Episode 84 - Judas Priest - Rocka Rolla (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 1200 albums, now stuck them in a list, stuck them in a wheel. And typically every other week we spin the wheel, she picks an album for us and we go through it side by side, track by tracking, and we rate it based on music production and lyrics. Again, just a bunch of friends who wanted to do a podcast who love music. So we're happy to do this for you. And again, thanks to anybody who listens, spread the word and drop us a line. Tell us what you like, what you don't like, maybe something you want to hear. We're up for anything. So tonight we are treesome again. We have Frank. [00:01:55] Speaker C: My name is Frank. [00:02:03] Speaker B: Sexy. [00:02:11] Speaker D: All right. This is my fourth time saying thank you so much. Glad to be back. [00:02:16] Speaker B: Yes, I did say tree some, like we did back in the Bronx. So that was on purpose. We have Mark. Oh, hi, Mark. [00:02:23] Speaker C: What's up, guys? [00:02:25] Speaker B: And I'm Sav. Ciao Buena. [00:02:28] Speaker D: Sierra. [00:02:29] Speaker B: So last week, in her infinite wisdom, the wheel picked another obscure one for us, a very massive band. Judas Priest. Was it a massive record? Nah, she picked the first one, rockarola, which is cool, because again, this is, to me why we do this podcast, man, just to kind of discover and rediscover stuff like this. And I know that Mark and I had said that we weren't really familiar with this album, but, um, I mean, I like, I remember liking the first song. Second song was a little. But then it got. It got really good, I think some really good, strong kind of classic rock. You could hear definitely some. Some tinges of Judas priest there. I mean, Rabb Halford is Rob Halford, so you definitely know it's him. What do you think, Mark? [00:03:11] Speaker C: Yeah, it's a band that's trying to figure out what they're going to do. So this is the first record and they're not really fully formed into the dual guitar attack Judas priest that everyone really knows. So it's interesting to hear, like, the first record, what they did. So. [00:03:26] Speaker B: Yeah, agreed. I mean, there's some. Some good stuff on there, though. Frank, are you familiar at all with this record? [00:03:35] Speaker D: Uh, no, I'm not at all, to be honest. [00:03:40] Speaker B: Did you get a chance to listen to the first side, or. No. [00:03:44] Speaker D: I have not. No. I just jumped on tonight's podcast and gonna listen to site two and, uh, take it from there. [00:03:51] Speaker B: Awesome. Well, I would be remiss, before we start, not to ask Frank to tell us his feelings. On the other side of Mars by Mick Mars. [00:04:05] Speaker D: Oh, my God. Yeah. So, you know, here it is. So, as many of you know, I am a. I am a big motley crue fan. So I was looking forward to this album, and when I first heard it, I was like, I'm a little confused by this. Right. Because it was not. It was not what I was expecting. I was expecting really, like, hardcore go at it full balls, Motley, you know, Mick Mars loud guitar kind of thing. And what we ended up with was, like, a sound I'm not used to. And I was not a big fan fan of. Of it at all. And, you know, I know that we kind of texted back and forth right about it a little bit. Sav. [00:04:53] Speaker B: Yep. [00:04:54] Speaker D: Mark. [00:04:55] Speaker C: Okay. [00:04:56] Speaker D: We texted a little bit back and forth about it, and I share my thoughts. Right. They were not very good. [00:05:03] Speaker B: Yeah, your thoughts are a little. A little bit stronger than that, I think. [00:05:06] Speaker D: Oh, yes, it was. Right. So I was just like, what the hell is this crap? And I was not a fan. But then after listening to the, you know. So when the album came up during the podcast, I was like, holy shit, what are the odds? And. And taught here in the two of you. I was like, all right, is it me? And then I started looking up, and critics gave the album, like, very positive reviews, and then I decided, let me listen back a little bit, taking the feedback from what others are saying. And after listening to it, now I understand. I get it. Like, this is a sound that Mick Mars is experimenting with. Different sounds that we used to. From. Used to. From Motley Crue, very different guitar playing. And I started appreciating a little bit more. I'm still not sure that I kind of like that sound. Like, right around the third song, it comes up to, like, a little bit queens reich. I don't know if you of the two of you felt that way. [00:06:11] Speaker B: I know market big queens right out in one of the songs, probably. [00:06:14] Speaker C: It might have been, but, yeah, I agree. It wasn't what I was expecting. I mean, I knew it was gonna be different because I heard the first two songs, and I, like, this is not gonna be motley grow or anything near it. [00:06:30] Speaker B: No, I mean, and I honestly don't think he wanted to do anything, like, at least not this record. I think he. He wanted to do something that set him apart from whatever was there. I mean, I've gone back to. To listen to some of it, because, again, I didn't have really good headphones that night. I mean, again, the second and the second and third song was still my. I think my two favorites overall, and. But again, if I still think there is that, like I've said a few times on the podcast, that eighties and nineties sensibility is there, but again, it comes through the modern production, and that already kind of makes it sound. It's already going to automatically make it sound different than, I would say, obviously, the older stuff, so. And, you know, we talk about the drum production, which, forget it, is what it is. [00:07:22] Speaker D: You don't like it? [00:07:23] Speaker B: Oh, no, no. I didn't like it on. On the Ace Fraley album either, though. [00:07:31] Speaker D: So, I mean, you know. So this is drummer from. Why am I forgetting who he's playing with right now? Corn. Yes. Yeah. [00:07:42] Speaker B: Not the drumming. So it's not the drumming. It's a drum sound. [00:07:48] Speaker D: It's a drum sound, you know, like. All right. [00:07:50] Speaker B: That's right. I don't think it sounded as mechanical as some of these frailey stuff did, but, I mean, anybody who's heard the new Satriani VI instrumental with Greg Bissonette playing drums, at least that's what it says. Drums can still be produced to sound like drums, so it isn't something where everything has to sound that way. And again, I'm sure there's other things that are out there, too, where the production is better, but I just. I'm not into this thing where it just sounds like kind of hitting paper. [00:08:27] Speaker C: Yeah, me neither. But the drums on this record sound good. [00:08:33] Speaker B: Yeah. [00:08:34] Speaker C: What, 54, 50 years ago? [00:08:36] Speaker B: Mm hmm. [00:08:37] Speaker C: So it shows you what it is, but, yeah, I knew Frank was gonna like that. [00:08:44] Speaker D: No, I was expecting a little bit different from Mick Mars. Clearly, he's a little bit more towards the theatrical metal, kind of like queens Reich, like a shared, like, leading up to certain things, and I just felt like if you throw in a couple of violins and a couple of, like, I don't know, other string instruments is. It will be right there with. Right there with Kunis Reich. [00:09:14] Speaker C: I can see that. Yeah. [00:09:18] Speaker D: But I like the last track. Very bluesy. [00:09:21] Speaker B: Oh, you very, like. [00:09:23] Speaker C: Oh, the instrumental. [00:09:24] Speaker D: Last track is very. The instrumental is very bluesy. Very, like the kind of song you hear on skinimax. Like, that's the song right there. Right. So. But overall, once I heard about. Hey, listen, you have to understand, he wants to share the other sounds that he couldn't do within Motley crue. I started appreciating the album. Blah. Better. A lot more. [00:09:48] Speaker B: Speaking of which, did anybody see the post from Nikki six? No, I don't know. I don't know if he's kidding. Yeah, I don't know if he's kidding. But did you read the. The genre? [00:09:59] Speaker C: Uh huh. [00:10:00] Speaker B: Country. What is a country meets hip hop? [00:10:03] Speaker C: Uh huh. [00:10:04] Speaker B: Yeah, I'm thinking he's kidding. That's what I think. I'm like, oh, he's. That's gotta be. He's gotta be Joe. Let's just bust some balls. [00:10:15] Speaker C: Yeah, I hope so. [00:10:17] Speaker B: It's supposed to be out soon. We should be hearing it soon. [00:10:20] Speaker C: Well, no, they said 2025. [00:10:22] Speaker B: Oh, is it? Oh, I missed that part. [00:10:25] Speaker C: Yeah, that, you know, that's what they say. Who knows? It could come out before that. Who knows? [00:10:30] Speaker B: Yeah. And I mean, Frank, like I told Mark, I'm more curious to hear Motley crude than I was to hear Mick Mars. I mean, I was curious to hear Mick Mars, but I'm much more curious to hear what Motley crue does just because of the situation. [00:10:45] Speaker D: Yeah, I mean, John five brings in a different element of guitar playing. Yep, he really does. Yeah, I'm right there with you. I want to hear what it sounds like. [00:10:57] Speaker B: But he's also coming into a, what, 40 year establishment at this point. How. How long has Motley crue been around? [00:11:04] Speaker C: Yeah, 40, 41, something like that. [00:11:06] Speaker D: 81, right? [00:11:07] Speaker C: 81, 40, 43 or something. Yeah. [00:11:10] Speaker B: So again, he's coming into that establishment, and I don't know how much freedom. So I think there's two scenarios, right? Where it's okay, you do, we say. Or maybe it's like, you know what? Have at it. We're gonna show McMars who you are, kind of. You know what I mean? If that animosity between them is. Is that strong. If it is, then they may