Episode 76 - REO Speedwagon - Hi Infidelity (Part 2)

[00:00:00] Speaker A: You. [00:00:04] Speaker B: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the rock Roulette podcast. [00:00:49] Speaker A: You. [00:01:13] Speaker C: Everybody, welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1100 albums, stuck them in a list, stuck them in a wheel. And typically every other week we spin the wheel, she picks an album for us and we do one side per week, unless it's something short like the Ramones we did a couple of weeks ago. And we go track by track and we talk about the lyrics, the music, and the production, and we rate each of them just based on our own opinions. Man. Like I said, a bunch of old friends that wanted to do a podcast who love music, and that's what we do. And once again, we want to thank everybody who's listening. Overall, listens have been up, so hopefully we're making some waves out there, we're getting some new listens and you guys are liking the stuff. Again, please, any kind of comment, any kind of criticism, whatever it is, just drop us a line, let us know. Hey, maybe you want an album for us to cover. We can do whatever we want, so just give us a buz. So tonight we are threesome. We have Frank. My name is Frank. [00:02:27] Speaker D: Hello, everyone. Still trying to figure out how I can connect with my failing technology. But thank you for having me. [00:02:35] Speaker C: We can hear you, though. So that's good. [00:02:37] Speaker D: I mean, that's all that counts, right? [00:02:39] Speaker C: Exactly. We have mark. [00:02:42] Speaker D: Oh, hi, Mark. [00:02:44] Speaker E: What's up, guys? [00:02:45] Speaker C: And I'm sad. So last week, the wheel picked high infidelity by Speedwagon. Massive album that we did. The first side is very heavy handed when it comes to the hits. I think they're all in the first side. And I think overall we liked it. We thought the musicianship was pretty good. Lyrics are definitely about infidelity. So the album is definitely aptly named. It isn't just a play on words. I mean, it is a play on words, but it's really based on something. But I think the one thing that probably Mark and I complained about the most was the production. Right, Mark? [00:03:30] Speaker E: Yeah. I'm not super happy with one of the songs. I thought that the production kind of killed the song. I actually like the song the best out of all. The song. [00:03:39] Speaker C: Follow my heart, man. [00:03:43] Speaker D: I personally love the saltiness. There's a lot of saltiness in this whole side a that delivers a message. It's like, hey, I'm kind of bitter over what happened, over our situation kind of thing. I love it. [00:03:59] Speaker C: Yeah. A theme running through the first side. Without a doubt. I mean, the singer, I think it was a guitar player as well. The funny thing about in your letter, where was it the wife or the girlfriend that left for the drug dealer? And the guy said, I'm really going to miss him. [00:04:18] Speaker D: Yeah. I love that spiciness. I have to say, so far, I like it. There's a little bit of saltiness, a little bit of like, whatever. I'm not going to miss you. I'm going to miss the other person. [00:04:33] Speaker C: Yeah, exactly. It's pretty good, I think. [00:04:37] Speaker E: I'm not going to miss you too much. I'm going to miss the drug dealer, though. The drug. [00:04:40] Speaker C: He was a good dealer. [00:04:41] Speaker A: Yeah, exactly. [00:04:43] Speaker D: I'm not going to miss you. I'm going to miss the person you left me for. [00:04:48] Speaker C: I guess a good drug dealer is probably like a good mechanic or a good doctor, right? You want somebody you can trust. [00:04:54] Speaker D: There you go. [00:04:56] Speaker E: Pretty much. [00:04:57] Speaker D: But I will say that this first sight took me by surprise. I didn't realize how many hit songs I knew from the band, I guess. [00:05:09] Speaker C: Right? [00:05:09] Speaker D: In a mean, Seth, you did call it. You said this was a monstrous album, but I didn't realize how big it was until we started listening to the songs. [00:05:19] Speaker C: Yeah, I mean, obviously, keep on loving you is, I would say, the song that gets played the most out of the hits. But if you listen to the rock stations, you will hear like, don't let them go. You'll hear the take it on the run. So you probably hear follow my heart, too, because like I said, it did sound familiar to me from radio play. I mean, I do have this record again, when I listened to it last, I couldn't tell you, but I'm pretty sure, at least title wise, I don't remember anything on the second side, so I'm excited to go through it because I think it could be stronger than the first side if they said, hey, let's just kind of freeball it on the second side. Kind of like a follow my heart wonder. [00:06:11] Speaker D: One of the things that you said was how you automatically heard another group kind of copy. Right. [00:06:23] Speaker C: Well, the beginning of the solo of taking on the run, I think. Mark, you said you posted the. [00:06:29] Speaker E: Yeah, I inserted it into last episode just because we didn't get a chance to play it, but I inserted it in there so if anyone notices when they listen to part one, you heard I inserted the poison song. [00:06:39] Speaker D: I wonder how many other groups borrowed without giving credit along the way. [00:06:46] Speaker E: Who knows? [00:06:48] Speaker D: Because we picked up poison because poison was so good and so big. So I wonder how many others who kind of. [00:06:57] Speaker C: Again, it isn't full blown. I mean, it's the very beginning of it. But think about how many songs, especially when you listen to so many types of songs and things and you can probably pick out, wait a second, that sounds like this and this sounds like that. Even if you think about a song, like with or without you, that rhythm has been used in so many songs. But I guess sometimes it's just the way you do it and maybe how you surround it that makes it different. I mean, there's only so many chords, right? There's only so many notes. [00:07:32] Speaker E: Did poison ever say they use that on purpose? I never know if we looked that up. Poison, like, admit I didn't look it up. Kind of rip that. [00:07:44] Speaker D: Relax with the words. [00:07:45] Speaker C: Rip it today. [00:07:48] Speaker E: Well, hey, that's like the vanilla ice thing with the queen part. Theirs goes. Mine goes. Open up the pocketbook time. Yeah, you need to pay somebody. Well, that was back in the day where sampling was so new, I don't think anyone knew what to do. [00:08:20] Speaker C: Didn't Van Halen sue two life crew? [00:08:23] Speaker E: Tone loke. [00:08:25] Speaker C: Tone loke. [00:08:27] Speaker E: Jamie's crying. No, they had to pay them, too. Or if you want to go to the biggest one, which was at the time was later on. Which was what? The verve pipe. What's the name of the song? Samino. [00:08:44] Speaker C: Bittersweet something. [00:08:45] Speaker E: Symphony. Basically the music. The music version of a Rolling Stone. [00:08:52] Speaker C: About. [00:08:53] Speaker D: How about now that as of today, Ozzy Osborne went to war with Kanye. [00:09:02] Speaker C: Kanye west for. [00:09:04] Speaker E: Yeah, I saw something about. [00:09:07] Speaker D: Said. He said he wants nothing to do with that man and the story. [00:09:13] Speaker C: He also used Iron Man. [00:09:17] Speaker D: I know it was war pigs. [00:09:18] Speaker C: No, I know, but he's also used Iron man. He's got a song where he does Iron man. [00:09:22] Speaker D: Yeah, but I can't quote the lyrics. [00:09:24] Speaker C: They're a little bit dirty. But if you listen to it, he has a song. [00:09:27] Speaker D: Yeah, but right now Ozzy's pissed off that he about warp. [00:09:31] Speaker C: Yeah. [00:09:32] Speaker D: So apparently Ozzy said, no, you can't use my fucking music. And he went ahead and used it anyway and Ozzy's pissed. [00:09:38] Speaker E: Well, someone's going to be getting Ozzy. [00:09:40] Speaker D: To say I'm fucking pissed. [00:09:46] Speaker E: Wow. And then the latest other new weird thing is, at least on the countryside, me and Sabina were talking about this where they're basically stealing the whole song and just rewriting lyrics but just. Right, what was the song we were talking about that copies Rebel Rebel. [00:10:06] Speaker C: Oh, I remember that song. I just remember that that was it. But there was the other one too that they took. Right, what was the other one they did? Give me the beep boys. Give me the beep boys. A free muscle. Write that. [00:10:23] Speaker E: Well, the, the rebel rebel one is young love and Saturday nights by Chris Young. It's basically rebel rebel. Have you heard that, Frank? No, it's basically rebel rebel except they just changed the words. All the music's pretty much the same. [00:10:39] Speaker C: Okay. Yeah. [00:10:42] Speaker E: I'm just like. And there's another one that we. I forgot what the other one. [00:10:47] Speaker D: Know. One of the things that is kind of scary is along the way is like, I think I just feel we entered an era where musicians are scared to experiment. [00:11:00] Speaker C: Listen, I mean, I know I say it all the time, it's out there. You got to find it. It's probably not going to be in your top 40 selections. There may or may not be, but it's out there. And again, I credit my son to introducing me to some stuff and get it. It's out there. You kind of got to look for it. [00:11:23] Speaker D: Mark brings up how Jimi Hendrix experimented with his style but it was like, you didn't have to dig to get it. It was just. [00:11:35] Speaker E: Well, no, because. Because the best thing about right now is there's no record companies. And the worst thing about right now is there's no record companies because back in the day, right, people were getting fucked left and right, but the record companies kind of curated everything, right? Right now there's so many people putting music out that it's great. Like if you're the independent guy because you don't need a record company, but it's also bad that you don't need a record company because really, if you kind of believe that someone like Billie Eilish is just this organic, she came out of nowhere and decided that she was going to be that big without any kind of backing from anybody. I think you have to be a little bit naive that that happens. There's still record company stuff behind everything. Yeah, maybe she started out that way. But I don't think that's what made her big, though. [00:12:24] Speaker D: No, her and her brother. [00:12:27] Speaker E: Yeah, but they didn't do it by themselves. Yeah, they left them alone to record because, yeah, you don't have to spend a million dollars to make a record anymore, but there still has to be some kind of push from somewhere. [00:12:38] Speaker D: Otherwise there are bands out there like black Pumas. They made it without the push. [00:12:45] Speaker E: Well, what are we saying? How do we count and made it? [00:12:51] Speaker D: They're on their way to be very commercial at this point. [00:12:57] Speaker E: Are they getting played on? There's not really radio any. I mean, there's radio, but who really listens to the radio? That's the problem out there at this point. [00:13:06] Speaker D: Streaming, right? [00:13:07] Speaker E: It's streaming, but no one's getting paid from the streaming. That's the problem. Like, artists are getting hammered by streaming. I forget what. Spotify's rate is ridiculously low. Yeah, it's ridiculously low. You could stream a billion streams and get paid like 50 grand or something similar. Now, who knows what individual artists have? Like Taylor Swift. Has she negotiated something different? [00:13:33] Speaker C: Well, I mean, she's re recording her purpose. Yeah. [00:13:41] Speaker E: I don't know. If she has control like that, then maybe she could say, well, I don't want that version streamed, but I want my version streamed. [00:13:48] Speaker C: You know what I mean? [00:13:49] Speaker E: So maybe she's making more money, but she still may have a better deal anyway than name any young band that's out now. They don't have the pull that she has to be able to say, no, you can't have my stuff on here if you don't want this. And she's big enough where she can do that. [00:14:07] Speaker D: I have to say that I'm not a swiftie, but I got to give her a ton of talent, like recognition. She went back and re recorded a lot of her albums and altered some of the lyrics. Just think about it. I think she had six albums out before she went back and re recorded everything. That's amazing. [00:14:29] Speaker E: Well, yeah, because she doesn't own her account. Here's the thing. So she's the songwriter, right? I assume. I don't know what her credits are like, but if she's the songwriter, right, if she's writing those things by herself, I don't know if she has any collaboration with anybody, but whatever. So there's two kinds of rights, mechanical rights and sync rights. Mechanical rights is which I believe I'm correct about this is the writing of the song. Right. And playing the song out. So if you're a cover band and you're playing. Pick a song, whatever the venue that you're playing at needs to have all that stuff in there. So the artist gets paid, and then there's sync rights about playing music on the radio or whatever it is or streaming or whatever. So who knows what right she owns. She may not own part of the rights because it's the recording part. The actual lyric writing and music writing she may be getting money from, and maybe she's not making the other part of it. So she just rerecorded her music. [00:15:36] Speaker D: Yeah. Which is not easy, by the way. [00:15:39] Speaker E: No, not easy. [00:15:42] Speaker D: I respect her. I respect her as an artist. Again, I'm not a fan of hers, but she's amazing what she did. She went back all things and she altered her lyrics without altering the art. And that's not easy to do. [00:16:00] Speaker E: Oh, no. [00:16:02] Speaker D: She altered the lyrics in a way that she still delivered the message that she wanted to deliver in the song. And that's not easy to do. So shout out to her. Amazing. I just hope we don't see a ton of her during the Super bowl tonight coming up. [00:16:24] Speaker E: Sure you will. [00:16:25] Speaker C: My wife and daughter are now confirmed swifties. So I hear a lot of her stuff. Again, not a big fan, neither necessarily of the music, but I do give her credit. I've always given her credit. Especially if you write your own stuff. [00:16:42] Speaker E: Yeah. [00:16:44] Speaker C: As people who wrote our own things that nobody's ever heard, other than maybe frank. You know what I mean? [00:16:58] Speaker D: It's just because. I guess. [00:17:03] Speaker A: So. [00:17:04] Speaker D: I'm a huge football fan, both college and professional, and she has been front and center, NFL wise as of late. And a lot of my peers are swifty fans. So we kind of have, for the first time, something in common to talk about. And I just started listening to a little bit of her music. She's a great lyricist, a great song. [00:17:32] Speaker C: She does have some good lyrics. I will say that. [00:17:36] Speaker D: She's a very strong lyricist, has some. [00:17:39] Speaker C: Very good lyrics in them. [00:17:41] Speaker D: Yeah, she knows how to deliver a very powerful message. Like, you burned me, fuck you, this is how I feel kind of thing. She does a great job of doing that. Awesome job of doing that. But as an artist, to go back and rerecord it your music and change lyrics, but yet maintain your message, it's not easy. And the fact that she did it in spades is awesome. And, yeah, I got to say, I'm slowly maybe becoming a fan of hers. [00:18:17] Speaker E: It's also the big middle finger out to the record company, right. That owns herself. [00:18:22] Speaker D: Yeah. [00:18:24] Speaker E: But again, you can't just do that. If you're anybody, you have to be as big as her to be. [00:18:30] Speaker D: But just think about it. She wasn't that big until recently. This year, maybe last year. [00:18:36] Speaker E: No, I think she's big for. She's been big for a long time. [00:18:46] Speaker D: She is so influential right now. [00:18:49] Speaker C: Well, I mean, think about how big the movie was, right? I mean, if she didn't have this reputation going into that movie, it never would have been the biggest concert movie of all time. [00:19:00] Speaker D: You know what? One of the things is, and I guess this is where myself and a lot of my peers disagree, they feel that she invented the whole cinema live concert on tv. [00:19:18] Speaker E: I don't think so. [00:19:20] Speaker D: And it's just like. No, I was like, I could tell you right now, when I was six years old watching Kiss alive on Channel five way before Taylor Swift. I mean, her parents are still dating. [00:19:34] Speaker C: I don't think she's invented anything. I mean, she puts on a good show. I did see the movie because, like I said, my wife and daughter watched. They went to go see it, and then they streamed it on tv. So, I mean, she definitely puts on a big show. [00:19:49] Speaker D: Yeah, she really does. I got to say, I'm not a swifty, but I'm a fan. [00:19:57] Speaker C: Yeah. Like I said, I'm not a fan of her music, but I respect her as an artist. [00:20:04] Speaker D: Yeah, I agree with you. I respect her tons. And I'm pretty sure so many people have heard about AI and some of the derogatory things that were created in AI with her name attached to it. I'm just like, you know what? I'm very happy that certain big it companies scrubbed the Internet from that because she's a lovely lady and doesn't deserve that. [00:20:33] Speaker E: Yeah, well, listen, I always give her credit. She was smart. She didn't come in the pop area directly. She kind of backdoored that through country. Right? [00:20:41] Speaker D: Through country, yeah, exactly. She was a big country singer. That's right. [00:20:46] Speaker E: She backdoored the crossover, and then she just went pop. I mean, I don't like her music, but I give her credit for what she's done and that she's been fairly at the top of her game for a good decade now. Regardless. Who knows how much longer it's going to last? [00:21:07] Speaker D: I just feel like. I don't think it was a decade. Maybe because I just wasn't a fan of, but. But maybe a decade. [00:21:16] Speaker E: I'm pretty positive if you look up. [00:21:21] Speaker C: Like, do like, a greatest hits or just do, like, taylor Swift's greatest hits. And I bet you you'll probably know most of the songs. [00:21:30] Speaker D: Yes, I agree with you with Sav, so I will. I know. I did do that, by the way. I said, how many. How many killers have you heard? It's like, amazing. It's like Bruno Mars. How many Bruno Mars songs do I know? [00:21:46] Speaker E: Well, let's put it this way. Her second album, which was recorded in. What is it saying here? 2008, went number one. So for at least 2008 on, she's been pretty big. [00:22:10] Speaker C: Well, even the first one, though, right? I mean, the first one is the one with. [00:22:14] Speaker E: Yeah, I didn't look at the first one yet, but she's had number one albums. I'm not going to back and look at every album, but at least album number