Episode Transcript
[00:01:12] Speaker A: It.
[00:01:12] Speaker B: Hey, everybody. Welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast. I took over 1100 albums, stuck them in a list, stuck them in a wheel. And typically every other week we spin the wheel. She picks an album for us and we go through it track by track and we rate it based on lyrics, music and production. Again, just a bunch of friends who wanted to do a podcast, who love music. And this is the opportunity for us. And again, we want to thank all our listeners again, we've been doing pretty well. There's definitely been an upswing lately. So whoever you are, thank you. If you're spreading the word, thank you. Keep spreading the word. Leave feedback, comments, suggestions, whatever you want, man. We'll answer. So anybody who's ever written us knows that we answer pretty quickly. So again, thank you so much. And tonight we are a threesome. We have Mark.
Oh, hi Mark.
[00:02:04] Speaker C: What's up, guys?
[00:02:05] Speaker B: We have Frank.
My name is Frank.
[00:02:23] Speaker D: Hello, everyone.
[00:02:24] Speaker B: And I'm Sav. Ciao, bunatira.
So last week, Mark and I did actually a one fur, which does not happen too often. And it was Ramon's second album and we were able to complete it because it was only 27 minutes long, which is great. So, Mark, what do you think overall?
[00:02:44] Speaker C: I didn't think it was bad. It is a little bit samey same, but I liked a bunch of the. It was so funny that the lyrics were so sometimes dark and it was just very like, hey, Poppy. Poppy.
[00:02:58] Speaker B: Yeah, that was pretty fun. Definitely some episodes.
[00:03:01] Speaker C: Interesting.
But not a lot of lyrics, though.
[00:03:06] Speaker B: No, he basically was like one verse and one chorus pretty much. I kind of went through the whole thing. So he definitely saved a lot on ink and paper. That's for, you know, they didn't have anything else to type on back then.
So, Frank, you have any experience with the Ramon's second album or in general?
[00:03:25] Speaker D: I mean, in, you know, heard a couple of Ramon songs along the way, but not specifically that second.
[00:03:33] Speaker B: I mean, like Mark and I said we were pretty much greatest hits kind of guys, really, so. But I'm glad we got it. I thought it was pretty Odball. And again, goes to show how random this shit is that we do, because if you're going to pick an album by somebody, typically you're going to pick something popular. So we go from the biggest selling Bon Jovi album to the Ramon second album.
And again it's chosen randomness, which we love. And speaking of the wheel, we get to spin again tonight, which is awesome because we don't really. Mark, is this the third time I think we've ever done it?
[00:04:09] Speaker C: I think big brother and the holding company.
[00:04:11] Speaker B: King diamond. Right.
[00:04:12] Speaker C: King diamond. And this one, I think. Right.
[00:04:16] Speaker B: What do you call it? I think we did.
Who was it? Was it some 41? Did we do them in one shot?
[00:04:22] Speaker C: No, we did it twice. Blink 182.
[00:04:24] Speaker B: Blink 182.
[00:04:26] Speaker C: So four times.
[00:04:27] Speaker B: Okay, nice. And this is our 75th episode.
Yeah. A little bit of a landmark. I think we're still going. And, I mean, we always talk about this, but I don't think we'll ever run out of material.
The material will outlive all of us.
[00:04:47] Speaker C: It's 1100 albums.
[00:04:49] Speaker B: Yeah. And we keep adding to it. And we've been talking, too. So February, Mick Mars is coming out, I think, finally with his solo album. And the new ace freely is coming out.
You know, Mark and I've been talking. Maybe we'll throw an audible and then just do one of those, since it's people that are part of our history. And Mick Mars has come up on the podcast, but he's really actually come up on the podcast solo.
Yeah. But never with kiss.
[00:05:21] Speaker C: I know all the kiss albums that are on there. And you two either. All the. You two albums that. Zeppelin.
[00:05:26] Speaker B: No.
[00:05:26] Speaker C: Beatles. There's so much big catalogs of people that haven't even been touched.
[00:05:32] Speaker B: I have not been touched. And like I said last week, you get the Ramon's second album.
[00:05:37] Speaker C: I'm not even going to try to guess what's going to come up this.
[00:05:41] Speaker B: Week, because every time I try, the better the pick. Right. I kind of feel like that. So I'm not going to say anything either. Frank, do you want to say anything? Or do you want to just fuck it and just spend?
[00:05:54] Speaker D: I mean, I hope we get winger on the 75th. That'll be great.
[00:06:01] Speaker B: I will not mention the band, but there are two. One was a very famous, influential band who will remain nameless, who did a very. There was a very big special on Disney, so anybody who knows will know exactly who I'm talking about. And there's another band that we've actually done on this before. And there's an album that they did in the 90s, which was a pretty big record. And I hadn't seen the documentary of the making of in a while. So I've been watching that with Bruce Fairburn as a producer.
Mark probably knows who I'm talking about. I think we all watched that.
[00:06:37] Speaker C: Know?
[00:06:38] Speaker B: Who knows? And there's another guy, too, a little short guy from New York who sang with not only an incredibly popular band that we've done here, but also on his own.
But I'm not naming names.
If you can guess, that's fine. But.
[00:06:59] Speaker C: Can both of you see the wheel?
[00:07:01] Speaker B: I can see it.
[00:07:02] Speaker C: Okay, here we go. Wheel time.
[00:07:05] Speaker A: And we're offend.
[00:07:27] Speaker B: Wow. So this is the most popular album by this band.
[00:07:33] Speaker C: Yeah, obviously I know this band. I've heard things from this band. I saw them live from this band. Never, ever.
[00:07:42] Speaker B: You will definitely know some of the songs on here, so let me shout it out. It has nothing to do with anything that I spoke of, but Reo speed wagon, high infidelity.
This was a big album for them.
Pretty big album. Some big hits on this.
So I don't know. What do you guys think?
[00:08:05] Speaker C: I'm up for listening to Reo Speed wagon because it's not really, like. Again, I guess with them, I'm very great as hits.
[00:08:16] Speaker B: I have this album, and I've known that. I've listened to it. Whether or not I'm going to remember everything, probably not. I actually did see them live at Bride Playland for free. And again, I don't know who was original in the band, but the singer was definitely there, and they were pretty good. I got to say. They were pretty good. I caught them. And Cindy Louper for free, she was great. She ran around the crowd and everything. So I'm telling you, for free, you could not have asked for two better shows. Without a doubt.
[00:08:49] Speaker C: So this is their 9th studio album in 1980. That's crazy.
[00:08:53] Speaker B: Wow.
[00:08:55] Speaker C: So they already had nine records. By the time the 80s rolled around, this sold 10 million albums.
[00:09:02] Speaker B: Yeah, this was big.
[00:09:05] Speaker C: In the United States. 10 million albums.
[00:09:08] Speaker B: Just in the US alone.
[00:09:10] Speaker C: Yeah. The other parts of the countries. I mean, the other countries are really not very. Five times platinum in Canada, which is 500,000.
[00:09:18] Speaker B: Are you dissing the Canadians, Mark?
[00:09:21] Speaker C: Goddamn, they can't even figure it out. Right.
And then United Kingdom silver, 60,000.
[00:09:33] Speaker B: So without a doubt, you will know at least one song on.
[00:09:38] Speaker C: Yeah, no, I know.
I'm looking at the track listing. Yeah, well. And I don't mean to dis the Canadians because I like the Canadians. It's just. I don't know what's going on with your platinum. Thing is platinum, 100,000, I guess five times platinum is 500,000.
So the bar is a little lower, I guess.
This had five singles. There's two number one singles on here.
And I don't know much about REO Speedwagon. Speed Wagon is a band.
Does anyone?
[00:10:15] Speaker B: I don't know much about.
I never really read about them. I don't even know where they're from. Are they from Detroit?
[00:10:26] Speaker C: I don't know. Well, I'm going to tell you who's in the band first and I'll look it up.
So Kevin Cronin, who's leading back invocative backing.
Gary Richrath on electric guitar, Neil Dowdy on keyboards, Bruce hall on bass and Adeline Gratzer on drums.
Now, Gary Richrath. It sounds very familiar. He's the only one, I guess he's only really done that in the band earlier band, Suburban nine to five. But that was early. So he was in the band till 1989.
He already passed away. He passed away in 2015.
I think Kevin Cronin is still in Resb wagon.
[00:11:08] Speaker B: Yeah, I believe so.
[00:11:14] Speaker C: And I'll tell you where they're from. They are from.
[00:11:20] Speaker B: Midwest somewhere.
[00:11:21] Speaker C: Illinois.
[00:11:22] Speaker D: There you go.
[00:11:24] Speaker B: Champagne.
[00:11:27] Speaker C: Yes, champagne.
[00:11:30] Speaker B: Illinois. Illinois.
