Episode 79 - Ace Frehley - 10,000 Volts

[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 hundred and seven 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. [00:01:14] Speaker C: Budy. 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 a record for us and we go over it song by song, and we rate it on music, lyrics and production. Again, just a bunch of guys, old friends, who wanted to do a podcast. Nothing professional, nothing whatever. Here we're just out having fun. And again, we want to thank all of our listeners. Again, we're still a little bit of an uptake. We had a big uptake a few weeks ago, but the numbers are still pretty solid. So again, anybody who's either listened to us commented, whatever it is, we really, really appreciate it. So keep it coming. Tonight we are a duo. I have Mark. [00:02:00] Speaker B: Oh, hi, Mark. What's up, guys? [00:02:03] Speaker C: And I'm sad. Ciao, bunase. So last week we wrapped up Tapehead by King's x. And I would say that Mark would agree that it's probably one of the strongest records we've had from tense Sam to stern on the podcast. What do you think, Mark? [00:02:20] Speaker B: Yeah, it was a good record. I liked it a lot. I'd looked at some other King's x stuff after that. I really liked that bunch of their stuff. I'm trying not to listen too much of it because I'd like to be surprised if we get them again. But I like their stuff. [00:02:35] Speaker C: And who gave us a quick comment about saying how I know I had mentioned some of the Alison chains stuff that I thought sounded like Alison chains, but he said he agreed, but these guys were the originators and they actually influenced chains. [00:02:52] Speaker B: I know Ty Tabor was watching an interview and he said that he basically heard Alison chains early on. They toured with them early on, and I think they seemed to like the way they're tuned down. And they had those melodies and stuff in their harmonies in their, you know, maybe they got a little bit of. [00:03:16] Speaker C: Yeah. [00:03:17] Speaker B: Spencer Morgan over on one of the King's x boards. Shout out to Spencer, basically is, should I want to read his whole quote? [00:03:29] Speaker C: Sure. Let's give him a big shout. [00:03:31] Speaker B: He says, I've been listening since yesterday, and I like the podcast. I've never heard anything else with the format where music is listened to and then pause and discuss during the song. Pretty cool. Now, we can't take credit for that. I say pot of thunder is the first one. It's not us, but awesome. I'm glad you liked the podcast. That's great. [00:03:50] Speaker C: Yep, absolutely. [00:03:51] Speaker B: And then he goes several times in the podcast, a similarity to Alison change was mentioned, which is definitely there. Alison change always seems darker and more minor tonality to me, so it's not what struck me when I first heard King's x. I've only noticed the similarities as I've learned the songs on guitar, and especially noticing Jerry Cantrell's use of chromatic drop d chords and the seven chord, which is very true. I was going to talk about that. Of course, it deserves to be called out for what it was. Allison chains borrowing from King's x and not the other way around. We both know Jerry and Lane were big fans of those early King's x records. So another guitar player obviously learned some songs. And another shout out to at Brown on another one of the King's x boards, I forget which one. And he just wanted to know if part two was already recorded. Yes, it was. And it's going to be coming out, or it's out already by the time this thing comes out. So shout out to them for shouting us out online. [00:04:48] Speaker C: Yeah. And giving us a little info, which obviously, I'm sure if we ever get the older King's x records, then we'll probably hear exactly what he's talking about. Hey, this sounds like. But yeah, it was good. We haven't gotten too many albums that have been as solid as that one from first song to last song, so that was really a pleasure to get anyway. Yes, typically at this point, we would spin the wheel. However, Mark and I had discussed that a certain album by a certain very famous guitar player was coming out this last week, actually. Right. It came out, yeah, last week. And we thought it'd be fun to just kind know, stray from the format so we could listen to this record pretty much brand new. Even though there's been a lot of stuff on the Internet. We kind of said, hey, why don't we do this and kind of not listen to anything that's been out there, although we have listened to interviews about this record. [00:05:55] Speaker B: Yeah, the record is pulling. [00:05:57] Speaker C: Do we nominally say it now? [00:05:59] Speaker B: Yeah, say it now. Go ahead. [00:06:01] Speaker C: Okay, so we are going to do 10,000 volts by Ace freely, which is again released last week, an album that's been hyped up big time, not only by Ace freely. Freely, but also by Steve Brown, who is a big time contributor to this record and who has not been silent on how much contribution is actually made by him, which has raised a lot of questions on the Internet on who exactly is doing what. [00:06:31] Speaker B: Yeah, well, I've heard 10,000 volts. I've heard walk on the moon, but that's all I've heard. I've been purposely holding this kind of off for a while. And if it's not readily apparent, which it may not be as readily apparent if you're new to the podcast. Kiss is like my first band. I got into them when I was like seven years old. So I was one of those kids in the kiss kid. As far as guitar playing, I have to say he is one of my influences. Has to be just because of how young I was. I didn't start playing guitar until later on. Also, which people may not know, is that in the early days of the Internet, which we're talking probably like 97 ish time, I had a website that I transcribed Kiss songs, was called Kiss tabs, and I transcribed most of the makeup stuff. I don't think I ever totally finished. It went for like three or four years, and then I kind of like burned. So with me and a couple of other websites at that time, Kiss Otaku, which is Mike Branvold, who is one of the hosts on three sides of the coin, and kiss asylum and acefree.com, the original one before it was Ace Freely's website, when someone else ran it, I think Douglas snazzle, I think that was the. [00:08:00] Speaker C: Was. [00:08:01] Speaker B: He was a cool guy, too. So it was a bunch of us early kiss websites. I was definitely not one of the first, but I think at that point I was one of the bigger ones. I remember having they had like a kiss website thing in metal edge, and they mentioned my website in metal edge, which was cool. [00:08:20] Speaker A: Nice. [00:08:21] Speaker B: So I didn't want to go into this thing so blind because I want to kind of pay attention. Is Ace playing on this? How much is ace playing on this? We're going to play a bunch of clips before we get started, so everyone has kind of an idea of what we've heard. I know there's a huge thread on Kiss FAQ right at the moment and I haven't read through all that yet because I wanted to stay away from anything to try to taint my idea what this is. And I do want to say that I'm not against Ace writing with other people. I think it's a good thing. I think you and I both talked about his prior stuff since maybe anomaly that the stuff's not bad, but there's nothing that really holds you down and makes you go back as much as some of the early stuff, some of the early fraily comet stuff, or trouble walking. So maybe this is going to help him focus himself a little more because we kind of know Ace is a little so, you know, he's not the first guy to go practice all his stuff as evidence. I mean, we've seen him about three times together, right? [00:09:32] Speaker C: Yeah. [00:09:34] Speaker B: And I've seen some clips from early in January and listen, he's 70 something years old. He's not as on the ball. He's a little bit lazy. He doesn't like to practice. So I mean, I love him to death. I love his stuff with Kiss. I love his solo stuff, the first fairly common things. The other stuff is fine, but there's nothing that holds you back. There's a couple of songs, like you said, bronx boy you liked, and there's nothing that really I go back to as much as the earlier stuff. And that just may be because know, like they say, the earliest influences, the earliest music you tend to go back to. But I would love it. I want this record to be great just for him. And the mere fact that he's put out this many records, considering Kiss hasn't put out this much music as he has in the last ten years. [00:10:23] Speaker C: I. [00:10:23] Speaker B: Just want to preface it by saying I'm an ace fan, I love Ace, I want him to do well. But I'm also not going to say if I don't like it. I'm not going to say I don't like know if Kiss does something I don't like. I'll tell you, kiss does something I don't. Listen. [00:10:39] Speaker C: The same for you too, man. They're my favorite band, but if I don't like it, I don't like it. And I think that's part of being a true fan, ultimately. [00:10:46] Speaker B: Yeah. [00:10:47] Speaker C: I don't necessarily think you're going to like everything that your favorite band does. [00:10:51] Speaker B: I'm sure I'm going to say things that kiss fans are not going to like and ace fans are not going to like. But I have to say what I think and whether you like it is totally fine. And if I don't like, it's totally fine. I'm not saying I don't. I haven't heard enough of it. And again, purposely, normally I would have listened to this record already from the day it was released. But with all the things swirling around, I want to play a couple of clips from a couple of other podcasts so we get an idea of why we're a little skeptical and why. I need to listen really closely to what this is, just to see listen. He doesn't have to play everything, but I would appreciate for just as an ace friend, to know who's playing where and what without me having to sit there and go, I wonder if that is Ace or not, because I don't want to have to worry about that kind of stuff. I want it to just be good. [00:11:47] Speaker C: Yeah, obviously you play the clips, but I think people get the notion of if it's a good song, it's a good song. And you say to yourself 100% whether or not I think it's him playing, I think it's a good song. I'm glad that it's his song. Or you say, well, or vice versa. If you're like, this doesn't sound like him. You know what, I don't like it because it doesn't sound like him. Maybe you get a little bit of, hey, it's not really him. So I can say that I don't like this song, but you and I saw that first clip from what is the first show he did after this. [00:12:19] Speaker B: Yeah, it was tough and that was rough. [00:12:21] Speaker C: I mean, he did 10,000 volts and he was trying to do that intro solo. And I said to you, this kind of worries me because he just wrote this and he doesn't know the solo. I'm like, what's going on? Is he that lazy or did he maybe not do it? So that kind of started in my then, but listen, they are not holding. If anybody who's listened to any interview about this record, Steve Brown is not holding anything back. This isn't about Peter. Chris played on Dynasty and unmasked and you didn't find out until I don't know how much later. And just like when Nath freely was supposedly in the band and you didn't find out until these guys are out there saying this stuff. So I mean, obviously, Mark, you got this stuff queued up so people will know exactly what we're talking about now. [00:13:11] Speaker B: Also, you remember, the kids fans will probably be listening to this. And remember Ace Fraley. [00:13:16] Speaker C: Fraley freely. [00:13:18] Speaker B: Fraily freely. [00:13:21] Speaker C: I'm so used to Ace freely. [00:13:22] Speaker B: You're going to get the hate. That's what it is. All right, so the first couple, just say Ace. It's easier. [00:13:30] Speaker C: Just say Ace. Exactly. [00:13:31] Speaker B: We'll call him Paul. You can do lots of stuff. [00:13:33] Speaker C: Yes, Paul. Paul from the Bronx. [00:13:36] Speaker B: Paul from the Bronx. Is that like Jenny from the block? [00:13:39] Speaker C: Exactly. Yeah. That's what he needs, man. A little collab with JLo. [00:13:44] Speaker B: Come on. [00:13:44] Speaker C: That'd be awesome. [00:13:46] Speaker B: So the first couple of clips are from Tom and Zeus at the shout it out loudcast. And I'm going to play one and we'll talk a little bit about that, and I'll play the second one. So here's Ace on solos. On the record, steve would lay down. [00:14:03] Speaker D: A solo and say, why don't you. [00:14:05] Speaker C: Play a solo like this? And I forget whether. [00:14:09] Speaker D: What song was it that I said, let's keep that. [00:14:13] Speaker A: It sounds like me. [00:14:16] Speaker D: What song? That was always the line. I would go, this is me being you and playing. There's a lot of that. Was that 10,000 volts? No, there's parts of walking on the moon. There's parts of fighting for life where one lick that I used and we'd use summer aces. So that's what the beauty of making this record is. It's a total collaboration. And again, like I said, for me as such a fan, and Ace and I are brothers and we've known each other for 30 years, but over the last year and a half, we've become like one. But for me, as making records for 34 years now, this is certainly one of the top moments of my career. To make this awesome. [00:15:06] Speaker B: That's awesome. I know I had said to you that. I said this 10,000 volts solo sounded like it was a lot of parts of kiss. So now, I mean, ace kind of like, let the cat out of the bag there and said that, hey, was that 10,000 volts? You did the solo on? And Steve Brown kind of sidestepped that a little bit. Well, this piece is here, pieces there. [00:15:32] Speaker C: It's funny. He stopped the question, right? And then Ace went back to the question. [00:15:37] Speaker B: Yeah, right. [00:15:38] Speaker C: If you hear it, he's like, what song was that? And he's like, well, you know. And then he's like, but wait, what song was that? He's like, dude, just tell. [00:15:49] Speaker B: Mean. He doesn't seem to have a problem with it. Which know again, here's the mean. I think Steve Ground's a good guitar mean. I like the stuff he did with Trickster. I mean, we saw him with Tokyo Motor fist when he opened for Ace. I thought he was the. I think he's coming from the place of. He is an ace and a kiss fan, and he's trying to help Ace do things. I just am a little skeptical about. Is Ace not able to play this stuff for himself anymore? Listen, I always know there was ghost stuff on every record, on every artist. There's ghost things that you don't know about. But considering all the stuff that's going on here with this, they're not really hiding it very well. And maybe they don't want to hide it. But if you're not going to hide it, then how about put it on the actual liner notes to say, hey? [00:16:39] Speaker C: Yeah. [00:16:42] Speaker B: Well, from what I've seen, I haven't seen it on the liner notes. I could be wrong. If I'm wrong, I take it back, but I don't know. All right, so here's the second clip. And this is Steve Brown on Ace's guitar playing. [00:16:52] Speaker D: I can ask Ace, and I can ask you, steve, where Ace's guitar playing. [00:16:56] Speaker B: Is on 10,000 volts. So far, the two singles we've heard, he's ripping it up like the ace that we love. [00:17:01] Speaker D: Yeah, well, certainly. I mean, that was one of. Again, when we were making the record, we made a conscious decision, not even a decision. It was very obvious that for me, and getting back to, yes, ace is the reason that I'm here now. In 1978, there were two guitar players who influenced me to play guitar. It was Ace Rayleigh and Eddie Van Halen. And so without those two guys, I wouldn't be sitting here. So when we sat down to start working on the record, besides great songs, my goal was to point out to Ace that we really need to get back to focusing on getting these great solos, these thematic solos. What you said before, songs within a song. And we really did that. And it was so cool because Ace and I, we're both musicians and guitar players. So I'd be sitting there with my guitar and ace would be with his and we'd be jamming together and he would start playing. And I go, oh, that's it. Play that again. And then I remember when we were doing 10,000 volts, ace, I don't know if you remember, but I'd be shouting at you because I'd always start the song and just say, play. And I go, dude, play the shock me thing and play the thing from Black diamond. And he'd go, I don't want to play that. That's boring. And then 20 seconds later he would play it and I'd always be recording because I know with a guitar player like Ace, he's very spontaneous. So you always got to record everything because there would always be that 15 2nd flurry where I'd be like, holy shit, there it is. [00:18:44] Speaker B: Okay, well, you listen. Steve Brown has two of my favorite guitar players as his favorite guitar player. So we have that in, you know, again, I agree with a lot of that stuff. Yeah, keep it rolling because you never know what he's going to throw out. And I like the fact that he's trying to keep him into trying to make the solos a song within a song because that's really kind of what he does. When he was doing everything really good in the 70s, that's what he did. Yeah. [00:19:14] Speaker C: This interview still sounds very collaby, right? It sounds like, hey, we sat there with our guitars together and, hey, play this. It still sounds like a collaboration at this point. Right. Even though Ace kind of hints at whatever. But again, he's like one song, maybe two songs, maybe three songs out of I don't know how many songs are on there for ten or whatever, but you still. Okay, you get a little hint of something, but obviously you're going to play the. [00:19:50] Speaker B: You can't hold Ace back at all. He's going to say what he says. [00:19:56] Speaker C: Yeah, I was waiting for that one. Any given hay curlies? [00:20:01] Speaker B: I don't actually have any hay curlies in this one. I got other stuff, don't worry. [00:20:05] Speaker C: Yeah. [00:20:06] Speaker B: All right, so the next bunch of clips. There's a bunch of clips from this. This was the longer one. This is from Mike Branville, Tommy Summers and Mark Chikini from three sides of the coin. And they had Joey Casado, who plays drums on this, and Steve Brown on to talk about this kind of stuff. So the first thing is about Steve Brown and his team and who we wanted to bring on to kind of do this stuff. [00:20:33] Speaker D: Ace, I told Ace, if we're going to do this, I have my team, I have my guys who I make records with. I use PJ Farley, who's played with me for close to 40 years with Trickster. He's one of the best rock bass players on the planet. He's like Hugh McDonald Jr. Man, the guy. I don't have to tell him what to play. He knows exactly what I want. He does it he's the bass player on 10,000 volts, and he did an incredible job recreating John Reagan's great bass parts on back into my arms again. [00:21:02] Speaker B: Okay, so it kind of gets you. That's good. I mean, listen, if you're going to use his people, it's not a bad thing. I'm like, cool with that. I think Ace needs a little focus. So now the next one is about Ace and basically a little bit of his work ethic. I don't want to take this out of context to say he, steve Brown is saying he's lazy all the time, but I think everyone kind of knows that. Ace doesn't like to know. It's a thing. Anyone who's followed a kiss long enough kind of knows that. So I don't want it to take out of context, but this is what he's talking about on this. [00:21:37] Speaker D: And I want to see him succeed and do the best. And I'm working with him, getting him ready for his live performances. And again, I wish he'd practice more, but he's doing more than he has in the last couple of years and I can honestly say that. And again, let's all remember, kids, he's not 54, he's going to be 73. So you got to cut him some slack. And he ain't lip syncing. He's got a phenomenal band, and you're definitely going to see a lot of these new songs played live. [00:22:12] Speaker A: Okay. [00:22:12] Speaker B: So it's totally fine. [00:22:16] Speaker C: I don't believe that. [00:22:18] Speaker B: Well, no, I think it's possible that he could be practicing more, but what stuff is he practicing more? I don't know. I mean, I had to have to see some more live stuff after what we've seen. And again, we've seen him three times. Three or four times. So it's not like we don't spend money to go see him. I totally get that. So, I mean, hopefully he can change that. But I think Ace is lazy. I mean, they've been saying Ace is lazy since the kiss times, right? [00:22:46] Speaker C: Yeah, from before they were. [00:22:49] Speaker B: And maybe when you're 40 or 50, you could be a little bit lazy and not have to practice as much because you remember everything you play a little bit better. Age does have something to do with this. I'm sure this is not just, oh, he's all of a sudden became a crappy guitar player. And he's always been sloppy, but the last one I saw was a little bit much. Anyway, so the next clip is basically what battles he had to fight. With Ace Fraley to get this record. [00:23:19] Speaker D: Done, there are certain battles. As a producer and a co writer, there are certain fights I just couldn't definitely. I stand behind every song on this record, but Ace, it's his name on the record. So there are certain lyrical battles that I can't win. And that's what you do as a producer. It's a give and take of what the artist wants and where. Because believe me, man, I'm not intimidated. I've been around famous rock stars for most of my life. I'm not intimidated by anybody. And there were certainly moments when Ace and I would get into it and I would say, no fucking way can we do this. You can't say that. You can't have that line. You're not going to sing that. And he'd go, I want to do that. But at the end of the