Episode 74 - The Ramones - Leave Home

[00:00:00] Speaker A: You. [00:00:04] Speaker B: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These socalled 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 C: You. [00:01:13] Speaker A: Hey 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 other week we spin the wheel and she picks an album for us and we go through it one side per week, unless it's really short, which has rarely ever happened because we also tend to yap a lot, which hopefully you guys like, and we go through the tracks and we rate it based on music, lyrics and production based on one out of ten. And again, we're just a bunch of friends who want to do a podcast and love to listen to music. And it's a little bit of a journey for us. Discovery and rediscovery, stuff we know, stuff we used to know and stuff we have no idea about, and we just don't know which is going to pick. So again, I want to thank all the listeners. We've had an uptick recently. So whoever you are, thank you so, so much. Spread the word if you like it. Again, post a comment, whatever comments, criticisms, something you want to hear. Maybe this is an album. You're like, hey, would you guys do this? Absolutely. It's our podcast. We can do whatever the hell we want to. So we're just here having fun tonight. I have Mark. Oh, hi, Mark. [00:02:22] Speaker B: What's up, guys? [00:02:23] Speaker A: And I am sad. [00:02:24] Speaker C: Ciao, Bunasera. [00:02:26] Speaker A: So last week we wrapped up Bon Jovi's biggest album, biggest selling album of all time, New Jersey, which was a massive pick for the wheel. Mark. [00:02:35] Speaker B: Yeah, the wheel's been on a roll lately. [00:02:39] Speaker A: Yeah, the STP, which was an odball because it wasn't one of their most famous records, has broken a record for, well, almost broken a record for us for most listens, but definitely without a doubt the quickest. We've ever gotten so many listens. So again, we want to thank everybody, and I'm pretty much. I think we concur that New Jersey is probably Bon Jovi's best album. A lot of good songs. A nice sense of maturity in the songwriting, I think, and the styles and everything. What do you think, Warren? [00:03:14] Speaker B: At least for us, I think it's the most for me and you. Anyway, it's our favorite, but I know there's people out there who like slippery wim wet a little bit more. I know Alan Tate on the threads app was saying that bad medicine is, like, his favorite song, and I think he. I don't know if I forget if he liked slippery or slippery or New Jersey better. I can look it up and see, but I forget what he. Yeah, people. You know, people either love Bon Jovi, hate them. I think we got a comment, a kind of negative comment about Bon Jovi on Facebook. [00:03:52] Speaker A: Oh, did. [00:03:55] Speaker B: I mean, I kind of understand that back in the day, they were very. Sometimes the real hard rock guys didn't like. [00:04:07] Speaker A: I mean, I think as a group, we also tend to like a lot of different kinds of. You know, we'll like some of the softer stuff, some of the whatever, but we'll like some of the heavier stuff. And so, again, I always say a good song is a good song. Yeah. [00:04:21] Speaker B: Alan Tate likes bed medicine is the best song banjo we ever released. He said it's tough for him to pick between slippery when wet and New Jersey, but they're both great. [00:04:37] Speaker A: I mean, I do think that New Jersey, for me, is there, but again, I haven't heard some of the more recent stuff. Do I think that there's a chance that it'll surpass New Jersey? In my head, in my mind, I don't think so. But you know what? Who knows? Further down the line, ten albums from now, maybe we'll get one of them and I'll change my mind and say, damn, we'll see what happens. [00:05:01] Speaker B: I don't think you will. [00:05:03] Speaker A: I don't think so. [00:05:04] Speaker B: I've heard a bunch of them again, and it's not their fault. Like, what bands can really do that? It's really hard. It's not like you can just records surpass, like, what you did in the past. Chances are you can never do that again. It's just not what it is. [00:05:22] Speaker A: Giving them credit where credit is due, man. Do we have any more to add? [00:05:29] Speaker B: No, I think it's a great record. [00:05:32] Speaker A: I do. [00:05:33] Speaker B: I tend to like my hard rock with melody and stuff, so I kind of like Bon Jovi, but I can understand if you're really into really heavy stuff, like Bon Jovi is not going to do it for you. I get it. [00:05:45] Speaker A: But also, again, if you like it, you like it. I would never shut off any type of music just because I don't like. I mean, whatever it is it is. I'll listen to it. If I like it, I like it. I've always said that. I don't care what it is. [00:06:00] Speaker B: I agree. Well, I guess we should cut to the chase. [00:06:06] Speaker A: Yeah. [00:06:07] Speaker B: Because who knows what we're going to get. We may get an album we have to yap about. [00:06:11] Speaker A: Yeah. [00:06:13] Speaker B: It is time to spin the wheel. [00:06:14] Speaker A: Are you making any predictions or we're just leaving? [00:06:16] Speaker B: I'm not making any predictions. The wheel has been on a roll. So either the wheel is going to totally shank us and give us something really crappy or it's going to continue on its good roller stuff. [00:06:28] Speaker A: If it's crappy, it'll be fun, right? [00:06:30] Speaker B: Yeah. Oh, sometimes that can be the best episode. You never know. [00:06:33] Speaker A: Yeah, exactly. [00:06:34] Speaker B: All right, we ready? [00:06:36] Speaker A: Let's do it. [00:06:37] Speaker B: Here we go. [00:06:39] Speaker C: You. [00:06:59] Speaker A: Bailey's never gotten before. [00:07:00] Speaker B: No. [00:07:01] Speaker A: The Ramones. [00:07:02] Speaker B: The Ramones leave home. Do you know this record? [00:07:06] Speaker A: I don't. I'm a greatest hits guy when it comes to Ramon. [00:07:12] Speaker B: Yeah, me too. [00:07:14] Speaker A: So, I mean, I like what mean, they're one of the first, right? They're one of the front runners of punk rock, even though they didn't specifically have, let's say, the same style as the Sex Pistols. They were more leather and jeans, but I know that they were basically a combat against the progressive rock and the stuff that was out at the time. [00:07:39] Speaker B: So this is their second record. [00:07:41] Speaker A: Oh, wow. I have the first one. [00:07:44] Speaker B: Okay. [00:07:44] Speaker A: Somewhere on vinyl. Cool. [00:07:48] Speaker B: Yeah. I don't really know how much did their stuff sell, generally? Did it really sell a lot? Well, this went to 148 on the billboard 200. So. [00:08:08] Speaker A: They are, I mean, a big name, right? One of the biggest names in rock in general. And have you ever seen the documentary on them? [00:08:24] Speaker B: I don't remember if I have or not. [00:08:26] Speaker A: Check it out, man. It's depressing. They were miserable. They don't seem like. Yeah, they were miserable and they didn't really like each other. Some of the songs are about each other, so I haven't seen it in a while, but basically it's almost like. [00:08:49] Speaker B: I'm 100% a like you. I'm greatest hits Ramon's guy. [00:08:55] Speaker A: So I'm assuming this can't be a long album. Maybe we can finish it. How long is this thing? [00:09:01] Speaker B: I'm looking. It is 29, 57. It's very possible. Yeah, it's very possible. So let's just go over who's in the band right now. Personnel. Joy Ramon, lead in backing vocals. Johnny Ramon, guitar. DD Ramon, bass and backing vocals, and Tommy Ramon, drums. I assume this is the. I'm just going to go back really quick and look at their first record just to see who was on that. Because, like I said, I don't know enough. That was the year prior. [00:09:39] Speaker A: Wait till you get to who produced it. [00:09:41] Speaker B: Yes. So it's all the same people, which is good, right. So it's still the original band. And who produced this? You know who produced it already? You've already seen. [00:09:52] Speaker A: I did. I see it. See who produced it. I'll let you call it out. [00:09:55] Speaker B: Hold on. I gotta get down there. Hold on. [00:09:57] Speaker A: Because it's a damn coincidence. [00:09:59] Speaker B: Is it a really? [00:10:03] Speaker A: Yes. [00:10:03] Speaker C: Uh huh. [00:10:04] Speaker B: Tony Bongiovi. That's his uncle, isn't it? [00:10:08] Speaker A: It's his cousin. [00:10:09] Speaker B: Cousin? [00:10:10] Speaker A: Yep. [00:10:12] Speaker B: Wow. What is the ods of that? [00:10:14] Speaker A: I know. The wheel is like. [00:10:18] Speaker B: The wheel is like. Here. You'd like that. Here, here's something. [00:10:22] Speaker A: There you go. [00:10:26] Speaker B: All right, let me pull up some lyrics and we can get into this. Like I said, I'm not a huge, gigantic fan of this. Of them. [00:10:41] Speaker A: It seems to be very well rated. I see a lot of it didn't do as well. [00:10:47] Speaker B: It didn't do as well from what I can gather. [00:10:50] Speaker A: Yeah, but critically it was a. Yeah, critically. [00:10:53] Speaker B: Well, Rolling Stone liked it. But does that really mean anything? [00:10:56] Speaker A: No, but I'm looking at, it says all music, Austin Chronicle, NME, Pitchfork, Q record collector. [00:11:04] Speaker B: Okay. [00:11:04] Speaker A: I mean, there's nothing lower than four stars. [00:11:08] Speaker B: Okay. [00:11:12] Speaker A: Cool. [00:11:13] Speaker B: All right, so let's get into this here. So the first song I want to see. Well, we only have a couple. Well, do we have a couple of choices? What version to use here, the 40th anniversary or the 2017 remaster? Question. [00:11:39] Speaker A: I think we should hear in its raw. [00:11:42] Speaker B: Well, I think the only one on to appreciate it is the 40th anniversary deluxe. So it's all the 2017 remaster. We're not going to go into all the extra stuff that's on this? [00:11:51] Speaker A: No. [00:11:53] Speaker B: All right. Are you ready? [00:11:56] Speaker A: I'm ready. [00:11:58] Speaker B: I don't listen to very much, Ramon. [00:12:00] Speaker A: Yeah. [00:12:03] Speaker B: All right. I know I'm not going to get very many guitar solos in here, so I kind of know it's probably not the case. So it's going to be like. [00:12:09] Speaker A: You'll get the open. What is it? The open e string that we did. I want to be. [00:12:15] Speaker C: Yeah. [00:12:16] Speaker B: Pretty much all right, so the first one is glad to see you go. And who wrote this? This is DD Ramon and Joe Ramon. Here we go. [00:12:40] Speaker C: 1Ft in the cylinder and in a moment apart. You like the business? You're going to get a blood back. And in a moment, get the floor, light the plants. You gotta go back. Let's see. Go back. Let's see you go. Let's see you go. Let's see. Go. [00:13:17] Speaker B: Now, the one thing I say about the Ramons, every time I hear them, it's always very poppy and very light. Even if they're not talking about light subjects. Everything just feels very. [00:13:30] Speaker A: Just poppy and bouncy, very catchy, very accessible. [00:13:43] Speaker B: And I could see why this was, like, anti everything that was happening. Pretty much, yeah. All the bloating music that was out there. Right. This is like four chords and just like. Here you go. [00:13:54] Speaker A: Yeah. Is it even four chords? [00:13:57] Speaker B: Maybe not. I wasn't actually paying attention to the melody and it's kind of funny, I always have the feeling like that every Ramone song sounds the same and they just change the lyrics. [00:14:09] Speaker A: Yeah. There is an absolute continuity, let's say, without a doubt. I mean, if you hear this, you're like, all right, this is either the Ramons or someone sounding like the Ramons. [00:14:23] Speaker B: So this is so poppy sounding. Right? Supposedly this is written about Dee Dee, Ramon's ex girlfriend. She was apparently a big heroin addict