Episode Transcript
[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.
[00:01:13] Speaker B: Hey, everybody. Welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1200 records, stuck them in a list, stuck them in a wheel. And typically, every week we spin the wheel, she picks a record for us and we go through it track by track, and we rate it based on music, lyrics and production. Again, just a bunch of friends that wanted to do a podcast who love music. Nothing fancy, just. Just here having fun. And again, whoever's listening, we really want to thank you. Anybody who would leave a comment, questions, whatever it is, man, we really appreciate it, so. And tonight we have Mark. Oh, hi, Mark.
[00:01:49] Speaker C: What's up, guys?
[00:01:50] Speaker B: And I'm Sav. Ciao, Buenos Aires. So last week, the wheel picked the debut album from the Foo Fighters.
And I don't know, I mean, I think the first side, we did the first side, so I gotta say, I don't. I remember the first few songs. I think we both remembered the first three songs. They were all pretty. Pretty big on the radio at the time and even on MTV. And I'm kind of enjoying it. I didn't really. I didn't buy this one. I didn't really run out to get it based on what I'd heard back then, but I don't know, I'm kind of liking it. Mark, what do you think?
[00:02:25] Speaker C: Yeah, we finally got some kind of a nineties, so even though it's not grunge, it's post grunge, I guess. Post grunge, right?
[00:02:32] Speaker B: Yeah.
[00:02:33] Speaker C: So, you know, I like it so far. I like the first three songs. I know, I know. You're not a big fan of the Mentos one.
[00:02:40] Speaker B: Yeah. That's my least favorite so far. I gotta say, I don't hate that.
[00:02:43] Speaker C: It's very. It's very sappy.
[00:02:45] Speaker D: Yeah.
[00:02:45] Speaker C: Very syrupy. But I like it.
[00:02:48] Speaker B: Great video.
[00:02:49] Speaker C: Oh, the video is awesome. The video is probably better than the song is, actually. Yeah, I think so I actually went, um, back and watched the video again. I was laughing while I go to that. It's so cheesy.
[00:03:00] Speaker B: After tonight, I wanted to do it last week, and I completely forgot. So I'm gonna do it tonight, I think.
[00:03:06] Speaker C: Well, I think the. The second side is gonna be a little different. I don't think I. I don't. I know some songs here.
Not as much as the first side, though.
Yeah, I think I know the third track a little bit. The other ones, I don't know as much if I. At least I don't remember them right off the. I might, you know, when I start playing that I might remember, but I don't know if I had this album. I don't know if. I don't think I did, though.
[00:03:30] Speaker B: I actually never had the second one. I bought it on tape, really, because of ever long. Once I heard ever long, I was like, I'm going to buy this, because again, back then, I had a little bit more disposable income, and if I heard one song that I liked on it on a record, I could buy the record.
[00:03:48] Speaker C: Didn't you say you got burned by that in the nineties a lot?
[00:03:50] Speaker B: Oh, man, I got burned a lot. Yeah. I can probably. I won't name them here. I can probably name at least five, six, and probably more if I really start thinking about it, where I'm like, oh, God, one song, one song, one song.
[00:04:06] Speaker C: It's not like these days where you can just, you know, listen to stuff.
[00:04:10] Speaker B: Exactly. I just, one by one, download one or whatever, just go back to it on streaming.
[00:04:15] Speaker C: So, yeah, you had to, you had to hope you were gonna like it. Like, you heard a song and, like, I'm gonna buy this because this album is mine. I can't bring it back. Once I open it up, it's done.
[00:04:25] Speaker B: Yeah.
[00:04:26] Speaker C: And if you brought it, even. Even if. Even if they did buy it back from you, what were they giving you? Half price? Half what it was.
[00:04:32] Speaker B: Yeah.
[00:04:32] Speaker C: Lost half your money right away.
[00:04:33] Speaker B: Yeah. You have to go to, like, the local record store. That's what I would do. There was one in one of our local record stores where I would go back and trade in and whatever. I mean, stuff there was cheap. So even if I got, like, four or five on a $10 thing, sometimes I could equal two records. So sometimes it was worth that, so.
Can't complain.
[00:04:56] Speaker C: I think it's kind of amazing so far that he did this all by himself. And.
And you wonder, I know we were talking during the week that you wonder, like, with the band was like, you know, the run. Nirvana was, like, right before this, before he killed himself and all that kind of stuff. Like, you wonder how. How the band was. Were they gonna be together after this? Was he gonna be in the band after this?
[00:05:19] Speaker B: Who knows?
Yeah. There's definitely a lot of lyrics here that point to what was going on. Again, I wasn't paying attention back then, but hearing these lyrics, you can obviously tell there was definitely some animosity. And I think he was a little insecure with his position in the band. And so, I mean, it ricks for, you know, reflective music, though.
[00:05:42] Speaker C: He was young, too. I mean, he joined 2021, 22, and he was like, it's only, like, 23, 24 year.
So it's crazy to have your whole world get turned upside down by the time you're 24. But, yeah, but think about it. Like, he's been the two. Two gigantic bands.
[00:05:58] Speaker B: Yeah.
Fighters are still big ticket sales out there on tours, so they still putting up records, so.
[00:06:06] Speaker C: Yeah.
All right, so you're ready to hear the next one?
[00:06:11] Speaker B: Yeah. I'm curious to see how this slide goes.
[00:06:14] Speaker C: So. So this one's called Weenie Beanie.
All right, here we go.
Wow. I wasn't expecting that.
[00:06:58] Speaker B: Yeah.
[00:07:01] Speaker C: Is he saying something like, I have lyrics here. I'm gonna wait till the chorus. I don't know what the chorus is gonna sound like. I kind of. I mean, the riff, I like.
[00:07:09] Speaker B: Yeah, it runs your little sound garden kind of something that they would do.
[00:07:13] Speaker C: Maybe a little bit.
[00:07:16] Speaker D: Yeah.
[00:07:16] Speaker C: But the vocals are so. Yeah, just screaming at some mic. Just totally overdriven, I guess. It's not even like. It's not like Cookie monster. It's just like, an over driven microphone that's just like, the speaker's blown.
[00:07:30] Speaker B: Yeah, but again, I mean, honestly, of its time, right?
[00:07:33] Speaker C: Mm hmm.
[00:07:34] Speaker B: This is definitely.
There's other people doing a nineties song, so.
[00:07:38] Speaker C: Yeah. All right, let's continue before whatever kind of inch, you know, instrumental happens. But I wouldn't mind the verses so much if they were like that. But the chorus. I wish the chorus was clean.
Like, I don't know if he needs. I mean, it's a little cleaner, but it's not like.
I don't know.
[00:08:21] Speaker B: Yeah.
[00:08:21] Speaker C: Enjoy the song more. I think if the. The chorus wasn't distorted, too.
[00:08:26] Speaker B: Yeah, there's not a lot of lyrics going on. It sounds like. Right. So.
[00:08:31] Speaker C: No, I'll read it to you. So, verse one is I'm molasses hung in rent Rita sponsor, one shot, no post show.
Okay.
Obviously, this has something to do with the. Probably has something to do with the music business, I would assume.
[00:08:49] Speaker B: That's what it sounds like.
