wrong. It had gotten a little syrupy and stuff. And it's different than the stuff that was out in the early eighty s. Right. Like by the time the mid 80s happened, and later and later. And it was only specific bands, too. They didn't always refer to. Like, I don't ever remember anyone saying Van Halen is a poser metal band. [00:14:30] Speaker C: No, but I mean, also, Van Halen didn't mean, if you think about it, right? Like, what's his name? David Lee Roth had, let's say a glammy look. But the rest of the guys didn't have a glammy look. I mean, what's his name, the bass player for sure. And I mean, Eddie Van Halen. What do you wear? Like button Downs and t shirt? You know what I mean? They didn't have that glam metal look. And there you go again, right? Glam metal. There's another term for it. Well, we may have been calling it glam metal back then. That could have been, because I do remember that when Motley crue came out with theater of pain, I remember circus specifically saying, motley crue goes glam. So maybe glam metal was something we use back then. [00:15:15] Speaker B: Yeah. I don't remember hair metal. No. But it's a different thing. I think once it went away, I think then later on it started to be called hair metal, but not until later on. [00:15:34] Speaker C: But even Bon Jovi too, right? If you think about, oh, there were people, especially with this album, they really toned it down. I don't think they were ever very big into it either. Like the glam look. Right. And then by this album, they were really just jeans and whatever on slippery. [00:15:56] Speaker B: It was a little more, I think. [00:15:58] Speaker C: Yeah, but more him, I think. I don't think Tico toy. I could be wrong. I don't really remember. [00:16:04] Speaker B: Yeah. [00:16:09] Speaker C: But it was more him, I think. [00:16:11] Speaker B: Nah, I think it was everybody. [00:16:13] Speaker D: It was all of them. [00:16:14] Speaker C: Yeah. [00:16:15] Speaker B: Look at some pictures from Slipper when. [00:16:16] Speaker C: Wet, you're like, yeah. Like I said, I don't specifically remember. [00:16:19] Speaker B: But again, it's funny, a lot of bands were, like, copying the Van Halen model, right? Blonde lead singer, hotshot guitar player. You know what I mean? That was a very cookie cutter thing. Everything started to become cookie cutter like that. Even though in 89, like we were saying last week, you wouldn't take John Bon Jovi or Richie Samboa and be able to pop them into any other band, or you wouldn't be able to take other people out and put it into their band and just interchange in this band. So I think they had a little bit of a sound, right, where you couldn't really. Some of the stuff later on when they were signing everybody, you could just interchange people and you wouldn't even know. So I think that's one of the testaments to. They had their own sound even if you didn't like them. Right? [00:17:14] Speaker C: Yeah. Listen, they can write a song. They can write a hook. I mean, this album, too, shows how they can write a song like blood on blood, and it's a standout from some of the other. [00:17:34] Speaker B: Again, you never, you never thought they were some other. [00:17:43] Speaker C: I mean, you know, when it's him. And even we were talking about some of the solos that Richie St. Bora did. I mean, again, come, like the last three songs, I think there's a bit more of a style to what he does as opposed to the first two mean, again, those two songs, to me are a little bit more generic sounding. And once born to be my baby kicks in, then they find their footing. [00:18:09] Speaker B: Well, this side is going to be a little different, too. [00:18:15] Speaker C: There's a couple of stinkers on this one. I know that, in my opinion. [00:18:19] Speaker B: Well, you know what? Maybe not listening to it for a while makes a change coming up. [00:18:25] Speaker C: Exactly. [00:18:26] Speaker B: We're ready to do this. [00:18:28] Speaker C: I'm ready. [00:18:29] Speaker B: So the next song is homebound train. That's a Bon Jovi Sambora Joint. No other outside writers, so let's see what it goes. Here we go. Well, just so I kind of like. I kind of like the rhythm playing in that from him. I always like that it wasn't just like just writing chords. So he has a little more movement and the riff and stuff. I kind of like that. [00:19:29] Speaker C: I've always liked this song. I always listen to this, too. Like, if I'm listening to the album, listening to the song. [00:19:37] Speaker B: What do you think about this one, Frank? [00:19:39] Speaker D: It reminds me of. Here I am by skid row. [00:19:45] Speaker B: Or a skid row reminder or the other way around. [00:19:47] Speaker D: Somebody did. No, I like it. Yeah, it's very lively. [00:19:52] Speaker B: Yeah, I like it, too. Obviously we saying this is more like they want to be bluesy or they want to still be country. I'm confused. I'm confused here. I'm not sure which way it's going. I think it's more bluesy. [00:20:08] Speaker C: Yeah. I mean, it's a simple rhythm. [00:20:17] Speaker B: Right. [00:20:17] Speaker C: But it's good. The drums are good. The production is good. Right. It's. It's kind of in your face, which I like. [00:20:28] Speaker B: Yeah, that's good. All right, let's continue. [00:20:33] Speaker A: My hair from my home it may be a minor young talk of it now. Cause you can't think you take a chance on your own. I'm going down, down. [00:21:06] Speaker B: I think there's another thing where I didn't know some of the lyrics on here. Looking at the lyrics going, oh, is that what he said? Oh, shit. So when I was a. When I was just a boy the devil took my hand took it with my home and he made me a man so don't talk to me about sympathy now I don't think I knew that he said that there. Because you can't dance if you take a chance on your rosary now I didn't know Rosary now either. I don't think. I don't know what the fuck I thought he said, but I didn't think he said that. I'm going down on the homebound train it's catchy. [00:21:44] Speaker C: Yeah. It's kind of aerosmithy too, right? I can picture Stephen Tyler singing this with a little harmonica. [00:21:52] Speaker B: Yeah. And I like it. It's good. And it is kind of different than some of the other stuff. [00:21:59] Speaker C: Yeah, I think so. I think so. In general, it's not a typical bon Jovi song. [00:22:08] Speaker B: Yeah. All right, here we go. [00:22:13] Speaker A: Everywhere now this woman don't take no place it will take a triangle. All out lam fall sa. [00:24:11] Speaker B: Whole part. I like everything. [00:24:12] Speaker C: Yeah, it's good. It's like a big jam session, right? [00:24:15] Speaker B: Yeah. The back and forth between the guitar, I mean, the harmonica and the keyboards is good. Guitar soul is really good. He's a lot of whammy bar on this thing. On the. On the choruses, he's using the whammy bar a lot. Yeah, I always like the song. I like everything about this song. [00:24:34] Speaker C: Yeah, I've always liked this song, too. [00:24:37] Speaker B: What do you think, Frank? [00:24:38] Speaker C: It's a good side opener. [00:24:40] Speaker B: Oh, yeah, no, it's perfect for the opening track. [00:24:44] Speaker C: What do you call it? Are a little. Kind of funny. His phrasings, right. Is a little bit funny. The way he. Like downtown. [00:24:53] Speaker B: Yeah, he's doing that in progress. [00:24:55] Speaker C: Yeah. It almost doesn't sound like him at parts. Right. It sounds like someone else. It's very funny. [00:25:05] Speaker B: So the verse. It's been a million years that I've been gone I've been everywhere and now I'm heading home been a lot of girls but there's a woman I know said don't take no plane better take a train because I like it real slow all the way back home on the homebound train I'm going down on the homebound train it's a fun song. It's fun. Yeah, I like all the things in it, and it's kind of funny. Now I'm hearing more. Looks like they like to pan his keyboards all the way to the right hand side, which I never really paid attention to that, but now I'm like, oh. Because it always feels like they lower him down, but maybe because they pan him across, you don't hear him. He's not down in the middle. [00:25:53] Speaker C: Yeah, it's funny. I feel like he either is center stage with the guitar or he's not there. I'm actually very surprised in hearing this record how you don't hear him as much. I thought. You know what I mean? [00:26:07] Speaker B: Yeah. [00:26:08] Speaker C: I'm really am noticing in that I was like, I don't hear David Bryan as much. He's either very prominent or somewhere in the back. [00:26:16] Speaker B: Yeah, well, maybe that's because they back him down and shove him onto the one side. I don't know. [00:26:21] Speaker C: Yeah. [00:26:23] Speaker B: All right, I'm going to back it. [00:26:24] Speaker A: Up a little bit. And I play all the way that I went down, y'all wa. [00:28:26] Speaker B: There you go. [00:28:28] Speaker C: Nice. [00:28:29] Speaker B: Yeah, I like that. They come back to that thing in the beginning, the little slide part. The drumming is really good drumming. Super solid. And now I'm hearing more of the keyboard stuff. Now I'm listening to that right side. I'm like, oh, he's doing lots more stuff on there than I thought. [00:28:40] Speaker C: Yeah, the bass was very prominent in this song, too, whoever that was. [00:28:46] Speaker B: Yeah, well, I think it's Hugh McDonald. I don't think it's as far as that's what we heard. I'm assuming he didn't play on this, but who knows? I mean, they didn't tell you that back in the day, but that's kind of came out later. What did you think, Frank? [00:29:06] Speaker D: I liked it. I thought it was very bluesy, kind of. I love the intro and the outro of the song. They just kind of brought it all together, brought it back, circled back to it. So the drums are really spot on. I mean, I just love the whole thing. The bassing, the drumming, everything wants to go first, then. Yeah. So it gives me a little bit of that cinderella kind of vibe to it when I listen to it, like that southwest bluesy kind of tone. So I like it a lot. I'm going to give the music there a seven. The lyrics, they're good. I mean, they're fun to listen to, so I'm going to give those a seven as well. And production wise, I'm going to give that an eight because the way everything just pops and just comes at you. So I'm going to give