say, you know what, dude? You want, dude? Because it's kind of what they do with karabi. [00:11:40] Speaker D: Well, yeah, I mean, karate. Here's the thing about Karabi. Karabi was coming in from a much different sound than Motley ku was. And you know, they were still kind of very metal. He was very grunge, and they were trying to fit him into a mold that didn't fit well, you know. [00:12:02] Speaker B: Well, I mean, he was also with the scream, which was the Bruce boilette. And, I mean, that stuff was quote unquote hair metal y, so I don't think that that was that different, but I don't know. [00:12:20] Speaker D: We'll see. We'll see. You know, Molly Crue is very unique in their sound, let's say. So I'm very curious to see how John five fits into that. [00:12:28] Speaker C: Yeah, well, I know that depends how. [00:12:31] Speaker B: Relevant they want to be at this point, right? If they say, oh, we need to sound like this, we need to sound like that. Or maybe let's just sound how we do. Hey, listen, maybe they can go back to, like, the shot of the devil days and stuff like that. [00:12:47] Speaker D: Maybe. I mean, you know, John five has that pedigree. [00:12:52] Speaker C: Yeah. [00:12:52] Speaker D: Bring him back to that era. He's got the pedigree to bring it back to the too fast for love era. Does. [00:13:03] Speaker B: See it. I'm super curious. [00:13:06] Speaker C: I wouldn't. I wouldn't hold your breath about that. That's gonna happen. I'd be surprised, but I don't know. And I'm not surprised that Mick Morris thing sounds like it does, because he'd like that third record. He'd like that record with John Karabi. [00:13:21] Speaker B: Yeah, he was. Said it was his favorite, so. And a lot of. I've few podcasts where they say that that's their favorite motley crue record, and everybody's entitled to their own opinion. I've tried giving that thing a chance a couple of times. I'm just like, I don't know. [00:13:41] Speaker D: I'll tell you what. I like it. I like it a lot. [00:13:45] Speaker B: Yeah. [00:13:46] Speaker D: Is it my favorite motley crew? No. What is right out there? Top three. [00:13:53] Speaker B: For me, it's like, top six. I don't know, enough to compare that to weight. Apples and oranges with the girls, girls, girls. We had that discussion already, though. [00:14:06] Speaker C: Yeah, I. I haven't heard it enough to give much of a. I think I may have. May have heard a couple songs and went, nope, this is not for me. But that was also, you know, how many years ago? 30 years ago. So, yeah, I think that. [00:14:17] Speaker B: I think that's a really good one to get on this podcast, kind of break it down and. Yeah, re listen to it. So, speaking of Motley crue, are we going to get back to Judas Priest? [00:14:30] Speaker C: Yes, we are. [00:14:31] Speaker B: I love these tents. You gotta love it. [00:14:35] Speaker C: Well, we had to ask him about it because this is bad. [00:14:37] Speaker B: Yeah. No, absolutely. Absolutely. [00:14:39] Speaker D: This is how we end up at two in the morning, by the way. [00:14:41] Speaker C: This is true. [00:14:42] Speaker D: This is true, by the way. And by the way, by the way. So, you know, how can we overlook today's news? An earthquake in New York. [00:14:52] Speaker B: Yes. When we're recording this. [00:14:58] Speaker C: Yeah. That was fun. [00:14:59] Speaker B: Well, actually, in New Jersey. [00:15:03] Speaker D: Yeah, actually. Actually, let's be realistic. Let's. Let's follow how it was presented. It was 40 miles west of New York. We don't recognize New Jersey here. We just say it was 40. It was. It was west of Manhattan. That's how we do it. [00:15:20] Speaker B: A lot of people had to google that on maps and say, where is this? Wait, new. How do you pronounce the jersey? Jersey. [00:15:30] Speaker C: Oh, the New Jersey people are not gonna like you. [00:15:32] Speaker B: No. Hey, listen, man, I got love and respect for New Jersey. One of my favorite singers from New Jersey. [00:15:38] Speaker D: Oh, yeah? [00:15:39] Speaker B: Who? [00:15:39] Speaker D: Who? [00:15:39] Speaker B: Bruce Feinstein, man. [00:15:41] Speaker D: Oh, Jesus Christ. [00:15:43] Speaker B: Hey, don't start. You could have your motley crue rant. Don't start on Bruce. [00:15:51] Speaker C: So. So are you ready to hear what early Judas priest sounds like? Frankie? I am strong, and Frankie has a new job tonight. I heard he's reading the lyrics because I have enough to do, so. [00:16:07] Speaker B: There you go. [00:16:08] Speaker D: Shit, I forgot about that. [00:16:09] Speaker B: Hold on. [00:16:12] Speaker C: Yeah, I'll cue you in, Frank. Don't worry. [00:16:15] Speaker D: All right, thank you. [00:16:16] Speaker C: Okay, so. All right, so now we're on the second side, and the first song on the second side is never satisfied. Here we go. You know, I'm still hearing a little bit of deep purple there. That's so deep purpley to me. I could be wrong. [00:16:54] Speaker B: It's a good riff, though. [00:16:55] Speaker C: I thought, you know, I like it. I thought it was going to be a little. It's a little more toward the Judas priest, I guess, a little bit, but it still sounds. [00:17:02] Speaker B: Yeah, very. I mean, I'm hearing again british steel and hell Ben for leather, which is not called hell Ben for leather. Original foreign England for leather. You know what I hear, too? A little bit. Uh, new Jim. [00:17:17] Speaker C: Oh, yeah, I can see that stranglehold. [00:17:19] Speaker B: Ben and Kaina. [00:17:21] Speaker C: Yeah. All right, back up. Here we go. [00:17:51] Speaker E: Faces change. Faces change. Life is so new. Very strange. Changing time, changing lives together. [00:18:33] Speaker C: I like that so far. I actually think this is my favorite song so far. [00:18:37] Speaker B: Yeah, I mean, those are two great riffs. I felt they were a little slammed together, though, at that point. But, I mean, the ribs are really strong. [00:18:45] Speaker C: Yeah. What do you think Frank. [00:18:53] Speaker B: Frank's thinking about the lyrics. [00:18:55] Speaker C: Trying to find them. [00:18:56] Speaker D: Okay. Hear me now? [00:18:57] Speaker B: Yeah. [00:18:59] Speaker D: Well, they're very strong wrists. I like them a lot. [00:19:04] Speaker C: Yeah, this is. This is much better. I mean, like I said to me, this is the strongest song so far that we've heard to me. Oh, wow. [00:19:11] Speaker D: Okay. [00:19:13] Speaker B: Yeah, it's pretty strong. [00:19:15] Speaker C: Why don't you read what. What we're up to in lyrics? [00:19:18] Speaker D: All right. So how does this work? Do I just read it or do I sing it out, like, more like Nicolo? Like, this is a nick job, so I don't know. [00:19:25] Speaker B: I don't know if you want to sing it like Ralph Alford. He's pretty deep in this. He's not. He's not hitting the high ones yet in this one. [00:19:33] Speaker D: All right, here we go. Ready? Where do we go from here? There must be something near changing you changing me forever places change faces change life is so very strange changing time changing rhyme together mark, that's where we. [00:19:57] Speaker C: Ended no, I think. I think we did. Did we do one more? I think we did one more. Right. [00:20:01] Speaker B: Okay, here we go. [00:20:02] Speaker D: Right? Yeah, here we go. There's nowhere else to go this could be our last show. Changing dreams changing schemes never we've never satisfied yeah. [00:20:19] Speaker C: So are they. Are they saying. See if they're saying anything about this, what this thing is about. Not really. There's nowhere to go much go on from here there must be something near changed me forever I don't know. Is it a relationship thing? I think so. That's what it sounds like. I don't know. [00:20:45] Speaker B: Yeah. Just in the band, maybe. [00:20:53] Speaker C: Yeah. I'm not sure, but I like it so far, whatever it is. [00:20:57] Speaker B: Yeah. The rooster shine production. That solid, classic rock production area. [00:21:03] Speaker C: Yeah, I like it. I mean, at least the drums sound like drums. [00:21:19] Speaker E: This could be our last show. Changing dreams changing skill we. [00:22:54] Speaker C: What did you guys think of that? I liked it. It's a very early seventies guitar player, though. [00:23:01] Speaker B: I like this solo. I don't like what the drums is doing underneath it, though. [00:23:06] Speaker C: No. [00:23:06] Speaker B: I felt like the fill was coming in at the wrong time, and it kind of emptied out the sound instead of accentuating it. [00:23:15] Speaker C: I didn't notice. [00:23:16] Speaker B: Me, personally. [00:23:20] Speaker C: I like the riff that's underneath the solo, though, too. That's kind of good. [00:23:23] Speaker B: Yeah, that's what I'm saying. I feel like there are three good riffs, but they're kind of slammed in, you know? I don't know. I could just be me. I think they're. They are. They're really strong riffs, but they're kind of like this one's ending up. Start the next one. This one. And then I play the one you're playing on the solo, like, very boom, boom, boom. Like, they don't kind of blend smoothly. [00:23:44] Speaker C: Yeah, I can see that. [00:23:45] Speaker B: I mean, that's my only complaint, really. But, I mean, the riffs are really strong. I mean, all three of them, I. [00:23:52] Speaker C: Think the rest of strong. I mean, and, you know, the guitar playing is. [00:23:54] Speaker B: It is. [00:23:54] Speaker C: It is very. It is very what it. You know, what it is for that timeframe. So it's less what it became after. Right. So it's more of, you know, early seventies guitar play stuff. And then you got the little play on there. Interesting. [00:24:13] Speaker B: Yeah. This one guy says that theme of never satisfied lyrics, at first glance, seems to reflect melancholic nature of time, essence of mankind. In the