Episode 85 - Goodbye June - See Where The Night Goes (Part 1)

[00:00:05] 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 rightsholder 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, 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 cover one side per week, track by track, and we rate it based on our feelings, and we do lyrics, music and production. Again, just a bunch of friends that wanted to do a podcast. I love music. Nothing fancy. Schmancy. We get called out, we get whatever, but whatever. If you're leaving comments, thank you so much and thanks for listening. Whoever's listening, we really appreciate it. Again, leave a comment, leave a criticism, whatever it is, or maybe an album, you're like, hey, guys, would you want to do this? I'd be like, sure, we'll do whatever you guys want. As long as it's kind of within the genre, I think we would be okay with it. And so this week we have Mark. Oh, hi, Mark. [00:02:06] Speaker C: What's up, guys? [00:02:08] Speaker B: And I'm Sev. Ciao, Buenos Aires. So in last week, we finished the debut album by Judas Priest from 1974, Rockarola. And again, there isn't, this isn't the. Obviously, it's not the Judas priest of modern times, but there's some tinges there of some of the stuff you heard on hell bent for leather and british steel. I know it's not called hell bent for leather in England, but that's what they called it here. So that's what I'm called by. But obviously Rob Halford is Rob Halford. We heard some of the, obviously the dual guitars and some epics. I mean, some of the songs were long. The subject matters were pretty. Some dark. And so what did you think, Mark? [00:02:52] Speaker C: Overall, I thought it was an album of a band, like I said on the podcast, getting. Not knowing exactly what they want to do and trying to figure it out. And it's very, it's a very seventies sounding of the time. You can hear a little sabbath in there. You can hear a little deep purple in there. To me anyway, of that timeframe. So, yeah, you know, I mean, would it probably be my favorite Judas preview album? No, but, I mean, there are things of, you know, where they're gonna head and where they're gonna go, and you can see some things happening. I mean, Rob House for his voice was still crazy, you know, for 74, he was doing some stuff that you're like, I don't understand. That's not. [00:03:32] Speaker B: Man. Yeah, that low octave he was in, I've. Again, I've not heard every single Judas Priest album, so. But that octave is so low. Like, wow, damn. I mean, I'm kind of used to the highs, but that low really, really hit me. [00:03:49] Speaker C: Yeah. I had never heard him sing low like that, but maybe he does on other stuff that I don't know about, so it's possible. [00:03:56] Speaker B: And a shout out to our comrades on the Deep Dive podcast network from the Judas Priest podcast for liking it. And hopefully you guys like part two as well, you know, when you hear it. [00:04:07] Speaker C: So, yeah, the Judas priest cast, I wrote to him, I said, don't. Don't slam us too much because we don't know anything about Judas Priest. [00:04:14] Speaker B: Hey, but you know what? Now we know their debut album. That's all part of doing this podcast, right? [00:04:19] Speaker C: So this is true. [00:04:20] Speaker B: Just never know what she's gonna pick for us. [00:04:22] Speaker C: And unfortunately, Frankie couldn't make it tonight. And I know he was psyched about hearing a wheel again, the spin. Yeah, it's a bummer. Me too. [00:04:32] Speaker D: So are you. [00:04:33] Speaker B: What do you. What do you think? I know I always ask, and we try not to. I still keep asking for an eighties album. [00:04:40] Speaker C: I still really want a grunge record. We haven't really had any of that. I really want something like that. But now that I said that, we're not going to get that at all. [00:04:51] Speaker B: I don't know. I mean, with the Judas priest, I said something classic or weird, and it kind of was a pretty good combination. [00:04:57] Speaker C: Oh, definitely. [00:04:58] Speaker B: It just. It's hard to say, right? Because we mentioned it before. Kings of Leon had one album on the list, and she picked them for Judas Priest up. She goes to pick the debut album. Right. Ramones, you get the second album. So again, if this doesn't prove that this shit is random, I don't know what type. [00:05:14] Speaker C: Oh, it's friggin random. I mean, if we were gonna pick Judas Priest, would we pick Rockarola? Probably. [00:05:20] Speaker B: Not probably. But you know what? Maybe. Who knows? Maybe what? Or maybe something like the second one. Sadwings and deaths or something like that. Just improve on it. Let's try something here. [00:05:31] Speaker C: Yeah. I don't know. Well, I'm ready to spin now. Cause I wanna get into this. [00:05:34] Speaker B: I'm ready. I am very ready. [00:05:37] Speaker C: Here we go. Are we ready? Can you see the wheel? Do you see it? [00:05:40] Speaker B: I can see it. [00:05:42] Speaker C: Well, here we go. [00:06:04] Speaker B: Goodbye, June. See where the night goes. The hell is that? [00:06:07] Speaker C: I. I put it on the list, but I don't know why I put it on the list. [00:06:10] Speaker B: What the hell is that? [00:06:12] Speaker C: I don't. It must be one of the weird things. [00:06:15] Speaker B: Maybe it's like one of them super groups. Goodbye, June. Rock band. The rock band from Nashville, Tennessee. I've never heard of these guys. [00:06:25] Speaker C: Are they new? It might be one of the new things. It's new. [00:06:29] Speaker B: 2009. It says. [00:06:31] Speaker C: Oh, it's 2009. [00:06:33] Speaker B: Influenced by AC DC, Led Zeppelin, Kings of Leon, Black Keys and Jimi Hendrix. They've got five albums. [00:06:40] Speaker C: I kind of like all those things. [00:06:42] Speaker B: Yeah. This is a 2022 Earache Records, which is typically a heavier. [00:06:48] Speaker C: Is this a brand new album? [00:06:50] Speaker B: It's from 2022. [00:06:51] Speaker C: Okay. There you go. That's what I thought I just said. Oh, 2009 is when they. When they started. [00:06:55] Speaker B: Yeah, it says 2009 to present. Well, they've been together since, but it looks like. I think the first album was 2012. [00:07:02] Speaker C: It looks like they're a trio. [00:07:03] Speaker B: Yeah, cousins. Landon Milborne, Brandon. Quack, quack. Oh, my God. Falcon Bush and Tyler Baker. [00:07:13] Speaker C: Well, we wanted new music. Well, we got. See, I told you. I said grunge and look what I got. [00:07:17] Speaker B: Hot damn. I don't know. Yeah, I can honestly say I've never, ever heard of this. [00:07:24] Speaker C: Me neither. So this is going to be good. Maybe we'll get like, you know, a rival suns kind of thing out of this. [00:07:30] Speaker B: Yeah, maybe we'll discover something good. Man, I'm down. I mean, they got good influences. So. [00:07:35] Speaker C: So does it say who plays what on this? Another trio. [00:07:38] Speaker B: So, Landon Milbourne, lead vocals, acoustic guitar. Tyler Baker, lead guitar, vocals. And Brandon welcome. Bush, guitars, vocals. I don't know who plays drums. Father drops. [00:07:54] Speaker C: So it looks like they were formed after the death of the lead guitarist Tyler Baker's brother. Eventually named Goodbye June in memory of Baker's brother, who passed in June. The band released their independent debut in 2012. Cool. [00:08:05] Speaker B: Supposedly had a. Oh, no. Was a kind of a hit 30 on the UE's main rock shorts. It's not on this one. Though. [00:08:14] Speaker C: No clue. Have zero clue who they are. But I'm kind of excited because we don't get. We don't get to listen to new stuff. You know, I think, you know, especially if you're a certain age, you're kind of, like, stuck in the music you're in, and it's hard for you to find new stuff unless someone tells you. Or if some weird random album thing picks it for you. Some wheel decides, here, you want something? Yeah, here you go. [00:08:41] Speaker B: Blues infused rock with hard driving beats, blistering guitars, down in dirty vocals. [00:08:47] Speaker C: Whoever wrote that was the publicist. [00:08:49] Speaker B: Holy cow. This is. This was, like, everything. Every, like, eighties band that came out in circus magazine, I felt like blues infused. Right. Everything was blues infused at a certain point, supposedly. And then you listen to it like, fucking blues. [00:09:07] Speaker C: I'm actually excited about this. If it's everything that they say and all the things that it sounds like, I have to like this. [00:09:14] Speaker B: Yeah. I'm always looking for new shit to listen to, so I'm down. [00:09:17] Speaker C: Hendrix, Zeppelin, AC DC. Yeah, I'm good for this. [00:09:21] Speaker B: