Episode Transcript
[00:00:00] Speaker A: You.
This is our musical reaction, breakdown and commentary analysis of this song. Under fair use.
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[00:00:46] Speaker A: Now on to the Rock Roulette podcast.
You ralph to another episode of Rock Roulette podcast.
[00:01:17] Speaker C: 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 through it one side per week unless it's really short, which happens every once in a while. And we go through track by track and we rate it based on music, lyrics and production. Again, just a bunch of friends who want to do a podcast about music and we're just having fun. So again, we want to thank all the listeners, any new listeners, any old listeners, any listener at all. We really appreciate it. Want to give a shout out to classic rock guitar podcast that gave us a nice big shout out. We got to get back together with him as soon as he can. That was a great podcast that we did with him. So really looking forward to getting back with them. And tonight we are a twosome. We have mark. Oh, hi Mark.
[00:02:07] Speaker B: What's up guys?
[00:02:08] Speaker C: And I'm Sav. Ciao, bunase.
So last week we called an audible and instead of spinning the wheel, we did Hfley's new record, 10,000 votes. We figured, what the hell, it was a pretty big deal. He put out a new record. There's been a ton of talk about this record, obviously between him and Steve Brown and what's what and what isn't what. But at least for me, I try to go into it saying, you know, what do I like this song? And does it really matter who's playing? But I know it's hard for some of the fans. So, Mark, you as a massive ace freely fan, what do you think overall and how did you look at it? Were you able to separate the rumors from the music?
[00:02:53] Speaker B: Well, I was listening a little more intently, I think, to the actual thing. Just because I didn't know what was playing where and who was playing what, my preference is always to have ace fairly play guitar. But I'm not against him writing with other people.
I think we thought the production was okay. I think we didn't like the drum sound very much. Whether it was replace drums or just the processing of the drums. They sounded a little sterile to me.
[00:03:21] Speaker C: Yeah, a little flat, I think.
[00:03:24] Speaker B: And his vocals has a weird quality. Whether that is the possibility of pitch correction or just the. He said that he recorded like four tracks and he's blended them together and all that kind of stuff. I don't know. I don't think we hated it. I think there was a bunch of good songs on there. I'm not against him collaborating, but I think it would have been better, like, if Steve Brown's going to play a guitar solo, to play like Steve Brown and not play like Ace Fraley, or try to play like Ace Fraley. Because to know why it's not a necessary thing.
Either have Ace play it or play it like you. And I think, you know, in the prior. Know, when Tod Howarth was in Ace freely's band, he played his own stuff. I'm pretty positive. I'm not sure if Richie Scarlett played anything on trouble walking. He may have. I think he, you know, no one was trying to hide the fact that if it wasn't Ace, you know what mean?
[00:04:22] Speaker C: So.
[00:04:22] Speaker B: So that's the only thing that's a little concerning to. He has to go and try to fake Ace's thing, Ace's sound and playing. And just because people may. Because they want to hear Ace, then have Ace play. Maybe you can't have Ace play. Maybe this is the only way the record gets made these days. I don't know. We saw some newer live stuff and it looks like he's been practicing a little bit.
[00:04:44] Speaker C: Yeah, 10,000 volts definitely sounded better on the cruise than the initial thing, which is what raised my suspicions in the beginning, before the interviews came out, I said he doesn't know how to play a solo that he just wrote.
Again, overall, not a bad record. Not amazing, but not bad. You know what I mean? Like a decent ace really record. It makes me curious, though, to go back and listen to his other solo stuff from anomaly in between, especially when it's being said, oh, well, those things are mediocre. It's a couple things here and there and like, okay, let's talk about carte blanche to say whatever you want.
Not bad. I don't think it was bad.
[00:05:33] Speaker B: If you take out the fraily's common stuff and the trouble walking record is this is the best one since the 78, probably. But if you insert the other records in there, I don't think you can say that.
Not for me. I don't know what everyone else. Everyone has their opinion about what it is. Like I said, we liked a lot of the stuff. I don't hate him writing with him. I think it's probably the most cohesive record he's done.
There's a little more catchy things going on, which is good for him.
[00:06:00] Speaker C: Yeah, that's for sure.
[00:06:02] Speaker B: I think our major thing was drums. We didn't like the way they sounded.
[00:06:06] Speaker C: Yeah, I definitely didn't like the way the drums sounded. I couldn't tell Anton Figg from a machine or Joey Casada from whatever. I really wasn't happy with the drum sound in general, and I don't know, the drumming overall was okay, was safe, I felt. I guess, for lack of a better.
[00:06:24] Speaker B: Word, I just think that no one's recording together and it's a little hard to get a vibe or a groove going when you're like, hey, here's a track, and just play to this. You still can do a good job and play a good drum track. But is it going to feel the same way as, like, if everyone was playing together and they got the drum track and then built around that? Which I don't think this is how this worked. Between that and the vocals sounded a little funky. And obviously, the controversy about guitar playing. So I think I'm fairly right about the ones that I said were ace and the ones that I didn't think were ace. But will I 100% know that? No, it's just my opinion. But I've been listening to Ace Frailey for a long time. Frailey. See, I'm saying freely, fraily, because fans don't kill me.
I've listened to Ace Frailey for long enough that I think I have a good handle on when he's playing and when he's not playing. I mean, I was pretty positive when he wasn't playing on psycho circus. That was without me almost 30 years ago at this point, whatever, 26, or whatever it is.
But in general, I don't think it was bad. I think that if this continues and he can continue to help him do this and maybe try to get him to play a little more stuff, get him out of his laziness, because obviously he's been practicing because that version of 10,000 volts on the monsters of rock cruise was way better than the first one.
[00:07:48] Speaker C: Yeah.
[00:07:48] Speaker B: So maybe he is going to practice a little bit more. Maybe you can get him to play some more stuff.
[00:07:53] Speaker C: Yeah. Honestly, especially if you're Steve Brown, the way you're talking about this record, and even ace saying, it's the best thing I've done since 78.
And then you go live, and if you're not going to play these songs, then people probably say, well, how much do you like these songs? Or why don't you learn a couple of these songs so you can play them live?
He charted, I saw today.
I think he charted for the first time since. Whatever. But, yeah, this album is charted.
[00:08:27] Speaker B: Yeah, well, that's why we did it. We knew it was a big deal, and it was a long episode. We apologize for the long episode.
[00:08:32] Speaker C: Holy shit. Yeah. Jesus Christ.
[00:08:34] Speaker B: 3 hours and 30 minutes.
[00:08:36] Speaker C: Yeah. Well, you know what? Hopefully this will generate some buz. And obviously, people check it out in common. Let us know what you think. I mean, obviously, the kiss boards are all ablaze with what's what and what's not. So hopefully, if you listen to it, just let us know. If you think we're wrong, we think we're right. What do you think?
Just throw it out there. Let's get a discussion going.
[00:09:00] Speaker B: And then this week, we've decided to do a similar thing. The wheel is still on vacation. It's in the Caribbean somewhere, laying on the beach, not having to spin. It's having a good time all by itself.
Or maybe its wheel is with some other wheels from other places, and they're.
[00:09:17] Speaker A: Having a big wheel party.
[00:09:18] Speaker C: Yeah, maybe there's other. Yeah, exactly. There's other wheels that she went on vacation.
Marcus, what Mark is saying is that we're pulling another audible because another guitar player from a genre that we listened to a lot growing up has released a new album. Was it like the same day or definitely the same week?
[00:09:39] Speaker B: I think it was the same day, yeah.
[00:09:42] Speaker C: And this album has been how many years coming?
[00:09:45] Speaker B: I don't know. I mean, he's been talking about this forever.
[00:09:48] Speaker C: Well, I mean, not to spoil, not to keep the thing going, but it's other side of Mars by Mick Mars, which a lot of buz about this one mean. I see a lot of positive buzz about this one.
[00:10:03] Speaker B: Yeah, I mean, I've heard the first two songs. I don't know for me if I like it that much, but I don't want to go in there with the negative thing, either.
I know he didn't want to sound like Motley crue, obviously. And it seems like he likes a little bit of heavier music, so we'll see how it goes. The first record, the first single, to me, sounded a little generic.
[00:10:24] Speaker C: Yeah. I wasn't crazy about the first one, either. I liked the second one, though. I thought that one had. But again, once we talked about doing this, I haven't gone back to them. I figured, you know what? Let's keep it fresh.
[00:10:36] Speaker B: Yeah.
Well, let's not yap like we did last one because this is going to be a long episode.
[00:10:41] Speaker C: No clips get into this.
[00:10:42] Speaker B: Yeah, there's no clips in this one. There's less controversy in this than there is in that one.
[00:10:46] Speaker C: Yeah, I don't think anybody questions whether or not he's playing on it or what he's playing or what he's doing.
[00:10:51] Speaker B: No, obviously not. Obviously not. Okay, so here we go. So the first one is loyal to the lie. Some of you might have heard this already because it's been out for a little bit, but this is like, maybe the second or third time I've listened to this. So we'll see. Maybe I'll like it better this. Maybe I'll like it better this time. I don't know.
All right, here we go.
[00:11:14] Speaker A: You.
There's nowhere I.
Tell me, are you. By the time you're loyal to the light.
[00:12:21] Speaker B: It's a very modern sounding.
Let's do personnel. So Mick Morris is playing guitar. Paul Taylor from winger, right?
Keyboards and guitar. Jacob Bunton is the singer on almost all of the tracks except for four and eight, which is Brian Gamboa. Ray Luzier, who's the current drummer of corn.
Chris Collier is playing bass and produced by Michael Wagner. So Michael Wagner is a big producer.
[00:12:49] Speaker C: Yes.
[00:12:50] Speaker B: What do you think of the. You like the drum sound better on this than on the ace, really? One so far.
[00:12:55] Speaker C: I mean, they're definitely louder, but maybe it suffers a little bit from that overcompression.
Just. Everybody knows I don't have my usual headphones this week, so things may sound a little bit bassier and louder to me than usual. So if I complain about that. Mark. No, that's not what it sounds like. Just please feel free to chime in.
[00:13:21] Speaker B: So they do the little microphone megaphone thing. Very 90s megaphone vocals.
So here are the words. I've got a little secret building up inside. Caught up in the regret. You're not getting out alive it's not over I'm getting colder inside there's nowhere to hide. Put a little liar, cut me like a dagger. Tell me how you find the time. All your little stories giving you the glory. Always fucking with my mind. Cause you're loyal to the lie.
So not bad lyrics. Chorus is very catchy.
[00:13:54] Speaker C: It is. It's not.
[00:13:59] Speaker B: Mean. I don't know what I'm expecting from here. Am I expecting it to more sound like riffy motley crue? Maybe. And it's not going to sound like mean.
[00:14:10] Speaker C: I think that this one proposes a different type of situation. Right. Because I think ace really has more of a sound. And yeah, I think Mick Mars probably within motley crue has a sound, but that's also guided a lot by what Nikki six writes, I think in terms of basically fitting his guitar into that song. And this is kind of him letting loose.
[00:14:36] Speaker B: Yeah, it's definitely modern sounding. So you're not going to take this and say, oh, this is motley crue? Because it's so.
[00:14:47] Speaker C: I guess maybe when it comes to the solo, you're going to have to really hear if that's where. Oh, yeah. Okay. He sounds like himself there.
[00:14:54] Speaker B: I don't remember it.
[00:14:56] Speaker C: I don't actually remember the song. I think I listened to the once and then I kind of stopped after we talked about it.
[00:15:03] Speaker B: All right, let's continue.