and highly abusive, even beating Dee Dee with broken beer. [00:14:41] Speaker A: Him. [00:14:42] Speaker B: When she finally broke up with him. He said, I'm glad to see you go, go. Glad to see you go. So that's where this comes from. So listen to the lyrics and how poppy and happy this all is. But going to take a chance on her. One bullet in the cylinder one bullet in the cylinder and in a moment of passion get the glory like Charles Manson going to smile, I'm going to laugh, you're going to get a bloodbath and in a moment of passion get the glory like Charles Manson. And then it's basically got to go, go, goodbye, got to see you go, go, goodbye for the chorus. So he's about shooting her, but it's so poppy. [00:15:17] Speaker A: Exactly. [00:15:19] Speaker B: I always felt like it had like a little, like 50s in it, too. [00:15:23] Speaker A: Oh, yeah, absolutely. [00:15:24] Speaker B: Or 60s. [00:15:26] Speaker A: Without a doubt. Yeah, there's definitely some almost, like, duopish. [00:15:35] Speaker B: Yeah. I'm going to continue and back this up a little bit. [00:15:38] Speaker C: Here we go now I know the go I don't need you anymore don't want you caught your. I need somebody good I need a miracle should they go to the one. You're gonna want my autograph any moment if I should get love like the best gotta go give up let's see go give up let's see go give up let's see you go give up let's see go give up let's see go give up go give up. [00:16:39] Speaker B: It'S so. I don't know, it's just so. I feel like they write the same song over and over. But it's kind of fun, though, and very catchy. [00:16:55] Speaker A: But, I mean, you can also picture being at a show and everybody just singing along and jumping up and. [00:17:03] Speaker B: His voice is a little. They're New York, right? They're New York guys, I assume. [00:17:08] Speaker A: I believe so, yeah. It's weird here. There's almost like he's trying to do, like, a british effect on it. [00:17:17] Speaker B: From Queens, actually. [00:17:18] Speaker A: Weird. Yeah, that's what thought. [00:17:23] Speaker B: Yeah. So the second verse is, I need somebody good I need a miracle should I take a chance on her? One bullet in the cylinder going to smile, I'm going to laugh they're going to want my autograph and a moment of passion like that. The glory like Charles Madsen. And then just basically. [00:17:45] Speaker A: Yeah. So you're singing it already. [00:17:47] Speaker B: Yeah. It's super catchy. [00:17:49] Speaker A: Yeah, it's super catchy. [00:17:52] Speaker B: There's nothing here musically for me to go, wow. [00:17:55] Speaker A: Yeah. [00:17:56] Speaker B: You know what I mean? If you start playing guitar, start playing drums, or start playing any instrument, you can play Ramones, which is not a bad thing. [00:18:04] Speaker A: No, I mean, I think that was the whole point, right? I mean, they weren't out there saying, you can't play this. They would just say, this is what we're going to play, and that's it. [00:18:15] Speaker B: All right, let's finish it up. [00:18:19] Speaker C: Give jump, let's be. [00:18:44] Speaker B: That's it. Two minutes and 14 seconds and out. [00:18:48] Speaker A: That's it. What more do you need? [00:18:54] Speaker B: Well, it really depends on what kind of taste you have in music, I guess. Right? [00:18:58] Speaker A: Yeah. [00:18:59] Speaker B: I mean, I'm, like, okay with this. [00:19:02] Speaker A: Yeah. I mean, honestly, where else are you going to take a song like this? [00:19:05] Speaker B: Nowhere. What it is, it's totally fine. So why don't you go first? I'm curious to see what you think. [00:19:13] Speaker A: I kind of dug the lyrics. I mean, obviously the repetition in the chorus, whatever, but just the way it was put. And again, just the juxtaposition of these kind of lyrics where get the glory like Charles Manson is over a happy little. But you know what? The misfits were like that as well. They had some very catchy rhythms and melodies and some very serious content that was going over it. I'm going to say seven on the lyrics. I'm going to say seven on the music. I'm going to give the production an eight just based on the fact that I think it's perfect for what it is. I think it sounds exactly how it should sound, so I don't think it's spectacular, but I think it's not bad where something like this could sound worse and it doesn't. And if it were more polished, it wouldn't be right. So I think it's good for what it is. What do you think? [00:20:14] Speaker B: Yeah, I'm going to do seven on the lyrics. It's so interesting to have such dark lyrics in such a poppy, happy, like, hey, good. Even the part telling her to go goodbye is really catchy and poppy musicianship. I'm going to give it a six for me. I get what's going on here, but I'm going to be hard pressed short of probably a really good riff somewhere. Okay. It's two quarter rock, but it's pretty. Whatever it is, musician wise. You know what I mean? I'm not saying it's not a good song. I'm just saying musician wise, music wise, it is what it is. But again, I guess that's part of the. [00:21:02] Speaker A: It's a good band to learn when you're learning to play. [00:21:05] Speaker B: Oh, yeah. I think we played a couple of Ramon songs, didn't we? [00:21:09] Speaker A: We definitely didn't want to be sedated. [00:21:11] Speaker B: Yeah. [00:21:13] Speaker A: So I know we did it at the school, actually. We had a guest singer, if you remember, come on stage and did it with us. [00:21:19] Speaker B: I don't remember that. [00:21:20] Speaker A: Yeah. [00:21:22] Speaker B: And production. Let me give it a seven. You're right. It's good for what it is. If it was more polished, it wouldn't sound good. It has to sort of, kind of sound this way. So I'm curious to see if anything that they thought was going to be a single of some sort, you know what I mean, is going to change up. [00:21:42] Speaker A: I doubt it. [00:21:44] Speaker B: Maybe not. I don't know. [00:21:45] Speaker A: I don't know. You never know. Listen, they've done some songs that are different, not insanely different, but there's definitely stuff in their catalog that's either a little bit slower, a little bit more moodier. Let's say a little bit darker on the riff part. [00:22:04] Speaker B: Yeah. I'm really super curious. I'm not hating this at all. I mean, I don't hate the Ramones, like I said, like you, I'm a hits thing, but I'm curious to listen to other things I would never listen to just because I don't listen to Ramones at all. Yeah, obviously know who they are. [00:22:23] Speaker A: I mean, honestly, they're another band that I've always wanted to explore a little bit more. So, again, I'm good. They're a first timer here on the podcast. [00:22:36] Speaker B: Yeah, 100%. All right, so the next one is gimme, gimme shock treatment. 1 minute 44. [00:22:41] Speaker A: That's it? That's all you need. [00:22:43] Speaker B: Here we go. [00:22:51] Speaker C: I was feeling sick, losing my mind heard about Jesus like a friend of mine he was always happy my honest place daily any grace I felt that he said love to see the set and now I can wake up and face the dead Happy had to happen all the time shock treatment I'm doing fine give me, give me shock to me give me, give me shot to me give me, give me shot to me I want to want to shot you. [00:23:31] Speaker B: Now. I don't know if this is true or not. I assume that green day has to be super influenced by these guys, right? [00:23:38] Speaker A: I would think so. [00:23:40] Speaker B: Because you can hear some of that stuff in green day music. [00:23:45] Speaker A: Yeah. [00:23:46] Speaker B: Maybe you can look it up and see, but I would assume. I like this. [00:23:54] Speaker A: I mean, Larry Millenn Jr. From you, too, wears the shirts. I think if it's not his favorite band, it's one of his favorite bands. [00:24:01] Speaker B: Okay. Yeah. I think I like the riff in this a little bit better than the first one. Maybe because it moves around a little bit more. I kind of like it. [00:24:11] Speaker A: Yeah. In the very beginning, it's almost like the same riff, and it does change a bit. [00:24:16] Speaker B: I know. Yeah. Well, that's what I'm expecting. [00:24:18] Speaker A: But the progression is the right side. [00:24:24] Speaker B: So I was feeling sick, losing my mind heard about these treatments by a good friend of mine he was always happy smile on his face he said he had a great time at the place peace and love is here to stay and now he can wake up and face the day Happy, happy all the time shock treatment I'm doing fine give me shock treatment give me shock treatment give me shock treatment I want to want a shock treatment I don't know if that's sarcastic about shock treatment or he's really saying that helped him. Shock treatment. I feel like it's a sarcastic thing. [00:24:59] Speaker A: I think it is probably about shock treatment, but it's like a song about, hey, I'll try shock treatment. You know what I mean? It's one of those. [00:25:06] Speaker B: That's what it is. I think it's more sarcastic about shock. [00:25:11] Speaker A: Treatment than it could be. [00:25:13] Speaker B: I don't know. [00:25:13] Speaker A: It could be. [00:25:16] Speaker B: Let's continue. I mean, it's only 144. We're going to be over this. We go. [00:25:26] Speaker C: I was really sick living my mind. Heard about the human spike friend of mine, he was so sad with monsters. He said he had a great time. I thought that he said, love to see the death and now I can wake up and face the death happy. Had to happen all the time. Shock. Keep it. I'm doing fine. Give me give me shot to me give me give me shot give me give me shot give me give me shot to me give me give me shot give me give me shot to me give me give me shot. I want to want to shot. Jesus. [00:26:16] Speaker B: That'S fast. Boy. [00:26:18] Speaker A: There's a little thing going on behind you. Heard it. [00:26:19] Speaker B: Like I didn't hear that. What was it? [00:26:22] Speaker A: Yeah, at the end, there was something that was going. I want to say it may have been going from left to right, but there was something. It was like a guitar, some kind of effect. [00:26:36] Speaker B: Okay. I think it works. [00:26:37] Speaker A: It was low in the background. [00:26:38] Speaker B: Yeah, well, I could say that the next versions are the same, so I'm not going to kind of go over that again. But this is basically the same lyrics. Again. Again. All right. I'm going to say, as far as music goes, I'm going to give it a seven because I kind of like the riff a little bit more. And I like that little in between thing between the verses. I kind of like that better. I don't know. Do I like these lyrics better than those lyrics? No, I think I like those lyrics better. So I'm going to say six on these lyrics because I think the lyrics in the last song were better. And production, I'm going to stay with my sevens right now until something changes in my head. It's the right production for this stripped down basic. You can tell. I don't know how many tracks they did this. I couldn't think that. There's a lot of tracking going on here. [00:27:32] Speaker A: Yeah, probably not. [00:27:33] Speaker B: I don't know if they say how long it took to record this thing. October, November 1976. Like a month. [00:27:40] Speaker A: Yeah. [00:27:43] Speaker B: So what do you think? [00:27:47] Speaker A: I think I'm going to give it the same. It's funny because in the beginning I wasn't liking it as much as the first one, but then it just kind of grew on me. [00:27:55] Speaker B: It's weird because it's just so like that. It's very catchy, but it's the same tempo as the last song, I think. Very similar. [00:28:03] Speaker A: Anyway. Yeah, it's very similar. Yeah. And actually, I read that, I guess it was a staple for them for a long time. [00:28:11] Speaker B: What, this kind of tempo, this song? [00:28:12] Speaker A: Yeah. Like for their life set. [00:28:14] Speaker B: Oh, really? Yeah, it's