[00:11:33] Speaker C: Yeah. I'm trying to look at their discography to see how when they first. Wow. They were pumping records out. First audio speed wagon album was 71, then 72 to 737-475-7678 they took 77 off.
So Kiss could be the number one band in the country. And then 78, they came back the 79, 80. I mean, they went up until almost 1990. Really putting it. It slowed down a little bit, but like every couple of years, two or three years, but from like 71 to 80, it was almost every year they put an album out. Yeah, it's crazy.
[00:12:09] Speaker B: That's how it was back then though, right? I mean, look at these bands that made two albums a year, three albums that would come out within like a year and a half each other.
[00:12:21] Speaker C: Yeah. I'm super excited about this because it's a band that I hear all the time. I've heard a bunch of songs from them, but I never heard an album straight. Frank, have you ever heard an album all the way through from Reus B. Wagon?
[00:12:34] Speaker D: Absolutely not.
[00:12:36] Speaker B: Frank was like, just tonight.
[00:12:38] Speaker D: Just tonight. Tonight will be the night. There's always a first.
[00:12:43] Speaker C: Yeah. We're going to know a bunch of these songs, I think, Frank.
[00:12:47] Speaker D: We shall see.
[00:12:50] Speaker C: All right, so do we want to get started with this?
[00:12:53] Speaker B: Let's do it. REo speed wagon. I love it. I love the randomness that's been going on, man.
[00:12:59] Speaker C: Yeah, seriously. So don't let him go. This is the first one. This is written by Kevin Cronin. I don't know if I know that it was a single.
Where did it end up?
[00:13:11] Speaker B: 24.
[00:13:12] Speaker C: 24.
I'm not sure if I know it or not. Maybe I do. Once I start hearing. Once I start hearing it, I might. So I don't know.
All right, here we go. Let him go.
[00:13:40] Speaker A: So you think you're. That you got him all figured out? He's a big pumpkin stud who can melt a girl's heart with his couch.
He's the kind of lover that the ladies dream about.
He's got plenty of chaos, he's got plenty of rim. He got him and a while and in your eyes, up in the mercedes he got a long week with a famous.
But don't let him go just give him a test go take it easy to take a flow and don't let them go don't let them go.
[00:14:35] Speaker C: Bass is super prominent.
You know the song?
[00:14:41] Speaker B: I do, yeah.
[00:14:42] Speaker C: I don't.
I don't think I do.
[00:14:48] Speaker B: Without a doubt. I know every song on the first side.
Looking at the titles on the second side, I don't really remember.
[00:14:58] Speaker C: Frank, you know this song?
[00:14:59] Speaker D: Absolutely not. First time.
[00:15:01] Speaker B: What do you guys think? First time listeners? I think it's pretty cool. It's kind of building up. It's kind of catchy.
[00:15:06] Speaker C: It's giving me sticks vibes.
[00:15:08] Speaker B: I can hear that.
[00:15:10] Speaker C: Giving me sticks vibes.
Like, it started out with the feedback guitar. I'm like, oh, this can be heavier than I thought. And then it just went into luck. Oh, it went into aor.
[00:15:21] Speaker B: Yeah, that's what it is. I mean, it's hooks.
[00:15:26] Speaker C: Yeah, no, I know.
[00:15:28] Speaker B: He's got a good voice.
[00:15:30] Speaker C: Yeah, his voice is good.
[00:15:31] Speaker B: It's very unique. I mean, again, it's a guy that, if you hear it, it's either him or somebody who sounds like him.
[00:15:39] Speaker C: Yeah, the mix is a little weird for me. Like, guitar is a little low.
Who produced this?
Kevin Beamish. Trying to see what he's done. The miracles. Smokey Robinson, Shefferson stewardship.
[00:15:58] Speaker B: Saxon ynt Saxon keel Leatherwolf. Come on. The guy's a damn legend.
[00:16:04] Speaker C: Michael Schenker, group contraband. Interesting.
I don't know. I'm not super into this song right at the moment, but I have to let it go for a little.
[00:16:15] Speaker B: Ah, don't let him. The whole. That's the name of the song. Don't let him go.
[00:16:20] Speaker C: So would you like the lyrics? Don't let him go.
[00:16:24] Speaker B: The lyrics are whatever.
[00:16:28] Speaker C: So you figured that you've got him all figured out. He's a sweet talking stud who can melt a girl's heart with his spout, with his pout. Sorry.
He's the kind of lover that the ladies dream about. Woo. Yes, he is. He's got plenty of cash, he's got plenty of friends he drives women's wild when he drives off in a Mercedes Benz he's got a long wick with the flame at both ends. Now, you could take that whatever fucking way you want to take that.
[00:16:54] Speaker B: He's got a long churn wick he's.
[00:16:57] Speaker C: Hot but don't let him go just give him a chance to grow take it easy take it slow and don't let him go now if you want to kind of take this into something.
[00:17:09] Speaker A: Penis.
[00:17:11] Speaker C: Maybe this is like a precursor to.
[00:17:13] Speaker B: Wakehoo Jr.
[00:17:16] Speaker C: Not just penis, but I.
[00:17:18] Speaker B: Take a look at my enormous penis.
[00:17:22] Speaker C: So it's either she's saying, give him a chance. He's not just good looking, let him grow on you, or it's that.
But I'm pretty positive they were going for the double entendre and both those things.
[00:17:41] Speaker B: Yeah. This is not exactly lyrically, I like the music. I mean, I'm bopping my head.
[00:17:50] Speaker C: Yeah, I'm not into it yet. I like the bass playing. I think the guitar is a little low for me.
[00:17:54] Speaker B: But let's see how I like the chorus. Let me be more specific. I do like the chorus.
[00:18:01] Speaker C: The second verse coming up is super double entendre.
Oh, my God.
Here we go. It's logging your fireplace time here you go.
[00:18:13] Speaker A: Don't let him go you throw away you so how can you wait? Ignore when you wondering what you're waiting for I don't know but don't let them go just think of the best we go take it easy and go and don't let them go don't let go.
[00:19:28] Speaker C: Was pretty good.
[00:19:29] Speaker B: Yeah.
[00:19:29] Speaker C: Keyboards I like. I like the guitar playing. That was pretty good.
[00:19:32] Speaker B: Something different.
[00:19:33] Speaker C: Yeah. I do like the chorus. I just, I'm. I'm having a hard time getting. Getting through the lyrics. That's the only thing. So I'm going to read the line. Ready?
He makes you so angry he makes you so sore now take that any way you like but I'm pretty positive what they're trying to go for there.
The wait may be worth it but how can you wait anymore when you're wondering what you're waiting for, baby, I don't know and then the chorus. The chorus is catchy.
[00:20:06] Speaker B: I think the production picks up in the chorus. I think the drums sound really crisp. The bass is really good in this song.
[00:20:13] Speaker C: Oh, the bass is like, super, like, up front in your face.
[00:20:16] Speaker B: Yeah.
[00:20:19] Speaker C: I just think I need a little time with them to kind of figure out what they are, because I don't really know. I'm coming into this like I've never heard Reo speed wagon before.
[00:20:28] Speaker B: Yeah, like I said, the first side, I know every song, without a doubt. The second side, I don't remember.
[00:20:35] Speaker C: Frank, what do you think so far?
[00:20:37] Speaker D: I'm just trying to figure it all out.
[00:20:40] Speaker C: It's a new sound for me band. Right.
I'm not too sure if I'd like it. I'm not too sure if I don't like it.
[00:20:46] Speaker B: But the vibe is definitely 70s, obviously. You know what I mean? This is clearly not. Yeah, the 80s still kind of got that. Yeah. You know what I mean? It's still got that 70s kind of vibe to it.
[00:20:57] Speaker C: That's like Christopher Cross. What's the big song from Christopher Cross?
[00:21:02] Speaker B: Well, it depends.
Well, I mean, it was the album, right. There's sailing. There's never be the same.
[00:21:09] Speaker C: Yeah, but that song is 1980, but it sounds like it's in the 70s still.
[00:21:14] Speaker B: Yeah.
[00:21:15] Speaker C: So that's kind of what this gives me.
[00:21:17] Speaker B: Yeah, but even the keyboard and. Right. Kind of like the organ sounding solo.
[00:21:22] Speaker C: Yeah.
The mix has gotten a little bit better. So maybe I'm just kind of trying to pay attention to kind of look at what's going on, that's all.
[00:21:29] Speaker D: Was this band, like, same time as Chicago coming out like that same kind of era where they kind of evolved their sound, reinvented themselves repeatedly?
[00:21:43] Speaker C: I don't know. I would assume not. This is kind of their sound, isn't it?