Yeah. I'll try to see when you start spinning who. I want to see who played, like, other musicians and stuff like that. Like drums. [00:09:27] Speaker C: Yeah. There's not very much. There's not very much on them. [00:09:30] Speaker B: No. [00:09:31] Speaker C: So, can I. The question is, can I find lyrics? I think I should be able to. Yeah. Okay. I can find lyrics. All right, good. All right, so the. Are you ready to do this? I'm ready. [00:09:43] Speaker B: Yeah. [00:09:44] Speaker C: All right, so the first song is step aside from goodbye June, we know. [00:09:49] Speaker B: Nothing about, but hopefully there's good production on this. [00:09:53] Speaker C: I hope so. We'll find out. [00:09:55] Speaker B: Yeah. Let's see. [00:09:56] Speaker C: Here we go. I can hear where they say a little bit of kings and Leon since we just did that. I can hear a little bit of that. [00:10:19] Speaker B: Yeah, I can hear that, too. [00:10:21] Speaker C: It definitely has. This is definitely a blues infused one. [00:10:24] Speaker B: Yes, I definitely hear that. [00:10:26] Speaker C: What do you think so far? [00:10:27] Speaker B: It's cool. Yeah. Listen, a lot of times, this stuff doesn't start getting shitty until the drums come in, so. [00:10:36] Speaker C: Okay. [00:10:38] Speaker B: Oh, my God. I was. Oh, wait, I was listening to something. Damn. I was gonna bring it up today, too. I'm like, damn it. It's the same shit. [00:10:49] Speaker C: Oh, the drums. [00:10:50] Speaker B: I'll think about it. I can't remember. [00:10:51] Speaker C: Yeah, I have a feeling these drums are not gonna sound like that, so I'm hoping not. [00:10:56] Speaker B: I mean, this kind of music should lend itself to some. Some pretty well recorded drums, so. [00:11:02] Speaker C: Yeah, I think so. Okay, here we go. [00:11:06] Speaker D: Mom and Daddy had traveled around preaching, teaching the gospel. We settled down in a shitty town on a broken home in a 500. [00:11:24] Speaker C: Little bitty Bon Scott of sorts there. [00:11:28] Speaker B: Yeah. It's like Bon Scott meets the dude from Jackal. [00:11:35] Speaker C: Well, yeah. Well, obviously didn't sound exactly like Bob, but some of the inflection is very Bon Scott. [00:11:40] Speaker B: Oh, absolutely. And, I mean, what's his iq, though, right? The guy, Brian Johnson, I can hear him in that, too. [00:11:47] Speaker C: A little bit. Yeah. And, you know, if you think about it, it sort of is an AC DC ish thing that they're doing. [00:11:54] Speaker B: Mm hmm. [00:11:55] Speaker C: A little bit, I think. [00:11:57] Speaker B: But I. Yeah, I mean, I definitely. I hear them. Listen, right now, out of the bands that were mentioned, that's who I hear the most. As if. Right. In these few seconds, I'm hearing AC DC more. [00:12:09] Speaker C: It's like an Ac DC kings of Leon mush mash. [00:12:11] Speaker B: Yeah. [00:12:12] Speaker C: I mean, I don't hate, like, if. [00:12:14] Speaker B: AC DC came from. From Nashville instead of. [00:12:17] Speaker C: Yeah, instead of, like, Australia. [00:12:18] Speaker B: England. [00:12:19] Speaker C: Australia. I'll go to the second verse, and after the chorus, I'll do lyrics. So here we go. [00:12:24] Speaker B: Okay. [00:12:30] Speaker D: I feel everywhere sit still. I saw what really mattered now when I look back on all that pain it brings me laughter I'm in love with the sweet, sweet, sweet sunshine ain't a fool and it's time for me to take what's mine yeah, it's time, it's mine never stop, step aside. [00:13:21] Speaker C: I hear so much AC DC in that. [00:13:23] Speaker B: Oh, yeah, absolutely. Who produced this, do we say? Yeah, it's good. I'm liking it so far. [00:13:30] Speaker C: Who produced? It's a very good question. [00:13:32] Speaker B: I'm gonna say nobody right now, but never know. [00:13:35] Speaker C: I don't know. I didn't have. I'd have to kind of look him up to see, you know, this is so new that we american. Here we go. Mercury. Producer, engineer, mixer, and multi instrumentalist living in Nashville. Who has he done? Not very many people that I know. I mean, he's done. He did third day. I don't know where they are either. He shows. We don't know anything about new stuff. [00:14:03] Speaker B: What do you mean? The album. [00:14:07] Speaker C: I'm gonna read lyrics while you're looking at that. So mommy and daddy traveled around preaching and teaching the gospel we settled down in a shitty town a broken home and a bible I've been everywhere since then I saw what really mattered now when I look back on all that pain it brings me laughter I'm in love with the sweet, sweet, sweet sunshine I ain't no, fool and it's time for me to take what's mine it's time it's mine all mine yeah step aside. This song definitely has the big AC DC flavor. [00:14:38] Speaker B: Yeah. [00:14:39] Speaker C: With a little bit of the kings of Leon sort of kind of thrown in. [00:14:43] Speaker B: Yeah. I mean, the drones sound good so far, I think. [00:14:46] Speaker C: See, records can be produced. Okay. It's just. Yeah, it's just whoever's doing the other ones gotta have to listen to this stuff. Maybe. I like it. [00:14:54] Speaker B: Yeah. Like, it's a part two. [00:14:55] Speaker C: I mean, I don't know if I can get over, like, the overt AC DC ness of it, but. [00:15:02] Speaker B: Well, that's, like, when Jet came out, right? [00:15:04] Speaker C: Yeah. [00:15:07] Speaker B: I mean, it wasn't all that. It was, like, part of whatever. [00:15:09] Speaker C: Well, we'll see. I mean, just because this song sounds like that doesn't mean the other stuff will sound like that. Here we go. Before we get into that. Bass is really good, too. [00:15:29] Speaker B: The bass is up front. [00:15:31] Speaker C: Oh, no, bases are good. Yeah. [00:15:33] Speaker B: Yeah, bases good, too. [00:15:34] Speaker C: Sounds good. [00:15:36] Speaker B: Yeah, I like it. [00:15:40] Speaker D: All my friends went to college then got jobs and kids and wives but I found peace in this guitar gonna play it till I die still in love with that sweet, sweet, sweet, sweet sunshine ain't no fool it is time for me to take what's mine yeah it's down. It's mine ain't no more it is time for me to take one tonight it's on it. Stop it. I will have a cry zeppelin. [00:18:01] Speaker C: Then I hear the Led Zeppelin, the singing in there. Some of that stuff in there. [00:18:05] Speaker B: I heard a little bit of them there, too. Yeah, I could hear it. Drums are okay. I mean, the snare is a little. Kind of like. You know. I like snares or pops and that, but it's not terrible. [00:18:17] Speaker C: No. Like, it could be a lot worse, I think. [00:18:20] Speaker B: The guitars are produced. Really? I like that sound. Kind of like that old school. [00:18:24] Speaker C: Oh, it's very. It's super duper, like, blues rocky stuff. Yeah, I like it. Let me read the rest of the verse. So all my friends went to college then got jobs and kids and wives but I found peace in this guitar gonna play it till I died so, basically, everything else is the same. I mean, listen, you always say that, you know, the music sucks now, right? But like this, I say the music sucks. Most of it. Most of the stuff that I hear. I say most of the stuff I hear sucks, but this doesn't suck. Now, I think if you could be. If you could play. Old man, get off my lawn. Game. You could. You could say, oh, they sound too much like them. They're stealing this from these guys. They're sticking that in there. I mean, the only thing that. The only thing. It's not like a total rip of one band. You know what I mean? So you hear things of a bunch of bands in there, but not, like one band that you're totally stealing. [00:19:21] Speaker B: I mean, listen. [00:19:22] Speaker C: And not that they're stealing. I mean. [00:19:24] Speaker B: No, but I'm saying there's nothing original going on here, right? Obviously. I mean, I don't think there's anything original going on, but that's. But I also say, listen, if you can do something new and original, God bless. Right? At this day and age. Yeah, God bless. So my thing is, hey, if you're not doing something original, you try to write the best songs you can, right. And people will either like them or they won't. So I don't think there's anything original going on here, but I don't think it's bad, either. I mean, to me, a good, good song is a good song. [00:19:59] Speaker D: Yeah. [00:20:00] Speaker B: It sounds like this, but, you know, if those are, like, heroes of theirs and they're like, hey, I mean, there's some bands who clearly sound like other bands, right? Maybe too much like other bands. [00:20:13] Speaker C: We won't mention too much like a banjo or taking. Or taking one era of a band and making everything sound like the one era of a