fast. [00:28:17] Speaker A: Super fast sing along song. But, yeah, I think I'm going to say the same. Seven, seven, eight. I mean, I like the lyrics just as much. I like the fact that it's a serious thing, but it's done in this playful way. [00:28:32] Speaker B: Yeah. I mean, shot treatment is not exactly what you call something you would talk like, say, oh, shot treatment. [00:28:40] Speaker A: Yeah. And again, I think in this case, it's not about, I'm rating the music in terms of the effect. So it isn't about the musicianship per se, where I was like, yeah, man, wow, look at what I think. This is not an album where that's going to happen. [00:29:01] Speaker B: Oh, no. [00:29:02] Speaker A: So to me, it's more about, I guess, the structure. And again, I don't think there's going to be a lot of difference between these songs, but it's just fun. I mean, I'm liking it. I can go back and I can hear myself. Oh, I'll probably go back and listen to this at some point. [00:29:24] Speaker B: Oh, yeah. You could put this on in the car and it's going to be awesome. [00:29:27] Speaker A: Yeah. I mean, by the time you drive to the store, the album is over. [00:29:32] Speaker B: Pretty much 29 minutes. [00:29:35] Speaker A: Yeah. [00:29:36] Speaker B: Okay, so the next one is I remember you. And this is not the skid row song. [00:29:41] Speaker A: Yeah. [00:29:43] Speaker B: Okay. That would be interesting. Here we go. [00:29:46] Speaker A: Find. It's a cover. [00:29:50] Speaker C: I remember you I remember you I remember you I remember life at night I think it just of you but they don't have forever and some have. I never they never I remember you I remember you I remember you I remember not I think you just love you but think so much forever and sometimes I bet they never really do. [00:30:42] Speaker B: They never leave me to you so this is not. Is this the same tempo? It's not the same. It's a little slower. [00:30:51] Speaker A: It's a little bit slower. [00:30:52] Speaker B: I think this is sort of like, kind of a bit. Supposedly this is like the unexpected sort of, kind of a ballad, I guess, like, I want to be your boyfriend is the ballad on the first record? This is like the complimentary kind of thing from this record. [00:31:07] Speaker A: Yeah. And I mean, this definitely has that 50s do up kind of. [00:31:12] Speaker B: Yeah. When it came on, I'm like, wow. And I didn't hear it on the last two songs. There's a little echo going on his voice. Was that in there in the first two songs, too? I didn't notice. [00:31:21] Speaker A: I want to say yes. I think it's kind of a thing for him. [00:31:26] Speaker B: Yeah, obviously, like musician wise, singing wise, you're not going to take him and go, oh, my God, he's the greatest singer in the world. [00:31:38] Speaker A: But give him credit, though, you know. [00:31:40] Speaker B: When it's millions of percent. Yeah, no, I'm not like ragging on. [00:31:45] Speaker A: No, no. But he's not a Steve Prairie. But I give him credit at least for finding the voice that he had. [00:31:55] Speaker B: Yeah, I don't think they really care. [00:31:56] Speaker A: This is what I do. [00:31:57] Speaker B: I don't think they give a fuck. We're going to put this out. We don't care. And that's really the punk rock thing, right? You don't care about anything. You don't care about it. You're just going to do whatever you want because you want to do it. But it's so weird. It's not like there's some aggressive, like, punk that happened in late 70s, right? More aggressive than this? [00:32:15] Speaker A: Well, the Pistols are definitely more aggressive than. [00:32:17] Speaker B: Well, I'm just saying in general. Yeah. But it's just so much pop in it that you almost can't take it seriously. [00:32:27] Speaker A: Yeah, I'm not digging this one as much as the first two. No. [00:32:33] Speaker B: Yeah, I don't like it. [00:32:34] Speaker A: It started out. I kind of like the chorus. [00:32:39] Speaker B: I remember you I remember you ooh I remember you ooh I remember lying awake at night I can't speak remember lying awake at night and thinking just of you but things don't last forever and somehow, baby they never really do they never really do then the chorus again and then he repeats again I remember lying awake at night and thinking just of you but things don't last forever and somehow, baby they never really do never really do he doesn't seem to write a lot of lyrics. No, I think that's the whole lyrics for the whole song. It never changes. [00:33:11] Speaker A: Probably not. [00:33:14] Speaker B: Yeah. I'm not digging this one as much as the other two. There's something about. I don't know if it's the melody, maybe. I don't know. [00:33:21] Speaker A: I like the way it started and then. I don't know, just kind of. I mean. Well, it starts with the chorus, right? [00:33:26] Speaker B: Yeah. Which is cool thing to do. [00:33:30] Speaker A: Yeah. [00:33:31] Speaker B: I like when things start with the chorus. All right, here we go. [00:34:28] Speaker C: Remember you I remember you I remember you I remember you I remember you I remember you. [00:34:54] Speaker B: Well I like the little change up in the middle of the chorus. That was interesting. [00:34:58] Speaker A: Yeah, I like that part, too, actually. [00:35:03] Speaker B: Lyrics. There's not enough lyrics for me to even. It's still not better than the first. It's still not better than the first song. The first song. Better. I'm gonna say six on lyrics again. Musicianship. I think the other two songs did it better than this. [00:35:21] Speaker A: Yeah. [00:35:22] Speaker B: So I'm going to give this a six, I think, even though I gave a six to. Glad to see you go, I don't think I'd like this as much. [00:35:30] Speaker A: Yeah. [00:35:31] Speaker B: Production. I'm going to still say a seven. Nothing has changed for me as far as production goes. It's produced exactly how it has to be, fast and easy. And it's just so funny, like they're so anti. Whatever was happening in the 70s, all the progressive rock and stuff. Right. That they're making this song so short and they can't get themselves to do anything extra because they don't want to. Two minute song. Have a good time. [00:35:58] Speaker A: Yeah. [00:35:59] Speaker B: I mean, here nor there. Whether it was better or not better to do that, I don't know. [00:36:05] Speaker A: But I'll tell you what, though, it gave him a career that lasted a long time. [00:36:09] Speaker B: Oh, yeah. [00:36:11] Speaker A: Give him credit for that. [00:36:14] Speaker B: It's not horrible by any stretch of the imagination, but, yeah. It is so anti what was going on, though. [00:36:22] Speaker A: Yeah. [00:36:23] Speaker B: All right, go ahead. [00:36:26] Speaker A: I'm going to say a six on the lyrics. I mean, I'm debating between a five or a six, but I'll throw them a bone and say six music. I'll say six to. I definitely don't like it as much as the other ones. I do like that Dinda kind of piece that changed it up a bit. I'll say seven on the production. Is it that much different? No, but I think just in general, the song itself isn't as good as the other one, so I gave the other ones an eight because again, I think for what it was, it was good and the songs were meant to be. [00:37:14] Speaker B: Okay, this is not here nor there. The first two songs were written by Dee Dee Ramon and Johnny. Well, Joey Ramon, the first one. Johnny Ramon, the second one, the two. The middle one. Well, I remember you right now is only Joey Ramon. So I don't know if that means anything, if that's going to be indicative of kind of like, how this goes. But the next one is. Oh, I love her. So this is another just solo Joey Ramon. So I don't know if that works out. 209. This is even shorter. Than this one. It's crazy. Here we go. [00:37:54] Speaker C: You rat. Oh, yeah. Oh, I love a soul oh, I love a soul oh, I love a style oh, I love a soul oh, I love a soul oh, I love a star hanging out on a niju give up grip pitches. I'm going to make a mine and everything's going to be real fine. [00:38:56] Speaker B: So that's not the case. So this is better than last song, I think. [00:39:00] Speaker A: Oh, absolutely. Yeah. [00:39:03] Speaker B: And it's. [00:39:03] Speaker C: So. [00:39:04] Speaker B: I want to say beach boy, but maybe that's not what I'm thinking, is it beach boys? [00:39:09] Speaker A: That bridge part where hanging out on a night like this, the first thing I thought of was the Beach Boys. And the. That's. That's what I heard. So I concur. [00:39:24] Speaker B: And I kind of like. And I kind of like this. It's a little more of a story thing to me in this one than. [00:39:29] Speaker A: I kind of like. [00:39:30] Speaker B: So I met her at the Burger King. We fell in love by the soda machine so we took the car downtown. The kids were hanging out all around. Then we went down to Coney island on the coaster and around again. And no one's going to ever tear us apart because she's my. All right. Oh, yeah oh, I love her so and he kind of does that through the whole thing. And then the bridge is hanging out on a night like this, I'm going to give her a great big kiss. I'm going to make her mind. Everything's going to be so. Going to be real fine. A lot of the melodies are so 60s melody. It's stuck into this. [00:40:06] Speaker A: That's what I picture. Right. I know it says burger King, but this song reminds me of, like, happy days, right. Where they're all in their cars with the waitresses on the roller skates. [00:40:20] Speaker B: Well, yeah. And it's kind of because the music is a lot heavier. Heavier, comparatively. Right. To that. [00:40:28] Speaker A: Yes. [00:40:28] Speaker B: Guitars are a lot crunchier and stuff. That's where the kind of juxtaposition of this poppy 60s thing with this punky kind of music. And anytime I hear them, that's what I think about. So they made this. Are they the first person people to do this? [00:40:48] Speaker A: I'm not sure. Debates of who did what first. [00:40:53] Speaker B: Yeah. I'm not enough into punk to know that, but, I mean, they got to be one of the first. Not the first. [00:41:02] Speaker A: Yeah, no, they're definitely up there in terms of cornell. Yeah. [00:41:07] Speaker B: And it looks like these lyrics basically are the same all the way through, too. They don't change, and you only get that bridge one time. Which sucky. Like the bridge. [00:41:18] Speaker A: Yeah, I like that bridge. [00:41:20] Speaker B: I know. Yeah, keep it going. [00:41:32] Speaker C: All around. There it went on the ghost that I ran again. And don't get heaven, there's a fast go cheese, my sweet. Oh, yeah. Oh, I love a soul oh, I love a soul oh, I love a son oh, I love a soul oh, I love a soul oh, I love a soul. [00:42:18] Speaker B: Crazy. [00:42:20] Speaker A: Nice. [00:42:21] Speaker B: Hold on. Am I finished here? Hold on. I think it's 11 seconds left. Hold on. I might have messed it up. [00:42:25] Speaker A: Oh, really? There's a little coder. [00:42:27] Speaker B: It was over. Hold on. [00:42:32] Speaker A: There you go. [00:42:35] Speaker B: I like that. [00:42:36] Speaker A: I thought that was the next song starting, actually. [00:42:38] Speaker B: Yeah. No, I didn't realize it did that. I was like. I thought it just ended. I was like. Which I probably would have ended it right there if it was me. See, I would have missed that little opportunity. All right, so I'm going to say lyrics. I'm going to say seven. I'd like these much better. I'm going to say seven on the music. And I don't know, I think I like the production on this a little bit more. I don't know why, but I kind of like it a little bit more. I don't know if anything's changed, but my perception of it has changed, I guess. [00:43:14] Speaker C: Maybe. [00:43:14] Speaker B: I don't know. I like it better. It's better than the last song. 100%. But it's back to that same kind of tempo again, right? Yeah. That's their wheelhouse. [00:43:30] Speaker A: I don't think you rated the