Episode 82 - Kings of Leon - Only By The Night (Part 2)

[00:00:04] Speaker A: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement, and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the Rock Roulette podcast. [00:01:14] Speaker B: Hey, everybody. Welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1100 albums, stuck them in a list, stuck them in a wheel. And typically every other week we spin the wheel, she picks a record for us and we go do it. Usually one side per week, song by song, and we rate it based on music, lyrics and production. And again, just a bunch of friends who wanted to do a podcast, just having some fun. So as always, we want to thank whoever listens to us. If you like us, spread the word, you know, give us comments, criticisms, whatever it is you think that'll make it better, or we can change, or even an album that you'd be interested in us covering. We can do whatever, whatever it is, we can do it. Last. Two or three weeks ago, we pulled a couple of audibles and did the new Ace fraile album. We did McMars, but last week the wheel was back from vacation. So before we start, I want to say hi to Mark. Oh, hi, Mark. [00:02:08] Speaker C: What's up, guys? [00:02:09] Speaker B: And I'm Sav Ciao Buena. Sierra, as mentioned, she was back and she picked Kings of Leon only by the night, which is their fourth studio album, but probably the most popular because without a doubt, two songs that we know, sex on Fire and you somebody, which we actually covered as a band, were on here. And I'm pleasantly surprised so far. Mark, what do you think? [00:02:32] Speaker C: Oh, yeah, I like the album a lot. I didn't really know very much besides the two songs that we knew and the one that we covered. But I liked, I liked the first song, sai was pretty strong, I thought. [00:02:42] Speaker B: Yeah, pretty good. Production was. Was better than the last two albums we covered, that's for sure. I mean, this is going back. So I don't know if production had necessarily suffered yet from the, the whatever, what I like to call balls to the wall. You know, put everything up to eleven and just hit record and drums having no emotion. No. No feel, no soul. I feel like this. This album has definitely got some soul to it. [00:03:12] Speaker C: Yeah. I don't think. I don't think all the modern production stuff was done at this. I mean, there was some stuff around, but there was definitely not the. It's not, you know, production where the volume, everything's, you know, louder is better. So drum. The drum sound really good. I mean, that's. Especially after the last two albums where the drum sound is so processed and so fake. Even though. Not fake, whatever the modern production is doing on drums nowadays, I mean, these drums sound much better, so. [00:03:39] Speaker B: Yeah. And I mean, you and I even spoken about how different bands have kind of, like, the same drum sound. I mean, it's. Whatever it is. It is. You know, if you like it, cool. If you don't like it, then I just say I just like my. My music with a little bit more. A little bit more depth to. To it, so. Especially when. When you've got some cool stuff going on with the drums, but they just sound so processed that they just have no feeling to them. So. Not a big fan. [00:04:10] Speaker C: Yeah. Well, the drums on this are much better. [00:04:13] Speaker B: Yes. [00:04:15] Speaker C: All right, so let's not. Let's not waste yap too much. We were hoping we had Frank on today, but because he had some choice words in our chat about the Mick Morris thing. So maybe next time we can get him on, he can tell us how he feels about that. [00:04:30] Speaker B: Exactly. [00:04:31] Speaker C: He's a big motley crue fan, so. [00:04:33] Speaker B: Yeah, he's a fan of this, too. So we'll ask him about this, hopefully next week as well. [00:04:39] Speaker C: All right, so the next song is 17. So let's see what this is like. Here we go. [00:05:09] Speaker D: Oh, she's only 17 wide wilder every year loving every breath of nothing other guys when the baby gonna see it's a tick of our time and the ticket I never made it feel so strange I could call you baby I could call you down and it's the one in the mulan. [00:06:15] Speaker C: So I don't think this is the typical 17 song. [00:06:19] Speaker B: No. I'm like, wait, what is seven? Is this gonna be, like, a 17 year old again? [00:06:25] Speaker C: Well, you know, it's been going on forever, so. Do you. Have you seen anything about what this is about? [00:06:34] Speaker B: I'm actually looking it up because I'm trying to see if there's, like, a deeper meaning, maybe. You know what I mean? It's not. I mean, it doesn't sound dirty. [00:06:44] Speaker C: No, I don't think so. Well, I'll read your lyrics. And then you tell me what you think. So it's, oh, she's only 17. Wine and wine and wine weep over everything bloody merry breakfast busting up the scene brothers fighting when's a baby gonna sleep? Hidden ship that sails away said it's a culmination of a story and a goodbye session it's a tick of our time and the tick in her head that made me feel so strange so I could call you baby I could call you damn it. It's one in a million oh, it's the rolling of your spanish tongue that made me want to stay so I'm not too sure. By reading lyrics, I'm like, I'm not sure what this is. [00:07:24] Speaker B: It's actually funny because some people are like, no, it's about when they were 17. And so it's just a song about youth. But then this other one's like, no, he wrote it about a girl when she. You know what I mean? When he. They were around the same age. [00:07:37] Speaker C: Okay. Which makes. [00:07:38] Speaker B: It's within that experience and some kind. And some other people say it's about, you know, he's a pedophile. So take your pick. [00:07:49] Speaker C: Take your pick. Well, it's interesting. Like, it's interesting musicianship. It feels like there's, like, bells and stuff going on and. [00:07:59] Speaker B: Yeah, it's almost Christmassy. Right? It's kind of like. [00:08:01] Speaker C: Yeah, it is kind of Christmasy. [00:08:03] Speaker B: And it's got kind of like that old school fifties. Do you know what I mean? Like, those beats and the drums, the way they produce. I mean, the bass is great. Again, he's a really good bass player. [00:08:14] Speaker C: But it's so, like, up front. [00:08:15] Speaker B: Mm hmm. [00:08:18] Speaker C: Yeah, no, it's. It's like. It's like the guitar is, like, the