[00:21:49] Speaker B: Yeah. I mean, they have, like, that song rolling with the punches. I think that's what it is. Or rolling with the changes. I mean, that's a pretty popular song. I don't know if it was before this or after this. I'll look it up.
[00:22:03] Speaker D: Very arena rock.
[00:22:05] Speaker C: Oh, yeah, definitely album oriented rock. They switched vocalists three times on the first three records.
[00:22:11] Speaker B: Oh, did they?
[00:22:12] Speaker C: So Kevin Cronin didn't come in until the third, I guess.
[00:22:19] Speaker B: Tell you what, though, it's a good. He. Like I said, he has a very unique voice.
I saw them in the late ninety s, early two thousand s. And, I mean, he sounded really good, so I don't know what he sounds like now.
[00:22:35] Speaker C: But I think I've heard some stuff because things just pop up on your feeds and stuff. So I've seen some stuff from Mario. He seems like he's singing okay. Yeah, he's 72.
[00:22:47] Speaker B: Yeah, he's got to be up there.
[00:22:49] Speaker C: All right, let's continue.
[00:22:53] Speaker A: Just give him a catch a go.
Take it easy go and don't let go don't let go don't let it go don't let it go don't let it go you. You.
Don't let God don't let God don't let God know.
[00:24:17] Speaker B: See, Mark? They faded out for you.
[00:24:19] Speaker C: Yeah, I'd like to fade.
[00:24:20] Speaker B: I always love to fade.
[00:24:20] Speaker C: And, you know, the guitar playing is pretty good. I mean, he's. He's definitely old school 70s guitar player. Like, it's the pre, before Van Halen came in kind of guy. That's what it is, which is good.
You hit the worry that it's all going to be like copycat kind of stuff. So it's pretty good. I liked it. I liked the guitar playing, thought it was good.
[00:24:43] Speaker B: Bass was really good. I mean, the drums were good.
[00:24:46] Speaker C: Drums were good. Keyboards were good. Everything was good.
[00:24:50] Speaker B: Who wants to go first? One of y'all got to go first. Oh, wait, Mark, are there any more lyrics to read out or.
[00:24:55] Speaker A: Um.
[00:24:55] Speaker C: I don't think so. I think that's pretty much the, you know, it's all repeating, so it's pretty much the same.
Yeah, don't let him go is pretty much the thing. Frank, why don't you go first?
[00:25:09] Speaker D: Really?
[00:25:12] Speaker C: Yes, go.
[00:25:14] Speaker B: Come on. First time ever hearing this song. What do you think, Frank?
[00:25:17] Speaker D: It's definitely catchy. It's a catchy little.
Like, the lyrics are fun to listen to. And like the two of you pointed out, the bass is right there, front and center.
So far, I like it a lot.
Just trying to figure out what it is for me.
[00:25:41] Speaker B: So what, are you going to rate it?
[00:25:43] Speaker D: Okay. Yeah.
The lyrics, I'm going to give it a seven. I mean, they're fun lyrics to listen to. And I like the production. Production. I'm going to give that an eight. I mean, everything just pops here. It's very crisp. You can hear it. Everything. It's just really great musicianship. I'm going to give that a seven, Mark.
[00:26:10] Speaker C: So you said seven, seven, eight.
I don't have.
I don't have much to like right now.
I'm only hearing in my head the song that's coming up next.
So it's a little hard for me to kind of like, I know those lyrics are better for me.
So, I mean, there's a bunch of double entendre.
They're not horrible. I like the chorus, I guess. I'm going to give it a seven. It's not horrible.
I like the music. I'm going to give the music an eight. I think everything was played very well. I like the drums. Guitar. Guitar was a little bit low at the beginning, but I think they kind of equaledized that out a little bit.
Production, I'm going to give it a seven. I didn't like the way it started, but I like the way it ended.
[00:27:09] Speaker B: So I'm going to skip the lyrics for now because I'm still debating. But I'm going to say a seven on the music.
I thought it was good. I mean, it's competent without a doubt. And production, I'm going to say seven for now.
I do think it got better as it progressed and I feel that the chorus had better production than the verses. It just really opened mean. The lyrics are.
Mark, what did you give it?
[00:27:46] Speaker C: I gave it a seven, but realistically I could have gave it a six.
[00:27:50] Speaker B: Yeah, I don't know if I want to give it a six or five. I mean, they're pretty bad.
I'm going to say five.
I'll be harsh, but I do like this.
[00:28:04] Speaker C: I'm changing mine to six.
[00:28:05] Speaker B: There you go.
I'm dragging you down with me. There you go. There you go. But I do like the song. I mean, I think it's a pretty good song. Pretty good opening track.
[00:28:20] Speaker C: Well, the next one sold a million copies of just the actual.
[00:28:30] Speaker B: Which. And it's still played.
[00:28:31] Speaker C: It went to number one.
[00:28:33] Speaker B: Yeah.
[00:28:34] Speaker C: Frankie's going to know this one. I'm going to play a little bit. Frankie, you tell me if you know what it is as soon as I play it. You ready?
[00:28:40] Speaker D: Ready.
[00:28:41] Speaker C: Go.
Do you know what it is?
[00:28:50] Speaker D: Of course. Who doesn't know you have to live under a rock?
[00:28:56] Speaker C: So that's why I kind of hesitated to give the other song higher marks just because kind of like what is coming up.
So for people who don't know, the song is keep on loving you now.
[00:29:09] Speaker D: This was a smash head.
Decades later.
[00:29:14] Speaker C: It sold a million copies. Just a single.
[00:29:17] Speaker D: The single alone.
[00:29:19] Speaker C: Okay, single alone. I mean, the record sold 10 million. So just 1 million for just a single. Did a million.
[00:29:26] Speaker B: Wow. So just a really quick heads up, the single don't let him go was one of MTV's first music videos broadcast on August 1, 1981.
[00:29:37] Speaker C: Wow. I didn't know that.
[00:29:38] Speaker B: Yeah, I just saw a little snippet. I would throw it out there.
[00:29:42] Speaker C: Yeah. I'm curious to hear how the rest of this thing is going to go because I haven't heard the song in a while, but I know I'd like this song, obviously, with a million other people.
[00:29:52] Speaker B: Yeah, exactly.
[00:29:54] Speaker C: I wonder how many times this was used in, like, weddings and stuff. I'd be crazy.
[00:29:59] Speaker B: It's a pretty sad story, though. It's about his wife's infidelity, so it really has meaning.
[00:30:06] Speaker C: Yeah, I don't want to know about that.
[00:30:08] Speaker D: This is, like, people's wedding songs.
[00:30:10] Speaker B: I love it. Imagine.
[00:30:12] Speaker C: Come on. But, you know, it had to be people's wedding songs, right? Had to be.
They don't even know what it's about, probably.
[00:30:20] Speaker B: Well, if you listen to the words, it's pretty obvious.
[00:30:22] Speaker C: Yeah, but a lot of people just hear, like, the melody, and they don't care about the.
[00:30:28] Speaker B: Whitney.
[00:30:31] Speaker C: It just feels like a song about loving somebody. Right.
[00:30:36] Speaker B: And they didn't want to record the song, actually.
[00:30:39] Speaker C: Why is that?
[00:30:41] Speaker B: Because they consider themselves more of a rock band. This was too ballady.
[00:30:47] Speaker C: Thank God they recorded it.
[00:30:48] Speaker B: Yeah, well, how many songs. How many stories do you hear out there about songs that almost didn't make it to a record? And it turns out to be the biggest hit?
[00:30:59] Speaker C: 100%. Happens all the time. We hated that song, but here it goes. All right, let's continue.
[00:31:10] Speaker A: You should have seen by the look in my eyes baby there was something missing you should have known by the total. My voice, maybe, but you didn't listen.
You made dead but you never live instead you late feeling unreal up in here I sound.
[00:31:49] Speaker C: So we got to go over those lyrics.
[00:31:51] Speaker B: Yes.
[00:31:52] Speaker C: Now that you know what it's about.
[00:31:53] Speaker B: Well, I mean, here's the deal. Even if he's in writing it about a personal thing, it's clear what the song is about.
[00:32:00] Speaker C: But I never listened to the lyrics in the song, ever.
[00:32:04] Speaker B: I mean, I listened to them because, I mean, honestly speaking, I think this is one of the greatest rock ballads ever written.
[00:32:10] Speaker C: Me, personally, 100%, I just never paid attention to the lyrics that much.
So, Frank, have you ever paid attention to the lyrics? Wait till I read the lyrics to you.
You should have seen by the look in my eyes baby there was something missing. You should have known by the tone of my voice maybe, but you didn't listen. You played dead, but you never bled. Instead you lay still in the grass all coiled up and hissing. He's calling her a snake in the grass.
[00:32:41] Speaker B: Yeah. You know what's funny? I always thought he said, you laid still in the dress.