that an. [00:30:01] Speaker B: Eight there. [00:30:04] Speaker D: Bark. [00:30:10] Speaker B: Because I've rated other things higher. So I'm doing the same thing as Frank. Seven, seven, eight. Well, you know what? I'm probably going to give the music eight and the production eight. The production is still really good. I like all the musicianship on here. Everything's really good. I like all the parts that they do. Like the guitar playing, the harmonica playing. I'm assuming the harmonica is John Bon Jovi, I assume, right. [00:30:38] Speaker C: I actually thought it was like guitar voice box kind of thing going on. [00:30:42] Speaker B: No, I think that was harmonica. Is it saying on here? Yeah, harmonica. That was John Bon Jovi. Yeah. And he's fairly underrated. I don't think he gets mentioned in the. I don't think he gets mentioned in the things of guitar players. You know what I mean? [00:31:08] Speaker D: What do you mean things? [00:31:10] Speaker B: Well, just like on lists and stuff. You don't see his name very often. That's like one of the better guitar players and stuff. He doesn't really come up. Maybe just because the band was so big, you know what I mean? It kind of overshadowed his stuff. But he's a really good guitar player. He picks really good places to do things. His stuff is usually tasty. It's usually memorable. Am I putting him in, like, Eddie Van Halen territory? No, but he's really solid. I mean, he was more solid than mostly guitar players during that time, as far as being very unique. And you can know it's him, you know what I mean? As opposed to just being a guitar player. That could be anybody. You can switch them all together and we wouldn't matter who was playing on who's definitely. [00:32:02] Speaker D: He definitely had his own sound for. [00:32:05] Speaker B: And, uh. Yeah, the production team is doing a good job on this. Who are we saying producing it? Bruce Fairbread and rock. [00:32:14] Speaker C: Yeah. Bob Rock was the engineer, right? [00:32:16] Speaker B: Yeah, one of the. Yeah. So everyone's doing good. I like it so far. It's a good start to the second side. [00:32:26] Speaker C: Yeah, it's a strong side opener. [00:32:28] Speaker B: What do you think, saf? What's your. [00:32:32] Speaker C: I think the lyrics are okay. I mean, they're nothing special. So I'm going to say a six on the lyrics. I'm going to say an eight on the music. I think it was really good. It showed off their chops and you know what they could do. That middle part was actually kind of my favorite. I really like that little jam part. I think they did a really good job. Again, drum rice. This is probably the strongest song so far on the record. But again, I do like Tico Torres. This does show off. You get to hear some bass. The trade offs with the organ. So that was cool. And, yeah, production is an eight. I think it was a strong production. I'm not going to say a heavy song, but kind of like a heavy blues kind of song, I would say. And I think the production nailed it. Like I said, I've always liked this song. [00:33:24] Speaker B: Yes, a good start. So the next song is wild is the wind. Now, is this one you like or is this one. [00:33:33] Speaker C: I've always liked this song. Yeah, this is another one. Is this the one? No, never mind. The next one has that little intro to it. [00:33:43] Speaker B: Yeah. So this is a Bon Jovi, Richard Sandbar, Desmond child, Diane Warren. Like two big people. [00:33:52] Speaker C: Yeah. [00:33:53] Speaker B: Writing on this. So this is good. I remember liking this a lot all the time when I listened to this record. [00:34:00] Speaker C: Yeah. [00:34:01] Speaker B: All right, here we go. Frank, D. You have any, before I start playing, do you have any things about this song? [00:34:07] Speaker C: No. [00:34:08] Speaker B: You remember now? [00:34:10] Speaker D: Once you start playing, it'll come back to. [00:34:12] Speaker B: Sure. Oh, I'm sure. Here we go. Wild is the wind. I always like that. That was always a really cool thing that he did. [00:34:54] Speaker C: Yeah. I mean, they're stretching out on this record for sure. Right. Because I don't know that this is something that would appear on their other stuff, at least not from memory. [00:35:06] Speaker B: No, this is really good. I like the little tapping things, like the harmonics he's playing. It sounds like it's far away. I mean, I'm sure that's on purpose, but, yeah, I kind of like the whole thing. It's very similar to homebound train and you got that little intro thing. So there's a lot of little intro things here. And again, this is not something you would hear another quote unquote hair metal. [00:35:31] Speaker C: Band do, other than maybe Cinderella. Because, I mean, again, if we ever get mean, that is a standout album. Once we get. [00:35:46] Speaker B: Know. I'm just saying the generic. [00:35:47] Speaker C: Yeah. In general. Yeah, totally. [00:35:50] Speaker B: Yeah. This is an outlier. It's outlier for them, too. Okay, let's continue. [00:36:10] Speaker A: I try to make you happy. Lord knows I tried so hard to be. Would you hope that I would be. I gave you what you wanted. God couldn't give you what you need. You wanted more from me than I could ever be. You wanted heart and soul, baby. Wild is the wind that broke you my heart. Wild is the wind. Wild is a wind. You gotta wild it over. [00:37:28] Speaker B: That is really good. I forgot how good that is. [00:37:32] Speaker C: I forgot that they actually switched that little part, too at the end of the chorus. [00:37:37] Speaker B: Yeah. I like the drums on it a lot, actually. I forgot how good the drums are. [00:37:43] Speaker C: The bass, too, like, little fills and things like that that are going on. [00:37:48] Speaker B: Yeah. [00:37:50] Speaker C: I've always liked this song. [00:37:51] Speaker B: His voice sounds good, too. So lyrics are. I tried to make you happy. Lord knows I tried so hard. To be what you hoped that I would be. I gave you what you wanted. God couldn't give what you need. Give you what you need. You wanted more from me than I could ever be. You wanted heart and soul. But you didn't know, baby. Wild. Wild is the wind that takes me away from you. Cold is the night without your love to see me through. Wild. Wild is the wind that blows through my heart. Wild is the wind. Wild is the wind. You got to understand, baby. Wild is the wind. Now, is that about him going away? Is that what his set's about? I was wondering. [00:38:33] Speaker C: I don't know. I honestly think that when it comes to a lot of these songs, they may or may not be about a specific situation. You know what I mean? They were just kind of. Hey, here's a song about something. You know what I mean? [00:38:51] Speaker B: I kind of questioned the line, the middle. I gave you what you wanted. God couldn't give you what you need. What does that mean? Is that she's religious or. [00:39:00] Speaker A: No? [00:39:00] Speaker C: Religious? No. I think that even God couldn't. You know what I mean? There's no way of satisfying this. Yeah. That's how I take it. [00:39:09] Speaker B: Okay. [00:39:09] Speaker C: Like even God couldn't give you what you needed. [00:39:13] Speaker B: Yeah, that's good. Yeah, I like the lyrics so far, too. Well, they should be good. There's two gigantic songwriters here, right? Yeah, I like it. All right, let's continue. [00:39:26] Speaker A: You need someone to hold you. Somebody don't be there night and day. Someone who kiss your fears away. I just went on pretend. Too weak, too proud, too tough to say. I couldn't be the one to make dreams come true. That's why I had to run, though I needed you, baby. While in the wind. It takes me away from you. Cold in the night. Without your love to see through. While in the wind, it blows through my heart tonight until fall. Wild in the wind. Wild in the wind. You gotta wild, right? [00:40:46] Speaker B: Before we get to solo. Yeah, I think you're 100% right. Now, listen to that verse. He can't give her what she needs. Is it because she's just too demanding? [00:40:59] Speaker C: Yeah, that's what it sounds like, but he kind of does. He tries wants to be with her. I mean, listen, it's a typical theme, right? [00:41:11] Speaker B: So you need someone to hold you, someone to be there night and day. Someone to kiss your fears away. I just went on pretending. Too weak, too proud, too tough to say. I couldn't be the one to make your dreams come true. That's why I had to run, though I needed you, baby. Wild is the wind that takes me away from you. Cold is the night. Without your love to see me through. Wild. Wild is the wind. That blows through my heart tonight and tears us apart. Wild is the wind. Wild is the wind. You got to understand, baby. Wild is the wind. If I remember, I do like the solo a lot, too. [00:41:48] Speaker C: That part when the verse actually reminds me a lot of only lonely. [00:41:54] Speaker B: Yeah, I can see that. [00:41:56] Speaker C: Which is, like, one of my favorite Bon Jovi songs overall. [00:42:01] Speaker B: Yeah, no, I can definitely see that. [00:42:03] Speaker A: Yeah. [00:42:03] Speaker B: I mean, there's some similarities. [00:42:05] Speaker C: Well, again, yeah, I mean, listen, if you're going to copy off anybody, you may as well copy off yourself, right? [00:42:09] Speaker B: Yeah. Well, then someone would probably bitch about that. Oh, well, I guess we're in the same song over. [00:42:14] Speaker C: Nah, like, what's his name? Getting sued for his material. Sounding too much like his material. That's hysterical. [00:42:20] Speaker B: What's his name? [00:42:21] Speaker C: The dude from CCR. Yeah, John Fogarty. [00:42:25] Speaker B: Right. It sounds too much like Clearwater revival. No shit. Because I wrote that, too. I sound like myself. Who should I sound like? Somebody else. All right, here we go. Solo time. See? Perfectly sized exactly what it needed for the song, right? Then it shouldn't have been any longer or any shorter. [00:43:09] Speaker C: It reminded me of journey, actually. That part. [00:43:11] Speaker B: Yeah. And then he got some fast part. Yeah, it is very Sean Mike isn't. [00:43:17] Speaker C: Just very journey ish. [00:43:20] Speaker B: Hey, listen, if you're going to copy from somebody like that. Yeah, it's a good person to copy from. I mean, he's wrote some very memorable songs in the little span of time. Right. That you get to do that. That's why I always