two. Let's see now. I'm number one because that's the country album, I assume. [00:22:25] Speaker C: Country ish. I think people use that term very broadly. [00:22:29] Speaker E: Well, whatever. Well, that one was number five on Billboard and number one in country. Top country. So, Frank, she's been at the top from the get go, so it's at least from 2008, but probably before that because that was, like the country thing. So 2006. So how long is that? [00:22:51] Speaker D: Oh, wow. [00:22:52] Speaker C: Okay. [00:22:53] Speaker D: It's been a while. [00:22:54] Speaker C: Those first couple of songs that she did, they were big hits everywhere. They weren't just. I know, country hits. [00:23:01] Speaker E: Yeah, well, that's the crossover. [00:23:03] Speaker C: You belong with me or you belong to me, whichever one. And that other song, too. That was big. I mean, those were big everywhere. They weren't just. Even if, though the album may not have been number one on the charts, but the songs were hits. [00:23:17] Speaker E: No, it was only number five. [00:23:20] Speaker C: No, but I'm saying. I mean, the songs were still hits. I don't listen to country stations, but I knew those songs, so they would have to be on other stations. I mean, she's been. I got a good question for y'all. How the fuck do we get on this? [00:23:39] Speaker E: That's what I was going to say. How do we get on Taylor Swift? [00:23:41] Speaker C: How the hell do we get here? I don't know. [00:23:43] Speaker D: You know, what were we talking about the Super bowl or we're just talking about. We have to do the replay. We do the replay and do the summary. This is how we end up here. [00:23:59] Speaker C: Yeah. How do we go. Hey, and guess what? She has a song called high infidelity, by the way, because last week when I was trying to bring up lyrics, she came up. [00:24:10] Speaker E: See? She's everywhere. [00:24:12] Speaker D: She's everywhere, by the way. This is what happens. This is Taylor Swift effect. She's everywhere. [00:24:19] Speaker E: Well, now that everyone's tuned out, let's start our album. The end part. [00:24:26] Speaker C: Yeah. [00:24:26] Speaker E: All right. So, are we ready? So this is a song called tough guys. [00:24:31] Speaker D: Yeah. I love this song already. [00:24:32] Speaker E: Oh, do you? [00:24:33] Speaker C: Nice. [00:24:34] Speaker E: All right. I hope so. Here we go. [00:24:41] Speaker A: Alfalfa, will you swing me before we have lunch? Sure, Darla. Say, Romeo, what about your promise to the He Man Woman Haters club? [00:24:52] Speaker E: The He Man Woman Haters club. How do we get into little rascals? [00:24:56] Speaker C: Love it. I was watching the little rascals today, actually. [00:25:02] Speaker E: There you go. [00:25:03] Speaker C: That's funny. [00:25:05] Speaker E: All right, here we go. [00:25:06] Speaker A: I'm sorry, Spanky. I have to live my own life. That's the second. Do anything they see but they're gonna get a surprise when she brings them to their knee but she doesn't like the rough guys that make the second heaven relate you they've got drinks but my favorite got a wise. I'm in case you haven't heard the news she doesn't like the cup guys she doesn't like the rough guys the fuck up on your outside she's not afraid of you. [00:26:10] Speaker E: Well, that is very eighty s, boy. [00:26:12] Speaker C: Yeah. Very cheap trick. [00:26:14] Speaker E: I feel a little bit. [00:26:16] Speaker C: I can hear some cheap trick in there. [00:26:20] Speaker E: What do you think, Frank? How do you like that? [00:26:27] Speaker D: No, I'm right here. I'm right here. I'm right here. [00:26:31] Speaker E: It's a running gag. [00:26:33] Speaker D: I know. Clown. [00:26:34] Speaker C: He's playing Taylor Swift in his headphones. [00:26:39] Speaker D: No. You know what this reminds me of? Peely Eilish song a little bit. [00:26:44] Speaker E: Oh, what? Tough got Billie Eilish. Billy Eilish sounds nothing like Billy. I mean, the names as part of it doesn't sound like Billy Eilish. [00:26:52] Speaker D: Her lyrics are very similar. Bad lyrics. Bad guy. Billie Eilish. [00:27:01] Speaker E: Bad Sabino hates that song. [00:27:04] Speaker D: If you read through the lyrics and listen to those lyrics, they're very parallel. [00:27:10] Speaker E: Yeah, well, maybe I could see that possibly. Yeah, I like it. I like the production better, I think. [00:27:20] Speaker C: Yeah, I was just going to say the production is a little bit better. [00:27:25] Speaker D: You know what? [00:27:26] Speaker C: A little bit more raw, I think. [00:27:28] Speaker D: But you know what? It doesn't suffer from the side. B, blue so far. [00:27:33] Speaker E: No, not yet. [00:27:34] Speaker D: Not yet. [00:27:35] Speaker E: That's all right. We have another five songs. It's possible. [00:27:38] Speaker D: Okay. I'm just saying, so far, we're off to a good start. [00:27:41] Speaker E: Yeah, I agree. So here are the lyrics. She doesn't like the tough guys. They think they can do anything they please, but they're going to get a surprise when she brings them to their knees because she doesn't like the rough guys they think they can have any girl they choose they've got tricks but my baby's got wise so in case you haven't heard the news she doesn't like the tough guys she doesn't like the rough guys so find someone your own size because she's not afraid of you all right, so she's a tough. [00:28:11] Speaker D: Girl very similar songs, bro. Very similar lyrics to Billie Eilish. [00:28:16] Speaker E: Okay, we'll see if people agree with you. I don't know. Here we go. [00:28:22] Speaker A: She doesn't like a tough guy she tends to think of friends out where they see they think they're full of fire she thinks they're full of. She doesn't like the tough guys she doesn't like the rough guys she's gonna call your rough guys and you better believe it true you don't like you. [00:29:21] Speaker E: What did you think of that? That wasn't bad. [00:29:25] Speaker C: That was. [00:29:28] Speaker E: Yeah, kind of. It fit the song. [00:29:30] Speaker C: I like the music. The lyrics are a little. [00:29:33] Speaker E: Yeah. Wow. [00:29:34] Speaker C: But the production is definitely better. I mean, if follow your heart had this kind of production, it would have sounded better. There's a rawness to it, and I feel like. It's funny because I feel in the first part of the song, it felt more keyboard heavy. Like, the keyboard was higher in the mix. But I feel that this part of it, it's less in the mix, and it's kind of rougher, maybe, which is nice. [00:29:59] Speaker E: Well, keyboard sometimes can very make things. [00:30:03] Speaker C: I mean, it could just be me polished. Was it much as I did before? [00:30:07] Speaker A: Yeah. [00:30:08] Speaker E: I didn't really notice much of a change. I do think that the guitar stall could have been a little bit louder. It's pushed back a little bit in the mix a little. [00:30:16] Speaker C: Which we've been saying a lot. Right, in this album. [00:30:19] Speaker E: Yeah. But for this thing, it's just melody. It's a journeyish, to me, kind of solo, where it's just very composed. I mean, obviously not the same as journey, but you know what I mean. It's in that kind of vein of very composed solo. [00:30:35] Speaker C: I think, overall, the guitar player. [00:30:37] Speaker E: Yeah. [00:30:38] Speaker C: I mean, I definitely have newfound respect for him. And I don't think I've ever really paid attention, other than the ballad one, just because it's kind of loud. [00:30:51] Speaker E: Well, the lyrics on this, she doesn't like the tough guys. She says that they've got brains all where they sit they think they're full of fire, but she thinks they're full of shit. [00:31:03] Speaker C: Nice. [00:31:04] Speaker E: Of course she doesn't like the tough guys she doesn't like the rough guys she's going to call your bluff, guys and you better believe it's true no, she don't like you no, she doesn't like tough guys obviously kind of incompetent. [00:31:27] Speaker A: That they think that they can do anything they need but they're gonna get a surprise once you bring them to their knees like they can have any girl they choose they got pictures but my baby got wise I would case you haven't heard the news she doesn't like the tough guys she doesn't like the rough guys the fuck up on your own side, oh, she's not afraid of you she doesn't like the rough guys she said she turned enough life she's gonna call your tough guy and you better believe it true sky your mother's upper fear hot guy now you know she loves me better hot. [00:32:58] Speaker C: To go there that doom, doom, doom. You know what I mean? That double. [00:33:06] Speaker E: I'm very. It's not bad. [00:33:12] Speaker D: For me. It's like it just kind of that Billy Ellis song. And when I look back at the lyrics, because here's the chorus. So you're the tough guy, like a really rough guy, just can't get enough guy. Just always so puff guy on that bad type. [00:33:35] Speaker E: Yeah. Well, who knows? Maybe that had something to do with possible. [00:33:43] Speaker D: It all ends with guy at the end, right? [00:33:46] Speaker E: Yeah. I mean, maybe she did take that from there. Who knows? Who would know? [00:33:49] Speaker D: Borrowed a little bit. Yeah, I'm that bad type. Make your mama sad type, make your girlfriend mad type might seduce your dad type, I'm that bad guy. That's a Billie Ellis song. [00:34:04] Speaker E: Actually. [00:34:06] Speaker D: Is it like, are they saying, hey, we're going to continue this song here? [00:34:14] Speaker E: Who knows? Maybe it's a song she figured that most people wouldn't