production eight. Okay. [00:43:33] Speaker B: Yeah, I think I like production better. I'm going to give that a. So seven, seven, eight. [00:43:38] Speaker A: Yeah. I'm going to say the same thing at this point. I say to myself, if I ever go back to this record, I listen to one, two, skip three, and then go to four. That's what I'm saying in my head now. [00:43:53] Speaker B: Yeah. Okay, so next one is Carbona, not glue. On their first one, they had a song called now I want to sniff some glue. I don't remember this, but Carbona is a household cleaning age allowed. Scramble your brains just as well as it'll remove stains. [00:44:22] Speaker A: Nice. [00:44:24] Speaker B: The song was pulled from the album due to Carbona being a corporate trademark and was replaced by an abbreviated version. Sheena is a punk rocker included in her next full album, Rocket to Russia. [00:44:35] Speaker A: Yeah. [00:44:39] Speaker B: Kind of funny. So they actually had to pull it because of the name of the. Because they use that actually trademark name. [00:44:43] Speaker A: Funny. [00:44:44] Speaker B: That's funny. That's too funny. I'm curious to see. So this is about sniffing this particular household cleaning thing. There we go. [00:45:08] Speaker C: I've been in the closet and I feel all right ran out of cupboard through at the blue ran out of pain and wrote red, too if he did fall wide mom and pop one put me away from the early morning moving to the late show after it's over nowhere to go and I'm not sorry for the things I do my brain is stuck from beauty glue I'm not sorry for the things I do carbon and I do carbon and I one. [00:46:02] Speaker B: So the only thing I can say is that there's some parts where. Where there's, like, just, like, music. Like, just guitar playing. And I almost feel like that doesn't even need to be there. Like, if they cut that out. I mean, this song is 221. It's short, right? [00:46:16] Speaker A: Yeah. [00:46:16] Speaker B: Sorry. No, it's 155. Sorry, 155. [00:46:20] Speaker A: Nice. [00:46:21] Speaker B: But even with those little extra pieces, it feels like they put those there just to make the song longer, because I don't even think those parts need to be there. [00:46:30] Speaker A: No, I'm not crazy about that beginning riff. It just kind of seems to go all over the place. Yeah, but I like the verse. [00:46:40] Speaker B: It's funny. [00:46:40] Speaker A: And the chorus. So I just said, like, that just sound, like, awkward. Like, chords that don't really go together well. [00:46:51] Speaker B: How many of these can you make sound different? That's the problem, too. [00:46:54] Speaker A: Yeah, but I do like the verse in the chorus and the lyrics. [00:47:00] Speaker B: They're restricting themselves. Right. On purpose to these stuff. How many songs can we write that are, like, in this vein? I wonder if that's, like, the headspace we want to be so anti this, right? That we're going to write these short little songs, but we really can't. Straight. How many songs can we write that are just in this little thing, this little area of chords and riffs and speeds and that. It's harder than you think. It's like saying that ringo star can't play drums because it's really simple. You play that way, that long, straight through. [00:47:39] Speaker A: Like I said, I started going back to some of the Beatles records and listening to. And it wasn't even about how long he played. What? But I definitely got a little more appreciation for him and his shuffles and stuff that he was doing. [00:47:52] Speaker B: What do you think about the drums in this? [00:47:55] Speaker A: They're fine. Again, this is a good band as a musician, when you're starting out to. It's like, oh, hey, I want to learn some songs. Here you go. [00:48:07] Speaker B: And I can do this, right? I can do this. I can do this. I can do this. [00:48:11] Speaker A: Yeah. But again, they're fun. [00:48:13] Speaker B: Super fun. [00:48:15] Speaker A: Yeah. [00:48:15] Speaker B: So the lyrics are wondering what I'm doing tonight I've been in the closet and I feel all right ran out of carbona. Mom threw out the glue. Ran out of paint and roach spray, too. This fucking guy wants to get high really bad, right? [00:48:29] Speaker A: Yeah. [00:48:30] Speaker B: His tv. Yeah. Good for him. [00:48:35] Speaker A: Yeah. [00:48:36] Speaker B: Raid commercial. [00:48:39] Speaker A: Growing up in the Bronx, roach spray was as common as. [00:48:42] Speaker B: Oh, yeah. [00:48:43] Speaker A: As cologne. [00:48:45] Speaker B: There was lots of roaches in the Bronx. That's horrible. I don't miss that whatsoever. [00:48:49] Speaker C: I don't miss that either. [00:48:51] Speaker B: It's tv's fault. Why I am this way. Mom and pop want to put me away from the early morning movie to the late, late show after it's over nowhere to go and I'm not sorry for the things I do my brain is stuck from shooting glue I'm not sorry for the things I do carbona, not glue carbona, not glue. Hey, and that part's super catchy. It's only stupid one word. Yeah, the melodies are good, and that's really. I mean, I'm still not, like, super sold on this song yet. I like the last song better, I think, so far. [00:49:22] Speaker A: Yeah, I think overall, I do, too. But again, I think that also. [00:49:26] Speaker B: So catchy part. Yeah, so catchy. I mean, as much as you would like to hate this, you can't hate. [00:49:33] Speaker C: It. [00:49:35] Speaker A: For what they are because they're. [00:49:39] Speaker B: Talking about stuff that you would never think that you'd be talking about in this super weird poppy. [00:49:43] Speaker A: Definitely not in this kind. Exactly. [00:49:44] Speaker B: In this context. All right, here we go. [00:49:49] Speaker C: I've been in the closet and I feel all right run out of cupboard and my crew at the blue run out of bed and rush riches 60. Mom and pop on a movie with the early morning movies in the lettuce show after it's over nowhere to go. You. I'm on the night I'm on the tight I'm on the night I'm on the tight. [00:50:33] Speaker B: Fade out. [00:50:34] Speaker A: Yeah. [00:50:35] Speaker B: I actually like the riff in the. In the chorus better. Like, there's that part right there where he went to one chord and they switched over to the other. I think they just did that to make it longer. So short. Yeah, because I don't think it needs to be there. All right, you go first. [00:50:55] Speaker A: I got to say seven on the lyrics. I like them for what? They were innovative. I'm going to say six on the music because I gave the other one seven. But I do like the verses and the chorus. It's just that kind of other stuff that kind of goes on that I'm not crazy about. And I'm going to say an eight in the production. Again, this is not about holy cow. And it fits the music. And I think if the Ramons. If it had been recorded any other way, it wouldn't have been the same. So that's why I'm going to keep it up there unless something weird happens. So what do you think? [00:51:38] Speaker B: Do I like these lyrics as much as I like the lyrics, prior? I don't know. I can waiver between the six and the seven here. I'm going to go do music first. I have to come back. I'm going to give music to six, too. There's some extra chords in there. Things. I just feel that it just kind of linked things out just for the sake of LinkedIn. LinkedIn stuff out. Seven on the production. I like the production on the last song better. What do I give on the lyrics? Damn. I just don't. I'm going to give it a six. I still think I like the lyrics on the prior one better. If I gave that a seven. I can't give this a seven. Yeah, it's just. I just can't do that. All right, so the next one. So Carbona, naglu, Susie's a headbanger, which is coming up next, and Pinhead are all written by just as Ramones, which means everybody. So I don't think it's a bad thing. I think we'll see how the next two songs go. But everybody writing maybe is a good thing for this. I don't know. [00:52:49] Speaker A: We'll see. [00:52:51] Speaker B: So this song is about inspired by the 1947 film noir nightmare Alley, about a carnival barker con man whose life falls apart and ends up as the geek. I don't know how Susie's a headbanger means that, but. [00:53:06] Speaker A: Okay. Yeah, I don't know. I guess we'll figure it out. [00:53:09] Speaker B: Here we go. Am I getting the right one? Yeah, it's the right one. Okay, here we go. [00:53:20] Speaker C: Sample. Do it one more time. Stop. Stop that girl. There she goes again. I really, really love to watch you watch your headbang to be the headbanger. The mother is a geek. Do it one more time. [00:54:25] Speaker B: So I like that little rifting they got going on. It's a little bit different. I don't know. It almost sounds like. What's the big song they do. [00:54:40] Speaker A: I want to be sedated a little bit. Yeah. [00:54:43] Speaker B: Parts of it, right? Yeah, but that was after this correct. Or was that in the first record? [00:54:48] Speaker A: No, that's the first album. I'm pretty sure it's the first album. [00:54:51] Speaker B: Okay, well, that makes a lot of sense. Then again, how much can you change this up? They have 13 songs on this album. [00:55:01] Speaker A: Yeah. [00:55:04] Speaker B: You know what I mean? How do you come up with enough of that? [00:55:10] Speaker A: I know. How many times can you kind of use the same. [00:55:13] Speaker B: I know. I mean, I give them credit for sticking to their guns and not trying to do anything. [00:55:20] Speaker A: Oh, I'm sorry. I want to be sedative on the fourth album. [00:55:22] Speaker B: Okay, so this is kind of like the predecessor to that. [00:55:25] Speaker A: Yeah. Sorry. [00:55:26] Speaker B: That's okay. Go on. [00:55:27] Speaker A: Sure. As I mentioned, that people are like. [00:55:28] Speaker B: No, you idiot, not the first album. It's the fourth one. I know nothing about the Ramons. We're just getting this album, like, out of the blood quickly. [00:55:37] Speaker A: Ramon. Yeah. I actually do have that album, too. Road to ruin. I know. I thought it was the first one. [00:55:42] Speaker B: So here's the lyrics. Ooh wee, do it one more time for me ooh wee, do it one more time for me can't stop, stop that girl there she goes again I really, really love to watch her watching her head banging. Susie's a headbanger her mother is a geek do it one more time for we. Do it one more time for me one more time for me and again, no other lyrics. Yeah, they didn't spend a lot of time writing lyrics. One verse and one chorus, and that's all they need to do. [00:56:18] Speaker A: Yeah, that's it. [00:56:20] Speaker B: Yeah. It's easy, I guess. How easy is it? It sounds like it's going to be hard because every song is in the same tempo. [00:56:30] Speaker A: Yeah. [00:56:31] Speaker B: Except for that one song. Right. I remember you was a little slower, but not by that much. [00:56:34] Speaker A: It was a little bit slower. Yeah. The ballad. [00:56:38] Speaker B: Is that what they call the ballad? Because it's a little slower? [00:56:40] Speaker A: Yeah. [00:56:41] Speaker B: Okay. Whatever you say. All right, here we go. [00:56:48] Speaker C: There she goes again. I really, really love to watch it. Watch your head banging susie do it one more time for me lose it by jump. [00:57:46] Speaker B: At least. Broke it up a little bit. [00:57:48] Speaker A: Yeah. And that band. And you know how it's like, blues are like. Yeah, that's their punk. That's the riff that. [00:58:07] Speaker B: Yeah, and it's just funny, like when they do the chorus. Susie's a headbanger her mother's a geek do it one more time for me I hear something else that should happen because I guess whatever melody they're stealing from, you know what mean? Like, I feel like there's something else to happen. But then they don't do it. They do. All right. This is a fast record for us. Jesus Christ. Lyrics. Six. Still not as good as the other one. Musicianship. Seven. Because I like that little break. And I liked a little riff, so I like that. And production, seven. Yeah, it's all sunk again. It has to sound this way. Otherwise if it was too produced. Well, first of all, I don't think they would let that happen. [00:58:59] Speaker A: No, I don't think it's going to get too slick. [00:59:02] Speaker B: Yeah, I'm sure the thing was. Yeah, this has to be as raw as we can make it. [00:59:09] Speaker A: Okay, so here's the deal. I gave the other one a six, and I think this is worse than that one, so I have to go lower. So I'm going to say five. And, I mean, there's nothing here. So I don't feel too badly doing that music. Trying to think if I want to give it a seven, I think I'm going to go six on the music. No, but I give the other one a six. All right, I'll give it a seven. We'll give it a seven. Just because I think it's better than the six one. But it's like my second least favorite so far, I think. And protection again, I'm just going to say an eight again. It needs to sound like this. So for that reason alone, I'm giving eight so far. But, yeah, in and out, the songs aren't even long enough to bother you because by the time they start, you get, oh, it's. [01:00:11] Speaker B: It's already done. [01:00:11] Speaker A: It's gone. It's done. Okay, next. [01:00:14] Speaker B: We're on to the next. Yeah. It's so funny how that kind of. You can't even get upset because the song's over before you're upset. [01:00:27] Speaker A: Yeah. And I think considering some of the other stuff, the lyrically, that's why when a song like this, I think that he could still do a little bit more because they've done that serious kind of lyric. [01:00:42] Speaker B: We got a long song coming up. 242. This is pinhead. 