And my wife was the one that's like, no, the grass. Because the Donnas did a version of this, and she really likes that version. So I was.
[00:32:56] Speaker A: That's a.
[00:32:56] Speaker C: That's another band that's on the list. Believe it or not, I think.
[00:32:59] Speaker B: Oh, yeah, the Donnas.
[00:33:02] Speaker C: So did you know any of those lyrics, Frank, at all? I had no clue. Frank, you gone. You muted?
[00:33:08] Speaker B: Oh, no, I'm muted.
[00:33:09] Speaker D: Oh, sorry. Yeah, I like it so far.
I'm muting myself because of everything.
[00:33:16] Speaker C: But did you know those lyrics at all?
[00:33:18] Speaker D: No.
Now that you're reading it, it's like, oh, my God, this is going to be so good.
[00:33:25] Speaker B: For the.
[00:33:25] Speaker D: Thank you.
[00:33:28] Speaker C: Here we go.
[00:33:29] Speaker A: I know all about those men.
I don't remember where before they am.
And we're still together.
And I meant every word I said when I said that I love you forever.
[00:34:04] Speaker C: I really like the melody in that line right there.
[00:34:08] Speaker B: Yeah.
[00:34:09] Speaker C: When I said I love you, I meant I love you forever.
The melody is really good.
[00:34:13] Speaker B: Yeah.
And he's got the voice to carry this song 100%.
[00:34:21] Speaker D: Are we going to read lyrics?
[00:34:23] Speaker C: Yes.
[00:34:24] Speaker B: Okay.
[00:34:25] Speaker C: So the second verse is. And though I know about all those men, I still. I don't remember because it was us, baby, way before them, and we're still together.
And I meant every word I said. What I said is I love you. I meant I'd love you forever.
And I guess when the chorus comes, I guess this is why people did this as, like a wedding song, because this sounds like the lovey part. Right.
But it's really just saying that even though he's saying he loves her, this is all because of. After the fact of what happened.
[00:34:57] Speaker B: Yeah. This is not something you want to necessarily say. Hi, honey. This reminds me of you. Wait, no.
[00:35:04] Speaker C: What?
[00:35:05] Speaker B: What other guy? What you do.
[00:35:13] Speaker C: And this chorus is really good, too.
It's crazy. All right, here we go.
[00:35:19] Speaker A: And I'm gonna keep on loving you cause it's the only thing I wanna do I don't wanna sleep I just wanna keep on loving you Jesus ranch. Every word I said when I said that I love you I meant that I love you forever and I'm gonna keep on loving you cause it's the only thing I wanna do I don't wanna be home I wanna keep on loving you.
[00:37:12] Speaker B: How long is that song?
[00:37:14] Speaker C: It's only. It's three minutes and 20 seconds. But it feels like it's a minute and a half.
[00:37:18] Speaker B: Yeah, but you realize the construction of that song, right? There's one verse. Really? Well, technically, one. Two verses.
[00:37:25] Speaker C: No, two verses.
[00:37:26] Speaker B: Two verses.
And then it goes straight to the solo. Right. And they never go back to another verse.
[00:37:33] Speaker C: And pre chorus again. And then chorus.
[00:37:35] Speaker B: And. I mean, the solo is just right. It's loud.
[00:37:41] Speaker C: Well, let me go over the lyrics in the chorus, because I don't think we did that. And I'm going to keep on loving you because it's the only thing I want to do. I don't want to sleep. I just want to keep on loving you. That's where probably everyone's like, oh, what a nice song. We should make that our wedding song. Meanwhile, it's about him cheating on her jinx. The whole wedding jinx?
Yeah. I mean, how could you not like that? It's constructed very well and it goes by so quick. But it's 320. It's actually only 20 seconds shorter than the first song. But the first song felt way longer. Yeah, this just kind of goes through.
[00:38:18] Speaker B: Yeah, it's quick.
[00:38:22] Speaker C: All right, so why don't you go first, since I know you like the song?
[00:38:26] Speaker B: So I'm going to say a seven on the lyrics. I mean, clearly it tells a story. It's sentimental me, music. I'm going to say a nine. I just think again, it's one of the greatest rock ballads, mainstream rock ballads ever done.
Typically, I don't get too sick of hearing the song. It's not too often where it's on and I'll turn away from it. And I think the production is good. I'm going to say an eight on the production. I think the way it's done is interesting. I wish, believe it or not, the one little thing is the symbols I wish were a little bit louder.
But it's interesting in the way that it's put together and how kind of, like, especially the solo, where just kind of everything kind of quiets down and the guitar is just loud, but it's not too loud.
And the fact that it's the second song, too, on the album, you wouldn't expect this to come right after the first song, but boom. So, yeah, Frank.
[00:39:34] Speaker D: It'S funny, the song seems to just fly by and so quickly, so didn't know what it was about until we started reading about it. And so now I like it even more. So I'm going to give the lyrics there. Eight resistance. I'm going to give that an eight as well. I kind of like the whole thing and the production. I'm going to give that a seven work.
[00:40:03] Speaker C: Yeah, that song goes by super duper quick. I was surprised that it was 320 because I looked up and I was like, wow, that's already done. That's crazy. I mean, we've done songs that have been shorter and you're like, when's the song going to end?
[00:40:15] Speaker B: Yeah.
[00:40:16] Speaker C: And this song just like super flies by. It's probably because it's so catchy and you've heard it so many times that it's kind of like, you don't turn this off when it comes on.
So, lyrics. I'm going to give it seven. There's not a lot of lyrics, but the parts that are there are great.
I never knew what it was about either until right now.
Shows how much I paid attention to the lyrics on this song. Not at all.
But the melody is really good on musicianship. I'm going to have to give it a nine, too, just because it's so kind of an iconic song. The guitar solo is good. It's perfect for what they need. Again, I wish the guitars were a little bit louder.
That's my only critique about production. I'm still going to give it an eight, but I really wish the guitars were a little louder because to me, it kind of fits into that band that it could be louder if you want it. I think they always probably wanted to be a heavier band. I don't know if they were like that from the beginning as I don't know enough about them, but it feels the same way. Like sticks feels the same way. You know what I mean? You could hear that they want to be a heavier band, but maybe they're not. They can't be.
I don't know.
I don't know if it changes coming in the rest of the record, but I'd like to hear more of super prevalent. Bass is super prevalent, too.
[00:41:33] Speaker B: Yeah.
[00:41:34] Speaker C: Again, like some albums, like, you never know the bass is even there. Like, it's just there. Here. He stands out.
[00:41:41] Speaker B: Yeah. A lot of fills. A lot of. Again, kind of like that 70s feel, right?
[00:41:48] Speaker C: Yeah.
Is he still alive? Let's see. Yes, he is.
Is he still in reo speed wagon? That's a good question. I need to look right now. I'm curious.
He doesn't perform anymore. He's still in the band, but he doesn't perform anymore. The bass player and the keyboard player are still technically in the band, but they don't perform.
[00:42:18] Speaker B: That's cool.
[00:42:21] Speaker C: So they're still making money, but they don't actually.
[00:42:24] Speaker B: But they don't do anymore.
[00:42:26] Speaker C: Good for them.
[00:42:28] Speaker B: Exactly.
[00:42:29] Speaker C: So the next one is follow my heart. This is Tom Kelly. Who's Tom Kelly? Tom Kelly is.
He has five number one singles in the Billboard 100 in the 80s.
What songs did he write? He helped write true colors alone by heart. In your room by the Bangles. Eternal flame by the Bangles.
I drove all night by Cindy Lauper. I'll stand by you. The predators. I touched myself the divine I was like a virgin Madonna. So emotional by Whitney Houston. So he's written some gigantic, hugely gigantic songs.
[00:43:04] Speaker B: Also, speaking of Christopher Cross, the theme from Arthur, when you get between the moon and city.
[00:43:14] Speaker C: So. So obviously he's a big songwriter.
[00:43:18] Speaker B: Oh, you know what? I might be wrong about that.
[00:43:19] Speaker C: Sorry.
[00:43:20] Speaker B: I thought there was the other. Maybe it was Arthur, too.
[00:43:23] Speaker C: I don't know.
[00:43:25] Speaker B: Sorry, everybody.
[00:43:27] Speaker C: So this is him and the guitar player. So I'm curious.
[00:43:30] Speaker B: This one I don't really remember.
[00:43:32] Speaker C: Well, I'm curious to see if it's more guitar oriented now that it's the guitar player writing it. So I'm just curious. Although the next two songs are the guitar player, too, so I'm surprised. I'm surprised to see.
Here we go.
Okay, so, not so much.
[00:43:51] Speaker B: You skipped ahead.
[00:43:52] Speaker C: Oh, did I? Oh, thank God.