day, we would both cool off and then we would go. But it's all for the greater good of the record. So those are some of the challenges that I had to deal with. And the other big challenge was that he was also still, while we were making the record, he was still working with other people, which had been some of his other friends that he was working with. And I got to say, man, it was a tough thing because those songs were not in the same planet as what we have now. And that was a tough battle because you got to sit there and tell Ace that, dude, your childhood friend, whoever you co wrote this song with, this idea is not good, man. This is not going to stand up next to 10,000 volts or cherry medicine. [00:24:56] Speaker C: So I find that part very interesting, at least two reasons. One is who was he writing with? You know what I mean? Childhood friends. So who are these people that he was writing with? Where are these songs that he was writing? Assuming that they had something done, what do they sound like? And how bad was it that this guy's like, dude, this stuff basically sucks compared to this stuff that I'm giving you. Yeah, it's very interesting snippet for me, I think. [00:25:35] Speaker B: Well, listen, can Ace use a little bit of production help? I think so. Especially now, from what he's saying. Yeah, I mean, if the song sucks, right? You say the song sucks, we shouldn't do this. At least I don't think he's had much of that for a while. So that's not a bad thing. [00:25:53] Speaker C: No. And I mean, this is all Steve Brown and Ace. So, I mean, as far as I know, there's nothing other than the COVID that was mentioned there's nothing else. So none of these other songs supposedly. So Ace must have either 100% agreed with him and said, yeah, you're right, this stuff sucks. I'm not going to put it on the record. [00:26:14] Speaker B: Except for back in my arms or whatever that is. Older thing from the Freddie's cop in time. [00:26:21] Speaker C: But Steve Brown, I guess, was actually happy about that. Yeah, it's an older song. [00:26:25] Speaker B: Yeah, he said he pulled it out like, hey, why don't we redo this? Which is a great, like, there's lots of positives for having Steve Brown there to help him out. Okay, so the next one is, and this is about songs. [00:26:39] Speaker D: Everything that I brought in was specific. And like I said, it was my love for kiss and for Ace to be able to. Because, look, let's be real here. We all know the Ace records. There's a lot of filler on those records. And I don't mean any disrespect to anybody, especially Ace, because we've had this conversation. We all know Ace is notoriously a little bit lazy and that he'll just go, it's good enough. With that being said, it was my goal. And I told him after that first day of working on walking on the moon, I grabbed him by the shoulders and I said, dude, look me in the eye. If you trust me and I trust you, and we do this together, I guarantee you we will make the best record, or at least try to make the best record. The best Ace frailey record that you've made since your 70 eigth solo record. Because freely's comet, I really can't count as that because that was a band. Todd Hallworth was a big part of that. Ace didn't sing half the songs. So let's talk about Ace solo records and then get into the stuff that he's been doing, let's say, over the last 20 years. There are moments of brilliance on those records surrounded by a lot of mediocrity. So Ace and I both said to each other, and Ace was the one who said this, he goes, I want every song to be great. And I said, well, we're going to do that. And even the instrumental is going to be great. And it was definitely not an easy road getting there and getting to where we are now. But I can honestly say that these eleven tracks, and everybody's going to hear it tomorrow, a lot of it's leaked already. These eleven tracks are the best, most consistent, it's the best production, it's a lot of the best things that he's done since that 70 eigth solo record, take it or leave it, whatever you guys want to say. And go to trouble walking. A little fact, I think you guys know this. My producer Bill Ray who produced the first Trickster record wrote Trouble walking for Ace. But that's it. And again, man, I didn't do this for me. I didn't do this just for Ace. I did this for all of us. This is for all of us kiss fans and all of us Ace fans to be able to have a record that you can listen to from start to finish and go, yeah, this kicks ass, man. This is a really solid album. [00:29:25] Speaker B: Well, I've got a couple of questions for both the two of you. [00:29:30] Speaker A: I'm assuming even though Joey and I. [00:29:32] Speaker B: Have never talked about this and Steve, we've never met before, but do you. [00:29:35] Speaker D: Guys listen to a lot of different. [00:29:37] Speaker B: Music from different eras? So basically what do you think about that? He's not wrong. [00:29:49] Speaker C: No, but I mean, again, one thing that I'd mentioned to you is that it seems that he's given carte blanche to say whatever he wants to say. [00:30:00] Speaker B: Well, maybe Ace is totally for. [00:30:06] Speaker C: I mean, one of the things that Eddie trunk always talks about when he interviews Ace and Peter is that Gene and Paul are all about the now. Nothing else was as good as now, right until the next now comes. And that's what this sounds like. You know what I mean? Because obviously, especially you being a fan of him, you know that when his albums came out, right? He wasn't ah, this album's okay, but here it is. No, he was like, this is a great album. I'm making an album. This is a great album, right? And I know that this one too. I remember specifically hearing him say this is the best album I've done since 78. So I mean, just from that standpoint, it has a lot to live up to for anybody who knows that record. So again, it's a lot of promotion for this and I think it's a lot of self promotion too on his behalf. So I don't know if you're going to see the clip where he really goes into himself. [00:31:09] Speaker B: Yeah, I got one more clip. That's the last clip. So as far as I'm concerned. Listen, I think on whatever level he does want to do this for himself, obviously for kiss fans, for Ace fans, I truly believe that. I truly believe that. Now on the next clip there's some things I'm not going to agree with him on. And listen, he's a professional musician. We're not right. We didn't get to get to where he was. So whatever we say, what does it matter? But how I feel about certain things, I'm going to say how I feel, but unfortunately, some of the things I. [00:31:44] Speaker C: Don'T agree with, again, I can agree with that. If he's saying exactly that, as a kiss fan, as an ace Fraley fan, you listen to this other stuff and you shake your head saying, what are you doing? Right? This is what you should be doing and this is what you should sound like, and this sounds good for you. And I'm going to kind of spoon feed you this stuff and it sounds good because, I don't know, then I can appreciate it. I can appreciate it when a band of yours maybe veers off. I mean, if you two had veered off, which, I mean, they have done here and there, and I'm like, hey, edge, this is what you should be doing. What do you think, man? This is what you guys. And he's, you know, and there's this big collaboration and it kind of brings back whatever. So, yeah, if that's what this is and everything is good, then, yeah, it's great. I can totally appreciate what he's doing for him. [00:32:41] Speaker B: Yeah, I agree. All right, last clip. I got to ask this because I want to get your response to it because as more of the songs have started to leak over the past day or two here. [00:32:53] Speaker D: Yeah. [00:32:55] Speaker B: And I'm not saying I agree with this, but I want you to address it. There's people coming online now who are like, ace doesn't play guitar on this album. That doesn't sound like Ace's guitarist. His vocals, big time auto tune. There's a lot of processing done on that. Do you want to address those? I don't want to call them issues because it's just kiss fans being kiss fans who want to complain about everything that happens. But you're the guy who worked on this. Tell us. [00:33:34] Speaker D: Yeah, it's no secret that, of course, I played on a lot of the stuff. I played a lot of the rhythm guitars. I played a lot of the bass. I did all the background vocals along with Ace. Regarding everything else, it's a modern production. I don't personally use auto tune, but I have other tools that I can use to, let's say, if there is a note, and I will say this no matter what, I don't give a fuck. Any record that you've heard in the last 20 years is going to have some sort of vocal processing, whether it's pitch correction, listen to the new Rolling Stones record. Listen to any modern rock pop record you've heard. It's all there, whether I don't use auto tune. So I don't need to go any further in that. Are there notes where I had to maybe pitch something up? Of course there are. Just like any other record you've heard in the last 25 years. That's just the way it is. The world has become accustomed to pitch perfect tuned, perfect, timed perfect. And I was very aware of that. We have to maintain that this still has to be a raw rock record and be believable, but it also has to be palatable. And it has to have that ear candy where it's listenable, that it's going to get played on the radio and it's going to get a million plus plays and views on YouTube. It has to be, I make fucking hit records, man. But at the endpicking, though, to me. [00:35:13] Speaker A: When people come on, either the songs. [00:35:17] Speaker D: Are good or they're not. I don't give a look. Look, anybody that's seen kiss in the last four years live, Paul Stanley's singing to a track he's talking over a track he's lip syncing. So don't give me any bullshit about whether I use disprocessing. I use everything. I'm a master producer, engineer, and my goal and my job, what I get paid, and I get paid well. To do this is to whatever comes out of my studio is going to compete with something like Mutt Lang would do. And that's what I model myself after. I'm a one stop shop to where you come to me. I can sing, I can play, I can write, produce, engineer, mixmaster, do it, know. And like I tell people, making records is like making sausage. You take a lot of ingredients and you grind it and you never really want to see how it's made, but you love to eat it when it's done, if you like sausage. [00:36:21] Speaker B: So I'm going to start at this. Okay. This is only my opinion, and this is not just against what he is talking about. I think the problem with a lot of modern music is exactly what he's saying. Oh, I pitched this up because I had to fix it. Oh, I fixed the timing on this because it has to be perfectly in time. Oh, I did this. And, yeah, that's been done for the last 25 years. Is it any secret that most music in the last 24 years sucks generally and not everything, but lots of it sucks when everything sounds the same. When back in the day, you remember recording back in the day, if it didn't sound right, there was no fucking fixing. You fucking went back and did it again until it was fucking right. And you know what that makes it? Makes it sound more real than trying to pitch correct. I mean, we watched some stuff on YouTube where the guy was looking through the pitching and how it's perfectly on the line when no one can fucking do that. You pitch corrected so much that it doesn't sound real anymore. And I'm going to preface before we get to 10,000 volts that I always felt. I know he said he recorded like four tracks of him and put it together and made it thicker. And yes, I do hear that. But I 100% hear Pritz correction for me. And I don't particularly like it. I can hear it. I don't like the way it sounds. I think that attitude about people are so used to having it this way that it has to be like this. I think that's really what the problem is with music nowadays. And, yeah, okay, I'm an old man, get off my lawn. Right. But I do think, in my opinion, this is only my opinion, that that's why music isn't as good and doesn't make you feel the same way. Because a lot of it just ends up being like that. Everyone thinks they have to fix everything. We have to fix all the guitars. We have to fix all the vocals. We have to fix all the drums. We have to fix everything. Nothing can be out of time. Everything's got to be on a grid. Everything's got to be perfect. And the more perfect you make it, the less it sounds perfect. Does that make sense? It doesn't sound as good. It doesn't sound like people doing it. So for me, I don't like that. Maybe you have to do this with Ace now. Maybe you have no choice. Maybe it doesn't have the patience to go and redo things again. But I don't know. In my opinion, I would rather have not had the record made like that. And listen, what do I know? Maybe he's right. You're going to get a million streams here. If this does great for him, awesome. It doesn't mean I have to like it. It doesn't mean that it's going to make me feel good. I think saying this has to be a raw rock record. And then saying, yeah, we have to pitch correct everything and time everything makes it not be that. [00:39:13] Speaker C: Yeah, it sounds like something again. I don't know what's been going on on the other Australia records up until now. All the more recent ones, let's say in this era, I'm sure there was. [00:39:24] Speaker B: Some of that going on. [00:39:25] Speaker C: I don't know, it just sounds like something he wouldn't want. But maybe at this point in his career it's like, hey, I need this help. But I guess you know what he sounds like. And I mean, that's the thing I did appreciate about Ace when we did go see him is that he sounded like. He sounded on the record. He's not a great singer, right. He has a very unique voice, but he's not, let's say a Paul Stanley, for example. Right? He's never been that. He has a unique voice. So if something is altering his voice, you're going to know right away and again, whether or not. But the one thing the guy says too is, listen, if it's a good song, it's a good song, okay? But if it bothers you, then it bothers you. And maybe you don't like that in a song that you maybe thought was good. There's going to be songs here maybe where you're like, he's pitch corrected to the point of me not even being able to. It just doesn't sound like him. It sounds like a robot. And that could ruin what could be a good song. [00:40:34] Speaker B: I don't agree that it's nitpicky. I mean, yes, there's a lot of nitpicky things that kiss fans do. Listen, I'm a kiss fan. I understand that there's lots of nitpicky stuff. [00:40:43] Speaker C: I think it's the overflow. Right. I think it's. People maybe are saying, so you do it live, you do it in the studio. When does it stop? Kind of deal. So again, I guess in our day, the re recording. But things were cut spiced too before, obviously it was just a little bit harder to do. [00:41:03] Speaker B: Yes. [00:41:04] Speaker C: So I guess technically that is the version of that. Or people did live albums and they would go into the studio and redo certain things. I mean, I never knew that, really. I never thought about that. [00:41:18] Speaker B: There's always stuff going on. [00:41:19] Speaker C: Want that? [00:41:21] Speaker A: Yeah. [00:41:21] Speaker B: You know what? But then there are other artists who don't do that, who just fuck it. We're just going to do it again till it sounds right, till we get the clip. And if there's something that's not right in it or a tempo changes a little bit, that's okay. Tempo can swing a little bit. [00:41:35] Speaker C: I've pointed stuff out where I'm like, wait a second, that was off tempo, something that. And you're like, all right, whatever. It doesn't ruin the song. It doesn't. You don't want stuff going everywhere, obviously. [00:41:49] Speaker B: No, you don't want so much. But to make everything straightforward, a band. [00:41:53] Speaker C: Comes in, right, that the band needs to know what they're doing. They need to know what they're recording. [00:41:58] Speaker B: I remember having Wolfgang van Harris said, learn your shit so you can play your shit. That's all. All right, so we've been yapping for 41 minutes. This is what happened when Mark does production. See? No production and other things. And now we have production, so now we have to talk. But I think it was necessary to play that stuff so we can come off, not sound like dicks, and give this thing. I want it to be really good. I really do. I'm not saying that because anything else, I don't want to go into here. Negative. Some of this thing gives me pause, but it's just now going to make me listen a little harder. [00:42:33] Speaker C: Yeah, I guess for you it's more about, can you get past the fact, if it's not him, will it bother you? To the point where, like, shit, it's not him. It's good, but it's not. I mean, I could understand. [00:42:52] Speaker B: Again, I have heard 10,000 volts and I have heard walking on the moon, which is the first two tracks. Right. So I always thought that that solo sounded like Ace, but not. It's like when I hear Tommy Therap play ace, can he play the nice notes? Right? Yes. Is it maybe technically better in Ace? Yes. Does it sound like Ace? No, it's just not the same for me. [00:43:18] Speaker C: No. [00:43:18] Speaker B: And again, other people are totally fine with that. I'm not totally fine with that. So we haven't come to any kiss stuff yet, or that stuff yet, so I'm sure I'll have more horribly nitpicky kiss fan issues with that. But anyway. So are we ready? [00:43:36] Speaker C: I'm ready. Let's do this. [00:43:39] Speaker B: This has been a conversation for us for, like, a whole week. We can't listen to anything. We have to let this. [00:43:43] Speaker C: Yeah, I know. I mean, honestly, like I said, I've heard those two songs once each, and once we decided to just go ahead with this, I'm like, I'm going to stay away from it and really try to form a live opinion and hopefully like it. I mean, listen, I'm pitching for this. I hope I like it. I really hope I do like it. [00:44:02] Speaker B: I like, too. I would like him to. [00:44:03] Speaker C: Yeah, I like him. Exactly. [00:44:07] Speaker B: He's from the Bronx, and we're from the Bronx and we have to rep on people. [00:44:09] Speaker C: That doesn't hurt. Exactly. [00:44:12] Speaker B: All right, so here we go. Here's 10,000 volts. Now, after listening to that a bunch of times, it's definitely not ace playing that line. I hear what Steve Brown is doing there. He's using older sounds that when Ace did a little bit of doubling together in the studio, and that's what he did, which I'm not against when it's good. But now listening to it, it's not him. [00:45:00] Speaker C: It's very clean, isn't it? [00:45:03] Speaker B: Listen, earlier in his career, he was a lot cleaner than he was later on. [00:45:08] Speaker C: Yeah. [00:45:09] Speaker B: Even in the fairly common stuff, he was fairly clean. I mean, recorded. He was fairly good. [00:45:13] Speaker C: Yeah. [00:45:15] Speaker B: Live, he's always been a little sloppy. That's part of his. [00:45:18] Speaker C: That's part of trying. Yeah. [00:45:21] Speaker B: But now also. So who's playing on this track? So PJ Farley. On bass, Anton Fig. On drums, Steve Brown. And guitar, backing vocals, David Julian. I don't know who that is. He is on guitar and percussion, and then guitar, vocals, ace Fraley. So the one thing I could say is this, is. I don't. Does this sound like Anton fig to you? [00:45:49] Speaker C: No. It honestly could be a drum machine. [00:45:52] Speaker B: Is this because it's straightened out and aligned to a grid that it doesn't sound like fucking Anton Fig? I don't know. [00:45:58] Speaker C: I don't know. I mean, just the sound of the drums, that just. It doesn't hook me in like Anton Fig, man, you need that. I mean, you just need that for me, it's not in this recording. That's why when I found out this was Anton fake, I mean, if somebody's like, oh, yeah, Anton fake played on three songs. And I heard this, I'm like, well, this isn't him. But again, right? He's a session drummer. Ultimately, he's a session drummer. And if Steve Brown has the steering wheel, maybe he's like, listen, this is what you need to do. Play it like this. [00:46:36] Speaker B: I know there were clips. We didn't play that. A lot of this stuff had drum. Well, at least some things had drum machine on it. And then either Joey Casada or did Anton Fig have to play to something that was already, you know, maybe the difference of when it was happening before they played live in the studio together and that may be why it sounded better. [00:46:55] Speaker C: Yeah, maybe they set off each other. [00:46:57] Speaker B: Yeah. I always tend to think that always sounds better, but what am I not? Here we go. Let's continue. I don't hate the riff. [00:47:10] Speaker C: It's not bad. [00:47:11] Speaker B: I think it's reminiscent of stuff that ace does or did, so I don't think that's bad. No. [00:47:17] Speaker C: I don't think it's totally left field. [00:47:19] Speaker B: No, not at all. All right, here we go. [00:47:23] Speaker A: Having trouble finding the right one. I'm not satisfied, I'm not having. I'm losing sleep every night and day I know she's out there ready for us to play I'll never give up or slow down I gotta believe that she's out there for me I can't see her in my mind she hits me like 10,000 bowl. When I saw her face, she hit me like 10,000 bowl. Feel like I was in space. I think I found. [00:48:04] Speaker B: Now I don't find that to be too pitch corrected. I think there's a little bit of pitch correction. I don't think there's a lot of doubling. There's a little bit of doubling. Usually he doesn't sound that thick, right? Generally, because I would think most of the stuff. I mean, not all the stuff, but a lot of his stuff must be single vocal line, because it's probably hard to get him to do it multiple times. And these days, do you really