242. I can't believe that we're having a thing. That's almost three minutes. [01:00:52] Speaker A: Yeah. [01:00:54] Speaker B: Supposedly this is one of their most enduring tracks. Supposedly. We'll see. Yeah. And there's a very famous thing, like, you always see this as part of there. Part of these lyrics are things you see with the Ramons all the time. Do you know what I'm talking about or. [01:01:24] Speaker A: No, I do. Yeah. [01:01:27] Speaker B: I didn't know if you knew. So gabba gabba hay. Right. That's like, you see that all the time around them. So this obviously is a big thing. [01:01:33] Speaker A: Yes. [01:01:34] Speaker B: All right, here we go. Pinhead. [01:01:39] Speaker C: Got the couple weeks that you weak that you want to bust. Got a couple weeks that you. Weeks that you want to look, I don't want to be a bee. I smell that. I could go far. I don't want to be a beat no more I swear to note that I could go far. [01:02:51] Speaker B: So what do you think of that so far? [01:02:55] Speaker A: It's not bad. It's technically a little bit heavier, I would say, than some of the other stuff. Yeah. [01:03:05] Speaker B: But still, like in the same speed, though. [01:03:08] Speaker A: Yeah. [01:03:10] Speaker B: Whatever tempo it is. They'd like that tempo a lot. [01:03:12] Speaker A: Yeah. [01:03:17] Speaker B: So obviously this is like we're all together kind of thing. So it's saying that. What are they calling a pinhead? What's a pinhead? This is an older saying thing. Right? [01:03:37] Speaker A: Yeah. Pinhead. Where is that from? I think Lucy calls Charlie Brown a pinhead or something. I know I've heard that phrase before. [01:03:50] Speaker B: I think she does. [01:03:52] Speaker A: Yeah. [01:03:53] Speaker B: Is it a pinhead? [01:03:55] Speaker A: I know blockhead. I don't know if she calls him a pinhead. [01:03:58] Speaker B: Pinhead is from hellraiser. I don't think they're talking about that. [01:04:01] Speaker A: Oh, no, this is before pinhead. [01:04:07] Speaker B: I'm trying to see if there's. Oh, something is very dull. Or a stupid person, that's what. Pinhead. [01:04:14] Speaker A: There you go. Yeah, I knew I heard it before. I've heard it used in tv shows. [01:04:22] Speaker B: Yeah. So obviously the Gabba Gabba hey. Part of this song that's coming later has become closely associated, just like, hey ho, let's go. [01:04:31] Speaker A: Yes. [01:04:33] Speaker B: So it's just kind of like let's get together kind of song. I guess we're accepting you. We're all together. [01:04:44] Speaker A: At least that part is. [01:04:46] Speaker B: That part is anyway. Yeah. I mean, again, I'm curious to see how the end part of this goes because it kind of feels like that's where the bigger thing is going to be later on. So basically, gabba Gabba, we accept you, you. We accept you, one of us. Gabba Gabba, we accept you we accept you, one of us. And of course is. I don't want to be a pinhead no more. I just met a nurse that I could go for. I don't want to be a pinhead no more. I just met a nurse that I could go. [01:05:19] Speaker A: Simple. [01:05:20] Speaker B: Yeah, it's simple. Well, there's actually a little more lyrics. Well, a little bit of lyrics. Not very much. I'm going to back it up a little bit. Here we out. [01:05:30] Speaker C: D-U-M-B everyone. The kids are D-U-M-B everyone that gives them it. [01:05:41] Speaker B: So before we get into the chorus again, I got to say that you can hear that being a live thing, right? [01:05:46] Speaker A: Oh, yeah. [01:05:47] Speaker B: D-U-M-B. Everyone's accusing me. [01:05:50] Speaker A: Everybody chanting. Without a doubt. I mean, this is definitely a good. There's a reason this is a staple. [01:05:58] Speaker B: Yeah, 1000%. [01:06:00] Speaker A: So much chanting to be done by the crowd. [01:06:04] Speaker B: Yeah. As much as we want to be the anti establishment thing or whatever, but all their songs have so much poppy melody that. How is it really anti anything? [01:06:14] Speaker A: Well, I don't think it's anti establishment. I think it was just anti. Just against the long songs and even disco. They said it was kind of like kind of getting away from that as well. [01:06:26] Speaker B: Yeah. Well, that's good. All right, here we go. [01:06:43] Speaker C: It. I don't want to be up in it no more I better know that I do drop. I don't want to be up in it no more I better know that I do drop off race got another day got another hate gotta, gotta hate got another hate gotta to make you, please to meet you. [01:07:51] Speaker B: So much easier to pick my nose. [01:07:53] Speaker A: Yeah, that was quite. Didn't feel like. [01:07:57] Speaker B: No, I know it was almost three minutes. But I think we've done other songs that feel longer than that because there's really no change. I think that's what does it. It's just the same thing. Right. So it doesn't feel like. As long as it is just because it's the same thing. [01:08:12] Speaker A: Yeah. [01:08:13] Speaker B: All right, I'm going to leave this one for you. First one, I'm going to pull the pin on the grenade and just let it go. [01:08:21] Speaker A: I mean, the lyrics are. You know what? I'll say six just because from a fanboy perspective, I can appreciate kind of like chanting and whatever, and it gets a crowd into it. So I can appreciate that. But that's the only reason I'll do that, because, again, he just says the same thing over and over. Music. I'm going to say six on the music. Again, I wasn't too crazy about this one either. I do like the end part and there's a couple of cool little things that they do and protection. Saying eight again, I mean, again, it sounds the way it's supposed to, but it was okay. Again, some of these songs like this one, probably could grow on me. So what do you think? [01:09:26] Speaker B: I think I'm going to do six on the lyrics. Yeah. Because there's really not much there. Six in the music. It's still not one of my favorites. I understand why it's a stable for live for them. Because you can see those parts that they use for that. And I'm going to give a production only because I like the little things at the end, the little high speed ups. They don't never do anything. This is like production. You know what I mean? There's extra stuff there. There's never extra stuff. So I kind of like that. And where else could you get. Pick my nose in any kind of lyrics anywhere. [01:10:01] Speaker A: You got to appreciate that. [01:10:03] Speaker B: I do appreciate that. Yes. Okay, so the next one is. This is a DD Ramon joint. Now I want to be a good boy. I don't know what this is about. I guess we'll find out. We go. [01:10:29] Speaker C: Now I want me to fall I don't want me back now I want to run away from them now I want me on my own I just want me to fall I don't want me bad now I want to run away from now I want to miss that's. [01:11:31] Speaker B: I had super high hopes at the beginning of that. Because I'd liked the beginning a lot. [01:11:37] Speaker A: Yeah, I don't think it's bad. [01:11:40] Speaker B: It kind of got away from you. [01:11:41] Speaker A: Most ambitious so far, I think. [01:11:43] Speaker B: Oh, yeah. As far as changing stuff up. Yeah. I like the drums in the middle. I mean, lyric wise, it's rough. [01:11:50] Speaker A: I like how the tempo just completely changes once it goes into that other part. Yeah, well, yeah, when it goes into that and the tempo is kind of like all over the place. Yeah. [01:12:05] Speaker B: There's definitely no click track of any kind. Fuck click tracks. We don't need those thinking click track. But that's what makes this the way it is. The temple does change, but, I mean, I'm okay with that. [01:12:21] Speaker A: Yeah, you don't want this to be too perfect. It hits me like a car wreck when I first hear it. Then I'm like, all right, whatever. [01:12:33] Speaker B: Yeah. I mean, if they're fine. [01:12:35] Speaker A: If they recorded the drums first. And then the guitar player is like, oh, shit, I got to slow down. He slowed down at this part. [01:12:40] Speaker B: Don't play at the same speed because it won't work. Yeah, I know. [01:12:45] Speaker A: It won't sound right. Yeah. [01:12:48] Speaker B: So, basically, this is kind of like just a variation over and over. Now I want to be a good boy I don't want to be bad now I want to run away from home now I want to be on my own and the next one, I just want to be a good boy. I don't want to be bad now. I want to run away from home now. I want to be settled on. It'll change a couple. One more time, I think, before it gets out of this. So let's continue. I like the little drum break. So that was interesting. They changed it up. [01:13:18] Speaker A: Yeah, definitely ambitious. [01:13:20] Speaker B: Yes. This is them being like rush. Yeah, basically, pretty much. [01:13:28] Speaker C: I don't want to be bad now. I want to run away from them now. I want me on my own it. [01:14:27] Speaker B: There we go. [01:14:30] Speaker A: Cool. [01:14:31] Speaker B: Why don't you go first now. [01:14:33] Speaker A: I like that one. So I'm going to say a six on the lyrics. I mean, it's the same thing over and over. What more can you say? Doesn't even make sense, though. I want to be a good boy. I don't want to be bad then he wants to. Whatever. I'm going to say an eight on the music because I gave other one sevens and I think this is ambitious and it kind of works. The first time around, they felt the transitions were a little bit kind of like. But then the second time around, I feel like either they nailed it or it was nailed in my head, so I liked it. I think they did a good job. And again, an eight on the production. So what do you think? [01:15:22] Speaker B: I think I'm going to have to give a five on the lyrics. That's probably nice. Yeah. [01:15:29] Speaker A: Honestly, I could probably give a five on the lyrics, too. Yeah. [01:15:32] Speaker B: It's just one of those things that there's nothing there. Zero musicianship for them. Not in the scheme of taking this and comparing it to any other record. [01:15:44] Speaker A: Right. [01:15:44] Speaker B: But just comparing in this little bubble we have going on here. I'm going to give it an eight just because. Yeah, they had that little drum break in the between and I kind of like that. [01:15:55] Speaker