background instrument, and the bass is, like, the forward instrument. Yeah, it's cool. It's different. I didn't know what I was expecting. [00:08:32] Speaker B: No, but. But it's good maybe too. Maybe because it is about kind of the youth, and it hearkens back to that style of music. [00:08:41] Speaker C: Maybe. [00:08:43] Speaker B: I mean, not that he's that old, but. [00:08:46] Speaker C: Well, I don't know how old he was here. [00:08:48] Speaker B: I think he was 26. That's. That's what I'm kind of getting here. He was 26 at the time when he wrote this. [00:08:53] Speaker C: Okay. Yeah. And so maybe he's thinking back to when he was 17 and she was 17, which. Which makes sense. [00:09:00] Speaker B: I mean, according to someone said that they quoted him saying that it's about youth. [00:09:06] Speaker C: It's about youth. Okay. [00:09:07] Speaker B: Yeah. So it's about, um. [00:09:12] Speaker C: Let's continue. It's a short song. It's literally 03:05 so let's continue. [00:09:17] Speaker D: Oh, she's only 17. It's a combination of a story and a good vice session. It's the tick of our time and the ticking of it feels so strange. Said I could call you baby I could call you down but it's the one in the field I never spent a time that made me won't stay I could call you baby I could call you gavin everyone. [00:10:57] Speaker C: It's weird endings. [00:10:59] Speaker B: Yeah. [00:11:02] Speaker C: So, what do you think? There's not many. There's not many lyrics. The first thing that I read basically just repeated over and over. So, yeah. [00:11:15] Speaker B: I mean, I don't know what to think about the lyrics. They're okay. I mean, they're the same thing over and over. Right? I don't know that they're as good as the other ones. And I'm not just saying that because I'm not sure what it's about. I just think in general. I'll say it six on the lyrics. I like the music. I don't think I like it as much as the other ones, though. It's not bad, though. You know, it's not as if. Oh, boy, here we go. Second sight starts with crap, so it's not like that. I mean, the music is pretty good. Say seven on the music, and. [00:12:03] Speaker D: I. [00:12:03] Speaker B: Gotta say an eight on production. I think they were kind of going for something and they got it. I mean, I like the way the drums sound, the bass. I like those little knots to the old school music. [00:12:13] Speaker C: So bad. Okay. [00:12:15] Speaker B: What do you think? [00:12:16] Speaker C: I think I'm giving it the same as you. Six on the lyrics. I don't think there was good as the stuff before. There's some interesting lines in there. I mean, even though it kind of repeats, like said, it's a culmination of a story and a goodbye session. I like they use culmination. You don't hear that very often. [00:12:33] Speaker B: No. [00:12:34] Speaker C: I'm still confused about what it's about. I mean, is it about that? Is it about that? She's 17. Wine and wine and wine weep over everything. Like, very emotional. And then bloody Mary breakfast, breaking up the scene about drinking and I'm looking. [00:12:50] Speaker B: Well, he said it's also. It's about partying. Like their days on the road and partying and. [00:12:55] Speaker C: Yeah, that makes kind of sense. [00:12:57] Speaker B: It could just be a bunch. Just a bunch of different things, you know, different experiences. And he just focused on the title. [00:13:07] Speaker C: Yeah, I can give someone music, too. I like that. I like that this, that the guitar, like, just gets to do these little riffy things because the bass is pretty much holding the whole thing down. [00:13:19] Speaker B: Mm hmm. [00:13:20] Speaker C: So the guitar gets to be a little freer. And he had that little, like, solo in the middle of the air, the end, actually, with little tremolo picking thing. That wasn't bad. But the guitar is definitely mixed way back. The bass is mixed way up front. [00:13:31] Speaker B: Yeah. I mean, just, you know, at this point, we said about every song, there is kind of like a solo, too. Right. Something going on in the back. Way back. [00:13:42] Speaker D: Yeah. [00:13:43] Speaker C: He had, like. He was, like, picking really fast. Tremble picking really fast. [00:13:45] Speaker B: Yeah. [00:13:50] Speaker C: Yeah. I mean, it's not bad. I don't think it's as good as the other stuff, but it's not horrible. [00:13:55] Speaker B: No. [00:13:58] Speaker C: All right, so the next song. 25. [00:14:04] Speaker B: Yeah. [00:14:06] Speaker C: And next song is notion. So let's see. Let's see what this does. Here we go. [00:14:38] Speaker D: I got a notion to say what doesn't feel right. Gotta give me a sign. Don't knock it, don't knock it. You've been here before. Don't knock it, don't knock. Even if it. [00:15:20] Speaker C: I don't know. The only thing I can say. I mean, it's not bad. You know what I wish would have happened, though? I wish that the verses were back to back before the chorus is so naked. I wish there was two verses in a row. Felt too short to me. I mean, they did extend it with the little piece, but I would have liked two verses in a row and then the chorus. That's what it felt like to me. It should happen, but it got cut off a little short. Guitar is a little more prominent here, but it's still some of it. At least one side of it's really back. [00:15:51] Speaker B: Yeah, well, the bass and piano are kind of like the main. [00:15:55] Speaker C: Yeah. So the lyrics are. I got a notion to say what doesn't feel right. I got an answer in your story today it gave me a sign that it didn't feel right. No. So don't knock it? So don't knock it? You've been here before? So don't knock it? So don't knock it. You've been here before. Supposedly, it was one of the easiest songs to write in the album. [00:16:16] Speaker B: It was like sound check or something. They just kind of all. [00:16:19] Speaker C: Yeah, they kind of got together. Notion addresses the bands haters and everybody who has shit to say about them in their music. His voice is very. His voice is very signature. [00:16:30] Speaker B: Yeah. I like it, though, because he kind of whines, but he doesn't overwhelm, you know what I mean? He does. [00:16:37] Speaker C: Yeah. [00:16:37] Speaker B: He kind of reaches the limit of the. Of the whining before it's just plain whining. [00:16:42] Speaker C: Mm hmm. [00:16:43] Speaker B: So I kind of. I like the way he uses his voice. [00:16:48] Speaker C: Yeah. And it's