beginning, the person telling the tale is depressed. It starts showing more and more anger and frustration as the song progress progresses. His last words seem to emphasize the loneliness and desperation of man at never ending crossroads. The path he chooses is bound to lead him to another dead end. [00:24:44] Speaker C: I didn't get that from that, but I'll take the word for it. [00:24:47] Speaker B: This is deep, man. [00:24:49] Speaker C: Yeah. Seriously. So, Frank, would you think so far, how you liking it? [00:24:56] Speaker D: I mean, I didn't get that either, Mark. It sounds like somebody stuck in a dead end relationship. [00:25:06] Speaker C: That's what I thought. Mm hmm. [00:25:10] Speaker D: And they're looking for a way out. Oh, that's what it sound like to me. [00:25:13] Speaker C: I don't know. All right, let's continue this. I'm curious to see if they try to jam some more riffs. Together we go. [00:25:40] Speaker E: Come changing fast. No more. [00:26:54] Speaker D: I mean, that's a still dragon shit right there. [00:26:59] Speaker C: It's Marky Mark. Yeah. No, I mean, I thought that the vocals on this were much more what I think of Judas Priest being, especially that end part two. I do like the drums a lot. I mean, I didn't notice that it was really empty in the middle when he was playing that, but I like what he was doing in the verses and stuff. Yeah. [00:27:22] Speaker B: I mean, the transition felt a little bit smoother to me, honestly. This time, between the. The two main riffs, I could have done without that. Satisfied. At the end, I actually felt like it wasn't even in. Not the wrong key, but it was, like, almost a happy key. [00:27:39] Speaker C: Well, they were also doing that seventies thing where they slow down the end. [00:27:43] Speaker B: Yeah. I was like, mark sinking black diamond right now, I bet you. [00:27:46] Speaker C: Yeah, I mean, I mean, kiss did it, but as other bands that did it, too. That's. That was a thing that you did. [00:27:52] Speaker B: Yeah. [00:27:53] Speaker C: So it's one of those tricks. So, Frank, what are the last set of lyrics there? [00:27:59] Speaker D: Give me one moment, because I want to get it right. You know, it looks like it's. Love has gone along with fun now we're reaching for the gun changing cast, changing fast no more tethered than instrumental, instrumental, instrumental we are never satisfied that's that. That's it, bro. [00:28:29] Speaker B: Nice. It's like having Ralph Halford here with us. [00:28:34] Speaker D: Thank you. [00:28:35] Speaker C: Here he is again. Yeah, I didn't. I didn't hate that. Like I said so far, I think, to me, this is my favorite song out of the whole thing. [00:28:48] Speaker B: You want to go first? [00:28:49] Speaker C: Yeah, I'll go first. Lyrics? I don't think the lyrics are the greatest in the world. I'm gonna give six on the lyrics, but I like the music a lot. I like the riffs a lot. So I'm gonna give that an eight, and I'm gonna do eight on the production because I think generally everything is easy to hear. You can hear everything. I like the drum sound. Bass is playing some good stuff. Guitars sound good. The lead guitar parts are still where it's a little bit weaker for me that I was. That it's not as strong as some other stuff that was around at that time. But it does still give me a deep purpley kind of vibe still. But definitely his vocals and stuff are starting to feel to me what I think Judas Priest is, especially with the scream at the end and even the lyrics and just the vocals through the whole thing. For me, I kind of like. So, yeah, I'm gonna give the six. Eight, eight. Frank, you know what? [00:29:41] Speaker D: I like this lyric. I like the song. I kind of like. To me, it resonates. I say two people stuck in a loveless relationship and just waiting for someone to throw out the spoiled milk out of the refrigerator. So I'm gonna give the lyrics an eight. I like it a lot. The music itself, I really like it. Love the riffs. I'm going to give that a seven. And overall production, I'm going to give that a seven as well. Saf. [00:30:10] Speaker B: Yeah, I think I'm going to go seven in the lyrics. I think there's a sentiment there that I do like music. I'll say eight on the music. I mean, I do think that the riffs are really strong. Like I said, I just. In the beginning, the transition didn't sound as smooth to me, so I don't know if it was me or just. It was. He just was smoother the second time. Again. I mean, it wasn't crazy about that little thing he was doing on the drums. Not that the drumming was bad overall and production elc. I mean, it was loud, which I. Which I liked. It was. It was powerful. So, I mean, overall, pretty good. I don't know if it's my favorite. I mean, it's. The riffs are up there. I do remember liking the way the. That whole winter thing they had going as well, so I'd have to kind of go back and listen to it to see which ones I prefer. But, yeah, I mean, definitely a good, strong way to start the second side. [00:31:09] Speaker C: 100%. Yeah, I like it. Well, the next song is fairly long. This is the longest song. No, it's not the longest. Other thing that was those two things together, but this is still long. 834. And this is run of the mill. Here we go. Now, supposedly this is a ballad, so you don't really think of ballads and Judas priests together. Generally. [00:32:38] Speaker B: You've done some sort of stuff, though. But, yeah, this is. I mean, this is of the era, too, right? [00:32:43] Speaker C: Oh, yeah. Oh, yeah. Yeah. So there's, um. Supposedly it was written to show off, you know, right after he joined the band, KK Downing wrote it in part to display Halfords unique vocal range. So I'm sure we're gonna be getting a lot of vocal stuff from him. And I guess the, um. Glenn, uh, KK down and does a really long solo after the first two verses, so that's why it's so long. And Glenn Tipton is playing keyboards nice. So it's cool. And they haven't. They haven't performed this song since the mid seventies, supposedly. I mean, I don't know if that's true or that's at least what Wikipedia is saying, but. [00:33:33] Speaker B: Well, I did read that blur last week, remember, when they played I don't know what it was never satisfied, and the crowd was just quiet. They didn't know what it was. [00:33:42] Speaker C: Meanwhile. [00:33:43] Speaker B: It's a strong song. [00:33:44] Speaker C: It is a super strong song. Yeah. What do you think so far, Frank? [00:33:49] Speaker D: I mean, I like the instrumental opening. Let's hear the lyrics. [00:33:54] Speaker C: I'm curious. I'm curious to see what kind of vocal gymnastics, if he does any on this. Let's go. Here we go. [00:34:24] Speaker E: Achieve now you did you fulfill ambition? Do as you were told still doing the same this year should I give sorrow or turn round and steal? [00:35:32] Speaker C: It's so weird. It kind of goes back into, like, yacht rock. It goes to yacht rock, and then it's, like, hard rock, and I was back to yacht rock again. [00:35:43] Speaker B: Yeah. [00:35:43] Speaker C: I mean, it's not bad. I kind of like the guitar parts, actually. [00:35:47] Speaker B: Yeah. [00:35:50] Speaker C: So suppose this is about an old man and his life and stuff. So, Frankie, read that. Read the first verse. Let me hear that, what he's saying. I heard some stuff, but. [00:35:58] Speaker D: Oh, yeah, absolutely. I'm. Pleasure, please. What have you achieved now you're old did you fulfill ambition? Do as you were told? Or are you still doing the same this year? Should I give sorrow or turn around and sneer? [00:36:18] Speaker C: Okay, good. [00:36:20] Speaker D: Wow, that's. [00:36:21] Speaker C: That. [00:36:21] Speaker D: That's some fucked up shit right there. The rest of it. [00:36:26] Speaker C: Well, I was kind of saying, like, you're old now, and, like, did you. Did you do what you wanted? Did someone tell you? Did you do everything you were told to do? [00:36:33] Speaker D: Yeah, yeah, exactly. It's like, you know, you kind of. This is someone who's saying, hey, reflect. Where you at in life. [00:36:41] Speaker C: Yeah, I like it. [00:36:43] Speaker D: Wow. [00:36:44] Speaker C: All right. [00:36:44] Speaker D: I like it. Very powerful lyrics so far. [00:36:47] Speaker C: Yeah, and his vocals are really good on. Yeah, I like that. There's a cool. There's a cool little bass line in the yacht rock part. [00:36:52] Speaker D: Mm hmm. Yeah. [00:36:54] Speaker C: What do you think about the drums on this one? [00:36:57] Speaker B: They're good. That one kind of fill that thing is a little bit off, I feel, but, I mean, overall, it's pretty good. [00:37:07] Speaker D: There we go. [00:37:08] Speaker C: Here we go. [00:37:09] Speaker D: I like it. Here we go. [00:37:11] Speaker C: Let's continue. We got a lot. We got a lot to go. We got another. Another six minutes. [00:37:17] Speaker D: Oh, Jesus Christ. Here we go. [00:37:33] Speaker E: I know that the prospects were all that go, but they improve. Stand out of all that you call. Let's try for that something we all have deep inside not let it vanish along with your crown. [00:38:24] Speaker C: Before we get into this pocket, this is where some instrumental is going to happen. Frank, read the second verse. [00:38:30] Speaker D: Yeah, we need to read the second verse right here. Hold on. I know that the prospects weren't all that good, but they improved, and I would have thought that you could. Wow. Wow. That's deep right there. Have strived for that something we all have deep inside not let it vanish along with your pride. Oh, wow. This is. This is not. This is not going very well. [00:39:05] Speaker C: Yeah, it's, uh. It's kind of. It's kind of. It's kind of. It's pretty deep for, uh, for a so called heavy metal band. Right. [00:39:16] Speaker B: And think about the fact of how, like, autobiographical