need to do that? Obviously it sounds better if you do a bunch of takes and put it together as opposed to just copy and pasting it into separate tracks and then just adjusting it a little bit. Always sound better. Natural. [00:48:44] Speaker C: He does have weird little thing where it's like ten bows. Do you hear that? He dips. [00:48:50] Speaker A: Yeah. [00:48:51] Speaker B: That's normal for him, though. That doesn't throw. [00:48:53] Speaker C: Yeah, I think it sounds like him. [00:48:58] Speaker B: I have to say, though, that I think it's much catchier than a lot of stuff he's done. [00:49:04] Speaker C: Very catchy. Yeah, that's for sure. [00:49:08] Speaker B: So I'll start reading lyrics. I'm having trouble finding the right one. I'm not satisfied I'm not having fun I'm losing sleep every night and day I know she's out there ready for us to play I'll never give up or slow down I got to believe that she's out there for me I can see her in my mind she hit me like 10,000 volts. When I saw her face, she hit me like 10,000 volts. I feel like I was in space. Space. It's okay. He's allowed to do space. He's a space guy. [00:49:37] Speaker C: Yeah. [00:49:37] Speaker B: When the other guy does space, I have a problem with that. [00:49:40] Speaker C: Yeah. [00:49:41] Speaker B: I'm not into that. Sure. Kiss fans are not liking me right now and I don't care, but he's allowed to do all the space he wants to do and listen, space is part of a stick. Yeah, you got to kind of use that. But so far I think I like it more now than when I first 1st heard it. [00:49:58] Speaker C: It's not bad. But I'm going to tell you something. I'm not crazy about the production. I think the production is flat. Me personally, well, I think the drums definitely sound flat. So I'm going to keep listening for the rest of it. But I mentioned that to you before when I first heard, I was like, where are the drums? You know what I mean? I feel like they're barely sound like Anton. Anton Fig. So I'm going to keep listening to it. [00:50:23] Speaker B: I expect more from his playing because I love his playing so much that when I heard that he was playing, I'm like, all right. Yeah. [00:50:30] Speaker C: I was happy about it too. [00:50:32] Speaker B: When he was on the fraily's comet stuff, it was great. [00:50:35] Speaker C: Yeah. [00:50:35] Speaker B: And when he was on the ace 78 stuff, when he was on dynasty, when he was on a mask, his playing was great. [00:50:41] Speaker C: Yeah. I mean, obviously he was held back a little bit on those records because he couldn't do too much. [00:50:46] Speaker B: No, but still his playing kind of came through where I don't hear his playing coming through. And now whether is it because the way the drums are, are there samples being replaced? Like he says, he uses all the modern tricks. Right. Is he replacing drum sounds with samples and maybe that's why it just sounds like everything else. I don't know. I'm not saying I know anything, what he's doing, but I'm not a super big fan of the way the drums sound. [00:51:11] Speaker C: No, I'm not at all. I think they sound flat. [00:51:14] Speaker B: Okay, I'm going to go back. [00:51:17] Speaker A: I think I found her and she's a diamond I get chills up and down my spine no need to worry, no need to press I hit the jackpot no more head in bed I wait for no one I made up my mind I'm gonna do it right this time I'll never leave behind she hit me like 10,000 fold when I saw her face she hit me like 10,000 volts feel like I wasn't fade she hit me like 10,000 wall I know for power and brace I'm so glad I found all I can't live without all she's got the magic car. [00:52:20] Speaker B: We got to stop before the solo. [00:52:22] Speaker C: Comes she got the magic touch that's okay. [00:52:26] Speaker B: Listen, I'm okay with the callbacks to kiss. I'm good with that. So I'll read lyrics and then we can talk. So I think I found her and she's a diamond I get getting chills up and down my spine no need to worry, no need to fret I hit the jackpot no more hedging bets time waits for no one I made up my mind I'm going to do it right this time I'll never leave her behind. And then chorus. And then the part right before the solo is I'm so glad I found her I can't live without her she's got the magic touch I can't get enough now I hear the guitar stuff in the back. It's very low. But I'm still saying no ace. Still saying Steve Brown playing like ace. [00:53:11] Speaker C: Just full on. You think like the rhythm, just the licks behind there. [00:53:16] Speaker B: I don't know how much he's playing on the song. I can't really tell you. Again. Do I know 100? Did he. He probably played something on here. I just think like the main things. I don't really. He was having so much trouble playing this song live. That's the only thing I'm saying is that didn't feel like he played this a lot so I could take it from what I've seen, clips I've seen live and now hearing what Steve Brown said and then ace going, hey, wasn't it. Hey, Carly, wasn't that 10,000 volts? [00:53:44] Speaker C: Yeah, that sounds like me. Leave it. I don't have to do it. [00:53:49] Speaker B: Lazy ace. All right, so now here comes the solo. I'm going to back it up a little bit. Here we go. [00:53:56] Speaker A: He's got the magic car and I can get it. [00:54:19] Speaker B: Now, I'm going to say it's a very convincing ace Fraley if it's not him. [00:54:25] Speaker C: Yeah, I think it's. [00:54:27] Speaker B: There are all the ace isms. It's almost too ace Fraley. You know what I'm trying to say? [00:54:37] Speaker C: Yeah. See, when I first heard this song and I heard this solo, I didn't know anything that was going on. I said, okay, they knew that this was going to be the lead off single. It's the title of the record. Steve Brown said, you need to play a very ace sounding solo in this. Right? I mean, if this wasn't an Ace Fraley song, it was somebody else and you heard this solo, what would you say? Wouldn't you say like, oh, my God, this sounds like Ace Fraley. Yeah. So that's what I thought. I was like, okay, he came forward with the straight. It's a good solo. I like the solo. Sounds like Ace. [00:55:11] Speaker B: Yeah, me, too. [00:55:11] Speaker A: Cool. [00:55:13] Speaker C: So, again, at this point, right, we have to say to, does it matter who's playing? Is that going to ruin what's going on? Or are we going to. Or especially you, because you're obviously the big fan. And then I know. Believe me, if I know somebody else is playing drums for one of my drummers, like, damn, it's on him. So you have to say, if it's a good song, it's a good song. It doesn't matter who's playing what. Because ultimately, it's Ace's name that goes on there. [00:55:46] Speaker B: Yeah. [00:55:51] Speaker A: So much for my solo. [00:55:54] Speaker B: I just think it sounds too. It's weird. I think it sounds too much like Ace. Rayleigh, the riffs are just like. It's everything that Ace would do combined into one thing. Now, could they have clumped that all together? Maybe, but it seems like from the clip that Ace said, that was that 10,000 volts? [00:56:16] Speaker C: Yeah. [00:56:16] Speaker B: So I assume that that's not him. Just from. [00:56:22] Speaker C: Just based on that. It's a good solo, though. [00:56:24] Speaker B: I mean, it's a great. Actually, personally, to me, it's actually better than stuff that Tommy Thayer was doing, trying to be Ace Fraley. They should have got Steve Brown to be Ace frailey. I think it would have been better. [00:56:38] Speaker C: Well, what was that? What's the guy's name? From foo fighters? Right. When he did the one on one. [00:56:44] Speaker B: Yeah, the space man. Not Ace frailey. It's the space man. [00:56:47] Speaker C: Yeah, the space man. Yeah, sorry. Exactly. [00:56:50] Speaker B: Yeah. [00:56:52] Speaker C: I mean, that guy was playing Ace beautifully. [00:56:54] Speaker B: Yeah. Chris Shiflet. Yeah, he was good. [00:56:56] Speaker C: Yeah. I mean, damn, he was smooth as hell. [00:57:00] Speaker B: So it's so Ace that it almost is not ace. And I think the thing that bothers me more is the drums. When I hear ants on fig, I'm like, okay, this drum. But it's just like, there. It's like, okay, it could have been anybody. [00:57:13] Speaker C: Yeah. I mean, they sound a little bit better now to me. I think during the solo, I kind of like the way they sound better than they do in the. In the verse. [00:57:21] Speaker B: Okay. [00:57:22] Speaker C: But, yeah, I mean, nothing. [00:57:27] Speaker B: Let's continue. [00:57:28] Speaker C: I guess sometimes you just play for the song, I guess. [00:57:30] Speaker A: Yeah. [00:57:31] Speaker B: Here we go. [00:57:34] Speaker A: I'm gonna do it right this time. I'll never leave a behind she hits me like 10,000 bowl when I saw her face she hit me like 10,000 bowl feel like I wasn't faith she hit me like 10,000 ball when I saw her face she hit me like 10,000 ball I love power embrace 10,000 bo 10,000 10,000 bow. [00:58:35] Speaker B: And the end solo. I mean we're throwing every ace fairly thing in there. [00:58:39] Speaker C: Yeah. That was very similar to the lead solo. [00:58:44] Speaker B: Yeah. It's so clean. But Ace is usually better on record so that wouldn't be surprising to me. I think overall the song is better than stuff that's been on his record. So I have to say song wise it's better. [00:59:01] Speaker C: Yeah. [00:59:03] Speaker B: The question is can you be okay with this may not being ace playing guitar? That's really the question for everybody. Right? [00:59:13] Speaker A: Yeah. [00:59:14] Speaker B: I'll go first. I'll go first. Lyrics. I don't think lyrics are bad. I actually think these are better lyrics than been on some of the stuff he's done for a long time. So whether it's Steve Brown that wrote them or there was a collaboration I think it's better. At least in that aspect. It's helping I think him personally. So I'm going to give him seven. I don't think they're bad. I mean I could expect way worse stuff and I've heard way worse stuff. Musicianship. I think it's good. Short of it not being like Anton Fig enough for me. And I can't give it a bad because it's not bad. I'm just a little upset for me that it's not him playing. If that's not him playing. And my assumption is it isn't just because what we heard now I haven't heard about anything else so I will have to listen to more closely for other things but this one. So I'm going to say seven on that. And production. It's kind of flat for me if this is what modern production is to whoever is doing this. It doesn't do a lot for me. So I'm going to say is it the worst production I've ever heard? No. I don't think it's over compressed. Which is good. It seems like it has a little bit. [01:00:29] Speaker C: Yeah. It doesn't sound as bad as some of the other. [01:00:32] Speaker B: It doesn't sound balls to the wall like some other stuff that he's recently that he's had. So I'm going to give it seven. I'm going to give it triple seven and I'll do Nikki's thing. But since this is a special episode. Here we go. You could tip it. [01:00:47] Speaker C: Baby. [01:00:48] Speaker B: Seven. [01:00:49] Speaker C: Seven. [01:00:49] Speaker B: Seven. I think we should do an ace thing for it? Yeah, maybe we'll do this. There we go. [01:00:58] Speaker C: Yeah. That's from the interview they did, right? [01:01:03] Speaker B: No, I got laughing. [01:01:05] Speaker C: Oh, God, that shit was so funny. [01:01:07] Speaker B: Hysterical. He was hysterical. All right, so what do you think? [01:01:12] Speaker C: I'm going to say a six on the lyrics. I mean, they're okay, but yeah, it's not as bad as some of the other stuff I've heard, but, yeah, I'm going to say a seven on the music. I mean, it's not a bad song. It's a good lead off song. It's in and out, which is good. There's no real filler on it. And, yeah, I'm going to say seven on the production for now. Again, it's not terrible, it's not overcompressed, it's not balls to the wall. Like we always talk about everything. I could actually crank it up a little bit and my ears aren't bleeding. So I do think it got better in the solo, the production. [01:01:49] Speaker B: Maybe. [01:01:50] Speaker C: Yeah, I mean, listen, it's not a bad lead off song. [01:01:56] Speaker B: Okay. [01:01:57] Speaker C: Yeah, I'm curious about. But this one we've heard already, right? For sure. The ones that I haven't heard, those are the ones I'm really going to really want to listen to. [01:02:06] Speaker B: All right, so the next one is walking on the moon. So when I heard that, I was like, okay, it gives me shades of torpedo girl. Just kind of the rhythmy kind of thing. And it's not something that I wouldn't think he would play. I think from other things that I've heard, it was a Steve Brown brought in thing. Drums were Jordan Kanata. I don't know who he is. Guitar, bass, guitar, percussion, backing vocals, Steve Brown. Guitar, vocals, ace, rayleigh. [01:02:56] Speaker C: I don't feel ace as much in this opening riff as I did in the first one. Whereas I'm like, yeah, okay, the first one's a kiss. This ace. This one I'm listening to, I'm like, it doesn't really sound like Ace. Which isn't a bad thing. [01:03:14] Speaker B: No. [01:03:14] Speaker C: I mean, obviously he's allowed to do something different, but it doesn't sound like something that he would have. [01:03:20] Speaker B: And there was stuff on Friday's comment that Tod Howworth wrote that wasn't super. Right. So that's okay. I'm not against that. [01:03:30] Speaker C: Hey, again, if it's a good song, I mean, what matters who wrote it? [01:03:36] Speaker B: No, it doesn't. Okay, let's continue. [01:03:42] Speaker A: You save me from the death of you you made my heart be faster I feel it from another land. You're always in my dreams? I'm feeling when you touch my hand? And I'm in ecstasy? Cause you all to me. And you got my heart consumed when I wake up you're all I see. You got me walking on the moon. Yeah. [01:04:25] Speaker B: I think I like the drums better here. [01:04:29] Speaker C: There's that little weird fill, though, going into the chorus. That sounded a little weird. Yeah. [01:04:36] Speaker B: Again, I don't know if this was, like, a completed song with, like, a drum machine or something. And they had to play drums after. I don't know. Maybe that contributes to that a little bit. I don't know. [01:04:48] Speaker C: I mean, honestly, this one's not doing it for me, I got to tell you. [01:04:52] Speaker B: It was that weird little effect, too. In dreams, I did that on purpose, but I don't. [01:04:59] Speaker C: Yeah, well, the whole thing where he's got some effects going. [01:05:02] Speaker B: Yeah, well, I think it's supposed to sound kind of supposed to sound like that. [01:05:06] Speaker C: Oh, yeah. No, I think it's purpose. Like it's on purpose. He's got that thing going. I'm not saying it's a bad thing, but he's definitely got a little effect going on. I don't know. I'm not feeling a separation in this song between the verse and the chorus. And the chorus, to me, isn't too strong, but again, it could grow. That's what we keep listening. [01:05:35] Speaker B: So this is the lyrics. You saved me from disaster. You made my heart be faster. A feeling from another land. You're always in my dreams. A feeling when you touch my hand. I'm an ecstasy because you're out of this world to me. And you've got my heart consumed when I wake up. Roll. I see you've got me walking on the moon. [01:05:53] Speaker C: He uses disaster a lot in his lyrics, doesn't he? He uses what I feel like I've heard disaster. Yeah, maybe because I feel like he had a disaster. [01:06:03] Speaker B: Yeah. He over enunciates a little things here. Maybe they did that on purpose. It's possible. I mean, I'm sure there's some pitch correcting on this. It's not as obvious. I don't think it's the last one. [01:06:16] Speaker A: Maybe. [01:06:16] Speaker B: I don't know. I have to listen to it again. This is only, like, the second time I've heard the song. [01:06:22] Speaker C: He's doing a lot in the low range on this song, which he wasn't doing as much in the other one. So here's the deal, right? And this is something I think we did discuss, too. I don't want to sit here and think about those things. You know what I mean? I don't want to sit here and say, is this pitch corrected? Is this him playing? Is this a drum machine? Is this. This. You know what I mean? Because then that detracts from the song. Because ultimately. Right? If you really pay attention, if that's what you're thinking of, then you're not focusing on. [01:06:54] Speaker B: I can't help it. [01:06:55] Speaker C: Now, the song. I know, but that's what I'm trying to take away from. I don't want to take. That's not what I want to be thinking of. I want to think of. Do I like the melody? Do I like the words? [01:07:09] Speaker B: Okay, here we go. [01:07:11] Speaker A: I feel like walking on the moon. You know it. Walking on the moon. Girl, you fill my every void. Girl, you like. Just another toy. A feeling from another land, a bubble, all I need, a feeling. When you touch my hand, it's a reality. Cause you idol this world to me. And you got my heart consumed. When I wake up, you're all I see. You got me walking on the moon. I feel like walking on the moon. You know it. Walking on the moon. However you look at it, you know I love this face. The new verse made it joy. It's the sad. [01:08:37] Speaker B: Well, there's definitely some things here. Here from the 78 solo album. Like that part right there is a very 78 solo album to me. [01:08:51] Speaker C: I like how he mentioned. I mean, I guess another land just reminds me of stranger to stranger. [01:08:57] Speaker B: I was just going to say that. [01:09:00] Speaker C: But there's another one, too. Where the hell is it? Oh, fill my every void. And you're not just another toy. So I'm like, okay, so into the void and dolls, kind of, which is fine. I mean, again, if he's writing this for Ace, he's like, I can't make this sound. It needs to sound like him. I do like that main. [01:09:26] Speaker B: Actually, I don't hate the song. I kind of like the little breaks in the verse. I mean, I think he sounds decent on here. Like I said, I don't think it's as much correction as before. So the songs, to me are still stronger than some of the stuff he's had prior. [01:09:41] Speaker C: Yeah, I don't like the snare sound. I think that's what's really kind of bugging me. [01:09:48] Speaker B: Why? [01:09:48] Speaker C: I definitely don't like the snare sound. I don't know. I just don't like it. Listen, when the guy does the fill, it's like, first it sounds off to me like it doesn't sound like it comes in right. And then the sound of it is weird. I don't know. Just the actual sound of it is a little weird to me. And I think I would like the song better maybe if that they didn't use that Baron Air and Aaron Air for this chorus, if they kind of had something else. Because I do like that when it stands alone and it's really full. I mean, with what's going on with the drums and everything. So I think that that part, especially the production on that part, it sounds cool. It's not something straightforward. They're kind of doing some cool things. So maybe if they just didn't use it for the chorus, maybe they had something else, it wouldn't sound as repetitive. Again, it's not terrible, though. It's definitely not. Oh, my God, this sucks from the. [01:10:40] Speaker B: Stuff he's done before. I think this is better. Recent stuff, anyway. [01:10:44] Speaker C: Yeah, I mean, I think this riff will stick in my head. [01:10:47] Speaker B: Oh, yeah. No, like I said, it gives me unmasked vibes anyway, so here are the lyrics. Girl, you fill my every void girl, you're not just another toy a feeling from another land are bubbles all I need a feeling when you touch my hand it's our reality because you're out of this world to me and you've got my heart consumed when I wake up, you're all I see you got me walking on the moon and then walking on the moon, you know it. Walking on the moon. And then here's the pre chorus or the post chorus or bridge. However girl, you look at it, you know our love is fate the universe has made its choice it's decided you're my mate. All right? [01:11:31] Speaker C: He's like my mate. I mean, I do like his voice. I think his voice has a ton of personality. [01:11:38] Speaker B: He's not trying to sing like he's a singer. He says he sings out of necessity and not because he wants to sing. All right, so I'm going to back it up. So here comes the solo. So now I got to listen. Here we go. [01:12:22] Speaker C: I don't think that was him, if I had a guess. I don't think that was him. So much for my solo, but I don't think. I think that last part maybe could have been him. Or maybe to sound more like him. You know what I like? The pulling of the strings, the bending of the strings, kind of. [01:12:40] Speaker B: Yeah. [01:12:41] Speaker C: But that beginning thing to me sounded. It didn't even sound like Ace. [01:12:45] Speaker B: Here's the thing I've listened to enough Ace Fraley that I know that if he would have done that thing, he probably would have done. He does it across the strings and not up the strings. And that almost was the giveaway for me that it wasn't him. And then the second part of it, it didn't sound like anything he would play personally to me. Could I be wrong? [01:13:05] Speaker C: Yes. [01:13:06] Speaker B: I don't think I'm wrong. I don't think you're wrong. [01:13:09] Speaker C: I think that I've even heard it on Trickster. I was thinking, like, wow, that kind of maybe reminds me of something I've even heard. [01:13:20] Speaker A: You like, huh? [01:13:22] Speaker B: No, we don't, Gene. We don't like it. No, Gene, we don't like it. [01:13:25] Speaker C: Yeah. So what do you think overall of it? No matter who's playing, if you didn't know who was playing, I don't hate it. Like, it didn't matter. [01:13:33] Speaker B: I don't hate it. But it's not spectacular for mean. I guess it fits. [01:13:39] Speaker C: I mean, it fits the. [01:13:42] Speaker B: Something. But the problem is that now I'm waiting