[00:15:08] Speaker A: Taking like a time I'm ready to explode we might be down for so long you tell me it's not over I'm getting cold out inside there's nowhere to hide.
Pretty little liar coming like a die tell me are you by the time all your little stories giving you the glory always fucking with my pretty little liar coming like a nigga tell me I feel my night I'm a little story always fucking with your life you lie underneath your truth I, I won't let go I would let your soul.
[00:16:27] Speaker B: So let me go over some lyrics before we get there ticking like a time bomb I'm ready to explode you knocked me down for so long you turned me into stone it's not over I'm getting colder inside there's nowhere to hide. And then chorus and then the bridge I assume is underneath your bones the truth is growing cold I won't let it go like poison in your soul.
Interesting lyrics.
[00:16:57] Speaker C: Yeah, there's elements there. I think of. I want to say that pre chorus kind of reminds me of something an 80s band would do.
And even that when he does that, how we find a time, I mean, that's to me kind of a throwback. It almost reminds you like Paul Stanley ish, like something he would do.
So I think there's elements of modern, but there still is a little bit of that tweak.
[00:17:23] Speaker B: Yeah. I'm not really like hearing bass, for me, that's not standing out.
The drums are super modern sounding, so I'm not sure I like that yet. We'll see what the rest of them sound like. It's a little hard to tell from this song.
I mean, the riff, when I'm listening to the riff, that sort of sounds like a Mick Morris thing, I guess. Sort of, kinda, but it's still wrapped up in much more modern sound.
All right, now I want to see what the solo does. I don't remember what it does. So let's see.
It's short, but it's him. Gives me. Yeah, it's definitely him. It gives me vibes of, like, first album, motley crue sound. As far as the tone of the guitar goes, I'm thinking more.
[00:18:28] Speaker C: Dr. Feelgood vibe. Honestly. Bob rock, big guess, but that's funny. We're on opposite. You're like, it sounds like early Miley Crow. I'm like Dr. Field.
[00:18:47] Speaker B: The tone to me does.
[00:18:48] Speaker C: It's funny, though, how opinions, not the.
[00:18:52] Speaker B: Playing, but the action of it. Yeah, it's like that early 80s, like, very mid bumped solo sound to me.
Yeah, it sounded like him.
[00:19:08] Speaker C: It needed more, though. I think it needed a little bit. It's too short, I think.
[00:19:11] Speaker B: It doesn't curse to see.
Right. I'm sorry.
[00:19:14] Speaker C: Oh, no. I was going to say I just think it's short and to me, it needs more. It didn't develop.
I mean, it was cool what he did, but it just kind of stopped. So who knows? Maybe it'll be like a big outro solo.
[00:19:26] Speaker B: I don't remember. Yeah, we'll see.
I would doubt it. Let's see. Here we go.
[00:19:34] Speaker A: Tell me how you little stories giving you the glory always fucking with my life tell me how it feels all the little stories loyal to the.
[00:20:42] Speaker C: You go weird ending.
[00:20:44] Speaker B: It's a weird ending. It's a long ending.
[00:20:48] Speaker C: Yeah, I think it should have stopped.
Probably heavier part. I think it would have ended better.
[00:20:53] Speaker B: Yeah.
I'll go first. I think I'm going to throw sevens across the board.
I don't think it's great. I don't think it's average for me. I don't think there's very much in here that says Mick Mars, except sold a little bit, maybe a little bit of a riff to me. It almost could be any band that's heavy right now. Production is okay.
The drums are very generic sounding to me. I don't really hear a lot of bass coming through this for me. So I'm going to throw sevens across the board. Because I kind of think that's what for me. I've heard the song before and I wasn't a big fan when I heard it.
I mean, the chorus is catchy, but I'm hoping there's going to be better stuff on there.
So. Seven, seven, seven. Gives me this mickey, pippy, baby. Seven, seven, seven.
What do you think?
[00:21:50] Speaker C: Trying to think I might do the same.
[00:21:53] Speaker A: Yeah.
[00:21:53] Speaker C: I mean, lyrics aren't terrible. Yeah, we'll say seven on the lyrics, seven on the music, I think is fair. I mean, I do like it, though. I mean, I can kind of picture going back to this.
I don't remember what I thought of it the first time, but that's not bad production.
Here's what I'm going to say. I'm going to say a six on the production. I do feel it has that kind of no feeling. But I do like when the guitar is heavy. Again, I'm not crazy about the drum. You know what? Fuck it. Let's say seven. I'll give it triple seven, too.
I'll give it for that.
Because, again, I think the head might have a little bit to do with it this week, too. But, yeah, I'll say triple sevens as well.
[00:22:45] Speaker B: Okay. Nicky titty, baby. Seven, seven, seven.
So the next song is broken on the inside. I have not heard this. This is not something that was released, I don't think.
[00:22:57] Speaker C: Okay.
[00:22:58] Speaker B: I'm curious to see what this is. So this is another McMars. Jacob Bunton, Paul Taylor, which is pretty much the whole thing. Except for one or two songs. Three songs out of it. The same guy.
[00:23:08] Speaker C: It's funny. Paul Taylor from.
[00:23:12] Speaker B: Know. Hey.
[00:23:13] Speaker C: Inspiration comes from everywhere this is true.
[00:23:16] Speaker B: All right, so this is broken on the inside.
[00:23:45] Speaker A: Got my till it's over. You got no disappointment she live in the light forever it's over, she don't die broken on the inside pretty little light broken on the inside, running light.
[00:24:49] Speaker B: What do you think of that?
[00:24:50] Speaker C: I was going to ask you first.
[00:24:54] Speaker B: Again.
[00:24:55] Speaker C: I know you don't like screaming.
[00:24:57] Speaker B: I do not. Generally. I mean, Pantera was a little bit better.
I mean, you can't compare this to Pantera, right? I'm not a really bit. I'd like that record pretty decent. But to me, again, my feeling is it's very generic. It's very generic. It's not what I would expect from him. I don't know what I'm expecting. Am I expecting motley crue? If I am, I should not be, right?
But I know he wants to be a little heavier, but to me it's just very generic.
I don't know what else to say.
[00:25:33] Speaker C: It could be anybody.
Yeah.
[00:25:35] Speaker B: I'm not saying the groove is bad. I'm not saying it's bad, but haven't I heard this before a thousand fucking times already?
That's just my honest opinion. I mean, haven't I heard this before from lots of other bands recently? I don't know. Is this going to stick out to me, that Mick Morris is making this record and this is the way it's sounding? I don't know.
[00:26:01] Speaker C: Yeah, I mean, I guess you, one would say it isn't bad.
[00:26:06] Speaker B: No, it's stock. This is what the heavy music is right now. Between the vocals, I think production wise it sounds okay.
[00:26:18] Speaker C: I don't think it's brick wall.
[00:26:20] Speaker B: It's not bricks wall. Mastered? I don't think so. That's not bad, but it doesn't do anything for me. This would not be a track like I would go back and listen to.
That's just my honest opinion. I don't hate it. I don't like it. It's just kind of like it's there.
[00:26:38] Speaker C: I don't like the beginning riff too much, but I like the way it develops kind of progresses. And it is heavy, but I think it's, like, good heavy, and it's a little sloppy. I think the transitions are a little sloppy. I don't know if sloppy is a word. I'm trying to pay attention the way it jumps from kind of, but again, I didn't like the beginning, so I do think it's getting better as it goes. But some of the transitions seem a little bit quick, like jarring, but like, oh, I like this piece. I like this piece, but maybe not exactly how they float into each other.
[00:27:27] Speaker B: Well, I don't have lyrics for this because there's no lyrics out there right at the moment. I don't have the physical piece of thing on me, so I'm going to have to pay attention more to try to figure out what the lyrics are.
We'll see.
I don't think I'm missing very much.
[00:27:44] Speaker C: Yeah, I can't understand everything he's saying.
[00:27:46] Speaker A: I know.
[00:27:46] Speaker C: He says pretty little lie.
[00:27:48] Speaker B: I know. That's funny that he used it again.
[00:27:50] Speaker C: Yeah. Like, back to back.
[00:27:52] Speaker B: That's all right. I mean, I don't hate that, but all right, I'm going to pay a little more attention and kind of see if anything jumps out of me that I like a little bit more. I mean, it could grow on me. I think the chorus in the last song is way better than the chorus in this song.
It's much catchier.
All right, here we go.
[00:28:14] Speaker A: Go get the needle. Your body is burned can notice watching she can't take it back when she live in the light forever it's over.
[00:30:04] Speaker B: Okay.
[00:30:07] Speaker C: That was on purpose. Somebody said the ending is weird.
[00:30:14] Speaker B: You go first.
[00:30:17] Speaker C: I don't know. I have no idea what he was saying in the lyrics.
This is going to be judged without.
[00:30:23] Speaker B: The lyric broken on the inside.
[00:30:26] Speaker C: Yeah. And pretty little lie. I heard that.
[00:30:30] Speaker B: Well, was it necessary to use the same megaphone thing?
[00:30:35] Speaker C: Yeah.
[00:30:36] Speaker B: Two songs in a row, the same exact way.
I don't know.
That's a choice right there.
[00:30:45] Speaker C: Yeah.
I mean, listen, I have to think that Mick Mars is guiding the ship, right? So whether or not these two songs were written together or whatever. And he said, hey, I mean, I'm assuming he comes up with the.
What do you call it? With the order.
I don't know. I really like the heavy part, but I think I don't like the intro part, like the verses. I don't really like that too much.
And when it goes into the second part, when it gets high harder, there's a weird thing between his vocal.
The pitch that he's using in the music almost don't sound right. It sounds kind of weird, but I really like the heavy part. So this is. I mean, it's kind of hard to judge, honestly. So here's the deal, because I think it lacks a little bit of the cohesiveness. And even though I like some parts better than the first one, I'm just going to say six production, I don't think it's that great. Again, I'm picking up the drum sound, which is that snare that sounds like they're hitting a sheet of loose leaf. Again.
So I'm going to say six on production, but I don't dislike the song.
I just think parts are better than the whole.
Again, I don't know what to say on lyrics because I really couldn't pick up on everything he said.
Did you hear enough to judge the lyrics?
[00:32:21] Speaker B: I don't know.
I would probably give it a six. I don't really know very much. It's hard because you can't really tell what he's singing about generally, because the effect is on most of the fucking lyrics.
So without the lyrics, it's a little hard sell of me trying to find.
Unfortunately, there is no lyrics for it, so it's an impossibility. At least right now, it's so new that there's really no.
Let me see if this thing. See if this has any lyrics.
[00:32:55] Speaker C: I'm trying to see. Maybe there's, like an insert. You know what I mean? Maybe they have, like, the. If there's a vinyl. If it has the sleeve, maybe there's lyrics on the sleeve.
I got to tell you, Google is funny sometimes. Sometimes you think that you've typed God knows what the way. Some of the.
[00:33:19] Speaker B: Yeah, most of the lyrics aren't on here.
So I think there's only a couple of songs where there's lyrics.
So what do you think? You're going to have to give it something.
I'll say six triple sixes.
[00:33:37] Speaker C: Well, listen, they could be really good, but because I couldn't hear it or understand everything, I don't want to.
[00:33:50] Speaker B: I do understand what you're saying with the break between the verse and that chorus. Like the stop right there. I mean, it's interesting, but it feels like those things were jammed together.
[00:34:01] Speaker C: Oh, so wait, I found an insert.