is, right. When you think about things that rock musicians go through and probably things that they ask themselves and decisions they make along the way. [00:39:32] Speaker C: Yeah, that's good. [00:39:34] Speaker B: It's deep. [00:39:35] Speaker C: Yeah, it's definitely good lyric writing. Yes. I know the prospects weren't that good, but they improve. And I've thought that you could, but obviously he didn't just because of that line. So it's interesting. [00:40:01] Speaker B: So it's like this person had the opportunity to be better than what they were, but they didn't take no those opportunities. [00:40:08] Speaker C: And now you're old, and now what are you gonna do? [00:40:12] Speaker D: Oh, Jesus Christ. [00:40:14] Speaker B: You are the rest of this. [00:40:16] Speaker C: It's the fucking. It's the fucking Debbie downer of songs. [00:40:20] Speaker D: It really is the kind of song you listen to right before you fucking hang yourself. Jesus, do we have to listen to the rest of this? [00:40:28] Speaker B: Well. [00:40:29] Speaker C: Well, there's a lot of guitar soul coming up, so there's not. [00:40:32] Speaker D: All right. [00:40:32] Speaker C: There's not very many lyrics in it, so there's not much else going on. [00:40:37] Speaker D: Okay. Yeah. I can't wait to read the rest of this. [00:40:40] Speaker C: Jesus. Jesus Christ. That was a long solo. [00:43:53] Speaker B: You go first. Mark, what do you. [00:43:55] Speaker C: Was, like six minutes. Um. [00:43:57] Speaker B: It didn't feel like it. [00:43:59] Speaker C: I liked it. I don't think it needs to be that long, but I liked it. Like, I especially. He built it up pretty good. I mean, that's a long time to be soloing. So you start to run out of things to do. Where am I going? And, you know, the bass part underneath was super cool. [00:44:16] Speaker B: Yeah, that was really good. I really liked the rhythm that was going on. [00:44:20] Speaker C: Yeah, the drums in the bass were really good underneath that. [00:44:22] Speaker B: Yeah, they were really good. [00:44:24] Speaker C: I mean, again, I questioned the six minuteness of it, but, you know, it's the time you make that cool transition, though, right? From kind of, like buying really soft and then to the harder part. Yeah, yeah. [00:44:37] Speaker B: The way it was almost like a rise kind of thing. I mean, that was. That was really cool. And it also seemed like the guitar was switching channels, too, at some point. [00:44:46] Speaker C: Yeah, they were doing, like. They were doing like a fade back and forth. [00:44:50] Speaker B: Yeah, that was cool. Even the bass, it almost sounded like there were two bases going on one time, like the strings and everything. [00:44:56] Speaker C: Yeah, he was doing a lot of stuff. It was good. What did you think, Frank? [00:45:02] Speaker D: Oh, my God, I hate. I hate everything about this song. It's so depressing, dude. This is, like, the kind of song I will picture myself, like, making now, dude, like, seriously, it's like, you know, like, hey, look, you fucked up in life. And we're gonna give you this long solo as a background to reflect all the times you fucked up and justify you hanging yourself in this moment. Like, oh, my God, I hate everything about this song. [00:45:38] Speaker C: Think about it. [00:45:38] Speaker D: It's so depressing. [00:45:39] Speaker B: Sit there and think about this. [00:45:42] Speaker D: Oh, my God. Don't. You know what? MTV banned the wrong songs. They should have banned this one if there was ever a video. Oh, my God. It's horrible. It's depressing. All right, play it on. I mean. I mean, I kind of read ahead of the lyric, and it doesn't get any prettier from here, so play it along, Mark. [00:46:09] Speaker C: Okay. [00:46:10] Speaker E: You like that, huh? [00:46:12] Speaker C: No, he does not. He does not like it. He hates it. All right, here we go. [00:46:22] Speaker E: In the end. Sa. [00:48:15] Speaker C: Well, you weren't hearing vocals like that in 1974. That high, they really built it up. [00:48:20] Speaker B: At the end with the organ and everything. I mean, that was really. [00:48:23] Speaker C: Yeah, I like the keyboards that came in. That was pretty cool, too. I wasn't expecting that. [00:48:29] Speaker B: So, Frank has to read the letter. [00:48:31] Speaker C: How many singers were singing this high back then? Never. Many. [00:48:36] Speaker B: Yeah. How many singers were singing that high? Well. [00:48:41] Speaker C: Ever. No, but especially back then, like, this is 74, so you got to understand what's around. Like, then. Yeah, Zeppelin's around. Right? So. But still, I mean, he's saying hi, but not like that, you know? [00:48:54] Speaker B: Well, I mean, half. It's got, what. What ranges. He. It's ridiculous. [00:48:58] Speaker C: Yeah, I know. Yeah. It's kind of. Well, I mean, and this kind of shows that off. It's just so high that. I like the keyboard parts on there, too. I think it helped. Yeah, but. But now we have to ask Frank, right? Read some lyrics. I'm sure they didn't get any better. [00:49:13] Speaker D: No, no, they don't. Hold on. Verse three. Now, with the aid of your new walking stick, you hobble along through society thick and look mesmerized by the face of it all. You keep to the gutter in case you fall the. I can't go on I can't go on I can't go on I can't go on I I I. [00:49:57] Speaker B: That was. As long as it's all a frank, dude. [00:50:03] Speaker D: Like, seriously, bro, I have so many thoughts about this song. I have so many thoughts about this song. [00:50:11] Speaker C: Oh, my God. [00:50:12] Speaker B: Listen, think about your. All I need, man. Think about those lyrics. [00:50:16] Speaker C: It's like poetry slam. [00:50:18] Speaker D: That's different. That's different. [00:50:21] Speaker C: Dark, notch. It's dark. [00:50:22] Speaker D: This is depressing. [00:50:26] Speaker B: Frank, you got to go first, man. You got to go first. [00:50:29] Speaker D: Oh, my God. This song really, really hits on someone who has truly lost their way in life, on truly depressed. And in those dark moments where they're trying to figure things out, whether it's worth carrying on. Oh, my God. Like, seriously, like, this song, for me, it really captures that, those dark moments, whether you're debating whether to carry on or just out yourself. So I don't know whether to celebrate the song or turn it down. Like, I need a few moments to come up with a rating for this. But, Mark, I like to hear what you think, sir. [00:51:15] Speaker C: Oh. [00:51:16] Speaker B: Put you on the spot as far. [00:51:18] Speaker C: As the lyrics go. I mean, they're kind of depressing. They're depressing. I mean, they're super dark. I mean, I like that what he's trying to do. Do I think that the song needs to be. I mean, I guess I have to do. I'm gonna come back to lyrics. Do I think the song has to be eight minutes and 34 seconds? Probably not. It probably could have been pared down to probably, like, four minutes. You know, the guitar solo is a good six minutes, but the guitar solo is. [00:51:50] Speaker D: It's giving the listener that. That. That time to reflect all the times they fucked up in life and justified their next move. [00:52:02] Speaker C: Yeah, I mean, I can see that's. [00:52:04] Speaker D: That's what it is. Like, holy shit. Like, I don't know where to go with this song. Do I praise it or do I turn it down? [00:52:17] Speaker C: I don't know. I mean, musicianship wise, I'm gonna say. I mean, I could give it eight. I'm gonna give it a. Just because of the. Just because of the scope of what they're trying to do here and his vocals. I'll give it an eight. Production. The production is great, but I. I have to give it a little bit of a ding just because there's no other place for me to say, why is this eight minutes and 34 seconds? So the production has to hit just because of that, but not that because it sounds bad. Because I think it sounds good. I'd like the keyboard choices, so I'm not gonna ding it too hard. I'm gonna say seven, but I have to ding it a little bit. And lyrics. I mean, the lyrics are depressing. They're dark. I don't think that they're bad. I mean, like you said, do. Do I give it crappy marks because it's so depressing, or do I praise it because of what they're trying to. Like, the idea they're trying to bring out? So I'm gonna say I'm gonna say seven. I don't hate them, but I could totally understand why you would say, yeah, I can't. I can't do this. So, you know, go ahead. We'll let Frank stay to the end. [00:53:25] Speaker B: Yeah, I mean, I think the lyrics are really good. I'm going to give them an eight. I mean, yeah, they're depressing, but they are what they are. But they paint a really good picture, and they say exactly what they need to say. Music is hard for me because there's some stuff that's going on that I really, really like. I mean, the bass is really good. I mean, the whole rhythm thing going on. And then when they come back out of the chorus, out of the solo, they just take it to another level. And they had all those keyboards and everything. So I'll say eight on the music, too. Yeah. And I guess I'll ding the production like you did, because, I mean, the solo wasn't bad, but, yeah, it's. It didn't necessarily grab me, either. I mean, when I listen to light my fire and I hear the keyboard solo and the guitar solo, when I hear the edited version, when it doesn't have that, to me, it's just. It's not the same song. Like, I need to hear that part. This I didn't like. If I go back to this, I'll probably skip the sono part, even though I really like what the bass and drums are doing. Even though, I mean, again, he does some cool things in there. But overall, so, yeah, we'll say seven on the production. It isn't my favorite so far, but there's some stuff that's really, really good in