for an ace thing. So it's two songs in and I don't hear a lot of ace to me, besides his vocal. [01:13:51] Speaker C: I mean, as an ace Fraley fan, if nothing else, you want to hear him on the solos, right? You want to hear. [01:13:57] Speaker B: Yeah, but ace seems like he's okay with this. Fine. [01:14:02] Speaker C: Maybe he's like, listen, we got to do this record. [01:14:06] Speaker B: Let's continue. [01:14:10] Speaker A: And you got my heart consumed when I wake up you're all I see. You got me walking on the moon. I don't welcome me now I understand. [01:14:26] Speaker B: What you mean by the snare. It's very Tom sounding. That's what it is. Doesn't have much of a snare crack on it. [01:14:35] Speaker C: It doesn't have a nice pop. [01:14:36] Speaker B: No, it sounds like. It sounds like pop friggin Tom. [01:14:39] Speaker C: Yeah. [01:14:39] Speaker B: I don't like that. [01:14:41] Speaker A: You make my life completely. I feel like walking on the moon. Walking on the moon, walking on the moon. [01:15:09] Speaker B: Okay, so that's the second song we've heard. I don't know. Again, I think this is still better than some of the stuff that he's had before. Like, quality wise. I'm not saying it's not. [01:15:26] Speaker C: I mean, listen, the riff is memorable. [01:15:29] Speaker B: Well, why don't you go first? [01:15:30] Speaker C: I mean, I'm going to say a six on the lyrics. Again, they're okay. I mean, again, you're not going to come to an 8th fairly for lyrics. I think in general, I'm going to say six on the music. I mean, I like that main riff and I like the way it's filled, but I don't like it as much as the first one. And I gave the first one a seven. So just based on that and production, I'll say a seven. I mean, like I said, there's things that I don't like, but overall, it isn't overly compressed to me. And I think that the solo part, too, the guitar, sounded really clean. I like the sound of it. So there's definitely some stuff that he's capturing pretty well. What do you think? [01:16:19] Speaker B: Yeah, I'll give a six on the lyrics. I do like some of the callbacks to other things, which I appreciate. [01:16:24] Speaker C: Yeah. [01:16:24] Speaker B: Into the void and toys and stranger in a strange land. I don't know if that was on purpose or just by accident. Musicianship. See here, it's not played badly. I think the drumming I like better than Anton Figgs Berming on the first. Just. I like the groove of it better. I mean, I would love to slam this because I'm not super happy about him not playing this solo because I don't think it's him. And it's even almost more evident toward the end of the song where it's following the vocal line. Not saying he's never done, just. It's right. It sounds very much like Steve Brown, which is fine. He's a good guitar player. Everything I've seen that he's done has been pretty good. Every time I've seen him play, he's been good. So, I mean, this is nothing against him at all. I just wish there was more ace. [01:17:10] Speaker C: In this, but it's kind of like Peter Chris not playing drums on his solo record, in a sense. [01:17:15] Speaker B: Right? Yeah. [01:17:15] Speaker C: You're like, wait, what? You're not playing drums? [01:17:20] Speaker B: No, I know. I'm going to give it a seven, even though I'm going to give it a six. I want to give it a seven, but I can't. I think the production is better. I think the production is better. I'm going to give it a seven. I think I like the production overall better. And again, I'm happy that it's not a compressed mess where you can't even listen to it. Okay, so the next song is cosmic Heart. I've not heard this at all. Chris Lester on bass guitar, Joey Casada on drums, guitar, percussion, keyboards. Backing vocals, Steve Brown. Guitar, synth, percussion. David Julian again. And guitar, vocals, ace Fraley. So I have no idea what this is know. I don't know anything about this. This is the first completely now we're getting into. I have no idea what's going to happen. [01:18:09] Speaker C: Yes, exactly. Yes. [01:18:11] Speaker B: Here we go. That's the first time I've heard him use, like the octave double or low. He used to use it in a solo live. Never heard him use it in a song, so it's interesting. Sure. That was a Steve Brown idea. So kiss fans can be like, hey, that's from the solo thing he used to do when he used to do his solo. What do you think so far? Interesting. [01:19:06] Speaker C: Yeah, it's different. I'm not crazy about the drum sound. I'm going to say. So. To me, when drums sound like this, they have no soul. That's one. [01:19:17] Speaker B: Joe Cassada is a good drummer, though. [01:19:20] Speaker C: Yeah. No, it's not the drumming, it's the way they sound. And I understand it's big. The riff is big. But again, I'm just not crazy about this drum sound where they'll sell to them. Yeah. I'm just not crazy about the. Whatever it is, in the sense big. Is it ruining the song? No, it's interesting. So I think it's pretty different for him. [01:19:49] Speaker A: I've traveled all this world and tasted like met the kings and queens but it never changed me. I see the good and the bad and the strangest of things sometimes I lost my way but never gave up my face cause life is too short now you what I'm saying. I got a cosmic heart apart no one can read my mind I can't be hypnotized I got a cosmic heart my blood will close faster than me and I can't be control. [01:20:55] Speaker B: It's different. I say. I've never heard an ace frailey song like this. [01:20:59] Speaker C: No. So what do you think? I'm going to ask you first this time. [01:21:01] Speaker B: I'm not sure yet. [01:21:03] Speaker C: Me neither. [01:21:04] Speaker B: I'm not sure I like the melody, but I kind of like the. I kind of like the riffy stuff behind it, though. I don't know. It makes. Because it's so different for him that I'm having time to process this. [01:21:18] Speaker C: I agree. I like what's going on behind. I'm not crazy about the melody. [01:21:26] Speaker B: Yeah, I'm still trying to process this. I think this would be a song that I would have to hear over and over and over to see if I'd like it. Like, first impression is more of. This is weird for him, which is fine. [01:21:37] Speaker C: I mean, I think it's that in that regard, I think it's cool. I think it is a little bit different for mean. It had to be an effort, it had to be a conscious effort for Steve Brown to say to him, you got to stay in that lower. He's doing a lot of that lower thing. I've got a cosmic. So I don't know if that's the correction that's going on or if he's telling him, yeah, maybe he's like, hey, ace, listen, go in that lower register because it's easier for you. I don't mind it. I think it's almost funny in a sense, but not in a bad way. I mean, it still sounds like ace, so it's fine. Yeah, but there's a lot of it going on. [01:22:30] Speaker B: And that combined with the octave low guitar thing, there's a lot of low. Even the drums are kind of like that, too. And I'm not too sure I'd like that. No drums in the verse. I'm not too sure. I don't know if they're going to continue that on the second verse, but I think I would have liked some kind of drums of some kind. I don't know. [01:22:51] Speaker C: Anyway, the lyrics are a little bit better, though. [01:22:55] Speaker B: Yeah, no, I think you're going to like the lyrics, actually. So here we go. [01:22:59] Speaker C: Yeah, I like it. [01:23:00] Speaker B: So far I've traveled all of this world and tasted life to the max met the kings and queens but it never changed me I've seen a good and the bad and the strangest of things sometimes I lost my way but I never gave up my faith because life is too short now hear what I'm saying I've got a cosmic heart I can't be torn apart no one can read my mind I can't be hypnotized I've got a cosmic heart my blood will flow faster than mere mortals and I can't be controlled not bad. It sounds like he would be like. He's like the alien guy who came down from wherever and he went through all this time. That's what it feels like to me. Yeah, he's playing up this. [01:23:44] Speaker C: It's really more the space man kind of thing. [01:23:47] Speaker B: Space man trademark kiss, incorporated. [01:23:55] Speaker A: I felt the seven. I love so many things it wasn't always fun flying high in the sky ignoring warning sign then I woke up one day and my phone was in mine what I'm saying I got a cosmic heart it can't be fall apart no one can read my mind I can't be hypnotized I gotta touch me and I can't be control. [01:24:55] Speaker B: Before we get to which I hope is an ace freely solo open. So I've sailed the seven seas and seen the rising sun I've loved so many things it wasn't always fun flying high in the sky ignoring warning signs then I woke up one day and my soul wasn't mine because life's too short now I hear what I'm saying and then back to chorus. So I don't think a lot of lyrics are bad. Like I said, it's a different song for him. I don't really think he's done anything like this. It sort of has a little. [01:25:28] Speaker C: I mean, I think it's getting better. I think I like that. The way they filled out the. I don't know if they did it in the first chorus, I wasn't paying attention, but I feel like vocally they filled out the chorus. Yeah. [01:25:39] Speaker B: There were other voices there, so maybe I didn't notice the first time if they did that or not. [01:25:43] Speaker C: Yeah. [01:25:44] Speaker B: Now I'm going to see what they're going to do. I'm just going to back it up a little bit. Come on, Ace. See, here we go. [01:25:53] Speaker A: And I can't be control. [01:26:28] Speaker B: Ace frailey. [01:26:30] Speaker C: That's. Yeah, it was a little sloppy. [01:26:32] Speaker B: Well, there was the one. No, it was the note at the end. I was like. I wasn't sure. I'm like, okay, I'm listening. He's got to do something. That's. Oh, there it is. Awesome. Yeah. It wasn't a bad solo. [01:26:43] Speaker C: No, but it didn't feel right to me. It felt a little sloppy, but not in a bad way. It sounded like how he would probably play it live. [01:26:52] Speaker B: Yeah, no, it sounded fine. It was fine. There was a little bit of a. Did you. I got to go back. I'm going to have to go back a little bit. I'm going to tell you where the party. See that little thing right before the bend? That was definitely. And actually there was parts in the beginning part. I knew it was him right away because it felt like stuff. He played like Fraley's comedish time to me, so I was like, yeah, there's no doubt that was him playing, which I'm very happy about. I don't hate the song, actually. I like that. The more it's been gone on, the more I like it. And if this is what Steve Brown is doing, this is what I'd like, pushing him into a place he doesn't normally go. Right. I'm sure he had a lot know whether Ace is playing a lot of the rhythm on this because this feels like stuff that would be not really? In his wheelhouse to do. Yeah, but I like it. [01:28:08] Speaker C: Yeah, it's not a bad song. It is growing, like, the more I hear it. [01:28:12] Speaker B: My favorite so far. [01:28:13] Speaker C: I think the one thing I didn't like, though, is that it felt like the vocals came in too quickly on the solo. [01:28:19] Speaker A: I'm backing up all right here. I got a cosmic heart it can't be torn apart no one can read my mind I can't be I got a cosmic heart my blood will go faster than him or I can't be control no one can read my mind I can't read. [01:29:07] Speaker B: I'd like the difference. And I just. I think that for me, it's much better. I'm feeling better now. First two, I'm like, oh, man, this is going to be the whole fucking thing. Yeah, I was pretty positive at the beginning. I'm like, okay, that sounds like he. It's weird. I can tell how he pulls notes. It's strange. I don't know. I'm a freak. I just have listened to him so many times. [01:29:29] Speaker C: No, but honestly, some of them were like, Easter. Me, too. [01:29:31] Speaker B: Yeah. It was just better. [01:29:33] Speaker C: I was like, I think this is him. [01:29:36] Speaker B: Are they better than 10,000 volts? It's a question. I gave those a seven. I don't know if they're bad. [01:29:41] Speaker C: I gave them a six. So I can go up. [01:29:42] Speaker B: Yeah, I'm going to say seven. I'm even going to give musicianship an eight because I like the innovative thing that they did with him. Pulled him out of a place. Pulled him into a place he doesn't normally go. Used a bunch of effects and things that he wouldn't normally do himself. I don't think Steve Brown complimented him this very well. This is what I would hope it would be like. This is how a collaboration for me feels better. Maybe it's just because he played a solo. I'm like, thank fucking God. So maybe that's good. And I thought the production was pretty good. I mean, the drums were. I mean, Joey Cassada is a great drummer. So maybe when you're pulled into that thing and when you're not playing these things with the people and you're coming in after the fact, give him credit for kind of like, getting it to sound good. You know what I mean? When you're kind of doing that. So I don't hate the production. I thought, I still like that everything is not balls to the wall. So I'm going to give that a seven again. So seven, eight. Seven for me. [01:30:40] Speaker C: I'm going to say seven on the lyrics. I mean, I definitely think they're the best ones so far. So I gave the other one, the other two sixes. Yeah, I mean, it grew on me. Like we were saying in the beginning, it wasn't really grabbing me in the beginning, but then as it went on, it kind of. And I think the music has a big deal with. So, you know what? I'll say eight on the music, too. I don't like the sound of the drums at all. Me personally, they sound so processed. And again, I'm big into warmth, but I think what was going on around the drums was really cool. So, yeah, I'll say an eight on the music, I'll say seven on production. No common complaining about the drums, but I think the rest of it made up for it. And yes, in the scheme of what's going on, it's a very big song. So it is big drums. Like I said, I just want a little bit more warmth where it doesn't sound kind of processed. [01:31:39] Speaker B: All right, so the next one is cherry big. This is what people. I mean, Steve Brown's been touting this song. [01:31:45] Speaker C: Oh, my God. Yeah, they talked about this. [01:31:47] Speaker B: And Anton Fig, Steve Brown is doing everything else. And then ace Fraley, vocals, guitar. Unfortunately here on discogs, it's not saying who wrote lyric, so it doesn't really tell. Maybe somewhere along the line we'll find that out. But right now it's so new that not a lot of people have it. Okay, I'm curious to hear this. [01:32:06] Speaker C: Yeah, because they talked this one up so much. [01:32:09] Speaker B: Okay, here we go. Cherry medicine. When you came into my life I know you like the acorn doing that or whatever chord they're doing right there. [01:32:27] Speaker C: I do, yeah. But I don't know if I'm still the riff overall, but I do like the ginger Jone. I'm a big ginger jung guy. [01:32:36] Speaker B: I mean, the drums to me sound very generic. They don't sound anything different than before. [01:32:42] Speaker C: Yeah, his voice sounds weird here. So I don't know if there's some kind of effect going on and they're. [01:32:47] Speaker B: Trying to put him into tune, maybe. I don't know. [01:32:51] Speaker C: Or if there's just some kind of weird effect on it and I'm not. [01:32:53] Speaker B: Too sure about that third chord. I don't know if that's where I want to go. I'm going to back it from the. I'm going to start it from the beginning, I guess. Here we go. [01:33:06] Speaker A: When you came into my life that day you really stole my heart and I knew right then and there you'd always take my breath away I never thought I'd find that special one. You're always on my mind I knew I had to change my ways for sure to keep you by my side you're captivating, so fascinating I love you cherry medicine, you heal my every need and song you got me carry medicine you make me feel better when you're in your black leather fairy medicine. Yay. All the one. [01:34:13] Speaker B: Now. [01:34:15] Speaker C: Yeah. So let me tell you why he said maybe even oasis. So that chorus is exactly like. [01:34:25] Speaker B: God. [01:34:26] Speaker C: What the hell's the name of it? Supersonic. Because she lives under a waterfall. [01:34:33] Speaker B: It's very not ace. And it's not even new, right? It's ninety s new. [01:34:38] Speaker C: I mean, I like the chorus. Yeah, but what the hell is this with cherry medicine? Is that what he calls his girlfriend color? [01:34:47] Speaker B: Cherry medicine? I don't know. The melody is not great. [01:34:52] Speaker C: I guess so. [01:34:53] Speaker B: Melody is not great. I do think that that guitar is ace fairly playing only because I say that I think it is because I think the switches. When I gonna play back? Well, I'm gonna play back a little bit before we talk about. Before I talk about lyrics. But listen, this is the switches. The switchers are not. Steve Brown would be better at that, I think. Listen. It's something he would do. It's something he would do. [01:35:25] Speaker C: Yeah, it is a little bit slightly. [01:35:27] Speaker B: It's not even off. It's just the way he slides into it. But that gives me a little pause that it may maybe. Either that or Steve Brown's really good at approximating that. That, to me sounds more like him. I could be wrong, but who knows? So here are the lyrics. When you came into my life that day you really stole my heart I knew right then and there you always take my breath away I never thought I'd find that special one you're always on my mind I knew I had to change my ways for sure to keep you by my side you're captivating, so fascinating I love you cherry medicine, you heal my every need in some you got me cherry medicine you make me feel better when you're in your black leather cherry medicine yeah, you're the one so maybe he calls his girlfriend cherry medicine. [01:36:13] Speaker C: I don't know, I guess. Or just like equating her to him being not feeling well. [01:36:19] Speaker B: It's like Robitussin. [01:36:20] Speaker C: He's taking the medicine. [01:36:21] Speaker B: It's Robitussin. [01:36:22] Speaker C: Yeah, exactly. I'm going to call my wife Robitussin tomorrow and she goes, the hell are you talking about? I make you drowsy. You'll be drowsy nighttime or daytime. [01:36:31] Speaker B: He's like, why am I all drowsy all of a sudden? She hit you really hard. [01:36:36] Speaker C: That's why. [01:36:43] Speaker A: Put smile on my face. You satisfy my every need. You put an ending to the tape. You're captivating, so fascinating. I love you. Jerry met a song. You heal my every song. You got me feel better when you're in your black leather song. Yeah, you're the one. [01:37:27] Speaker B: So before we get to solo, I'll get it back up. The chorus is starting to. I'm better with the chorus. Yeah. [01:37:35] Speaker C: I like the chorus. I mean, I liked it when Oasis did it, too. It is, but I'm waiting. To me, this is a song where it's headed for the course. And that's it. [01:37:50] Speaker B: Like me personally, I like that you make me feel better when you're black. I like that transition right there, that little change. I kind of like that. It breaks it up a little bit, which I kind of like. I'm still not Anton Fig. I haven't heard anything here that makes me think this Anton. [01:38:04] Speaker C: Oh, my God. I forgot it was him playing. I actually forgot it was him playing. Although I do think the drums sound a little bit better on this song. I think they sound a little less processed because I think the production is a little bit simpler on this. [01:38:19] Speaker B: It's more straight ahead, I think. [01:38:23] Speaker C: Yeah, I think so. [01:38:24] Speaker B: Okay, here it comes again. [01:38:26] Speaker A: Better, son. Yeah, you're the one. [01:38:57] Speaker B: Yeah. Ace Friday again. [01:39:00] Speaker C: There wasn't much there, though, right? [01:39:03] Speaker B: It's a poppy song. It has to have a poppy. I don't think it's not as made like little songs. This is a lot what he's been doing lately. Like, his playing here is a lot, what he's been doing lately. It's a lot of the Chuck. [01:39:16] Speaker C: But, you know, when they talk about that song within a song, to me, that's what this song needed. It needed a really catchy solo. And to me, it wasn't there. Even if he would have called back the chorus and just kind of done something. [01:39:30] Speaker B: I like the end part. I like the part. I thought that was okay. Yeah, it's a little different. I mean, again, I'm happy that it's ace freely playing guitar. I think he has a lot more playing on this than on some of the other stuff. I think he's playing rhythm here, too, along with Steve Brown. I think it's fine. I like the chorus, the middle, the verses. But again, still think, comparatively to the stuff that he's put out in the last three or four records, right, since anomaly, I kind of think it's still better. I still think that the collaboration is helping him and not hurting him. [01:40:09] Speaker C: Listen. Yes, I can say that again. I haven't listened to his solo stuff, the recent solo stuff, a lot. So I don't know if going back, if maybe it would stick to me a little bit more. But, yeah, I can see some of this sticking more than that stuff. [01:40:30] Speaker B: Let's continue. [01:40:35] Speaker A: My every need and song you got me song. You make me feel better when you're in your black leather I love you every man you hear my every need and song you got me. You make me feel better gonna love you forever you make me feel better when you're in your black leather you make me feel better gonna love you forever you make me feel better when you're in your black leather cherry medicine yeah, you're the one cherry medicine gotta get me some. [01:41:36] Speaker C: It's funny how he has to say met his son to make it rhyme. [01:41:40] Speaker B: Met