liked the solo because it was very to the point. There's that little fast part in the beginning and then like a super fast thing. It's a little shreddy going on there a little bit. He didn't shy away from that. [00:43:43] Speaker C: No. Like I said, I think the first two songs were, again, not that they were bad solos, but the songs in general, a little bit more generic to me. And then as the songs got better, his solos got better, too, and they all fit the songs and they have something to say. I mean, again, it's great when you can actually either hum a solo or when a song is catchy and the solo is catchy. I mean, that's great because the song becomes that much more memorable. Yeah, I remember liking the solo, too. [00:44:15] Speaker B: Yeah, it's really good. All right, let's back it up a little bit. Let's continue. [00:44:25] Speaker A: Maybe a better man would live and die for you, baby a better man would never say goodbye to you, baby why? [00:44:39] Speaker B: Before I forget, Richie Sandboro's harmony vocal stuff is always really good. [00:44:45] Speaker C: Oh, yeah. He's a great background vocal. Absolutely. [00:44:52] Speaker B: Yeah. He makes some of these songs. A song like Wanda dead alive. He almost makes that song with that background vocal part. That almost makes the whole song. [00:45:06] Speaker C: Yeah. He's a great background vocalist. I mean, they all sing, right. But his voice is very unique. [00:45:13] Speaker B: Yeah. Well, he was basically one of the main songwriters, him and John von Joe. We together on everything pretty the. I'll read the verse three before we continue. Maybe a better man would live and die for you maybe a better man would never say goodbye to you it's good. I'm enjoying the lyrics, too. [00:45:37] Speaker A: That takes me away from you cold in the night without your love to see everything while in the wind that blows through my heart tonight wild is the way wild is the wind you gotta down, baby. Wow. Yeah, I got rose. [00:46:48] Speaker B: I like the fact that he uses that solo part again at the end. That was good, too. [00:46:53] Speaker C: He's like, this is good. I'm going to do it again. [00:46:55] Speaker B: Yeah, that's always a good thing. All right. Frank, go ahead, you do it first. [00:47:07] Speaker D: Like the two of you pointed out, Richie Zembara is just a great guitarist all the way around and the all time backup vocalist, too. And I think that he brings that out here, he shines out through here. So I'm going to give the music a seven here. The lyrics, I'm going to give that a seven as well. Kind of like Savino pointed out, it doesn't necessarily have any kind of deep representation. It's just the words that they put out there, just throwing out a theme. So I like it a lot. I'm going to give that a seven. And the production, I'm giving an eight. I think the production so far has been great on this album overall, so going to give that an eight, Seth? [00:47:52] Speaker C: All right, I'm going to give the music an eight. I think it's really good. Again, it's a standout song, mid tempo, kind of ballad. The production, give an eight. Lyrics, I mean, they're okay, but I do think they're better than the last one. So because I give the last one a six, I will say seven, but I'm kind of wavering. But I mean, overall, it's just a really good song. And again, it's a song that I've always liked. So. Mark? [00:48:24] Speaker B: Well, since I gave the last lyrics a seven, I have to give these an eight because I think these are better than the last one. I like a couple of lines in that thing, which is what I like. I'm going to go back to the lyrics really quick so I can make sure I say the right thing here. I kind of like the line cold in the night is the night without your love to see me through. I like that. That's one of my favorite lines in the whole song. So for me, I think it's better than the last song. So I can't give it the same. So I have to give it higher. Yes, I'm going to give eight on the music. I like everything about the music. I like the guitar playing, everything, solid bass playing, drumming. I didn't hear much keyboard here. I wasn't really listening for it, but I didn't hear very much. And production is eight short of, I think, bad medicine. Savino, lay your hands on me and bad medicine two we gave sevens to, but everything else has been nines and eights. [00:49:27] Speaker C: Yeah. Which is funny, right? The two lead up tracks and bad medicine being a number one single. [00:49:34] Speaker B: Yeah. Well, I just think. [00:49:35] Speaker C: I just think it shows in the songwriting, right. They're just better songs. [00:49:39] Speaker B: Yeah. [00:49:40] Speaker C: You know what I mean? To me, the album, once it goes from born to me, my baby, it still hasn't let up. [00:49:50] Speaker B: No, it's great. Yeah, it's a good one, too, for the second side. So next one is ride cowboy, ride. Is this one of the ones that don't particularly like that much? No. [00:50:05] Speaker C: Well, this is. What is this, like a minute? No, I actually like this one. It's like a little. Yeah, it's like a really short. Yeah, this is just really an intro for the next song. [00:50:17] Speaker B: Yeah, pretty much. And this is where the theme. The cowboy theme starts getting really heavy. Yeah. Here we go. Ride cowboy ride. [00:50:33] Speaker A: Cowboy, ride through the back door helmet to the other side I want to know the danger of the kiss every night ride cowboy yeah so I make my confession in the sneezing motel I could be the romantic I could try my best life but I ain't got the money and we ain't got the child ride cowboy, ride do the backdoor heaven know the other side I wanna know the danger of the kiss and I ride caval so you wanna be a cowboy ride we shall be the come on who. [00:51:51] Speaker B: So I don't hate that. [00:51:55] Speaker C: No, I've always liked it. [00:51:56] Speaker B: I wish. Quick, simple, you know, they put it in this really, like, made it sound like it was on a bad record player thing. Yeah, but there's a lot of good stuff going on there. Like, the background vocals are awesome on that. Like, all this harmony and all that stuff is really good. It's only two good. Yeah. I wish they would actually flesh it out and made it a real song. I remember listening to this record and going, I sometimes skip this. It's just like, I don't know why. At that point, I didn't want to hear, like, crackly, like, vinyl. I had enough crackly vinyl in my life all through the early eighty s. You know what I mean? So at that point I was like, why does it have to sound like that? I want clear shit. I think I'd like it more now than I did back then. [00:52:44] Speaker C: Yeah, those are very catchy. [00:52:46] Speaker B: Oh, it's super catchy. I always like the background vocals. I always like the singing was good, so I'll go through the lyrics. I'll just go through the whole thing. Ride cowboy, ride through the back door to heaven to the other side I want to know the danger of a kiss at midnight Ride cowboy, ride yeah, I learned my lesson here's a story to tell so I made my confession in this sleazy motel I could be the romantic I could try my best lines but I ain't got no money and we ain't got no time ride, cowboy, ride through the back door of the heaven to the other side I want to know the danger of a kiss at midnight ride, cowboy, ride. So you want to be a cowboy? Ride, cowboy, ride. You want to be a big shot, baby? Come on. Ride, ride, ride. On that note, I guess I'll do the first thing. I don't hate the lyrics. I'm going to give them a seven. I don't hate them musicianship. I mean, there's only guitar there and vocal. So I'll give it a seven. Now production. I could say this thing sucks because it sounds the way it does. But I think that they got exactly what they wanted out of that. They wanted old record. It sounds like an old record. I always remember it being way lower in the mid. Way lower than the other songs were on purpose. So just for the fact that they kind of got what they wanted. I'm going to give them an eight. Because they made something they exactly wanted to make. Even though I think that if they made a song out of, it would have been better. And I'm sure they probably did this live somewhere. I'm sure there's some live clips to this someplace. And it's probably better. [00:54:25] Speaker C: Maybe they jam out a little bit. [00:54:26] Speaker B: Yeah, maybe. I'd have to go back and listen. I didn't see this tour, so I don't know, but I'd have to go back and look and see if they did do this somewhere. I'm sure they probably did at least somewhere, sometime. I don't know how long they did it for, but I'm sure they did it. Frank. [00:54:46] Speaker D: What I liked about it is that they went for a specific sound here. That old school, grainy kind of sound that you. I don't know if it was a scratch record kind of a thing. Or if you hear the old style original radios from. I'm trying to think, like the. Earlier than that mark. I forgot what kind of sound. [00:55:14] Speaker C: I would say earlier than the 50s. [00:55:16] Speaker D: Yeah, earlier than the. [00:55:18] Speaker C: Yeah. [00:55:18] Speaker B: To me, it's definitely like a record that's been played a while. And you can hear the movement. You remember when the needle used to ride on that thing? You used to hear it go up and down. You get that and all the scratchy stuff. So I think it's more that than is a record. I mean, radio, but, yeah, they got exactly what they wanted. [00:55:36] Speaker D: Yeah, exactly. So to me, it just gives it that look, that sound that I liked it a lot. So I'm going to give the production there an eight. The lyrics are fun to listen to, so I'm going to give those an eight. And the music itself, I don't mean there was always this theme that John Bonjovi liked about that cowboy western kind of sound to it. So this plays into it. So I'm going to give it an eight. I'm going to give it an eight across the board for just like a cool little short there. Sav. [00:56:17] Speaker C: I think I'm going to go seven, seven, eight. I mean, the lyrics are simple, but they're kind of cool. There's some really good lines in there. Again, I think they achieved exactly what they wanted to. It's catchy and it's in and out. Could it have been a song? Yeah, I do believe that. But clearly it's an intro for the next song. I think there's actually a line, a couple of lines that are