A: Yeah. The chords were a little bit different, too. That they were using the progressions was reward. They were a little bit different. Yeah. I mean, again, like you said, within this context. Yeah. [01:16:08] Speaker B: You couldn't take this and compare it to something else because that would make no sense. You can't do that. And I'm going to give a seven on the production. I still think that one song so far, well, a couple of songs were a little bit better than this. Okay, so next one is swallow my pride. This is a Joey Ramon only song. Let's see what it does. Here we go. [01:16:53] Speaker C: Looking dream with the looking good against one of my friends. You said that. What is in it? Oh, that waste. One of my pride. Oh, yes. One of my bride yeah. [01:17:23] Speaker B: So did they actually have background vocal? [01:17:27] Speaker A: Yeah, that's what sounded like. [01:17:28] Speaker B: Wow, that's ambitious, too, for them. Background vocal, you don't hear that. So at least on this record, you don't hear very much of that. Yeah. You know what I've noticed, when he writes the song by himself or he's involved in the major person writing it, the melody seems to be a little bit more in that 50s, early 60s kind of thing. Have you noticed that? [01:17:56] Speaker A: Yeah. Influence. [01:17:59] Speaker B: You can just see the way he uses, the way he writes those lyrics. But again, still not going to be a lot of lyrics in this. [01:18:08] Speaker A: No, I give him credit. The chorus kind of was different. I wasn't expecting the chorus, for him to seem the chorus the way he did. I was just expecting kind of a straight through, but he does kind of that little thing, so it's just kind of cool. [01:18:23] Speaker B: So winter is here and it's going on two years. Swallow my pride things were looking grim but they're looking good again swallow my pride loose lips sink ships, they say but isn't it always that way? Swallow my pride oh, yeah swallow my pride oh, yeah swallow my pride oh, yeah I just think his melody sent some. His sense of melody is always a little different than when he's writing it. It seems like. All right, let's continue. [01:18:52] Speaker C: This is one of my friends. [01:18:58] Speaker B: But. [01:18:59] Speaker C: You'Re looking good again what am I right? And everything gonna be remind what? Am I right? Oh, yeah what? My bride yeah. [01:19:37] Speaker B: Did I hear delay on the thing? Wow. [01:19:40] Speaker A: Yeah, sounded good. [01:19:42] Speaker B: Actual production. Holy shit. I'm surprised. [01:19:46] Speaker A: Sounded good. I'm digging this one. I think it's pretty good. [01:19:50] Speaker B: Yeah, me too. I like this, too. And so the only thing that changes here is the pre chorus going to have a cool time, and everything's going to be real fine. That's the change. The other verse part is exactly the same. Course is the same. [01:20:04] Speaker A: He needed extra piece of paper for this. [01:20:06] Speaker B: Yeah, no, I thought he changed it for the third time, but no, the third time is the same as the second time. Yeah, but I liked the little bridge. They had a little production in the bridge. I was like, wow, that sounded good. [01:20:18] Speaker A: I like it. [01:20:19] Speaker B: Background vocals. It's like a real band. [01:20:22] Speaker A: Yeah. [01:20:23] Speaker B: Or a produced band, I should say. Or the things that they hear. I wonder how much it was to get them to do that. Like, he probably said, hey, what if we put some delay here? Because it feels like everything they're doing here is like a big middle finger up to everything else. [01:20:37] Speaker A: Yeah, delays. Think about it, though, like you said, his melodies are in the vein of the. Definitely a lot of delayed ending things were used back then. [01:20:50] Speaker B: I know it works well, I guess. [01:20:53] Speaker A: In lieu of a solo. [01:20:57] Speaker B: Yeah. I just wonder if it was like, a thing to have them do that because it feels like it's just all about that. You know what I mean? All about being that way. All right, here we go. [01:21:15] Speaker C: My pride again for my friends. And everything's gonna be river. What up, my pride? Oh, yeah what up, my bride? Oh, yeah what? My pride oh, yeah. [01:21:45] Speaker B: There we go. My pride I like the chorus a lot, actually. I didn't think I was going to like the chorus. [01:21:51] Speaker A: Yeah, I like the way he did it. Instead of just going straight through, which I thought he was going to do. He does that little. [01:22:00] Speaker B: I'm trying to figure out what I want to do for the lyrics because the lyrics are really not much different. Like, there's a little. The same. It's hard. I'll say sixes. I think it's better than the last one. Musicianship. Let's say seven. And production, I'm going to give an eight because there's delay in there. There's background vocals in there. Like, wow. Production, what do you think? [01:22:28] Speaker A: Yeah, I'm going to say seven on the music and an eight on the production. Lyrics, I don't know. I mean, clearly he's trying to say something here. I don't know what the song is about, but specifically. I'll say six on the lyrics. I mean, overall, it's good. It's a good song. I definitely go back to this one, too. Yeah. [01:22:55] Speaker B: But it's really hard to try to figure out what lyric wise, because he doesn't really write a lot of lyrics. He writes one set and then that's it generally. [01:23:02] Speaker A: Basically. Yeah. [01:23:05] Speaker B: All right, so the next one is another Joey Ramon only thing. What's your game? That's the next thing. Ego. [01:23:23] Speaker C: You. I know you're there I know you're there sweet every day, y'all what it I know you ever won't be it's like the other girls you see I thought you ever want to be oh, yeah it's like the other girls you see oh, yeah oh, yeah I know, y'all it I know you're dead sweet marriage it. [01:24:56] Speaker B: So a little bit different tempo. [01:24:59] Speaker A: Yeah. Yep. [01:25:02] Speaker B: Yeah, I kind of like this one a little bit. [01:25:05] Speaker A: I like the music. I'm not crazy about the melody so much, but I do like the music. [01:25:13] Speaker B: Yeah. I'm trying to think if I'd like the melody or not, I'm still kind of up in the air about that. [01:25:21] Speaker A: Yeah. But again, I mean, definitely a throwback song. It sounds like from a different era. [01:25:27] Speaker B: Well, again, that's him again. Right. I bet you when we get to the next song, which is a cover. Yes, it is. But anyway, lyric wise, it's. I know your name, I know your game. Sweet Mary Jane, you're quite insane and all you ever want to be is like the other girls you see and all you ever want to be oh, yeah. Is like the other rose or c. Oh, yeah and then the same verse again, except they had little background vocal. And then the ooze in the bridge, that breaks it up a little bit. Yeah, he seems to be good at that. He likes to use those ooze because I think that's from the time of music. He likes lots of ooze and Oz and stuff. [01:26:16] Speaker A: Yeah. [01:26:20] Speaker B: Okay, let's finish it out. [01:26:25] Speaker C: I know your name I know your name sweet Mary Jack what did I want you? It's like the other God you did I know you ever want to be oh, yeah it's like the other God you see oh, yeah, oh, yeah, oh, yeah oh, yeah. [01:27:17] Speaker B: Oh, yeah he definitely likes. He loves those melodies from that time. It's so funny. [01:27:23] Speaker A: Yeah. [01:27:32] Speaker B: I'm trying, like, to wrap my head how I'm gonna. How I'm gonna. It's hard. This is hard to rate. Yeah, it's hard to rate because, you know, especially the lyrics, because there's not a lot to work with. [01:27:44] Speaker A: But this is like. Too, when we listen to some of the blue songs, right, too, like when we did the Rolling Stones and even, like, steve Ray Vaughn, when you get that typical blue song, where it's kind of like the same thing over and over. So if you don't like what they say once, you probably won't like it again, because it's kind of the same thing over and over. [01:28:05] Speaker B: Well, this one seems to be. There's a little bit of a story in this, too. It seems like. I'm going to say, six, I don't know if I can do more than that, because there's other songs I'd like better that I rated higher musicianship. I don't know. I hesitate to smash them too hard because I understand what they're trying to do. They're confined themselves into certain things. So, six, I think there's not as much that I like in this as some of the other ones. Production seven productions for me has pretty much been spot on for what they're doing for the whole thing. That's what I'm doing. [01:28:55] Speaker A: Yeah. I'm going to say six on the lyrics and six on the music. And I'm going to say seven on production. This one felt slightly thinner to me. So maybe because the guitars weren't as ginger. Ginger in. So, yeah, it's okay. [01:29:14] Speaker B: And the tempering was a little bit different, at least, too. [01:29:17] Speaker A: Yeah, I mean, tech is kind of like that. Ballad esque, basically. [01:29:24] Speaker B: So the next song is a cover. California sun. It was first recorded by american rhythm and blues singer Joe Jones. Henry Glover is credited as the original 45 rpm single as a songwriter. But roulette records, how funny is that? [01:29:45] Speaker A: Wow. Nice. [01:29:48] Speaker B: Their owner appears on some of the reissues. So the most successful version of the song was released by the Rivieras in 1963. And became their biggest hit in their short career. It was in good morning, Vietnam. It was in the doors. So we probably know this song. Probably. Yeah, as soon as it comes starts. I mean, I don't know what their version is like, but I'm curious to see how the Ramons do a cover song. [01:30:14] Speaker A: Yeah. That says they took out some instruments. [01:30:17] Speaker B: Of course, they're stripping this down to whatever it is. [01:30:21] Speaker A: Exactly. [01:30:23] Speaker B: Right. Here we go. [01:30:29] Speaker C: You. [01:30:48] Speaker B: Okay? So we know this. [01:30:49] Speaker A: Yeah. Jesus. [01:30:51] Speaker B: Yeah. [01:30:52] Speaker A: I don't think I knew that this. I was never been a fan of this song, so I think. I didn't really know that it was called California son. [01:30:59] Speaker B: I mean, they make it sound like it's theirs, though. [01:31:02] Speaker A: Yeah, absolutely. If you think about the version that we probably know, which was probably the Riviera's. It's similar. Obviously, this is a little bit more pumped up or rocked up, I guess. [01:31:19] Speaker B: But, yeah, punked up. Let's continue. [01:31:24] Speaker C: And that's all. And I walk and then it was. And I give it an issue and I block and then block where I want California when I'm going out with down on the coast when the California girls are really the bus and I walk and then walk I do. I live and I do it. And then you're out there having fun in the wolf California. [01:32:11] Speaker B: This is the most lyrics he's had to sing on the whole record. You know what I mean? I mean, obviously there's parts of the same, actually, if you think about it. No, it's not. It's the same exact thing. Because this guy didn't write a lot of lyrics either. [01:32:28] Speaker A: Yeah. At least not for this song. But again, look at the error it's from. Right. You're not going to get these comp this is perfect for him. [01:32:36] Speaker B: Oh, 1000%. Yeah. This is something he could have wrote. [01:32:40] Speaker A: Yeah. [01:32:41] Speaker B: So obviously, I guess we'll rate the lyrics, but obviously it's not his. [01:32:46] Speaker A: Yeah. [01:32:47] Speaker B: I'm going out west to where I belong where the days are short and the nights are long and I walk and they walk and I twist and they'll twist and I'll shimmy and they'll shimmy I'll fly and they'll fly yeah we're out there having fun in the warm California sun that's my