remember. Like, I wouldn't know that because I've never heard this album on the other side. [00:34:21] Speaker D: Oh, yeah. You have to listen to this song. It's a pretty good very. I'm not a b le Ellis fan, but this is a good song. [00:34:29] Speaker E: Well, I could tell you that. I definitely think that the keyboard savino were definitely less now that I listened to it. Looks like they lowered them down. [00:34:36] Speaker C: Yeah, they came back a little bit more in the end, but it wasn't. [00:34:40] Speaker E: The same at the beginning. It felt like it was a lot. [00:34:43] Speaker C: Yeah. [00:34:45] Speaker E: All right, well, Frankie, since you seem to like this, why don't you go first? [00:34:50] Speaker D: I like it so far. I think it's awesome. I like the lyrics and the. And overall, I have to say the music is very well balanced. The two of you complain about the bass being too much in your face on side a. So, so far, I feel like all the music is well balanced and the production is well balanced. [00:35:25] Speaker E: But you didn't give numbers. [00:35:28] Speaker D: I'm going to give lyrics a seven, music a seven and the production an eight. [00:35:36] Speaker E: Okay. Saf. [00:35:40] Speaker C: I'm going to give the lyrics a six. I was actually going to give them a five. But I like that sit and shit coupling. I thought that was kind of funny music. I'm going to say seven overall, pretty good. Yeah, I'll say an eight on the production, I like it a little bit better. Some of the stuff I heard before and I mean, honestly, the bass. I like the bass. One thing I really have discovered on this podcast is listening again. Because we've really listened to bit by bit, I've really started to appreciate some of the bass playing in some music that we haven't maybe I just wasn't paying attention to before. But, yeah, they're very capable musicians, without a doubt. So that's pretty good. It's a good side, I think. Mark? [00:36:37] Speaker E: Yeah, I think I'll do six on lyrics, too. I don't think it's as good as some of the other stuff because I gave take it on the run seven. So I don't think I can give this seven. But it wasn't bad. I liked it. Musicianship. Yeah, I'm going to give that a seven. I kind of think that, like, the solo, I like the way it's very composed and it fits the song brings the melody back and forth at the end part, too. So I kind of like that. And then. Yeah. Eight production so far. I like the way this is produced a little bit better. So who knows if that's going to continue through the rest of the side. But it's a good start. [00:37:11] Speaker C: Yeah. [00:37:14] Speaker E: This could have been a single. I don't think it was. Let me double check. But I don't think it was. [00:37:25] Speaker C: I don't think so. [00:37:28] Speaker E: Let's see. Let's look. [00:37:31] Speaker A: Um. [00:37:38] Speaker E: Doesn't really say I don't think, but it could have been. It's very 80s, right? Not bad. All right, so the next song is shaking it loose. No, out of season. Sorry. Out of season is the next song. Curious Steve job. [00:38:06] Speaker D: One job. [00:38:08] Speaker E: Yeah, I know. Listen, it gets late. What do you want? [00:38:14] Speaker C: People know when we do these podcasts and what time it really is. [00:38:18] Speaker A: No, they have no idea. [00:38:19] Speaker C: Why Steve has actually been sleeping for a while. [00:38:23] Speaker D: Yeah, exactly. [00:38:24] Speaker C: People have no idea. [00:38:25] Speaker D: It's like 12:30 a.m.. Eastern. [00:38:28] Speaker C: Exactly. A very early morning podcast. [00:38:35] Speaker D: By the way. We do retakes and repairs. It's like 02:00 a.m. [00:38:42] Speaker E: Luckily we don't do a lot of that. [00:38:44] Speaker C: Yeah. [00:38:45] Speaker E: Here we go. So out of season. [00:39:01] Speaker A: I found out just a little too late. I had my doubt but I decided to wait even though I could feel something coming and came as such a surprise. I should have known when you first started running away. Before my season you left me coming up, Danny Freezer. I see that now. I out now. [00:39:47] Speaker E: Is it just me or does that sound very similar to the last song, the melody wise? [00:39:52] Speaker C: Yes. I was just going to say I think this is the same song. The chorus is different and the beginning sounds to me reminds me a lot of hang on loosely. [00:40:02] Speaker E: Yeah, I can hear that. [00:40:03] Speaker C: Which came out in 1981. Yeah, check out when they go back to the main riff. And that chorus reminds you of something too. I'm going to figure it out. [00:40:18] Speaker E: Yeah, I thought it was just me. I was like, does that sound like the same song we just listened to? [00:40:21] Speaker C: Yeah, I heard those like, wait. [00:40:24] Speaker E: The only difference is that now the theme of the album is coming back again. The infidelity. [00:40:29] Speaker C: Yes, that's what it sounds like to me. Absolutely. [00:40:31] Speaker E: Yeah. They had a little break in the first song. Now they're back. [00:40:35] Speaker C: Yeah. [00:40:36] Speaker E: Here we go. [00:40:38] Speaker A: I lost out. I wasn't saying to win. And then I think about how I took it all in. Just when I thought I couldn't get any higher, you cut me down the side. I should have noticed when you put on the fire. Instead I just close my eyes. I see that you left me a freezing. I see that now. I see that you let me go and you gave me no reason. I see that now. [00:41:37] Speaker E: Before the solo comes, let me read you some lyrics. So I'll start from the beginning. I found out just a little too late. I had my doubt but I decided to wait. Even though I could feel something coming. It came in such a surprise. I should have known when you first started running away before my eyes. I'm so out of season. You left me cold and I'm standing here freezing. I'm so out of season now and then next verse is I lost out. I wasn't playing to win. And then I think about how I just took it all in. Just when I thought I couldn't get any higher, you cut me down to size. I should have noticed when you put out the fire instead, I just closed my eyes? I'm so out of season? You left me cold? And I'm standing here freezing? I'm so out of season now? I'm so out of season? You let me go? You gave me no reason? I'm so out of season now? So out of season. What does he mean? I mean, out of season. Meaning is it, like, supposed to be like winter and because it's cold, what does out of season mean? [00:42:38] Speaker C: Yeah, I guess. Almost like I'm trying to come up with the words, I guess. You know what I mean? He's out of season. They're out of step. They're out of sync. You know what I mean? [00:42:56] Speaker E: Okay. [00:42:57] Speaker C: Out of style. Kind of like the whole out of. That's how I see it. It's almost like she's moved on to, let's say, spring and he's still in winter. [00:43:10] Speaker E: Got it. [00:43:12] Speaker C: That's how I kind of interpret it. [00:43:19] Speaker D: Right now. At the wrong. They're both at the wrong point in their life. Well, they're the right kind of love just at the wrong time. A season. [00:43:31] Speaker C: I feel like he's kind of out of it because she's gone somewhere else, but he's still standing there where he. [00:43:41] Speaker E: She's in. She's in spring and he's still in winter. Hanging out there. [00:43:44] Speaker C: Yeah, that's what I'm thinking. Or summer. Maybe she moved on too. Seasoned. [00:43:48] Speaker E: Yeah. [00:43:51] Speaker C: Do you hear the hang on, Lucy? Now, that chorus reminds me of something, too. I can't figure it out. I mean, the chorus is my favorite part of the song right now. I really like the chorus. The rest of it is. It's okay. It's kind of stuck. [00:44:12] Speaker E: Yeah. Okay, we go. [00:44:29] Speaker A: Even though I could feel something coming, I like that. [00:44:32] Speaker E: That was pretty good. Even though it was short, I think he did a really good job. I'm getting more of appreciation for his guitar pulling as we go along. [00:44:41] Speaker C: Yeah, it definitely could have been a little bit. [00:44:45] Speaker E: Oh, it could have been longer, but, yeah. But it was fine, though. [00:44:48] Speaker C: Yeah. [00:44:48] Speaker E: It's a very super poppy song. So you don't want. I guess, but, yeah. Again, I remember hearing his name back in the day, like, through guitar magazines and stuff, but I never really paid attention to anything he did, so he's better than I thought. I really didn't have much of an idea about what kind of guitar player he was and how much guitar was in this stuff, short of, like, the ballad stuff. I mean, there's guitar everywhere. [00:45:16] Speaker C: Yeah. I think he's doing a good job. [00:45:20] Speaker E: Yeah. I'm just going to back it up a little bit. Here we go. [00:45:28] Speaker A: Even though I could feel something coming again? Such a surprise I should have known when you first started running away? Before my eyes I see them, you left me cold? And I'm standing here freezing? I see them now? I see them you let me go and you gave me no reason? I see that I'm so season now. [00:46:25] Speaker E: That was a weird fade at the end. It was really quick. Was like quick. Pull the fader down. [00:46:30] Speaker C: Yeah. Hurry up. [00:46:32] Speaker E: End this right now. It's not like a slow fade out. [00:46:35] Speaker C: Cut them off. [00:46:38] Speaker E: It wasn't horrible. I don't think it was as good as the song before it, though. [00:46:43] Speaker C: I mean, they're both cutesy songs again. Not that they're bad songs. I guess I wanted something a little bit more. [00:46:53] Speaker E: I like