band. I mean, maybe some people know who we may be talking about. [00:20:26] Speaker B: But in the end, I mean, to me, again, a good song is a good song. So, I mean, I. Overall, I think it's. That's pretty good. [00:20:34] Speaker C: So why don't you go first, then? [00:20:37] Speaker B: Lyrics are okay. I'm gonna say a six on the lyric again. I mean, I try to at least be conservative on the first song to see where the record goes. So let's say a six on the lyrics. I'll say seven on the music. I mean, again, it's. It's in and out, right? It does what it has to do. There's no, like, boring parts. That little middle piece with the guitar was kind of cool. I also like that I feel it got pretty loud after the little piece. Like, when it went back into the solo, the chorus, and everything there felt like there was even more energy behind it, which I always like. I'm gonna say seven on production. It's not terrible. I do actually really like the way the guitar sound and his voice with it, so. Well, what do you think? [00:21:21] Speaker C: Yeah, I'm gonna be conservative, too. Because I know nothing about this. I'm gonna say six on the lyrics. Yeah. Musicianship. I think I'm gonna do seven, too. I'd like to. Guitars, I mean, there's guitar solo of some sort, which you don't hear at all. I mean, basically, you don't hear guitars at all anymore. And mainstream music. Right. So that's always good, especially heavy guitar. So, yeah, at the end, he had. It got really loud, and he got to play a little bit. I liked a little breakdown in the middle. It was very led Zeppelin. Yeah. You know, he kind of used, like, the Robert plant, like, really far away voice thing. [00:21:55] Speaker B: Yeah. [00:21:56] Speaker C: So, I mean, they're pulling from all good places. The question is, can they continue this and make it their own? Right, as opposed to it just being a bunch of music that sounds like other music. [00:22:08] Speaker B: Yeah. [00:22:09] Speaker C: I mean, like you said, it's hard to be original these days. [00:22:12] Speaker B: Yeah. I mean, just because so many things have been. Have been done, and I'm not saying that there isn't. So. But sometimes, too, I guess it depends on what you borrow and how you interpret what you borrow and who influences you. So I think there's a way to do it that way. So. [00:22:30] Speaker C: Yeah. And I guess I'm going to do something to do seven on the production. Two, it's fine. I mean, everything's clear. It's not over. Over loud. You can hear everything. Guitars sound good. Bass and bass player, too. You know, they're taking their trio thing. Obviously, there's overdubs here, so it's not just like three guys just playing straight through, but they're doing a good job. [00:22:55] Speaker B: That's a good lead off track. [00:22:57] Speaker C: Yeah. All right, so let's go to the next one. And so that would be. See where the night goes is the title track. So let's. [00:23:07] Speaker D: Let's see where the night goes. [00:23:39] Speaker C: So does that sound like something else to you? [00:23:41] Speaker B: Oh, yeah, it's, uh. What's that? AC DC. [00:23:44] Speaker C: So we're back to AC DC. [00:23:47] Speaker B: Money talks. Listen how the money talks. Is that what it is? [00:23:51] Speaker C: Maybe. [00:23:52] Speaker B: I don't pull from a vast knowledge of AC DC either. No. [00:23:56] Speaker C: Me do. [00:23:56] Speaker B: I. I. Later on in life, I started getting. It is money talks. I started getting into some of the, um, the Bon Scott stuff. [00:24:05] Speaker C: Mm hmm. [00:24:06] Speaker B: Started appreciating that a little bit more. [00:24:09] Speaker C: I think that's the better stuff day truth. Obviously, except for me. Except for back in black, which is almost too good of a record. You know what I mean? But besides, I mean, the early AC DC stuff is good. [00:24:19] Speaker B: Yeah, there's some good stuff. I was never a big fan. And again, when you have a four hour commute in the day, you start listening to stuff. And so that was one of the things I started going to, was the Bon Scott stuff. And I had seen a documentary, too, about him and everything, so it kind of piqued my interest, so. [00:24:43] Speaker C: Yeah, well, they're still on the bot. They're still on the AC DC thing here, so. [00:24:48] Speaker B: Oh, yeah. [00:24:49] Speaker C: Let's see if it continues. Here we go. [00:25:00] Speaker D: We're chasing that luck. Please don't be mean hopping on the ship when the nighttime leaves oh, yeah, oh, yeah they're out in the streets playing trombones singing some songs that I've not heard before I'm going in a town out of my nose we get at the mirror, yeah, I'm on the road now let's see where the knife goes let's see where the knife go baby tv on my soul let's see whether not go, uh oh, no. [00:25:49] Speaker C: Now I'm almost thinking it's too much AC DC. [00:25:52] Speaker B: Yeah. I mean, they were. They were that influence. [00:25:55] Speaker C: Well, right on. Yeah. I mean, listen, obviously it's played very well. [00:26:00] Speaker B: Yeah. [00:26:01] Speaker C: You know, to have a record in 2022 that sounds this way, like, you gotta give. Give them a little bit of credit for doing that. Now, on the opposite side. Is it. Is it too much like that? Is it pulling too much from there, where all you can think about is AC DC? [00:26:16] Speaker B: Yeah. Well, that little. That thing that kind of sounds like the beginning of thunderstruck, too, the way he's playing it. [00:26:22] Speaker C: Yeah. [00:26:23] Speaker B: Like I said, man, you got to separate at this point. I mean, you have to say to yourself, okay, clearly this is a big influence. But is it a good. Is it still a good. [00:26:33] Speaker C: If I showed you something like that, say, hey, look what I came up with. And if you didn't go to me, no, I wouldn't let you get away with this. Fucking thunderstruck. [00:26:42] Speaker B: No, I wouldn't let you get away with it. [00:26:44] Speaker C: Crap. I guess I can't use that now. So, I mean, unless this is what they want to have happen, like. Like, they want the AC DC thing to come through. [00:26:53] Speaker B: I mean. I mean, it has to be. I mean, you can't. You know what I mean? You can't sound like this and imagine, like, these guys. Like who? AC. What? No. You know. Yeah, we kind of listen to them, but, like, get the fuck out of here. I. I'm sure they wear this. I'm sure they have to credit. Oh, yeah, I mean, who knows? Again, this is 2022, right? They have, like five albums. I think this is the fourth. So who knows if the other ones are exactly like this or. You know what I mean? If they kind of. [00:27:21] Speaker C: This one is. [00:27:23] Speaker B: Yeah. [00:27:24] Speaker C: And the question is, can I go through this whole thing? You know, I starts out good. All right, so I see a little bit of influence there. Is the rest this album gonna be like the AC DC cover record? Because then at that point, it's like, all right, like, where were you? I mean, this is not. This is not album one. Right? You said this is album four. [00:27:40] Speaker B: Yeah. [00:27:41] Speaker C: So if you haven't found your style in four records and you still sound like AC DC. I mean. I mean, unless that's what you. That you're going for, which is fine, you know, if. If that's all this is. If that's all this is, like, I'm gonna have a hard time coming. Going back to this, because I'm just thinking to myself, you know, I could listen to AC DC for a better version. [00:28:01] Speaker B: And it's really funny, too. Right. When you think about the simplicity of what AC DC does. Right, right. And I'm not saying that he's a bad guitar player. I mean, clearly they've written. [00:28:12] Speaker C: No, he's not. [00:28:13] Speaker B: But I'm saying some very memorable. Memorable. Many memorable riffs. Right. But, I mean, they're known for just a straight ahead and everybody always says the same thing. Right. You always know what you're going to get with an AC DC album. You know what you're going to get. And in its core, right. It's just like simple rock and roll. Right. It's pretty much. [00:28:34] Speaker C: Yeah. [00:28:34] Speaker B: So. But it's funny how something like that, in simplicity, still bears such an influence in sound, where you're like, wait a second. Right. Wait a second. This sounds like ACTC. [00:28:51] Speaker C: But it's not just the guitar. It's like the way. It's the way the songs are. This song is constructed and the voice. [00:28:58] Speaker B: Was, too, obviously, at this point. [00:29:00] Speaker C: Yeah, it's kind of a. It's kind of a mush between. I mean, there's not. I don't hear much Robert plant in this one. [00:29:06] Speaker B: I feel like it's kind of Brian Bon Scott in the