his son, right. [01:41:41] Speaker C: Because you're the one. Cherry. Met his son. His voice sounds so freaking weird in this, man. [01:41:48] Speaker B: Yeah, I don't like his voice. [01:41:49] Speaker C: Oh, man. It's just so. It sounds like the record. Yeah, the record is like somebody's holding the needle. Not the needle, but like the vinyl. So it slows down his voice. That sounds really weird. [01:42:03] Speaker B: Who knows? Maybe it was recorded on a slower thing and they sped it up. I don't know. I mean, the chorus. I like the chorus. [01:42:10] Speaker C: Yeah, the chorus. [01:42:11] Speaker B: I wish it wasn't saying Cherry metal. And the drums are okay. I like his drums on the chorus and they got hand claps, which is. [01:42:23] Speaker C: Funny because the oasis song has hand claps, too. Does it have hand claps? Totally. Yeah. You got to listen to a supersonic. [01:42:29] Speaker B: I'm going to have to go listen to that song there. [01:42:31] Speaker C: The beginning doesn't sound like it. Get to the chorus. And even the outro has, like, the hand claps going. Yeah. [01:42:40] Speaker B: Okay, there you go. Hey, listen, if you're going to steal from something, you might as well steal from something good. All right, I'll go first. Lyrics. I don't particularly like the lyrics. I don't like the melody of lyrics. I think these are the worst lyrics so far. I like the chorus, but does that elevate the lyrics? I'm going to say five. I don't really like it that much. I like the chorus, and that's about it. The chorus is the saving grace music. Seven. I still like the fact bass frailey playing solo. I'm good. I mean, if any of the people think that's not him, it's 100% him. And I think he has more playing on rhythm here than he did on anything else so far. Production is fine. I actually wish the handclaps were a little louder. [01:43:26] Speaker C: Yeah, me too. [01:43:28] Speaker B: They were a little back behind. And again, drum. I want Anton fig to do Anton fig. [01:43:34] Speaker C: He kind of almost did it right. They kind of give him a little bit of breathing room, but mean, I'll get it into my comments. I won't cut you off. [01:43:44] Speaker B: No. And I think that a lot of these songs, to me, suffer from not having musicians in the room playing together. For me, it's like, okay, we got this thing. We use the drum machine to make it, and then we brought drummers in after to fill the things up. And I think that, for me, is where the problem is. Either that or they're really aligning things so much on the grid in pro tools, and it's just taking a little bit of. It doesn't feel as. I don't know, it just didn't feel as good as it could feel for me. [01:44:21] Speaker C: That's some of the soul out of it. [01:44:23] Speaker B: Yeah, that's what it feels like, all right. But production, I think, is fine. As far as this record goes, there's not a lot of balls against the wall volume. You can hear things that clearly separated. So he's doing a great job for that. I'm going to say seven. [01:44:36] Speaker C: Yeah, I'll probably say a five of the lyrics. Some of this stuff doesn't rhyme. And again, being a songwriter who doesn't always rhyme, it's fine. But maybe when you're just used to somebody rhyming and they don't do it, it becomes so glaring. Like when he says in the first things, he ends, you really stole my heart. And then he just goes into. You'd always take my breath away. In the other couplet, I'm like, wait, what? You know what I mean? It sounds weird. [01:45:05] Speaker A: Music. [01:45:07] Speaker C: See, music is hard for me because I think it's a really great chorus. But the rest of it. All right, I'll say seven. I'll give it a seven. I mean, at least goes, they keep going into the chorus. They know that they got a good chorus. So I like how they keep doing it at the end. Production. Again, I don't like the way the drums sound on this record, but I don't like the way the drums sound on a lot of records now, but I'll say seven. I mean, I think for what it is, it's produced well, and part of me can see this being a hit at a certain time in the past, kind of people groove into it. [01:45:57] Speaker B: Yeah. No, I mean, it's still another different song for him. It's very poppy, and I'm happy he played the guitar solo, even though I do wish it was more of a song. In the song solo, I'm happy that it was him. I wish the solo was a little louder, though. It sounded a little back behind the thing a little bit, and it sounded weird to me whether he couldn't hit the notes and maybe this is where they were pushed up a little bit to try to hit pitch, because he couldn't hit the pitch. It sounds like he's having a problem on this key, whatever key this is. [01:46:27] Speaker C: In, just really low. [01:46:34] Speaker B: So the next song is back into my arms again. Here's my question. Do you want to hear the original first, or do you want to hear the. [01:46:42] Speaker C: Let me hear the original. I didn't know about this song. I don't think I know about it. [01:46:47] Speaker B: Yeah. This is a demo from back in the day, I believe frailty's comet day. So I think we'll kind of play the whole thing through, I think. [01:46:58] Speaker C: Okay. [01:46:59] Speaker B: And then we'll come back and listen to the other one. We'll break it down. So here's back in my arms again, original demo. [01:47:36] Speaker A: Life has really taken anyone can see that I've never been so lonely and all the years gone by will never hide the line doesn't show on me I can't forget the things you did and nothing takes away my memory I love you back I love you now I love the screaming of the day I I dream I could not believe my eyes when you walk by maybe what a surprise took my breath away when I called out your name to see and I realized that thinking of you brought you back to me I've always felt with me again it's funny how my things are helping me change the same no more dream that I really forever see look at you looking me can everybody say I love the way feeling into my? Let everybody see all I see you waking up to see you running by everyone to see looking at you looking at me can you let everybody see all you and you're the I so. [01:51:59] Speaker C: When is that from the. [01:52:02] Speaker B: That's definitely the time. I think it was Freyley's comment time. I believe so. Now, hearing that now, here's a question. Is ace freely going to go and learn his old solo? That's the question. If he's as lazy as everyone thinks he is, is he going to go back and listen to that? Is he going to do something different? Now we've heard what key that's in. Now, what is this going to be in? Is it going to be in the same key? Probably not. [01:52:24] Speaker C: I don't think so. [01:52:25] Speaker B: That's literally almost 40 years ago. [01:52:27] Speaker C: No, I mean, his voice has definitely been lower overall on this record. So I'm thinking it's going to be lower. [01:52:34] Speaker B: Once you've heard that, you have some kind of reference. [01:52:38] Speaker C: It reminded me a little bit of fox on the run bleed, because it was like. [01:52:44] Speaker B: Yeah, I know. All right, so you're ready. So who's playing? Steve Brown, this is PJ Farley, who I hear does a really awesome job of covering John Regan's bass parts that were in that song. Joey Cassada. Steve Brown. Guitar, backing vocals. David Julian. Again, keyboards, guitar, percussion and vocals, guitar, ace Fraley. [01:53:08] Speaker C: So that was John Regan playing, right? It wasn't ace freely playing the bass? [01:53:12] Speaker B: No, that was John Regan. [01:53:13] Speaker C: Yeah. Because the bass was good in that. [01:53:15] Speaker B: Yeah, well, John Regan was good. He was good when we saw him. Every time we've seen him. [01:53:19] Speaker C: We saw him by fate. [01:53:20] Speaker B: We've seen him with return of the comet. We've seen him a bunch of times. He's been good. [01:53:25] Speaker C: Yeah. [01:53:26] Speaker B: Okay, here we go. I'm excited. [01:53:37] Speaker A: You. Time has never gone so slowly and, baby time has really taken its toll anyone can see that I have never been so lonely that all the years gone by will never hide the line does it show on me? I can't forget the things you said and nothing takes away my memories I love you then I love you now I'm always dreaming of the day I hear you say you're coming back into my arms again for everyone to see looking at you and looking at me. Can this really be. [01:54:47] Speaker B: It's very surprising. [01:54:49] Speaker C: It's not a massive difference, honestly, is it? [01:54:52] Speaker B: No. I mean, there may be some tuning. [01:54:54] Speaker C: Going on, dude, but the voice, it sounds like if I had this on vinyl and I was listening to it, I would think that the vinyl is warbled. He does that thing so much. And again, I don't know if that's the way he's singing, which again, if that's the way he's singing. I know he's older. Okay, it is what it is. But I mean, honestly, if that is somebody screwing with shit, I'm like, stop it. You know what? [01:55:24] Speaker A: I mean. [01:55:24] Speaker B: No, I think that's him. [01:55:26] Speaker C: But he doesn't do it all the time. He gets into that thing. I don't know. Just sounds weird. I send some decent notes in this. I mean, assuming if he's really singing. Right. Sounds like old Ace. [01:55:42] Speaker B: Yeah. [01:55:43] Speaker C: This song is still very mean. This. You could easily. You know what I mean? I guess I was expecting. He made it sound like, oh, my God, we really flushed it out and blah, blah, blah. It's not a bad song, but I don't see a major difference. And again, I can't stand the fucking. The drum sound. That snare. [01:56:07] Speaker B: Yeah. I haven't listened to the snare. I'll have to listen to it. [01:56:11] Speaker C: But it's just the drums in general, to me, personally, they sound so processed that. [01:56:17] Speaker B: Well, are they real or are they being replaced? [01:56:21] Speaker C: They're probably real, but a lot of the fills, too, are the same. It's like doing kind of like, if you hear the fills and stuff. [01:56:27] Speaker B: Yeah. [01:56:28] Speaker C: I don't know. Just not crazy about it. [01:56:30] Speaker B: Do you want to read lyrics? [01:56:31] Speaker C: Sure. [01:56:33] Speaker B: Time has never gone so slowly and, baby, time has really taken its toll can anyone see that? I have never been so lonely and all the years gone by I will never hide the lines as a show on me I can't forget the things you said and nothing takes away from my memories I loved you then, I love you now I'm always dreaming of the day I'll hear you say you're coming back into my arms again for everyone to see looking at you looking at me can this really bleed? Can this really be so. I think it's kind of faithful to the original. I don't hate it. I think they took a little bit of the keyboardy things out of the beginning, which I appreciate, because that really dated it even more. [01:57:09] Speaker C: Yeah. So it probably would have sounded. If that officially made it to a record. It probably wouldn't have been as. [01:57:16] Speaker B: Maybe that's why it never made to a record. Who knows? [01:57:20] Speaker C: I mean, if you told me this was, like, a Todd Howarth kind of collaboration, I would probably believe that, too. I mean, according to this, it's not. I don't know who Arthur Steed is. [01:57:29] Speaker B: Oh, yeah, that's a budy of his, I think. [01:57:31] Speaker C: Yeah. [01:57:32] Speaker B: All right, let's continue. I mean, again, I'm not hating this. I think they're doing a faithful reproduction. [01:57:37] Speaker C: Yeah. [01:57:38] Speaker B: I think ace freely fans can be happy to have this actually on a release as opposed to being that crappy demo that we listen to. [01:57:43] Speaker C: I'm sorry. [01:57:45] Speaker B: All right, here we go. [01:57:47] Speaker A: Can this really be? I could not believe my eyes when you walk by baby, what a surprise. Took my breath away that I called out the name to see. And I realized that thinking of you brought you back to me. I've always felt we'd meet again. It's funny how faith lends a helping hand not to change. Still feels the same. No more dreaming till I really hear you say. You're coming back into my arms again. Let everybody see. I'm into you and you're into me. We're ecstasy. You're coming back into my. For everyone to see. Looking at you, looking at me. [01:59:13] Speaker B: Can this really be okay before the solo happened? [01:59:18] Speaker C: Yeah. [01:59:18] Speaker B: The drums do sound. I mean, the snare again sounds very tommy to me. There's no crack in the drift in the snare. [01:59:24] Speaker C: You know what I think is really missing? Sorry not to cut you off. [01:59:28] Speaker B: No, go ahead. [01:59:29] Speaker C: Background vocals. I think it needs more background vocals. Not even in the chorus. But to me I can hear like, Oz and things like that going on that were not. I mean, but that was a demo. Yeah, but I'm saying, considering that Steve Brown sings and probably PJ Farley probably does background vocals, if we go back, I don't know how they're going to go back into the thing, but especially kind of leading into the pre chorus I'm just hearing it's just him singing and I think some background vocals would fill it up really nicely. It's a catchy song. It's pretty good, right? It puts me back. To me, it puts us back in our youth. This is something we probably would have heard. Kind of like mid to late 80s. [02:00:18] Speaker B: I'd be like, yeah, well, yeah, this is like 87 time. This was first record, I think. First freely's comet. It sounds like it. And it looks like PJ Frolley is doing a good job with the bass playing, too. Great job. Okay, so here's lyrics. I could not believe my eyes when you walked by baby, what a surprise. Took my breath away. Then I called out your name to see. And I realized that thinking of you, you brought you back to me. I'd always felt we'd meet again. It's funny how fate lends a helping hand nothing's changed, it still feels the same. No more dreaming till I really hear you say and chorus. Now, I'm curious about the solo. Whether he's going to try to faithfully reproduce it or is he going to do something else. Is it Ace frilly? I would assume so. But who knows? We won't know. Here we go. [02:01:06] Speaker A: I'm excited looking at you looking at me. Can this really be. It's your mom. [02:01:36] Speaker C: So much for my solo. Are you saying no? [02:01:40] Speaker B: I don't think so. [02:01:42] Speaker C: I heard a sour note in there in the beginning. I said to myself, this sounds too clean to be Ace. Then I heard a sour note in there, and I said to myself, I wonder if this is what Steve Brown is talking about, where he's like, leave it in. Kind of like towards the end of it. It sounds. I could be wrong, but there was like this, and I was like, whoa, that sounded a little sour. [02:02:02] Speaker B: I'm going to back it up. We're going to listen to it again. [02:02:04] Speaker C: Yeah. The beginning is very clean. [02:02:05] Speaker B: Okay, here we go. [02:02:31] Speaker C: Little bit. We think it's him doing the vibrato. [02:02:33] Speaker B: The vibrato gives it away that it's not him. I don't think so. Not that he can't play it clean. I can't tell you why. I'm just saying to me, I don't think that's him. And number two, I don't think he would go back and learn it. [02:02:51] Speaker C: I'm just saying to think about that, right? I'm tossed on that. I'm 50 50 on this one. Because I do think it starts off incredibly clean, but then it devolves a little bit. I feel. [02:03:06] Speaker B: You know what it is? I could tell you what it is. What I think it is. What I think it is is that I think that he's trying to cop that feel of the bluesy thing. And it's a lot shorter, too. Bluesy kind of thing. And I don't think he copped it right. And I think Steve loved it. He left it in, which is fine, but I just don't think it's him. It just doesn't sound like that for me. Like the other ones I knew right away. And it's not even the sloppiness of it. [02:03:39] Speaker C: Or it could be Ace saying, hey, yeah, that sounds like me. Leave it in. And he's like, no, man, I got to do it again. Hell, curly, leave it in. [02:03:47] Speaker B: Yeah. [02:03:48] Speaker A: He goes, look, it's rock and roll. [02:03:50] Speaker C: Yeah. Or as Paul Stanley would say, no, ace. That's shit. If anybody listened to read the book. Or here's an ace Fraley puppet that a fan made, I think, 1977. We have tons of this stuff. [02:04:06] Speaker A: And this puppet says, I'm alive and well. Where am I? [02:04:10] Speaker B: I'm sorry, Ace. I love you, Ace. All right, let's continue. [02:04:19] Speaker A: For everyone to see. Looking at you looking at me can this really be back into my arms again? Let everybody see I'm into you and you're into me. [02:04:46] Speaker B: So I don't think they took very many chances with this. I don't think they really updated it very much, which it's catch 22. People are either going to say, hey, how come you left it the same? Or, why didn't you do something with this? [02:05:01] Speaker C: Unless. Listen, did you know this song before? [02:05:06] Speaker B: I've heard it, yeah. Over the years. I've heard it over the years. [02:05:09] Speaker C: Okay. I mean, maybe this wasn't the. Well, maybe it's the COVID that he said that they really try to flesh out. [02:05:15] Speaker B: Yeah, no, I thought that they said at some interview that he did. He did change it up a little bit. I don't hear it. I mean, the solo section is definitely shorter. [02:05:21] Speaker C: Yes, for sure. [02:05:23] Speaker B: Yes. And again, I don't think it's him, which is a little disappointing for me that this is a song from back then. But again, knowing that he's super lazy, he may not want to learn it. I can do it currently. [02:05:36] Speaker C: Like I said, I'm 50 50. Like, if you told me that it was Steve Brown, really trying to sound like him, and let's say he kind of. And his feel is like, you got to leave. That's what I would do. Leave it in. And maybe these are the things where he says, like, production choices and some things you have control over and some things you don't. So I can go reds and med. [02:05:55] Speaker B: My votes the other way. It would be nice if I was wrong. I like the lyrics. I'm going to say seven. I like the lyrics. I think his lyric writing was maybe a little bit better back in the day. Musicianship, I mean, everything's played well. I like the acoustic guitar and the clean guitar behind it. I think it sounds good. I agree with you that if there were some background vocals added, some places it would be better. Seven. And I'm saying production seven. I think it sounded good. [02:06:28] Speaker C: So you're going seven, seven, seven. [02:06:30] Speaker B: And you know what that means. [02:06:31] Speaker A: Make you titty, baby. Seven, seven. [02:06:36] Speaker B: I guess we'll do this. [02:06:41] Speaker C: Yeah. I don't say seven on the lyrics. They're not bad for what they are. So I'm going to say eight on the music. The only reason being is because I kind of like that nostalgic vibe. It kind of brings me back. So I don't necessarily think it's better than some of the sevens, per se, but I like that factor. It does kind of bring me back. So production, I'm trying to think if I'm going to give it a seven or maybe even a six because it's a little thin. Yeah. The other one was a demo, but do I think this one sounds not much better than the demo? Not necessarily. [02:07:27] Speaker B: Maybe that's what they were trying to do. [02:07:29] Speaker C: Yeah, I guess. [02:07:30] Speaker B: But, I mean, I don't know why you would do that, but maybe that was a choice. [02:07:35] Speaker C: Maybe I'll say six. Fuck it. [02:07:42] Speaker B: It doesn't alter the score that much of the song. [02:07:45] Speaker C: Yeah. Part of me wants to say seven because of. All right, well, even if they. Well, if you're saying it's nostalgic, maybe they try to get the nostalgic vibe. But based on all the bragging and everything that's been going on, I guess I expected it to sound a little bit better, but it felt a little thin, like it could have been a little bit fuller. And like I said, it needed some background vocals. In certain spots. [02:08:06] Speaker B: It sounded like the demo. [02:08:08] Speaker C: Yeah. Which I don't understand, but it's. It's. [02:08:15] Speaker B: The next one I hear is supposedly. Well, people are saying this is the best song in a long time. [02:08:21] Speaker C: I heard that a lot about this. [02:08:23] Speaker B: Anton big on drums again. Steve drown doing everything else. And then a song, guitar and vocals. [02:08:30] Speaker C: Yeah. [02:08:31] Speaker B: So this is fighting for life. [02:08:51] Speaker A: It dropped out when he turned 16 couldn't send the rules didn't want to believe back to his bag graphic guitar he gone, gone take your jack because they watched his back his arm wasn't there walk across the track music wasn't slow the devil let him down he's gone, gone and it's not a bad danger on the street it's a very rat fire every day light is the light of the light you could be the. [02:09:49] Speaker C: I like that. [02:09:51] Speaker B: I like that too. [02:09:52] Speaker C: That could be my favorite so far. [02:09:54] Speaker B: Honestly, it's very trouble walking at that time frame. [02:09:58] Speaker C: Yes. But go back and listen to the drums on trouble walking and listen to the drums here and tell me which ones sound better. [02:10:04] Speaker B: Oh, well, the drums are trouble walking. Just the sound I'm starting to see at that beginning thing from Anton Fig. I wish it was something longer. [02:10:19] Speaker C: Yeah. He could have had something bigger. Who knows? Maybe he'll give him some more space here. Maybe we'll give him a little. [02:10:26] Speaker B: Okay. I like this thing of. There's a guy, he's fighting for the rules. He wants to get away from the gang. So Johnny dropped out when he turned 16 couldn't stand the rules didn't want to believe packed up his bag, grabbed the