unique. Like, you're not gonna mistake him for someone else or another band or somebody else. And I. I'm kind of harping on this, though. But the drums do sound really, really good. Recorded really well. They sound like drums. [00:17:02] Speaker B: Exactly. Definitely the best drums we've heard in. [00:17:07] Speaker C: The last couple albums. Yeah. [00:17:08] Speaker B: Since taped. [00:17:11] Speaker C: Yeah. Oh, real drums, too. So. Okay, here we go. [00:17:18] Speaker D: I just wanted to know if I could go. Don't knock it. Don't knock it before. I just want to know if I could go. [00:18:24] Speaker C: How is it just me? Or, like, in the chorus where it's the song, so don't knock it. It's very, like reggae. Like, the chords, it's very heavy, but they're played very staccato. Kind of like a reggae beat. [00:18:35] Speaker B: Yeah, I can kind of hear that. That was also weird, too. I was kind of like a soul, and then they just went quiet back into the verse. Yeah, that was, like, a little bit of a weird arrangement. [00:18:45] Speaker C: Yeah. And the solo, like, he was either using, like, a whammy pedal where he has, like, an octave thing going on there, or, like, some kind of harmonizing thing was interesting. I wasn't expecting that. That's not one of the few really real solos besides you somebody. Right. Really. I mean, there's other ones, but very little. I thought it was pretty interesting. It's. It's a different. It's definitely a different song. [00:19:07] Speaker B: Yeah, it's pretty good. I mean, it's repetitive. I mean, there really. I mean, he's another one. Right? There's. There's another lot of lyrics to these songs. [00:19:16] Speaker C: No, no. So the second verse is. I just wanted to know if I could go home. Been rambling day after day, and everyone says, I don't know. And then there was a chorus, and it was that little part, and then it went to. Got a notion to say what doesn't feel right. I just wanted to know if I could go home. And now we're back into the chorus, so don't knock it. Don't knock it. It's supposedly about, like, people saying things about him, and I don't get that from the lyrics. [00:19:41] Speaker B: Yeah, I don't necessarily get that either. [00:19:43] Speaker C: It's very. It's very cloaked then, if that's what it is. It doesn't really feel like that to me, but it's okay. All right, let's continue. [00:20:06] Speaker D: Don't I don't. I. Don't knock it. Don't knock it. Don't knock it. Don't I don't. I can't even. [00:20:39] Speaker B: Talk to you. [00:20:41] Speaker C: Oh, yeah. No. Most of the songs here, short. That's. That was 301. The next song is the long one of the longest songs on the record. But this one, they're really quick. Um, notion, I don't know. Not a lot of lyrics to, like, give me a lot to talk about. I mean, I don't think they're bad. I'm gonna say six. I'm gonna give seven on the music again because I think the music is very good. I think they do interesting, interesting stuff. It's not the typical rock band stuff. Like, they mix it up. Like last. It was bells in the last one. This one's keyboard. Right. Guitar is there, but it's really not mixed very high. Again, for me, in a band like this, I would want them guitar up a little bit more. But the bass player is playing awesome. The drums are good, his vocals are good. Unique style in his vocals, which I like. I'm gonna give Aidan a production again because I kind of think they're doing an awesome job of, like, you can hear everything. It's not compressed, it's not too loud. There's a lot of separation because I kind of like that. So doing a good job with that. What do you think, um, I should. [00:21:47] Speaker B: Think of on the lyrics? Yeah, I'll say six on the lyrics. Musical, say seven. Yeah. See, you know, production, I'll match you. I mean, again, it is nice to hear what sounds like real music and not to say that the other stuff wasn't real, but again, just the production is. It's just so much better on this. And I know the other ones, we gave sevens, so, I mean, giving an eight and sevens is not a major difference. But I just feel that we kind of gave sevens more for certain things as opposed to, like, the full thing. Where this is in general, I think every song sounds really good. [00:22:31] Speaker C: So, you know, it's a very good piano. [00:22:36] Speaker B: Yeah, they keep things interesting too. I mean, not. Not all the arrangements are exactly, again, just like this where they kind of did that soul in the middle of nowhere and then just went quietly back into the verse where you thought it probably would have been a chorus, but it wasn't. [00:22:54] Speaker C: Yeah, I like. I said, I wish. Like, I said, I wish that the verses doubled up at the beginning. I would like that better. And then went into the chorus, as opposed to going that short little verse and into the chorus and short little verse into the chorus. But that's just me. I'm nitpicky. I guess. It's nitpicky things. That's what I was hearing. Okay. Always gonna do it again. And now they're in the chorus. I like. That's quick. I mean, it's a short song anyways. 301. Yeah, literally, the first two songs, 305, 301. This one is gonna be 507, like, nice. This is, like, bohemian. This is, like, their bohemian rapid heaven. So this is I want you. Is that the kiss song? No, different song. Imagine. [00:23:37] Speaker B: Yeah, I want. [00:23:38] Speaker C: No. Here we go. [00:24:28] Speaker D: Freshman probably thinks he's cooler than you. A hair ride a fire everybody's coming around so go press your skirt where does. There's a new girl in town I call shotgun. You can play your r and b tunes. The fellowship time it always comes a little too soon the land of the creek fresh enough and baby face shade put your eyes on me and I know what pleasure we can get away just say I want you just acting like I used to cause, baby, this is bringing me down. [00:26:05] Speaker C: So what do you think of that so far? [00:26:07] Speaker B: So there's parts that I like. I think that the fact that it doesn't change between the verses and the verses are long. It feels a bit too. You know what I mean? Like, I think there should have been some kind of difference in between the first verse and the second verse. And the bass player is doing this weird thing, right? And the second part where he's like. And then he just, like. You know what I mean? He goes, like, out of key and then comes back in. I don't know if he's doing, like, a