[00:43:54] Speaker B: Yeah, I did skip because I was going to say, it's funny because now you'll understand. What I was going to say in your letter is kind of a stupid song. Okay, I do remember that one.
[00:44:06] Speaker C: So I clicked the wrong one. Let's do this. Follow your heart now.
[00:44:09] Speaker B: Yep.
[00:44:22] Speaker A: I saw you at midnight in a dream that I had from nowhere you stood there and you seem so sad and a vicious decision is driving me mad should I follow my head up out of my heart?
You were different it's different. Unbelievable.
I approached you to show you that I know that is a fool as I sent your day should I follow my head? I follow my heart should I follow my head or follow my heart?
You got to leave baby, I gotta stop should I follow my head? Should I follow my heart? Should I follow my head on my heart should wa.
[00:45:43] Speaker C: That's pretty good. I like this song.
[00:45:45] Speaker B: Yeah. I wish the production was a little bit bigger. Right.
[00:45:48] Speaker C: Guitar hours are still way too behind.
[00:45:51] Speaker B: Yeah, but the drums, too.
You want to talk about kind of like that aor production, right?
It needs that oomph. There's a heavy song here, and the melody is good. I do remember this song, and I think this song played on the radio, too.
[00:46:05] Speaker C: I actually almost might say this is my favorite song, even though keep on loving you, obviously. I know. But as far as a band song, this could be so much better if the production was better.
[00:46:15] Speaker B: Yeah, I wish the production was bigger.
I mean, the guitar player is doing a lot. He's got a big part right now, and the riff is cool. And what he's doing is cool.
[00:46:24] Speaker C: I like it.
So the verse is I saw you at midnight in a dream that I had from nowhere you stood there and you seem so sad and a vicious decision is driving me mad should I follow my head or follow my heart? You are different, indifferent, unbelievably cool I approached you to show you that I'm nobody's fool and an error caused terror as I sensed your dare? Should I follow my head or follow my heart? Should I follow my head or follow my heart? You've got the lead, baby I've got to start. Should I follow my head? Should I follow my heart? Should I follow my head or my heart? And then guitar solo. And the guitar solo was good. There's some wawa in there that was good.
I kind of like it. Like I said, I think the production is making this thing suffer.
[00:47:08] Speaker B: Yeah, absolutely.
[00:47:10] Speaker C: The bass is so much in front, and not that it's bad, but everything else is taking a backseat to the bass and the vocals. It feels like you don't like that.
No. Especially this song. Like I said, there's a rock band here, but they're not being produced like.
[00:47:26] Speaker B: A rock band, but the drums, too.
Even if the drums had a little bit more. Oof, I think it would have changed the vibe of the song.
But it's produced very safely. It feels like very quietly. You know what I mean? Like, hey, it's a rock song, but not too rock.
[00:47:44] Speaker D: You don't want to go too back then.
[00:47:47] Speaker B: I mean, this is 1980, so, I mean, I think you're going to find the production on the last song on this side, which was a number one, I believe, better from what I remember. And that's a rock song, too, than this. So who knows? Maybe they were like, listen, this is not going to be a single, even though I'm pretty sure that I've heard this on the radio, because I definitely remember this.
[00:48:14] Speaker C: I've never heard this, but I like this a lot.
[00:48:16] Speaker B: Yeah, it's good.
[00:48:18] Speaker C: I'm going to back it up a little bit. Here we go.
[00:48:24] Speaker A: In a dream that I used to lay out and you look so sad in a bitch of decision is it robbing me mail? Should I follow my head on my heart?
[00:48:40] Speaker C: And I kind of like it because the bass is kind of, like, driving it, and then he's, like, playing stuff behind it, but he's still way too behind. The drums and bass are way too back for me. It's way too back.
[00:48:51] Speaker B: Yeah.
[00:48:54] Speaker C: There is a better song here if the production was better.
[00:48:57] Speaker B: Yeah.
[00:48:58] Speaker C: So the verse is, oh, I saw you at midnight in the dream that I had but from nowhere you stood there and you look so sad and a vicious decision is driving me mad should I follow my head or follow my heart?
Oh, there's another solo, I think, coming up, too. Interesting.
[00:49:13] Speaker B: He's kind of been plugging away, though, right? Even behind the scenes, there's some solo.
[00:49:17] Speaker C: Yeah, that's what I'm saying. Through all the verses he's playing, so. Yeah, I like it.
[00:49:22] Speaker A: Should I follow my head on my heart?
You got to leave, baby I got a not. Should I follow my head? Should I follow my heart? Should I follow my head on my heart?
Should I, should I, should I, should I? I.
[00:50:22] Speaker C: Was really good.
[00:50:23] Speaker B: Yeah, I like.
[00:50:27] Speaker C: And the bass player, I mean, he's kind of like.
He's like, right in your face in every song.
[00:50:32] Speaker B: Yeah, he's good, man.
If you said to me, if someone said to me, listen, when you listen to this record, listen to the bass, you're like, okay.
[00:50:42] Speaker C: Yeah, I would never think that.
I would never think that. What do you think so far, Frank? Do you like.
[00:50:50] Speaker D: I like, kind of liking that bass in the face.
[00:50:54] Speaker C: Well, yeah, no, I don't think the bass should be lower. I just think it needs a little more balanced out with the instruments. I just think that bass is so up front, like, the drums are there. You can hear them, but they're pushed back, just like the guitar is pushed back. But this is a guitar song, so it should be a little more in your face.
[00:51:13] Speaker B: Yeah, I mean, it's absolutely a guitar. I mean, it's a rock.
[00:51:17] Speaker C: Yeah. It is the kind of production that was going on for bands like this, though. I think you say the same thing for sticks, probably.
[00:51:28] Speaker B: I'm sure that there's a version of this that's online. Either of them live, doing it live, or just bands covering it where they do it the way it should be done. You know what I mean? Just with the drums where they should be, the guitar is out as it should be. There's versions out there of this song, without a doubt, that do it right, I think. And again, this is not on them. This is just on the. On the production.
[00:51:52] Speaker A: Follow my head, you got the lead, lady I got a night should I follow my head? Should I follow my heart? Should I follow my head on my heart?
Should I?
You got to leave maybe I gotta start should I follow my head? Should I follow my heart? Should I follow my head on my. Hanny.
[00:52:54] Speaker B: Hearing that song, one of my thoughts is, as a band, I would like to cover that song.
[00:53:00] Speaker C: You know what I was just thinking the same for you.
[00:53:02] Speaker B: Right. I would love to play this song because I think, you know what I mean? It has all the right elements and it just needs to be louder.
And even the fact that they pick up the speed at the end, whatever speed, but just kind of double time it.
[00:53:24] Speaker C: Yeah. I wish the production was better. Well, I'm going to go first.
[00:53:27] Speaker B: Yeah, please.
[00:53:28] Speaker C: The lyrics aren't bad. I'm going to give a seven. They're kind of middle of the road for me. And they're not the worst I've ever heard. Not the best I've ever heard. You're in the middle, I think, eight on the. Actually, you know what? I'm going to give that a nine on the music because I'd like that music just as much as I do. Keep on loving you. I just think guitar playing is really super awesome. The bass player is super awesome. He doesn't even play, like, root notes. He's making runs on scales and stuff. Yeah, it's really good. And the drums are good, musicianship wise. Great production. This is where I got to ding the stupid production.
I'm going to give it a five. I just think the production ruined that song for me. I think that whoever was listening to that and said, this is the way this needs to be. I don't even know who would listen to that and go, how are you in the band? And going, yeah, that sounds good.
[00:54:17] Speaker B: Yeah.
[00:54:19] Speaker C: I don't know.
I don't know if it was just the producer's idea to do that or was it?
[00:54:28] Speaker B: Well, three of the band members, I think, co produced it.
[00:54:31] Speaker C: Yeah. So they did it on his own.
So they're just as responsible as just not. It's not great. I mean, unless they were trying to soften it up. I don't know.
Go ahead, Sabina. I don't know.
[00:54:47] Speaker B: Yeah, I mean, I'm going to say a seven on the lyrics as well. Yeah, I think I got to go nine on the music, too. I mean, it's just a really good song. And I'm going to say five on the production, too, because fuck you.
What the hell?
[00:55:01] Speaker C: No, seriously.
I never give five production, but that. Fuck that song up.
[00:55:07] Speaker B: Yeah, I agree with you 100%. There is a fucking massive, rocking song right there that just needs to be big. And who cares if it's. You got your other stuff, you know what I mean? Just rock this thing up. Especially if you're saying that you didn't want to do the ballad because you're a rock band. And meanwhile, the production for the ballad, I think, worked. And even if it had the production that was on the first record, the first song, kind of like when they went into the chorus and it kind of cleared up a bit. It wasn't great. But I think this one suffers even worse, at least kind of when they went into the chorus and the end of the first one, it was a little bit more crisp.