[00:08:51] Speaker C: Rita, sponsor. One shot, no post show.
I don't know. So the chorus is tear it off, but not a lot. It's not enough to debate.
And then verse two is as if you blame real and stagnate. Real and stagnate. Big shit, no shit. And the chorus is tear it off, but not a lot. Only so much you can take.
So to me, this is more of a stream of consciousness kind of song. Just throwing stuff out and seeing what, you know, what he can rhyme and what gets the point across he's trying to make.
[00:09:28] Speaker B: I mean, sounds almost kind of like the band, too, right? Real and stagnant. Real and stagnant. Big shit, no shit.
You guys are big shit. You're not shit. I don't know if that's what. I'm trying to see if I can find any interpretations, but that's kind of what I'm thinking. I mean, like you said, the business, but even, like, directed towards the band.
[00:09:51] Speaker C: You mean Nirvana?
[00:09:52] Speaker B: Mm hmm. Okay, if this was written. If this is one of the early ones that he was going.
[00:09:58] Speaker C: I forget which ones were written before this proposed.
All right, let's see what the instrumental break has to do. Let's see.
All right, I'm gonna read you some lyrics because obviously you probably can't even understand what the fuck you saying in this whole thing.
All right, so the next verse is try some. Try that hit, beast and mud led. Beast and mud led. Big shit, no shit. And the chorus again. And then another verse, which is kind of like the second verse, but it changes as if you blame real and stagnate. Real and stagnate. Big shit, no duh.
And the chorus changes. Tear it off, but not a lot. It's not enough to debate.
And then there's that little interlude part, and I think it's going back to the first verse again. And then just goes. Chorus out and then an outro.
But I don't know.
I mean, this is definitely not. Not one of my favorites right now.
[00:12:07] Speaker B: Supposedly, Weenie Beanie was a hot dog stand near where David Grohl. Dave Grohl grew up.
And someone is also saying a weenie beanie is a condom.
[00:12:26] Speaker C: Okay, well, that makes a lot of sense.
[00:12:27] Speaker B: Yeah. And one gets like, oh, I was listening to that album since I was four years old, and I never realized I'm, like, four years old when this came out. You son of a bitch.
But, I mean, another one says, is this about. It's funny because one guy's like, oh. It's about, like, radio executives and, you know, band and kind of, like, going from small to big and or just whatever.
[00:12:50] Speaker C: That's what I do.
[00:12:51] Speaker B: A lot of people just comment on the song as opposed to kind of chiming in. But, I mean, that's kind of like what it sounds to me.
[00:13:02] Speaker C: So, yeah, that's what it takes to me. I mean, again, I can appreciate the lyrical, but it's just like I said, I don't mind the distorted part in the chorus. I mean, the verse. I would like the chorus not to be distorted, but I think it would have a little more impact. What do I know?
[00:13:20] Speaker B: He sold a little bit of SCP, I think. A little bit. A little bit. I mean, I'd probably have to kind of. It came very fast initially. That's the vibe I got.
[00:13:33] Speaker C: Well, let's finish this off. We only have, like, 40 seconds. Here we go.
There you go. Weenie Beanie.
[00:14:18] Speaker B: That riff at the end, actually, if you saw the town, reminded me of damn the river by all some chains. It's like, I can hear the STP.
[00:14:28] Speaker C: Thing a little bit in there, too, sort of, kind of. But 95 you go.
[00:14:40] Speaker B: Lyrics? I don't know. I'm gonna say five.
I'm sure they're relevant to him.
They're. They're fine. I mean, again, there's. There's not much going on.
I kind of like the music. I'm trying to think. I don't know if I give it a seven, because I probably gave seven to some of the other stuff, but I do actually kind of like it.
I'm gonna say seven on production because I do like. I actually like the way this produced. Again, I'm not getting a full clarity overall, but I think for whatever it was with this one, it kind of worked. Even at the heavy distortion, I still. I kind of like the way it sounded. And again, I kind of agree with you where it didn't have to be like that. The vocal, the whole thing. But it doesn't bother me completely. And it's so short. How long is that?
[00:15:25] Speaker C: 245.
[00:15:28] Speaker B: I don't know what I want to do on the music. I'm gonna say seven. I'll say seven. Cause that's what I have in my head. I know. I was kind of digging it. It's kind of, like, loud and quick.
So, what do you think?
[00:15:42] Speaker C: Yeah, I think I'm gonna do five on the lyrics. I mean, it's not a lot there obviously, it means something to him somewhere, but it's a little hard for me to figure out. I mean, is it. Is it about a condom? Is it about hot dog stand? Is it about the band?
[00:15:54] Speaker B: Both?
[00:15:55] Speaker C: Is it about all of it? I don't know. Is it about having a condom on in the. In the. In the hot dog stand while you're with the band? I don't know. Exactly.
[00:16:02] Speaker B: Exactly. It's like, oh, this is so perfect.
[00:16:06] Speaker C: I'm gonna, I like the music. I'm gonna give that a seven. I like the music a lot.
Production, I'm gonna give a six, because, again, for me, I can deal with the distorted lyrics in the verse, I wish, but the chorus I wish was clean, or one other way around. I don't know. Whatever way you want it to be. Verse, being clean. I don't think both of them had to be distorted. I'm gonna ding the production a little bit on that, but other than that, I mean, I don't hate it. It's not my favorite on the record, but, you know, it's quick enough where.
[00:16:38] Speaker B: It doesn't, I think where the stuff you may not like about it, it doesn't have enough time to really start bothering you 100%, if that's a compliment.
[00:16:49] Speaker C: But I think in this one, we're gonna have a little. The next one, we're gonna have a little more stuff. So this is. Oh, George.
George who? Which George we talking about? George Harrison. Curious George with George.
[00:17:02] Speaker B: Curious George.
[00:17:03] Speaker C: I'm not sure. George Costanza. Like, there's a lot of Georgia.
[00:17:06] Speaker B: Yeah, it's a lot of George. George Jefferson.
[00:17:09] Speaker C: George Jefferson.
[00:17:10] Speaker B: George Washington.
[00:17:12] Speaker C: See? Okay, stop. There's gonna be two majors now.
[00:17:15] Speaker B: I bet you it's none of them.
[00:17:17] Speaker C: I'm sure it's none of those.
[00:17:18] Speaker B: Yeah.
[00:17:19] Speaker C: At all. I'm pretty positive. Okay, here we go. Oh, George.
[00:17:38] Speaker D: The train that I got on to upper left that town.
Threw it up as it went down, strange enough. And left when you turned around.
What should they say? I took them out.
[00:18:25] Speaker C: To me, that is like, the foo fighter sound.
[00:18:30] Speaker B: Mm hmm.
[00:18:31] Speaker C: Right. Don't you think?
[00:18:33] Speaker B: Yeah, I mean, the vocal, too. You could start hearing some of the.
I'm. Well, I mean, vocally does sound like the. The one on the first side. Mm hmm. But, yeah, I definitely hear a little bit more than melodic, kind of not as heavy. You know what I mean?