slide between two notes. [00:26:41] Speaker C: I can listen for that. I don't know if I heard that or not. [00:26:43] Speaker B: Yeah, it was weird. [00:26:44] Speaker C: I was too, like, paying attention to the words. I really wasn't paying attention. [00:26:49] Speaker B: No, the words are cool. I mean, you know, it's a story, right? Kind of reminds you, like, being in a small town. You got the haywrid. There's a new girl in town. [00:26:56] Speaker C: Mm hmm. [00:26:57] Speaker B: So I do. I do like that. It reminds me a little bit, actually. He reminds me a little bit. I don't know if you know the afghan wigs, gentlemen. [00:27:06] Speaker C: So I think so he reminds me. [00:27:07] Speaker B: A little bit of that and actually just on a little bit kind of something they may have done that kind of main guitar riff that he. Not that he plays all the time, but just comes in, runs a little bit of the cure. The way it sounds. Yeah, I mean, it's cool. Like I said, it just. I feel like it needs more dynamics, you know, the drumbeat is cool. [00:27:26] Speaker C: It's very one dimensionally straight. [00:27:28] Speaker B: Yeah, there's really a lot going on. Yeah, I mean, the melody is fine and everything, but again, it just feels like one big. Even though there's separation in between the verses, it doesn't sound like there is because it's exactly the same beat. [00:27:44] Speaker C: You see, in this situation, though, to me, this. This would have been okay to do a verse in a chorus, you know what I mean? Because it's so long, the other one's so short that it needed a little bit more. This is like. So because he stretches those lines out. Yeah, four lines. He stretches out really long. So. And you're right, the chorus doesn't. The beat doesn't really change, does it? [00:28:05] Speaker B: No, there's not much. The only thing you really hear is that kind of ag guitar. They're ding ding ding. Kind of going high, so. [00:28:14] Speaker C: All right, so here are the lyrics. Get back on track pick me up some bottles of booze fickle freshman probably thinks she's cooler than you a hayride at five everybody's coming around so go press your skirt word. There's a new girl in town I call shotgun you can play your r and b tunes the fellowship time it always comes a little too soon the land of the creeps freshened up from babyface shave put your eyes on me and I know a place where we can get away and the chorus is just say I want you to just exactly like I used to because, baby, this is only bringing me down so, you're right. This is kind of. It's a story, which I always appreciate. Yeah. [00:28:56] Speaker B: I mean, because one way, one shape or another, you can relate to it. [00:29:01] Speaker C: Yeah. [00:29:01] Speaker B: Right. Even if you're not a small town here. Right. But, dude, you can relate to whatever it is like. [00:29:06] Speaker D: Yeah. [00:29:06] Speaker B: I remember when we were younger, we did this. We did that. So if he does it again, it's basically at the very end of the. Of the verse. [00:29:16] Speaker C: Okay. [00:29:16] Speaker B: And he does it the very, like, almost like the last note before he goes back into the riff. [00:29:21] Speaker C: Okay, I'm gonna listen now. Here we go. [00:29:42] Speaker D: Homeboy so proud he finally got the video through the night vision shows she was only ducking the truth it's heavy. I know. Blackout with the gift down below a choke out again she spit up and came back for more I said I want you exactly like I used to is all she bringing me down she said, I want you. [00:30:59] Speaker C: Yeah, I think I heard that part with the bass. [00:31:01] Speaker B: You hear, it's like, doing a weird. [00:31:05] Speaker C: Progression, I think that's really old. It's something that you don't normally hear. And then he comes out of that, it goes right back into something that, like, resolves. So it's a little bit, like attention. It's like a little bit of tension. So I don't think it's. Yeah, it's a weird little thing. So here's, here's second chorus. I mean, second verse. Homeboy so proud he finally got the video proof the night vision shows she was only ducking the truth it's heavy, I know. The black cat with the gift down below a choke and a gag she spit up and came back for more okay. Gives an interesting visual right there. She said and this is the course she said I want I want you just exactly like I used to and, baby, this is only bringing me down she said, I want you yeah so, so the one thing I can say is, I mean, you know, criticism, whatever. This sold enough records. Like, we don't have any records sold, but it's just very the same through. That's. It's not a lot of, not a lot of. Especially in the beat, like, in the. In the musician part, like in the bass and the drums. I mean, the bass and the guitar and stuff, that changes up a little, but the beat is almost exactly the same all the way through. [00:32:13] Speaker B: No, I mean, me personally, like, as a songwriter, like, having written songs and everything, I couldn't make a song like this or just stayed here. I'd be like, no, guys, we do. There's got to be something either in the chorus or. Yeah, something's got to happen, and vice versa, I'm sure. Like, if I was playing this thing straight through, like, um, are you gonna change that at all or. [00:32:35] Speaker C: Yeah, because it's the same thing over and over. [00:32:37] Speaker B: I mean, it's a cool beat. [00:32:39] Speaker C: Yeah. [00:32:40] Speaker B: You know, it's interesting. [00:32:41] Speaker C: Give him credit for being able to play that, like, straight through all the way. [00:32:45] Speaker B: No, I wouldn't marry it all. Exactly. [00:32:48] Speaker C: Not that easy to do. Yeah. So, I mean, it's not. It's okay. Now we got, like, 105. Let's see if we can finish it up. Here we go. [00:33:07] Speaker D: And, baby, this is our home keep bringing me back I said I want you just acting like I used to and, baby, me down. [00:34:05] Speaker C: Well, I can see a little bit of the southern influence in this. A little bit, I think. [00:34:10] Speaker B: Yeah, I like how the guitar player was doing the same thing as the base of my. [00:34:15] Speaker C: Yeah, no, yeah, it was interesting. And why don't you go first? [00:34:19] Speaker B: I'll say seven on the lyrics. I mean, I like the whole story part of it. I'm gonna say six on the music. I mean, honestly. And it's weird because I don't want to say it because I don't