how they come into the chorus. From the chorus, though. [00:46:57] Speaker C: Yeah, I mean, the chorus. I love that chorus. [00:47:00] Speaker E: And the background is very catchy. Okay, so I'm going to still do six on the lyrics, I think. I don't really think that they're much better than the prior lyrics. The melody is better, but I can't count that as lyrics. [00:47:16] Speaker C: Yeah. [00:47:16] Speaker E: Musicianship. I'm still going to do seven. I think they're played very well. Obviously, they're talented musicians. And the song, super catchy solo was super catchy, even though it was short. I like that a lot. And production, I like the production on this, too. I think they're getting a little bit better with not making it. So, like, this is the AOR record we need to make and this is how it has to sound. They're just like, going by the song as opposed to saying, well, this is what aor sounds like, so we have to do this with radio. So I like the production. I'm going to say eight. [00:47:48] Speaker D: Frank, you know what? I'm going to give the lyrics a nine. I get it. Sometimes you just feel like you're in a situation. That's not what it is. And that whole situation, like when he said, you left me out here freezing, it's like kind of a play on. Hey, I just felt like we were summer and you were feeling winter, and all of a sudden I just feel the cold. And I like it. I can relate to it and I understand it. So I'm going to give lyrics a nine. The musicianship, I'm going to give it a seven. And the production, I'm going to give that an eight. Overall, I just think it was well balanced. I like it I like this song a lot. [00:48:41] Speaker E: Chef. [00:48:42] Speaker C: I'm going to say six on the lyrics as well. I mean, I do like the sentiment. I kind of like what he did, the way he used the imagery. Yeah, I'll say seven on the music. I mean, the chorus really gets me. Honestly, if it wasn't for the chorus, I'd probably give the song a six on music. And again, not that it's played badly, I'm just talking about kind of like the overall vibe of it, but that chorus is just so frigging catchy. [00:49:13] Speaker D: Yeah, it's like it's a play. And the imagery. I like the lyrics because the imagery and the play on it. [00:49:20] Speaker C: Yeah. No, I mean, it is good in that regard. I agree. It's cool the way what he did and how he used it. I'm going to say in eight on the production as well. It does what it has to do. [00:49:37] Speaker E: Yeah, I think the production has gotten better. [00:49:40] Speaker C: Yeah, not bad. I mean, again, very similar. I think this one had a better chorus, though, than the one before. [00:49:46] Speaker E: Oh, I like the chorus a lot. [00:49:47] Speaker D: Yeah, I love the lyrics on this one overall. [00:49:53] Speaker E: See, there you go. [00:49:54] Speaker D: I guess. Call me sentimental fool. [00:50:00] Speaker C: Next week I will introduce you as sentimental fool. My mark has to find the new sound bite. [00:50:07] Speaker E: Sentimental fool. Yeah, I don't have a sentimental mean. [00:50:12] Speaker D: I'm pretty sure they're going to be someone out there in the pod verse. They're going to be like, you know what? I hear you, Frank. I hear the lyrics. [00:50:21] Speaker E: I feel you, bro. [00:50:24] Speaker D: I feel you, bro. [00:50:27] Speaker E: I know what you're feeling. I got you. All right, so the next song is called shaking it loose. See what this one's about and see if we stay on the same infidelity thing. [00:50:47] Speaker A: She looked at me with fire in her eyes looked at you but you search and it tries and try ashamed I'm gonna be alright shaking it loose tonight Santa Hunna forget me quit another fool another Hollywood wreck moving on a red light but I'm gonna be alright second in the loose tonight shake it, shake it second in the loose tonight shake it, shake it second in the loose tonight I'm gonna make it shaking it loose tonight. [00:51:36] Speaker E: So they like to go into this like rock and roll thing right now. So this is a little different. They've been doing this for a little bit now. The melody is not catching me too much on this for whatever reason. [00:51:47] Speaker C: No, me neither. It reminds me of kind of like almost like a meatloaf song. Yeah. [00:51:57] Speaker D: Very meatloaf. [00:51:58] Speaker C: Not a necessarily good one. [00:52:01] Speaker E: Like badloaf. [00:52:04] Speaker C: Yeah, I'll probably rock the whole pod verse when I say that I am not a fan of paradise by the dashboard line. [00:52:13] Speaker D: I'm going to sign off right now, right here in this moment. I'm going to sign off my name right now. [00:52:21] Speaker C: I appreciate it as a song, but I'm just not a bastard fan. Me personally. [00:52:34] Speaker D: Pretty much. [00:52:35] Speaker C: I just want to help. Two is better than one. [00:52:39] Speaker D: I just want to know how many people are linked moving forward after that statement. [00:52:46] Speaker C: Hey, maybe it'll track more of an audience. [00:52:50] Speaker D: Zero. Come on. [00:52:51] Speaker C: Zero, bro. [00:52:53] Speaker D: That's like saying you hate Michael Jordan. [00:52:57] Speaker E: Listen, I can understand why some people don't like that stuff because it could be very theatrically, musically, and if you don't like that kind of stuff, because it sounds like it could be. [00:53:11] Speaker C: Again, which is fine. This feels like that to me. This could be rocky horror, it sounds like. Right? It could be kind of. What's the other one feed me? Seymour. Little shop of horrors? No. [00:53:26] Speaker D: Great movie. Great movie. Great song. [00:53:28] Speaker C: Chom. [00:53:28] Speaker D: Soundtrack. Great soundtrack. Yeah, no, you're right there, sav. [00:53:33] Speaker C: I feel you. [00:53:34] Speaker D: This is very meatloaf, I think we said at the same time. Very meatloaf, theatrical and should be a Broadway hit kind of song. [00:53:46] Speaker C: None of these are bad things, but again, none of them. It's not grabbing me. And it's very. Lyrics, again, are very. [00:53:57] Speaker E: Do you want to hear lyrics then? [00:53:59] Speaker C: Sure. Okay. [00:54:00] Speaker D: Yeah. Just put that spirit through our hearts. [00:54:05] Speaker E: Here you go. She looked at me with a fire in her eyes looks can't kill but she certainly tries and tried as she might I'm going to be all right shaking it loose tonight she said, honey, forget me quick another fool, another Hollywood trick moving on a red light but I'm going to be all right shaking it loose tonight shake, shake, shaking it loose tonight shake, shake, shaking it loose tonight I'm going to make it shaking it loose tonight yeah. [00:54:35] Speaker D: Shake it all the time yeah. [00:54:37] Speaker C: That's coming soon, part two. [00:54:41] Speaker E: Oh, my God. It's a beetlejuice reference in the middle. All right, let's continue to go. [00:54:50] Speaker A: That. Someone on the phone knock on my door but there's nobody home I turn out the light. Cause I'm gonna be all right sticking in a loose tonight second in the loose tonight second in a loop tonight. I'm gonna make it second loop. [00:55:50] Speaker E: Okay. Well, I like his guitar solo, but the keyboard solo, there's something just. Did it feel like. It just was like. I don't know, just there, like when you expect to hear, like, keyboard playing like that, like that raggy time keyboard rock and roll playing. Did it sound too clean or something? It sounded like a bad version of it. Like you said, a bad version of meatloaf. No, I knew it was. Sounds like a bad version of Meatloaf, though. You're right. Even though the playing was fine, it sounded weird. I don't know. I can't put my finger on why. But the guitar actually. [00:56:28] Speaker C: Yeah, go ahead. [00:56:30] Speaker E: Guitar solo was really good. [00:56:32] Speaker C: Yeah. And it was loud. And honestly speaking, I feel like that bit with that guitar solo has probably been the best production on this record. Because everything just, like, cranked up. The bass was up, the drums were up, the guitar was up. I think that that part right there and again, not knocking, whatever, but it was the best produced. I just feel like this production kicked in where. [00:57:00] Speaker E: Well, I'm going to back this up. I want to listen to that again. [00:57:02] Speaker C: It just got louder. And even though you knew he write that banana. You knew that was coming. But it was just, like, loud in your face and it was really good. My favorite part of the song was right there. [00:57:13] Speaker E: I'm going to back it up. Here we go. Yeah. Everything kind of like. It all felt like. It was really nice and tight and fucking loud and rock and roll music. [00:57:39] Speaker C: Yeah. [00:57:40] Speaker E: Whereas the keyboard part just sound like. It sounded like someone playing, like, on a cheapy little keyboard. Even though I'm sure that's not what it was. It just didn't sound great. I don't know how. If it was recorded that way or just a mix of it right there. I don't know. Kind of threw me for a loop a little bit. But you knew it was coming, though. [00:58:01] Speaker C: Yeah, I was like, here comes the solo. [00:58:06] Speaker E: Here we go. Well, let me do the third verse, because almost the rest of it's all the same. I got to go. There's someone on the phone knock on my door but there's nobody home I turned out the light because I'm going to be all right shaking it loose tonight and then chorus, then shake it loose. At least he tried to do something right before this all off. Shake it loose. [00:58:26] Speaker C: And, I mean, just the fact that it's shake it