[00:55:48] Speaker C: It's a better song than the first one.
[00:55:50] Speaker B: Oh, absolutely.
[00:55:51] Speaker C: And it's ruined by production. Ruined by production.
Frankie.
[00:55:55] Speaker B: Frank.
[00:55:57] Speaker D: Well, you said three of the band members were part of the production.
Maybe I have more in common with them than I thought. I thought it was great. I like it. I'm going to give the production an a here.
[00:56:10] Speaker B: You're son of a bitch.
[00:56:17] Speaker D: I think I can see myself in the studio high fiving them right there, too. Be like, this is good.
[00:56:22] Speaker B: Damn good.
[00:56:23] Speaker C: Well, no, the song is really good.
I got to respectfully disagree just because the song would be way better if it was balanced out a little. I'm not saying that the drums or the guitar need to be that much ahead, but they need to be a little more forward because that's what's driving the song. In the other songs, when there's keyboards, it's not driving the song as much. But this song is a guitar song and a drum song. The blaze player is doing a great job. I wouldn't want to not hear his stuff. But it's a weird production choice for me, personally.
[00:57:00] Speaker D: I'm going to be right there with you. I like the music. I'm going to give that an eight.
[00:57:05] Speaker A: Lyrics.
[00:57:06] Speaker D: I give an eight. I like the song. This is a pretty good one. I think I like this one better than the other one. Last one.
[00:57:12] Speaker C: Better than keep on loving you.
[00:57:14] Speaker D: Yeah, maybe because I've heard keep on.
[00:57:16] Speaker C: Loving you so many times you get burned out.
[00:57:21] Speaker D: Maybe I have loving you fatigue.
[00:57:25] Speaker C: It happens with all the more popular songs.
[00:57:32] Speaker B: What is it, pound for pound, right. When they weigh pound for pound who the best boxer is or whatever, I think pound for pound, they're even in terms of, like, this is a ballad and this is a rock star, so I can agree. I can see that point.
And you know what? Who knows? Maybe because when you're a musician, you know what I mean? Maybe you hear things differently. Or I always put myself in the studio with them and say, what would I do differently or would I do anything differently again, sometimes it's a blessing and it's a curse.
[00:58:09] Speaker C: I think that for me, just ruined that song.
I mean, not ruin it. That I would never listen to it again, but now I always be in the back of my head thinking, why did they do that?
All right, so the next one is in your letter, which we started to play. I kind of think this is, like a little weirder of a song to put in the middle of this, too. Yeah, this was a single.
[00:58:35] Speaker B: Diddy.
[00:58:37] Speaker C: This was a single. How high did it go? It went to number 20.
Still not bad.
[00:58:46] Speaker B: Yeah.
[00:58:49] Speaker C: Let's hear this one in your letter.
[00:58:56] Speaker A: If you let us go?
When you let up? When you let us, when you let us?
You said you didn't love me?
You said you gonna leave me? But you could have said it better?
Oh, you let us face me?
You said you could replace me? But you could have said it better?
You could have left him more like foreign letter below but you hit behind your poison?
You could have told him something and proved to me and I love him? But you hid behind your future light?
[01:00:06] Speaker C: So I think it's produced better.
[01:00:10] Speaker B: Yes.
[01:00:11] Speaker C: I still think the guitar is way too low.
[01:00:14] Speaker B: Yeah.
[01:00:14] Speaker C: Because even when they come with that little rift, it doesn't really hit you anywhere. It's there, so it's getting overshadowed a little bit. Again. I'm guitar player, so I'm always listening for guitar, but I still don't think it sits in the mix in the right place for me. And maybe that's just a production style for them. I don't know.
[01:00:38] Speaker B: I don't know.
Clearly sound kind of like a duop, right? Song.
[01:00:44] Speaker C: Yeah, it's like a thing, but it also has the 70s thing floating around it, too.
[01:00:51] Speaker B: Yeah, it's got some of the guitar.
[01:00:53] Speaker C: Yeah.
So in your letter. Ooh, in your letter four times. And then in your letter you said that you didn't love me? You said you're going to leave me but you could have said it better? Ooh, in your letter you said you couldn't face me? You said you could replace me? But you could have said it better? I like that they're using in your letter because that's chorus, I guess. I guess that's chorus. I kind of like that.
It brings it back to the intro thing. Right then.
You could have left him only for an evening? Let him be lonely? But you hid behind your poison pen and his pride. I like that line.
You could have told him something and proved to me you don't love him but you hid behind your future full of lies in your letter.
I like that.
Yeah. What's this about?
[01:01:49] Speaker B: So I'm reading here, Gary Richrath was inspired to write the song based on a real life incident, according to band member Kevin Cronin, at the end of a tour, fellow band member Neil Doherty came home to find the letter from his wife on the kitchen table informing him that she had left him for another man. The other man turned out to be the person who supplied the band with their illegal substances. According to Kevin Cronin, Doherty's response to the letter was, I'm really going to miss that guy.
[01:02:21] Speaker C: Screw his wife. I'm going to miss the drug dealer.
Oh, my God. That's too funny. I mean, you can't make stuff like that up.
[01:02:34] Speaker B: Yeah.
Son of a bitch. That's a good name for this record.
[01:02:44] Speaker C: High infidelity. Yeah, this is very funny. I'm going to miss that guy.
All right, let's continue.
[01:03:21] Speaker A: You could have left him only for an evening, let up alone, but you hear behind your voice and you could have told him something and proved to me you don't love him, but you hit behind your future full alive.
You said you didn't love me.
You said you gotta leave me, but you could have said it better.
You said you couldn't face me.
You said you couldn't face me, but you could have said it better.
[01:04:25] Speaker C: It's funny, the melody is very familiar to stuff like from the early 60s, right?
[01:04:30] Speaker B: Yeah. It's also got a little bit of a springsteenie vibe to me.
[01:04:34] Speaker C: You think so?
[01:04:35] Speaker B: Yeah, there's definitely some stuff maybe from, like, the river, where he also kind of nodded back to some of that era.
And the piano playing, too.
[01:04:45] Speaker C: Yeah, piano playing is good.
So it was the piano player, right? Wasn't that who it was?
Was the bass player Richrath?
No. Whose wife?
[01:04:59] Speaker B: Doty? Yes. Yes. I'm sorry. Yeah. So Cronin is a piano player, right? The singer? The singer, yeah, bud Doty, whoever Doty was, he's the one whose wife cheated on him.
[01:05:12] Speaker C: He is the keyboard keyboard player.
So I don't know how much of this is any different.
So it says.
Oh, in your letter you said you didn't love me. You said you're going to leave me, but you could have said it better. Oh, in your letter you said you couldn't face me. You said you could replace me, but you could have said it better. Owe in your letter.
So she ended up running away with the drug dealer.
[01:05:45] Speaker B: So here's the deal, I think, taken from the standpoint of how. Remember, like, last week, we're talking about the Ramones and how some of the lyrics were very heavy for how cutesy some of the music was so in a tongue in cheek way where you take something as serious as this, where you involve infidelity, drugs and whatever, and you put it in this format.
To me, it kind of makes the song more likable, but from a standpoint alone, where I don't really know what it's about, I'm like, oh, man, really?
Especially coming from that other song.
[01:06:26] Speaker C: You'd have to know what this is about now that you know what it's about.
Yeah, I mean, it's very catchy.
[01:06:32] Speaker B: It is.
I mean, I pictured them in know, not Bobby socks, but kind of know the do up girls going behind them, doing the dances in motion.
[01:06:49] Speaker C: It's weird that it's over here on this record because it's very different than the other songs.
[01:06:55] Speaker B: Yeah.
[01:06:57] Speaker C: Let's continue.
[01:06:59] Speaker A: Letter when you let up in your letter in your letter in your letter in your letter ooh, my.
[01:07:33] Speaker C: The fade loving the fade. I like the fade, so I'm okay with that.
Frank, why don't you go.
[01:07:43] Speaker B: Know, when.
[01:07:44] Speaker D: The song first came on, I was like, oh, what the shit? I'm listening to the marvelettes. I'm listening to the marvelettes. Please, Mr. Postman, please let this be.
[01:07:52] Speaker B: One of those short songs.
[01:07:53] Speaker D: I hear that, but after staff finished selling the story, all of a sudden the two of you pointed out, I was like, holy shit, I kind of like this song.
You know, it's a great story behind it. So, like the lyrics. So I'm going to go ahead and give that a seven.
I think Mark was the one that said, when you throw in this fun, dooppy kind of sound, but there's a serious story behind it, that's kind of funny in a way. It's like, I'm going to miss that guy.
Gives the whole song a different dimension and look. So I'm going to give the music here. Going to give it, like, an eight in the production. I kind of like the production, so I'm going to give that a seven mark.