think. I think the melody is cool and stuff that they're doing is interesting, but it just. It goes nowhere. So I'm gonna say six on the music, and I'll say seven in production. I mean, it sounds fine, but again, there's just. I just thought. Felt flat for me, just because it's the same thing over and over. [00:34:53] Speaker C: So what do you think this is? This has become the record of me and you saying the exact same thing through everything. So, yeah, so, seven on the lyrics. I like the lyrics better than the last time. I like. I like that there was a story. I always liked that musicianship. Yeah, I'm gonna say a six just because the beats kind of straight through. Like, there's some interesting, like, bass stuff and this interesting guitar stuff. Like, not typical. And, like, vocal wise, it's fine. The melody is fine, but, yeah, it just really doesn't go anywhere. It kind of just meanders through five minutes of stuff. [00:35:27] Speaker B: Yeah, I mean, there's interesting parts, but, I mean, just the fact that, again, it doesn't do anything. Like, they're just waiting, et cetera. Maybe at the end, you know, they'll throw, like, 30 seconds of kind of something where it kind of blows up. You're like, all right. But just didn't go anywhere. [00:35:45] Speaker C: Yeah. And I guess production can do seven. I mean, I guess that's a production choice, what they did. [00:35:52] Speaker B: Right. [00:35:53] Speaker C: So I'm gonna. I'm gonna leave that on the production side where, like, no one said, like, we haven't. We have to change this up a little bit. It's the same thing over and over and over and over. So, so, so what do you think of the side so far? Do you think the first side is better than the second side so far? I would say yes. [00:36:14] Speaker B: Yeah. But I don't think this side is terrible either. [00:36:18] Speaker C: No. [00:36:18] Speaker B: So. [00:36:22] Speaker C: So this next song is called be somebody, which is kind of funny, because. So we said this is. This is a song they were messing around for a little bit. There were a couple of fans that were getting there online, they were crazy. We're talking so much shit about us. But the same time they were talking about how we were the love of their lives and we lived together and all these weird fucked up fantasies. So I wrote these verses about life as we see it. And the chorus, I'd switched the scenes to them. [00:36:50] Speaker B: Nice. Should be interesting. [00:36:54] Speaker C: Yeah, I'm curious to see, because the other one, I didn't really feel that it was what he said it was about. [00:37:00] Speaker B: Yeah, me neither. [00:37:01] Speaker C: So I'm kind of curious. All right, so this is be somebody. Like, I really like that. I can hear a little bit of you two in there, too. [00:37:26] Speaker B: Yeah, I hear a little bit too. Little. The cure. Yeah, yeah, they definitely got some of that eighties, like, alternative. Like, you wave a little bit of that, too. [00:37:38] Speaker C: Yeah. [00:37:39] Speaker B: Even in the song before I hear it's kind of like a mix of that and a little bit of that southern rock. But I know that I would really consider them southern rock. You know what I mean? [00:37:50] Speaker C: No. This tinges here and there. [00:37:52] Speaker B: Yeah, it's kind of like alternative southern, I guess you could say alternative southern rock. [00:37:56] Speaker C: Yeah, there you go. [00:37:58] Speaker D: But. [00:37:58] Speaker C: But I like the beat so far. I think I like the little guitar part. That's pretty cool. [00:38:02] Speaker B: Yeah, I really like this intro. [00:38:05] Speaker C: Well, let's see if it. Hopefully it changes and doesn't stay the same thing all the way through, but we'll see. Here we go. [00:38:17] Speaker D: I losing my time I losing my time locking down the door with the rhythm and rhyme I lose my time I loosen my time trying to recall what you want me to say I shake it your way I shake it your way come on a night for a beautiful day I shake it your way I shake it your way and I say you can't get enough now you can't get enough somebody if I wonder I'm gonna be somebody open the door I'm gonna be somebody. [00:39:35] Speaker C: So what did you think about where they went to the chorus? There's really. It's different. It's not the same, but. [00:39:42] Speaker B: No, but it's still. Yeah, it's a little mellow. Even if they started out mellow because the bass line is so cool. Actually reminds you a little bit of the. The go go. What is it? That's like the doom. Doo doo doo doo doo doo doo doo. Yeah, but then again, I want a little bit more. Right. And now kind of went back into that I was expecting even now. But we'll see if kind of they change it up before you start singing again. [00:40:13] Speaker C: I wish they would have picked the pace up in the chorus, that's all. [00:40:16] Speaker B: Yeah. Or just that. Maybe a drumbeat under it, kind of. [00:40:20] Speaker D: Yeah. [00:40:20] Speaker C: Cause he was. He was doing stuff on the hi hat, right. But it really wasn't. It was just different. I don't know what to say anyway. And I'm reading the lyrics and I still don't understand what he's saying. This is about like, he's saying the first part is about what they think, and then the second part is what the people online think. But I. I mean, unless he's really good at hiding whatever he's trying to say, I don't see any of that in there. So the verse is taking to the floor with the reach to the sky I loosen my tie I loosen my tie locking down the door the door with the rhythm and rhyme I loosen my tie, loosen my tie trying to recall what you want me to say I shake you away I shake you away counting on the night for a beautiful day I shake you away I shake your way and I say, you can't get enough no, you can't get enough given a chance I'm going to be somebody if for one dance I'm going to be somebody open the door, it's going to make you love me facing the floor I'm going to be somebody I mean, I guess maybe that part right there sounds a little bit like the people who are saying things about them, but, I mean, unless you. [00:41:18] Speaker B: Took, like, specific lines, what people said and kind of threw them in there. So kind of taken out of context, they don't make sense, but they make sense to them. [00:41:26] Speaker C: I don't know. [00:41:27] Speaker B: Yeah. [00:41:28] Speaker C: All right. I want to see where they go with this. I have a feeling they're