[00:18:50] Speaker C: Yeah. Well, I'll read. You read your lyrics. The train that I got onto up and left that town threw it up as if it went through it up as it went down strange enough it left me rude and turned around watch as they all took their vows and the chorus is fools were drawing trying to save that day. I don't doubt that. Anyway, so I'm not too sure yet what this is about.
[00:19:17] Speaker B: Well, supposedly it is a tribute to George Harrison.
[00:19:20] Speaker C: Oh, is it?
[00:19:22] Speaker B: Yeah.
[00:19:22] Speaker C: Got it. Right. It's George Harris.
[00:19:24] Speaker B: Yes.
So it says the guitar riff is based upon the solo in the Beatles song, something.
He's a big fan. And actually, Paul McCartney played drums on his song Sunday Rain on the Foo Fighters 2017 album concrete and gold.
[00:19:42] Speaker C: Okay.
[00:19:44] Speaker B: He actually collaborated with Dave Grohl, Chris Novoselic, and pet smear in the song come me some slack in 2013.
[00:19:53] Speaker C: I think I remember that.
So do you remember this riff from the Beatles song?
[00:19:58] Speaker B: No. It said it's based on the solo, so. Not. Not the. Not the riff of the song.
[00:20:04] Speaker D: So.
[00:20:05] Speaker B: I don't know.
[00:20:06] Speaker C: I don't. I don't actually. I don't think I know that.
[00:20:07] Speaker B: I don't remember the solo. I mean, it's all. I remember the.
I mean, it's a great. So I still remember. So cool.
[00:20:20] Speaker C: I kind of. I kind of like. I kind of like that it's a jubi to him.
[00:20:23] Speaker B: Yeah. He said he's a mess of beat. You said if it wasn't for the Beatles, he wouldn't be a musician.
[00:20:29] Speaker C: It's like a lot of people, right?
[00:20:30] Speaker B: A lot of people, yeah. It's crazy.
Crazy what an influence the Beatles are, they say. Oh, I guess because they still are.
[00:20:39] Speaker C: A six year recording career. Six years.
[00:20:42] Speaker B: Yeah. Crazy.
[00:20:44] Speaker C: It's crazy. All right, here we go.
[00:21:02] Speaker D: Trace around the corner. This is what I love.
Always waiting for my time.
[00:21:32] Speaker C: Before whatever instrumental stuff is coming up. I'm sure I'll read the second verse, phase it out until the older ones return. Have a seat and watch it burn. Trace around the corner this is what I've learned. Always waited for my turn.
So I still don't know how this relates to George Harrison.
I'm sure there's Beatles stuff in here that I don't know, but I like the. And it goes to the chorus, which is the same thing. Now we're gonna see if there's gonna be a solo or just gonna be a riff. What's gonna be. I mean, he's not really super. He's not. I don't think he really super does solo. So we shall see.
Here we go.
Wow. A solo. That's surprising.
[00:23:03] Speaker B: It's like a melodic. Like an extra melodic piece.
[00:23:06] Speaker C: Yeah, yeah. Actually, the. Whatever he was playing there. Sounds like it's a little George Harrison in the beginning part of it, I think. I've heard a lot of Beatles stuff that sort of kind of sounds like that. Obviously, I'm not the biggest Beatles fan in the world, and I don't know lots of stuff, but I think as far as guitar playing, that sounds like some of the things I think he would play. So that's interesting that he kind of did that. It's nothing spectacular, but, yeah, I mean.
[00:23:33] Speaker B: The way he says kind of trace around the corner. This is what I've learned. Always waited for my turn.
It sounds. Some of it gets kind of relatable towards kind of like the end of their career. I don't know if that's. If he's kind of speaking through his.
Speaking through him.
Strange enough, it left me rude and turned around. Watch that. They all took their vows. I'm not sure exactly. Like I said, she says, kind of like a tribute, so.
But it almost sounds like that, right? That third wheel. Or maybe he's even relating it to himself.
I mean, obviously, George Harrison quit the band towards the end. Right? And then he came back, so.
[00:24:15] Speaker C: Mm hmm.
[00:24:16] Speaker B: He had his issues.
[00:24:18] Speaker C: Or liking the in the apple thing. If you want someone that plays like Eric Clapton, that's not me. When someone plays that solo like that, that's not me. Go, go. Call Eric. Eric.
[00:24:29] Speaker B: There's actually parts of that that are hard to watch.
I don't think it's as bad as some kind of monster.
[00:24:37] Speaker C: No.
[00:24:38] Speaker B: I think they're more controlled in how they react, but there's. There's definitely some cringy moments going on there where you're like, oh, yeah, so something's wrong here.
[00:24:51] Speaker C: But then there are moments where you get to watch songs that are like, huge, gigantic songs get put together.
[00:24:56] Speaker B: Yeah.
[00:24:57] Speaker C: And how that. How John Lennon and Paul McCartney work together to get things done and how much better of a guitar player John Lennon was than I ever gave him credit for.
So it's amazing. Some of the stuff you saw in there that you didn't. That I never knew about, so.
[00:25:12] Speaker B: And it all leads up to that concert on the roof, which I sounded great.
[00:25:17] Speaker C: And then.
Bazinga.
[00:25:20] Speaker B: They're all gone. That's it.
That's it.
[00:25:24] Speaker C: Yep. Totally, totally gone.
[00:25:27] Speaker B: Yeah. And in that mess, they still released Abbey Road and let it be. You know what I mean?
Yeah.
[00:25:33] Speaker C: Crazy. All right, let's finish it up. Here we go.
So could the fools be. The fools were drawing, trying to save that day, meaning maybe people were trying to, like, are they talking about the last concert that we're trying to either, in their mind, trying to remember that and trying to save that day? I don't know what that means.
[00:26:15] Speaker B: Could be.
[00:26:17] Speaker C: Could be.
[00:26:18] Speaker B: Well, if Dave throw ever comes on the podcast, we can ask him.
[00:26:21] Speaker C: Oh, we can ask. I'm sure that's going to happen.
[00:26:23] Speaker D: Yeah.
[00:26:25] Speaker C: All right, I'm gonna give it six for the lyrics because I think it's better than the prior one.
I'm still gonna give it seven on the music because I like the music, and I'm gonna give seven on the production. That was pretty good.
I mean, again, a lot of this stuff is recorded kind of, like, on the cheap, so I have to kind of, like, keep that in mind, too.
That even though, obviously, he was in the studio and he could afford, you know, it wasn't cheap back then to do it, even for him. He's doing this on the side. Who knows what he got paid for Nirvana? I don't know. I don't know if he was a full member at that point. Was that. Were they splitting stuff? Was it all Kurt Cobain getting all the money? Like, I don't really know how that worked out. Was he just a hired person there?
I seem to think he wasn't, but I don't know. I would think not, but anyway. But it wasn't. But I didn't hate it.
And I forgot to mention that they didn't say Weenie Beanie one time in that other song, did they?
[00:27:20] Speaker B: No, I don't think you'd want to, though.
[00:27:22] Speaker C: No, I don't think so either.
[00:27:24] Speaker B: But then again, I mean, if you have that massive distortion, you might be able to get away with it. Yeah.
[00:27:31] Speaker C: All right, you go.
[00:27:32] Speaker B: Yeah, I'm gonna say six on the lyrics.