[01:08:39] Speaker C: I think me and Frank are on the same page here. I'm going to give seven for the lyrics.
It is very similar to the Ramones in a way that it's a very serious song, but in a really super poppy thing, you wouldn't expect.
So I like that musicianship is good. I'm going to give it an eight. I'm going to give it a seven. Even though I don't really think that, production wise, it's as good as it could be, either. I still think there's some things lacking in the production.
But overall, it's a better song than I thought it was going to be. So I like it.
[01:09:16] Speaker B: It's okay. I mean, again, it wasn't ever one of my favorites, but again, coming from that standpoint. So I will say a seven on the lyrics, but just based on the story. Because I like kind of what's going on. Or else I probably would have given it a six without the background story.
Music is fine. I'll say seven on the music. I mean, it's played well.
And again, based on the story and the seriousness of it and the fact that they kind of took it in this direction is kind of funny, I think.
And I'll say a seven on the production. So we got triple sevens. What do we got for that, Mark?
[01:10:00] Speaker A: Nicky, kitty, baby. Seven, seven, seven.
[01:10:03] Speaker B: Nice.
[01:10:04] Speaker C: There you go.
Feels like Nick's here, even though he's not.
[01:10:10] Speaker B: Yeah.
This next song's about infidelity, too.
[01:10:14] Speaker C: Well, the whole record is about infidelity.
[01:10:16] Speaker B: Yeah.
I thought it was just a cool, you know, instead of saying high fidelity, high infidelity kind of thing. But tell you what.
[01:10:27] Speaker C: Yeah, well, there's a theme.
[01:10:29] Speaker B: Yeah, there is a theme, obviously.
[01:10:31] Speaker C: So this was another big one. Was this another number one?
[01:10:36] Speaker B: You guys may know this song is a really good song.
[01:10:39] Speaker C: No, it wasn't number one. It was number five.
[01:10:41] Speaker B: Oh, was that. I thought it was number one.
[01:10:42] Speaker C: I thought so, too, but now I think it's number five.
[01:10:48] Speaker B: It is number five. Okay.
Yeah. This is a pretty popular song now.
[01:10:54] Speaker C: Yeah.
[01:10:55] Speaker B: I want you to listen to when the solo starts. I know we're not there yet. I know we're not even close yet. But I want you to listen to the solo and tell me if it reminds you of any other song that you know.
[01:11:09] Speaker C: Okay.
[01:11:11] Speaker B: From a hair metal band. I'll be a little bit more specific, just to kind of guide you in a direction.
[01:11:15] Speaker C: Hair metal band. Okay.
[01:11:16] Speaker B: Yes.
[01:11:17] Speaker C: So we're saying the hair metal band stole this riff from them.
[01:11:20] Speaker B: I'm saying that, to me, this solo sounds like the beginning of something, a popular hair metals band song. And you see, maybe it's just me, because I had one time with one of our friends. I said, do you hear that? I said, they stole it. He goes, it doesn't sound like that. I'm like, I think it does. So now I have two other sets of ears.
[01:11:40] Speaker C: Here we go. I'm curious.
[01:11:42] Speaker B: Yeah.
[01:11:42] Speaker C: Here we go.
This is take it on the run.
[01:11:47] Speaker A: Heard it from a friend who heard it from a friend who heard it from another. You've been messing around they say you got a boyfriend, you're out late every weekend they're talking about you and it's bringing it down but I know the neighborhood and talking cheaper when the story is good and the tail show taught her on down the line but I'm telling you, babe that I don't think it's true, babe and even if it is keep it in mind you take it on the run, baby if that's the way you want it, baby then I don't want you around I don't believe it, not for a minute.
You're under the gun.
[01:13:02] Speaker C: Yeah. This was a gigantic song, too.
[01:13:04] Speaker B: Yeah, it's a good song.
[01:13:06] Speaker C: It is a good song. Good melody. I think for once the guitar is not super duper buried.
So, yeah, I like the production better so far.
[01:13:22] Speaker B: I mean, it could still have a little bit more oomph.
[01:13:25] Speaker C: A little bit. Yeah.
[01:13:26] Speaker B: But it's also not as rocking. You know what I mean? It's kind of eaglesque, I think.
Kind of have that vibe.
The production works better for this than the other one.
[01:13:40] Speaker C: Oh, definitely. 100%. Yeah. No, I agree.
So. Heard her from a friend who heard her from a friend who heard her from another you've been messing around they say you have a boyfriend, you're out late every weekend they're talking about you and it's bringing me down but I know the neighborhood and talk is cheap when the story is good and tales grow taller on down the line but I'm telling you, babe that I don't think it's true, babe even if it is keep this in mind you take it on the run, baby if that's the way you want it, baby then I don't want you around I don't believe it, not for a minute. You're under the gun so you take it on the run I think the lyrics are pretty decent in this, too.
[01:14:25] Speaker B: Yeah. Tells a story, right? You get a picture so you know exactly what's going on.
[01:14:31] Speaker C: So is it that he's with her but she has a boyfriend? Is that what this is about?
[01:14:37] Speaker B: That's what it sounds like. I mean, again, this is originally titled don't let me down. The second signal from the band's breakthrough, blah blah blah became the band's. We know that inspired by infidelity and other relationship problems the band members were going through at the time, guitarist Gary Richrath explained, I just sat there and sang vocals about the effects of gossip and relationships breaking up. Take it on the wrong was also the 9th music video ever aired on MTV.
[01:15:07] Speaker C: Wow. It's crazy.
[01:15:10] Speaker B: Yeah.
[01:15:13] Speaker C: They leaned heavy on the Oreo speed wagon.
[01:15:16] Speaker B: Yeah.
I guess it's maybe, again, some of the influence that MTV had.
We had no idea. Yeah, we would have had no idea.
[01:15:27] Speaker C: No, I'm just curious now. Now I want to hear the solo again. I know I've heard the solo before, so.
[01:15:33] Speaker B: And now you tell me I'm wrong, but when it comes, I'm just curious.
[01:15:37] Speaker C: To see what you think it is. But anyway. Yeah, let's continue.
[01:15:42] Speaker A: You're thinking of your wide lies. You're putting on your bedroom.
You think you're coming home, but you won't say when.
But I can feel it coming.
If you leak and I keep running and you need never look back again.
You take it on the run, baby. If that's the way you want it, baby. Then I don't want you around.
I don't believe it.
Not for a minute.
You're under the gun.
[01:16:29] Speaker C: So before the solo comes, I'm going to read the lyrics and I have to pay you the solo.
So the third verse is, you're waking up. You're thinking up your white lies. You're putting on your bedroom eyes. You say you're coming home, but you won't say when. But I can feel it coming. If you leave tonight, keep running. And you never look, need you never. You need never look back again.
Back to the chorus. And now I have to listen to the soul.
[01:16:59] Speaker B: So I'm the beginning part. You tell me.
[01:17:01] Speaker C: Okay, here we go.
[01:17:17] Speaker B: Know what I'm talking about?
[01:17:18] Speaker C: 1 million%, right? 1 million%.
Tells everybody songs we know.
[01:17:26] Speaker B: I forgot the name of it. Now it's poison.
What's the song?
That's the ballad on flesh and blood.
Oh, my God. No, I don't. I had it already geared up to say I can't remember. But when I first heard that song, I said to myself, wait a second, that sounds like Reo speed. But life goes on. Is it? Life goes on?
I think it's. Life goes on. I think it is life goes on.
[01:17:58] Speaker C: Do you hear that, Frank? Or you don't hear that?
[01:18:00] Speaker D: Do it one more time. I didn't hear it that time.
[01:18:03] Speaker C: I'm going to back it up. Here you go. Yeah, as soon as I heard him, like, oh, I know what he's talking about. Listen, here we go.
[01:18:09] Speaker A: You're under the gun.
[01:18:23] Speaker C: Do you hear it now?
[01:18:26] Speaker D: It's been a while.
[01:18:32] Speaker C: I don't know if it's in the exact same key. It sounds like it's in the same key, but then it goes totally different.
Oh, no, the melody is exactly the same. Yeah, I never noticed that. Tell you truth. That's pretty funny.
[01:19:13] Speaker A: Before.
[01:19:14] Speaker C: All right, I'm going to back it up. So we hear. We're going to hear it again. And I'm backing it up. Here we go.
[01:20:13] Speaker A: On the road, baby if that's the way you want it, baby then I don't want you around I don't believe it, not for a minute you're under the. God, take it on the run, baby if that's the way you want it, baby and I don't want you around I don't believe it, not for a minute you're under the gun, you take it on the road heard it from a friend who heard it from a friend who heard it from another. You've been messing around.
[01:21:18] Speaker C: It solo was really good.