guitar, he's gone, gone, chained to a gang because they watched his back. His heart wasn't there, it was across the track. Music was his love and never let him down. He's gone, gone. It's harder than it seems on your own. 2ft there's danger on the street. It's a dirty, filthy rat fire race. Fighting for life, fighting for life. It's a dog eat dog world every day. Fighting for life, fighting for life. You can be the hunter or you can be the prey. Well, I could definitely tell you that probably the guitars playing are here are probably Steve Brown. The little things at the beginning. That is definitely not ace Fraley either. [02:11:18] Speaker C: Yeah, I think this is the most. Even though the other song was a demo that he did, this really sounds like Ace. Like an ace frailey song, I think more than the other ones. [02:11:31] Speaker B: Well, like I said, it sounds like trouble walking time. [02:11:34] Speaker C: Yeah. I got to tell you, this guy Johnny, he's been around, man. Johnny gets a lot of play in a lot of songs. [02:11:41] Speaker B: Johnny's all over the place. Unless it's. [02:11:43] Speaker C: Holy shit, Johnny. [02:11:46] Speaker B: He worked on the docks, didn't he? [02:11:48] Speaker C: Yeah. I tell you, man, it's a good thing he didn't know Ricky because Ricky would have shot him. He couldn't have been in this song. [02:11:58] Speaker B: All right, here we go. [02:12:05] Speaker A: Playing with his family. Hand them out. It's a six big turtle. Without a doubt. Never lose a spirit, never break up on, play on, play on. And it's not on your own to be a danger on the street. It's a very ride by a race fight every day life is alive. You could be all be the prima. [02:13:12] Speaker B: I almost thought at the beginning that it was. I have to go back and listen to this one more time. [02:13:16] Speaker C: I think it sounds exactly like him. Exactly like him. And again, okay, we've been in the studio, right? We've been in the studio where you can screw something up and go back and redo it. But this thing is so clean, right, that I'm like, I don't know, I want it to be him. It sounds like Ace. It absolutely sounds like Ace. [02:13:41] Speaker B: Well, I'm going to read lyrics. I'm going to go back to the solo again because I like the song a lot. I will be disappointed if it's not going. Playing with this band. Living hand to mouth is a six string struggle without a doubt. Never lose a spirit, never break the bond. Play on, play on. It's harder than it seems on your own. 2ft there's danger on the streets a dirty, filthy ratfire race and then back to the chorus. I need to hear this again. Here we go. And I think there's a little more room for Anton here. A little bit. [02:14:11] Speaker C: Yeah, a little bit. [02:14:16] Speaker A: Eat the world every day if you be the prima. Um. [02:14:47] Speaker C: Yeah. What do you think? [02:14:51] Speaker B: So much for my solo. [02:14:53] Speaker C: I think it sounds like him, but yes, it's. [02:14:58] Speaker B: And I had to hear that first part again. There's something about that part right there. He would have done something different. He would have went. Because he does that all the time. And then when he had the. It didn't sound like when he does it, it sounds like an approximation of that, but it doesn't sound like him. [02:15:22] Speaker C: Yeah, it sounds. [02:15:24] Speaker B: Is it bad? No, actually it's good. [02:15:26] Speaker C: Yeah, it's really good. It's a great ace solo, I think. [02:15:31] Speaker B: Yeah, unfortunately, I don't think it's played by Ace. [02:15:33] Speaker C: Listen, the proof is going to be in the pudding, right? Because I think fans are going to at least want to hear this song for sure. I mean, I think this is such an ace song that people be disappointed if he doesn't play it live. [02:15:49] Speaker B: Yeah. [02:15:51] Speaker A: You like, huh? [02:15:54] Speaker B: Yes, we do, Gene. We'd like. Thanks. [02:15:57] Speaker C: Alive and well. And listen to his new album. [02:16:02] Speaker A: Look, it's Roger Ro. [02:16:05] Speaker B: Yeah, I mean, the solo was really. I mean, I guess we're going to find mean. I'd have to say that I think this is better than Tommy trying to do Ace because it doesn't feel like, I mean, listen, there are things in there that are definitely ace ism things. I had to hear it a second time. The first time I almost got fooled for a second. I was like, wait a second, it could be. And then when he did that one part, I was like, no, he probably wouldn't have done that. [02:16:33] Speaker C: And again, maybe I'm just not giving him enough credit. I just feel that it's so clean. [02:16:38] Speaker B: Well, no, I think he could do clean. I'm not even listening to the clean part. The clean part is part of it. [02:16:43] Speaker C: No, but I'm saying it's so perfect, it's so perfectly ace, I think. Which sounds like a contradiction. Right? What do you think about Bruce Culich playing ace? How did you like that? [02:16:59] Speaker B: I liked him because he played to the parts that he needed to play and then he injected his own stuff within the playing. I think Ace said the same thing, that he likes the way he interprets his stuff. It's not just copying him. He plays the parts, but then he puts his own stuff in it. And I think that's the way it should have always been done, personally. And any of the old stuff that he's done, I've liked. All right, let's continue. I mean, it's a good song. I mean, this is my favorite song on the record. Unfortunately. I don't know how much Ace is on here. Besides the vocal, it sounds like a. [02:17:34] Speaker C: Song that he would write, though. So for what it's worth. [02:17:36] Speaker B: Yeah. [02:17:54] Speaker A: World every day, life alive. You can be all don't be the way you feel. [02:18:33] Speaker C: Hey, a little double bass. [02:18:35] Speaker B: It is a good song. Yep. And there was a. There was a pretty cool fill at the end. I mean, I don't particularly like the sound of the drums, but I think he did. This is more Anton fig than anything. [02:18:42] Speaker C: Yeah, definitely more than the other ones. [02:18:44] Speaker B: Yeah. Why don't you go first? [02:18:48] Speaker C: I'm going to say innate on the lyrics. I mean, I like the whole story thing and I'm always a sucker for story. And how he turns to music and not crime. Yeah, music. So I'll say a seven on the production. Again, music. I'm trying to think. You know what, here's what I'm going to do. I'm going to say a nine on the music because at this point I could be wrong. It's my favorite and I don't know if the other ones are going to match up to it. So if I'm going to give the highest score for music, I have to give it to this one so far. So, yeah, it's definitely my favorite. What do you think? [02:19:29] Speaker B: Yeah, I like the lyrics a lot. I think the lyrics are good. I'm going to give them eight, too. I'm going to give nine on the music. I was going to do eight, but I see it is the best song so far. It's the most. Ace really like the groove is good. I like Anton's playing in this song. I wish the drum sound was better. But again, like I said, I have a strange feeling that it may not be. It was either overproduced on the drums too much or it's samples. That's why it sounds the same. I'm not sure which it is, but I wish the solo was Ace Fraley. But it's a great solo. No, regardless, Ace, frilly in his prime would probably play something very similar to that. Yeah, but you can tell in some of the other things like all the harmony things at the end, even though Ace does that, it sounds like Steve Brandon. So that part doesn't fake me at all. Like I said I had to listen to it twice. And I was like, all right. And then when I heard a couple of things that just. It was telltale for me. But, I mean, I think obviously most people wouldn't even notice that it sounds enough. [02:20:30] Speaker C: Like I said, maybe I'm not giving them enough credit, but I just felt it was so perfect. [02:20:36] Speaker B: It was too. [02:20:40] Speaker C: Going to eventually it has to come out, right? I mean, how is it not going to come out where there's too many to me, Ace freely fans, to not ask who plays. Like, who's playing. You guys have not made it clear exactly who's playing everything. So please let us know. Be honest and let us know it. [02:21:04] Speaker B: Doesn'T ruin the song that it's not him playing. I'm just disappointed that it's not him playing. But it doesn't ruin the song for me. I think it is. [02:21:10] Speaker C: It's a great solo, right? [02:21:13] Speaker B: Yeah. [02:21:14] Speaker C: Whether or not he's playing it is a thing, but I think it's probably my favorite solo, too, so far. [02:21:19] Speaker B: Yeah, I have to agree. All right, so the next song is blinded. [02:21:25] Speaker C: I didn't hear anything about this song. [02:21:27] Speaker B: And this is everything by everything by Steve Brown. Drums, Joey's cassada again. And vocals and guitar, ace. So let's see how this goes. [02:21:36] Speaker A: Because we're blinded by science and we're blinded. It's like a mind attack. [02:22:07] Speaker B: Okay. Is that like the cheesiest fucking Calvin trip? No, the cowbell is bad. It's bad. And I'm not too sure how much Ace is in this, either. I don't hate the beginning. It's different. I'm okay taking a chance like that. I'm going to go back against the beginning. I wanted to stop it, but once I heard that the cowbell was so cheesy. Couldn't they kind of better sound than cowbell? It didn't sound good. It sounded like it was like a cowbell sample, not an actual cowboy. [02:22:43] Speaker C: I honestly didn't even pay attention to it like, I heard it, but. [02:22:46] Speaker B: Okay, listen to it this time. Yeah, here we go again. [02:22:49] Speaker A: Because we're blinded by science and we're blinded by fear all it could bring us to our knees another coaster crack the chosen hustle be an enemy and we don't know which way to go believe in who is trust technology with no empathy we're about to lose control. Cause we're blinded by science and we're blinded by beyond when all said and done it's like a loaded gun artistical star the war we're blinded by it all. [02:24:15] Speaker B: Better watch now the beginning part, where it goes. Why did it cut off? [02:24:21] Speaker C: I don't know. [02:24:21] Speaker B: Did you hear that? It made a big bend and it didn't hold the bend, it just stopped. What the fuck? I don't understand that. [02:24:31] Speaker C: You know what the cowboy reminds me of? The one from calling Dr. Love. [02:24:36] Speaker B: I don't think that's a great cowboy, either. [02:24:38] Speaker C: Yeah, I don't think so. [02:24:40] Speaker B: It sounded a little too like. I don't know. I don't hate the song. I really don't hate the song. [02:24:46] Speaker C: I'm on the fence right now. You know what I mean? I don't dislike it. I'm waiting for it to kind of sink in. [02:24:54] Speaker B: I like the sentiment of digital things taking over and us not being prepared for what's going on. I kind of like the verse. I think the verse is this is still another trouble walking sounding ish thing to me. [02:25:11] Speaker C: Yes. That's what's kind of pulling me in a little bit, because I do feel it sounds like ace. Obviously, what the chorus is when they start without the vocal, without the music in the beginning. I think it does sound better with the music behind it. [02:25:31] Speaker B: Well, I'm going to read the thing. I'm going to tell you. I have one criticism of the chorus or something I would have done differently. Because we're blinded by science and we're blinded by fear. It's like a mind attack. It could bring us to our knees. Another code to crack. A Trojan horse will be our enemy and we don't know which way to go or even who to trust. Technology with no empathy, we're about to lose control because we're blinded by science. We're blinded by fear. When it's all said and done, it's like a loaded gun. It's a digital tug of war because we're blinded by it all. No, not. We're blinded by it all because we're blinded by science. You needed to repeat the blinded by science at the end of the chorus. At least that's what I would have done. But even that's what I would have done. [02:26:17] Speaker C: Yeah, but the non rhyming thing again, right? He does. And it's weird, you know when you rhyme other stuff and then all of a sudden you kind of throw something that doesn't rhyme, it stands out so much. The weird thing is the way. Where is it going? Oh, wait, I'm looking at the wrong one. When he had said another code to crack the Trojan horse will be our enemy and we don't know which way to go or even who to trust. Technology with no empathy, we're about to lose control. So I think the other stuff had rhymed. And then again, not that everything has to rhyme, but when you're so used to people rhyming and then they kind of rhyme in other places, and then don't rhyme in certain places, it kind. [02:27:00] Speaker B: Of throws you off a little bit. [02:27:01] Speaker C: It's a little glaring. Yeah. So I wonder if something like this is ace writing. [02:27:08] Speaker B: Maybe more than. Yeah, well, I like the sentiment, so that's not bad. Let's continue it. [02:27:16] Speaker C: I think Ace would like if machines took over. [02:27:19] Speaker A: I meant the computer. [02:27:20] Speaker C: Grant, Curly. [02:27:22] Speaker B: Here we go. [02:27:27] Speaker A: Everywhere we got to face the fact where the victims in the wap of despair and we don't know which way to go. Believe it. Who is what? Technology with no empathy, we're about to lose control because we're blinded by science. And we're blinded it by me when I was bedding on. It's like a loaded gun artistical tug of war. I would like it by it. All. [02:28:24] Speaker B: Right. Before it gets to that part, see that little bend? That's what they should have did at the beginning. So better watch your back because there's cameras everywhere. I got to face the facts we're the victims in the web of despair hey, look, he rhymed it. And then the pre chorus, the same as again. And then the chorus. I really do wish they said we're blinded by science at the end. It throws me off that we're blinded by it all. I don't like that at all. It's nitpicky, but I think that could have been better. I mean, I heard that automatically, like, oh, yeah, you're going to say it again, right? No. So now, hopefully this is ace again. I'm going to back it up a little bit. We're crossing our fingers. We're crossing our fingers. Don't think. [02:29:42] Speaker C: Huh? You know, it's funny, he did that, you know that thing that he does kind of like at the end of black diamond. And Steve mentioned specifically to him, he goes, oh, you know that thing you did in black diamond? That's what that reminded me of. I don't know if he was referencing this, but he kind of did those pools that he does at the end when they fade out, when the beat. [02:30:04] Speaker B: Gets slower, like at the beginning, I was like, all right, maybe. And then it was like that. Ben and Ben. Bam, bam. Those two little riffs right there. It didn't sound like him. And then he did the pull off things. And he tried to do it right. And it sounds sort of like it, but I don't think so. I don't think so. I mean, I could be wrong. I might be totally wrong, and he's doing it wrong. I don't think that's him. [02:30:28] Speaker C: I thought this was him again. And I feel badly saying this because it was sloppier than the other one. [02:30:32] Speaker B: If you listen to it, it's not as Sloppy as you think it is. There's something about the vibrato. There's something about the phrasing a little bit, like it's too wannabe. Ace, isn't that weird to say? Yeah, it's not a bad solo. Yeah, I think it's good, but it doesn't really sound as much. And I'm not hating the song. It's just. I don't know. I get frustrated when it's not him playing the solo. So I guess that's going to be my problem through this whole thing. [02:31:11] Speaker C: Do you think that he's ever done this before, let's say in the last few records? I don't think so. It isn't him. Are you going to go back and listen to everything now and be like, that's not him? [02:31:24] Speaker B: No. Because you know why? I feel that the solos he was doing before were just him off the cuff and not a lot of thinking, not a lot of planning, just him playing. And it sounded like him. I never went it back to him and went, it doesn't sound like him. I may do that now, but as of this point, I don't think he's done this. I mean, obviously he was replaced in kiss stuff here and there, right? But, yeah, I don't know. I mean, I'm not hating the song, but again, it's very trouble. And I don't hate the chorus, except for that one line. Other than that, I think it's okay. All right, let's continue. I should preface this by saying, I think that big bendig at the beginning, I think that's him. And then I think everything else isn't just my uneducated ace. Really. Opinion. All right, here we go. [02:32:19] Speaker A: Even who? It's trust technology with no empathy. We're about to lose control. We're about to lose control because we're blinded by science and we're blinded by the. When I said a loaded gun. Artificial struggle. Cause we're blinded by it all. Day ones rule the world. Zero day ones got us by the. [02:33:15] Speaker B: Ball like the endpoint. Zero ends in ones rules everyone. I like the little riff that was behind that, too. I mean, I don't hate the song. [02:33:23] Speaker C: No. [02:33:25] Speaker B: I'm a tad bit frustrated that I don't think that's him lyric wise. I don't hate it. Don't hate it. I'm torn between six and seven. I'm going to come back to lyrics, musicianship. I mean, it's all played mean. Who's playing drums on this? Is this Joey Cassada again? [02:33:49] Speaker C: I think so, yes. [02:33:51] Speaker B: I mean, I think the drums were good again, the production of the drums, the sound of the, you know, the drum itself is good. At least this one felt more like it was part of the song and not something that was replaced. The last two songs at least. So I kind of like that. So I'm going to give the music an eight. I like the music. I just am upset that it's not Ace freely playing the solo now, whether he can or he can't or. That's the problem. I don't know what the issue is. Or it was just like he didn't want to learn it or it sounded enough like him. [02:34:26] Speaker A: Mean. [02:34:27] Speaker B: It's the first ace really record I could think that someone else is playing guitar that I know of that is trying to sound like Ace on purpose. And Ace is there and not playing. [02:34:38] Speaker C: Saying it's okay, basically. [02:34:43] Speaker B: Listen, I understand on the vocals he has to fix some stuff. If this was 40 years ago, I'll be more upset about the vocal problem that he may have to fix. But he's 73, right? I get it. His vocal range is not the same as it was before. I'm sure there's doubling of him, which probably helps him. There's some fixing of him, which probably helps him. I kind of get that. I can handle that a little more than studio. I mean, than live stuff being fixed. Right? [02:35:15] Speaker C: Yeah. [02:35:17] Speaker B: And production, I don't think it was bad. The cowboy was a little funky. Little choice that only happened once. [02:35:24] Speaker C: Yeah. [02:35:25] Speaker B: And I don't like that they didn't complete the bend at the beginning of the song, which I wish they would have, but the riff was fine. I'm going to give it a seven for production. I don't hate the lyrics. I'm going to give it a seven. I'm more upset that in these last two. Right. That it's not him. All right, what do you think? [02:35:51] Speaker C: Yeah, I'm going to say seven on the lyrics. I'm not sure what to give the music. I mean, I did like it. I don't know if I want to give it an eight. Or a seven, though. I don't know if I hated it or sevened it. In terms of. Yeah, I don't know. Production. Again, I guess I'll say seven. It's okay. It's not terrible. Again. But again, I don't like the way the drum sound music. I'll say eight. Why not? We'll give it an eight. [02:36:29] Speaker B: I mean, I did like, played very well. [02:36:31] Speaker C: It is. And it does remind me of, like older Ace. And I think the two songs back to back in terms of the track listing make a lot of sense. [02:36:49] Speaker B: Yeah, I'm trying to see. So where is this on the actual album? Is it saying where this is on the album? I have to look. [02:36:59] Speaker C: She had a vinyl up before. [02:37:01] Speaker B: Oh, here it is. Fighting for Life is the first song, which is a great idea on the second sign and blinded right after it. So now the next one is constantly cute. I know you've kind of like heard this thing all the time. What? His girlfriend came up with this line. She said something. He's like, shut up. [02:37:24] Speaker C: Yeah. He's like, you're constantly cuter. So this is another one that they keep talking about. [02:37:30] Speaker B: Yeah. I mean, I don't know what it's going to be, but I don't know either. You don't have much faith in this, do you? [02:37:38] Speaker C: I think it could be catchy word wise. I'm not expecting much, though. [02:37:42] Speaker B: Well, probably really not. No. Wow. It's ace for it. I mean, you're expecting like. [02:37:51] Speaker C: This is the one that didn't. Steve Brown said he played this for his fiance's daughter. Friends who are in their. [02:38:00] Speaker B: Think that was Cherry Madison. [02:38:01] Speaker C: Oh, it's Cherry Madison. Okay. [02:38:03] Speaker B: I think so. Yeah. All right, here we go. Constantly cute. [02:38:18] Speaker A: Traffic. All the boys, they stand in line, baby. It's kind of tragic. All the ladies, they lose their mind. Attractive and coy. But you're not aware you're not of this. As if you're an angel. You're charming all you like. The girl next door, your magic ensues. All the others you are. You're constantly cute. You look like a dream. Oh, guys, it's the truth. There's nowhere to run. You're constantly cute, always making the scene. You look at the cause. You're constantly, constantly you. Constantly