Okay, so it's a little blurry, but let me see if I can read this. So it says, molly's got her high heels, she's all dressed in black putting on the makeup she's coming off the track she'll take you for your money she knows what you need won't mop, won't stop until it's over you got the disease she can't take it back when it's. When she's living the lie forever is over she's all out of time pain broken on the inside pain pretty little lies pain pain broken on the inside pain, pain pretty little lies go on and get the needle. Your body is the gun killing is for pleasure and shooting is for fun all cocked and loaded watching you drown your weakness is the weapon that's taking you down she can't take it back when she's living the lie forever is over she's all out of time and then the chorus is the same.
[00:35:03] Speaker B: You could be a mom.
[00:35:06] Speaker C: It's not bad.
[00:35:07] Speaker B: So what do you think then?
You're going to keep the six on it or are you going to change it?
[00:35:14] Speaker C: You know what? I like the flow. I'll say seven on the lyrics. What the hell?
[00:35:18] Speaker A: Okay.
[00:35:20] Speaker C: What do you think? You stay into six or does that change your mind?
[00:35:24] Speaker B: That changed my mind. Musicianship.
I was expecting, like, they did that little riff thing, and I expected them then to do some guitar stuff and then didn't happen. So I don't know what I'm hearing here.
[00:35:38] Speaker C: What do you think of the solo?
[00:35:41] Speaker B: What solo?
There was that little line thing, and then I expect then it felt like he was going to do something over that, but then he just played these single line things and. I don't know, it's not what I expected.
I don't know. It's not my thing, man.
I don't know. I didn't think I was going to like the pantera stuff, but the pantera stuff was better, so I'm kind of basing it off of that. I'd like that a little bit better than this.
[00:36:09] Speaker C: Well, I'll tell you one thing for sure, the production is better on the Pam Terra record, that's for sure.
[00:36:13] Speaker B: Yeah. I mean, Michael Wagner is not a bad producer, but.
[00:36:15] Speaker C: No, he's not. But he's probably like. He is more of a.
I'm trying to think of, like, the interviews and stuff. I mean, everybody seems to like him, that's for sure. I don't think I've heard anybody really say anything bad. And obviously the fact that Mick Mars, who's 100 years old, is still going after Michael Wagner to produce this record.
But I don't know, I guess this is the modern production of a lot of this stuff, and it's just the stuff that I'm not crazy about. I think the heavy parts are okay.
I think it does sound pretty good.
[00:36:58] Speaker B: The bass is just, like, there.
There's not much standout happening bass wise.
[00:37:05] Speaker C: Again, I think the bass gets lost in a lot of. In this production. I think the bass gets lost a bit.
[00:37:10] Speaker B: Well, that's what I think.
[00:37:11] Speaker C: Yeah.
[00:37:11] Speaker B: I think the guitar sound is overwhelming. It's in the frequencies where the bass is supposed to be.
Is it played horribly? No, but I don't really like it, so I'm going to give a six across the board.
It's just, for me, it doesn't really make a lot of.
[00:37:32] Speaker C: I just think of some of the transitions and those two parts were a little bit better. I mean, what I'm giving it is more for it. I really like that heavy part.
[00:37:43] Speaker B: Yeah, again.
[00:37:45] Speaker C: Hey, man, listen, you don't have to like it.
[00:37:49] Speaker B: No, I mean, you knew what this.
[00:37:51] Speaker C: Was kind of coming into it, right, based on the first two things that were released?
[00:37:57] Speaker B: You know what it is for me is it just sounds. The guy doesn't have a bad voice. Like, he can sing. Right, obviously.
But it's so stock of what's so stocked. Like, I would say there was stuff in the 80s, metal that was stock. He got to a certain point, it just was stock. Stuff. It was just like, all right, well, okay, I guess. Is it bad? No, it's just like, what is making this a Mick Morris record? For me?
[00:38:23] Speaker C: Nothing.
[00:38:26] Speaker B: As much as we talked about the ace Frailey stuff and whatever, you can tell, it's him. It's his style. Even though he didn't write all the.
This. Is this what Mick Morris wants to be? Maybe. And if that's the case, more power to.
You know, I just don't think I particularly like. This is not a style of music that I generally would go listen to. I can appreciate people playing. I can appreciate production. I can appreciate that, but it's just not my thing. And if it's not from a band, know, like I said, I gave Pantera a shot because obviously everyone likes them. I don't listen to them either. But I didn't hate lyric, you know, singing. Could I get away with someone else singing? I don't particularly like his voice that much, but I appreciate. I think the songwriting was better.
[00:39:17] Speaker C: Yeah.
I think one of the issues is, too, right, is that Mick Mars is so embedded in Motley crue.
Obviously, I'm not saying, oh, nobody knows. Clearly, the guy is respected.
But sometimes I think maybe it's possible, too, when you're so embedded in a band and in a sound and someone else who's writing most of the stuff, and you don't really get to come out. You don't know sometimes, what would he do if he had an opportunity? Like, let's say he had a solo album before. This wasn't his first solo album. I mean, you really have nothing to compare it to other than the Motley crue stuff.
And when they came off the chain, which was Motley Crue, right. The one with mean. That's. That's a very divisive record. I mean, I've heard a few podcasts where they say this is the best motley crue record, and others say, this is not the best.
[00:40:23] Speaker B: I don't remember enough of it, so I don't think I liked it that much. But I don't even remember. It's a long time ago now. What is it, 94, right? Something like that.
[00:40:32] Speaker C: Something like that. 93. 94, yeah. I mean, I remember liking the lead off single, and I tried giving it a few tries, especially when, again, hearing other people saying how good it was at Mick Mar, saying that that's his favorite. He still says that. I saw a recent interview with him. He still talks about that record being his.
[00:40:53] Speaker B: Mean. Unfortunately, I don't know what the relationship is like with John, Karabi and him. I think that would. To me, that would have been a better thing.
[00:41:01] Speaker C: I thought he was getting a song on.
[00:41:03] Speaker B: No, no. There's some record stuff he can't release for whatever reason. I don't know why. He didn't get into why, but who knows why anyway. All right.
[00:41:11] Speaker C: Yeah.
[00:41:12] Speaker B: So next one is alone. Let's see. Are we going to take bets whether they're going to use the fucking megaphone thing again?
Because it seems like this is a pattern, so hopefully not.
[00:41:23] Speaker C: I hope not.
[00:41:24] Speaker B: All right, here we go.
[00:41:42] Speaker A: Racist footsteps break the silence of the night is the grave against the cold only drifters wage war they cannot fight in the days of growing old can't stop the voices garland. This time they know it's going down can stop but I blame for it alone in the world.
[00:43:08] Speaker C: What do you think of that?
[00:43:09] Speaker B: I like it better.
It's more in my wheelhouse, I think.
[00:43:15] Speaker C: I hate that drum sound, man.
[00:43:17] Speaker B: Yeah, I can hear the bass at least this time. But the bass is.
I don't know. I don't like the bass tone that much either.
Lyrics sound like they're okay.
[00:43:29] Speaker C: Yeah, I see them here. Somebody's. Like I said, I'll try to interpret what is blurry, but it says, their restless footsteps break the silence of the night as they brave against the cold lonely drifters wage a war they cannot fight and their days are growing old can't stop the voices calling but this time they know it's going down and then the chorus was. Can't stop from falling apart on my own this time it's goodbye can't stop from falling apart and I'm only to blame for it all alone in the.
[00:44:00] Speaker B: World yeah, I don't think it's bad. Although it was kind of funny. Like, right before it came to the chorus, whatever they did, I was hoping they doubled that up and they didn't. They only did it once and they went to the chorus. In my head, I was expecting it to double up. It didn't double up.
I don't hate this song so far. This is my favorite song so far.
[00:44:20] Speaker C: Yeah. I was like, I think this is a little bit closer.
Well, let me ask you this. Does this sound more like Mick Mars to you? Like something you would expect him?
[00:44:30] Speaker B: No. To me, it's still very generic, but I like it a little bit very.
I don't know.
Again, it's one of those things, like, you feel like it could be done by.
[00:44:52] Speaker C: I mean, last week Steve Brown, this week Michael Wagner. And it's still I don't understand this production. Again.
[00:45:01] Speaker B: You don't like the drum sound at all still?
[00:45:03] Speaker C: No.
[00:45:04] Speaker B: I think it's better than last week's, though.
[00:45:07] Speaker C: But even overall, the general production, even this. Okay, so this is ballady. I still feel there's no warmth to it.
I think that's a lot of what, to me, is missing warmth.
[00:45:20] Speaker B: Yeah.
Well, let's see how it goes so far. This is my favorite so far. So let's kind of see. I don't mind the mid tempo.
[00:45:31] Speaker C: Oh, yeah.
[00:45:32] Speaker B: Is it ballad? I don't know if it's ballad, but it's mid tempo anyway.
[00:45:36] Speaker C: Yeah, I would say mid tempo.
[00:45:38] Speaker B: Okay, here we go.
[00:45:41] Speaker A: Never thought that things would ever be this way.
But it's all over now.
Sometimes silence is louder than the words you say.
Still they follow. You can't stop the voices calling. This time they know it's going down close. You can blame for it. All alone in the world.
My shadow slowly just the darkness try to run. But it's here to take me down.
Down.
Drowning in a sea of madness fading fast. My blood dropped to the ground down true. All right.
[00:47:13] Speaker B: I don't know what's going to happen, but I figure we'll stop it there.
[00:47:19] Speaker C: It's got that, I think, still, that 80s sensibility to it, I think, wrapped up in a modern production.
[00:47:30] Speaker B: Yeah.
[00:47:31] Speaker C: Had this been done in the 80s, it probably would have sounded better.
That's not bad, though.
[00:47:41] Speaker B: No, like I said, this is my favorite so far.
[00:47:43] Speaker C: So that verse was. Never thought that things would ever be this way. But it's all over now. Sometimes silence is louder than the words you say. Still they follow you around. Can't stop the voice, it's calling. But this time they know it's going down. And then the chorus is the same.
[00:48:02] Speaker B: Okay.
I think the lyrics are pretty good.
[00:48:05] Speaker C: Yeah.
None of them have been that bad, all things considered. And then that other part was. My shadow slowly turns to darkness. I try to run but it's here to take me down. Down. I'm drowning in a sea of madness. Fading fast as my blood drops to the ground.
[00:48:25] Speaker A: Okay.
[00:48:26] Speaker B: Yeah. I don't hate the lyrics.
No, I do think that the drums sound better than the ace frailey drums.
[00:48:35] Speaker C: I haven't decided yet.
Well, the playing sounds less machiny.
There's a little bit more life to them, I think.
[00:48:50] Speaker B: Yeah.
[00:48:51] Speaker C: Does that make sense?
[00:48:55] Speaker B: Well, who knows how this was tracked? Is this more of a live thing? You know what I mean? Who knows? It may be. It feels a little more like it has a little more feel into it as opposed to just like the other stuff is much more like we put all these things on the grid and we're beginning able to do whatever we want with it. But this doesn't sound that way.
[00:49:14] Speaker C: Yeah, there's a little bit of soul to my dream.
[00:49:16] Speaker B: So I'm curious if there's going to be any other guitar in this. So anyone goes back to the keyboard, the piano. So let's see what it does.
[00:49:23] Speaker A: Bubble mind if lots of twisting but it's all over now can I can blame for it alone in the world own.
[00:50:56] Speaker C: No solo yeah, well, think about we. Remember what you said about girls, girls, girls and how little guitar there really was in that album.
[00:51:05] Speaker B: Yeah, I know.
[00:51:07] Speaker C: You know what, though? Who knows? Maybe he's like, listen, if I throw one of the big solos in here, it's really going to sound kind of like an 80 stroke.