verses and then Brian Johnson in the chorus. Yeah, it kind of goes between. [00:29:13] Speaker C: Yeah, that's what I was going to say. Yeah, I just. All right, so I'm going to read lyrics and then we're going to get back. But. So back into. So the verse is back in the truck, down in New Orleans I saw the craziest shit that I've ever seen we're chasing that luck please don't be mean hopping on the ship when the nighttime leaves and then pre choruses, they're out in the streets playing trombones singing some songs that I've not heard before I go to the stall powder my nose winking at the mirror yeah, I'm on a roll and the chorus is. Now let's see where the night goes let's see where the night goes baby, keep me on my toes let's see where the night goes so, I mean, this could be about a woman, right? Maybe. I think it could be about a band. It could be about a woman, could be about a couple things. [00:29:57] Speaker B: I think it's just about. I mean, so far it's about partying, maybe. I mean, listen, I don't know if this is too. But I go to the stall powder my nose winking at the mirror yam on a roll. So is he saying, powder my nose and mirror? You know what I mean? Like. Or is he, you know, dolling himself up and looking in the mirror anytime you kind of hear powder, nose and mirror close to each other and all together one place. [00:30:26] Speaker C: So it's possible. It's possible. [00:30:31] Speaker B: I mean, obviously, clearly, right now this seems like a party man, right? It seems like. [00:30:35] Speaker C: Yeah. And again, the problem. The thing is, is this record going to be just like this through the whole thing? I don't hear any Jimi Hendrix yet. So we shall see. And the only zeppelin I've heard so far is that one breakdown thing. But, I mean, mostly it's AC DC. And not that that's a bad thing. But the problem is, if. If you want this to be your thing, you can't just be the AC DC sounding band. Because that's all anyone's gonna say about you all the time. [00:31:02] Speaker B: And what we, you and I have to do is basically say, okay, well, again, it sounds like this, but is it a good song? [00:31:11] Speaker C: I think it's constructed well and it looks like he's played well. But, you know, good songs are not like, can I get over just the AC DC? [00:31:21] Speaker B: You're gonna have to do an ace fairly. You have to get over who's playing what, if. You know what I mean to say. [00:31:29] Speaker C: Yeah, I guess. [00:31:30] Speaker B: Do I like this song? No matter who's playing? [00:31:33] Speaker C: I know. All right, let's continue. [00:31:40] Speaker D: There's a voodoo down to a miniature Jesus mysterious drink on the bar and I need it. There's a beautiful girl with a lock in the stair. She wants all my love but I just don't care they're back in the street playing trombones. I'm learning the songs and I'm singing along. Go back to the south. Repatriation. Gotta keep up, baby cause I'm on the road now let's just see where the knock on. Let's see whether not. Go on, baby, give me a master. Let's see where the knockoff. [00:32:28] Speaker C: So, yeah, I definitely think you're right. Now, it's definitely. It could be about drugs and partying, because, like, the second verse is there's a voodoo doll next to a miniature Jesus mysterious drink on the bar and I need it. There's a beautiful girl with a locked in stair. She wants all my love but I just don't care. And then he's back. Then he goes back to the stall and powders his nose. And so, yeah, it's very possible. [00:32:51] Speaker B: I thought he said Johnny at one point. [00:32:53] Speaker C: Johnny? [00:32:54] Speaker B: Thought I heard Johnny, but I guess not Johnny. [00:32:57] Speaker C: Johnny's not in this. He didn't leave New Jersey and come over here. [00:33:00] Speaker B: Yeah, he's. He's being good. He's not Gina. [00:33:05] Speaker C: He didn't divorce Gina. Moved on to Tennessee. [00:33:09] Speaker B: No, that's Tommy. [00:33:10] Speaker C: Oh, that's Tommy. Then who's Johnny? [00:33:13] Speaker B: Johnny was in Johnny, Tommy. [00:33:15] Speaker C: Whatever. It could be either of those guys. [00:33:17] Speaker B: I know, but we did listen to something. I remember one of the podcasts. He gets around. [00:33:23] Speaker C: I'm so. See, this is what happens when you record podcasts late. I can't. I'm getting Tommy and Johnny all messed up. [00:33:30] Speaker B: Well, they rhyme. [00:33:31] Speaker C: Yes, it's true. All right, I guess we're gonna do solo here. So let's see what happens. [00:33:41] Speaker D: Let's just see what happens. Smoke your cigarettes and drink your gym. [00:34:26] Speaker C: Yeah, that's still super AC DC. [00:34:28] Speaker B: Did you think so? That was. [00:34:29] Speaker C: Oh, yeah. Oh, yeah. Even the guitar solo. He's very Angus Youngie. [00:34:35] Speaker B: Oh, well, yeah, the beginning of it. That's how. Specifically the solo. Like, when that. [00:34:40] Speaker C: Yeah, to me, I mean, he's not as good as Angus young, obviously, but it's very. It's very. It's. It's. It's in the same style. See, now I can't get out of my head. [00:34:49] Speaker B: I think it's better than the first, I think. I mean, in a sense, yeah. [00:34:54] Speaker C: It's just different. So, you know, it's. It's just starting to me, it's only two songs in. Unless something changes here, it's gonna be like the band that, you know, is just copying the other band and. Yeah, it. Is it exactly like AC DC knows it. As good as AC DC? No. Would you would assume that they don't think it's as good as AC DC? I would assume, but, you know, this is. This is what they're going for so far. Two songs in it. It's pretty obvious now. We'll see if the rest of it does that. But, you know, I can. I get through this whole thing. I mean, I'm happy that there's a record that has guitar. You know what I mean? I'm torn. [00:35:30] Speaker B: Yeah. [00:35:31] Speaker C: Cuz I always bitch about that. There's no good music and why, you know, there's no bands anymore that play guitar music. And so when there is a band that comes and plays guitar and music, what do I say? This thing sounds too much like Ac DC. I don't want to listen to it. But maybe I'm not looking for this. [00:35:48] Speaker B: You know what I mean? [00:35:49] Speaker C: I'm looking. [00:35:49] Speaker B: But, I mean, think about somebody like, what's his name, who's a young kid who sounds a lot like Stevie Ray Vaughan. Well, the young kid. I mean, he's not that young now anymore, but not Johnny language. [00:36:03] Speaker C: What? Kenny Wayne shepherd? [00:36:05] Speaker B: Yeah. [00:36:05] Speaker C: Yeah. [00:36:06] Speaker B: I mean, you could take something like that, too, right? [00:36:08] Speaker C: I've seen him, like three times, and it's not. It's not on purpose. I always get him. Yeah, he's a good guitar player. But my thing to me is. Is like, I don't need the history, Riv one again, because I've heard him. I don't really need that again. You know what I'm trying to say? And I know that he was a big influence on him, so it's probably why he plays that way. And I'm sure if people heard me play guitar, they'd say, oh, you're copying this, you're copying that. And, I mean. I mean, I try to be very conscious of not doing stuff like that to make myself sound exactly like all the influences that I. You know what I mean? It's okay if people say you are, I'm a mosh. I'm a mosh of this, this and this. That makes sense. Yeah, but, like, this is like, to me right now, unless it changes. This is too much. It's too much. Yeah, but even. Even the vocal coming back was too much. Bon Scott. We're gonna. We're gonna continue. Oh, well, um. Oh, I guess this is the interlude right here. So let's see. I think there's some. There's some lyrics and stuff. I would say. [00:37:40] Speaker B: There'S something else there too, though, I want to say, for kind of like, some of the eighties hair metal bands that got bluesy. There's some of that in there too, I think. [00:37:56] Speaker C: Yeah, but that was. [00:37:57] Speaker B: I don't know if you ever heard, like, a bank a band. What was it called? Tangier. Like, they were actually pretty good. They. They made a few good songs. Some of that is in there, which is. Didn't sound like AC DC, but kind of sounded like that hair metal version of blues. Kind of. So. But, yeah, I mean, I'm not gonna say. I mean, obviously, the majority is pretty. Pretty evident. I don't want to keep harping on that, but we may have to. So. [00:38:23] Speaker C: I was a little excited about this. [00:38:26] Speaker D: Now. [00:38:26] Speaker C: I'm not so excited right now. So I gave the first lyrics six, like you did. I think these lyrics are probably better than the first ones, I think. So I'm