[01:21:20] Speaker B: That's a strong song. I mean, it's a really good song.
[01:21:25] Speaker C: Yeah. And like I said, guitar is a little more upfront as a guitar player. I kind of appreciate that. And the solo was, I mean, mark.
[01:21:37] Speaker B: Because I really don't even, like some said to me, oh, who's a guitar player from RSV Wagon? I wouldn't have known his name. Is this a name that's come up in circles?
[01:21:46] Speaker C: Guitar name? Yes. I remember back in the day learning how to play guitar because it was the. Remember seeing his name because they always had, like, older songs and stuff that contemporary, but they had old. They put older stuff in there, too.
What I remember right off the bat, if you asked me now, before listening to this, who was the guitar player? I couldn't tell you. I've seen the name, though, 100%.
He really only did this. He had his own band for a little bit in the 90s, but he really just did Reo speed wagon. So it's not like after he left in 89, like at the end of the. Didn't hear from him really. He had his band and then that was it. I don't know what he did after that, as far as his career goes, so I don't know. But yeah, I heard his name, but it wouldn't have been something that I could have blurred out. Oh, yeah, that's the guitar player from REo Speed Wagon. I don't know it enough for that, but his name is. I had seen it in guitar magazines and stuff back in the day, but he's good.
[01:22:48] Speaker B: Yeah.
[01:22:51] Speaker C: He's the 70s guitar player, though, you know what I mean? There's nothing that he does that is like, of what the 80s ended up being, you know what I mean? I don't know about later stuff, but at least right now he's still firmly rooted in the blues rock guitar playing stuff, in the. Definitely, yeah, but it's good. I like it.
[01:23:12] Speaker B: That's a strong song. I've always really liked this song.
I'm going to say seven on the lyrics. I mean, again, it's telling a story. You can get the vibe and you can actually picture what's going on.
So I'm going to say an eight on the music. I mean, I think it's really strong.
Like I said, I've always really liked this song production. I'm going to say seven.
I still don't think it's great. I think that it still could be more. It needs a little bit more oomph, especially during the chorus and the solo. Like, you can hear the bottom end.
And I just wish it was kind of, like a little bit. But listen, I think this is kind of producty, the record, and it suffers a little bit from that, because, again, the production isn't as strong as it could be. But again, I mean, I think it's. Overall, it's a great song, mark.
[01:24:17] Speaker C: Yeah, I guess I agree with that.
I'm going to say seven on the lyrics. I like the lyrics.
It's very catchy. Like the melody, musicianship. Yeah, I'm going to give it an eight. Everything's good. The guitar playing was really good.
Generally, on something that's going to be a big. At least for them, it seems like anything that's going to be a big single thing, there's hard times to get pushed back, so that may be the only reason.
I don't know.
I give the other one a seven. Can I give this a seven? I have to give this an eight just because I think the guitar play is more up front, but the bass is up front. In every song, like, if you're the bass player, you're the happiest guy in the world. They just push you.
[01:24:57] Speaker B: I wish Nick and Steve were here to kind of check out and chime in on the bass playing because I think it's really strong. I mean, the drumming is good, too.
[01:25:06] Speaker C: Yeah. It's just the bass is really strong, too, but the drums are still pushed back too much.
So, you know what? I'm going to change my thing to seven just because I think that I can't just base it only on guitar stuff, because I think the drum stuff, it doesn't have as much punch.
I don't know, it feels like it's a second thought. And it's pushed in the back there and they're pushing other stuff up instead of that, which I guess that's okay, but it's not my favorite part of production. I would wonder, if they had a rear producer, if they had a big name producer that produced certain things, would it sound different? Which I assume it probably would have.
[01:25:44] Speaker B: I guess it's also worked at some point, maybe, to kind of check out the old stuff and see what that sounded like.
[01:25:50] Speaker C: Obviously, you can't get between this and the other song to two gigantic songs. The record sold 10 million albums, so what do we know?
[01:26:00] Speaker B: Yeah, but from perfect.
[01:26:03] Speaker C: Yeah, well, from a musician standpoint, it wouldn't be something that I would want to sound like this. But again, I don't have a 10 million album, so take that for what it is, Frank.
[01:26:17] Speaker B: I like it.
[01:26:18] Speaker D: I like the whole thing. The lyrics, music, the composition, everything.
Production. I'm going to go ahead and give this triple sevens across the board. I think that it's just well balanced and overall, just one of those songs you can hear over and over. So, I mean, unfortunately, not an a track. You had to play the whole album first because there's no rewind feature during this time.
[01:26:41] Speaker B: Frank's going to buy this on a track.
[01:26:43] Speaker D: You got to get an a track.
[01:26:46] Speaker C: Those things sucked.
[01:26:48] Speaker B: Oh, God.
[01:26:48] Speaker D: Rewind feature, the only fast.
[01:26:50] Speaker C: No rewind. And they cut songs off right in the middle, so I had to flip to the second side. That sucked.
Couldn't anyone figure out how to not cut the song off?
[01:27:03] Speaker B: Honestly, what the hell was up with that shit?
[01:27:07] Speaker C: Limitation of the format, my friend.
[01:27:10] Speaker B: Frank.
[01:27:10] Speaker C: Here you go, Nicky titty, baby. Seven, seven, seven.
[01:27:15] Speaker D: I wish we could hear this on eight tracks. He would have sounded like.
[01:27:19] Speaker C: I don't think the sound was horrible.
I had eight tracks, but all I know is that it would either cut the song off, like, right in the middle, because it had to flip sides.
It wasn't a great format. That's why it died.
[01:27:33] Speaker B: My cousin actually had.
It was either in through the outdoor or the one before it on Atrec. That's what I remember.
[01:27:47] Speaker C: Yeah, it is. Stupid shit.
[01:27:51] Speaker B: Stupid.
[01:27:53] Speaker C: Well, I'm so far liking this. I don't know what the second side is going to be next week, but I like the first side so far.
[01:27:59] Speaker B: Yeah, I really don't remember anything on that. At least title wise. No.
[01:28:03] Speaker D: That means it's not going to be great.
[01:28:06] Speaker C: Well, I mean, listen, you had two big songs on the first side, so did they shoot their whole load on the first side? And now it's going to do what a lot of records do.
[01:28:20] Speaker B: Well, if you think about follow my heart, right? I mean, if the second side is a bunch of follow my hearts where they're like, yeah, just fucking rock it out. I mean, the second side could be better than the first because I think that's a really strong song. And again, I don't think there's no really bad song on the first side. I mean, there's a reason this thing did as well as it did. I mean, critically, it rode a lot on the shoulders of those two songs, but.
[01:28:45] Speaker C: No, yeah, I agree.
I think that it could definitely be the way you're saying there could be a lot of those other songs on the other side.
[01:28:56] Speaker B: Yeah, I don't remember.
[01:28:59] Speaker C: Yeah, I've never heard it, so I'm going in blind. But I'm glad we got Ario Speedweg because I know it's on the list and I don't really listen to them, like I said, except for the hits. So I found a really good song in here that I'd like better, maybe almost better than the hits.
[01:29:13] Speaker B: Yeah, I didn't know this was on the list either. Honestly, I was surprised to see it come up.
[01:29:18] Speaker C: There you go. Yeah, you never know what I stick on there.
[01:29:20] Speaker B: I stick some shit on.
Been. She's been good lately. Pretty good, I got to say.
[01:29:28] Speaker C: That's really good.
Sabrina, why don't you do your thing?
[01:29:32] Speaker B: So we are part of the deep Dive podcast network. Like I always say, great bunch of guys who took us in right away, and hopefully they're listening. We check them.
You know, if you want to podcast about certain bands like Queen, Tom Petty, Maiden, Uriah Heap, you name it, it's probably on there. So different format than us, but obviously well knowledged. Guys, our budies at Rush Rash are on there as well. So check them out. And Mark, where can they find us? On the interwebs, as usual.
[01:30:04] Speaker C: Rockwood pod on all the interwebs rockwoodlitpodcast.com share our episodes out. Please review us wherever you listen.
Set your podcast play to automatic download so you always get the latest episode.
And we appreciate everybody who's listening to us. So it's been fun kind of going through this journey of things like a record like this where we don't. Like, you might have heard the first side, but I had never listened to this record, ever.
So for me, it's kind of brand new.
[01:30:37] Speaker B: STP for me.
[01:30:39] Speaker C: Yeah, the STP record was much better than I think even I remembered it.
You know, it's weird how those things happen. Like, you're like, crap. I wish I would listen this while I was out.
[01:30:52] Speaker B: Yeah, exactly. Me too.
[01:30:56] Speaker C: All right, everybody, I guess we will see you next week and we'll finish this album up and let's see what side two has to offer.
[01:31:04] Speaker B: Yeah. Ciao. Ciao. Later.