I wasn't crazy about that little thing.
[00:51:21] Speaker B: I like it.
[00:51:26] Speaker C: That little part, by the way, was troubled minds. Their thoughts are twisted, but it's all over now.
[00:51:32] Speaker B: I think I like the lyrics here. I'm going to give the lyrics an eight, comparatively. Not eight as far as, like, any other record we've done. But I have to preface that. That it's eight comparative to what I've heard so far.
I mean, music is fine. I'm going to give it a seven, and production, I'm going to give a seven.
I do like it so far better than the other stuff.
I'm disappointed there's not a guitar sold of some kind.
I know I said that. I think the other thing has a lot more guitar than I thought it had a lot more guitar, but it doesn't.
But I don't know. I'm expecting a little more guitar solo something.
It's bad enough that modern music in general doesn't have that, and that when he puts something out, I expect it to have something. And that has nothing.
I don't know.
So far, I'm not super psyched about this whole thing.
[00:52:31] Speaker C: I wonder if maybe he says to himself in the motley crue songs, I need solo is kind of how I express myself. And here he's like, I just express myself with the whole song. So I don't necessarily need to. Who knows? I really haven't heard any interviews or anything.
[00:52:48] Speaker B: No.
[00:52:50] Speaker C: What am I going to say? I'm going to say seven on the lyrics, seven on the music. I don't know what to do about production.
I do like the way the chorus sounds.
All right, I'll just say seven on production too. I'll do another triple seven.
[00:53:06] Speaker B: They're going to run out TB, I think so. It's triple seven night. Here we go. Nick it to the baby.
[00:53:11] Speaker C: Seven.
[00:53:11] Speaker B: Seven.
[00:53:12] Speaker C: Actually sound like Frank a little bit.
[00:53:14] Speaker B: Yeah.
[00:53:17] Speaker C: It's not bad. I'm not hating it so far.
Yeah.
[00:53:25] Speaker B: Like I said, this is my favorite song so far, but in general it's so stock.
I wasn't expecting this.
I heard the first song and I was like, I don't know. That does nothing for me. And then second song came, I was like, that really doesn't do anything for me.
[00:53:43] Speaker C: What was the second release, by the way?
Do you remember? Was it undone on the second side?
[00:53:50] Speaker B: I think it was undone.
Or right side wrong, maybe.
I think it was right side wrong. I'm pretty positive.
[00:53:58] Speaker C: All right, so what did you expect from him?
I know. That's the thing. You don't know what to expect from him.
[00:54:06] Speaker B: I don't know. I'm not saying I expect Motley crue, but I expected more of a hard, rocky kind of thing and not this. Maybe that's what he came from, the expecting. Yeah, I was expecting more of, you know. I know he's trying know, I bet you if he's. He's already writing a second one from what I gather. It's not going to sound nothing like this.
[00:54:25] Speaker C: Oh, that's what he said.
[00:54:27] Speaker B: That's what he said.
All right, so next one's killing breed. This one's sang by the other guy. Brian Gamboa. Brian Gamboa Brion.
And I wonder if it changes the tone of it, you know what I mean, by a different singer? Maybe I like the singer better. I don't know.
All right, so this is killing breed.
Okay. Does every song have to do that?
Every fucking song have to have an intro? Everyone, like. It's. Okay, well, here we have one here, there have one there. But every fucking song so far had an intro, right?
[00:55:09] Speaker C: Yeah. I think this is going to be. What the hell is that first song from shout at the devil. Children of the Pete. No, what the hell's the intro for? Shout at the devil. What the hell is that little piece.
[00:55:22] Speaker B: Called in the beginning when they have to speak?
[00:55:27] Speaker C: Yeah.
[00:55:28] Speaker B: And I was going to say, before I forget, the alone song has a little bit of a fucking queen's right thing for me.
[00:55:34] Speaker C: Oh, does it?
[00:55:35] Speaker B: It's a little bit. Maybe it's because his voice kind of like he does the low thing, then he does the high thing. So maybe that's how I'm feeling it. All right, well, let's continue.
It is number of the beast or it is a shout to devil.
[00:55:58] Speaker C: It's got a bell, right?
[00:56:00] Speaker B: Doesn't that have a bell too?
[00:56:02] Speaker C: I don't remember unless it's hills. Bells.
[00:56:07] Speaker B: Yeah, it's very funny. Okay. I had to tell you that. There you go.
[00:56:47] Speaker A: Jesus.
Empty stone crushed long ago air smell the house I dreamt of faith took his joke another stitching time taking through the bat I know my dummies got me down don't take me cause love remain breathing enough to now feel the pain take me my mouth is gone if we.
[00:58:19] Speaker B: So what are you thinking of that so far?
[00:58:21] Speaker C: I'm not digging it too much. I don't really like the melody. I feel like there's nothing to hold on to. Like the chorus was almost catchy, but it wasn't.
I mean, there's some cool things going on, but it feels a little all over the place. I do like that little bit after. That's how I like Mike Morris. That little piece he just did.
[00:58:45] Speaker B: Yeah.
[00:58:46] Speaker C: What do you think?
[00:58:47] Speaker B: I don't know what to think.
Again, here's the thing for me, and this is just can't for anyone else, I'm not really into this kind of music. So, not that I don't like heavier stuff, but for me is would I turn this off if I was flipping through like Sirius XM and it came on? How long would I leave it on before I turned it off?
Right. For me, I would have turned it off already before I even got to the chorus.
That's how I look at it.
[00:59:22] Speaker C: I probably would have let it get to the chorus before turning it off as to see. Okay, let me just see kind of where this goes. But I thought that's where they were going to bring it home.
[00:59:29] Speaker B: But again, super duper can be done by. That's been done by everybody else.
And to me it doesn't really tell me that it's anything else besides some other band that I probably wouldn't listen to that's doing this. And just for me it's just. I don't know.
I don't see the appeal.
[00:59:59] Speaker C: I mean, the album is called the other side of Mars, right?
[01:00:02] Speaker B: This is definitely the other side.
[01:00:05] Speaker C: I mean, I give him credit for doing what he wanted to do.
I don't think he's doing this to be popular. You know what I mean? I don't think he's doing this because, oh, this is what's out there now. This is what I'm doing. An awesome job then I'm saying I could be wrong. I think this is the album that he wanted to make.
And if he appreciates the stuff that's going now and the sound of it now, because, I mean, again, right, make Mers is 72 years old. 72 or older?
[01:00:40] Speaker B: I don't know. I think so.
[01:00:42] Speaker C: He's up there, right? I mean, he's had success.
He's had controversy recently.
You give him a little breathing room. Again, you don't have to like the stuff, but you're like, okay, this is what he wants to do.
[01:01:01] Speaker B: So basically he's saying that killing breed and undone are indicative of the direction his music is headed. Those two songs are more in the area that I slowly want to move. I mean, it's a pretty diverse album. I know that fans from the Motley days kind of expect to either hear a blues record or something closely relating to the last band I was in, right. But I'm trying to move in another direction. But slowly, step by step. I'm working on second album now because that one took so long. I've got four really solid ideas. It's hopefully going to come out faster than waiting two years for this one. So he knows exactly what he's doing, right. He's saying, this is the way I want to move. Here's the question. Is mean. I guess he doesn't care. He doesn't care whether the Motley fans like this or.
[01:01:45] Speaker C: Mean.
[01:01:46] Speaker B: He's saying this is diverse. Maybe for him it's diverse because it's not Motley crue. Right. But really is. This ain't different than anything else that's out there right now.
[01:01:55] Speaker C: Well, I think he's talking, like song between the songs, right? I don't think he's saying it's diverse from what's out there. I think he's just saying the songs are diverse. I mean, obviously the first two are the heavier ones. Right now we got two slow ones back to back. But I just think the one before this did a better job with the melody and the music. I mean, there was a hook in the chorus, but actually, I can read you the lyrics. It's. Empty souls are all that's left their hope was crushed long ago hearts of fire smothered out a twist of fate it's rotten a took of fate oh, my God. A twist of fate took its toll another stitch in time fades into the past I know my time is coming fast and then the chorus is so take me because what remains is barely breathing I'm too numb to feel the pain take me my mind is guard gone my heart's defeated and I have nothing left to bleed for the killing it doesn't say music and lyrics, though.
[01:03:08] Speaker B: This was written by Mars and Taylor. So mcmars and let's continue.
[01:03:19] Speaker A: I paid the cost all signs of in the chance we're lost the smell of smoke to filthy air the reaper screen still looking out another stitching time taking to the back I know my town is coming back don't take me cause what remain is barely breathing enough to down the field of pain take me, me my love is gone.
[01:04:28] Speaker C: All.
[01:04:28] Speaker A: The king breath.
[01:05:26] Speaker B: Continues what did you think of that part?
[01:05:29] Speaker C: I like the solo.
[01:05:31] Speaker A: It.
[01:05:34] Speaker C: It's so funny because I'm just saying to myself, God, this reminds you of somebody. Reminds you. And, like, without thinking about Paul Taylor, I'm like, is it winger?
[01:05:43] Speaker B: Maybe.
[01:05:45] Speaker C: All of a sudden, I got winger vibes.
I did like the chorus better the second time around, but again, it's okay. I mean, I did like the solo. I think that felt. It reminded me of.
Not that it sounded like it, but kind of the vibe of the solo. And without you, it's got kind of like that big sound that's allowed, and I think it's. I kind of like the solo. What do you think about the solo.
[01:06:17] Speaker B: Again?
I'm not feeling it. For me, I'm just not feeling it. There's nothing here that I would really ever go back.
[01:06:24] Speaker C: I mean, overall, this is my least favorite. Me, personally, this is my least favorite so far.
[01:06:30] Speaker B: It's a different singer, too, which kind of, like, throws you off, right?
[01:06:33] Speaker C: Yeah, but it's a little similar to the other guy, though. It's not night and day. When he first started singing, it sounded like a big difference, but there isn't a massive difference.
[01:06:44] Speaker B: Yeah, I think he has a little less range, I think.
[01:06:48] Speaker C: So the next verse was, they fought the fight and paid the cost all signs of innocence were lost the smell of smoke still fills the air the reaper's grin still lurking there.
And then everything else is the same. The pre chorus and chorus.
[01:07:05] Speaker B: And what did you think about that little breakdown?
[01:07:08] Speaker C: Oh, it's now.
[01:07:09] Speaker B: Yeah.
[01:07:11] Speaker C: I'm curious to see where it goes.
I think that the bass drum sounds a lot better. Just probably the best.
I like the way the drum sound in this part as opposed to the other part.
[01:07:22] Speaker B: I'm going to back it up a little bit so we can hear more of it. Here we go.
[01:07:37] Speaker A: If I remain just standing prison it until now feel the pain you one day my love is gone you now have nothing left to bleed.
Hold the king breath.
Hold the king. Breathe it.
[01:08:59] Speaker B: There you go. Killing breed.
[01:09:04] Speaker C: That breakdown was fine. I went back into the core. I kind of like the way when.
[01:09:09] Speaker B: Yeah, I mean, listen.
Is it musically played bad? No, it's not just for me. It just feels so.
Feels like I could care less what's happening in the song.
[01:09:22] Speaker C: And it's just there.
[01:09:25] Speaker B: So I'm going to throw sevens across the board. I'm going to run out of sevens.
The solo wasn't bad. It's not something that I really. I don't know, I feel bad because I like McMorris a lot as a guitar player, generally.
Here, it's just. Whatever.
So here's my seven. Seven, seven. Nikki Titty, baby. Seven, seven, seven.