this. [00:54:49] Speaker C: Yeah, well, you know what I was gonna say. I was gonna say you. You brought the doors up. I thought at the beginning it was a little dorsey. At the beginning, I was thinking that when I. When it went through, so. But, yeah, I. It is kind of. I mean, six minutes is a bit much, but, you know, I mean, I still think. I still think it's, you know, song wise, it's not. It's better than the first side, I think. Personally, generally, I think. I don't know. [00:55:16] Speaker D: I mean. I mean, that whole thing, let me fire. It's like you're tripping. You're just kind of figuring out life and what's real, not real and what truth and what's a lie. Here you're just debating whether to leave this life. Totally different concept, bro. Totally different soundtrack to that situation. [00:55:40] Speaker C: Oh, yeah. No, no. I don't mean music like, in the sound a little bit, you know what I mean? [00:55:45] Speaker B: I don't, like, light my fire without that big middle section, but this, it was. [00:55:56] Speaker C: Yeah, I get it. Frankie, go ahead. [00:55:58] Speaker D: You know, I'm gonna get. The lyrics are so dark. I mean, so deep. I'm really gonna give the lyrics a nine on this one. [00:56:10] Speaker B: That's really low. [00:56:13] Speaker D: No, really, think about it. It's like they're really dark and really, like, they hit home, right? And, hey, listen, that's the whole purpose of writing, is something that really hits home. And if it really hits you hard, you know, the higher the rating. I mean, this one really hits for me, it's a nine. The music itself, I like it a lot. I'm gonna give that an eight. And the, you know, overall composition, I'm gonna give that an eight as well. So, I mean, listen, it is. It's a dark song, and it really delivers the message that it was meant to deliver. And spades. [00:56:52] Speaker C: Yeah. I thought Frankie was going to destroy this. [00:56:54] Speaker D: No, no. [00:56:55] Speaker B: You said you were. [00:56:58] Speaker D: No, because it's so dark. [00:57:00] Speaker B: It's, like, depressing. Like, it's like you don't. You don't want to like it, but you do. [00:57:07] Speaker C: Yeah. [00:57:07] Speaker D: You don't want to like it because of what it's saying, but at the same time, like, it accomplished its purpose. Right. I'm delivering a strong message. So I guess from an artistic standpoint, you know, 988. And from a person standpoint, it's like, you know, wow, zero. But that's that. You're not going to be playing this. [00:57:31] Speaker B: At any parties coming up. [00:57:33] Speaker D: Definitely not. Not playing it. [00:57:36] Speaker B: You know, it is parties dead. [00:57:39] Speaker C: He's in a back to back this with you're all I need. [00:57:44] Speaker D: I'm telling you, that Molly Cruz song is awesome, bro. [00:57:50] Speaker C: All right, so the next one, this is long, too. This is 623. And this is dying to meet you. Hero. Hero. Now they're saying on some of the versions they combine, it's separated and it's a man. This is a matchup. I don't know. We're gonna see how this goes. They're doing a little bit of that. That's where I think the album is a little bit dysfunctional in some of these things. [00:58:18] Speaker D: So I'm just curious to know, why is it that are the nice. I'm not joining you guys. You get songs that are three minutes long, and the nights I'm on, it's like eight minutes long songs. [00:58:27] Speaker B: Well, you gotta make up for long. You haven't been on a while you gotta make up for what it is. [00:58:32] Speaker C: That's why all it. [00:58:34] Speaker D: Right, let's. Let. Let's see this one. Hopefully this is more upbeat. Let's go. [00:58:38] Speaker C: Here we go. [00:59:16] Speaker E: Came in this morning high on a bird wide open minded but still quite aware follow the sunrise right through from dawning picking God landmarks that I was there let you position eyes turn face leaders who never let one smile depart from their face. [01:00:23] Speaker C: So it's like Black Sabbath meets. What does it sound like in the second part? I don't know. Like, it's very. It's very hippie. But his vocals, like, that's a low range for him, right? Yeah, like, he doesn't really sing that. [01:00:42] Speaker D: I don't know. I didn't recognize it. [01:00:46] Speaker B: I mean, the way. The way he uses his voice. Obviously, it's him, but the. Yeah, the. The tone. Really low. [01:00:54] Speaker C: Yeah, he doesn't. He doesn't use that low voice very often, does he? [01:00:57] Speaker B: No, I don't think so. [01:01:03] Speaker C: So what? Yeah, I. Seriously, it's low. So what are the lyrics, Frank? I'm curious. I was just. I was preoccupied listening to his voice. I didn't even listen to the lyrics. [01:01:15] Speaker D: I mean. Yeah, you know, it's definitely one of those. Honestly, if you would have played this for me, I would have been like, oh, who's this band with that guy that sounds like Rob Halford? Like, it doesn't sound like Judas Priest, but here goes. Lyrics, verse one. Came in this morning high on a bird's wing wide open minded but still quite aware follow the sunrise right through from dawning picking out landmarks that said I was there lead to positions by stern faced leaders who never let one smile depart from their face hmm. That's all I got. [01:02:00] Speaker C: Yeah, it's. It's. It's. It's weird. Like I said at the beginning, it has a little savage thing going on. Then it goes to very, like a psychedelic y kind of sixties thing with that weird vocal that's going on. I mean, the lyrics are pretty interesting. I'm not too sure what's going on with the lyrics yet, but I like them. Have you found anything, Sabina? [01:02:19] Speaker B: What? [01:02:19] Speaker C: The songs about? [01:02:21] Speaker B: No, I'm looking dying to meet you. [01:02:25] Speaker C: I mean, I can. I mean, I can make some kind of inferences here and there, I guess. Well, you look for a little bit, and we'll continue playing this. [01:02:39] Speaker E: Then. With an arm race the slaughter has started why don't you greco and start to cry? Selfishness breathes in the sense full of sorrow every few moments I see a friend die synchronized watches, yes, flash in the sunlight as into the battle we all live. [01:03:44] Speaker C: That's just so, so weird. It's a very weird song. [01:03:50] Speaker B: I mean, I see it as it sounds to me, like maybe war. I mean, I just picture, like, an army. I could be wrong. I mean, I'm. Even when he says. Led to positions by stern faced leaders who never let one smile depart from their face then with an arm raised, the slaughter has started. That's what's kind of reminding me. I'm seeing your friend, you die. And every few moments I see a friend die synchronized watch. [01:04:21] Speaker C: It could be a war thing. [01:04:23] Speaker B: Well, as into the battle here, all that. I mean, that's kind of what it ranks, I'm thinking. I mean, I'm getting visions like World War Two. I mean, it could be some big messy. [01:04:33] Speaker C: Read the whole thing so we can hear it all together, and my thing. [01:04:38] Speaker D: Just completely blanked out. Give me a moment, guys. Oh, here we go, verse two. Then with an arm raised the slaughter is started one or two crack up and start to cry a selflessness breeds in this cesspool of sorrow and for every few moments I see a friend die synchronized watches flash in the sunlight as into battle we are all led. [01:05:08] Speaker C: Yeah, it's definitely a war metaphor. [01:05:15] Speaker B: Yeah, I mean, that's right. I mean, some people say it's Vietnam. Somebody's like, it's nazi soldiers. And some people, like, not just like, about war in general. [01:05:25] Speaker C: Yeah, that's crazy. All right, I'm going to see if there's going to be. I wonder if. I'm assuming there's going to be instrumental break. So here we go before the solo happens, whatever solo that is. Well, that's a big change in direction. [01:07:38] Speaker B: Yeah, but there was such a long pause there. I mean, is this where hero. Hero is supposed to? [01:07:42] Speaker C: Probably. I would tend to think that's what it is. But we finally got, like, two guitar things at the same time. We have. We haven't had that at all. Yeah, that was good. [01:07:53] Speaker B: I mean, I feel like there's shades of maiden in that. I feel like I heard some queen in there, too. [01:08:02] Speaker C: Yeah, it's like I said, this is an album of. We're not sure what we want to do yet, so we just throw in the kitchen sink at everything to see what sticks. That's pretty. Well, I mean, they don't really. They don't have their sound, like we said last week, like, there are some bands who have their sound, like, right off the get go. Right. And other bands. It takes time for them to work their sound out and figure out what they're gonna be. And this is definitely one of those situations where, you know, they're referencing lots of things that you. That sound familiar, but nothing is really their style yet. They haven't figured it out. I mean, except for his vocals. His vocals are kind of like in. You know, especially now in the later parts of their album. You're starting to hear more of the stuff that he would do. Right. Especially on this song here. So, Frank, what is the. What are the. I didn't even get to hear the lyrics on this. So tell me what the lyrics are. [01:08:51] Speaker D: Oh, yeah. With pleasure. Give me one moment. Killer. Killer. You keep your thoughts at bay maiming and destroying every single day is this the way that you get your fun slaying, wailing in the heat of the midday sun get out, get out go and do your job rape and pillage Gunda all and rob you make me sick getting paid for murder but you wouldn't lay a finger on your mother oh, no you'll never dream of to hurt her. [01:09:35] Speaker C: Jesus Christ. This is. This is