you. [02:39:27] Speaker B: This is like a trickster song with ace freely singing vocals. [02:39:31] Speaker C: Yeah, but it also kind of reminds me a little bit of something may have done like an Unmasked. I don't even know what the hell this is. [02:39:46] Speaker B: He actually used the word ensues in the lyrics. [02:39:50] Speaker C: I know, but. Yeah, where was it? I don't know that he uses it well. [02:39:56] Speaker B: Okay, so I'm going to read it. So, girl, you stop traffic. All the boys, they stand in line, baby. It's kind of tragic. All the ladies, they lose their minds. So he's got his rhyming for you, Savino. So it's okay. Attractive and coy, but you're not aware, you're not of this earth. Think you're angel? I'm not too sure I'd like that right there. It feels like it's jammed together. You're charming, allure. You like the girl next door. Your magic ensues. All the others. Is that used correctly? [02:40:26] Speaker C: I don't think so. Isn't ensues like follow? Yeah. Happen to occur afterward or as a result, difficulties that ensued? Ensued like trouble ensued. Right. [02:40:41] Speaker B: Your magic. [02:40:42] Speaker C: Magic is all the others. All the others, yeah. [02:40:45] Speaker B: Okay. You are, you are, you're constantly cute. Look like a dream. All guys in pursuit, there's nowhere to run. You're constantly cute. You're making the scene. You look absolute because you're constantly, constantly cute. Okay. You think this sounds like something from a mast? [02:41:07] Speaker A: I don't know. [02:41:09] Speaker C: If I had to place it in his catalog. [02:41:13] Speaker B: Yeah, maybe you know what it is? [02:41:15] Speaker C: I'm pretty sure you hear that, the acoustic going on in the background. Maybe that's what's kind of reminding me of that era. [02:41:26] Speaker B: Okay. [02:41:27] Speaker C: But, yeah, I don't know what to make of this one yet. [02:41:30] Speaker B: All right, let's continue. We go. [02:41:33] Speaker A: The bees always around you. You're a flower that transm. You're sweet just like honey. You're so delicious. My taste bud smile. Attractive and coy. But you're not aware. You're not all this. I think you're an angel. You're charming along. You like the girl next door. Your magic ensues. All the others. You are. You're constantly cute. You look like a dream. All guys in pursuit, there's nowhere to run. You're constantly cute, always making the scene. You look absolutely. Cause you're constantly, constantly. Girl, you're so sexy. I can't explain the feelings in my mind. [02:42:44] Speaker B: I would be very shocked if this is his solo, but just maybe he's going to turn me around here. [02:42:49] Speaker C: Yeah. [02:42:50] Speaker B: I don't know. So the verse is, the bees always surround you. You're a flower that transcends time. You're sweet just like honey. You're so delicious. My taste buds smile. [02:43:00] Speaker C: Yeah, I think Gene Simmons phoned in that line. [02:43:04] Speaker B: Holy moly, what happened? [02:43:06] Speaker C: I think Gene Simmons gave him that line. He's like, yo, use some bees, man. How about a hornet's nest or something? [02:43:13] Speaker B: Hornets nest. Yes. We obviously listen to way too much kiss. [02:43:19] Speaker C: Oh, my lord. [02:43:21] Speaker B: So what do you think is going to happen here? I don't know. I mean, this is so much not his song for him. It's not his. [02:43:28] Speaker C: But at the same time, I feel like it is because the lyrics are pretty bad and cheesy and it does sound like something. [02:43:35] Speaker B: Maybe the lyrics are his, I don't know. But the music sounds just. It's so trickster. [02:43:41] Speaker C: I like the precores. [02:43:43] Speaker B: Yeah, the one that says attractive and core. You're not aware. [02:43:46] Speaker C: Yes. I like that part. [02:43:48] Speaker B: You're not just earth. I think you're an angel. I mean, it sounds better. I've heard it a couple of times and I'll say, maybe it's not as big of a jam together as I thought it was. [02:43:55] Speaker C: When he sings it, it sounds better than when you read it. [02:43:58] Speaker B: Yeah. All right, I'm going to back this up. Here we go. The bridge. Girl, you're so sexy. I can't explain the. Yes, you can. [02:44:11] Speaker C: Yeah, you can get it. Get. [02:44:14] Speaker B: You can explain. You can explain that? You can explain all the feelings in your mind. Yeah, because you can. You know exactly what's going on there, Ace. [02:44:24] Speaker C: You're straight now, even sober. That sounds like he's frilly. [02:44:56] Speaker B: Yes. [02:44:57] Speaker C: I thought that sounded like him. But so much like him, too, though, right? Let me ask you this. No, but let me ask you this. All right. That's Ace freely. Whatever. What do you think of the solo? Are you happy? The fact that it kind of sounds a lot like him and he's playing like, would you want him to venture out anymore? Because it really does sound like Steve Brown is like, you got to play like yourself. [02:45:25] Speaker B: No, Steve Brown is pushing him into a place where he's trying to make Solos that not just him walking over there and just jamming all through the whole. It sounded like this was a little more thought out. And I think that's good for him, especially now on the first three solo things he did after kiss, I think he still had that thing that made his solos memorable and stuff. And I think as the time has gone by, I think that part of his playing was not really in his repertoire anymore. And he just basically just jammed. [02:46:07] Speaker C: Yeah. [02:46:08] Speaker B: Maybe he didn't want to do that anymore. I don't know. But I think the stuff that you remember that he plays is the stuff that's very memorable. Even though there is a little bit of jammy stuff in there, it's very composed. Just like Neil. Sean is a composed player. When his stuff is good, it's composed. So I think Steve Brown is good for doing mean. I think in general, like I'm saying, I'm not always happy with him not playing, but I think this is more of a cohesive thing for him as opposed to some of his other stuff, which just felt like it was just a bunch of songs together. [02:46:39] Speaker C: Yeah. [02:46:41] Speaker B: I mean, do I think this is the best since the 78? I can argue that maybe Frailey's comet is better than this. Yeah, I think it is. But if you don't count that, like Steve Brown said, if you don't count that as. That was a band, right. That wasn't ace frailey, if you count it that way. Okay. Maybe this is the best since the 78. If you take anomaly, space man and Space Invader, you take all those out, right? [02:47:07] Speaker C: Yeah. Again, I'd have to go back and really listen and pay attention. I can tell you offhand, I do agree with the fact that. Can I tell you any song from there? Probably not necessarily. Whereas, and again, we're really sitting down and listening to this. Right. We're breaking it apart. So it's different when you hear it like this. I would love for now, one of those other ones to come up. So I really have a comparison where I can say, you know what, he's right. Like, this is better or this is worse. [02:47:39] Speaker B: I think it's more cohesive. I think he's trying to keep it cohesive. [02:47:42] Speaker C: I totally agree with that. These are definitely songs, composed songs, I feel. You know what I mean? Whereas some of the other stuff, some of the melodies and things like that, I think weren't as strong. [02:48:01] Speaker B: Yeah, I agree. [02:48:04] Speaker A: Next door, your magic ensues. All the others, you're constantly cute. You look like a dream. All guys is the truth. There's nowhere to run. You're constantly. You always making the scene. [02:48:48] Speaker B: Yeah. So I do think that the guitars behind, like, the acoustic guitars, that is a thing that he does. [02:48:53] Speaker C: Yeah. That's what kind of listening to it. Throwback runs. [02:48:56] Speaker B: Yeah, listening to it a little bit now. I mean, I guess it's a little bit like. I still think it's very Steve Brown and he does pretty much all those leads. Outside of the solo thing, it looks like it feels like, to me, I don't think that's ace, but at least the solo is him. [02:49:09] Speaker C: So. [02:49:09] Speaker B: Okay. I mean, if this is what it takes to kind of get him to be very on board with what's going on and a little more focused. Maybe that's what has to be done. I guess. That's what has to be done. [02:49:23] Speaker C: Yeah. I mean, the album is making waves. [02:49:26] Speaker B: Yeah. Lyrics. There's nothing really in here spectacular for me. I mean, the pre chorus is okay, so I'm going to say six. And again, I think music is fine. I don't think it gets a seven for me. I like that he's playing the solo and the solo is fine. At least it's a little more. It's not just out there playing. He has a beginning, middle and end and he does that pretty good. It's just amazing how it's very obvious who the player is, at least to me anyway. Maybe not to everybody, but to me it's super. I didn't even have to listen back to it again. And production, I mean, I thought it was okay. Aside from the drum sound being whatever it is on this record. I don't know. I'm going to say seven. That's fine. What do you think? [02:50:18] Speaker C: I'm going to say five on the lakers. I don't know. Music. I'm torn. I mean, it's not bad. Again, it grew on me more the second time around. I'm just trying to think what I gave sevens to and I'll say seven. I mean, that's what I kind of have in my head. So I'll just go with a seven production. I'll say seven, too. For whatever reason. I thought this one was actually produced a little bit better than the other ones. [02:50:48] Speaker B: I could see that. Yeah. I mean, I thought it was okay. [02:50:50] Speaker C: I didn't mind the drums as much in this one, for whatever reason. Maybe because some of the background stuff was fuller and maybe it just kind of stopped paying attention to them. You just kind of get so used to the way it sounds that you stop paying attention. [02:51:07] Speaker B: Next song is a cover of it's life of a stranger. It's from. Who is it from? Nadia. And it was very europop, I guess, in the original thing. I don't know. The original? [02:51:22] Speaker C: Yeah. The co writer was the guy who wrote that song never break my stride. [02:51:27] Speaker B: Really? [02:51:28] Speaker C: Yeah. Do you know he also produced Tragic Kingdom? [02:51:31] Speaker B: Oh, really? I didn't know. [02:51:32] Speaker C: Yeah, yeah, because I was like Matthew Wilder. I was like, didn't you sing that break my stride song? [02:51:38] Speaker B: I didn't realize that. I'm curious to see what this is because I don't know the original. So I think I have no idea either. [02:51:44] Speaker C: I don't think I'd know this song. [02:51:46] Speaker B: All right, here we go. Life of a stranger. [02:52:00] Speaker A: Why did you do it? Why did you stop and turn around? Do you even know the reasons why you had to help me out? Just when I knew it, it was my time to take a swim? You came along and pulled me out of all the trouble I was in? Why did you do it? Why did you risk your life of mine? Who have done the same for you? Would have saved you just in time to save my heart. You don't even know me. You save my dream. You are big cream boy. You save my soul. Love that you have shown me. You save my life. You save my life. Close it. [02:53:14] Speaker B: Yeah. I'm not too sure if that's him or not. [02:53:17] Speaker C: Yeah. I was going to ask you, what do you think is doing those leads? [02:53:19] Speaker B: The only thing, there was that little run at the beginning that sounded like him. I don't know. I mean, it could be either of them. This is a cover, so do you want me to read lyrics? [02:53:29] Speaker C: Sure. [02:53:29] Speaker B: Why did you do it? Why did you stop and turn around? Do you even know the reason why? You had to help me out? Just when I knew it, it was time to sink or swim? You came along and pulled me out? All the trouble I was in. Why did you do it? Why did you risk your life for mine? Who'd have done the same for you? Who'd have saved you just in time? You saved my heart? And you don't even know me? You saved my dream. You heard me scream. Whoa. Was there more after that? Did she go? You saved my soul? Love that you have shown me? You saved my life? You saved my life. Whoa. So the original is very euro pops. I'm sure it's not. I mean, it doesn't sound bad. I actually like whatever version. It's actually okay. What do you think about it? [02:54:08] Speaker C: Sorry, I was muted. It's okay. I don't know. I feel like it's kind of like a big run on sentence. [02:54:17] Speaker B: Well, I'm sure it sounds. And his voice, again, his voice is definitely. This has some pitchy things. [02:54:22] Speaker C: Holy. But I'm saying that, I mean, at certain times, he sounds like Ozzy Osborne singing that. It sounds so. Yeah, I know that they talked about in one of the clips, it's like, yeah, I use this and that, but from what I've seen, I don't think has really spoken about how. I just feel like his voice in some of these songs sounds really weird, like really manufactured. So I don't know. Again, if it's. This is where he is, it could. [02:54:54] Speaker B: Be the four tracks together and just make. Trying to make one big track out, you know what I mean? [02:54:58] Speaker C: Yeah, I understand if. I mean, they're tuned down, right for this or. No. I don't know. [02:55:03] Speaker B: Probably. I would think so. Sounds like it. [02:55:08] Speaker C: But not even. It's not only the pitch of where he is, but there's like this weird vibrato. It's like. I mean, at one point I thought he was going to vomit. It's like this song you're talking about. Yeah. [02:55:24] Speaker B: Well, he said he didn't know if he could sing this. This was out of his range. So they said he pushed him to sing it and he did. I don't know. [02:55:34] Speaker C: I don't think it's. [02:55:37] Speaker B: I don't know. [02:55:38] Speaker A: You come home. How did you know I was alone? That I never stood a chance to find a way out on my own? Who sent a message that I was hanging by a thread? By this very time tomorrow they would leave me here for dead. Why did you do it? Why did you risk your life of mine who have done the same for you? Who have saved you just in time. You save my heart and you don't even know me. You save my dream. You heard me dream. My love soul was saved by a stranger. You saved my life, you saved my life, oh, save my life, save my life save my heart, save my heart and you don't even know me save my soul, save my soul, save my dream, save my dream, save my life you save my heart and you don't even know where you save my dream you heard me cream. Oh my lord soul was saved by a stranger. You saved my life, you saved my life o. [02:58:10] Speaker B: So that's Joey Cassada. I think Joey Cassada did a good job on the drums. [02:58:15] Speaker C: Yeah, I didn't like that fade at all. [02:58:18] Speaker B: No, me either. [02:58:20] Speaker C: Eric. [02:58:21] Speaker B: Organ, melodron strings and Steve rounded everything else. And then vocals, guitar ace, rarely. I'm not sure how much of him is on that. I mean, there's parts that I could possibly see is him. I mean, I don't really care about this piece of covers, but I'm not even going to bother reading the rest of the lyrics. [02:58:36] Speaker C: Yeah, I just feel that I forgot exactly which line it was, but it sounded like he was holding in a burp when you're like. [02:58:47] Speaker B: Yeah, it was probably not really in his range. More than likely. I don't know what the original sounds like. [02:58:51] Speaker C: I just sound weird. I don't know either. But I'm just saying, whatever was going on with his vocals, it's happened before on this record, but here especially. [02:59:00] Speaker B: Yeah. [02:59:03] Speaker C: It could be the ones where he doesn't touch up. Yeah. [02:59:07] Speaker B: I don't know. Well, as far as. How do I rate these lyrics? Not his lyrics. And I think they're fine. [02:59:16] Speaker C: They're not bad. I don't think they're bad lyrics. [02:59:19] Speaker B: No. I'll say seven. [02:59:20] Speaker C: Yeah. [02:59:21] Speaker B: Musicianship. I mean, they all sounded good. I'm going to give it a seven. I think I gave a seven across the board. I think everything sounded good. His vocals are a little wacky, but I expect that on this doesn't make sense any other way. So I guess I'm going to give it one of those things. Nicky Titty, baby. [02:59:39] Speaker A: Seven. [02:59:47] Speaker C: On the music, I felt, again, like it was one kind of big run on sentence. And they didn't really do anything to separate. And that end was terrible, that repetition. I mean, they could. I think they could have done, like, maybe two or three, and they kind of, like, had it echo out production, I guess. Seven. I mean, it's fine. It's not terrible, but again, whatever they're doing to his voice and maybe they're not doing anything. Maybe it's just him singing in that rit. It doesn't sound like that to me. It just sounds too weird for it to be normal. [03:00:38] Speaker B: Yeah. [03:00:39] Speaker A: I don't know. [03:00:41] Speaker B: All right, so the next one is up in the sky. I haven't heard anything about this. Guitar, percussion, backing, Steve Brown. Drums, Matt Starr. [03:00:49] Speaker C: That's his live drummer. Oh, he was. [03:00:53] Speaker B: Yeah. [03:00:53] Speaker C: Guitar superstar, right? No, he wasn't the one that said no. [03:01:00] Speaker B: That's the guy that's in this thing now. This is the guy that had the fu manchu. [03:01:06] Speaker C: Yeah. [03:01:08] Speaker B: We saw Matt Star. Yeah. And then guitar, vocals, Ace. And percussion, Alex Salzman. So I don't know what kind of percussion is in here, but here we go. [03:01:49] Speaker C: Guys. Right? [03:01:53] Speaker B: That's okay. [03:01:56] Speaker C: There's worse songs you can throw back to. [03:01:59] Speaker B: Was his biggest hit. [03:02:01] Speaker C: Yeah. [03:02:03] Speaker B: All right, let's continue escaping the future. [03:02:08] Speaker A: Forgetting the past the weather keep changing it's changing so fast I can't imagine how things unfold now each and every day I think we'll lose a good. [03:02:27] Speaker B: Go is it me or his vocals sound way better here. [03:02:32] Speaker C: Yeah, they sound a little bit better, but it's still a little bit. That weird thing going on, I think. [03:02:37] Speaker B: Yeah, but is it not putting as many double vocals on him, maybe because it does sound better. [03:02:46] Speaker C: Yeah. Overall, I probably said it before. There's a big lack of backing vocals. I feel. I feel like I thought there would have been more to fill out some of the spaces, but it's really him. [03:03:02] Speaker B: Yeah. [03:03:05] Speaker C: I can hear. Is his fiance, who does background vocals as well. [03:03:10] Speaker B: She did it on. What song was she on? Was she on? [03:03:16] Speaker C: She's on constantly. Cute. [03:03:18] Speaker B: That's the only one I know that she's on. It's only what it says. [03:03:21] Speaker C: Oh, is it? [03:03:22] Speaker B: So it says. [03:03:23] Speaker C: Well, see, Brock's got a little bit of a high voice, right? So it could be him two at times. I kind of pick it up. [03:03:29] Speaker B: So, I mean, I don't hate this. I think I like the sound of his vocals so far, at least, better than most of the stuff that's on here. [03:03:36] Speaker C: Yeah, I mean, this definitely has a throwback feel to it. [03:03:39] Speaker B: Yeah. So I'll read part of the lyrics, I guess. Escaping the future, forgetting the past. The weather keeps changing. It's changing so fast. I think that's where we're at. Let's see. No. So then it's. I can't imagine how things unfold now. Each and every day. I think we're losing control. [03:03:59] Speaker C: He's still losing control from the other song. [03:04:02] Speaker B: Yeah, I guess so. [03:04:02] Speaker C: From the machines we got. [03:04:04] Speaker B: The machines are doing it. Okay, here we go. [03:04:07] Speaker A: Yeah, we're losing control now. Listen, they're up in the sky, girl, I know what I saw. They can't trust the news, can't trust the law. Once it's back to fixing, baby I can't deny, always quit. Think I'll just say good night. The fact of the matter is I can't explain. The planets keep moving. God made it that way. When I take a walk, there's so much to see. I want to see, I want to feel, I want to see everything. Oh, yeah, I want to feel everything and touch it. Girl, you gotta believe me. They're up in the sky, girl, I know what I saw. You can't trust the news, can't trust the law. Was this fact of fiction, baby, I can't deny. Mysterious light that I can't describe. There up in the sky. It bible command, are we alone? Just quit. Think out to say good night. [03:05:53] Speaker B: Before we get back there, I'm going to read some lyrics. I'm way behind here. [03:05:56] Speaker C: Yeah. [03:05:59] Speaker B: So. Oh, yeah, we're losing control now. Listen, they're up in the sky, girl, I know what I saw. You can't trust the news. You can't trust the law. Was it facts or fiction? Baby, I can't deny. Are we all alone? Just screw it. I think I'll just say goodnight. Okay. The fact of the matter is I can't explain. The planets keep moving. God made it that way. When I take a walk. There's so much to see. I want to see. I want to feel. I want to see everything. Oh, yeah. I want to feel everything and touch it. Girl, you got to believe me. They're up in the sky. Girl, I know what I saw. You can't trust the news. You can't trust the law. Was it fact or fiction? Baby, I can't deny. Mysterious lights I can't describe. They're up in the sky. It boggles the mind. Are we alone? Just screw it. I think I'll just say goodnight. So, obviously ufos, I assume? [03:06:48] Speaker C: I think so. [03:06:49] Speaker B: That would be my guess, yeah, that's the guess. [03:06:52] Speaker C: Yeah. [03:06:54] Speaker B: Like I said, I actually like the music is okay. [03:06:58] Speaker C: Yeah, it's not bad. Again, other than that kind