Music was. I'm not too crazy about this one. I'm gonna say six on the music.
I don't think it's terrible, but I don't know if it's as memorable.
And, yeah, I'm gonna say seven in production. I think, so far, these two songs, to me, sound better. I'm also using different headphones this week, so that could be a two.
But I do really like the way the drums sound. I think he got a. He got a nice, good. Yeah, good sound out of them.
[00:28:06] Speaker C: Well, obviously, um, the. The drums could be. You know, those drums are better than what we're hearing now, and that was even recorded on a great, great stuff. I don't think so. I'm good. I'm good with the way it sounds.
[00:28:19] Speaker B: Yeah, it's. It sounds like they're in a room. Right.
In a studio, kind of.
So I'm not saying other things don't sound that way, but they just don't sound processed and over filtered or whatever you want to call it.
[00:28:39] Speaker C: No. So. Oh, no. Well, the nineties were not about that on drums at all.
[00:28:44] Speaker B: Yeah, no, I mean, that stuff didn't start until, I want to say, the early two thousands.
[00:28:49] Speaker C: Yeah. Now, in the nineties, the drums are recorded pretty dry. Sometimes too dry for anything. All right, so next one is for all the cows.
This was a single, but was. It was only released in the United Kingdom, Europe and Australia.
This is a popular song in the, in the Foo Fighters catalog, I believe.
[00:29:09] Speaker B: This is definitely a side of weird titles so far. Yes.
[00:29:14] Speaker C: Really weird titles.
[00:29:15] Speaker B: Yeah.
[00:29:16] Speaker C: Here we go.
[00:29:39] Speaker D: I called a cow I'm not about to blow it now for all the cow for all the cows it's funny how money allows all to browse and be in the wish is true it falls into pieces new the cow is you the cow is you I kind of run out as a country sometimes. It's all air, everything morning like it's breath.
[00:30:48] Speaker C: Kind of got that little jazzy, bluesy verse.
[00:30:53] Speaker B: Yeah, but I think the virtual minds of nirvana, honestly.
[00:30:57] Speaker C: Does it?
[00:30:58] Speaker B: Yeah, I think his, uh, his voice too, kind of reminds me of Kurt Cobain. I mean, it's definitely something that they would do. Maybe not the, maybe not the. The progression, but maybe a simpler progression. You know what I mean? Not a jazzy progression, but more of like a simple.
But it kind of reminds me of. I mean, what it's.
It's okay, cuz I found God.
[00:31:24] Speaker C: Yeah, I can see that.
[00:31:26] Speaker B: You know, kind of like supposedly it's.
[00:31:29] Speaker C: About him rambling about what people say about him and what he thinks and what he's going to do about it all. So the, um, the verse is I'm called a cow but I'm not about to blow it now. For all the cows for all the cows it's funny how money allows all to browse and be endowed this wish is true it all falls into pieces new the cow is you the cow is you and the chorus is my kind has all run out as if kinds could blend sometime if time allows everything worn in everything worn in everything worn in like it's a friend she's kind of like nonsensical, too. Even though he's. I guess he's trying to say they're cows, he's cows everybody's the same but they say things about him and this is what he's going to do. I love the line money allows all to browse and be endowed.
[00:32:26] Speaker B: It's almost like, I mean, the money party, but it's almost, you know how they say the Internet, excuse me. Gives everybody a voice that's kind of like whatever mind you have.
[00:32:37] Speaker C: Yeah. Well, I think the cow. The cow means everybody's a cash cow. We all have this unrealistic, unrealistic greed and want for fame and money. So I guess it's kind of like everybody's the cow.
[00:32:52] Speaker B: Yeah, I guess it's different variations of the same thing, right?
[00:32:57] Speaker C: Mm hmm.
[00:32:58] Speaker B: Yeah.
[00:32:58] Speaker C: And I kind of, I kind of like the two different, you know, the really jazzy, jazzy, bluesy verse thing and the really heavier chorus.
[00:33:08] Speaker B: Yeah, it's really good on this, the transitions. Well.
[00:33:12] Speaker C: Mm hmm. You wouldn't think so, but it does.
[00:33:16] Speaker B: I'm not sure if I like it yet, but I don't completely dislike it.
[00:33:22] Speaker C: I think that if I ignore the cow references, I might be okay.
[00:33:27] Speaker B: Yeah.
That I can appreciate cows. Well, I mean, you know what he's saying and.
[00:33:36] Speaker C: Yeah, well, just basically, you know, it's also about, you know, how things pop, you know, popular, allows you to do stupid stuff.
[00:33:46] Speaker B: Mm hmm.
[00:33:47] Speaker C: That you wouldn't normally do, but it's normalized because you're who you are. Yep, here we go.
[00:34:12] Speaker D: A pain it dawn and it caused the walls to fall how far is he?
Patiently that's as far as far could be as far as has all.
Everything won't air, everything won't air everything won't it like it's a prayer I'm falling out I'm not about going out my comrades all run out I can't complain.
Sometime and time allow everything one hand everything won't end, everything won't end I can.
[00:35:49] Speaker C: I don't hate that. I like the chorus a lot, actually.
[00:35:52] Speaker B: I like that he used the heavy part for the verse the last time instead of going back to that jazz. Actually, the jazzy thing, if someone reminded me of the doors, I'm like, this reminds me of somebody. I'm thinking, I'm thinking it kind of reminds me of doors.
I almost picture Jim Morrison coming in over it.
[00:36:15] Speaker C: So verse two is, I said, you're all a painted doll, and it caused the walls to fall. How far is he? Impatiently that's as far as far can be. As far can as far could be.
So it's interesting, like you, how he's putting that melody together because it sounds like it's just unintelligent, rambling stuff, but it's really not. It's actually really put together.
I don't hate the lyrics. I got pissed. The cow thing, I think.
So I'm gonna give the lyrics a seven. I like them. I like how he's trying to, like, make those things relate to whatever, but without just saying it. Always appreciate that.
Let me see. Do I like this music better? I think I like this music better. So I'm gonna give it an eight. I like the. I like the transition. I like, like you said, he used the hard stuff in the second or in the third verse, which is basically just the first verse repeated. I kind of like that he didn't go back to that again because you could easily went back to that, but he didn't.
So I like that. And I'm gonna get eight on a production. The production was good, so, I mean, I over overall, I like the song more than I thought I was going to about you.
[00:37:24] Speaker B: So let's say six on the lyrics. I am. I was gonna say an eight hour production too, so I'm gonna say eight. I do think it sounds pretty good. The transitions are well done music.
I think I'm gonna say six on the music. I mean, I don't dislike it, but I think it's a song that could grow on me because I do like the two parts. I think they blend well, and the recording is really good, so. But, I mean, like I said, I'm judging it here and now. That's kind of what's in my head, so.
But I think it could, you know, upon further listen, I might be like, oh, yeah, I definitely like this one better.
[00:38:09] Speaker C: Yeah, I didn't hate it at all.
[00:38:13] Speaker B: I mean, so far, none of the songs are really bad. Right. I mean, maybe some of the scores seem a little bit lower, but, I mean, overall, there isn't a song that where I'm like, okay, this kind of sucked.