[01:10:03] Speaker C: In the lyrics, they're not bad music.
So. Because they gave other south seven. I don't know. I mean, you know what? I'm going to say seven again on the music. It kind of grew on me as it went along, but I don't feel the melody was as good in this one.
And production, I'm going to say seven because there's parts that I like.
But again, sometimes the drums sound so empty and there's nothing there.
It's just amazing how a lot of drums sound the same.
[01:10:48] Speaker B: That's a problem when everyone's using the same stuff. I just think that's just the way it's going to be.
[01:10:55] Speaker C: I mean, honestly, the snare sounds electric to me.
It doesn't sound like he's hitting his skin. It sounds like he's hitting, which could be the case.
It has that feel of like he's hitting whatever that all the sounds are made of.
[01:11:12] Speaker B: But I do have to say that I still think the drums here sound better than the other stuff from the.
[01:11:18] Speaker C: Also. He's also drumming more too, right? Yeah, he's doing some fills and stuff, whereas I just felt the ace really record a lot of stuff was like.
There was so much of that doom to boom.
Really? Is that the only fill?
[01:11:34] Speaker B: I don't know. It's a good question.
Okay, so the next song is memories. So is this going to be another slow one? Maybe. I don't know.
Here we go.
The other singer is back again.
[01:12:04] Speaker A: Feels like I'm losing myself.
I'm lost in your life tonight. It feels like river.
I'm losing my mind.
Caught up in your memory.
I feel it in my soul.
You'll never know how much you mean to me.
I'll never let you go.
I'll never let you go.
Sometimes I.
[01:13:05] Speaker B: So what were you thinking of that so far?
[01:13:07] Speaker C: It's all right. He sounds a little drunk.
He likes.
[01:13:14] Speaker B: Either that or he has a little bit of a speech impediment I didn't notice about.
[01:13:17] Speaker C: Yeah, it sounds a little lispy.
[01:13:19] Speaker B: It's a little Lispy.
[01:13:20] Speaker C: Maybe a little bit.
So when the piano first started, I'm like, okay. And then he kind of did this cool little thing at the end, but I don't feel like he's.
I don't know if maybe Taylor's playing just something different underneath or. I felt like there was a nicer melody to go along with it.
For me, right now there's nothing there.
What do you think?
[01:13:52] Speaker B: What were the lyrics of the first part?
[01:13:54] Speaker C: Feels like I'm losing myself. I'm lost in your light. Tonight.
It feels like forever. I'm losing my mind. Caught up in your memory. I feel it in my soul. You'll never know how much you mean to me. I'll never let you go. I'll never let you go.
Okay, what do you think so far?
[01:14:14] Speaker B: Let's continue. I'll back it up a little bit.
[01:14:20] Speaker A: Sometimes I just can't believe we've come this far.
I've never felt anything like this before.
And you're still in my arms.
Caught up in your memory.
I feel it in my soul.
You'll never know. How much you mean to me.
I'll never let you go.
I'll never let you go.
Everything I ever wanted. Everything I ever needed. Forever and ever.
The color of your eyes.
Always in the dazz it's now and forever.
[01:15:44] Speaker B: I was thinking right now, when he was singing a little bit of altar bridge.
[01:15:49] Speaker C: I can hear that a little bit. Believe it or not, I was actually thinking extreme, too.
Yeah. I don't know why something came to me, but I'd still hear winger in that. But, yeah, I can hear alter bridge, too.
[01:16:02] Speaker B: I mean, obviously, Paul Taylor can play. His piano playing is pretty good.
It's just the song's very.
There's no. There's no dynamic, though. When you think there's going to be a dynamic, it just doesn't happen.
[01:16:17] Speaker C: Yeah, it is kind of like one big first.
[01:16:21] Speaker B: Yeah.
All right, let's continue. Maybe they'll change on us.
[01:16:33] Speaker A: San.
[01:16:56] Speaker B: And that's the singer playing the violin.
Interesting. I guess.
I don't know.
Again, it just feels like it's just dragging across.
[01:17:13] Speaker C: Yeah.
[01:17:18] Speaker B: Okay, continue. I can see both of us love this song so much.
[01:17:24] Speaker C: There's not much to say, though, is there?
[01:17:25] Speaker B: I mean, no, there's not much.
[01:17:27] Speaker C: Again, it's not horrible, but it's also three slow songs in a row, which is an OD.
[01:17:36] Speaker B: It is kind of OD tracking.
I don't know. All right, let's continue.
[01:17:44] Speaker A: I feel it in the.
You'll never know how much you need to be I'll never let you go I'll never let you go.
[01:18:17] Speaker B: Okay, you can go first.
[01:18:20] Speaker C: Well, I can give you the rest of the lyrics.
Please do. Yeah. Sometimes I just can't believe we've come this far I've never felt anything like this before and you're still in my arms and then the chorus and then that last bit with the violins. Everything I ever wanted everything I ever needed forever and now the color of your eyes they always hypnotize it's now and forever caught up in your memory and that's the same caught up in your memory. You know what's funny? I just realized that he said the word memory and the song is memories.
I wasn't putting that together.
[01:19:01] Speaker B: Yeah. Wow.
[01:19:03] Speaker C: I mean, the words are. They're not bad, but I'm going to say six. I mean, there's a nice sentiment there, but music.
I'll probably say a six on the music, too. I mean, it's not terrible, but, um.
I'll say seven under production. I mean, it's fine. It's probably the best produced so far.
[01:19:35] Speaker B: Yeah, I like production.
[01:19:37] Speaker C: Yeah, it sounded fine. Right. Because there's nothing.
I mean, the piano sounded good. His voice is fine.
[01:19:44] Speaker B: It's just so boring.
[01:19:47] Speaker C: Yeah. There wasn't much going on with that song.
[01:19:49] Speaker B: I was going to do the same thing. Six, six, seven.
[01:19:52] Speaker C: There you go.
[01:19:53] Speaker B: And I think that's being generous, personally, because it's really super boring.
Again, my assumption is he doesn't give a fuck about anyone liking this or not liking, you know, really, if you're a motley crue fan, are you looking to this and going, oh, wow, this is awesome?
[01:20:19] Speaker C: Well, people are going to listen to it. Yeah. I mean, definitely not thinking it's going to sound like.
[01:20:25] Speaker B: Well, no, but they're going to listen to it because it's Mick Morris. Right. And they like Mick Morris. All motley crue fans like, do. I consider myself a motley crue fan because I like a lot of the stuff that they've just. This is befuddling me about what's going on here.
There's lots of stock things that are happening now, right. Besides, the first two things with super stock, I liked alone better than probably anything else so far. Killing Beavis, I was okay.
And this thing is just know. You can always know. Hear Beavis and Beth yelling at this, right?
[01:21:10] Speaker C: Yeah. But here's the deal. Ultimately, if this is the record he wanted to make, I give him 100% credit for making the record that he wanted to make. Right. Because we're in 2024 again, he's. However old he is, he's never made a solo record.
And he's probably been constricted, I would say, in Motley crue, at least to a certain extent. Again, I mean, that's my take on it. He's like the quiet one, right?
[01:21:42] Speaker B: I don't know if he was constricted. He made a lot of riffs. He came up with all those riffs. Nikki 6 may have wrote the lyrics and maybe progressions of chords, but I'm pretty sure his licks are what made what Motley Cruz sound like it sounds like. You know what I mean? I don't know.
There's just nothing for me, it's one big run on.
[01:22:05] Speaker C: Mean.
[01:22:05] Speaker B: I could have given it lower, but I mean, is it played well? Yes. Are the lyrics pretty good? Yes. Production pretty good? Yes, but that's about it. Could I hear myself listening to any of this later?
Even the one songs I like? I will never be going back to this.
[01:22:22] Speaker C: I would say the first three I would go back to, I want to hear maybe even killing Bree just to see. Because it kind of grew on me a little bit as it progressed.
[01:22:32] Speaker B: But you're a better man than.
[01:22:37] Speaker C: Mean in general. Some of the heavier stuff isn't your cup of tea, which is. I mean, it's to.
You can't be forced to like something because it's Mick Mars. You can't say, oh, yeah, oh, wait, you don't like heavy stuff. Oh, but it's McMars. Well, what difference does it make?
[01:22:53] Speaker B: It's not that I don't like heavy.
I'm saying I like well done, heavy stuff.
[01:22:58] Speaker C: Yeah, but that's what I'm saying. But somebody shouldn't like it either because it's McMahon's. You know what I mean? If you don't like it, you don't like it. Just like with Dee's freely stuff.
[01:23:09] Speaker B: Yeah, if you don't like, you don't like it.
[01:23:10] Speaker C: Yeah. I mean, you come to these albums, know we're not doing these albums because we want to disparage them and say, oh, my God, mick Moore's making an album. Now? Come on, this is going to be a goof for Ace Feely. I mean, we come to these records saying, oh, shit, they made a record. Let's check it out.
[01:23:29] Speaker B: I always want it to be good. I always want it to be good.
[01:23:33] Speaker C: Absolutely.
[01:23:34] Speaker B: Okay, so let's get to the next song.
[01:23:38] Speaker C: I was going to blow your balls off with the second side. Watch.
[01:23:41] Speaker B: Yeah, well, this is right sided.
[01:23:42] Speaker C: Wrong.
[01:23:43] Speaker B: I think we've heard this already. So let's see. Here we go.
[01:23:52] Speaker C: Here's your intro.
[01:23:53] Speaker B: Fucking intro. Jesus Christ. I mean, they love their intros, I guess. I don't get it, but okay, this is every song. Well, did it happen on the keyboard song? It didn't happen on the keyboard song.
[01:24:07] Speaker C: No. I think it just kind of went in.
[01:24:10] Speaker B: All right, we'll give them a little. Cut them a little slow.
[01:24:12] Speaker C: There you go.
[01:24:13] Speaker B: Here we go.
[01:24:39] Speaker A: Will bow let's burn it down no more believing the lies and the people will rise the sun fade it now it's already too late and now turn is back my death I got me I know I it.
[01:25:23] Speaker B: I think that better. I like that better. I think the melody is better.
I like the riff.
[01:25:32] Speaker C: I think that this is something that you would probably think that he would write.
[01:25:37] Speaker B: No, not me, but I could tell you why, but I don't know. It's still very super stock of what would be written now by a heavy band.
[01:25:50] Speaker C: There's very little differentiation.
But here's the deal. I'd still think that in the vocals and in the melodies, there's definitely that 80s thing going. That's kind of like what I'm still hearing that.
[01:26:09] Speaker B: I don't know.
Well, I think I have the words to these. Hold on.
[01:26:14] Speaker C: Okay.
[01:26:16] Speaker B: I think I do anyway. Hold on. No, I don't.
[01:26:19] Speaker C: Do.
[01:26:19] Speaker B: I know. So you have to read the words. There's no words.
[01:26:22] Speaker C: It's divide and conquer us all. Yeah. The cities will fall let's burn it down no more believing the lies and the people will fries the sun's fading out it's already too late there's no turning back voices are calling it's been so long catch me, I'm falling in the end there's no right side of wrong.
[01:26:50] Speaker B: I don't think the lyrics are bad.
[01:26:54] Speaker C: No, they're not bad overall. I mean, listen. They're better than a lot of motley crue lyrics. That's for.
[01:27:04] Speaker B: It's not. It's not mean. I like the song a little bit, so.
[01:27:09] Speaker C: Well, I'm a sucker for the. I love that. And I think the production. Again, the snare sounds like shit, as always. But I think the production is a little bit better on this one, I think, because I really like the guitar sound.