loose, you know what I mean? It's like, listen, we need to write a stock rock and roll song. What are we going to call it? How about shake it loose? Okay. [00:58:40] Speaker E: Shaking it loose. [00:58:41] Speaker C: Yeah. [00:58:42] Speaker E: Okay, here we go. [00:58:46] Speaker A: Tonight second loose tonight I get a loose second loose. [00:59:18] Speaker E: Who's fucking, like, riding that fader at the end of these fucking song, right? It's, like, super fast. [00:59:25] Speaker C: That was an abrupt ending. Yeah, it was. I agree. [00:59:30] Speaker E: Now, I was expecting it, but I was expecting just, like, to end with an ending, but I didn't expect it to fade out like that because the last one faded out like that. This is just. [00:59:39] Speaker C: This ended with a little thump. [00:59:42] Speaker E: Yeah. I mean, you're right. This is like, we need to make a rock and roll song. And we're not just like the keyboard band right here. Look, we can rock, too, but not really. [00:59:55] Speaker C: This is generic, kind of. [00:59:58] Speaker E: Yeah. [01:00:02] Speaker C: You knew what the piano solo was going to sound like and you knew that that was coming. You knew exactly what the guitar solo was going to sound like. Right. You just knew that bad, ain't, you know what mean? So. [01:00:18] Speaker E: Yeah, the Chuck Berry kind of licks and stuff. Yeah. Okay. You want to go first? You go first. [01:00:27] Speaker C: Yeah. I mean, the lyrics, I'm going to say. I don't know what to say for the lyrics. I'm going to skip the lyrics for now. It's going to be low. So, music. I'll say seven on the music because I do think, again, it's played well. It is a stock song that you've heard so many times. Then production. So I think I've given eight. Some production. I'm going to say a nine on this, just based on the fact. Again, that middle part just stood out so much to me. I think they did such a great job that when the solo, the guitar solo came in, it just worked. Right. So for that piece, I have to pump it up because of even the low scores that we gave before, where we felt the production was holding back the songs. I don't know lyrics. I'll say a five. I mean, they're so typical. And I listen. It's the third song on the second side. Right? Is it terrible? No, but I just feel like they could do better. Mark. [01:01:53] Speaker E: I think I have to give lyrics five, too, just because I gave lyrics a six, and I think those were better than these lyrics. So I have to give this a five. I'm not saying they're horrible. And in the scheme of. We're not comparing this to other records. Right. Because if you can't compare it to other records, it could be lower maybe, right. Or it could be higher than some things, but in this album, I would say five. So I'm going to take a different approach. I'm going to give seven on the music because I like the guitar solo, everything else. The keyboard thing is a little funky. I can't lie. I don't understand why. Like, I said either sounded too clean or it just didn't sound like it wanted to be rock and roll. It wanted to be like a similar song to what meatloaf does, but it just wasn't as good. So that's where I think the production, for me is going to take a hit. Because I feel that's more a production thing than it is. Like the guy playing it. Because obviously he can play piano, right? [01:02:53] Speaker C: Yeah. [01:02:54] Speaker E: So it's not like that. Maybe he's not as good of a rock and roll piano player as it is. He is like a Cynthia planner player, so maybe that's where parts of his problem, too. So I'm going to give the production. I mean, I like the middle part with the guitar, but I don't know if that can save it for me. So I'm going to give it a six because I think that the keyboard part at the beginning throws me off. And I'm going to give music a seven just because I think he did a great job on the guitar playing on that thing. But I don't think the production helps this. And again, I think they're trying to show and, hey, look, we can rock too, right? And not really well, I mean, it can kind of. [01:03:37] Speaker C: That's what I'm saying, though. It just feels like that stock, you know what I mean? It's like that blue song, right, where especially, like the hair metal bands and when they would do that, but there would be nothing to separate it from anything else. [01:03:54] Speaker E: It's like a hairband doing a grunge song. That's what it's like. It's the equivalent, right, of when all the hair bands went, oh, shit, we got to get heavy. [01:04:05] Speaker C: Do a good job with it. [01:04:06] Speaker E: But, I mean, yeah, it's just not in their wheelhouse. [01:04:09] Speaker C: Something you do so many times before. Even, like you said, the lyrics, too. Especially. They've done decent stuff with some of the lyrics speaking about infidelity and how they've done it. But this is just straight up. I don't know. And again, it's not a terrible song, right? It's not, oh, my God, this song sucks. [01:04:31] Speaker E: But they've done better on this album. [01:04:33] Speaker C: Yeah, absolutely. [01:04:34] Speaker E: So just put in contrast to everything else is there. You can't give it as high of Frank. [01:04:44] Speaker D: Gotta say, I appreciate the whole approach to emulate. I guess the word is for meatloaf and paradise by the dashboard light kind of situation. I'm going to get lyrics a seven on this one. Music wise, I think they did a great job, but try to get that Broadway musical kind of theatrical feel to it. So I'm going to give that an eight. But the production felt short of their attempt to deliver that message. So I'm going to give that a seven. Actually, a six. Sorry, a six. I just feel like the energy was there. The production just failed it. The lyrics were there. [01:05:34] Speaker E: You see Savino, when you take the musician part out and you just have people just listen to songs. Frank's just like, yeah, I like what that did. That. But he even knows the production sucks. [01:05:44] Speaker D: On that energy was there. The production just felt short of bringing into the end zone. Bring it again. [01:05:53] Speaker C: The only reason I'm doing that is because I want to throw a bone to the fact that whatever was happening during that guitar solo is what I wish happened. Especially on follow my heart. On the first side, it just felt like it went balls to the wall. And it was good. It was still balanced, but it was loud. It was in your face. So again, based on that, because if it wasn't for that, I would have been lower. But I'm like, I got to throw this guy bone for that part. [01:06:22] Speaker E: Yeah, I did it the other way. I throw it on the music side. Yeah, not on the production side. All right, so the next song is someone tonight. I wonder if this is going to be like a ballady kind of thing or like a mid tempo thing. I don't know. All right, here we go. [01:06:55] Speaker A: You got it? I want it. Surrender, don't run away don't say I'm cold blooded I say I'm just now that away I need someone tonight someone to hold on to me I need someone tonight. [01:07:35] Speaker E: A little bit sticksy, right? I got a little sticks vibe there. Yeah, a little bit. I like the guitar. I like the acoustic guitar. Not bad. I don't know if I like the melody. It's someone else in the chorus. What do you mean? [01:07:51] Speaker C: That can't be Kevin Cronin. [01:07:53] Speaker E: I think it is. [01:07:55] Speaker C: I don't think so. [01:07:57] Speaker E: Are you sure? [01:07:58] Speaker C: No, I'm not. But it doesn't sound like him to me. [01:08:03] Speaker E: Yeah, he's the guy. [01:08:06] Speaker C: Hold on. [01:08:07] Speaker E: It says leading backing vocals, except on someone tonight. Oh, Bruce hall, the bass player, singing. [01:08:14] Speaker C: Nice. I was going to say it doesn't sound. [01:08:15] Speaker E: You were right. Yeah. Okay. So what do you think so far of it? [01:08:25] Speaker C: It's okay. Yeah. I mean, like you said, I think the music is better than the melody. And the chorus is. [01:08:34] Speaker E: Tonight on my generation. Yeah, I know. I'm not a fan of that window. Who does it? I'm not much of a half a fan of it when they do it. All right, so the verse is, you've got it, I want it. Surrender, don't run away someone say I'm cold blooded I'd say I'm just not that way I need someone Tonight someone to hold on to me tight I need someone tonight I think this is still within the infidelity thing, I think, though. I guess. I don't know. [01:09:11] Speaker C: Let's see where. [01:09:12] Speaker E: It's not really infidelity, though. [01:09:15] Speaker C: Well, I mean, I guess it could technically be in place of the infidel, maybe. [01:09:21] Speaker E: All right, let's see how they can continue with this because this is a little bit different. And now a different singer. I wonder what he's doing while this is going on. Doesn't he just sing? I don't think he does anything else that I know about, but I don't know. [01:09:36] Speaker C: Kevin Cronin? [01:09:37] Speaker E: Yeah. [01:09:38] Speaker C: No. Doesn't he play keyboard or piano? Well, when I saw them live, he played the whole time. [01:09:43] Speaker E: Oh, yeah. He does acoustic and rhythm guitars. Acoustic piano. Okay, so he's got stuff to do. [01:09:50] Speaker C: I mean, that was probably him doing the solo. It could have been him doing the. [01:09:53] Speaker E: Solo or he was doing the acoustic part, maybe. All right, here we go. [01:09:59] Speaker A: I could convince you if you would just say, all right. I'll treat you so tender believe you and never I need someone tonight someone to hold on to me I need someone