gonna say seven. I mean, how do I say this bad? Cause it's not played bad. [00:38:39] Speaker B: Mm hmm. [00:38:40] Speaker C: So being objective about, like, musician wise, it's. It's a seven, and. And the production's a seven. I mean, seven across for me, because it's okay. But. And I hate to say, you know, well, I gotta do this first. But hold on, before I get to my rant, I just. I'm a little taken aback with the. With the too much ac DC of it. And that's all that's in my head now. And, you know, really what I would, you know, if I wasn't being like, whether this is a good song or a bad song, whether it's played well or whatever, I give. It's like a three across because it's too much. I think if. If it continues this way, it's probably gonna get worse and worse for me because I don't. I don't need to hear another AC DC. I mean, yeah, if you had a song that sort of. Kind of sounded like. And then you went to song that didn't sound like it, if it was mushed up, if it was all the people that they said, right, that would. Whoever said that they sound like that. The AC DC part is right. And I get on the first song I heard a little bit kings of Leon might say, I don't. A little zeppelin, sort of, kinda. But, you know, I want to hear. I don't know. I want to hear better, more. As original as it can be without being a cop. Just be a cop. I don't want. I don't want to copy AC DC. And that's what I feel like I'm getting now. So I'm still giving sevens right now, whether that's going to continue. And. And it may be maybe, regardless whether I like the song or not, am I going to keep giving sevens to songs comparatively? And I gave whatever I gave to Judas Priest, and I'm going to give the same things to here. There's really. There's really nothing here outstanding. Like, the first song was okay. I was happy. That was guitar. I'm like, all right, let's see where they go. And the second one goes. And then there's the. The lyric. The guitar part from thunderstruck. Not exactly, because it's not the exact lyric. It's not the exact part. [00:40:32] Speaker B: Yeah, no, it's the feel of it. [00:40:34] Speaker C: It's the way it's played. It's the. It's the amount of notes, it's the way it's played through there. It's too much. [00:40:40] Speaker B: Yeah. [00:40:41] Speaker C: All right. What do you think? I don't. I don't know what to think anymore. [00:40:45] Speaker B: I don't think I like this one as much as the first one, honestly. This one, it wasn't bad, but it didn't kind of stick with me as much. So again, if this was like, if this was something that came out in the late eighties, especially in comparison to some of the other stuff, like, oh, okay, this is cool. Like, this kind of sounds different. Well, the non Ac DC parts, I mean, you know what I mean? Not completely obvious when some of the other stuff that's going on. Lyrics are gonna say six again. I mean, they're okay. I mean, I like the fact that it kind of puts you somewhere and, you know, it reminds us to, when we're younger, maybe going to check out a concert, whatever. I actually did see somebody od in a stall at a concert. [00:41:34] Speaker C: Nice. Maybe was this guy. [00:41:35] Speaker B: Yeah, I didn't know it then. At the Megadeth concert? Yeah. I didn't know at the time, but I saw it. I saw it. So the music. I'm gonna say six. I didn't like it as much as the first one. Protection. I'll say seven. I mean, it's. It's. I think it's well produced, especially for what it is. So again, let's see where this goes. [00:42:01] Speaker C: The next one is called breed and attack. Here we go. [00:42:13] Speaker D: Breathe and attack. It's as easy as there. Breathe and attack. It's as easy as that. [00:42:36] Speaker C: Okay. What fucking song is that? [00:42:38] Speaker B: So before you say that, did you hear him breathe in the beginning. Did he kind of like that? Sigh I thought. I almost thought that was you saying oh again. I was like, wait, is that mark? [00:42:50] Speaker C: I thought that was funny. [00:42:52] Speaker B: I thought it was you. [00:42:57] Speaker C: But the way this is going on. Hells bells, isn't it? [00:43:00] Speaker B: Yeah, it's like a mix of Hell's bells and maybe let me put my love into you, kind of. I mean, I definitely feel it's a good riff. Right? [00:43:09] Speaker C: I mean, I know, though. What's wrong with the. AC DC already did it. [00:43:14] Speaker B: Yeah. And I think the production is kind of better on this one for. For some reason. I'm not saying it's massively. Oh, my God. Like some. [00:43:22] Speaker C: Whatever, but I mean, obviously their. Their subject matter is a little different. Obviously is where they were brought, you know, growing. Growing up here as opposed to in, you know, Australia. It's a little different as far as their lyrics and stuff goes, but it's just too much. I'm gonna keep going until I get to the chorus, and then we'll stop it. [00:43:40] Speaker B: Okay. [00:43:41] Speaker C: Gonna soak this in. [00:43:56] Speaker D: River raised by the rock moved to the city and it gave me culture shout I'm the son of a preacher but I lost that fever yeah I've been destined to accept that I ain't easy breathe and attack it's as easy as that breathe and attack is as easy as death oh, yeah, yeah people gonna say what they want freedom people gonna see what they want freedom people gotta hear what they want freedom let me show you how we just breathe in a text. [00:44:52] Speaker B: What do you think of him? Still too much for you think? [00:44:55] Speaker C: No, I. I can't get out of my head now. [00:44:58] Speaker B: I think his voice is slightly different, though, right? In the course, the way he's using his voice, it's not as scratchy. I mean, he's got a strong voice. [00:45:07] Speaker C: Oh, no. Yes. That's the problem, too. It's. It's not that it's not good. I mean, I'm gonna read lyrics, so. Okay. I was born on the river raised by the rocks moved to the city and they gave me culture shock I'm a son of a preacher he said that but I lost that fever yet I've been destined to accept that I ain't either breathe an attack as easy as that breathe an attack it's as easy as that oh, yeah people gonna say what they want people gonna say what they want people gonna hear what they want I'm sorry. People gonna say what they want people gonna see what they want people gonna hear what they want let me show you how it's done. Just breathe in. Attack. I just. It's too fucking much. It's. It's too AC DC. It's too much. I mean, this is what they're going for. I assume they want to be. We want to sound like this. It's obviously a big, gigantic influence on them. If they don't say that, they're lying through their fucking teeth. Because there's no way you can say. You can be a fit. You can be a guitar player or whatever. I've never heard AC DC before. Okay, well, then, yeah. You're just able to fucking pull this out into nowhere. The sounds just like them. Yeah, well, not just like them. [00:46:13] Speaker B: I don't think they would ever. I mean, I could be wrong, but I don't think they'd ever. [00:46:16] Speaker C: See this is gonna make me start giving it bad fucking numbers. It's gonna. [00:46:24] Speaker B: I was gonna say. I mean. I mean, just the lyrics alone at this point, right? Just the fact that it's so repetitive about that. And if I gave the other one sixes, I'm probably going to go lower on this one. [00:46:39] Speaker C: And the problem is, too, is that, you know, even if I say that the reason why I like the things that are going on is because it's been done by AC DC, that's the only reason I can sit back and go, well, this is not too bad. Of course it's not, because, you know, they're not blatantly, like, ripping off, like, individual things, but it's the totality of everything together. His vocal and whatever. Like the other band we were talking about. Remember we just talked about that band? [00:47:06] Speaker B: Yes. [00:47:08] Speaker C: This is no different. [00:47:09] Speaker B: Yeah, this is definitely. [00:47:12] Speaker C: And I'm assuming this cannot stop. This is going to continue, I assume. [00:47:16] Speaker B: Well, I mean, it's pretty much three for three. I would. I would almost say that the chorus doesn't remind me too much of it. The chorus and the pre chorus, even though it's pretty much named the same thing that being breathe in attack kind of thing. [00:47:27] Speaker C: I don't know. It sounds like it to me. Yeah, let's continue. That sounds like something else, too. Not ac DC, though. But I can't put my finger on it. That is an eighties thing. You know what I'm saying? Do you hear what I'm talking about? You know what it is? I just can't. I don't remember. [00:47:53] Speaker D: Can I deliver? Haven't lost