repeated in the coming up song. But, yeah, I mean, it's a quick little thing, but the harmonies really, I think, is what makes it. Sambora really shines in this song. [00:57:00] Speaker D: Mark. The record play I was thinking of was a gramophone that was that classic one that had the horn on top kind of a thing, the gramophone. That's what I was thinking about. [00:57:11] Speaker B: I can hear that. The next one, stick to your gun, Sabino, is a song you like. [00:57:17] Speaker C: I like this one, too. It's after this, I think, where I'm like, okay, this is where the record stops for me. [00:57:23] Speaker B: Really? [00:57:24] Speaker C: Yeah. Let's say I like this ballad better than the next one. Because this is a kind of a ballady song. [00:57:31] Speaker B: All right, people, put your hats on. You know what the next thing is going to be, and he's not going to like this. All right, here we go. So stick to you guns. Now, if you listen. If you listen super close, like, the keyboard is kind of like doubling it, even though you almost don't because it's so much lower in the mix. But listen to the right hand side. He's, like, following exactly what he's doing. Yeah, it's really good. [00:58:24] Speaker C: It's nice. It's like low strings almost. Yeah, it's nice. Like wispy strings kind of on keyboard sound. [00:58:33] Speaker B: Yeah. I always like this song, too. I like it. This record is really a good record. [00:58:42] Speaker C: Yeah. Listen, I haven't heard any, really. I mean, since these days, I don't think I've heard a full album, honestly. But this, to me, is probably their best record. And I don't think I'm alone in saying that. [00:58:59] Speaker B: No, I agree 100%. All right. [00:59:14] Speaker A: So do you want to be a cowboy? Will? You know it's more than just the eyes. Gotta know the real thing if you gonna know the other side. Ain't nobody riding shotgun in the world tonight. When you think you better mean it? You better make a moment? Y'all can be a one, whoa, victim, God. Ain't nobody gonna hurt you, baby. If you have to. [01:00:23] Speaker B: So, if I didn't say. This is a Holly knight. Richie Zenbora. John. Bon Joey. Holly Knight. [01:00:32] Speaker C: Holly Knight wrote with kiss. Right. Isn't going to fight hell to hold you. Is that her? [01:00:38] Speaker B: I believe so. I think. On crazy nights. Right. I think she had a. Yeah. So. So you want to be a cowboy? I think that's. Is that the line we're saying that. [01:00:48] Speaker C: Yeah. I knew there was something. [01:00:50] Speaker B: Well, you know it's more than just a ride. Guess you got to know the real thing if you're going to know the other side. Ain't nobody riding shotgun in the world tonight. And when you spit you better mean it? You better make them all believe it if you're going to be the one. Whoa, stick to your guns, ain't nobody going to hurt you, baby. You can pull the trigger but only if you have to. Aim for the heart. Some will love and some will curse you, baby, go to war, but only if you have to. Only if you have to. So is this really talking about cowboy stuff or is this some kind of other meaning here? [01:01:25] Speaker C: I guess the toughness of a cowboy. Right. You know what mean, so, and the theme of stick to your guns, know, kind of like the wild west. And I think it's metaphoric. Right? [01:01:38] Speaker B: Yeah. I think you can take it as really literal. Right. Or you can take it as being like something nowadays, or then at that point, the ever. [01:01:47] Speaker C: Right. I mean, just kind of stick to your beliefs. Probably him, too, right? His kind of wanting to be a cowboy. [01:01:59] Speaker B: Yeah, I guess. All the music is good. Keyboard is good. Drums are good. I tend to like my rock with a little bit of melody. I'm not super into things that are just, like, screaming at me all the time, so I appreciate when someone gets a little bit of melody into their music. [01:02:22] Speaker C: Yeah. The verses are catchy. The chorus is catchy. [01:02:27] Speaker B: Well, Holly knights are very good, so I would not surprise me. I don't know. I mean, I haven't heard everything she's ever written, but all the stuff I've heard her write has been pretty good. That's what I'm expecting. Go back, here we come. [01:02:45] Speaker A: So you want to be the big. So people gonna drag you down. There's a river in the backseat if you're gonna chop it down that way I play more independence. You better burn your town. You gotta give it all you got now hold my dick shut down. You find heart. The ballad is wood. Whoa, they take us. Ain't nobody gonna hurt you, baby. From my heart. Some of it. Some of you play there too. It's only o will you know it. I look through it, I got the God that prove it. You find hard about it. [01:04:27] Speaker B: Yeah. Another very good solo short. [01:04:30] Speaker C: Yeah, I always remember liking the solo. Yeah, I like the way he goes into it, too. Kind of like he drags out the note and the guitar doesn't start right away until he ends the note. So that was pretty cool. [01:04:44] Speaker B: Yeah, I always think that he's good at that. And I think that his playing around here is a little more. Ever since, what, the third song, it's been a lot more bluesy than it was on slippery room. Way more. So he's incorporating a little bit more of that into his playing, which is a good thing. Yeah, I can't really complain. So the second verse is. So you want to be the big time. Some people are going to drag you down. There's no leaving in the backseat if you're going to drive through town. And when you pray for independence boy you better stand your ground. You got to give it all you got now or you might get shot and down you fight hard until the battle is won. Whoa. And back to the chorus. And then this is saying it's a bridge, but it's just basically a partial chorus right after the solo. Well, you know that I've been through it. I got the scars that prove it. You fight hard, battle is yours. Whoa. It's like a half verse, right? [01:05:48] Speaker A: Something. [01:05:49] Speaker C: Yeah. [01:05:51] Speaker B: So, yeah, it's a good song. It's been pretty good from the beginning. From the second time. One, two, three. We're four songs in and it's been pretty good. [01:06:04] Speaker C: Yeah, I mean, like I said, it's from born to me on baby. But at this point I don't think there's anything. I mean, this is a really strong. How many songs is that? So it's three and four. Seven. [01:06:16] Speaker B: We're on song nine of twelve. So the second side is 123-4567 there's a couple of short songs. [01:06:28] Speaker C: I feel like they haven't let up since born to be my baby. I mean, even the little rye koi the cowboy ride. [01:06:35] Speaker B: Yeah. So it's good? [01:06:39] Speaker C: Yep. [01:06:40] Speaker B: All right, let's continue. [01:06:46] Speaker A: Ain't nobody gonna hurt you, baby go for the trip but only if you have to he's from the heart some of got you fail if you have to it's only destroy this is God, whoa this is God, whoa so you wanna be cowboy will? You know, it's gonna trick out real fine if you wanna know the other side. [01:07:51] Speaker B: Yeah, it's a good song. [01:07:56] Speaker C: Good bells. [01:07:57] Speaker B: Yeah. It's ballad. Or is it midtown play? I guess it's. [01:08:00] Speaker C: I think it's valid. Listen, I don't. I don't think it's a wedding song. I don't think anybody's playing this. But, I mean, I think it's ballady. [01:08:08] Speaker B: Yeah. [01:08:10] Speaker C: Kind of swing slow. [01:08:12] Speaker B: The bass playing is pretty good, too. There's a lot of good bass. [01:08:14] Speaker C: Yeah, I was noticing that, too. Some nice little fills. [01:08:18] Speaker B: I liked it. You want to go first? [01:08:23] Speaker C: I'll say seven on the lyrics. I mean, again, it's pretty typical stuff, but it's blifting. I'm going to say seven on the music and only because I gave eight to the other ones. I mean, again, I like this song. When I listen to this record, it's definitely a song that I listen to. And production, I'll give an eight to again, I mean, strong. Everything is clear. It's done really well. The balance is there. So, yeah, strong. Mark. [01:08:59] Speaker B: I think I'm going to mirror seven. Seven, eight. Yeah, I think the music, to me is good. It's not a lot. Super standout, but it's very solid. I mean, seven is not a bad score. I mean, I know you think, well, if you're not giving it an eight or nine, it's not great. [01:09:16] Speaker C: But I know that's how you feel sometime. [01:09:18] Speaker B: Yeah, but seven is more than good. So production is good. That all sounds good. And lyrics, I like the sentiment behind, you know, stick to your guns, do what you're going to do. If you're going to do it, stand up and do it. And whether you're being a cowboy, this has nothing to do with cowboys. You can take it every way you want. [01:09:42] Speaker C: Yeah. [01:09:43] Speaker B: So I like it, Frank. [01:09:48] Speaker D: Yeah, I like it a lot as well. So it kind of fits with the rest of the theme of the songs. I'm going to match what the two of you did. Seven. Seven and an eight. Just solid songs all the way across the board so far. Hey, that's the reason why this album was such a big hit, especially following slippery one. Wet. The one thing that surprises me is that this was supposed to be a double album, and the powers that be kind of scaled it back to what it is today. So it makes me wonder, what would a double album would sound like? Would it be good throughout the two, or would it be one of those scenarios where the first album is better than the other, but thankfully they just have the one and it's been great so far. [01:10:36] Speaker B: Okay, so what are your ratings? [01:10:42] Speaker D: I'm asked you. Seven. [01:10:43] Speaker B: Seven, eight. I didn't hear it. [01:10:45] Speaker D: Yeah. [01:10:48] Speaker B: We'Re all on agreement now. I don't think Savina is going to be on agreement with me on this or you on this, probably. [01:10:57] Speaker C: Here's where I lift up the needle on this record. Next album. [01:11:03] Speaker A: Yeah. [01:11:05] Speaker C: Is the next song terrible? It's not terrible. It's not, but I don't know. To me, it's one of those songs where hurry up and get to the chorus, because the chorus is okay, but the rest of it, I mean, me personally, I've just never been a fan. I remember getting to the ballad because, again, I