not going to change it. [00:41:32] Speaker B: I have a feeling, too. They're not going to do anything different. [00:41:34] Speaker C: I don't think so. Here we go. [00:41:52] Speaker D: Gun in your hand with a gun in your hand now I'm no longer northern man was this your big band? Your gun in your hand I say, you can't get enough no, you can't get enough given a chance I wanna be somebody for one day I wanna be somebody open the door, facing the floor somebody be somebody be somebody. [00:43:39] Speaker C: Weird endings of songs. Yeah. I'm just gonna read the verse and then I might. Well, what I kind of noticed, I think now is your time. You know where you stand with a gun in your hand with a gun in your hand now I'm no longer an ordinary man. Was this your big plan? With your gun in your hand and I say you can't get enough. And no, you can't get enough. And then back to the chorus. Now that this makes more sense, like, okay, so now these guys have kind of. So it's supposedly some metaphor. The fans. The fans and critics have a metaphorical gun pointing at the kings. They are desperate for a smash hit. It's up to kings of Leon to make one or not to make one or not. So you could take it that way, or you could take it like this. A crazy stalker person that comes where you are. Right? Because if you look at the second part of the course it goes. Now it makes sense. Open the door, it's gonna make you love me facing the floor. I'm gonna be somebody like your face down on the floor and the guns are your head. Right? That's how I take it. But. But it could be a metaphor for the gun can be a metaphor for they want to hit weird end part. Like, I I like the drums in the verse a lot, and that bass part in the chorus is cool, but I would have liked it to, like, double time maybe, or did something like the speed up in the chorus and not just because it's slowed down and kind of drug the song back down. Like you expect it to go. To go, you know, push a little bit more. And it doesn't push. [00:45:03] Speaker B: No. I mean, even if the second chorus had opened up. [00:45:08] Speaker C: Yeah. [00:45:09] Speaker B: Then I would have, because, I mean, I really like the music. I like what's going on, but me too, again, just because it doesn't change. It doesn't. It just, to me, it needs a little bit more. [00:45:22] Speaker C: Well, it changes, but it's. It just. It doesn't. It doesn't push the song along. Like, it gets to the chorus, and it just kind of almost stops because he's just playing, like, the hi hat and, like. [00:45:33] Speaker B: Right. [00:45:34] Speaker C: I don't know. [00:45:36] Speaker B: Um. [00:45:37] Speaker C: Okay, so I think I like the lyrics. So I'm gonna give lyrics. Seven. I liked lyrics. I don't think they're bad. Now that I know it's about a little bit more, it kind of makes more sense. The musicianship is good, but the. The choice to keep. To not push that, I guess I'm gonna put that into production. I'm gonna. I'm gonna say seven on the music. Just because I like the drum beat. I like the bass parts, like the guitar parts. Like, I'd like the stuff. Like, overall, I like it. So this is where maybe I'm gonna knock the production down. Even though it sounds really good. I'm gonna give it a 600 production, because I think it could have done something in the chorus, and it didn't do that for me. Like, it kind of let me down. Like I was expecting it to get to maybe be faster or something to, you know, I mean, and then come. Then go back to that tribally kind of drumbeat again back in the verses. [00:46:30] Speaker B: Yeah. [00:46:30] Speaker C: So that's the only part that's a little disappointing. But, I mean, I like what's going on, and then the ends are so. Are totally weird. So I don't like every end to every song is weird. [00:46:40] Speaker B: I know. They kind of did the. Kind of, like, the heavy version of the pre chorus. [00:46:46] Speaker C: Yeah. [00:46:47] Speaker B: But it still kind of didn't necessarily go anywhere. [00:46:52] Speaker C: Yeah. All right, so what do you think? [00:46:54] Speaker B: Yeah, I'm probably gonna match. I mean, because I do the lyrics, we're cool. Especially when you. When it is. I mean, he doesn't write a lot of lyrics, so I think we feel like we've said this a lot recently, but obviously, there's. There aren't a lot of lyrics going on. But I'll say seven. I mean, I do like the music. I'll say seven on the music. I think if there were dynamics in it, I probably would have given an eight, maybe even a nine, because I really liked what was going on. But to me, I just need to be fleshed out more. So, yeah, I mean, if I'm gonna knock off, I'll do what you did. I'll see six in the production, just kind of, hey, guys, what about this? But who knows? This is our fourth album. I don't know where they stand with the producer. And again, it depends on the type of producer as well. Right. Because there are other hands on guys and other people that hit record say, I'm gonna make it sound good. I'll mix it well, you know, engineering it well. But what's going to be played, that's up to you. So who knows? I don't know the story of this record. [00:48:00] Speaker C: Yeah. All right, so. Or at the end of the album. [00:48:04] Speaker B: Wow. [00:48:04] Speaker C: And cold desert is a song. Supposedly, he was heavily intoxicated when he. When he recorded the song, and everything after the first verse is improvised. [00:48:16] Speaker B: Nice. [00:48:17] Speaker C: So I'm curious now. Now that gives me even, like, more curiosity about. [00:48:21] Speaker B: I did that, too. I remember we did one of our demos, for whatever reason, two of the songs that we recorded, the last demo we did, I didn't have a last verse for one of them and another one, I didn't have two verses. I'm like, oh, shit, I don't. I need to write this on the fly. And I remember Nick saying to like, what the fuck does this mean? I'm like, I don't know. It just kind of goes. Just thinking. I don't know what else. That's exactly what it was. Because we were recording the demo, we did the music. I'm like, oh, shit. I never finished writing this song. Yeah. [00:49:02] Speaker C: All right, here we go. Cold desert now, I'm very interested now because I find that that, like, part of it's improvised. I'm just curious to see what he does. Here we go. [00:49:52] Speaker D: That's when I know that you're alone cold in the desert why did I. Without sound alone hand over your heart let's