favorite part of that one line right there. [01:33:02] Speaker A: Yeah, probably. [01:33:03] Speaker B: And then while I'm going out west down the coast where the California girls are really the most. And then chorus again. There's not that much in here. I'm curious what they do in the middle here. Yeah, I mean, there's actually even, like, a little rift there. He has to play, like, that's the most that's really been happening like that on this record, so kudos for them. It still sounds like the Ramones, though. [01:33:26] Speaker A: It does. Oh, yeah. No, absolutely. I want to say I've heard this version. [01:33:30] Speaker B: You might have. I don't think I've had. I have. I've heard the original. I don't know if I heard this. Oh, yeah, here we go. [01:33:50] Speaker C: Shims I'll scope, I feel little chick, wherever you go oh, and I walk up and then walk I swim and I shimmy and it shimmer and I fly and if not, will I say I have it for California? Won't California? [01:34:27] Speaker B: This is going to be hard because this is not their song, right? [01:34:30] Speaker A: Yeah. [01:34:31] Speaker B: What do I get the lyrics for this? I don't know. I guess I only can think of how he interpreted the lyrics, I guess. And if it made it any different. And his voice. Because it's not really his lyrics, right? [01:34:45] Speaker A: Yeah. [01:34:45] Speaker B: So I think I have to give it seven because it might be the best lyrics on the record, even though it's not their record. [01:34:52] Speaker A: I mean, lyric wise, I like their other stuff. [01:34:57] Speaker B: Maybe not the best, but it's on par with some of their better stuff that's there. It definitely fits his voice, and the melodies he writes are very similar to these melodies. I think they did a good job in the music, like, taking all the parts out that they didn't need and making it sound like the Ramones. So I'm going to give them eight on the music just because I kind of think that they did an awesome job. Anytime you can take another song and make it sound like you wrote it, you did a great job on the COVID You made it sound like the Ramones and not like the original. Right. I'm going to give it eight on the production because I think it was done very well. Obviously they know what the original was, right? So that was a little easier, probably, but I think they did a good job. [01:35:49] Speaker A: I don't know about the lyrics. I'm going to say seven on the music. I think they did a good job. Again, like you said, they made it their own. And it sounds like it belongs here. And that they could have written it. Especially if Joey Ramon had written them by itself, like the other ones. I kind of have that beach boyish, kind of doppy sound. Yeah. Say an eight on the mean again. I just. I think it sounds the way it's supposed to sound. I don't know. The lyrics are. I'll say six on the lyrics. I mean, I even can go lower, but I'll say six for now. Again, it's fine. It's just a good timing song. [01:36:38] Speaker B: It's a good timing song. I'm curious what the next one is going to be. So next song is a DD Ramon. No, we're doing commando. [01:36:51] Speaker A: Right. [01:36:51] Speaker B: So DD Ramon and Johnny Ramon. No, Joker Ramon. So I'm curious to see how the metal melody changes. There we go. Commando. [01:37:15] Speaker C: Is a bit. You get them right above the end from all handles. You better know if I'm the gas. This is the best. Do it again to get them right above it. Take it through my dunk out. It got the loudest. You. [01:38:02] Speaker B: Eat kosher salami. [01:38:04] Speaker A: This is definitely the most serious song, I would say. [01:38:11] Speaker B: I guess. And they did a countdown, too, through there. I thought it was the same song, almost. [01:38:20] Speaker A: Yeah, I would like to count. [01:38:23] Speaker B: So they do their best, they do what they can. They get them ready for Vietnam. From old Hanoi to East Berlin, commando involved again, they do their best they do what they can to get them involved for Vietnam. First rule is the laws of Germany. Second rule is be nice to mommy. Third rule is don't talk to commies. Fourth rule is eat kosher salamis. It's too funny, man. And really, basically, that's all the words he writes one, of course. [01:38:55] Speaker A: Yeah. That's one good thing, though. Not too many lyrics to read for this. You read them once you're done. Very simple. [01:39:05] Speaker B: Yeah. He doesn't have to worry about remembering lyrics. Okay, let's continue. So what do you think this is about commandos? [01:39:17] Speaker A: Yeah, I was thinking, like war. You know what I mean? Like soldiers, I guess. [01:39:22] Speaker B: I don't know. The ecosystem salami thing, that throws me off. That's kiss king. It'd be really serious, but I guess it's serious for them. [01:39:27] Speaker A: Yeah. [01:39:31] Speaker B: Continue. [01:39:39] Speaker C: From more serious burden if I begin to do the best, do what they can to get them ready for the end. First group that loves us, Becky Ruth. Be not in my it. [01:40:24] Speaker B: That was fast. [01:40:26] Speaker A: Yeah. [01:40:27] Speaker B: 153, baby. 153. In and out. You don't even have time to, like, go to the bathroom before it finishes. [01:40:34] Speaker A: Yeah. [01:40:35] Speaker B: Why don't you go first? [01:40:38] Speaker A: I like the lyrics. I'm going to say seven on the lyrics. Music was okay. Kind of forgettable melodies, so I'm going to say six and seven on. The production felt a little bit thinner than the other ones. It was okay. What do you think? [01:40:59] Speaker B: I think I'm doing the exact same thing. 716. I don't know. I like the chorus. The best part of it, I guess. Is that the chorus or. Yeah, the chorus. I don't know why I like the chorus for. It's a kind of serious song for them, and it's like, wow, they're writing serious stuff. But it's just so funny because he doesn't write for someone who wants to be anti whatever. I mean, maybe it's the style of music, right? There's not a lot of words. [01:41:34] Speaker A: That'S simple. [01:41:35] Speaker B: And it's funny that when he's not writing the actual song, you can tell the melodies are totally different, like we said before. So the next one is called you're going to kill that girl. He wrote this by himself, so I'm expecting the melodies to be different. [01:41:51] Speaker A: Yeah. [01:41:52] Speaker B: So let's see. [01:42:34] Speaker C: I saw walking down the jesus then he knocked it on the floor but he wants just a little bit more hope. Gonna kill that girl gonna get that girl do not get that girl gonna get that girl do not. When I saw walking down the street and gives the feet many not on the flock but he won't. Just a little bit more. [01:43:16] Speaker B: It's so funny. This is such heavy, like, lyrical thing, but it's just so in such a poppy, like, hey, yeah. The melody is just so poppy. I can't get over, like, the juxtaposition of those two things together. [01:43:31] Speaker A: Exactly. And again, you said this is just him writing it, right? [01:43:35] Speaker B: And you can tell. [01:43:36] Speaker A: Yeah, absolutely. I mean, the beginning, it's totally that whole. That story, too. But, like, what leader of the pack, you know what I mean? When they do that lyrical thing, the spoken thing, where they kind of introduce the story, and then they go into the song. [01:43:54] Speaker B: He's doing the same exact thing. [01:43:56] Speaker A: Yeah. [01:43:57] Speaker B: So I saw her walking down the street he jumped down, he knocked her off her feet and then I knew it was the end of her. 1234. He's going to kill that girl he's going to kill that girl he's going to kill that girl tonight and he does it again. And then the next verse is, when I saw her walking down the street my heart stood still and skipped a beat then he knocked her on the floor and he wanted just a little bit more. I'm assuming he's talking about rape. Yeah, sounds like rape or abuse or abuse or something. And then the chorus comes back again. And then we're up to this part here where it says, when I saw her walking down the street my heart stood still and skipped a beat and he knocked on the floor and he wanted a little bit more and then he's going to repeat the intro again at the next thing. So he's got a little more lyrics than this, but not a lot. [01:44:47] Speaker A: Yeah, not a lot. [01:44:48] Speaker B: But it's just such heavy, dark lyrics and then just poppy like that. So funny. [01:44:59] Speaker A: Yeah, but it's good to, again, getting something like this because then you kind of pick up on it. Right. Because now maybe if you hear a Ramon song that you haven't heard. But you know what? Let me listen to what he's saying. [01:45:10] Speaker B: Maybe there's something instead of just the melody. Right. It's just not. [01:45:16] Speaker A: What exactly is he saying? [01:45:17] Speaker B: I got to say, as it's been going on, they've been adding more background vocal and more stuff. [01:45:22] Speaker A: Yeah. [01:45:23] Speaker B: As it went along. So it's kind of fun. In the beginning, there was nothing. And then all of a sudden, toward here, there's lots of other stuff. [01:45:29] Speaker A: And his voice always sounds like it's backed up, too. I mean, it always sounds like there's, like two of him singing. [01:45:35] Speaker B: You think so? Maybe he did. Maybe he did double. [01:45:37] Speaker A: It's very full. It sounds like he doubles his vocals. [01:45:40] Speaker B: He might. [01:45:42] Speaker A: Yeah. [01:45:43] Speaker B: It's either that or a little bit of delay that he has on there. That's kind of helping. I'm not sure. Okay, here we go. [01:45:50] Speaker C: I saw he jumped and I took off a feet and then I knew it was the end of her gonna kill that girl gonna kill that girl gonna kill that girl do not die again when I throw what can he not be on the floor but he wants a little bit more hope you like. [01:47:09] Speaker B: Kill that girl I'm sitting here listening to him. I'm bobbing my head, but he's talking about killing that girl, but your head's, like, bopping up and down lyric wise. I kind of like the lyrics in this. It's so silly. I mean, I appreciate him putting, like, dark lyrics in there. So I'm going to give it a seven. I think that they mixed the music around a little bit more on this. So I'm going to give them a seven on the music, and I'm going to give them eight on production on this. I kind of like the extra things they were adding in that I didn't expect them to add in because they don't really do a lot of that. I just can't get over the dark lyrics in the poppy thing. [01:48:00] Speaker A: Yeah. I'm going to say seven on the lyrics. I'll say seven on the music. I mean, it was catchy enough. As it kind of progressed, it grew me a little bit more. I'll say eight on the production, too. I mean, again, I've said it before, but it sounds the way it should sound. [01:48:25] Speaker B: Yeah, let's see. And it's funny, before we even get to next one, when he writes a song by himself, the melodies are so much better. [01:48:38] Speaker A: Yeah. [01:48:40] Speaker B: So this next one is the last one on the record. Believe it or not, we got to the whole record. He should never have opened that door. This is DD Ramon and Johnny Ramon. Let's see. I'm assuming it's not going to be as good as far as melody Wise goes because I think his melodies are very unique to him. He pulls a lot of that 60s stuff into his music. Here you go. [01:49:11] Speaker C: Mama, with your little doll. She said, right here on the altar, you should never have open that door. Now you're never going to see it on all. You don't know what I do. This act. Drop off your hips. Are you better like. [01:49:30] Speaker A: Yeah. [01:49:33] Speaker B: That'S too funny. Mama, where's your little daughter? She's here. Right here on the altar. You should have never opened that door. Now you're never going to see her no more. You don't know what I can do with this axe. Chop off