had the record when it first came out and getting to this song, and I'm like, okay, let's hear it. Let's hear the ballad. I'm like, well, I like the rest of the album. [01:11:43] Speaker B: Wow. [01:11:46] Speaker C: Again, I don't think it sucks. I don't think it's. Oh, my God, it's terrible. But I probably never listen to this song, even if it comes on the radio. [01:11:58] Speaker B: So funny. Me personally, it was a number one single. [01:12:04] Speaker C: Oh, yes. [01:12:05] Speaker D: It was a number one. [01:12:06] Speaker B: Oh, yeah. It was the third single. That always is the ballad, right? Isn't that the way it works? So it was number one. All right, so Sabina's got to suck through this for five minutes and 47 seconds. [01:12:23] Speaker C: That's all right. [01:12:26] Speaker D: Getting me done. Let's go. [01:12:28] Speaker B: All right, here we go. [01:12:42] Speaker A: You. I guess this time you're really. I want your suitcase shaking. Whereas my broken heart you love, it's suicide. You say you cried about the river but now you're swimming for the show. You left me drowning in my tea. You won't save me anymore. God, you'll give me one more chance, girl, I'll be there for you. Be my words. I swear to you when you breathe I wanna be the air for you. I be there for you. I live and I die for you. I feel something. What can they do? I be there for you. [01:14:10] Speaker B: Now, what I like about the song is I like the guitar parts. I like that. Like, he holds that one chord and then he does a bunch of riffies things. It's kind of pseudo, kind of like Jimi Hendrix y kind of stuff. Not exactly like it. Obviously no one tried to kill me, but I like the playing. Like the riff playing and then little lead parts in between. One thing I always hated, I can say that, is that when it goes from the verse to the chorus, that two drum fill thing, it feels like it skips. I never liked that. I think he does it better later on in the song, but in that one I don't like that. I always hated that. It sounded like they kept the track just because maybe the rest of it was good. Because that one part sucks. It fucks it up otherwise. From the guitar player standpoint, I like the guitar parts. I've always liked the guitar parts. [01:15:18] Speaker C: Listen, if it's any consolation, I don't really like never say goodbye either. [01:15:23] Speaker B: Okay. It's kind of the same song. [01:15:28] Speaker C: I even said like damn, why don't I like their balance. [01:15:32] Speaker B: It's very similar in tempo to that song, though. [01:15:35] Speaker C: Yeah, it reminds you, again, the sentiment because that song came out, I want to say when we were graduating 8th grade. So the sentiment for that one was kind of different. But again, it's not terrible, but it's just not my. [01:15:59] Speaker B: Well, Frank, what do you think? [01:16:00] Speaker C: I think the song before it is better as a ballad. [01:16:06] Speaker D: No, I like it. A know, like you pointed out, I love the riffs and the little solos in between. It just makes the song pop. It makes the guitar pop. I mean, it just shows you how great Richardson Borough really is. And of course his backup singles. Again, his backup vocals here and then. [01:16:24] Speaker B: The second verse is coming up amazing. It's going to be even better. [01:16:26] Speaker A: He has some better. [01:16:28] Speaker C: That part, I think is the only part of the song that I like where he kind of lets loose. [01:16:34] Speaker D: Yeah, I like this part. [01:16:37] Speaker B: Well, just thinking guitar player wise, I could have easily done this and just played some clean chords behind it and not did what he did. That's why I always liked the song. I always appreciated the. He could have just played clean stuff behind this and it could have just been clean. He went out of the way to kind of make this little. Well, not even that, but it was like a little tension going on with those little pieces that go behind. He hits that chord and he holds it and then he does the little griffith things and plays little parts always in between. So yeah, it makes it interesting instead of just being like we're just going to strum an acoustic guitar during this because that's what? The ball is. [01:17:18] Speaker C: Yeah, but I mean, the keyboard is also filling a lot of space in this one. Yeah, it's low, but you can hear that kind of thing going on. [01:17:27] Speaker B: Well, I'm going to have to hear and see how he comes out of the second verse. If it's the same way with that drum fill, I don't really like it in the first one. So here we go. This is Richie Sambor. This is the same thing as wanted that are alive to me. Like the part he does here. Yeah, it's going to be good. Here we go. [01:17:44] Speaker A: I know you know, now they have their own hiding place. Well, I can promise you tomorrow but I can't bow back yesterday my head I just wanted to be all about it I feel water when you get that baby when you get drunk I'll be the wild I'll be there for you be my words I swear to you when you breathe I want to be the air for you I'll be there for you I live and I die for you I feel love from the sky what can't they what can do I be there for you and. [01:19:06] Speaker B: Let'S stop before the song. So that one was a little bit better coming out of that version to the chorus. The first one was a little janky. It was like two hits, and it was like, oh, that didn't sound right. [01:19:19] Speaker C: I like the big fill between when he screams. Like when Bonjour always screams before. I think they go into the last chorus. He does a nice little. [01:19:28] Speaker B: Yeah. And the fill over here was pretty good, too. It did feel a little rushed at the end of the. Yeah, but it wasn't as bad as the first time. And his background vocal in this is real good. [01:19:42] Speaker C: Yeah. [01:19:44] Speaker B: So I know. You know, we've had some good times. Now they have their own hiding place. Well, I can't promise you tomorrow but I can't buy back yesterday and baby, you know my hands are dirty but I wanted to be your Valentine I'll be the water when you get thirsty baby I know you don't like that line at all. [01:20:03] Speaker C: Well, I mean, it's not bad. It's just it's been used. I don't think the lyrics are terrible. I mean, there's some good stuff. [01:20:09] Speaker B: And when you get drunk I'll be the wine yeah. And then back to the chorus. Now I remember. I do like this solo a lot. Back it up a little bit. Here we go. Yeah. That's a very well done solo. It's very homeable. Like, you can't expect you can't hear anything else being in that place besides that solo. It's done as good as you're going to have a ballad solo done. And again, sounds like him. I like the little motif he use. He kind of copied some of the vocal stuff on there, which I like, too. So he did a great job. And then there's going to be some more background vocal stuff coming up. He's like the star of this thing. Even more than bonjour. [01:21:39] Speaker C: Yeah, I like his voice a lot. I like the big scream that John does. [01:21:44] Speaker B: Oh, at the end? Yeah. Oh, coming up. [01:21:46] Speaker A: Right? [01:21:47] Speaker C: Yeah. [01:21:48] Speaker B: Is that where the fillers you like, too? [01:21:50] Speaker C: Yeah, right after that. I'm not going to scream now because I may wake some people up. [01:21:54] Speaker B: Okay. [01:21:54] Speaker A: Yeah. [01:21:55] Speaker B: All right, I'm going to back up a little bit. Here we go. [01:21:59] Speaker A: I want to know where you. When you were down. Just wait a minute. I wish I blow down. I'll be there for you. Be, by the way to you when you breathe I wanna be there for you. I'll be there for you. I live and I die for you. I feel suffer. What can't say. What love can do. I'll be there for. I'll be there for you. If I was. I swear to you when you breathe. I wanna be there for you. I'll be sad for you. I live it outside for you. What can they do? I be. [01:24:08] Speaker B: We go. [01:24:09] Speaker D: I think it might be. I think it might be right, Mark, Richard Burrow was the star of that. [01:24:14] Speaker B: Fucking star of that song all the way. He's great. He's great. Everything he's playing is right. His background vocals are great. And how many times does this has probably been used in, like, weddings. This has got to be like, especially probably back then, more than now. But I'm sure it's probably used now, too. [01:24:38] Speaker C: It's like it's played on the radio. [01:24:40] Speaker B: Yeah. All right, so we might as well get this over with. Savino, go do it. [01:24:48] Speaker C: No, listen again. It's not a horrible song. I mean, it isn't something that I find unbearable. It's just not my favorite. I mean, the lyrics are fine. The lyrics aren't terrible. There's some nice lines. But I'm going to say a six. Because I've given other stuff, higher music. I'm going to say six on the music. And I'm gonna say an eight. [01:25:11] Speaker B: Six. [01:25:16] Speaker D: That border is disrespectful. [01:25:18] Speaker C: Here's what I just feel like it's. I don't know. It's just not my favorite song again, I don't think it's horrible, but this is probably the first time I've listened to this song straight through. [01:25:36] Speaker A: Really? [01:25:36] Speaker C: The first time. I'm not kidding you. I've just never been a fan of this song from the first time I heard it. And again, I don't think it's a horrible song, but it's just. I don't know, just doesn't. [01:25:50] Speaker D: Six. [01:25:52] Speaker A: That's all, folks. [01:25:55] Speaker C: I will say an eight on the production, though. [01:25:58] Speaker D: Well, thank you for that. [01:26:00] Speaker C: I mean, listen, could I do seven, seven, eight, probably. I mean, listen, if you want me to throw it a bone, I'll give it seven, but then I'll make you. [01:26:08] Speaker D: To do any favors. [01:26:09] Speaker C: No, but I'm saying this, to me, is kind of where it really starts with. I mean, again, listen, bad medicine, I never really liked lay your hands on me. I'm not a fan of that song, but bad medicine, I wasn't. And it's very recently, and I'm talking probably within the last year, because we had Sirius again, and they would play it on the hair metal thing, where all of a sudden I'm like, I'm kind of digging this. And once they played a song, it'd be on repeat for like a week. I was like. I started