almost as depressing as the last one. [01:09:42] Speaker D: Yeah, yeah. You know, like, wow. [01:09:45] Speaker B: Comes from a position of anger. [01:09:47] Speaker C: Oh, yeah. He's mad. Yeah. [01:09:51] Speaker E: But. [01:09:51] Speaker C: But the lyrics are pretty good, though, I'd say. Yeah, it's definitely about war and soldiers and stuff. [01:10:00] Speaker B: Yeah. I mean, she was about anything else, I'd really be surprised. [01:10:07] Speaker C: I'm pretty. I'm pretty positive. I'm pretty positive you're right. All right, let's finish it up. Yes. Here comes some solo, I think. [01:11:42] Speaker B: How long was that? [01:11:43] Speaker C: 1620. [01:11:47] Speaker B: So it's. It is still considered compiled? Well, I mean, the theme is the same. It just had that big break in the middle, which was odd. [01:11:55] Speaker C: What, when it just went to nothing. [01:11:57] Speaker B: Yeah. We're just, like, silent. And then the other song picked up. [01:12:03] Speaker C: Yeah. Two songs together. Frank. So, Frank, what is the last. This. Whatever the last lyrics were there. What was that? [01:12:15] Speaker B: I think we lost him. [01:12:17] Speaker C: We did lose him. [01:12:18] Speaker B: Yeah. I don't see him there. Oh, God. I hope he didn't take that song to heart. [01:12:23] Speaker C: Yes. He was too bummed out about the other song. [01:12:26] Speaker B: I know. [01:12:28] Speaker E: System failure. System failure. [01:12:33] Speaker C: Well, since he can't read the lyrics, I'll find the lyrics for the last part here. Um, you know what? [01:12:39] Speaker B: I have them up. I'll read them. [01:12:41] Speaker C: No, I got them. I got them. Here we go. [01:12:43] Speaker B: You got. Okay, good. [01:12:44] Speaker C: Yeah. So, hero, hero, you have done so well so sit back and lick your wounds because you won't go to hell, take your metal, wear it now with prod consolation for the pain and sin you feel inside. It's very. Yeah, he's not. He's not a happy guy about this whole thing. [01:13:00] Speaker B: Yeah, it's crazy. [01:13:03] Speaker C: Yeah, it's a. [01:13:04] Speaker B: Like. [01:13:04] Speaker C: Like I said, it's. It's a weird song. It has, like, heavier parts, and you starting to hear, like, the two guitar thing a little bit. And especially on the second part, like, his vocals are a little bit more, like, Rob Halford ish. The first one is, like, the first parts really low. Like, I'm not really used to hearing his song. His voice that low. No, I know it's a pretty big range, but. Wow. [01:13:27] Speaker B: Yeah, but that is, like, a weird kind of octave for him in general. I mean, even the way he sings it, there's a little, like, this creepiness kind of weird. [01:13:42] Speaker C: Okay, so why don't you go first? [01:13:48] Speaker B: I mean, the lyrics are pretty strong. I'm gonna say. I'll say seven on the lyrics, only just compared to the one before. I mean, they are good. I just think the other ones written so just in comparison. Or else I might give them an eight, but let's say seven in comparison. Music's okay. Honestly, overall, I'm not too crazy about this one. I didn't really like the tone of his voice, and by the second verse, I kind of giggled a little bit. I'm gonna say six on the music. I mean, there is some cool stuff going on, but it's okay. I just think I can understand the ballady part of it, but I'd almost appreciate more if it was a little bit heavier. And production. I'll say seven on production. I mean, it's fine. Again, I don't necessarily understand that space, but I do think these two obviously fit together, even though there's a bigger space in the middle. Whereas on the first side, to say that that last song is supposed to be part of that winter thing, I mean, that makes zero sense because that's completely different. The cheater going into the winter thing, I'm like, wait, how is that considered? [01:15:10] Speaker C: Yeah, I don't know if that's just how they. How they took it. Um, it looks like it depends on the release. It gets mashed up. [01:15:19] Speaker B: Yeah, because it's funny that he. The lyrics that I have up, they don't have hero hero. Like, slash hero hero just don't need to meet you. So this. This site isn't making reference to the separation at all. [01:15:36] Speaker C: Strange. [01:15:37] Speaker B: What, uh, what do you think? [01:15:40] Speaker C: Um, I mean, I think lyrics are pretty good. I'm gonna give them a seven. I. I enjoy the storytelling nature of it, too. Musicianship. I mean, I'm gonna say seven on that, too, just because you're starting to hear some trademark, like, Judas priest things happening. And I'd like to. I like the. I like the initial riff. I thought that was fairly. Fairly good. It was very, very applauding black Sabbath to me. And then, you know, the verses were very, like, lighty, like psychedelic sixties. So, like I said, no one. They don't know where they're at yet, so they're trying to figure this out. And I think I'm gonna do triple seven. I'm gonna get seven on the production, too. I mean, yeah, the choice is just have one today. [01:16:27] Speaker B: Triple seven. [01:16:28] Speaker C: No, we haven't. So which 01:00 a.m.. I gonna pick? [01:16:30] Speaker B: Let's see if you have a Rob Halford seven. [01:16:36] Speaker C: That would be good if I had that, but I don't. Okay, I'm gonna pick this one. Nikki Titty, baby, 777. So, Frank just sent me a message. Says his. His backup battery dies. His whole system went down. That's pretty funny. It's the Rob Halford curse. [01:16:56] Speaker B: Exactly. [01:16:56] Speaker C: It got him. [01:16:58] Speaker B: Was that song got to the battery? [01:17:01] Speaker C: Yeah. Seriously? Yeah. So, I mean. I mean, it was horrible. I mean. I mean, again, like I said, this is a record of discovery for us, and, like, we never heard this. Oh, he's back. [01:17:16] Speaker D: 2000 years later. Oh, my God. [01:17:23] Speaker C: Yeah. You sound a little wacky, though. Yeah, you sound like you're in the. [01:17:27] Speaker B: Water, I think more than your battery died, man. [01:17:31] Speaker D: Oh, Jesus. [01:17:34] Speaker B: There you go. [01:17:35] Speaker D: All right, there we go. Sorry about that, guys. [01:17:37] Speaker C: All right, so what did you think. [01:17:40] Speaker D: Of that, by the way, the last song? Yeah, I would say I think it's like a very wartime influence song. The lyric is right there with it. It's kind of like, hey, you know, I mean, I don't know if I necessarily agree with it. It's kind of like a little bit berating on a soldier following orders, in a way. [01:18:08] Speaker C: Yeah, I can see that 100%. So give us your ratings. What do you think? [01:18:11] Speaker D: Um, I mean, from a lyric standpoint, again, the artist is definitely delivering a message. So from a lyric standpoint, you got to give that an eight. The music part of it, I like. I'm going to give that an eight as well. And the composition in eight overall. On a personal level, I don't necessarily like this song. I just don't. [01:18:39] Speaker C: I don't agree with the sentiment. [01:18:41] Speaker D: I don't agree with the sentiment. No. So I don't. You know, but when you take out personal sentiment and look at it from an artistic level, I think that it definitely delivers. I think it definitely delivers the message for the time it was written. [01:18:58] Speaker C: Yeah. Hundred percent. [01:18:59] Speaker D: Yeah. It. You know, from that artistic side of it, it does. It does deliver that message. [01:19:06] Speaker C: Okay, cool. All right, so we're on to the last. The last song of the album, which is. It's a called caviar and meths. All right. Meths. M e th s. Meth. [01:19:21] Speaker D: Like. Like meth. Like a meth, as in the plural mess. [01:19:26] Speaker B: Like many meth. [01:19:29] Speaker D: No, I didn't say that. Meth, like a mess. Okay. [01:19:33] Speaker B: Breaking bad. [01:19:34] Speaker D: Like breaking bad. Like pluralized meth. [01:19:38] Speaker C: I've never heard it called meth. Meth. [01:19:41] Speaker B: Meth lab. [01:19:42] Speaker D: Meth. Are we taking multiple meth hit, I. [01:19:47] Speaker B: Don'T know, seventies, man. That's when they got the good stuff, right? So they could call whatever they wanted. [01:19:54] Speaker C: Was mets really big in the seventies, though? [01:19:56] Speaker B: I have no idea. [01:19:57] Speaker D: Oh, Mark, I just want to say my job just got easier. This is instrumental. Thank you. [01:20:03] Speaker C: Oh, well, that one makes more sense now. So. And it's short. It's like two minutes and 4 seconds. So let's. Let's see. [01:20:10] Speaker D: Yeah, because that's how long it takes before you black out a meth. [01:20:15] Speaker B: Two minutes and 4 seconds. Thank you. [01:20:18] Speaker D: Caviar. [01:20:19] Speaker C: Caviar. [01:20:20] Speaker D: Oh, here we go. [01:20:42] Speaker C: Not for nothing. That's a fucking long fade. [01:20:44] Speaker D: Oh, that was on purpose. [01:20:46] Speaker C: You don't hear anything. So, like. [01:20:47] Speaker D: Oh, I just thought it was just. I was like, oh, my God. My shit's not working again. [01:20:51] Speaker B: He's about to say, Mark. [01:20:52] Speaker C: Yeah, they did. They faded this on purpose. [01:20:55] Speaker D: Yeah, I was gonna say, mark, turn it up, bro. I'm ready where you are. [01:20:58] Speaker B: Yeah. And came here. [01:21:00] Speaker D: Met. Multiple hits. [01:21:03] Speaker C: Dude, this is not me. This is the guy that's on meths men. Meth. Meths, meth. Here we go. Yeah. I don't know what to say about that. [01:22:57] Speaker B: Like, listen, we wrote this. Let's just do it. [01:23:01] Speaker C: Yeah, that's pretty. [01:23:02] Speaker B: That. That is the nona of this album. [01:23:07] Speaker C: Yes. Seriously? Yeah. That was interesting. [01:23:13] Speaker B: I mean, it was a