my edge I'm about to straight up put these rumors back to bed I'm a force of nature just sweeping through. I'm about to light some dynamite we're using breathe and attack it's as easy as that oh, yeah, yeah people don't aside say what they want freedom people go to see what they want freedom people go to hear what they want freedom and love let me show you how it is down just reading a town. [00:49:09] Speaker C: Have you figured out what it is yet? But you know what I'm talking about, right? I know that rest. [00:49:14] Speaker B: Yeah, it does remind me of something, Dan. It. [00:49:18] Speaker C: And I mean, guitar solo is not bad, but it's almost. It's giving me bad shades of bad eighties hair metal. Now, that guitar solo right there. Yeah, I just. And again, nothing's played horribly bad. [00:49:34] Speaker B: I mean, it's guitar driven, right. Which I'm sure that you can appreciate. [00:49:37] Speaker C: Yes, and. And again, but the problem is, is that every time I hear it, I'm hearing another AC DC song that it sort of sounds like. Let me read. Let me read the rest here. So verse two is, can I deliver? Have I lost my edge? I'm about to straight up put these rumors back to bed I'm a force of nature just sweeping through I'm about to light some dynamite with a short fuse and then there was that solo thing. I had such high hopes. First song came on, I'm like, all right, we're gonna have some rock here. It sounds a little bit like AC, you know, it is, but it's. It's no different than late eighties crappy hair bands that took the formula and just used the formula, right. And. And that stuff. I don't think musician musical is. Is bad. It's just so stupid stock and so, like, this is what's going on right now. We're just gonna do this. This is the same thing, except how can we take AC DC songs and move them around a little bit so we kind of. We can make our own songs, but it's familiar enough where people are gonna like it because they don't maybe not realize what's happening. [00:50:49] Speaker B: Yeah, I mean, here. Here's what I'm hoping. Half what I'm hoping will happen when we post this podcast. You're gonna put it out there, right? AC DC fans, or even their fans will kind of draw to it because they're like, wait a second. You know, especially the AC DC guys, if they. If they don't like them, because that's the thing. I want to hear what they say. You know what I mean? [00:51:12] Speaker C: It can't just be us. Can't be. [00:51:15] Speaker B: No, I. We're gonna continue. It's obvious. [00:51:20] Speaker C: You ready? Here we go. [00:51:26] Speaker D: That's all you gotta do. Breathe and attack just breathe and attack just breathe and attack just breathe people gonna see what they want. People gonna hear what they want. Let me show you how it is. [00:52:12] Speaker C: That was me this time. Have no choice. See, I appreciate the playing. I appreciate that they're trying to do a sound. I appreciate this guitar. I don't want to be the old man. Get off my lawn. This is too fucking much. It's too much. Five for the lyrics, five for the music. Six for the. Actually, I'm gonna give production a seven because the production is not the problem. And I. And it's not played badly. It's not about the playing. It's about. It's. It's. Why do you have to sound that much like them? And. And knowing you can't say that we didn't know. [00:52:49] Speaker B: No, there's no way. [00:52:51] Speaker C: There's no fucking way. I don't care how old they are, that if they're in this style of music, they knew the fuck AC DC is. [00:52:57] Speaker B: Oh, yeah. [00:52:58] Speaker C: Yeah. [00:52:59] Speaker B: I mean, I think I'm starting to get mad now. [00:53:02] Speaker C: Now I'm starting to get mad. Well, I'm pissed because, you know, if we're writing music and it sounds like this, we can't fucking. We can't fucking do this. This sounds too much like AC DC and all. Some people are gonna say that we're a rip off of AC DC. You know, it's no different than when there were some bands in the eighties that tried to do the Van Halen thing. Like Van Halen and like, do you not Van Halen. Stop. Yeah, stop. You go. Go ahead. [00:53:31] Speaker B: Honestly, I think I'm gonna mimic. I think I'm gonna say five on the lyrics. I don't think they were as good as the ones before music. I don't. Again, like you said, I think it's played badly. I'm not. I'm actually not gonna give it a five because of the AC DC thing. I just. Again, it's a little repetitive at this point. So. You know what? Actually, I'll say six on the music. I'll throw them a boat. Let's say five, six and seven on the production. [00:54:03] Speaker C: You're a better man than me. [00:54:04] Speaker B: Yeah, it's my. [00:54:07] Speaker C: It's not played bad. I have to do this. It's not played bad. [00:54:12] Speaker B: No. [00:54:14] Speaker C: I think if they could just find their own fucking sound, it would be nice. Yeah. Find a combination of all the bands that you like, put it together in a blender and come out, not go. [00:54:26] Speaker B: Yeah. [00:54:27] Speaker C: Where we're AC DC band with every once in a while, Robert. Robert Plant singing and the dude from Jack. Yeah. [00:54:35] Speaker B: I wonder how you listen. Anybody listens. I'm thinking that's who it is. When he gets into that high range, it's somebody. It's somebody from the eighties for sure. [00:54:45] Speaker C: All I hear is Bon Scott in my head now. But maybe he was, maybe the guy from Jack was copying Bon Scott too. So there you go. All right, so the next one is take a ride. Mm hmm, yeah, let's hope we take a ride. I hope it's a good ride. [00:55:07] Speaker D: She's off the ground running she's the tip of the spear she's supersonic, baby, into my atmosphere she's out on that horse riser she grinding them gears she's heading to the meadow like she ain't got no fear hey pretty lady won't you come my way? Come on over, baby I got something to say hey pretty mama want to come on here you a piece of this american time take a ride, take a ride ooh, take a ride. [00:56:04] Speaker C: What do you think about that? [00:56:06] Speaker B: That's a little different, though. Are you still. I don't know. [00:56:12] Speaker C: Here's now. Now here is the words going to me. So now we had the three AC DC songs in a row. Now we got a bad late eighties hair metal band. [00:56:21] Speaker B: You think so? [00:56:23] Speaker C: Yes, it's, I'm thinking fucking, it's fucking girl school. It's, this is what this is, this is not good. [00:56:32] Speaker B: I'm thinking seventies. It's okay. I mean, it's, it's, I'm thinking seventies. [00:56:37] Speaker C: Honestly, the reason you're here in the seventies is, is the, is the little flanger thing that's going on in the guitar. Then he does the burner banner, but it's not even mixed very well. It's too much in the fucking front and that you can't hear the fucking vocal anymore because that fucking harmonized guitar is there. [00:56:52] Speaker B: It should be that I don't like at all. I really don't like that. [00:56:57] Speaker C: Well, no, it would be okay, but it's too far up front. It's too interface. It needs to be back behind the vocal a little bit and we'd be fine. [00:57:06] Speaker B: I mean, what it's worth, I like this one better than the last two so far. [00:57:09] Speaker C: Do you? [00:57:11] Speaker B: Yeah, I think I do. [00:57:12] Speaker C: I mean, hear the lyrics, you see, if you like. [00:57:15] Speaker B: Oh, I know the lyrics are, you. [00:57:17] Speaker C: Know, she's off the ground running. She's the tip of the spear. She's supersonic, baby, into my atmosphere she's out on the, she's out on that horizon she's grinding them gear she's pedal to the metal like she ain't got no fear hey, pretty lady why don't you come my way? Come over, baby I got something to say hey, pretty mama won't you come on by give you a piece of this american pie take a ride, ride, ride or take a ride, ride, ride or take a ride so I'm assuming there's some double entendre going on here. Oh, well, is it, is it, is it, is it like ace freely double entendre? [00:57:54] Speaker B: Yeah, I think it's, um, pretty obvious what the song is about. [00:57:59] Speaker C: Yeah. I got a little piece of pipe. [00:58:02] Speaker D: Backstage I'd like to have you work on. Tell me about it. [00:58:08] Speaker B: Penis. Yeah, I take a look at my. [00:58:13] Speaker D: Enormous penis I felt that. [00:58:17] Speaker B: That supersonic, baby and into my atmosphere was almost like a tip, like a nod to ace. Mm hmm. Yeah. [00:58:26] Speaker C: So maybe I just. I'm starting to feel like a bad. A bad late 80s hair band. That's what I'm starting to hear now. All right, let's continue. [00:58:40] Speaker D: She's loving the road she's