kind of getting into it, but back then, I'm telling you, if I rated bad medicine back then, it would have been a hell of a lot lower. But it's kind of grown on me. This one just hasn't. [01:26:57] Speaker D: Oh, wow. [01:26:58] Speaker C: Listen, maybe this will spur on some comments. Hey, you jackass. [01:27:03] Speaker B: What the hell is going on? [01:27:06] Speaker C: All right, well, what do you guys think? Who wants to go first? Frank, you go first. [01:27:10] Speaker D: I'm going to give this triple eight. I just love how the music played out throughout the whole thing. Like Mark pointed out, I mean, richard Sembara is definitely the star here. His guitar playing and his backup vocals, I mean, it's just amazing overall. I mean, the drumming is great. I think everything just tied in. So great in this song. So good. That music, an eight. And the lyrics, I think, just great. They just have a great message that everything flows together and it goes well with the music. So that's why I give it a. And the production, the whole song is just perfectly made. So I'm going to give that an. [01:27:54] Speaker B: Eight all the way around. [01:27:55] Speaker D: And this was a number one, right, Mark? This song made it to number one. Yeah, it's no wonder it's number one. Yeah, it's just great. [01:28:01] Speaker C: Over here's people weren't in my camp. [01:28:13] Speaker B: Yeah, that's tough. Sixes. Okay. I don't know. Listen, that's what you feel is what you feel. [01:28:20] Speaker C: I've given songs that I've liked better, way better sevens, so I can't justify giving. [01:28:26] Speaker B: No, I got you. Hey, listen, this is what it is. This is your podcast. You can do whatever you want. Lyrics, I'm going to do seven. Yeah, there are some little hokey things in the lyrics. Musicianship, I'm going to give it eight. Because the guitar solo stuff, generally, all the music is good. The drum parts, there's a couple of things there I'm, like, questionable. But overall, I think it's a very well done song, especially for ballad. Ballads could be really. Whatever. So I always liked the guitar playing. I think that's what set it apart for me and his background vocals. So for me, that's what kind of saves it. And production is good. I give it aid on production. I mean, you can't say that it's not clear. And everything is all you can hear. Everything. Everything's balanced nicely. I like it. I thought it was good. I mean, obviously it was a number one hit for a reason. That's not the reason why I'm giving it what it is. I generally like the song now, coming out of that fiasco, what do you think about the next song? [01:29:42] Speaker C: Again, I stopped listening after stick to your gun, so I remember not liking this one, but who knows? [01:29:51] Speaker B: Weren't we talking about this? [01:29:52] Speaker C: Listen to this for a long time so I may like it now. [01:29:57] Speaker B: Okay. [01:29:57] Speaker C: Like I said, bad all these years to grow on me. I mean, again, I never thought it was horrible, but I don't know, compare it to these other songs. It just doesn't stand out as much. [01:30:10] Speaker B: Yeah. No, I can agree with that. [01:30:14] Speaker C: Yeah. I mean, just recently I'm like, oh, you know what? I guess absent made the heart grow fonder. It could be for this one, too. I couldn't even tell you how this song goes at this point. I'm sure I'll remember it once I hear it. [01:30:27] Speaker B: Oh, yeah, you will. [01:30:27] Speaker C: But back then it was a skip for. [01:30:31] Speaker B: Yeah, I don't. I remember the song. I don't know how much I liked it or didn't like it, but I'm gonna probably get. I'll probably know a little bit more as soon as it gets going, but, yeah. So here we go. So 99 in the shade. [01:31:03] Speaker A: The fire feeling really good night. It's all right. Call the mother jackets somebody tell me the time is coming down tonight I know we just say way along, you know, I wanna be the. Like, it's just a television girl, baby, y'all know. Teleport. I'm on my way. I got the radio blasting in my. I got a party in my pocket and, you know, I just got me. [01:32:09] Speaker B: So you remember it now? [01:32:12] Speaker C: Yeah. Remember. [01:32:15] Speaker B: It'S much more slippery when wet. [01:32:18] Speaker C: Yeah, absolutely. It sounds like a holdover, honestly. [01:32:22] Speaker B: Yeah. It almost doesn't belong on the record. [01:32:26] Speaker C: Yeah. I think there's a reason why it's here as opposed to kind of where the other songs were. I think this would have ruined the flow had it come any sooner. Unless it was at the beginning with the other two songs. [01:32:43] Speaker B: No, this is definitely in the song kind of wreck. I don't hate it. The lyrics are very kind of. It's about being a teenager in the summer in that kind of way. You can kind of like, okay, but. [01:33:00] Speaker C: The Sahara Jack and Tan Sally are right up. Springsteen stuff. I mean, listen, I'm a fan. [01:33:06] Speaker B: Wow. [01:33:07] Speaker C: I can appreciate a nod. [01:33:09] Speaker B: I'm sure they're trying to do that. Well, Tommy and Gina in the song, too. [01:33:13] Speaker C: Yeah, Tommy and Gina make an appearance in this as well. [01:33:17] Speaker B: Well, that's what I'm saying. [01:33:18] Speaker C: Didn't remember. [01:33:19] Speaker B: I wonder if it was written for the other album. I've never heard anything about that. But it's very slippery sounding. [01:33:28] Speaker C: Yeah, definitely. Well, I think the production is better, though. Not that the production on that album. I mean, it is still Bruce Fairburn, who did both of them, but I just feel that that one was slicker. This is more of a rootsy sounding album where that one was a bigger kind of sounding album. But the songs are also. Is. Again, it does sound like a song that could be on there, but the production is different. I think it's a better produced song. [01:34:01] Speaker B: Guitar playing is very similar to stuff that's on there. [01:34:05] Speaker C: Yeah, he's got the poles right there. I mean, this is very 80s. [01:34:10] Speaker B: Yeah. Super 80s feel. I'm burning up with fever but there's a feeling tonight there's a fire feeling. Sorry. I feel I'm burning up with fever but the fire is feeling really good tonight and it's all right I'm going to see Sahara Jack and suntan Sally somebody tells me even Tommy's coming down tonight if Gina says it's all right I'm going to see those senoritas lying under the sun they're greasing it up with the stereos on I want to be their blanket going to tell every girl hey, baby, you're the one tell the boys I'm on my way I got the radio blasting in my old man Chevrolet I got a party in my pocket because, you know, I just got paid I'm feeling fine it's 99 in the shade so there's a lot of things in there that are very cliche kind of lyric stuff. [01:34:55] Speaker C: Yeah. [01:34:56] Speaker B: So it's supposed to, I guess, just be a fun kind of song. [01:35:01] Speaker C: You know what it sounds like to me, kind of. Again, I don't know if it is a holdover. I don't know the history. But, you know when bands talk about albums and somebody's like, oh, you don't have any party songs on there. You know what I mean? You don't have any. So it's almost like, oh, okay, well, we got to write a party song because there's no. All right. Like bad medicine kind of. But that's just what it feels like. Like an afterthought to me. [01:35:24] Speaker B: Yeah. And I think they are trying to channel a little bit of, like, the New Jersey kind of shore. [01:35:32] Speaker C: Right. [01:35:32] Speaker B: Spring kind of thing. Yeah. [01:35:35] Speaker C: The boardwalk and then the beach and whatever. [01:35:40] Speaker B: Yeah. Okay, let's continue. [01:35:47] Speaker A: Margarita fills your exit makes it feel so much fun just a little sweet talk I get the bread I might oh, I have a night I could see the sun of features I live in the stuff in the fan and I laugh at a girl she's the one tell the boys I'm on my way I got the radio blasting in my a gather I got a body in my pocket I feel it by day oh, I feel it by. [01:37:22] Speaker B: That'S a little more of the hair metaly, kind of pop metaly guitar player stuff. [01:37:30] Speaker C: It was actually funny. I'm pretty sure the tempo sped up there. I think that it did intentionally. But all of a sudden, the drumming got a little bit faster. [01:37:45] Speaker B: It's definitely more of a generic, kind of, like stuff that they were doing prior to this. It's definitely different than the rest of the album. [01:37:55] Speaker D: It doesn't fit. [01:37:56] Speaker B: No. Yeah. So the second verse is when the sun goes down. That's when the street heats up. Senorita Margarita fills your empty cup tonight she'll make you feel all right a good time here don't cost much money just a little sweet talking and a pretty native honey and you're set for life or one hell of a night I'm going to see those sons of beaches see, there we go out there living it up in the surf in the sand the main man life ain't so tough so get me in the action so I can tell every girl she's the one and then tell the boys I'm on my way basically it's the same chorus solo. [01:38:37] Speaker C: Naming this album sons of beaches would have been a. [01:38:46] Speaker D: This is the best name that they could have come up with, right? [01:38:48] Speaker B: New Jersey. Yeah, it worked out good. [01:38:50] Speaker D: It worked out really well. [01:38:52] Speaker B: Let's see how much farther we take. A little bit and then we'll stop it. Let's see what they're going to come up with. [01:39:02] Speaker A: The shade 99 and I got the radio break. I got a party in my body. You know I just got laugh feeling fine it's 99 in the tree. It's only gonna feel it fine it's not in the tree where you rain I feel okay I'm on my way to just got paid it's not come on it. [01:40:22] Speaker C: He threw that effect through on the vocal one part. [01:40:25] Speaker B: Yeah, it's very not of this record. I'll go first because I can kind of slam this a little bit. I think some of the lyrics are just a little cheesy. It's catchy. So the catchiness of it is good. So I like the catchiness. But I'm going to give lyrics a six. I think he's done way better on this album. Music. I mean, it's not played badly. It's just so different than the rest of the record that it sticks out like a sore thumb. So I'm going to give it. I