[01:27:23] Speaker B: Okay, here we go.
[01:27:27] Speaker A: Keep on selling the dream while it's still in the green we're going nowhere inside you learn from your parents let's change this somewhere it's already too late there's no turning back let me know.
[01:28:11] Speaker B: I didn't like that transition whatsoever.
[01:28:13] Speaker C: No, that was way too quick. And those lyrics aren't even on the thing here.
[01:28:18] Speaker B: Oh, no.
Okay.
[01:28:21] Speaker C: That's why it threw me off. I was like, where the hell did that come from? The record?
[01:28:26] Speaker B: Back it up so we can hear the transition again.
Here we go.
[01:28:31] Speaker A: No feeling inside but you know that your mom is so. I said it was.
[01:29:13] Speaker C: So again, I like the sound of it.
He's not really doing. But I mean, technically, though, Mick Mars isn't really a shredder. Would you consider him?
[01:29:23] Speaker B: No, but I don't know.
I was expecting more.
I don't know. I don't know what I'm expecting.
[01:29:33] Speaker C: I'm just wondering if his, let's call it simplicity, is based on him just wanting to do that, or if by chance, some of it is to get more technical, might be harder for him.
You know what I mean? Just because of what's been going on with it. I don't know.
[01:29:55] Speaker B: It wasn't bad.
Again, I feel that I'm not hearing a lot of him.
I don't know.
Again, this is not what I was expecting from him.
[01:30:06] Speaker C: Yeah, it was okay.
Like I said, I like the tone of it and the sound of it, but, I mean, there really isn't much going on. And it's kind of buried, too. A little bit.
[01:30:15] Speaker B: Yeah, it was a little bit buried.
The production is going to take a little bit of a hit because that solo was way too low.
[01:30:21] Speaker C: Yeah, I.
[01:30:23] Speaker B: Okay, let's continue.
[01:30:36] Speaker A: In the end, there's no get we are falling in the air.
[01:31:11] Speaker B: Endings aren't great beginnings aren't great endings aren't great.
I mean, again, the lyrics aren't horrible.
[01:31:21] Speaker C: The other verse is, keep on smiling Keep on sailing the dream while they're stealing the green we're going nowhere the hate that's building inside you learned from your parents eyes let's change this somewhere.
And then again, I don't know what he said in that other part, because it's not on here.
Do you want to go first on this one?
[01:31:49] Speaker B: Yeah, I'll go first.
Obviously, everyone can play their instruments, right? He can sing. The question is, are the songs any good? Just because you can play your instrument doesn't mean the songs are any good.
[01:32:06] Speaker C: Oh no.
[01:32:09] Speaker B: I'm tending to give these things sixes and sevens, which I would give some other things, other records we listen to. Right? I probably like those records better.
I think I gave some sevens on the king's x thing. I would take King's x over this any friggin day of the week.
So I almost want to give it less because I really don't particularly think it's played fine and the lyrics are fine, the production is fine, it's all fine. It just does nothing for me, I don't know.
Seven on the lyrics, seven on the music and six on the production just because the solo is too fucking low.
[01:32:51] Speaker C: Yeah, we think.
I think I'd want to like this song more than I do because I like that main riff. But I don't know, the chorus is catchy. But you know what, I'll say seven on the lyrics. I mean, there's some good lines here.
The music, I got to say six.
This is a weird one.
Production. I'm also going to say six. I mean, again, I just drumstall trap and like you said, the solo just got lost in the mix.
It's not bad.
[01:33:34] Speaker B: I do think the problem is, nothing is bad. Here's the thing again, I'm going to keep reiterating. This can just done by everybody now. It just sounds like everything.
So for him, I guess he's feeling that this is like a diverse thing for him. But really it's not diverse for anything because you can hear tons of rock bands, metal bands that are doing this exact same thing. I'm hearing things going, I've heard this before. I've heard stuff that sounds like this. This again, this is not what I would have expected or wanted from Mick Mars. Right. For me. And whether he's not making this for me, I guess, or not making it for any of the Motley Crue fans. I can't see very many motley crue fans liking this.
Isn't that where his audience is not for anything, right.
His audience is Motley Crue fans, right. At least is he going to be getting some random people out of the blue at 73 or two? You know what I mean? Who is he playing for?
[01:34:33] Speaker C: I guess it depends on the.
[01:34:35] Speaker B: And maybe he doesn't care about that and that's totally fine.
[01:34:38] Speaker C: Yeah, I think this is just a record that he wanted to make. Here's the here's. And I think I may have mentioned this before, but if not, then I'm mentioning it now.
I think I'm more curious to hear what Motley Crue does million times than what Mick Mars does. The reason being is I had a feeling that Mick Mars was going to make a heavier record. I did have a feeling, just based on some of the stuff I've heard and whatever. But again, if Nikki six is still going to be the main. Again, I don't know exactly what he brought, but let's say he brought melodies and things like that. I am curious to see where it goes with John five and who controls it, right? Who's really going to control the songwriting? Because I'm telling you, I think Motley Crue might be in this vein, too. Not as heavy, obviously, as, like, the first two songs, but they may come around to some stuff, like, mean.
[01:35:47] Speaker B: I don't know. I mean, the dirt was the last thing they released, right? And that wasn't really great either.
So I don't know.
[01:35:56] Speaker C: I am curious to see. Because, again, Motley crue is the name of the Mars.
You have some things of. Okay, well, this is kind of like what he sounded like, a Motley crue. What's he going to do on his own?
It's like the Rob Thomas. Like Rob Thomas.
What did he do on his own when he went away?
Was. It was different. It wasn't massively different. I mean, it's still pop, but it wasn't kind of like what I was expecting.
[01:36:36] Speaker B: All right, well, the next one is ready to roll. Are you ready to roll?
[01:36:39] Speaker C: I'm ready to roll.
[01:36:40] Speaker B: We go.
[01:37:01] Speaker A: The heat as it burns your skin?
There's just no way to escape it?
The hair so thick you came in it's all you can take? But something keeps on pulling you fade your time is running out and I'll help break it through yeah, I can feel it coming straight down with the engine coming yeah, I can feel it coming. When the light goes down we're ready to roll.
[01:37:58] Speaker B: So what do you think of that?
[01:38:01] Speaker C: I don't know.
[01:38:05] Speaker B: You don't like it?
[01:38:09] Speaker C: It's funny because, again, going back to what you said, definitely that it's more, let's say, modernish. But that chorus is straight out of the 80s.
What do you think?
[01:38:28] Speaker B: I don't know.
I don't hate it.
I have to listen to it a little bit more. Yeah, there's a couple more interesting things for me, guitar wise, so I kind of like that a little bit, I guess.
I've been looking through a bunch of reviews. People are really liking this record.
[01:38:53] Speaker C: Yeah. I mean, some big websites.
[01:38:57] Speaker B: Yeah.
[01:38:59] Speaker C: I don't know. Maybe because it isn't what they were.
[01:39:05] Speaker B: He says, a lot of people are saying no now. The bulls back in Motley Cruz court to see what they're going to.
[01:39:20] Speaker C: Was it how long after John five was in the band that there was a release? Motley crue writing new music? Yeah, it was writing Motley Crue finished songs or whatever. I'm like, wait, what?
This guy's just got in the band.
The lyrics are, feel the heat as it burns your skin there's just no way to escape it. The air is so thick you're caving in. It's all you can take but something keeps on pulling you in.
The starlight begins to fade time is running out and all hell's breaking loose.
And then the chorus is. Hey, yeah, I can feel it coming. Straight down the line with the engines gunning. Hey, yeah, I can feel it coming. When the lights go down, we're ready to roll.
[01:40:16] Speaker B: I don't know.
I don't hate this one.
[01:40:23] Speaker C: I got to keep listening.
I got to keep listening.
[01:40:28] Speaker B: Yeah, me too. I'm not giving any kind of. I mean, I don't hate this, but this is probably another one. I kind of like. I'd have to let it go through a little bit. We'll see. I like some of the guitar stuff on here, so let's see if it continues that way.
[01:40:43] Speaker A: Down. Like a hurricane.
There ain't no second chances.
The blood is pumping through our veins.
Can't stop us now cause we're not ever backing down.
The time I begin to fade.
Your time is running out and I'll help it breaking through.
Yeah, I can feel it coming straight out of that. With the engine coming.
Yeah, I can feel it coming. When the light goes down, we're ready to roll.
[01:41:35] Speaker B: I mean, at least for me, this feels like it has a little. It's not as plotty.
I don't know. I don't hate the guitar vocal thing. Doing the same thing. I don't hate that.
[01:41:48] Speaker C: Yeah.
[01:41:48] Speaker B: I just think it's a little different than the other stuff, so I'm almost kind of liking it more just because it's not like that.
[01:41:55] Speaker C: It does feel a little bit older, and I'm not saying that in a bad way, but it does have a little bit of that kind of early 90s.
[01:42:08] Speaker B: There was those big vocals that was a very motley crude sounded like to me.
[01:42:12] Speaker C: No, yeah, that's cool. I mean, I like that. I mean, the chorus is catchy.
[01:42:17] Speaker B: Yeah.
I'm hoping that there's an actual solo here. That I'm going to like.
[01:42:22] Speaker C: Like a big solo.
[01:42:23] Speaker B: I hope so. I don't think so. But we'll see maybe I'll be wrong.
[01:42:43] Speaker A: I can feel it coming straight down the line with the engines gunning yeah, I can feel it coming when the lights go down we're ready to roll yeah, I can feel it coming straight out with the engine gun yeah, I can feel it coming when the light goes down we're ready to roll yeah, I can feel it coming straight down the line with the engine when the light goes down we're ready to roll.
[01:43:30] Speaker B: I just don't know if we need the sound effects for every beginning and end of every song.
Everyone.
[01:43:36] Speaker C: I think that's him just wanting to experiment.
[01:43:39] Speaker B: The chorus is catchy. The thing in the middle is so stock.
That thing in the middle they did with the drum sounding like it was playing to a record player.
[01:43:47] Speaker C: Right.
[01:43:48] Speaker B: And why.
[01:43:52] Speaker C: Yeah, just throwing those chords in there.
[01:43:54] Speaker B: Could have put a nice solo in the middle of that. I don't know. Did it really need that? I don't know.
Again, I don't hate it, actually. I like that it's a little more upbeat.
It's not as plotty.
I mean, I don't think the lyrics are as good as some of the other stuff. Although I do like the chorus a lot.
[01:44:18] Speaker C: I can read you the second verse because that's the only thing that read.
[01:44:21] Speaker B: Me the second verse.
[01:44:22] Speaker C: Coming down like a hurricane there ain't no something the blood is pumping through our veins can't keep up now I don't know we're not breaking down we're not ever breaking down can't stop us now I think that's what it is. Sorry, this one's a little bit hard to read. It's blurry.
[01:44:51] Speaker B: Um.
Like I said, I don't hate the lyrics. And lots of the other stuff. I don't know.
[01:44:57] Speaker C: I don't.
[01:44:58] Speaker B: I mean, I could give it a.
Again, overall, I'm going to give it seven across because I don't think it's one of the ones that I don't particularly hate.
Nicky titty, baby. Seven, seven, seven.
So I'm going to do sevens across. I wish there was a guitar solo. I didn't think that the production was bad. Again. Yeah, I do hear that. The snare sounds like you're hitting like a wet, wet piece of cardboard.
[01:45:30] Speaker C: There's no snap. Weird things, man. It's funny, in the pre chorus one time, it sounded like he hit the snare with two sticks, but just a little off. Of each other and just sounded weird. And then he did it. Something weird, too. And then the other thing. I don't know if it's like a misfill, but it's weird that it kind of happened in the same spot.