your head so you're better relaxed. [01:49:49] Speaker A: Yeah, it's basically about slasher movies. It's kind of within that context. [01:49:54] Speaker B: Yeah, it's too funny. Well, when did Halloween come out? What year did Halloween come out? [01:50:00] Speaker A: 78. [01:50:01] Speaker B: Oh. So was it even before that? [01:50:03] Speaker A: Yeah. [01:50:06] Speaker B: Interesting. That's pretty funny. All right, I got to continue. I just had to stop it there because I just jumped for your head, so you better relax. It's too funny. [01:50:16] Speaker C: You should never open that doll now you're never gonna see it no more? You don't know what I do inside? Drop off your head so you better rely? You should never open the door now, you're never going to see it? I'm all. You should never open the door now. You're never going to see it. I'm all. Open that door. Open that door. Open that door. Open that door. Open that door. Open that door. Open that door. [01:51:48] Speaker B: That's the open endor. Open the door. Yeah. I don't know. What do you think about that one? [01:51:57] Speaker A: It's all right. I do like the riff because to me, it's got that little bit of that den in it, a little bit off time, so it's not straight through. There is a little bit of difference to it, but, yeah, the melody just wasn't as. I mean, it does follow the riff, but I felt like he could have done a little bit more with it. There's no nuance, I think, in this song. So some of the other stuff does. The lyrics. I'll say six. I mean, I know they're violent, but they're based on movie violence, music. I'll say six on the music, but I'm lowering the score more for the melody and production. I'm going to say seven and seven. This one was a little bit thinner, too, I felt. I don't know, I feel like for a last song, it shouldn't have been. They should have ended it a little bit stronger, though. What do you think? [01:53:12] Speaker B: Yeah. Six on the lyrics. It wasn't some of the best stuff that's on here. Obviously, he didn't write this, so that's why the melody is not as good musicianship. Six. I don't know. I felt like they'd used this riff before in this record, you know what I'm saying? But so much similar. I think that was like the first song that they wrote together, like the other DD Ramon song and Johnny Ramon song. Wasn't that the same riff as this riff was? I don't know. I mean, obviously there's only so much you can do in this genre of music, right? You're not looking for it to be totally different. Production, game of seven. Like I said, to me, it's very similar to most of the stuff that's there. And again, how much produced do I want it to be? Yeah, they don't want to be produced, probably. [01:54:05] Speaker A: No, it's just raw. It's simple. [01:54:09] Speaker B: I mean, this is the first Ramon's record I've ever listened to. Straight through. [01:54:14] Speaker A: Oh, yeah. I've listened to a couple straight through. I mean, again, you're not going to find major variations between these albums and the songs. And I mean, they are what they are. [01:54:30] Speaker B: Well, I kind of have to think that their musicianship is a little bit limited, right? [01:54:36] Speaker A: Yeah, I would think so. [01:54:39] Speaker B: Especially, I mean, maybe when they got later on in their career. Obviously, if you play for long enough, you're going to get better. Right. So I'd have to listen to some later stuff to see if that changed or was always the same. I would think it had to have changed a little bit just because. [01:54:55] Speaker A: Well, I don't remember the song. I don't want to grow up. I don't know if remember you that because that was a decent hit. But again, catchy and honestly interchangeable with this. They are what they are, right? They're like AC DC. You're not going to go to ACDC to hear, oh, let's see what they do. This, it's just they are what they are, and you either like it, you don't have to love it, but if you don't like one song, you're probably. [01:55:27] Speaker B: Not going to like anything you may. [01:55:29] Speaker A: Not like because the style is there. I shouldn't say that. I mean, I'm sure I want to be sedated. It's just beyond catchy that I think a lot of people like that song. But again, if you're like, I don't like that song, odds are you're not going to like a lot of their stuff. Yeah, they are what they are. [01:55:48] Speaker B: Well, listen, like, hey ho, let's go. And I want to be sedated and stuff like that. So such big songs for them, right? Are they both on the same record? [01:55:57] Speaker A: I don't remember. [01:55:58] Speaker B: I forget. [01:55:58] Speaker A: I know I should remember. [01:56:00] Speaker B: Well, no, I don't know. So I'm just asking, to me, those are the best versions of the songs that I know that they've done. I don't know every song they've done just from hearing this, I don't hear anything that's as strong as that. And I didn't hear the first record, so there might be things on the first record that are strong like that. I don't know what they say. At the beginning of this, when I was looking at this, they said it was good, but it had higher production value. And this is faster tempos than the first record. Does that sound right? [01:56:40] Speaker A: Yeah. I would say again, it's been a while. [01:56:46] Speaker B: Yeah. Listen, there's some funny stuff in here. I don't think they're taking themselves too seriously through all this. [01:56:57] Speaker A: No, but they got some serious lyrics, too, so you got to give them credit for that. Well, hey, hill, let's go. Which is blitzkrieg, I think, the first album, actually. [01:57:15] Speaker B: Okay, well, there you go. It's hard to copy those things, but I don't think they care that they had any hits or. I don't think that's what they were here for. [01:57:30] Speaker A: No, because, I mean, honestly speaking, again, would you write songs that are so similar? Ultimately, it depends on what the radio plays. [01:57:39] Speaker B: Yeah. [01:57:40] Speaker A: So that's really what it comes down to. But, I mean, as a band, they have a major impact. They've had staying power. I mean, their first album was released in 76, but again, a lot of people know the name, and so they definitely, you know, they've. They've become a legend. You got to give them credit. And this is all they've done. It isn't like you listen to this album and you say, oh, yeah, well, this is like their second album. And then after this, they started whatever. This isn't where the Beatles did Sergeant Pepper. Right. Or rubber soul or. [01:58:32] Speaker B: I mean, like I said, there's parts I like and parts I don't. I mean, it's a lot of listening, the same thing over and over and over and over and over and over and over. So you have to enjoy that. If you don't enjoy that, you're probably in pressure. [01:58:47] Speaker A: At least the songs are short. I mean, imagine, honestly speaking, if it really was that one set of lyric where it's just really one verse for, like five minutes. [01:58:56] Speaker B: Yeah, I appreciate the short song. [01:59:00] Speaker A: Exactly. [01:59:01] Speaker B: Again, they were going against the big, long songs and the songs that are six minutes. Right. And the stuff that was in the 70s was very bloated and very, to them was very bloated, and they were trying to bring it down to the rawest. It could be. I don't know, but my assumption is that musically, they probably couldn't be. They couldn't do that stuff anyway, but they're going to do what they do. [01:59:26] Speaker A: I think they just got together. I don't know the whole story, honestly. And obviously, if anybody knows and listens, just throw up a quick little loom. [01:59:35] Speaker B: Yeah, well, it was good to got this. Like I said, I've never went through a Ramons record straight, so I kind of, kind of understand a little bit more about what they do just by getting this album show the randomness of the wheel. [01:59:52] Speaker A: We did not get the debut. We didn't get road to ruin. [01:59:56] Speaker B: We got number two. [01:59:58] Speaker A: Yes. Just like we got cheap tricks debut. We got that weird ass album by the Stones. We got the fifth album by stone Temple Pilots. [02:00:10] Speaker B: The wheel is super duper random, man. [02:00:12] Speaker A: Exactly. And then we got Bon Jovi's biggest album in the middle of all that. [02:00:18] Speaker B: And we get such a short record that, like, usually say at the beginning, that rarely ever happens. [02:00:23] Speaker A: Exactly. I always mention it just in case something like this happens. But once I heard the Ramones, I'm like, we're going to be able to do this in one shot. There's no way. [02:00:33] Speaker B: Which is awesome, because next week we get to spin again. [02:00:35] Speaker A: I know, that's great. We did big Brother and the holding company, right? We did that in one episode. [02:00:44] Speaker B: Yeah. [02:00:45] Speaker A: Didn't we do something else in one episode? [02:00:47] Speaker B: I remember I'd have to go back. [02:00:49] Speaker A: And there was one other one. I don't remember. [02:00:51] Speaker B: You're probably right. I think there was something else. [02:00:54] Speaker A: I think there was something else that we just went through. [02:00:58] Speaker B: Yeah, I'd have to go back and. [02:01:00] Speaker A: I know. [02:01:06] Speaker B: I'm looking diamond. We did one shot. [02:01:11] Speaker A: Did we? Oh, nice. [02:01:12] Speaker B: Episode 50. Yeah. So we did that. [02:01:14] Speaker A: And we had the whole crew for that one. I mean, I think that was pre frank, but we had the whole original crew. [02:01:20] Speaker B: Yes, correct. Awesome. All right, that was good. So I'm glad we got this because like I said, I don't listen to a lot of it. So I'm glad I got to hear an album all the way through. And then hopefully somewhere along the line, after it gets past the ten album thing, that we get another one, maybe, because I'd like to hear something else. [02:01:41] Speaker A: Yeah, comparison. Absolutely. [02:01:45] Speaker B: Awesome. All right, why don't you do your thing? [02:01:47] Speaker A: So we are part of the Deep Dive podcast network again, great bunch of guys who took us in right away. They are more individualized podcasts. Van Halen, Iron Maiden. You're right. Heap rush. Again, shout out to the rush rash guys and shout out to. And the podcast will rock, who also gave us a nice little shout out shout out back. [02:02:12] Speaker B: Corey Morissette. He does a million shows on this network. I don't know how he's time to sleep, but he does tons of stuff. But he was excited to get this record, the Bon Jovi record. I don't know how he stands on this record, but he was super psyched to get the bonjour record. [02:02:31] Speaker A: Yeah. So again, shout out to those guys and check them out. I mean, we're a part of it. So, Mark, where can they find us on the interwebs? [02:02:40] Speaker B: Rock roulette pod everywhere. Please share our episodes, rate our episodes, tell other people about our episodes. If we've done something you think somebody might like, we're all over the place. Obviously. You can see you go from Bonjour to Ramones. Yeah, it's all rock and punk. It's all the same kind of stuff. But the wheel is so random. You never know what we're going to get. One day we're doing this, and the next day we're doing, you know, again. [02:03:07] Speaker A: We go from two massive bands, let's say Bon Jovi, Ramones, but we get the biggest selling album from one and a minor selling album from another. [02:03:19] Speaker B: Know, the weird album might just come up. [02:03:21] Speaker A: You never know. Never know. [02:03:24] Speaker B: All right, guys, well, we'll see you next week. We get to spin again, so that's cool. [02:03:27] Speaker A: Yeah. Excited. [02:03:29] Speaker B: We never get to spin two weeks in a row. [02:03:31] Speaker A: Yeah. That's awesome. [02:03:34] Speaker B: All right, guys, see you later. Joshua.