[00:38:28] Speaker C: Yeah.
[00:38:29] Speaker B: You know what I mean? I don't think there's anything that's that bad.
[00:38:32] Speaker C: All right, well, the next one is x static. Mean x static.
[00:38:36] Speaker B: This sounds familiar, the title.
[00:38:39] Speaker C: Mm hmm.
[00:38:40] Speaker B: So I don't know.
[00:38:42] Speaker C: Well, I guess when we play, they'll see if you've ever heard it before.
[00:38:44] Speaker B: Yeah.
[00:38:46] Speaker C: All right, here we go.
That came in on a weird time.
[00:39:44] Speaker B: Yeah.
Because that beginning is reminding me a little bit of, what's the frequency, Kenneth? By removing. But also had that kind of puget.
And then the other stuff came in oddly and like, okay, it's blending.
[00:40:00] Speaker C: It was a little jarring when it came in. Even when the drums came in, it was a little jarring because it was, like, not on the one. It was like. I didn't count it, but wherever it came in, it was a little weird.
[00:40:10] Speaker B: Yeah.
[00:40:13] Speaker C: I like the way drum sound. Think it sound has a good sound.
[00:40:17] Speaker B: Yep.
[00:40:18] Speaker C: I mean, that was literally, like, almost a minute of an intro. Like, you know.
[00:40:21] Speaker B: Yeah. I'm like, it was almost too long.
[00:40:24] Speaker C: Of an intro with nothing.
[00:40:25] Speaker B: I think so. Yeah, I feel that was a bit long.
[00:40:28] Speaker C: Maybe if the drums came in a little earlier, it wouldn't felt as long.
Felt like, all right, when the drums coming in.
[00:40:34] Speaker B: Yeah. I thought maybe he was gonna do a vocal before, like, drums kicked in. You know, I mean, like, over that initial by. But then the other stuff came in, I was like, okay. And then still kind of going, all.
[00:40:47] Speaker C: Right, let's see where this goes.
[00:41:10] Speaker D: And could find the way to.
[00:41:52] Speaker C: It's a weird song.
[00:41:53] Speaker B: Yeah.
[00:41:55] Speaker C: I'm not sure I like his vocal delivery on this or the way it's recorded or it's hard. Like, if you find it had the lyrics in front of me. I only think I know what he's saying.
[00:42:04] Speaker B: Yeah. It felt as if it was gonna come in with a stronger vocal because it's kind of loud. I mean, I can understand the vocal in it in a sense, but I was kind of waiting for not something so relaxed, for something so loud.
And he's almost kind of, like, mumbling.
[00:42:29] Speaker C: Yeah.
[00:42:30] Speaker B: So.
[00:42:31] Speaker C: Well, here are the lyrics. If you couldn't understand them or hear them leading everything along never far from being wrong never mind these things at all it's nothing couldn't find a way to you seems that's all I ever do turning up in black and blue rewarded and I guess this is the chorus. All the static. We all left that little instrumental thing. So supposedly it's about trying to break out of always being wrong with his girlfriend, wife, whoever that is.
Supposedly. I don't know.
[00:43:08] Speaker B: So this also says that Greg Dooley, who is the singer from the afghan wigs, is on this, you said? Yeah. This is the only song that actually has another person.
[00:43:25] Speaker C: Yeah. Additional guitar.
[00:43:27] Speaker B: Yeah.
[00:43:29] Speaker C: I mean, the riff. I kind of like the riff.
[00:43:31] Speaker B: Yeah. I mean, I like a few things, honestly. By the afghan wigs, I like the drama. I think it's called black love, which I think is, like, really good. Yeah.
[00:43:44] Speaker C: I know nothing by them, you know?
[00:43:47] Speaker B: Yeah. You mean a gentleman because I'm a chill.
That was a pretty big hit for them.
[00:43:52] Speaker C: If I do, I'd have to hear it.
[00:43:54] Speaker B: I think it's black.
Yes. Black love.
Really good. In my opinion. It's really.
Yeah.
[00:44:02] Speaker C: I don't know if they're on the list. I don't think they're on the list. But if you want, we could put them on list.
It's something you think we would like to listen to anyway.
[00:44:10] Speaker B: I know we got to build towards 1300, 300.
[00:44:13] Speaker C: I know we're going to get there.
It just never goes down. It keeps going up.
[00:44:18] Speaker B: I know. Do you know how far past 1200 we are at this point? Or no.
Or do we just kind of crack that seal?
[00:44:26] Speaker C: You need me to pull this up? I'll pull it up.
[00:44:28] Speaker B: I'm curious.
[00:44:31] Speaker C: We're at 1221.
[00:44:33] Speaker B: Okay. We got some ways.
[00:44:35] Speaker C: We got ways to go.
All right, let's continue this. Here we go.
[00:45:10] Speaker D: I lift it up.
[00:45:51] Speaker C: I think I heard that verse a little clearer this time. I like the two voices in the chorus, I guess. Cool. The hook or whatever it is.
[00:46:00] Speaker B: Yeah. I mean, the music's terrible. And I think technically the vocals aren't bad. I just. Maybe if it didn't sound so much like mumbling, I could appreciate a little bit more like. I don't mind that quiet vocal with the loud music. Again, something very much of over the nineties. It reminds me of a little bit of like dinosaur Junior, but it's not grabbing me.
[00:46:27] Speaker C: I can still understand that. I'll read some more.
Maybe we'll change your mind. I don't know.
Wait until the time has come.
Figure that's where time comes from.
He did that in the last thing, too. With the cows.
[00:46:41] Speaker B: Yeah.
[00:46:42] Speaker C: Leaving all my senses numb is heaven lifted up the fae to see anything could never be anything but play to me in order back to the hook, of course. Or whatever it is. There's a couple more verses, but they're shorter. So let's see where this goes.
[00:47:45] Speaker D: Now that all of that is done.
[00:48:02] Speaker C: Okay.
[00:48:04] Speaker B: What a little bit of an abrupt ending.
[00:48:07] Speaker C: Yeah, it's weird. It's a weird ending. I'll read you the lyrics and then you can. You can go. So verse three is take it back for them to keep falling into something deep. Not that I had made that leap. Anointed and then last, that last verse that just ends right there is where have all the wishes gone now that all that is done wish I would have felt it I'd won for once so I guess he didn't win a lot of arguments, I assume. All right. Won't you go?
[00:48:38] Speaker B: I mean, the lyrics aren't bad. Let's say six on the lyrics.
All right, so music is hard. It's hard for me to judge, because I don't mind. Yeah, I mean, I thought the intro was a bit long, but I don't. I kind of like the music, but I don't really like the melody. Not again. Not the melody, but the delivery. So I'll say six. I was actually thinking five, because I gave six to the other thing, but I don't think it's that bad.
Production is fine.
I mean, it is what it is. I'll say seven on the production. It doesn't really go anywhere. I think that's one of the things, too. Again, like, we talk about these run on sentence songs, and that's kind of like what this is.
I think there was a more interesting song there that kind of wasn't fleshed out. What do you think?
[00:49:30] Speaker C: Um, yeah, I think my. My stuff is gonna be same. 667 lyrics aren't bad. Music's not bad. Like the riff a lot. I like the drumming. Thought the production was good on the drums and stuff. I like that.