mean, I can't give it like six for the music because the music is decent. So I'm going to give it seven. And production still sounds good, though, regardless of whether I like the song or don't like the song. So I'm going to give it an eight. Saf. [01:41:19] Speaker C: See, it's hard to rate it because of the one before it. I do think that the song before it is a better song. All right, I'm going to start with the production. I do think production is good. I'm going to say an eight in the production. Again, I just find it disappointing. Even as a party song. I think they could have done a better because wild in the streets, right, is a party song. And I really like that song. And I think it's kind of one of the underestimated songs from slippery when wet. But this doesn't do it like that. I guess six on the music. [01:42:03] Speaker B: And. [01:42:03] Speaker C: I guess six on the lyrics. And I know it's the same as I gave the song before, but for what it's worth, I do think I'll be there for you is a better song overall. But again, this is one where there's no need for me to go back to this one, but it's fine. You know what I mean? I mean, it's towards the end of the album. It's a party song. I understand. It feels like, hey, we need a song like this. Frank. [01:42:35] Speaker D: I agree with you 100%. It just feels like, hey, let's just throw this in here because we're reaching towards the tail end. Let's just have this one party song and hang out and things like that. It's definitely my least favorite in the whole record. So for me, I'm going to give six on the lyrics. I don't even know what they're trying to say there, but it's okay. So I'm going to give that a six there and the music a six. It just feels like you said, mark, like, okay, this wasn't good enough to make it to slippery one wet. Let's just throw it towards the back end of this album here. So I'm going to give that a six there. And then the production is still solid. I mean, all the way around. So production. I'm going to give that an eight here. [01:43:30] Speaker B: Yeah, it does sound like it's a throwaway right from the other record. That's what it sounds like. [01:43:37] Speaker D: I wanted to ask you, Mark, was the entire album recorded in one place, one studio? [01:43:43] Speaker B: Yes. Little Mountain sound in Vancouver. Between September 19. No, between May 1 and July 31, 1988. It was released in September. Wow. [01:44:01] Speaker D: Thank you. [01:44:02] Speaker B: Okay, and now we get to the last song, love for sale. What do you think of this one, Seth? Remember this? [01:44:14] Speaker C: Yeah. Like I said, new Jersey ends after stick to your guns for me, this is just a know. This is not the Cole Porter love for sale. That's for sure. [01:44:28] Speaker B: All right, here we go. [01:44:32] Speaker A: That's, um. When I. [01:45:04] Speaker B: So you mean you either, like, hate when, like, rock bands, like, do this super bluesy stuff or you go, oh, that's not so bad. I think he. So I think the guitar playing is decently good. [01:45:18] Speaker C: Yeah. [01:45:20] Speaker B: I can understand why people go, why? Like, why is this here? [01:45:26] Speaker C: That's a little code or whatever. And honestly, I want to say, I think it's this song where they've done it live acoustically, and it kind of takes on a different Persona. And I think I've liked it. I think it's this one. [01:45:45] Speaker B: Yeah. I think live, it would be better. [01:45:49] Speaker C: They do something again. I think it's this one. [01:45:53] Speaker B: For me, this is something they just laid down and played right. We're going to make a real song out of this, right? All right, let's continue. [01:46:08] Speaker A: When I. This morning I rolled out of bed I felt like a dog hoover kicked in the hair to check out my mail there was little the red. Love for sale. Love for sale I picked up the phone everyone I could out of my fingers to walk into the telephone Book. You can't catch a fish if you ain't got the book. I can't love to see it. Love the seal we'll send up a signal throw me a line, someone say just call it valentine it might not be legal but it's showing crazy being too dead behind I go in Colombo but my tv is there I try have a ballad I'm hoping that you're looking like a pen out there. Love was there, love was there sounds. [01:47:00] Speaker B: Like they had a lot of fun. [01:47:01] Speaker C: Yeah. Mean, I will say that I do appreciate the. I call Lieutenant Colombo from my tv set because I'm a massive Colombo fan. [01:47:11] Speaker B: So appreciate that. They're trying to bring you back. [01:47:14] Speaker C: That's it. [01:47:15] Speaker A: Yeah. [01:47:16] Speaker C: I didn't. Never knew that that line was in it because I've never made it this far. [01:47:20] Speaker B: Oh, really? [01:47:22] Speaker C: Wow. Listen, they're having fun. I can appreciate that. I appreciate the fact that they're having fun, you know what I mean? But I don't know. Just for the album to end on these two songs is. [01:47:41] Speaker B: Yeah. [01:47:41] Speaker C: And it doesn't ruin the album again. I still think it's a solid album and I think it's their best one, not having heard the more recent ones. [01:47:52] Speaker B: But very few albums can go from the beginning to the end and be perfect and really good and get gigantic scores all the way through. I mean, it just doesn't happen. [01:48:01] Speaker C: But I'm saying, even if this ended on the ballad. Right. How many songs the ballad is, how many songs into it? [01:48:06] Speaker B: Ten. [01:48:07] Speaker C: There you go. I mean, ten songs, right? Would you have cared if 99 in the shade and this song weren't on there and it ended with the ballad? [01:48:16] Speaker B: If it was me. [01:48:17] Speaker C: All right, it's weird, but I could. [01:48:20] Speaker B: Lose these two songs, right? I can move I'll be there for you up to nine and end on stick to your guns I'd be good. I think it would be better. I mean, I don't hate this. They're having a lot of fun here. They're playing. The guitar playing is actually fairly. The guitar playing is pretty good. [01:48:37] Speaker C: Yeah. No, I'm saying it's fun. I mean, it is fun. [01:48:41] Speaker B: So there's a lot of lyrics? Yes. So I wake up this morning, I rolled out of bed, I felt like a dog was being kicked in the head. Checked out my mail, there was a letter that said love for Sale love for sale I picked up the phone, I called everyone I could. I let my fingers do the walking to the telephone book, boys and girls. Telephone book is a thing where everyone's numbers used to be in them. And you used to look it up and call people. [01:49:07] Speaker C: Is that in the lyrics? [01:49:09] Speaker A: Yes. [01:49:12] Speaker B: So you can't catch a fish, you ain't got the hook. Love for sale Love for Sale send up the signal, throw me a line someone explain this funny valentine it might not be legal but it sure ain't a crime I'm one step from crazy and I'm two steps behind I called Lieutenant Colombo from my tv set I tried the dating game I haven't found her yet hope that she's looking like a penthouse pet love for sale love for sale and I think this is where the solo is. I think if I remember. Let's see. [01:49:47] Speaker A: One more time. It. When we've been living again in three years, 2 hours, 20 minutes, maybe pouring beers. You see she can't shop a love and you're shopping at Sears. Love for sale I guess I learned my lesson. It was easy to see my old lady. She made this joke on me. I never looked. I forgot it to be there. Love the ceiling love the ceiling love the sailing love to see my own lady like it. Love to see. [01:50:41] Speaker C: The boots. [01:50:43] Speaker A: I got the boots. You, um. You should see. No lama talking about. It's a big brothers I ass. You remember the shotgun weapon? Is that what that was? That was a shotgun right here. I got it. [01:51:26] Speaker C: Somebody gives me a trick. [01:51:31] Speaker A: Oh, get that. Rich. [01:51:43] Speaker C: What, bro? [01:51:44] Speaker A: I gotta go. How come, man? I gotta go home. You gotta go home and just. Let's just say that the record is done, okay? [01:52:09] Speaker B: There's some funny parts in that ending. [01:52:12] Speaker C: It's like, welcome back. Hotter at one point there at the end, like Vinny Barbarino and boom boom. What's his name? [01:52:20] Speaker B: Richard. I gotta go home wedding. You know, that was improvised, right? He was a. Wait, wait. Because he couldn't stop laughing. He's like, is that a shotgun wedding? So for the mere fact that they're having a lot of fun on, then it's kind of like an improvised thing. I'm probably going to rate it better than the song prior than this. [01:52:42] Speaker C: Yeah, I think I am, too. Listen, I think the guitar playing is really good. He's doing a lot of really good stuff on the acoustic. [01:52:50] Speaker B: And the lyrics aren't horrible either. They're really not horrible. [01:52:52] Speaker C: Yeah, they're funny. I mean, listen again. It's a fun song, but to me it's more of a b side. [01:52:59] Speaker B: Yeah, well, I'm going to say seven on the lyrics because there's some funny stuff in there. I like just playing around. Like they're getting to the end and they don't know how to end it. They're just playing. Because who knows if this was even now. Was this really something they just did on the fly? Did they knew they were going to do this? I don't know. There's parts of it like you're like, yeah, they knew they were doing this right. And then other things going, well, it sounds like he's had too much to drink. That's what it sounds like. [01:53:29] Speaker C: Yeah, they do come a little drunk toward the end. Yeah, they sound a little. [01:53:34] Speaker B: I'm going to give seven on your musicianship. And just because of the way it sounds, I'm still going to give the eight in production because I think they wanted it to sound like that. And it sounds exactly the way they want to sound. Just like what? Homebound train? No, not homebound train. What is it? Ride cowboy ride. [01:53:54] Speaker D: Homebound train. [01:53:55] Speaker B: No. Ride cowboy ride. I think it's fun. It's a fun thing. Do I think that it had to be there? No. Like I said, you could take these two records, flop that one song and it would be fine. But I enjoyed this thing. His guitar playing, I think, is the best part of the whole thing. It's good. And the little