cool little riff. It could have. I think it's something they could have developed. And the production was actually pretty good. [01:23:19] Speaker C: But repeated over and over and over and over is the problem. Yeah, I have. I have no idea what the hell that was. You can go first, then explain that. [01:23:27] Speaker B: I mean, lyrically, obviously, we can't give it anything. I like the title, though. I give the title a nine. [01:23:33] Speaker C: Too bad there's not a category for title caviar. [01:23:36] Speaker B: Imagine you go to the restaurant now and you're like a fancy restaurant. Do you guys have caviar meth? Yes, sir, we do. [01:23:45] Speaker C: Maybe that's what happens. Maybe that's what it feels like to be on caviar meths together. That's possible. [01:23:50] Speaker B: Too much salt and then. [01:23:51] Speaker C: Yeah. Seriously. Well, what do you think about music in production? You can even do something for that. [01:23:58] Speaker B: I don't know. What are you gonna say about that? I mean, I kind of like that a little bit, but there's nothing there. So I'll say six. I mean, I'll throw them a bone at six. The production was pretty clear. I'll say seven on production. I mean, obviously, I wouldn't. I probably wouldn't go back to these last couple of songs. I probably stop at run of the mill. I think the first. I don't know that I go back to me personally. [01:24:25] Speaker C: Yeah, I get it. I think I'm gonna do the same. I think I do six and seven because, you know, we gotta throw him a little bit of a bone. But there's really nothing interesting. There's nothing changing. It's the same riff over and over and over and over. You know, if it was used in a song and, like, that sounds like a middle piece of a song, right? [01:24:47] Speaker B: But I mean, if you're gonna make a song that short and really just have nothing there, it's just might as. [01:24:52] Speaker C: Well not even do it. Why bother, Frankie? What do you think? [01:24:56] Speaker D: I don't know. It makes me wonder. They were kind of being paid on the Charles Dickens rate. But instead of being paid by word, they're being bait by music minute, right? This is why they put this in there. It's like, oh, yeah, we need. You know, we're gonna get this bonus if you put this two minute, 37, 2nd song in there. I don't know. They got a pay rate per music minute. [01:25:20] Speaker B: Yeah, it was good. [01:25:22] Speaker D: I like it. I don't know if it's the scope of the album, but I like it. [01:25:27] Speaker C: So, what are you gonna give it for music and production? [01:25:30] Speaker D: I'm gonna give the music at seven and production a seven. [01:25:34] Speaker B: So, Mark, you don't have any double sevens, right? Only triple. [01:25:36] Speaker C: No double triples. [01:25:41] Speaker B: Yeah. [01:25:41] Speaker C: To me, this album is. To me, this album is just like such a mishmash and just, again, not knowing what they're gonna be and just throwing shit on the wall and seeing what sticks. Now there's pieces and parts where, you know, you're starting to hear what Judas Priest is gonna be, but it's gonna be, you know, it's not. It's definitely not this album, so. But it's cool to hear. I never. I never would have probably sought this out. I don't think, like, if you're trying to get into Judas Priest, this is where you start. [01:26:09] Speaker B: Yeah, this is kind of something maybe to go back to. I mean, unless you're like, listen, I'm going to start from the beginning. [01:26:14] Speaker C: Yeah, you could do that. [01:26:16] Speaker B: But I mean, some of the tones there are there too, though, right? Some of the guitar tones that you're going to hear later on, like, even in breaking the law, that their electric tone. You can kind of hear some of that in this as well, I think so the building blocks are there, no? [01:26:33] Speaker C: Yeah, it's all. It's all starting to become there. Yeah, I can see that. But it's. But. But it's so definitely a new band not knowing where they're going to be and what they want to do yet. But, you know, obviously. They obviously turned it around. Right. I mean, again, this is 74. Like, lots of the stuff that's going on here is early seventies. [01:26:51] Speaker B: Mm hmm. [01:26:53] Speaker C: Especially on the drums and stuff is so. It's so seventies, but. But the sound is good. [01:26:58] Speaker B: Like. [01:26:58] Speaker C: Like you said. Look, you hate the McMars drums. I'm sure you like these drums better than big mars drums or they freely. Drums because they sound like drums. [01:27:07] Speaker B: Yep. [01:27:08] Speaker C: Not like super compressed and, like, all sounding the same. And so they have a little personality, which is nice. And it was recorded decent. Like, obviously it didn't sell at all. [01:27:18] Speaker B: Yeah. [01:27:19] Speaker C: I mean, how many days did they say it sold? They're not even saying. Right. And. And it's. And this is only. This is the only album that the drummer was on because this is definitely not where they want to go. Right. [01:27:33] Speaker B: No, I mean, I don't know. Like I said, I think the album after this, which is said Wings of Destiny, I remember them specifically saying, what's the song? I think victim of changes was the one that was on metalworks. I think Ripper was on there, too, but I just. Because they would. They had a little blurb about every song. So I think, like, Rob Halford said that a lot of people didn't like this record. They felt it was too. Not this one rock a roll, but the one after. So it sounded like they. Maybe they were still kind of trying to get the sound. But I haven't really heard it. So we have. We don't. I don't really have anything to compare it to. So if it comes up, or maybe I'll throw it in and say, oh, yeah, you know, it does kind of sound like the first one. [01:28:30] Speaker C: Yeah, I mean. I mean, this is kind of a little bit of unfocused, but again, you can kind of see where the potential is. Right. Of what they're going to be, especially with doing his vocals and stuff. [01:28:43] Speaker B: So, yeah, there's some good riffs and some good stuff going on. [01:28:50] Speaker C: Yeah, I could see. I could see where it's going, but it's just not there yet, that's all. Supposedly, it's all sold only a few thousand copies. I mean, I'm sure it's sold more now. I would assume. I'm sure it sold more than a couple thousand at this point. But still, at the beginning, I mean, when they put it out, didn't do anything. [01:29:13] Speaker B: So, I mean, there should be enough judge Priest wins to make this at least a gold album, I would think. [01:29:19] Speaker C: Well, yeah, probably at this point, I would assume. I don't know. It doesn't really say. [01:29:24] Speaker B: Maybe they just went back to certify it. [01:29:27] Speaker C: Probably not. I wouldn't think they would have went back because that costs money to do so. So, Frank, what do you think? This is not. Definitely not what you think of as Judas Prius, right? [01:29:38] Speaker D: No, I think I picked the wrong night for my comeback tour, I'll tell you that. First of all, let's start off with that first song. Like, dude, like, that song was so dark. It's, like, legit convincing that you have every reason to off yourself, and then. [01:29:54] Speaker B: No, that was. [01:29:56] Speaker D: That was the second song. [01:29:57] Speaker B: The first song was the one that I kind of had the heavy riffs to it. [01:30:00] Speaker D: Oh, yeah, yeah. I'm still hung up on that second song. [01:30:04] Speaker B: Yeah, I know. [01:30:08] Speaker D: It really did. And then comes that dark song behind, you know, again, I guess for the era that was written in, reflects certain angst, but again, I don't. My sentiment was not there for that song. And then you have caviar mess. It's like, oh, okay, here we go. Let's just round this off with this one. So, not the best start, but definitely 100% agree with the two of you. It's not a kind of the Judas priest that I remember, but I never heard this on this album before now. So a little surprising. They went on to be the band that they were after this debut album. [01:30:48] Speaker B: They. [01:30:48] Speaker C: They almost didn't, I don't think, because well, they didn't really sell very much, and the record company was going out, so, you know. You know, besides that, you saw, like, little glimpses of what they could be. I mean, did anyone, after this thing came out, could anyone have said that they were going to be one of the biggest bands in the world? [01:31:05] Speaker D: Nope. [01:31:06] Speaker C: Not. [01:31:07] Speaker D: No. That's why I'm very surprised they moved on to be who they became. [01:31:12] Speaker C: Judas. [01:31:12] Speaker B: Well, I mean, they can write a saw. I mean, whether or not you like everything. I mean, clearly there's a talent there for. For songwriting and kind of, you know, coming up with different things and different kind. I mean, the album is not completely disjointed. Right. I mean, there is kind of a thread in terms of the slower ones, kind of sound like the slow. You know what I mean? And then the. The big riffs are big riffs. So that's. It's kind of, like, interchangeable, changed between. [01:31:45] Speaker D: But is there any other band that you can remember that their debut album was like, eh, and the follow up was like, eh, but they eventually moved on to be great? [01:31:58] Speaker B: I mean, that's what I'm trying to think of. [01:32:00] Speaker D: I can't think of anyone really, off the bat. [01:32:04] Speaker B: Well, I mean, again, what, um. What deep purple album did we get? Was that the third one? [01:32:10] Speaker C: Yeah. [01:32:11] Speaker B: So we didn't hear the first two, but again, when we heard the third one, that we kind of felt the transition going into that. So I'm