Yeah, it does feel like it doesn't go anywhere. It just kind of rambles a little bit.
I. I mean, I have no problem with the lyrics being kind of, like, whispered out, but I don't know, it's. It was so, like, low and in the thing that you couldn't really hear exactly what we're saying. If I didn't have the lyrics in front of me, I don't know what the hell he was saying.
So, I mean, that's not good. But, you know, I mean, it's not the worst thing in the world. But you're right, it doesn't really go anywhere, and I think that's really what the problem is.
All right, so the next one is called watershed. I don't know if it's water. Water. W a t t r s h e d.
So supposedly this is more like, of a punky kind of song, because he was more of a punk guy early on, and supposedly he references some punk bands in the scene he was in and stuff. And. And here's some supposedly some more nonsensical lyrics. Supposedly.
[00:50:44] Speaker B: Yeah, I know that that's come up, what, two or three times already on this side, it sounds like.
[00:50:49] Speaker C: Yeah, well, let's see. Here we go. Watershed.
I mean, it's not bad. I just. It feels like that last boat's a little jammed together.
[00:51:38] Speaker B: Mm hmm.
[00:51:39] Speaker C: Right.
[00:51:40] Speaker B: Yeah.
[00:51:41] Speaker C: Like he ran out of what to say.
[00:51:43] Speaker B: Yeah, exactly.
Yeah.
[00:51:47] Speaker C: So it's stick it to the mailman. Pinned against a pot plant. Sick of all the suntan oily with the ray ban. And then the hook is take that to the bank and call it a check mask without a weapon.
[00:52:00] Speaker B: Yeah. Again, I'd have to say that this stuff makes sense to him.
[00:52:05] Speaker C: Mm hmm.
[00:52:06] Speaker B: I think we've said that a few times, which is fine. I mean, it's. It's personal.
So.
[00:52:14] Speaker C: So the first. The first line, stick it to the mailman, is alludes to the song Mailman off the 1994 Soundgarden album Super Unknown.
The song in question is based around going to work early to shoot and kill your boss, in itself a reference to post office workplace shootings of the eighties and early nineties.
That's the first reference back in the.
[00:52:36] Speaker B: Day when postal was the thing.
[00:52:38] Speaker C: Yes. So then oily with the ray ban means oil is someone unpleasantly and excessively soft or ingratiating in manner or speech. And Ray ban is a luxury band of glasses. Obviously, we know that. So it's not really punk. Right? I mean, I can understand where parts of that might be.
[00:53:00] Speaker B: I guess. I guess it's. It's closer to hardcore punk.
[00:53:04] Speaker C: Yeah.
[00:53:05] Speaker B: Then, no, it's not like pistols punk.
[00:53:09] Speaker C: Yeah, it's definitely not.
[00:53:12] Speaker B: Yeah.
[00:53:13] Speaker C: All right, here we go. This is a short song. It's only 214, so let's. Let's do this. Here we go.
[00:53:24] Speaker D: My bad.
Just another rock band.
I want to swim in a washer I want to live in the flower.
[00:54:00] Speaker C: Before we get into the rest of that, so I'm going to read you what the words are. Skinny as a spit pan dealing with a shit plan playing with my bad band my bad hand just another rock band and then the chorus is take that to the man and call it a check. Trapped within a contract that parts, you know, not as grating as the second time, I don't think. Maybe because I'm hearing it again. It's coming to make me feel familiar a little bit with that, but it still feels a little jammed up. Then there's some kind of pre chorus here, which is, I don't know. All of a sudden there's some weird. I mean, I'm okay with, like, different, you know, styles of writing, but this is just weird. It's all over the place here.
[00:54:39] Speaker B: There.
[00:54:39] Speaker C: Boy. While you're catching the black widow, which is Blackwater is a british rock band. And then the last slot line is the rest of us are watching Melrose, which I think it refers to. Yes. Melrose Place.
And then here's the real chorus, I guess. Want to swim in the watershed. I want to listen to flower head. Lost a gallon and still bled.
Lost where I was. Lost a gallon and still bled. I keep on thinking I get ahead. So want to swim in the watershed?
[00:55:10] Speaker B: I know Flower head kabloom. That was their debut album. I really liked that record. Used to play him on Dre. So I know exactly who he's talking about.
[00:55:21] Speaker C: Okay. The double team watershed shows that Dave Groves, referencing Mike Watt the Minuteman basement, would have Dave, who would have Dave's collaboration in his first solo tour. So.
And then listen to flower head is exactly right. It's a grun psychedelic rock band formed in Austin, Texas. They're one of Dave's favorite bands.
And then we're going into the next verse. So here we go.
You go?
[00:56:43] Speaker B: Done?
[00:56:44] Speaker C: Yeah. So I'm going to read you the rest of the layers, other things in here. So one of the verses is I'm so pissed at all the disc jam. Pissed about the five ham, pissed about the green state, which is Washington.
Miss it. And I can't wait. So he wrote this song in 1993 during the recording in utero. During that time he was lifting in Minnesota. And based on the previous line, it seems that I've become impatient to get back home to Washington.
And then the same hook. That same hook. Now there's a secondary chorus. Hey, man, can't you tell it's still a problem? See you at the devil's tower.
That's the monument in natural monument in the United States. That's what he's talking. And then swimming in the watershed. Want to listen to flower head? And then the last verse is the same as the verse. I'm so pissed at the disjam, pissed at the five ham. So I'm gonna go back to you again for this. I wanna hear what you have to say about this.
[00:57:42] Speaker B: The lyrics are fine. I'll say six. I mean, I do like the fact that he references flower head because I was one of the only people who knew them music.
You know what? I'm gonna say seven on the production music. I'm not sure what to do for the music. I mean, it's not bad. I kind of like it.
Some of the changes are a little bit like you said, jarring. What's gonna. You know what I mean? But I do like the riff. It's pretty simple, but it's kind of heavy. I'll say. Say six. I'll go six.
I know that I give it a seven overall as a song, but what do you think? Um.
[00:58:23] Speaker C: Yeah, I think we're gonna be the same again. Six, six, seven. I mean, I like that he's injecting some other things into the lyrics that, you know, his favorite band, Soundgarden, all these other things. So that's pretty cool.
Yeah, I mean, music is fine. I mean, there are some jarring parts. I mean, I think I got used to the jarring part. And it's definitely not following any, like, a typical song structure, which I guess is kind of cool, too, not doing the same thing over and over. But it is very, like you said, hardcore punky. So if that's where he comes from, you know, that may kind of make sense.
And I think the production was fine. I mean, I don't think. I don't think it's like a super slick production, but it was fine as far as.
[00:59:04] Speaker B: I mean, I think for what it was, it was good, right?
[00:59:06] Speaker C: Yeah, yeah. I mean, those records are not really produced very well anymore, are they? Generally, so. All right, so now we've come into the end of the album, and this is a song called exhausted.
Five, uh, five minutes and 50 seconds.
[00:59:21] Speaker B: Oh, it's like the longest song.
[00:59:23] Speaker C: Uh, yeah, it is the longest song. Here we go.
Very lo fi guitar.