[01:45:54] Speaker B: What do you think?
[01:45:56] Speaker C: I'm going to say six on the lyrics.
I mean, they're okay, but I feel they're a little bit more like, hey, you know what I mean? Like, whatever music.
I don't know what to say on the music. I mean, the chorus isn't bad.
I want to say six on the music. I want to say seven, but six is sticking out of my head.
And production, I'll say seven on production. I mean, I do like the way the chorus sounds.
It's not bad.
So I assume so far this side is starting better for you than the other side.
[01:46:51] Speaker B: I think so.
I don't know. We'll see what's going to happen. Well, the next song is undone. And this song, he's playing seven string guitar on this, so I don't have no idea what to expect, what this is going to.
[01:47:03] Speaker C: Yeah, because he said he wanted a heavier sound. Right.
[01:47:06] Speaker B: I'm just not a big fan of tuned down, rubber bandy sounding heavy music.
So we're going to see if I like this or not.
[01:47:17] Speaker A: I.
[01:47:18] Speaker B: So here's undone.
[01:47:35] Speaker A: In my head broken broken broken shattered by the words we left unspoken the pain is blowing through my face like a nap I threw my soul I fall through the darkness God found the choice I made damn. I never fade away I faithful forgiveness pray to the rise and rest before I last breath I tell the girl and.
[01:48:46] Speaker B: Mean I don't hate that at all. But again it's something that I've heard a million times.
[01:48:54] Speaker C: It's okay.
[01:48:56] Speaker B: It's very stock. Again.
[01:48:58] Speaker C: Well, I mean, obviously in the first season with that happens all the time now happening, right?
[01:49:06] Speaker B: No, but I'm just saying. But especially now.
That's what heavy music is now, right?
How many times that have to be done like that? And I have lyrics for this one, believe it or not.
Thoughts pounding in my head the harsh regrets of all that I have broken our frail hearts lay torn apart shattered by the words we'd left unspoken the pain is flowing through my veins like a knife right through my soul I fall to the darkness scarred by the choice I made damned by a distant fire that never fades away I beg for forgiveness pray to the rising sun grasping for one last breath as I slowly start to come undone some lyrics are pretty good.
[01:49:48] Speaker C: Yeah. I mean, I think it's better than the ones before it.
[01:49:55] Speaker B: I mean, it's not breaking any ground of any kind of any kind of change, or it's really flowing into the same modern rock that's happening now. And that's been happening for a little bit.
[01:50:05] Speaker C: Yeah. And I feel like the chorus doesn't stand out as much.
[01:50:08] Speaker B: The chorus, to me, felt a little eighty s. I don't know why.
[01:50:12] Speaker C: Yeah, there's a lot of 80s going on. There's definitely an 80s sensibility.
I've felt it through these three songs. I think one on the other one, they're kind of modern produced, 80 song. I mean, I almost hear, like, white snake doing a song, like.
But. But again, think of the production being like it was for the White snake album. And slip of the tongue. So kind of like in that sound.
[01:50:48] Speaker B: Yeah, I don't hear any of that.
[01:50:49] Speaker C: Because that's what I was thinking as I'm listening to this. I said, okay, if this came out in the heard it, would I have liked it then?
I don't know. There isn't as much to for me yet. But who knows? Maybe it'll grow. I mean, that other song, I didn't like the way it started either. Killing breed. And then it kind of grew me as it went along.
[01:51:10] Speaker B: At least there was no sound effects at the beginning of this.
[01:51:13] Speaker C: Yeah, I was going to say there's an aw. It just went into it.
[01:51:16] Speaker B: All right, here we go.
[01:51:20] Speaker A: Drowning out the love that we once exited I tell myself everything we shed was never wasted the pain is blowing through my face like a nap I threw my soul I do the darkness God found the choice I'm there damn I never left away I faithful forgiveness pray to the rising song restrict for one last breath I don't.
[01:53:02] Speaker B: Thing sounds like something else.
You know what it was, what it sounds like?
[01:53:10] Speaker C: It's really.
[01:53:12] Speaker B: What's the guns n'Roses song?
The COVID they.
[01:53:19] Speaker C: Um.
The Paul McCartney one.
[01:53:28] Speaker B: That middle part is like the end of the solo.
That's what it kind of sounds like. Again, I don't hate this. This is probably one of the ones I like better, but it's just. I don't know. Again, it's just so the same.
[01:53:45] Speaker C: It doesn't stick. Again. It runs you a winger as well. So there's definitely traces of.
I mean, I want to say that I'm saying this no matter what. It's not just because I know that he's on there, but I am trying to think, like, who would have written a song like this in the think they probably could have.
[01:54:07] Speaker B: Yes, very true.
[01:54:10] Speaker C: And again, obviously no solo, just a musical piece.
Yeah.
[01:54:16] Speaker B: Well, let me read you one other verse. Because everything else is the same the emptiness creeps up inside drowning out the love that we once tasted despite the hurt I tell myself that everything we shared was never wasted the lyrics aren't horrible.
[01:54:30] Speaker C: No.
Again, the other ones.
[01:54:35] Speaker B: Yeah. To me it's just.
I don't know. To me, it's just very the same to a lot of stuff that's happening.
It doesn't really differentiate itself to 20,000 other bands that sound like this.
[01:54:52] Speaker C: Yeah. I mean, ultimately, I think if the production was different, it would have helped, but maybe if the production was different, it would have really sounded more eighty s.
I think these records are missing the warmth.
[01:55:09] Speaker B: Where's an 80s producer, though?
[01:55:12] Speaker C: Yeah.
[01:55:17] Speaker B: Let's continue.
[01:55:20] Speaker A: Rabbits from the winter cold frozen in the night breathing in the sorrow goodbye I fall to the doctor God by the choice I made damn, by your way I faithful forgiveness pray to the rising song resting for one last breath I love it. I.
[01:56:45] Speaker C: That'S the only fate so far, right?
[01:56:48] Speaker B: Yeah. And this is the other singer, too.
[01:56:50] Speaker C: Oh, yeah, you could tell.
[01:56:52] Speaker B: You definitely tell.
[01:56:53] Speaker C: He did that one thing in the chorus where it still reminded me of Steve Perry.
He does this little kind of like hiccup almost.
[01:57:03] Speaker B: Yeah. I didn't even notice that.
[01:57:05] Speaker C: Yeah.
[01:57:08] Speaker B: I'll go first again, I guess.
Again, the seven seven seven is going to get a workout because it's not horrible. It's not stand out. It's just there.
[01:57:22] Speaker A: Nikki Titty, babe.
[01:57:27] Speaker B: I can't hate on it because it's not bad, but it's just.
[01:57:36] Speaker C: It did grow on me a little bit. I'm probably going to say the same. I'm just going to say triple sevens make it easy.
[01:57:41] Speaker B: Triple seven.
[01:57:42] Speaker C: You got to find something.
[01:57:44] Speaker B: I mean, it's hard not to do that, right?
[01:57:47] Speaker C: Yeah.
[01:57:49] Speaker B: Nicky Titty, baby. Seven, seven, seven.
[01:57:53] Speaker C: I feel it kind of stands out a little bit more than the ones before it.
Obviously, the production is bigger. There's more going on.
[01:58:04] Speaker B: Yeah.
[01:58:06] Speaker C: It's also longer.
[01:58:08] Speaker B: It's longer. Yeah, it's 440. That's the one. The longest songs here, except for killing breed, is longer.
Okay. So the next one is. Ain't going back.
[01:58:33] Speaker A: And forth.
You I'm doing for you this in me and that's where I leave it. I'll be with the devil God bless my soul wanna take a time but he won't let go ain't going back again.
[01:59:17] Speaker C: That roof is a little reminiscent of old Motley crue, I'd say, produced heavier.
[01:59:25] Speaker B: The chorus or the verse?
[01:59:28] Speaker C: Both.
I mean, when that verse kind of came in in the beginning, I was almost thinking, oh, Vince Neal sang this. I could picture it. Kind of reminds me of, like.
I think the productions are better, but kind of some of the glam bands going a little bit heavier.
[01:59:56] Speaker B: The chorus is so much different than the verses.
[01:59:59] Speaker C: Yeah, well, the chorus is catchy, right? It's not as.
[02:00:03] Speaker B: Yeah, again, the overuse of the megaphone effect.
[02:00:09] Speaker C: Yeah.
I mean, the vocal on the verse is straight out of the 90s. Right? It's very.
[02:00:16] Speaker B: Yeah, well, someone was saying that day, they said, oh, this is a grunge record.
I don't know who was hearing that.
This isn't horrible.
I'm going to give my hand away. It's probably going to get sevens.
I think I like this a little bit better.
It's eight worthy for me, and I don't think it's sixes.
[02:00:47] Speaker C: My thing is this, I want to like that riff more, but I'm not liking it more, which is odd.
I'm just wondering why.
[02:00:56] Speaker B: We'll continue playing it and see if it helps you out.
[02:00:59] Speaker C: Yeah, because I do like that. I mean, I always say, like the tent.
[02:01:03] Speaker B: Yeah. All right, here we go.
[02:01:13] Speaker A: You hear me?
Because that's what you always do.
It's the perfect crown.
But the truth is I'm always living with your house inside my head I'm better off my soul wanna sing it back but it won't let go woman in the baby going back again?
Close.
[02:02:11] Speaker B: See, there could be solo there.
Just nothing.
[02:02:18] Speaker C: No, there's no real solos on this record. Right.
[02:02:23] Speaker B: It's more atmospheric, like just pieces of bridges.
[02:02:28] Speaker C: What would you call them? Just musical bridges, I guess. Yeah.
[02:02:32] Speaker B: Just little pieces of music, that's all. There's really no solo? There's a couple, but very few. It's like girls, girls, girls for me again.
[02:02:43] Speaker C: So let me read the lyrics are black and blue and face down in the dirt I bleed for you this hit me where it hurts and I swear I'm going to leave it all behind I'm losing my mind and then the chorus is made a deal with the devil God rests my soul want to take it back but he won't let go 1ft in the grave he's pulling me in my finger on the trigger ain't going back again and then you feed me lies because that's what you always do it's the perfect crime but the truth is I'm on to you I'm always living with your ghost inside my head I'm better off dead and then the chorus.
[02:03:19] Speaker B: I actually don't hate the song.
[02:03:21] Speaker C: It's bad.
It's not bad. I mean, I think the second side is a little bit more. Except. Yeah, but. Okay, so he launches out with those two songs, right. Then the next three are all slow. And this side is very eighty s. Ninety s. Reminiscent.
It's weird. I mean, this side is cohesive because I think there is a common thread that runs through this one. But then the second one, it's almost like those first two songs didn't fit on this.
And I kind of post the best, maybe. I don't know what parts of them. I don't know. But I think this side is definitely more cohesive.
[02:04:03] Speaker B: Yeah, I would agree.
All right, let's finish this up.
[02:04:08] Speaker A: My soul wanna take it back but it won't let go what if they get that? But it won't let go woman in the lady pulling me back again ain't going back again ain't going back again.
[02:04:53] Speaker B: Oh.
I think I like the drumming in this one a little bit better, too.
The drumming is definitely a little livelier on this album than on the ace Rayleigh one.
[02:05:05] Speaker C: Yeah.
[02:05:06] Speaker B: Much more lively.
[02:05:07] Speaker C: Yeah. There's more fills. I mean, there's some more intricate.