tonight. [01:11:07] Speaker E: I don't know. I like the first part of it when it did the first time. I don't know if he needed to do it the second time. You know what I mean? I'd like if they would have done it first time and then him don't do something second, the second time around. Not the same thing again. And I'm not super big fan of the melody guitar harmony. Guitar thing. Depends. I don't particularly like it in this one too much. It's not horrible, but I've heard it worse than some of the stuff we've done. But it's not as good as his other solos. I like the beginning. I wish it did that. And then I wish he did something different at the end of it, you know what I mean? And not just do the same thing twice. [01:11:52] Speaker C: I also get a little bit of a cheap trick vibe on this one, too, I think. [01:11:55] Speaker E: Yeah, me too. I was going to say that. Well, maybe that's the voice, too, right? [01:11:59] Speaker C: Yeah. [01:11:59] Speaker E: It could be the one thing that bothers me. I don't know. This is just a weird musician thing. Is that when they're singing the verse, like when it comes up with those big vocals at the end, like you hear him sing and then he just stops and you can hear like the abrupt stop of his voice and the background vocals keep going. I don't know if I'd like that too much. [01:12:22] Speaker C: Maybe he couldn't kind of hold the. [01:12:26] Speaker E: It just sounds a little weird to me when I hear it. I don't know. Picky, nitpicky stuff. [01:12:33] Speaker C: Luckily like it, right? [01:12:34] Speaker E: I mean, luckily it's a quick song. [01:12:36] Speaker C: 240, you could be the opposite, too, right? You could say, you know what I really like? When he stops and they keep going, if you don't like it, you don't like it. [01:12:43] Speaker E: I don't know who would have said that, but okay. All right, here we go. Let's finish it up. [01:12:51] Speaker A: Someone to hold on to me tight I need someone tonight I need someone tonight someone to hold on to me tight. I need someone. [01:13:32] Speaker E: Jesus, they love that fucking fast fader. How quick can we fade this out? 2 seconds out. [01:13:37] Speaker C: I know. Let's get the song over with. [01:13:43] Speaker E: Let's see. I'll go first, I guess. Are the lyrics horrible? They're not horrible, actually. I don't hate his voice. [01:13:52] Speaker C: No, it's not bad. [01:13:54] Speaker E: So I'm going to say six on the lyrics. I don't hate them. I don't know about the tonight thing. I guess it's okay. Maybe they're doing that on purpose to copy like the who. Maybe if that was an influence on them. So it's possible, I guess. Music wise. I mean, it's not bad, but I'm going to give it a six. It's not my favorite here at all. I'm generally happy with the musicianship on this record, but this is just. I don't know. It's very. Does nothing for me. And production. I don't know. I'll give the seven. I mean, it's not horrible, but just the whole overall song for me doesn't do much. Frank. [01:14:46] Speaker C: I don't know. [01:14:47] Speaker D: I'm going to give the lyrics a six, actually. I'm giving this a six across the board. It doesn't do a whole lot for me, honestly. I'm just trying to figure out what it is that they were trying to say. So, Seth, what do you think? [01:15:07] Speaker C: I'll probably say a five on the lyrics. Ouch. I don't mean most of it is the same. And then the part where he says the second verse. If I could convince you, if you would just say, all right, I'll treat you so tender then leave you and never write. So it's like this mixed bag, especially from the first one. And it doesn't even sound as if he's saying that that's what she says. It sounds like that's what he's going to do. So, um, music, I'll say a six on the music and yeah, I guess a seven on the production. I mean, it's fine. It doesn't sound bad. I mean, honestly speaking to me, to me on this 1st, 2nd side, that chorus from out of season is the most standout part for me right now. [01:16:09] Speaker E: Yeah, I can see that. But this is what happens on the sexicides. Right. But this is what happens on the sexicides. A lot of stuff. [01:16:21] Speaker C: I know I went in excited because again, I thought that obviously there's good stuff on the first side. And when. Follow your heart when I'm saying, okay, if this wasn't a hit like the other ones were hits and they're good songs, maybe this is kind of like where they went. And again, I think the production on this side is overall better than the first side. But it does almost feel like a soundtrack, this. It's kind of like weirdy soundtracky thing going on. [01:16:51] Speaker E: Well, I could also say, well, the first couple of songs are not bad, but now it's starting to get a little. [01:16:56] Speaker C: Yeah, but I don't think they stand out as much as stuff that's on the first side. [01:17:01] Speaker E: No, well, no, of course not. [01:17:03] Speaker C: But again, that chorus for out of season, I thought that was. [01:17:15] Speaker E: All right. Well, the last one is. I wish you were here. So let's see how this goes. Let's see how they can end this strong. I'm crossing my fingers. Here we go. [01:17:24] Speaker A: Jesus. Old when you're flying high laying low and I've got the time I got plenty to fail yes, I've got the time and I've got the place I just wish you were there's. [01:18:38] Speaker E: This sounds like something else, but I'm not sure what this sounds like. [01:18:41] Speaker C: Reminds me of Joe Cockers with a little help from my friends. [01:18:45] Speaker E: Oh, maybe. [01:18:47] Speaker C: I mean, the production's good. I like the production on this. [01:18:51] Speaker D: Yep. Joe Cocker, a little help from my friends. That's what I hear right now. [01:18:56] Speaker E: Yeah, that's exactly she vibe to it too, right? [01:19:01] Speaker C: Kind of like a. [01:19:03] Speaker D: It's every note to teeth. [01:19:08] Speaker E: Yeah. [01:19:11] Speaker D: The wonder years. How are you going to rob the Wonder Years theme song, bro? [01:19:21] Speaker E: Fred Savage is going to sue your ass. [01:19:24] Speaker D: I love that series. [01:19:26] Speaker C: Yeah, I didn't watch it all the way through. But I did watch. Really? [01:19:33] Speaker D: You didn't watch the whole thing? Not to the end, sab. [01:19:35] Speaker C: I don't think so. I know how it ended. [01:19:38] Speaker D: You didn't watch the end with Winnie and what happened? [01:19:42] Speaker C: I think I know how it ended. I just don't remember actually seeing it. Wow. I know. [01:19:48] Speaker D: Anyway, this song reminds me of that situation. Except a cheaper version. It reminds me of the Bronx version. Wonder years. [01:19:59] Speaker C: The Bronx version? [01:20:00] Speaker D: Yeah. [01:20:00] Speaker C: Wouldn't you think the Bronx version should be a little bit tougher? [01:20:03] Speaker D: No, be like on Fordham Road, right there. Fucking ripoff version where she says goodbye. [01:20:11] Speaker C: It's a rainbow store. Yeah. The rainbow Store version. [01:20:14] Speaker D: Yeah, exactly. [01:20:19] Speaker E: And it feels like it drags a little bit. Like I'm waiting for the lyrics to go through. [01:20:23] Speaker C: Yeah. [01:20:25] Speaker E: I know a place where you can go when you're flying high or laying low and I've got the time I've got plenty of despair yes I've got the time and I've got the place just wish you were there. That felt like it took a million years to get past that. [01:20:38] Speaker C: You know why? [01:20:40] Speaker A: You know why? [01:20:42] Speaker D: Because they're waiting for Joe Cocker to tune in. [01:20:47] Speaker E: Might be right. [01:20:49] Speaker C: It's one of those songs where the lyric and the verse. I mean the verse and the chorus. Right. Are all tied up together. So I don't know if it's going to change. [01:21:01] Speaker D: No. I have zero hope I have zero. [01:21:04] Speaker C: Faith I do love you have production though. I think it sounds really good. [01:21:10] Speaker E: Yeah, production is pretty decent. [01:21:12] Speaker C: Really? [01:21:14] Speaker E: Yeah, it doesn't stop. Horrible. [01:21:17] Speaker D: I just feel that he copied it. [01:21:20] Speaker C: Well, I mean, the rhythm is there. Right. That doom. Doom. Doom. [01:21:26] Speaker D: Yeah. I can't get the credit for copying the Elsa style. [01:21:31] Speaker C: Yeah, but the sound of it, I mean. [01:21:38] Speaker E: Well, let's see if it. Let's see if it continues in the same way. I'm curious. Here we go. [01:21:46] Speaker A: I got to have you around where your to make you shine I've got the wheel and I've got the way I wish you were mine sa. [01:23:40] Speaker E: So what do we think about that? [01:23:44] Speaker C: I thought it was okay. I thought he could have done better. [01:23:47] Speaker E: What, the solo? [01:23:49] Speaker A: Yeah. [01:23:50] Speaker C: I felt there was a bit subdued. [01:23:52] Speaker E: Yeah. And now I hear the stupid Joe cocker thing in my head all the time now. And it's like throwing me. [01:24:00] Speaker C: I mean, I don't think the melodies is like that. I mean, once you hear that round with the guitar, obviously it's. The other thing too is I think he's hitting some bad notes in this song. I feel. [01:24:15] Speaker E: You mean singing wise. [01:24:16] Speaker C: Yeah, I feel like he's off key a few times. Like he's. And maybe it's just me, but I mean, especially considering, like, I've. I've never heard it before, but I feel like in this song, he's going to places where his voice is just. [01:24:31] Speaker E: No, it's possible. I mean, to me, it just. It feels so super draggy. It's