Tico Torres snare hit shotgun thing, that was pretty funny. So they had a good time. I feel like this is more authentic kind of thing than the 99 the shade is. Right. It actually fits on the record more than 99 the shade. So, Frank. [01:54:38] Speaker D: I appreciate the fact that they recorded this down at the Jersey Shore after a couple of rounds. That's what it sounds like. Somebody said, hey, just record what we're doing and throw it on the song. [01:54:49] Speaker B: Right? [01:54:49] Speaker D: Throw it on the record. I like the lyrics. The lyrics are fun. Going to give those a seven. And the music overall, it just has that really great vibe to it. So I'm going to give that a seven in the production. An eight here. Now, does it belong on this record? No, I don't think so, but it made it so. Overall, I think it's great. [01:55:14] Speaker C: So just before I give my thing, love for sale was recorded and engineered by John P. Allen and Chris Cavallaro at Chalet Sound in Allenwood, New Jersey. All pre production songs were recorded and engineered at Chile Sound by Allen, additional engineering by Cavallaro and Nijad beckon. So it sounds like it wasn't even done by. [01:55:44] Speaker B: Is like a. This is like a pre production thing. They never actually re recorded this. [01:55:49] Speaker C: Yeah, that's what it sounds like. [01:55:51] Speaker B: So this is kind of probably very much like what it sounds like it is. [01:55:56] Speaker C: Yeah. [01:55:57] Speaker B: Well, I even like it better now that I know that. No, it makes it better of a thing. Like. Yeah, we record this in pre production, why don't we just stick it at the end of the record? Because maybe they weren't even thinking about it. Let's just say the record is done. The record wasn't even recorded yet. Okay. [01:56:14] Speaker C: That's what sounds like. [01:56:15] Speaker B: Yeah, it makes it even better. I think. [01:56:23] Speaker C: I'm going to do seven on the lyrics only because he mentions Colombo. Seven on the music. [01:56:31] Speaker B: I think that's all it takes. [01:56:32] Speaker C: That's all it takes. Well, I mean, that makes it better than the two songs before, because they don't mention Colombo in those songs. No, it's whatever. I mean, the music. I'm going to give it a seven because of the guitar playing. Again, this is not a song I'm going to go back to. But he does a lot of cool stuff, like on the acoustic, some really cool stuff that I picked up on. And the drumming is fine. I like the drumming that he's doing with the brushes and everything. And. Yeah, I think, again, it sounds exactly how it's supposed to and how they wanted it to sound. So I'm going to say an eight on that, too. [01:57:14] Speaker B: Well, I think overall, the record is very solid. [01:57:18] Speaker C: Yeah, absolutely. [01:57:21] Speaker B: And this made them even bigger than they were. Like I said, you couldn't get away from this thing. I remember this record was everywhere. [01:57:29] Speaker C: They were everywhere before, though. [01:57:31] Speaker B: Well, that's what I'm saying. Two things in a row, that's what happens. So it was a great record for us to get. I never thought we were going to get this, I tell you the truth. [01:57:41] Speaker C: I didn't know. I was as shocked by this as I was by girls, girls, girls. [01:57:47] Speaker B: Yeah. [01:57:52] Speaker C: We haven't had some other songs. I was like, wait, you weren't shocked by, like, tommy by the. But. [01:58:01] Speaker B: I just don't think we thought we were going to get this. I didn't think. [01:58:06] Speaker C: I mean, I thought if Bon Jovi came up, it'd be like, I don't know, name, whatever, anything after. [01:58:15] Speaker B: Yeah, well, I'm happy we got it. [01:58:18] Speaker C: Yeah, it's a good one. Good. It's a good album. [01:58:26] Speaker D: Yes. [01:58:27] Speaker B: Well, it's hard to follow up an album like slippery and wet, but they did a great job. [01:58:33] Speaker C: Yeah. I think there was a maturity, and they were on a different level, I think, songwriting wise. I think it even says, like, bon Jovi, when John Bon Jovi, one point, wanted to scrap everything, he was so nervous. [01:58:47] Speaker B: Wow. You're following up the biggest record your career, right? [01:58:52] Speaker C: Yeah. He's not the only one, though. Yeah. I could be wrong. I want to say it was like October, baby, at one point where they're like, should we just scrap everything? It happens when you're in charge. [01:59:10] Speaker B: Yeah. [01:59:10] Speaker D: Well, hey, listen, I'm glad they did not. [01:59:14] Speaker C: I know. [01:59:16] Speaker D: Imagine they just grab it because they can't. [01:59:20] Speaker B: Yeah. [01:59:21] Speaker C: Well, that's what he said, too. I've got the money to do it. He said at that point. [01:59:27] Speaker B: The problem is that you're going to second guess yourself. Right? [01:59:30] Speaker A: Yeah. [01:59:36] Speaker B: It's very tough to have a big record and then have to follow it up, especially a number one record. Right. I mean, and this thing go number one, but it did ridiculously well, right? Am I. Am I saying wrong? [01:59:50] Speaker D: No, it went number one. This one. [01:59:53] Speaker C: Well, it's the best selling. From what I saw, it's their best selling album. [01:59:59] Speaker D: It did not sell as many as I saw. [02:00:02] Speaker C: This was their best selling album, at. [02:00:05] Speaker D: Least one of the charts that I saw. [02:00:07] Speaker C: And, I mean, if anybody knows better, please say it. But the chart that I saw, this was your top selling album. [02:00:14] Speaker B: Yeah. It was number one on the US Billboard 200. It's a great record. It's a great record. I'm happy we got. [02:00:29] Speaker D: They did a great job. [02:00:30] Speaker B: They did awesome. [02:00:31] Speaker A: Yes. [02:00:32] Speaker D: When you think about this era, if this album is not part of your discussion, then you were living in the ethers of outer space, because it really should be right there in the conversation in terms of great albums that came out during that time. [02:00:48] Speaker B: And I think it kind of let them change up their sound a little bit for what was coming next. I think this helped that because they didn't get stuck in the same old kind of writing that they did prior, right? [02:01:00] Speaker D: No, I think this was their last number one hit album, too. They didn't have another one for decades later. I don't think they had another one after this. [02:01:14] Speaker C: Well, don't forget, keep the faith. Had some big hits, too, though, and, I mean, they were still MTV honeys. Because you think about. [02:01:28] Speaker D: Keep the faith. [02:01:29] Speaker C: Yeah, keep the faith. Sleep when I'm dead. I mean, that was a big song on MTV. Better Rose. That's on keep the faith, right? [02:01:43] Speaker B: Yes, it is. I like that song, too. [02:01:45] Speaker C: Yeah, but that was a big hit. [02:01:52] Speaker B: Yeah, it went to number five. Keep the faith. [02:01:58] Speaker C: In these arms. That was a big one, too. [02:02:02] Speaker B: That was Bob rock. So they went from Bruce Fairburn to Bob Rock. [02:02:08] Speaker C: He just basically switched seats pretty much. Well, when did Bruce Fairburn die? Because this was 92. [02:02:22] Speaker B: He died in 99. Okay, so it was later. It was right after. It was right after Psycho circus kind of, right? Yeah. No, I'm really glad we got this. It was good. But next week is another spin of the wheel. [02:02:40] Speaker D: I know. I can't wait for that one. That's going to be fun. [02:02:43] Speaker B: Yeah, I know. [02:02:44] Speaker C: I wonder what we're going to get. This is, like, big. And so, I mean, the STP one was an offshoot, right? Because we didn't get one of the big ones. [02:02:52] Speaker B: Yeah, but we got one of the. [02:02:54] Speaker C: Big ones from Bonjour. Bon Jovi came in strong. [02:02:57] Speaker B: They came in super strong. But you want to know, that's the pilots album. People really like that record. [02:03:05] Speaker C: Yeah, we got a lot of listens. So, I mean, we'll see what happens with this one again. I mean, everybody who's listening, we had such a big upswing in the last few weeks. Thank you so much. [02:03:16] Speaker B: Keep it going. Keep it going. [02:03:18] Speaker C: Please spread the word, man, if you like it. And again, just drop a line, whatever. If there's something you don't like, something you'd like us to do, better throw an album out, too. Listen, it's our podcast. We can do whatever we want. If you're like, listen, I would love if you guys did. I mean, we were even mentioning there's a couple of what's coming out in February. Mick Mars is coming out ace freely. Maybe we'll pull an audible, one of those and be like, fuck it. Let's just do one of these. [02:03:48] Speaker B: Yep. [02:03:48] Speaker C: So let's see what happens. Just whatever. [02:03:52] Speaker B: Right, Sam, do you think? [02:03:54] Speaker C: Yep. So we are part of the Deep Dive podcast network again. Great bunch of guys. Like I always say, more individualized podcasts. If you want to hear about Rush, our boys of rush, rash, you got your I heap, Tom Petty, Queen. You name it, they've got it. So if you're looking more for a single band to listen to and people with a lot of knowledge about it, check them out. And, Mark, where can they find us. [02:04:19] Speaker B: On the interwebs rockroulette pod on all the social media. Rockroulettepodcast.com. Make sure you share our episodes out. Give us reviews wherever you listen to your podcasts. Five star reviews help us move up the charts so more people can find us and we get to do more episodes because more people are listening. So you guys have been doing a great job because obviously more people are listening. So that's awesome for us. Yeah. So it's been great. So next week will be a spin and we'll see what we get. I really hope we get a real grunge record eventually. Soundgarden, Temple, the dog something. [02:05:00] Speaker D: Oh, that'll be great. [02:05:02] Speaker B: Alison chain something. It's not going to happen, though. It's going to give me like the carpenters. [02:05:11] Speaker C: In chains, man. [02:05:13] Speaker D: Oh, wow. That would be amazing. [02:05:17] Speaker C: Who knows? [02:05:19] Speaker B: All right, people, we will see you next week. [02:05:22] Speaker C: Yep. Ciao. Ciao. Later.