fire and nice yes, she's an overload and I'm feeling nice all right I'm in love with my hair getting on the fuse she's high octane but ain't got nothing to lose hey, pretty lady won't you come my way? Come on over, baby I got something to say hey, pretty mama won't you come on here? You a beef and dancer making half take a ride, take a ride. [00:59:36] Speaker C: All right. Before that. So I understand where you hear, I'm here in the seventies thing a little bit, too, but it's like an eighties hair band doing seventies. That's the problem. It's not, it's not a seventies band doing seventies. I hear what you're saying, though now I'm listening to it a little bit, like. [00:59:49] Speaker B: Yeah. Were there handcuffs? [00:59:51] Speaker C: I think they might. So I'll read you. I'll read you the second verse. She's love on the road she's firing ice yes, she's an overload and I'm feeling all right I'm in over my head getting high on the fumes she's high octane but I ain't got nothing loot. I mean, this is less AC DC nothing. It's what say about it's less AC DC. [01:00:17] Speaker B: Oh, yeah, I think so. [01:00:19] Speaker C: Yeah. [01:00:21] Speaker B: I don't, I don't specifically I mean, again, I don't necessarily think it's original, but I don't hear the, like, the influence that were mentioned as opposed to the ones before we could kind of obviously get here. A lot of ecds. You kind of heard a little too zeppelin here and there and some kings of Leon. I want to say this reminds me a little bit more like kind of glammy seventies. [01:00:44] Speaker C: Like almost seventies hair metal seventies glam 100%. [01:00:46] Speaker B: Does that make sense? You know what I mean? Like swede or something like that. [01:00:50] Speaker C: Slade or something, right? [01:00:52] Speaker B: Yeah, like maybe something they would do. [01:00:54] Speaker C: Okay, good try time. Here we go. [01:01:14] Speaker D: Pretty lady, want to come my way? [01:01:17] Speaker C: No. Shit. That was gonna happen. That was too short, and the guitar was. The rhythm guitar was too loud, and the lead guitar wasn't loud enough. So it kind of all got mushed together. So I don't know. [01:01:31] Speaker B: Yeah, I need another four bars, I think. Honestly. [01:01:35] Speaker C: Yeah, no, I just. At least this is less AC DC. [01:01:39] Speaker B: So it is definitely. [01:01:43] Speaker C: It's less. But I don't know. I'm not. I was feeling it, and I'm not feeling it as much, but it wasn't bad. I mean, I just was too short. I don't know. [01:01:56] Speaker B: Yeah, I feel like they. They should have had kind of like that double thing, right? Where that's maybe like that little drum thing going on there. [01:02:05] Speaker C: Yeah. [01:02:05] Speaker B: You know, where it kind of. The. Most of the music falls out. And I know it's typical, but I mean, if you're going to make it song like this, which is kind of typical. [01:02:14] Speaker C: Oh, it's. [01:02:15] Speaker B: I think like that kind of adds to it. Just kind of gold away with the formula. [01:02:21] Speaker C: I almost would have been. I almost would have been happy. I mean, I don't know if I would have been happier if it were to be all like this and more in this style, maybe. I don't know. But then. Then I'd probably say, yes. It's too fucking seventies glam too. It's just. It's. It's too. It's too. It's too the same as it. It's not even. And like, this is not first record. Like, I almost kid. I almost could, like, forgive first record. You know what I mean? Like, they don't know what they're doing yet. They even figured it out. This is record number four, right? [01:02:52] Speaker B: So, I mean, unless the other stuff doesn't sound as much. You know what I mean? [01:02:58] Speaker C: No clue. [01:02:58] Speaker B: We have. I mean, honestly, we have nothing to compare it to. [01:03:01] Speaker C: No, we don't. I guess I do. [01:03:04] Speaker B: I have to assume that the rest of the stuff is like this, too, right? [01:03:07] Speaker C: I would assume. All right, let's get back to the generic. What's gonna happen after the solo? [01:03:19] Speaker D: Come my way come on over baby I got something to say hey, pretty mama won't you come on back give you a piece of this american pie hey, pretty lady won't you come on, come on over baby I got something to say hey, pretty mama want you come on, give you a piece of this. I'm making it pop. Take a ring, take a ride I. [01:04:14] Speaker C: Mean, if not for nothing, at least the soldiers at the end are pretty good. [01:04:17] Speaker B: You know? This is definitely one record I wish we had everybody on for. [01:04:22] Speaker C: Yeah. [01:04:22] Speaker B: Just to see, um, what other people think. And if you could have the guy. Yeah, it's something easy. Decent man. Fucking awesome. [01:04:33] Speaker C: Well, I could say that this song at least, wasn't an AC DC rip, so at least I can give it a little bit more of. A little bit more of an honest thing. I was getting. I was just getting a little burnt to the AC DC. Hopefully it doesn't go back, but I don't have much faith that we're gonna all of a sudden. It's gonna all of a sudden change unless they. You know, they do three songs, AC DC, three songs, seventies glam, and then. And then I wonder what else. [01:05:01] Speaker B: Are there any more lyrics to it or not? [01:05:03] Speaker C: So. Hold on. Not really. I mean, the core, the chorus is just double the chorus out. So it's really not much, I guess. Lyrics, six, I guess. Musicianship. I mean, I don't. I'm gonna. I'm gonna go to production, six, because that stupid little guitar part could be better and the solo could have been louder. Musicianship. I mean, nothing's really played horribly bad, right? So I guess I gotta give it a seven because it's not played horribly bad and it's not the AC DC cover again. So I guess that's good. So that's. That's what I'm doing. I mean, I was much more excited for this than I am right now. Maybe. Maybe it'll change. I don't know. But, yeah, it's. It's. Again, it's. It's no different than if you had a baby. A bad. Again. I'm going to say it again. A bad late eighties rock band, the hair metal, whatever you want to call it at that point. There's too much. Too much stock stuff. It's not. You know. I mean, yeah, it's hard to be original, but you could be a little more original than this. This is just like, we just taking stuff from other songs and throwing it together. I mean, that. I mean, that's what everybody does, I guess. But I guess the better bands, you don't see the influence this hard or the sound this hard. [01:06:28] Speaker B: You don't see it as. [01:06:28] Speaker C: Yeah, it's. It's filtered through. [01:06:30] Speaker B: I mean, certain bands have that sound, their sound. And again, it's like the edge. Right? The edge has this guitar sound. Is it anything where you're like, oh, my God. Nobody's ever done that before. No, but he's made it to a point where it's a signature sound. So if something sounds like that, you're gonna say, okay, well, sounds like you too. Right? And again, you know, it was AC DC writing these complicated songs or whatever. No, but they've recorded and played it in a style where the sound became theirs. Right. So when someone sounds like that, it. [01:07:05] Speaker C: Sounds like a swagger. It was the. Those guys together that made that sound. And, you know, even though this is not an AC DC cover of any sort, it's. It's still like. Like you said, it's like it's. It's either a slade or it's mata hoopo or whatever it is. I'm not super versed in, like, seventies glam stuff like that, but that's what it sounds like to me. I could be wrong. I don't know. What do you think? Go ahead. [01:07:31] Speaker B: Well, I mean, I gave the last five. I can't. I can't give these higher. I'm gonna say a four. I mean, they're just those typical mama. You know what I mean? So I'm gonna say that. I guess I'll say six on the music. Again. Again, it's not played badly. It's a party. It's kind of a party song, and it's. Okay. And again, the fact that it is different than the other three. Yeah, I'll say six on production, too. I mean, that little. [01:08:03] Speaker C: Yeah. Only because it was too much in your face. If it was behind in the back a little bit, it wouldn't be as bad. [01:08:08] Speaker B: Yeah. And it was covering the vocal. And, I mean, it sounded almost like an off key vocal. I wanted to be like, who's singing that? Shut up. It doesn't sound right. [01:08:17] Speaker C: All right, so the next song, last on this side, is what I need. And you know what I need? I need something different. I need not to be two things that just happened. There we go. Hey, it's the ballad. The end of the end of the side, it's a