like in mud for me. I don't know why. Well, here are the lyrics. I've got the will. Yeah. To have you around whether you're up or whether you're down and I know the way to make you shine oh, yeah, I've got the will I've got the way I wish you were mine it's a long song. 427. [01:25:13] Speaker C: It's really not that long. [01:25:14] Speaker E: No. But doesn't it feel like it's just a super draggy drag? [01:25:20] Speaker C: Yeah. [01:25:21] Speaker E: I don't know. All right, I'm going to back it up a little bit. I didn't think the solo was bad, but it was slide, so that's pretty decent. That was pretty cool. But now that it's in my head, the other thing, like, I can't get it out of my head. [01:25:36] Speaker C: I just feel that he's impressed me throughout this record, and for whatever reason, that solo didn't impress me, and I thought it was his biggest opportunity. Right. Because it's probably the longest solo on the record. [01:25:51] Speaker E: Oh, 100%. Yeah, that's pretty long. [01:25:53] Speaker C: But I don't know. I guess I expected a little bit more from him. But it doesn't take away from the fact that I think, again, I never really paid attention to the guitar in this stuff. But he's a good guitar player. [01:26:06] Speaker E: Oh, yeah. No doubt. All right, here we go. [01:26:17] Speaker A: Where you can't go when you're flying high let the time I got the time I've got to let us bear I've got the time and I've got the best I wish you got the time and I got the it. I wish you were there I wish you were there I wish you were there. You were there. Close. [01:27:35] Speaker E: Yeah, that guitar part there, that's what's really so, like, Joe Cocker too much. [01:27:40] Speaker C: And then you got the background singers going. [01:27:43] Speaker E: Yeah. The girls background, too. And it's just like. Yeah. All right, Frank, you go first. [01:27:49] Speaker C: Yeah. [01:28:06] Speaker D: Bark test 1212. [01:28:08] Speaker E: They were. [01:28:09] Speaker D: If you go first, that'd be much appreciated. [01:28:12] Speaker E: Want me to go first? Okay, let's see. I don't think the lyrics are bad. I don't think they're bad. I'm going to give it a six. Music wise. I mean, I don't know if I don't like it as much as the prior one. And I gave that a six. I'm going to probably have to give this a seven. And I gave production a seven. It's not overall bad, but now that you told me about the friggin Joe Cocker thing, not just in my head, I can't get it out of my head now. I mean, I knew it sounded like something. I just couldn't place it. And once you told me, I was like, oh, that's what it is. Crap. Yeah, go ahead, saf. [01:29:03] Speaker C: Yeah, I'll say a six on the lyrics. Music. I'm going to say a six, too. I mean, it's just not really much going on. And again, I wasn't overly impressed with the solo. I'm going to say it ain't on production, though. I thought it was really well produced. It was really clear for whatever was going on. I like the way the drum sounded, but it also feels like this is not where it should be on the record. It feels like it should be somewhere else. This is not the song to end the record. I think they could have broken up, especially since the first two songs, actually. I mean, the first four songs kind of had a similar theme, that kind of rock and rolly, little poppy, whatever. So maybe this could have broken up that a little bit. Frank. [01:30:11] Speaker E: You would do Sam. Frank, you muted if you load. Frank, the interwebs took him away. [01:30:25] Speaker C: Yeah, I think the song put him to sleep. [01:30:31] Speaker E: There you go. All right, so give it to us. What do you think? He's there. He's gone. He's there. [01:30:50] Speaker C: He's gone. It's a blip on the radar screen. [01:30:56] Speaker E: Oh, no, it's a blip in the matrix. [01:31:01] Speaker C: Mark, you got to leave this in. It's just Frankie grunting every few seconds. You hear a grunt. [01:31:08] Speaker D: You guys can't hear me? Oh, no. [01:31:11] Speaker E: Yeah, we can hear you. [01:31:12] Speaker D: Okay, so I'm going to give this overall a seven. Like the b side. [01:31:25] Speaker E: Are you going to give triple seven? [01:31:28] Speaker D: Yeah, overall, I'm going to go with triple seven. Yeah, Mark. I am, actually. I do. [01:31:34] Speaker E: Yeah, triple seven. [01:31:36] Speaker D: You know, that leaves me. [01:31:37] Speaker E: Yeah, well, I know where it leaves us, but I can't believe it's triple seven, baby. [01:31:43] Speaker C: Seven, seven, seven. [01:31:48] Speaker E: Yeah. It's just weird. I have that Joe hot cocker thing in my head. Well, yeah, the second side was a little disappointing. It started off okay, and then it just kind of like spiraled down, but. [01:32:04] Speaker C: Again, wanted by the. [01:32:08] Speaker E: Albums. [01:32:09] Speaker D: We all know the side b's are always going to be disappointment. [01:32:14] Speaker C: Not always, but I mean, we've had some stuff where. [01:32:19] Speaker D: Not always. [01:32:22] Speaker C: I just feel like, you know, that more of an afterthought. I felt kind of, wow. [01:32:32] Speaker E: More often than not, the second side is never as good, probably percentage wise, right? [01:32:39] Speaker C: Yeah. [01:32:41] Speaker E: And sometimes it starts out good like this. Like, it started out good. Okay. You're like, oh, that's not so bad. Can they continue? And it just kind of fizzles away. Whether it's, well, we just got to fill the rest of this up, or these are just like filler tracks that we don't really have. Who knows how they wrote it? How much they wrote. Did they just have to fill this up? Who knows? I don't know. [01:33:04] Speaker C: It just felt like there were songs that were written in a hurry. [01:33:09] Speaker D: Yeah. [01:33:10] Speaker C: You know what I mean? Because of. I mean, again, the musicianship and the stuff that was going on the first side, stuff like this, to me, sounds like, hey, everybody, just. Okay, there's one. There's another one. That's kind of how it felt. Even though I think this last song, for what it's worth, was a little bit more involved in a way. But. [01:33:36] Speaker D: I have to say, this feels like getting a seven and two dealt in a poker hand. Texas hold them. It's like you know you're going to lose, but I just feel like we just won enough. We got a handbag on this one. [01:33:52] Speaker E: Yeah, I agree. Well, I'm glad we got it. [01:33:57] Speaker D: You just got a handbag, that's all. [01:33:59] Speaker C: Yeah, we broke even, right? [01:34:01] Speaker E: We broke even. We're good. [01:34:03] Speaker D: Yeah. [01:34:03] Speaker E: Well, I mean, it did sell 10 million records, so for whatever. Obviously someone liked, it's enough to sell 10 million albums, but probably on the strength of the first side or the first couple of the bunch of songs on the first side, which were singles. [01:34:18] Speaker C: Hey, listen, vanilla Ice sold 15 million records on the shrink of one song. [01:34:24] Speaker D: Oh, my God, don't get started with that one. [01:34:26] Speaker C: I'm just saying. 15 million records. [01:34:31] Speaker D: Yeah. I have that debate with some peers. Maybe one day we get that song, we can talk about it. That album. [01:34:42] Speaker E: That would be a painful episode. Painful. [01:34:46] Speaker D: Yeah. [01:34:47] Speaker E: All right, sav, do your thing. [01:34:49] Speaker C: So we are part of the Deep Dive podcast network again. Like I always say, great bunch of guys took us in right away. Always want to give a shout out to them. Guys like Rush, rash and podcast will rock. And all the bands you could imagine of in the rock genre, queen, maiden, Tom Petty Uriah heap. If you want a more specialized podcast, check them out. More knowledgeable than us, probably, and definitely less erratic. And probably don't go off on Tangents about Taylor Swift and Billie Eilish when you're doing an reo speed wagon album. [01:35:23] Speaker D: But hopefully that's the charm that was. [01:35:26] Speaker C: Hey, I'm going to say maybe that's the charm of rock roulette podcast and why we've gotten more listens. Maybe, people, the fact that I'm not. [01:35:38] Speaker D: A Taylor Swift fan, we're talking about her is amazing. [01:35:42] Speaker C: No, I think it's great. I think it's great that we could take a 1980 reo speed wagon album and lose our way into what we did. [01:35:55] Speaker D: Some people might write that off as HCHD. I will say that is creativity. [01:36:03] Speaker C: So, Mark, if people want to hear our tangents on the interwebs, where can they go? [01:36:08] Speaker E: Oh, all our tangents are all on rock with that pod on all the social media. Please share our episodes. Give us reviews wherever you review. Set your podcast player to automatically download so you get the latest episodes. Because we do this crazy thing late at night every week, sometimes we get a little punch drunk because it gets a little too late, and that's how you get those kind of conversations. Yeah, Frankie mutes himself, doesn't figure out where his mute button is. [01:36:38] Speaker D: Yeah, it gets to that point sometimes. Yeah, I agree. [01:36:44] Speaker C: Frank was placing bets on the Super bowl. [01:36:47] Speaker E: Yeah. Hold on a second while I do this. Draft games time. [01:36:52] Speaker C: Yeah. [01:36:53] Speaker E: All right, people, we will see you next week. And next week is our wheel. Spin again. Yay. [01:36:58] Speaker C: Spin the wheel. Yeah, it was awesome. [01:37:01] Speaker D: Yes. [01:37:02] Speaker E: That's the most exciting time. All right, see you guys later. [01:37:05] Speaker D: All right, good night.