go home everyone know this. Everyone has seen the sound. I lahat those are improvised. [00:51:26] Speaker C: But I kind of like it. [00:51:28] Speaker B: Yeah. [00:51:28] Speaker C: I just have a feeling, though, that it's not gonna go anywhere. I think this is what you're gonna get. [00:51:33] Speaker B: He. I heard him do a couple of bells on the. On the. On the ride, but it did kind of come in a little bit heavier on the beat. I came in a little bit louder. He's not playing anything differently, but it sounds like he did play a little bit louder. [00:51:52] Speaker C: So here, here the lyrics. I'm on the corner waiting for a light to come on that's when I know you're alone it's cold in the desert water never sees the ground special unspoken without sound told me you'd love me that I'd never die alone hand over your heart let's go home everyone noticed everyone has seen the signs I've always been known to cross lines. I mean, if that's improvised, it's pretty good improvised stuff. [00:52:22] Speaker B: Yeah. I mean, I like the melody. He comes. He does have unique melodies. I think. [00:52:28] Speaker C: He drags things out. Like. Like, you read, like, the lyrics, but you're expecting it to be one way. But he, like, holds things out and stretches things a little bit. [00:52:36] Speaker B: Yeah, that's what I'm saying. Like, he definitely keeps it. Keeps it in. Like, this is the kind of a band where if you try to cover some of this stuff, you really have to pay attention as a singer, because, like, oh, wait. He's kind of doing this here or this here. And so, I mean, I think even in terms of when things don't change, sometimes that kind of gives it a little bit of a uniqueness to it. Yeah, we'll see if this goes well. [00:53:02] Speaker C: Because if the things are not changing very much, the only thing that can really change is the melody. So I'm just curious to see what he does. I don't think it's going to change. That's just my opinion, so. All right, here we go. [00:53:41] Speaker D: I've always been scared of the sound jesus don't love me no one ever carried my load I do your to fill this road am is me water nobody knows nobody nobody but me I know. [00:56:28] Speaker C: That was a little weird. Like, faded out and then came rolling back. [00:56:33] Speaker B: Yeah. I was like, wait, is that. Is that still playing? Is he gonna come back? [00:56:39] Speaker C: That's an interesting choice. [00:56:41] Speaker B: Yeah. [00:56:43] Speaker C: But it didn't really change very much. [00:56:45] Speaker B: No, I mean, it did, kind of, when it came back in was a little bit. I like it, though. I mean, I think the music was really good. I mean, again, not a lot. Too many dynamics. [00:56:54] Speaker C: Yeah, no, I mean, there wasn't a lot of dynamics at all. But I liked the music. I liked the bass. Everything was good. Guitars was good. Bass was good. It was all good. Drums are good. So the third verse is. I've never cried when I was feeling down I've always been scared scared of the sound jesus don't love me no one ever carried my load I'm too young to feel this old supposedly, this is the only lyric he remembers saying out loud because he was really intoxicated. [00:57:21] Speaker B: I wonder how many. [00:57:22] Speaker C: He's a recovering alcoholic. [00:57:25] Speaker B: Yeah, I've heard he's got a. I heard he's got a bit of a temper, too. I don't really know. So, I mean, obviously, if anybody knows any differently, but I've heard some rough stories about the singer, maybe. [00:57:37] Speaker C: I'm just trying to see if there's anything else here. [00:57:38] Speaker B: About the lyrics, I mean, it sounds like, obviously, about a girl. [00:57:42] Speaker C: I would say it's either that or about his addiction, maybe. [00:57:46] Speaker B: Hmm. [00:57:47] Speaker C: You know what I mean? [00:57:48] Speaker B: Yeah. I mean, the third verse maybe kind of refers to that. [00:57:53] Speaker C: Yeah, I don't know. So why don't you go first? Go ahead. [00:57:57] Speaker B: Um, I would say seven on the lyrics. I definitely like the lyrics. I'm gonna say an eight on the music. I'm trying to think this could be my favorite song on the second side, overall, even though, again, it doesn't. It doesn't majorly change, but I think it's kind of loud enough and cool enough to kind of hide the fact that it doesn't go to a lot of different places and production is good. I mean, I'll see an eight on the production, too, so that's a good way to end the record, I think. [00:58:33] Speaker C: Yeah, I think it might be my favorite song, I think, on the second side. Yeah. Again, so my things are gonna be exactly like yours. Seven for the lyrics, eight for musicianship. I thought. I thought it was an interesting thing, even though it didn't really. His melody really made it where, you know, it was going. That thing fading out. I'm not sure if I like that or not like that. I know other songs have done that, faded away and then came back. It's okay. And then I'm eight on production. I mean, production generally, you know, on this record has been very, very good. [00:59:05] Speaker B: Mm hmm. [00:59:06] Speaker C: So I didn't know what I was expecting to hear when I heard them, because I, like. I've only known a couple of the songs, so these songs on the second side are way different than the songs on the first side, I think. [00:59:15] Speaker B: Yeah, well, the first two were kind of weird, too, right? Not weird, but, I mean, you know, I think that you go from the first two into sex on fire. Use somebody that are you listen to, like, all right, this could be a hit song. This could be a hit song. I'm gonna be honest, I don't necessarily remember Manhattan and revolver. I do remember saying I like them. I think. [00:59:36] Speaker C: Yes, you did like them, but, yeah, you gave. Yeah. Revelry. You gave an eight overall, too. [00:59:44] Speaker B: Okay. Yeah, I mean, I thought I'd like them, but, again, I think I like them for different reasons. I don't think they were as poppy as those good two songs. So, I mean, there's some of that sensibility in the thing, because, again, he's. I think his melodies are unique. The way he sings is unique. Again, I like that he borders on whiny, but not whiny. He doesn't want. I think I agree. [01:00:13] Speaker C: I mean, I think. I mean, they're. They're a very unique band. Like, the two songs that are on the radio is not indicative of what they do. It doesn't seem like. [01:00:21] Speaker B: At least not on this record. [01:00:22] Speaker C: No. [01:00:23] Speaker B: I mean, obviously, this is a fourth record, and as we said, we only know those two songs. But, I mean, it's something I'd go back and revisit. I mean, I think there's some interesting stuff that goes on, and who knows? Maybe even some of these songs where we were saying, that doesn't change. It doesn't. They. They could grow on you. [01:00:39] Speaker C: 100%. Yeah, no doubt. [01:00:41] Speaker B: I mean, they're short enough. [01:00:42] Speaker C: The album is not that long, so I think it's. How long is the total? 