[02:05:10] Speaker B: Feels like there's a little moment going on. It doesn't feel like it's stuck on a grid of. This is exactly how it's going.
Different feel.
[02:05:17] Speaker C: Yeah. Now, the drumming is definitely better overall.
[02:05:20] Speaker B: Yeah.
Do I do sevens across here? Because I think I'd like this thing a little bit better. I have to admit, I missed no solo.
All right, that's what I'm going to do. I can't continue to give sevens across, so I'm going to give the music an eight just because I like the chorus a lot, even though it's going to still end up averaging to be a seven anyway.
But the only thing it's missing, really, for me, is if it had a solo in it, I think I'd like it better.
I might have given it eight.
[02:05:55] Speaker C: So what are you doing?
[02:05:56] Speaker B: 78787.
[02:05:59] Speaker A: Yeah.
[02:06:00] Speaker C: I mean, it did grow on me and the more it went on. And again, I think some of this stuff, because of the shitty headphones I'm using this week, probably could better.
But, yeah, I'm going to say the same. Say seven, eight. I mean, again, the chord, it's a short song. It's less than three minutes.
[02:06:19] Speaker B: Yeah.
[02:06:19] Speaker C: And the ending was a stupid ending, too.
[02:06:25] Speaker B: There's a lot of that here. All right, well, the end part of this is an instrumental La Noir.
So I'm curious what he's going to do for the instrumental, though.
[02:06:37] Speaker C: Curious Tim.
[02:06:38] Speaker B: All right, here we go.
I actually had high hopes for the beginning of that.
And then it went. Just went into a blues jam, really.
[02:07:46] Speaker C: I mean, I think this is the most make Mars sounding guitar, I was going to say.
[02:07:57] Speaker B: I mean, it's played very well.
I'm not sure I like the drum sound, though.
[02:08:02] Speaker C: Yeah, he's not doing much, though, is he? I mean, he's just really doing that.
Yeah, I was hoping it didn't chopping anything.
[02:08:13] Speaker B: I was just hoping it didn't go into the bluesy thing, at least not like the shuffle thing for the rhythm. I just was hoping it didn't do that because I like the beginning riff and this is more. Not that I was expecting, I guess. Yeah, maybe more was. I was expecting, I guess. Yeah.
[02:08:30] Speaker C: But I mean, I think that you can listen to this and maybe say, hey, is that McMartz? At least the sound of it, it reminds me of.
[02:08:38] Speaker B: Yeah, a little bit more.
[02:08:42] Speaker C: But he's still not doing.
[02:08:46] Speaker B: I mean, no, he's doing all more. It's more melody, so it's a melody, so that's okay. I don't hate it, but I would like some other stuff going on. But we'll see. Maybe it'll change. I mean, this is like a 343 three minutes and 43 2nd instrumental. So we still have 242 to go, so it could change.
Let's see.
Starting to get really monotonous.
[02:10:33] Speaker C: Yeah, that's not really. I mean, I do like that OD time stuff that they were doing because honestly, the bass and the drums are really what's kind of, I feel carrying the song because.
[02:10:48] Speaker B: That little rifting that I liked, I like the riff. I wish they would use that a little bit more instead of just being. Going back to the shuffle again.
[02:10:55] Speaker C: No.
[02:10:58] Speaker B: Okay, let's continue.
[02:12:26] Speaker C: Same thing over. I mean, I did like that one piece where they were going off, where they're fooling around with the time and the drums and the bass.
[02:12:34] Speaker B: Because it's not played badly.
[02:12:38] Speaker C: No, but I mean, there's just very much there.
And again, there's no real solo.
I haven't heard any interviews, but I'm sure somebody will be like, hey, Mick, you're not really doing solos. Kind of.
Is it something you consciously did?
[02:13:02] Speaker B: So what are you going to give it?
[02:13:04] Speaker C: I was going to say seven on the music, but I mean, honestly, I only liked one piece of it. So I'm going to say six. I mean, again, it's not played badly.
I'll say seven on the production.
Again, if I ever went back to this, I just want to hear that one part, because I do like the way they did that part. But the rest of it is really nothing. It's over and over. The same thing.
[02:13:32] Speaker B: Yeah.
There could have been more variation in the lead stuff. It just felt like it was the same melody over and over.
I mean, it changed a little bit, but it wasn't anything spectacular. I'm probably going to do the same thing. Six and seven.
So, what do you think? I mean, we've been yapping for a while already. So what do you think, overall?
[02:13:55] Speaker C: It's okay. You know what I mean? I don't know what else to say.
It's okay.
It's not bad.
I think I would probably give it another pass through with better headphones and kind of see if the stuff that I'd like, that would still like. And maybe some of the stuff that it was, if I liked it better.
I mean, I do think, again, the second side is more cohesive. It's just funny that the heaviest songs are right up front. Then he goes into the three slow ones, but this one, to me, the second is kind of like the nuts of slow. And then it's kind of got the third song, which is the ballad. Right.
So it's almost like an album within itself. The second side, it feels like.
[02:14:51] Speaker B: Yeah, I think I like the second side more than the first side, which doesn't usually happen. I like alone. I like undone.
Ain't going back ready to roll. I mean, they're okay. It's just some of the cliched stock metal things that are going on now there.
It doesn't help him differentiate it from other things that are around. And that's really more what I wanted. I don't care if he did what he. You know, if it was not the Motley crue. Like, I didn't care about that. But I just feel like they're using such pre done things that everyone uses.
The little breaks in the middle where the drums are, like, through the megaphone thing, too. How many times you have to hear that in music? I mean, you're not breaking any ground here.
Yeah, it's different for you, but really, you put all these things together. You're just basically doing what other bands are doing.
[02:15:47] Speaker C: I mean, again, I'm hoping he made the record he wanted to make. It sounds like he did. I don't know. How long he's been working on this?
[02:15:54] Speaker B: A couple of years, supposedly.
[02:15:57] Speaker C: It's funny, I meant to say during.
Not the singer who sings two songs, but the other guy, the main guy.
I picked up some Paul Stanley in him, too. I felt like some of his phrasing. And if you go back and listen.
[02:16:11] Speaker B: To it, maybe I haven't really listened to it.
I'm going to be a hundred percent positive. I'm going to 100% truthful on this. I'll never listen to this again.
[02:16:21] Speaker C: None of it.
[02:16:23] Speaker B: No, really, no. It's just for me. And again, I wanted to come because I like Mick Morris. I wanted to come in here and go, yeah, let him kick the fuck out. I wanted to put a record out. So then Mike Lucas was like, oh, fuck, we shouldn't have got rid of him.
And to me, the only way that was going to happen is if he would have gotten John Karabi and they would have done something together. Maybe that may have been a little bit better, because I think John Karabi is probably a better songwriter overall.
So I don't know. For me, it's just meh. It's meh. It's not bad, but it's just.
I don't know. It doesn't distinguish itself for me from anything other than what's happening.
[02:17:07] Speaker C: I feel a little misled, too, for some of the reviews. Right.
I was expecting a heavier album overall, and then when it first starts, you're like, okay. And then that doesn't really happen again.
I feel 80 sensibilities in the second side. I feel like, without a doubt. Eighty s and ninety s going on. I mean, obviously the production is. The production puts it in the now, without a doubt.
So again, I don't get it.
[02:17:43] Speaker B: But whatever. He made a record for himself. We got through it.
And again, it's not something I'm going to probably go back and listen to.
[02:17:51] Speaker C: So nobody else put out records, right? We're spinning the wheel next week, the.
[02:17:55] Speaker B: Wheel is coming off a vacation, coming back from Jamaica. Wherever she is, she's coming back, and we shall spin again. And hopefully we'll get something really good, or we'll get something cheesily bad that we can rag on a little bit more. Because I don't want to really rag on this, because I don't think anything is played badly.
And I don't think there's really bad, horrible, cheesy lyrics. It's just very.
Looking at the spreadsheet, right the moment the Spotify thing is going to have one, two, three, like seven songs or eight songs, because there's a lot of seven, you know what? Seven, seven, seven. There's just so much seven.
[02:18:37] Speaker C: It's just whatever. Ultimately, we're also.
[02:18:43] Speaker B: Which one I like better. This is the Ace frayer record. Ace Frayer record is better than this. It's more cohesive. It's more of a sound that you were expecting.
It didn't really stray that far away from the sound that you were expecting. You're not too sure what you should expect because it's the first solo heat thing he's made. But to me, it's not different enough for me to go, oh, I'm going to come back for this. Because a lot of the things I hear in here I don't particularly like in the new music. So for me, it's just like, hey.
[02:19:17] Speaker C: What do you think you would have wanted for him? Something like bluesier, you think?
[02:19:21] Speaker B: No, I want something a little more riff in it, a little more solo in it. Something that would say, hey, look, I can't play guitar anymore. Here we go. This doesn't show that. This just shows that, yeah, he can play heavy guitar. He's writing riffs and some people are saying it's like Motley crue, but just heavier. I'm like, I don't think so. I think, unfortunately, he suffers from needing other people to kind of organize his stuff into a thing, what it is. And maybe that's what happened in Motley Crue. Nikki Six writes the basic thing. Then he comes out with the riffs because there's lots of good stuff he did in Motley Crue.
But here it's just. It feels very. I don't know, it feels not to do that on purpose.
It feels so much that he's not doing that because he doesn't want to sound like that. You know what I mean? Whereas maybe that's where his fan base, the. Maybe some motley crue fans like this, I guess.
[02:20:17] Speaker C: But listen, generally the reviews have been pretty not. It's not bad. And I think, again, the second side is definitely more cohesive than the first side.
I didn't know, because again, when the first two songs come in, I'm like, okay, it's probably going to be more like this. But it really kind of wasn't.
[02:20:43] Speaker B: Anyway, another one down.
[02:20:46] Speaker C: Yes.
[02:20:47] Speaker B: Why don't you do your thing?
[02:20:48] Speaker C: Yeah. So we are part of the Deep Dive podcast network again. Like I always say, great bunch of guys took us in right away. Check them out. Especially if you want more individualized podcasts. You name it. Queen, Tom Petty, Uriah heap, Iron Maiden, Van Halen. You name a band, they're probably on there and definitely way more cohesive than we are and probably more knowledgeable.
So definitely check them out. And Mark, where can they find us on the interwebs?
[02:21:16] Speaker B: Rockroulette pod on all the socials and rockrouletpodcast.com. Please leave us reviews wherever you listen to your podcasts, five star reviews will be awesome. If you like us, please leave a five star and set your podcast app to download so you'll get these long ass podcasts like this one. Not as long as last week, but we're doing pretty good. This is why we don't do one album at a time, because it takes a lot of time to do it.
[02:21:45] Speaker C: Well, last week we had clips and stuff too, right? There's a little bit more controversy and.
[02:21:49] Speaker B: Conspiracy around, and we wanted to get these two out of the way, really, so we could get back to our format. But I'm glad we did it anyway. I'm glad we listened to it even, regardless of whether I'm not going to listen to it again, I'm glad we did it.
[02:22:02] Speaker C: Motley crue fans. Van sound off.
Tell us what you think.
[02:22:06] Speaker B: Tell us. Do you like it? Do you not like it?
[02:22:08] Speaker C: Yeah.
[02:22:10] Speaker B: I don't know. We'll see. Anyway, so next week the wheel comes back from vacation.
[02:22:15] Speaker C: Yes, she's back.
[02:22:16] Speaker B: And she will be able to. And she'll be spinning and we see what we'll get. Yeah, so we will see you guys later.
[02:22:23] Speaker C: Ciao, chow.