little different. [01:08:39] Speaker B: I was thinking ballad. Was thinking ballad. It's got that. [01:08:44] Speaker C: Is it gonna. [01:08:45] Speaker B: I don't think AC DC. It's got a seventies vibe to it already. I can hear it. I'm hearing Elton John, actually. [01:08:54] Speaker C: We'll see. [01:08:56] Speaker B: Which, again, is not a bad. [01:08:59] Speaker C: All right, here we go. [01:09:00] Speaker B: You can kind of take the style and make it. [01:09:13] Speaker D: Something inside is rising and I can't hide it it just occur to me could never really seem to find it I was blinded by what I was told to be I tried to rule the wild with guilty hands I tried to make amends but I can't I tried to live that lie the best that I could but it's so hard to love yourself when you don't think that you should so I give myself some peace something's come over me nothing's worse. [01:10:21] Speaker C: So what do you think of that? [01:10:22] Speaker B: It's okay. It's not. It's not terrible, but it's not necessarily grabbing me yet. [01:10:28] Speaker C: Yeah, I'm. [01:10:29] Speaker B: It's very sad. [01:10:30] Speaker C: And there's little. Little kings of Leon, I think, there, too. Yeah, his voice is definitely different here. [01:10:37] Speaker B: He's good. I mean, again, he's kind of got those two things right, the AC DC style and then this kind of other higher style thing he's got going. [01:10:44] Speaker C: I mean, I'm almost happy it sounds like this, because at least it's not a copy of the other thing. So maybe this is more of what they really gonna. Maybe only when they do the harder stuff. [01:10:56] Speaker B: So kind of in that southern you can feel. [01:10:58] Speaker C: Yeah, but. But at least it's not. I'm not going, oh, this sounds like x. This is just a ripoff of yes. [01:11:07] Speaker B: No, oh, no, no. [01:11:09] Speaker C: To me, this is a little bit better just because it's more. Maybe that. Maybe this is what their style is. Maybe. I don't know. Maybe when they play the harder stuff, they're trying too hard, and they just end up sounds like AC DC. Because that's the only thing they can figure out to do. Maybe this is where they need to be. I don't know. It's better for me. All right, so I'm going to read lyrics. Something inside is rising and I can't hide it it just occurred to me couldn't ever really seem to find it I was blinded by what I was told to be I tried to rule the world with guilty hands I tried to make amends oh, but I can't I tried to live that life the best that I could but it's so hard to love yourself where you don't think you should so give myself some peace something's come over me that's nothing that nothing's what I need that's much better. Lyrics. [01:11:53] Speaker B: Yeah, those are pretty good. [01:11:54] Speaker C: Yeah. See, I can. I can turn on a dime. You can get me pissed off. And I can tell you stop being AC DC and then come to this and going. All right. [01:12:02] Speaker B: Yeah. I mean, I'm curious to see where it goes. [01:12:03] Speaker C: Yeah, me, too. All right, here we go. [01:12:06] Speaker D: Something inside is calling and now I'm talking to the man I used to be. Love has many different colors. You can't paint no heaven, it's only your masterpiece. I tried to rule the world with guilty a I tried to make amends ooh, but I can't. I tried to live that life the best that I could it's so hard to love yourself when you don't think that you should so I'll give myself some peace something's come over me nothing's what I need nothing's worthy nothing's what I need yeah I tried to roll the world with you feel I tried to make a. When you don't think that you should so I'll give myself some peace something's coming over over me nothing's what I need nothing's what I need. [01:14:40] Speaker B: I thought it wasn't going to go into anything different. At one point. It's just gonna be here with the. [01:14:46] Speaker C: P. Yeah, the guitar thing. Once I heard that. Come on. I mean, it's pretty where it was gonna go. [01:14:53] Speaker B: I wanna say it had a kind of a. Like a GNR Aerosmith feel to it. [01:14:57] Speaker C: Yeah, I could hear that. [01:14:59] Speaker B: Like, usually, I guess kind of like in between mean something. They would have written after appetite and kind of use your illusion. And again, I don't think it's. Oh, my God. This sounds exactly like. Not like that, but kind of like those. Yeah. [01:15:15] Speaker C: You mean you can hear something, but that's okay. It's. But at least it's not just like a carbon copy or something. That. That I. This is better. All right, so here's the second verse. Something inside is calling and now I'm taking. Now I'm talking to the man I used to be. Oh, I love has many different colors. You can paint no other. It's your only. It's only your masterpiece. So. I don't think those are bad. The lyrics are bad? [01:15:39] Speaker B: No, I think they're the best lyrics so far. [01:15:41] Speaker C: I think so. So why don't you go first, then. [01:15:43] Speaker B: Um, well, here's the deal. Based on the way this thing is going, I'm gonna say an eight on the lyrics. I thought they were pretty good and definitely the best so far. Um, music is fine. Again, revisiting this. Oh, yeah. I mean, I may check this. This out again. So I'm gonna say seven on the music and seven on the production. I mean, can I say it's my favorite so far. I think the first one might be overall, but what do you think? [01:16:17] Speaker C: Yeah, I think I'm gonna do eight on the lyrics, seven on the music. I thought the solo was pretty good. I like, you know, it's pretty. Pretty much what would happen, like, when the drums came in, like, you knew it was gonna happen once you heard that happening. Like, okay, so they're gonna go into something heavy or more, you know, upbeat. But, you know, I liked it. And a seven on the production, too. I thought it was produced. Well, to me, I think this is probably my favorite, because to me, it's. It's not. I'm not thinking of another band when I'm hearing this, even though there are pieces here and there, but it's not like, oh, my God, this is the fucking AC DC cover. Fucking band. And now this sounds more like, no. [01:16:57] Speaker B: It'S definitely not as blatant. [01:16:58] Speaker C: Yeah, it's not as blatant. And. And there's pieces in that that are familiar. [01:17:01] Speaker B: Right. [01:17:02] Speaker C: Which is fine, because you're gonna take from your. You're gonna take influencers for whatever and put it together. It's just put it in the blender and come out. So this is better for me. This is better for me. Yeah. I'm curious to see what side two does, whether it continues with the same kind of stuff or maybe make it, you know, better and end up being a better album overall. Maybe. We'll see. [01:17:24] Speaker B: I mean, the songs weren't too long. [01:17:26] Speaker C: It seems threes and fours. So why don't you do your thing? [01:17:33] Speaker B: Yes, we are part of the Deep Dive podcast network, getting a great bunch of guys. That took us in. Again, another shout out to the Judas Priest podcast. Shout out to our boys at Rush Rush. Shout out to everybody. And if you want more individual, individualized podcasts like Rush, Uriah, Tom Petty, I mean, you name it, it's on there. So go check them out. And, mark, where can they find this on the interwebs? [01:18:00] Speaker C: Rock roulette pod on all the socials. Rockrullettepodcast.com dot. Don't forget to please rate us on wherever you listen to that helps us move up and more people listening to us. So we continue to do this and, you know, set your, your podcast play to automatic download or go on Amazon and like Savino does and listen. Oh, and by the way, every episode that we've done, we have all of our picks on Spotify playlists. So you can go over there on our website on every episode, you can click, you can find this, the playlist for all the other, all the albums we've done so far. So then you can see, you know, put it on your playlists and do whatever everybody does on Spotify. So it's a good thing. [01:18:41] Speaker B: Yeah. Maybe discover new songs, add to your playlist, right? [01:18:45] Speaker C: Yeah, that's true. Yes. All right, so next week we shall finish this up. [01:18:50] Speaker B: Yeah. Hopefully. Again, I really hope. I don't know. I mean, again, those last two songs definitely weren't like the first three. Three songs. So who knows what the second side. [01:18:58] Speaker C: Yeah, I'm curious. [01:18:59] Speaker B: Will be like. But hopefully we can get somebody to jump on, especially if it sounds like AC DC. So just to prove that we're not crazy. [01:19:07] Speaker C: All right, we'll see you later. [01:19:08] Speaker B: Ciao. Ciao.