assuming the ones before it maybe weren't even though hush was there. [01:32:24] Speaker C: Before hush was there, but I don't. [01:32:27] Speaker B: Know what the other songs around them were. And again, sometimes it's a blessing and a curse to podcast because of that one. I'm curious to go back to those. The other ones. And here, what. Oh, was it. Was it always there? And this was really the transition, you know, I mean, it wasn't there, and this is the transition. Or was it always there, these little snippets of stuff like the painter? Because, I mean, going into the second side, it was. It was really that handoff for what was coming next. There wasn't really. We could hear the, you know, what is it mark two, or was it mark. It was mark two, right. Sort of really the big stuff for the smoke on the waters. [01:33:08] Speaker C: Yeah. Oh, so that's kind of, I guess. [01:33:14] Speaker D: Is there. Is there another group like that, like, the first two albums? [01:33:19] Speaker B: Like, think of, like, Zeppelin. [01:33:20] Speaker C: Right. [01:33:21] Speaker B: The first two. Right. Just come out the gate and boom. And then Zeppelin three comes along. Yeah. Like sticky. No, I mean, listen, I mean, I think it's a really good album, but it's acoustic y and it's a little bit different. But it also goes to show how talented they were and what they could do. And. [01:33:40] Speaker D: And by the way, that acoustic y sound didn't take hit until what, how many years later, where all of a. [01:33:47] Speaker B: Sudden the label didn't want them to even. I could be wrong. I don't know the history. I'm sure there's people who know it, but my understanding was they didn't even want them to release that record. It's not the way it was, especially when it starts with immigrant. Immigrant song. [01:34:04] Speaker D: Mm hmm. Yeah. [01:34:08] Speaker B: So it's mellow, but I don't remember. [01:34:12] Speaker D: Anyone making an acoustic sound that. Like that during that time. [01:34:16] Speaker B: Oh, Jimmy Page is a ridiculous. I mean, he's a good guitar player, but acoustically, he's even more. He's really good. [01:34:23] Speaker D: But I don't think any other band was doing it at that time. Mark, do you remember anybody? [01:34:28] Speaker C: Um, not off. I know. I mean, not like that anyway. [01:34:31] Speaker D: Yeah, right. There were like, kind of like the pioneers of that acoustic sound. All acoustic album. Right. Kind of. [01:34:38] Speaker C: I mean, I mean, there was stuff in the sixties. I'm sure that was, you know, just not maybe in that kind of style. Maybe. [01:34:44] Speaker D: Maybe in that kind of style. Yeah, but. [01:34:46] Speaker C: But, yeah, it's very hard to find a lot of bands whose first couple of albums really didn't do very much. But, you know, in the seventies, you were allowed two or three albums to try. To try to get going. So, you know, I mean, the later on it went in the eighties and in the nineties and stuff, you didn't have much of a shot. Like, if your first album didn't go, you were done. [01:35:05] Speaker D: Right. [01:35:06] Speaker C: Yeah, but in the seventies, in the sixties, you had a chance, man. You put one album out, you got a little bit of. A little bit of a thing they gave you three for before they gave up on you, but. So, you know, that they needed a couple albums at least. I don't know. What's the third Judas Beast record? So, you know, what's the third one? [01:35:23] Speaker B: I think it's sin after sin. [01:35:25] Speaker C: Yeah, I haven't heard that either. But supposedly in this album, they were very hippie draw. They were very hippie. They didn't get their. Their leather and studs look yet, so. No, it's because, you know, it's coming off of the sixties, you know, I mean, it's only four years into the seventies. [01:35:42] Speaker B: Yeah. [01:35:43] Speaker C: So there's still a little bit that sixties mindset going on, saying, you can hear that in a whole bunch of this stuff that's recorded. So, yeah, it's. It's an interesting debut for some. For a band that, you know, is going to later turn out to be one of the biggest metal bands ever. [01:36:01] Speaker D: Examine. [01:36:02] Speaker B: I mean, imagine had they given up on them after some. Some of these initial poor sales. Forget, they would have kicked themselves in the ass. [01:36:11] Speaker D: Oh, by the way, guys, I just texted a friend of mine, asked him, hey, do you know any band whose debut album sucked ass and they moved. [01:36:19] Speaker B: On to be great guns n Roses? I'm just kidding. I gotta throw that in there just to bust your balls. Everybody knows it's one of the greatest debut. [01:36:31] Speaker D: Lou Reed. We have to look that up. Lou Reed. [01:36:35] Speaker B: Lou Reed, yeah, he doesn't mean, like, with the velvet underground, right? [01:36:39] Speaker D: It's just Lou Reed. I'm just gonna pull it up right now and. Lou Reed. Lou Reed, 1972 debut song was quite high. In 1972, as the leader of the Velvet underwear, you wrote some songs. I don't know. I don't know if this fits the scope of it. Well, I need to look it up now. [01:37:00] Speaker C: Yeah, it's really not. I mean, I'm not a big. I'm not big into read, but. Yeah, I don't know. [01:37:06] Speaker B: I mean. [01:37:06] Speaker C: I mean, I'm sure there were. There are tons of bands that. That's happened to. [01:37:10] Speaker D: Yeah, there are tons of bands. [01:37:12] Speaker C: I mean, I don't know if they become as big as Judas Priest became. [01:37:15] Speaker D: But, you know, I mean. Oh, I mean, influential, right? [01:37:19] Speaker C: And influence. Well, both. I mean, they were. They were popular and. And they were influential. I mean, you know, they. [01:37:26] Speaker B: Yeah, Frank, definitely not Lou Reed. [01:37:28] Speaker D: Definitely. [01:37:29] Speaker B: No. [01:37:29] Speaker D: Okay, I gotta write. [01:37:30] Speaker B: You know why? Cuz the second album is Transformer Transformers. The one with vicious and walk on the wild side. I'm seeing on his. On his own. [01:37:41] Speaker D: Okay, douchebag, thanks for making me sound. [01:37:43] Speaker B: Like. [01:37:45] Speaker D: Texting this right back. [01:37:49] Speaker C: All right, Savino, why don't you. Why don't you do your thing? [01:37:51] Speaker B: Well, Frank goes to talk to his friend. Yes, we are part of the Deep Dive podcast network again. Like I always say, great bunch of guys who took us in right away. And you want more individualized podcasts and not yapping out about everybody like we do. You got rush. Our buddies at rush. Rush. I mean, you've got. I don't think you got Lou Reed, but you got Tom, Penny queen, Iriah heap. You name it, it's on there. So if you. If you are a fan, of bands. Look it up and you'll definitely find it there. Check them out. And again. Check them out. Mark working out. [01:38:28] Speaker D: Nobody delegates themselves to rule. Read in this. [01:38:31] Speaker B: I don't know. [01:38:33] Speaker E: Really? [01:38:33] Speaker D: I find that hard to believe. [01:38:35] Speaker C: No. Well, not an art thing. But. But the guys from Rush rash, they did. They had their lulu. That Lulu record that they did with Metallica. They went through the whole thing. [01:38:47] Speaker D: Wow. [01:38:49] Speaker C: Yeah. That's a little rough, man. [01:38:52] Speaker D: But nobody did. Nobody has a dedicated Lou Reed. [01:38:55] Speaker B: I mean, I don't. I'm not on the deep dive. I don't think. No. [01:38:59] Speaker C: Yeah. There could be something somewhere. [01:39:02] Speaker D: Maybe we should do a one off, all of us. Jump on. How did I be a Lou Reed one? [01:39:08] Speaker C: I don't know. [01:39:09] Speaker B: Mark is read on the list. [01:39:11] Speaker C: I'll probably not. I could put him on there if you'd like. [01:39:15] Speaker D: Oh, my God. He's not part of the 1002. That goes to show. [01:39:22] Speaker B: 200. [01:39:23] Speaker C: It shows you how many albums are that. I don't think he's on there. The velvet underground might be on there, though. [01:39:27] Speaker D: Oh, wow. [01:39:29] Speaker C: All right. Which kind of counts. [01:39:32] Speaker D: So next week is. Next week we get a spin. Next week we get a spin. Right. [01:39:36] Speaker C: Well, let me do my spiel first. [01:39:39] Speaker B: Yeah, sorry. [01:39:40] Speaker E: Go ahead. [01:39:40] Speaker B: Sorry. Frank's excited. He hasn't been on, you know, I. [01:39:43] Speaker D: Haven'T been on in a while. Give me a minute. [01:39:45] Speaker C: Give me a minute. That's. It's okay, Frank. That's fine. That's. It's fine. Don't worry. Don't worry. Anyway, so we are. We are rock roulette pod on all the social media. Rock roulettepodcast.com. Please give us reviews wherever you listen to your podcast. Five star review would be awesome. Set your podcast player to download the newest episodes. We're also on Amazon as well. Savino listens to us on Amazon, so. [01:40:22] Speaker B: I do automatic download. Every time Mark puts it up, I. [01:40:25] Speaker C: See it like you haven't heard it already because you're on it. Yeah, that's okay. But. So, yeah, so. All right, Frank. So now we're back. So next week we do spin. Yes. It's spin time. We will see what. We'll see what the wheel decides to bring us then. [01:40:42] Speaker B: I'm very. I'm very curious. [01:40:44] Speaker C: I mean, is it gonna. Is it gonna curveball us like the last time? [01:40:47] Speaker B: This is a curveball. [01:40:49] Speaker D: Kings of Leon, I can tell you don's gonna bring up a Lou Reed song. Razzlers. Wrong. [01:40:56] Speaker B: Mark, actually. Bob Ezra produce his third album. [01:40:59] Speaker C: Did he? So I'll, uh, I'll look through that and see if I can throw some of that on there. All right, guys, we will see you next week. [01:41:09] Speaker B: Ciao. Ciao. [01:41:10] Speaker D: Take care.