[01:00:43] Speaker B: Yeah.
[01:00:44] Speaker C: I don't know if I like it. It's very buzzy.
[01:00:47] Speaker B: Yeah, supposedly. I mean, it was just. It was done on purpose.
[01:00:51] Speaker C: No, I'm sure it was.
[01:00:52] Speaker B: Yeah.
[01:00:52] Speaker C: No, no one did that by accident. Only way that would be done by accident is if you had no money at all. You just recording this little four track thing, you had no amp or. Sure, that was not the case.
[01:01:03] Speaker B: Yeah. It says, along with the repetitive, buzzing chord progression, gives a listener the feeling of being exhausted.
[01:01:11] Speaker C: I could see. I mean, this is gonna be a long five minute song because it's already exhausted already.
[01:01:15] Speaker B: I think we're exhausted anyway because we record this so well.
[01:01:20] Speaker C: That doesn't help either. Yeah, right.
[01:01:23] Speaker B: The drums sound great, though.
[01:01:25] Speaker C: Yeah, the drums sound awesome.
[01:01:26] Speaker B: Yeah.
[01:01:27] Speaker C: He's a good drum. I mean.
[01:01:28] Speaker B: Yeah. Like, in general. I mean, I'm glad. I'd like to hear what the drums on his record sound now. Production wise, I'm sure he still sounds good.
[01:01:42] Speaker C: Here we go.
Before whatever comes in, I'm going to read lyrics.
So verse one is I'm not around much. Running exhausted and lost if it could be undone will it have costed is taught and lost? And then the second verse is blowing away we stay wilted, exalted, at fault what if the day had stayed in bed? These baubles we've bought at fault I'm not too sure what this is about.
I'm confused about what this is, but I do agree that the guitar thing, that buzzy guitar doesn't get in your head.
I don't know if it makes it better, but if, if the purpose is to annoy the fuck out of you, then is it doing its job?
[01:03:12] Speaker B: Is that just like fuzz? Is that like fuzz pebbles?
[01:03:14] Speaker C: Like really fuzzy guitar? It looks like a little teeny little speaker and just a little, just really fuzzed out, but not in a good fuzz way. Then a bad fuzz way.
Cheap. I don't have a lot of equipment. Bad cheap fuzz way.
I'm assuming that's what he's going for.
[01:03:31] Speaker B: Yeah, he's got that again. He's kind of got that mumbling.
[01:03:36] Speaker C: Yeah.
[01:03:37] Speaker B: Melody going to.
[01:03:39] Speaker C: And I think this instrumental break, the guitar is gonna. Sounded like it was gonna be a little bit different. So let's see, here we go.
Before we get into whatever this is, because I don't know, this is just gonna be instrumental. Toward the end, I'll read the verse and then we can talk about that break. So the verses after the bliss has long ended this caution, this fault give me a breeze that's long winded, accosted, adult arrested I still have no idea what this is about, but I do like the riff in the.
Yeah, in, in the break.
[01:05:59] Speaker B: I mean, that's like straight up ballads and chains. That riff.
[01:06:02] Speaker C: Yeah, and. But the buzzy thing just.
[01:06:07] Speaker B: I don't know, it's all right. It doesn't bother me so much. I kind of used to it. I mean, I do like that riff. And then it went into like that other riff right after it, which I thought was going to be a little bit longer, but then the verse just came slamming in, so, yeah, I mean.
[01:06:28] Speaker C: I'm not too sure if I'd like the buzzy thing yet, so we'll see if it changes for me. But I don't know, I don't think there's any of the lyrics here. So this is gonna be all instrumental, I think, going out. So I'm curious to see how it goes. And we got another 212, so I can't imagine they can just do that whole thing for two, two minutes and twelve.
[01:06:47] Speaker B: Unless it goes into like, the riff and maybe just.
[01:06:51] Speaker C: Yeah, let's see, here we go.
[01:09:03] Speaker B: Was that two minutes worth or some long fade out?
Didn't feel like it was two minutes, though. But then again, there was a lot of the.
[01:09:13] Speaker C: Yeah, um, I'm gonna go first. I'm gonna start. I mean, I don't know what the lyrics are about. I don't hate the lyrics. I'm gonna say six musicianship. I mean, it was played very well.
Like, I like the riffs. I like all the stuff. So, I mean, I don't hate that. I'm gonna give that a seven, but I'm gonna ding the production to five. Even though I'd like the drum sound, I like some of the guitar sound. I just think there's a better song without all the buzzy stuff.
That's just my opinion. I think that you could have used that for effect, but he used it for the whole song, and I don't know if I particularly liked it that too much. I mean, again, I like to like the idea of what he wanted to do at the beginning. You know what I mean?
[01:10:00] Speaker B: Yeah.
[01:10:00] Speaker C: Then he just used it all through, and I. I think there's a lot better things in here, you know? I mean, then having it tied to that weird fucking sound. I don't know. I'm just not a super fan of that.
[01:10:15] Speaker B: Yeah, this one's a hard one. I think I found myself kind of. This whole side was a little bit hard to judge, honestly.
Yeah, I'm gonna say six on the lyrics. I mean, I do, like, again, like that riff. And even that hand riff was good.
[01:10:34] Speaker C: Me too.
[01:10:35] Speaker B: The fuzz didn't bother me as much, but that droning on of kind of like the feedback thing, I just thought that that was a bit long.
I'll say six on the music, and I'm gonna say seven on production. I mean, I think based on the fact that it's. I'm sure this is exactly what he wanted. And I really like the way the drum sound. And again, in this case. Right. The songwriter and the producer, one in the same. So. Yeah, well, it's hard to separate. One thing is, if you. You read about it and you're like, yeah, this isn't. I kind of wanted it like this, but, you know, butch Vic, let's say he said, oh, why don't you kind of do this feedback stuff? Or, you know, the song's called exhausted, so why don't you throw this fuzz on there? And so, I mean, I guess this person. It doesn't really exhaust me, but it's him. I mean, he's. This is like me doing it or you doing it, and it's exactly the way you want it, so.
[01:11:37] Speaker C: Mm hmm.
Well, no, yeah, I just. I don't know. I. Yeah, I think that I understand what he's trying to do with it. It's. Once it was super low fi, so it's super low fi stuff, which was a big thing then, too.
[01:11:51] Speaker B: Yeah.
[01:11:52] Speaker C: But I just think it's so much of it that it kind of throws me off a little bit. I love. But I like a lot of the parts of the song. I hate to get five for the production, but I just don't particularly think it was a good choice, at least for me.
Like, there's a bunch of riffs that I like there. And that was a really long fade out. That fade out was like 30 seconds.
[01:12:09] Speaker B: Yeah, that was long. Because what I thought was going to happen was it was going to fade out and then come back in. That's what I was.
[01:12:15] Speaker C: That's why I let it play, because I didn't know what was going to happen.
[01:12:19] Speaker B: That's why I didn't. I didn't interject. I was like, all right, let me speak because I don't think it's coming back. I don't hear anything.
[01:12:25] Speaker C: No.
So, well, do you want to hear, before we end this, do you want to hear the ozone, which was like, on ozone, which is ace freely cover?