of weird thing going. Some of the phrasing here really sounds like old Ace. Just screw it. [03:07:11] Speaker B: Yeah. I mean, that's why I liked it so much, because I think the vocals, except in some places, like, he gets a little low over there, but some of the vocals are reminiscent of older stuff. [03:07:21] Speaker C: Oh, yeah. I mean, I would say this could be the most ace sounding vocal on the record. [03:07:28] Speaker B: I believe it. Yeah. I 100% agree. Okay. Do I know what's going to happen here? [03:07:34] Speaker C: I don't know. [03:07:35] Speaker B: Here we go. [03:07:40] Speaker A: Up in the sky. Up in the sky. [03:08:30] Speaker B: Is it okay? I wasn't sure what it was, but I think 100% it's him. I wasn't sure at the beginning. It's definitely a composed solo, which I like. [03:08:47] Speaker C: Yeah. [03:08:48] Speaker B: So I think Steve Brown is helping him do that. He's not just wanking all over the place. [03:08:52] Speaker C: And it's a little bit longer, too. [03:08:54] Speaker B: A little bit longer, yeah. And I liked it. I liked it a lot. This is definitely the most throwback sounding to me, vocal wise, too. [03:09:04] Speaker C: So I like the solo. I don't like what was played behind it, though. It felt empty to me. So they did it in the beginning, right, that I'm like, okay. And then the solo was longer. I was like, okay, they're opening it up a little, but they really didn't. They played the same thing, but stars. Wait, was this star Cassada? Yeah. Matt star. He just switched to the right, but they're still playing that thing in the background where they stop. I'm like, I don't understand. The song sounds really full. And then you get to the solo. Okay. I was like, you do the first part. I understand. But then you're still playing the same thing, even though he switches to the ride. And you would think that they would open it up and they didn't. I just felt like it needed a little bit more behind it. But I did like. I think this is ace freely. [03:09:58] Speaker B: Yeah. Okay. Yeah, no, I'm liking it so far. [03:10:04] Speaker C: Yeah. [03:10:06] Speaker B: Like I said, it's throwback enough ace for me. And again, I'm happy that it's him doing the solo. So much better. [03:10:13] Speaker C: Damn. [03:10:14] Speaker B: All right, let's continue. [03:10:16] Speaker A: Oh, yeah we're losing control now. Listen girl, you got to believe me they're up in the sky girl, I know what I saw you can't trust the news can't trust the law was it back to fiction? Baby, I can't deny what serious right that I can't describe girl, I know what I saw you can't trust the news can't trust the law danger it boggles the mind are we alone? Just screw it think I'll just say good night. [03:11:16] Speaker B: So why don't you go first? [03:11:19] Speaker C: Let's see. I'll say seven on the lyrics. I mean, they're fun, without a doubt. And, I mean, I like alien shit and Sci-Fi and stuff like that, so I'm always a sucker for that. I'll say seven on the production, even though there is stuff here that I like a little bit better than the other stuff. But I didn't like that solo part. That was, like, the only thing, or I may have given this an eight. I felt like it was kind of, overall, a little bit better produced than the other ones. I would say seven on the music. I almost could give it eight because it's a bit of a throwback, but there's a couple of things where I'm like, but it's good, it's not bad. It's probably a song I'd go back to. So it's fun, and I think it's very ace. [03:12:16] Speaker B: Oh, yeah. 100%. [03:12:18] Speaker C: Yeah. Whether or not he wrote any of it. [03:12:22] Speaker B: No, I think he wrote a bunch of that. [03:12:26] Speaker C: To me, it sounds like a lot. Yeah. I mean, this could have been with better production by you know who on his solo album I feel from 78. [03:12:37] Speaker B: Oh, yeah. Or at least I think so, too. [03:12:39] Speaker C: Yeah, I'm drawing a blank. Who produced the 78? [03:12:43] Speaker B: 80 kramer. [03:12:46] Speaker C: 80 kramer. [03:12:48] Speaker B: Nippy Tippy baby. [03:12:49] Speaker A: Seven. Seven. [03:12:50] Speaker C: Seven. Did I give you triple seven? I didn't realize. [03:12:56] Speaker B: Yes. [03:12:57] Speaker C: Nice. [03:13:00] Speaker B: I'm going to do seven. For the lyrics. Like you said, they were fun. I liked them. It's space, but it's not space. So I kind of liked it. I'm going to give eight on the music. Even though I didn't like to think a lot behind the solo, I thought the solo was pretty good. He tried to keep himself composed and had pieces and ends and beginnings and I like that. [03:13:22] Speaker A: And. Yeah. [03:13:23] Speaker B: Seven on the production. I think overall production is okay. I mean, in general, the drums are the weakest link for me, production wise, but at least everything's kind of separated. He's doing a good job with that. It's not balls to the wall produced. Right? It's not super loud, so at least you can kind of sit and listen to this thing and not be like, oh, my God, I can't do this. [03:13:42] Speaker C: Yeah. [03:13:44] Speaker B: Just like Ace Fraley also has to have a cover, he has to have instrumental. [03:13:51] Speaker C: Yeah. [03:13:52] Speaker B: So all these things end with an instrumental. So on this one it's called stratosphere. I like the name. [03:13:58] Speaker C: I do like it, too. [03:14:00] Speaker B: Yeah. Well, let's see. I'm curious to see what it sounds like. [03:14:03] Speaker C: I have no idea about this. [03:14:05] Speaker B: Me neither. [03:17:11] Speaker C: Wasn't bad. [03:17:12] Speaker B: No, I think it's one of the better ones he's done. [03:17:16] Speaker C: Which is your favorite? If you had to pick one, you'd think. [03:17:19] Speaker B: First one from the 78. I think it's my favorite. It's not bad. [03:17:25] Speaker C: No, it's Steve Brown on drums, which I assume is programming, I guess. [03:17:31] Speaker B: Yeah. I don't know if he plays drums. Drums or it's just electronic drums. I don't know. I know Ace doesn't like drum machines. [03:17:37] Speaker C: Couldn't they give this to, like, Anton fag and be like, hey. [03:17:42] Speaker B: Do some. [03:17:43] Speaker C: Cool shit over it? [03:17:46] Speaker B: Yeah, I know. Yeah, I'm going to give. It's one of the ones I've liked the most since he's been doing besides the original. So I'm going to give it. I'm trying to remember the one that's on Freyley's common. I kind of like that one, too, but I'm going to give it. [03:18:03] Speaker C: Porn is spinning. [03:18:04] Speaker B: No, that's on trouble walking. [03:18:09] Speaker C: What's the first one? I can't remember. [03:18:12] Speaker B: Fractured mirror. [03:18:14] Speaker C: Fractured mirror. [03:18:16] Speaker B: I think on the second thing, it's fractured two, I think. Is that what it is? I believe I would have to go back. We did that album, but we did that a long time ago, so I don't remember off the top of my head. See, I'm going to give the music an eight. I thought it was great. I thought they a good job at kind of reinterpreting without copying very similar. And production. I thought it was good. I like the keyboard things in the beginning. I mean, the fade at the end was a little weird, but I'm going to give that an eight, too. I liked it. [03:18:45] Speaker C: Yeah, I think the production was good. I'm going to start with the production, so I'll say an eight on the production music. I don't know. It was a little repetitive to me. I liked where it started. I liked where it was going. But I just felt like it plateaued early and didn't really go anywhere. Even like, the drums are kind of teasing me. Like, at one point I was kind of going to go a little bit, but it's not bad. I'll say seven. I don't know that I can give it an eight. I'm going to say seven, though. But it wasn't bad. [03:19:19] Speaker B: No, I mean, like I said, he was doing one all the time. This is not a bad one. I mean, yeah, it would have been better if, like, Anton figures on drums. [03:19:27] Speaker C: Yeah, get some mean. [03:19:31] Speaker B: This does sound like it's either. It's a basic. The beat didn't really change very. I think, you know, Anton on the first one gives it a little bit of its movement, even though it's not. I mean, he has a little more going on. [03:19:44] Speaker C: So guitar wise in that, what do you think? It's just shared. [03:19:48] Speaker B: I think there's pieces of both of them in there. I think he definitely plays. And I think there's pieces of Steve Brown in there, definitely. And in that kind of situation, it's like. I think it would be good to have dual kind of things. I think that's good. [03:20:05] Speaker C: But he definitely has told him to pick pieces of his solos in the past and say play. Because even that. Baron out. Baron out. Baron out. Baron out. Right. And even the bends again. The black diamond bends I heard again here. [03:20:23] Speaker B: Yeah, he used those. And he used those, I think, in crack your mirror, too. He's always used those. So it makes sense that kind of tie it together with the older stuff. This is a long episode for us. Jeez, people are going to hate us. [03:20:37] Speaker C: Yeah, well, I know it was long, but I think it had to be a straight through because of the kind of album it is. I didn't want to come back to this. I wanted to hear it all. I was kind of excited to hear it, especially with all the. [03:21:06] Speaker B: As an ace Fraley fan, I'm disappointed in the songs. He didn't play on. I wouldn't mind if they would have did some kind of dueling guitar thing, you know what I mean? That wouldn't bother me, too. You know, on songs where there's just going to be a solo, I would prefer to be ace, really. I mean, in the ones that Steve Brown did, I mean, he did a great job at approximating ace, probably better than lots of people. So, I mean, he did a great job on that. And I think him trying to put songs that were in his wheelhouse instead of just having a little bit of songs with a lot of fluff, a lot of filler. So I think he helped him focus himself a little bit, which maybe he has a hard time doing. Right. He needs the handholding, especially as you get older, you need someone to help you out. So I think it's preferred. I would have preferred him playing all the solos myself, but even the ones that Steve Brown did that weren't ace. They were just, you know, for an ace fairly record, I prefer to have him all. [03:22:16] Speaker C: Giant. Yeah. [03:22:17] Speaker B: If it was different, if it was like the freely comet, where there was Tod Howarth and he was playing his solos, you know what I mean? Yeah, that was okay. That was fine, too. But he's a little bit older now, so again, you have to cut him a little bit of know. After reading all the things and hearing all the things we heard, I thought it could have been a lot worse. I was expecting a lot worse. I think it's the most cohesive he's done in a while. So in that sense, I kind of like it. Some of the vocal stuff is a little weird. I think there is a little too much fixing or too much doubling. I think that was the last song that we listened to, up in the sky. That was the most ace freely that I've heard him on his record. There were certain parts where it did go into the same kind of stuff that's happening now. And that's probably just because he's physically not able to sing the same way anymore because he's 73. So, yeah, my question is, how many of these things are going to happen live and the things that he didn't play on, is he going to be able to reproduce those things? And if he can't reproduce them, he has another guitar player and the other guitar player could play it and it would be totally fine. Now, whether the ace fans would be happy with that, I don't know, but I would rather have the other guitar player play them if he can. If Ace is not going to become non lazy. [03:23:38] Speaker C: Yeah. [03:23:40] Speaker B: And learn them. So I don't know how that's going to go. [03:23:44] Speaker C: I guess the thing is, if he doesn't, like, let's say they do two or three songs live and he doesn't wind up playing the solos and the other guy does, are people just going to say he just can't do it live or are they going to be upset saying, oh, well, did you play it? How would you feel if you saw him live and he did like, let's say three or four of these songs and he really doesn't wind up doing much soloing? Are you going to say I'm glad or are you going to say, see, he didn't do it or he was too lazy to learn? [03:24:14] Speaker B: Well, I would always say he's too lazy to learn. I would rather the other guy play it if he kissed, if he's not willing to learn it. Like, I would. I would like him to learn it if he's not willing to or spend the time to do that, I would rather have the other guy do it. [03:24:35] Speaker C: Yeah. [03:24:36] Speaker B: I mean, like, listen, I'm not attached to these songs. Like, I'm attached to older songs. Right. [03:24:43] Speaker C: Yeah. [03:24:44] Speaker B: So I don't think it was a big enough deal. I mean, a couple of the songs on the record, like, I think fighting for life was good. I like, blinded was good. I mean, cosmic heart, I'd liked. Most of the songs are good. It's just the thing of, well, we're not sure who's playing on what. I think if they were, my opinion is if they were more transparent. Right. I think it would be an easier swallow for everybody. It would be an easier swallow for everybody saying, okay, we know Steve Brown's playing on this. It's fine. But by no one really knowing who it is. And if you don't know his playing enough where you can kind of single that out. And again, I could be wrong on some of these things. The ones I'm pretty positive on. I'm pretty positive. Could there be places where he's playing and I can't hear everything that's going on? Sure. But my always opinion is I would rather have him play than not play. If he can do it now, again, just like he said, he's getting older. You got to cut him some slack. And I think again, if this was 40 years ago, there would be no need to cut him slack. [03:25:54] Speaker C: No. [03:25:56] Speaker B: What do you think? [03:25:59] Speaker C: Yeah, it's not bad. I don't think it's. Oh, my God. You know what I mean? But here's the deal. You can't compare anything to the 78 album. I mean, he caught lightning in the bottle, like they say. And especially now, that's just not going to happen again. So I don't know. Again, I don't know how to judge what you consider solo and not solo. So for saying that Freyley's comet, they're not solo albums, then, yeah, I would probably say that this is the best one. I mean, would you say it's the best post kiss makeup kiss album he's done for solo, or would you have to go back and listen to. Yeah, no, I'm saying after he left the reunion and he's just been doing, like, solo albums, I think so. [03:26:57] Speaker B: I think it's the most cohesive and the most, like, trying to make all the songs good. I'd have to start listening to the other ones again. I got to say, I haven't re listened to anomaly in a while. And Space Invader and the other one, too. Space man. I haven't really listened to them again for a while, but nothing really caught me where I wanted to go back and listen again. I mean, there was some stuff that was okay. [03:27:24] Speaker C: Yeah. [03:27:24] Speaker B: But I think in this one, they made a conscious effort to make things very catchy and much more in the vein of the 78. Like you said, you're not going to make that again. It's lightning in the bottle. You can't. So I kind of think that. Is it the best? Probably, yeah. [03:27:45] Speaker C: I mean, it could be. I don't know. I'd probably have to go back and listen, which we probably won't, because in case they come up again, which is like the curse of doing this, but taking my experience, having listened to them, which I'm pretty sure I've listened to all those records at least once and never again, but at least once straight through, I can say that there's stuff here. I mean, again, like you said, fighting for life, I think, is actually a really good song. It's not just a good song for this album. It's a good song. Period. Blinder was pretty cool. I mean, up in the sky had a little bit of that old vibe. Cosmic heart is every a little bit different. I mean, cherry medicine. The chorus, obviously is incredibly catchy. 10,000 volts back and more. Yeah, it's not bad. It's not bad. Like you said, based on what I heard, because of all the bragging about it, you set your levels high, and I didn't really set it. I tried coming into it saying I don't know, this guy's bragging so much. It's like, is he just trying to push it? Is it really like this? And then reading the reviews, I mean, they're up and down. They're so bipolar. I almost feel as if nobody's almost saying it's okay. People are saying it's shit or they really like it. I think I'm more pleasantly surprised than not. [03:29:28] Speaker B: Yeah. I didn't want to go into this being very negative about the whole not playing spot. When you hear another people saying, well, who's playing? No one's playing on it at all. He's not playing on it at all. And, yeah. Is it probably the least he's played? Probably. But again, he hasn't had a person to kind of do this with him, and he's really needed somebody to kind of help him out. So I think he's done a good job, and I think he's doing it for the right reasons, and now is. [03:29:52] Speaker C: The time for him to do it right. [03:29:57] Speaker B: Again. How much longer is he going to be making records for? I don't know. [03:30:01] Speaker C: Yeah, we should be 73 in April. Right. Steve Brown said. [03:30:06] Speaker B: He'S been the most prolific out of kiss than anybody. [03:30:10] Speaker C: Yes. [03:30:13] Speaker B: Realistically, Paul Stanley made one solo record, if you don't count the 78 one. [03:30:19] Speaker C: Right. Oh my God. Yeah. I mean, it's not an OMG. Do I think he has a right to say it's probably the best one out of whatever he's done? Let's say technically, he's really officially solo? I would say, yeah. But who knows? Again, those other things are not fresh at all in my head, but it wasn't where I go back. And, I mean, I could probably look at a track listing and not be able to sing a single note of any of those. [03:30:53] Speaker B: Well, it's hard to make the comparison because was he better in 1987, guitar playing wise, than he is now? Of course. So, I mean, if you're not counting the fraily's comet, is this better than trouble walking? Because trouble walking, technically is not a band technically yet, even though it is. Right, it's still Frailey's comet. They just changed the name. Right. So if you take those three records out of the loop. Yes, this is probably the best. [03:31:23] Speaker C: Probably from memory, then I would say yes. I mean, like, rock soldiers, to me, stands out as probably one of his best songs. Right. I don't necessarily feel that there's a rock soldiers here. [03:31:38] Speaker B: No, I understand there is a. [03:31:42] Speaker C: What's that song that he sings that I would say it sounds like Peter Crisprone. I know we mentioned this before from trouble walking. [03:31:49] Speaker B: I don't remember. [03:31:50] Speaker C: Tiang to die. Is that it? Which kind of reminds me of fighting for life, but that's a pretty strong song. But in general, I think a lot of people probably like trouble walking. Right? It's a little bit heavier. [03:32:03] Speaker B: Yeah, no, it's a good record. I liked it a lot. I remember liking it a lot. Anyway, so we're way past our time frame. No, they're going to look at the numbers on this and go, holy crap. [03:32:19] Speaker C: Really? [03:32:19] Speaker B: We got to listen to you guys yap for this long? [03:32:21] Speaker C: Yeah. Hey, listen, you know what? They can break it up by episode, by side. You guys can break this up. We didn't do two sides in two episodes, but you guys can do it that way. [03:32:33] Speaker B: Yeah, I mean, see, this is what happens when you leave us to production and doing actual stuff. There's too much yapping at the beginning. See, that's what happens. Yeah, do your thing. [03:32:42] Speaker C: Hey, listen, there's another thing coming. I was going to say, before I do that. There's another one. [03:32:48] Speaker B: Are we going to do the same. [03:32:49] Speaker C: Thing so we can maybe discuss that if we're going to spin the wheel next week or if we're going to do the same thing? Because I am incredibly curious to hear another famous guitar player from another famous band for his first ever solo album. [03:33:04] Speaker B: I assume everybody who listens probably knows what that is. [03:33:06] Speaker C: Yeah, I think they know. So, I don't know. We'll talk about it and maybe we'll discuss it to it if Frank comes back and see if anybody else is coming back, see if they want to jump on that record or if they want to spin the wheel. We'll see. [03:33:19] Speaker B: Yep. [03:33:20] Speaker C: But yes, we are part of the Deep Dive podcast network again. Great bunch of guys. Like I always say, check them out. You name the band, it's probably on their individual podcast. So Tom Petty, Uriah heap, Rush, everybody's at Rush. Rash. You've got queen. You name it. Maiden. It's there. So instead of us spinning the wheel, if you want something more direct, then check them out. And Mark, where can they find us on the interwebs? [03:33:50] Speaker B: Rock roulette pod on all the socials. Rockrouletpodcast.com. Don't forget to review us. Wherever you listen to podcasts, give us a five star review. If you like us, set your podcast player to download us automatically. It's nice you get our things, our episodes, as soon as they come out and share our episodes out to other places that helps us get a little bit more reach and more people finding us. I'm expecting, hoping the kiss army will come out for this. We shall see, I hope. But, yeah. It's been a long one, guys. So we'll see you next week and we'll make some kind of decision on what we're going to do. [03:34:30] Speaker C: Yeah, we'll figure it out. [03:34:34] Speaker B: All right. Later, guys.