42 55. So, sort of short. I mean, there's like what this? Five on each side is? Five on each side. Six. Six on the first and five and five on the second, so. But I would listen to more of them. [01:01:03] Speaker B: Yeah, I'd be interested in seeing what else they sound like, what the other stuff is, and. [01:01:10] Speaker C: 100%. Yeah, I don't, I don't really know very much about any of their other stuff. [01:01:15] Speaker B: I don't either. I know, like I said, my friends at work would play the, the alternative station on, on Sirius and that's where I picked up you somebody. And I think he was like, he was a self proclaimed kings of Leon fan, so obviously he probably knew stuff, but I don't think he would only play them. He would just kind of play the station. So, yeah, I mean, they actually just. [01:01:39] Speaker C: Released an album this year, 2024, believe it or not, so, yeah, and I. [01:01:49] Speaker B: Think if we throw them on the list, if we only had one thing, I'd be interested in hearing their other stuff. [01:01:56] Speaker C: So, yeah, I mean, that's all we had on the list. But I think I'm going to add some more now just because I would like to hear some now hearing this, I would like to hear some more things. [01:02:05] Speaker B: Exactly. [01:02:07] Speaker C: To see how much different it changed, either before or after. I'm not too sure. I'm not too sure anything, you know, I don't really know what they've done after this. [01:02:19] Speaker B: I mean, I think the bass player is the star of this record. [01:02:22] Speaker C: Oh, 100%. The bass is awesome on this. [01:02:26] Speaker B: Yeah, it's just a lot of cool things. I mean, again, I think they're all pretty good musicians. Obviously, the guitar player just kind of sits in. Not sits in. I mean, he, he lets him kind of take over and he fills in the spaces and I like him. I mean, again, I like the stuff he fills in the spaces with because it does remind me of like the edge and some eighties and stuff. [01:02:46] Speaker C: And it's very minimal what he does, but it's very, it's very unique too. [01:02:53] Speaker B: Fills out the stuff. It's basically, it's kind of like with or without you, right. It's not really a guitar driven song, but he does his little things that add to what's going on with the bass and drums. [01:03:06] Speaker C: Oh, yeah, no, it's good. Yeah, I'll throw some more of them on there. Now that, now that we'd listen to that, I'm gonna. [01:03:12] Speaker B: Eventually. How soon you think it is before I have to say we took one over 1200 records through list at the intro of the podcast. [01:03:21] Speaker C: Getting close. Yeah, soon soon. If I keep adding things, I try not to add too much. You know what I mean? Because I don't, I don't want something to come up that we've already done that have to, like, shoot it down and then have to come back again. [01:03:32] Speaker B: Yeah. Yeah. [01:03:34] Speaker C: But, yeah, I'm glad we got this because again, this would not, would be, this would be something again I wouldn't listen to on my own. [01:03:40] Speaker B: I mean, I, like I said, I like those two songs. So I'd be interested in kind of saying, hey, what does the rest of this sound like? [01:03:46] Speaker C: Mm hmm. [01:03:47] Speaker B: That's good to know, too, that not everything is exactly the same. They do some cool little things. [01:03:51] Speaker C: Oh, yeah. No, that they definitely have the, you know, the ability to do different stuff. They're not going to get very pigeonholed. So. Because they're record. So it's very. But they do have a style, though. You know, they do have a kind of a style where, where they do this kind of droney kind of thing that goes on. So. All right. Once you do your thing. [01:04:11] Speaker B: So we are part of the deep dive podcast network. Again, I was going to say, great bunch of guys who took us in right away. And if you're looking for more individualized podcasts about Rush, like, how about, is it rush, rash, Tom Petty, Iron Maiden, Van Halen, you name it, they got it. So check it out. And again, give them a holler. Mark, where can they find us? On the interwebs. [01:04:32] Speaker C: On the interwebs. We are on rock roulette pod, on all the social media. Rock roulette podcasts.com. Drop us a line, share our episodes out, put us for automatic download on wherever you play your podcast. So you always get the newest episode. And next week, we will be spinning the wheel again. Maybe we can get Frankie on this time, which would be nice. [01:04:56] Speaker B: Yeah. [01:04:57] Speaker C: So I'm always excited to spin the wheel because I never know I'm gonna get. [01:05:01] Speaker B: Yeah, she's been on a roll since. [01:05:03] Speaker C: Well, she was on vacation. [01:05:05] Speaker B: Yeah, exactly. She's like, what do I want to listen to? You know what? I heard these guys on the plane. [01:05:12] Speaker C: Yeah, see, she was on vacation. Said a little bit of relaxing, let us pick the wheel. And then we're like, oh, you guys suck at doing this. We'll do something else. And bam. See, get a record like this, where would be something none of us really listen to. I don't know. Did Frank said he listens to this? I forget if he said he knows this. [01:05:29] Speaker B: Yeah, I mean, I. Yeah, I mean, I spoken to him and I told him what we got. He says, oh, really good. I can't remember. He said, really good band, really good album. But so he, I think he's a fan. So hopefully if he chimes in next week, we can ask not only about this, but the Mick Mars, which he didn't seem to like. And I'll tell him to listen to the. Yeah, the 10,000 volts student to listen to that and kind of bring an opinion. [01:05:57] Speaker C: All right, people, so we will see you next week. And it's wheel spin time. [01:06:01] Speaker B: Yeah, can't wait. Later.