Yeah, it was on a bonus disc. You want to hear it?
[01:12:41] Speaker B: Yeah, let's listen to her.
[01:12:43] Speaker C: Here we go.
[01:13:19] Speaker D: Sa I'm the kind of guy who likes feeling high feeling high and bright and I really like to fight I'm your kind of guy girl I'm not too sure shine and I want you to fight so I think you ought to try.
[01:14:49] Speaker C: It's very, very faithful to the original. I don't think it doesn't sound as good as the original.
[01:14:54] Speaker B: No, it sounds emptier than the original.
[01:14:59] Speaker C: Yeah. Wow. But look who produced that. So I'm not surprised, like, Eddie Kramer's good producer. So.
Yeah, it sounds. It sounds very. Yeah, it sounds a little empty, right?
[01:15:11] Speaker B: Yeah, a little bit. I mean, the drums, too. It's, um. I think ultimately the hi hat is so low.
So I think the snare sounds good in the bass drum, even though they sound different than the record. But it doesn't have that kind of. That hi hat isn't filling in because it's the one so corded.
Yeah.
[01:15:35] Speaker C: I'm curious if he played all the instruments on this. I assume so. I'm curious. Now that the guitar solo is gonna come up, I'm gonna see if he does what the guitar solo does. So here we go.
Yeah, no, he doesn't really do what the original does, but there's soloing going on.
[01:16:24] Speaker B: In the back, it's just.
[01:16:25] Speaker C: So there is. But on the original, it's very, like, dining. It's very. It's for Ace, really. It's technical.
You know what I mean?
Like, on that record he was kind of on. So I wouldn't expect that from him, more than likely, because I don't think that's what he does, but, no.
[01:16:49] Speaker B: Is this also all just him, do you know?
[01:16:51] Speaker C: I think I would assume so. It doesn't really say I assume so. So that's probably why the, you know, the guitar playing is not what it would be if it was a, you know, guy who plays guitar all the time, you know, lead guitar player, which he's not.
So, I mean, he's staying faithful to the. To the construction of the song. It's just I had a feeling that that wasn't gonna happen for the solo part anyway.
All right, let's continue it. Let's get to the end.
[01:17:33] Speaker D: So I think you ought to try.
I'm the kind of guy who likes feeling high feeling I am dry and I do it all the time if you think it's proud and you don't want to try something that'll make you high then I think I'll say goodbye.
[01:18:50] Speaker C: I think he messed up a little drum part over there. Sounds like it was.
[01:18:53] Speaker B: Yeah, it was like a weird time. Was like. Is that in the original? Because I don't remember.
[01:18:56] Speaker C: No. I don't know. Anton doesn't do that.
No.
I mean, you know, I don't. I think this is just fooling around. I don't think he ever tended to put this on the record or put it out. That's probably why he ended up being, like, on a bonus this somewhere, somehow.
[01:19:10] Speaker B: I mean, he does a good job, too, of recreating his vocals, too, right?
Yeah.
[01:19:16] Speaker C: I actually think vocals are better, which is kind of scary.
[01:19:18] Speaker B: Yeah. But I'm saying for. For what it's worth.
[01:19:21] Speaker C: Yeah, for what it's worth, he's not.
[01:19:22] Speaker B: Singing as Dave Grohl. I think he's trying to sound like Ace, really. He gets a little whiny at the end, though. He's like, ah, yeah, he's kind of.
[01:19:32] Speaker C: Too much for him, I think.
[01:19:33] Speaker B: But, yeah, I think it is.
[01:19:34] Speaker C: I give. I give him credit for even picking the song.
Not many people would have picked this song.
[01:19:40] Speaker B: So, I mean, I don't know if you know this, but how. How long has it been since he's done this live?
[01:19:47] Speaker C: What I think he could do ace, really?
[01:19:50] Speaker B: I think he could. I mean, in the the basis of it is simple. Right. It's really a lot of that. Bam, bam, bam.
[01:19:57] Speaker C: Yeah, I know. But lately he's having a problem singing and playing at the same time. He gets a little lost, unfortunately.
[01:20:03] Speaker B: I'd rather hear this then.
[01:20:05] Speaker C: Oh, me too.
[01:20:07] Speaker B: Detroit rock.
[01:20:09] Speaker C: Yeah. But that's not going to happen now because.
Not that we want to get on the kiss ramp, but kiss is done, so he's gonna continue to play those kiss things because no one else is playing. So this is out there playing.
[01:20:21] Speaker B: Exactly.
[01:20:22] Speaker C: Yeah.
[01:20:23] Speaker B: We don't know what he's gonna be doing.
[01:20:24] Speaker C: Oh, no, he already. He already played some dates. I didn't see the whole set list, though. Yeah, it's up online.
Yeah, he had a Tommy Thayer jump on stage with a couple of things because I got actually the one that was in the United States that they had done just recently. I. Then I think they're going to places, but didn't sound bad. Sounded pretty good. I figured, actually it probably sounded better than kiss, you know, because kiss is not really playing anymore, so.
[01:20:50] Speaker B: Yeah.
[01:20:51] Speaker C: And a lot of tape stuff going on there, so this. This sound, you know, it sounded more raw, which was good. I liked it anyway. So what do you think overall?
[01:21:00] Speaker D: Um.
[01:21:02] Speaker B: It's not bad, right? I mean, there's definitely some good stuff. There's some solid riffs and whatever. Again, I think it's him trying to find his way and what. What he wants to be. I know we say that a few times, but obviously in a debut album, unless it's something where.
Oh, wow. Yeah. The debut sounds like their fifth album and 6th album, but clearly he's trying to find the way he did this all by himself. So I give him credit. I think there's some. There's definitely some solid, brave stuff.
And again, it's him trying to piece of song together. I think structurally, the stuff is probably better on the second one. I mean, I don't think. And again, I don't know what he wrote it, so if he wrote it during this session and he didn't. But a song like Avalon. Right.
Doesn't fit here.
I think monkey wrench kind of fits in here. And some of the. I guess my hero. Again, I'm just going by the hits. I don't remember all the songs on the.
But you hear some of the basis of that stuff, obviously, here. I mean, there's definitely Jesus of Nirvana, but he was in the damn band, especially if he was writing some of this stuff to present to what's his name, Kurt Cobain.
And again, it's of its time. It's a very nineties album.
So, I mean, what do you think overall?
[01:22:34] Speaker C: I mean, I think it's pretty good. I think the first side is better than the second side. Second sides a little more scattered to me.
You know, generally, you know, as they say, the first side usually has all the better stuff. Doesn't always happen, but most of the time it does. And it seems that that seems to be the case on most things. I mean, there's a bunch of songs on here I liked on the second side, but, you know, I mean, for someone who was just, like, putting this thing together by himself and, you know, he.
None of this stuff is really going to be nirvana or, you know, at least not right the moment anyway. If they would stay together, maybe.
But who knows if that would have happened either.
So I think it's worth a second.
[01:23:18] Speaker B: Listen to, though, right? I mean, there's, there's, there's some stuff that we've done where I'm like, uh, probably won't ever go back to that.
[01:23:25] Speaker C: Yeah.
[01:23:25] Speaker B: But this, there's, there's stuff where I'm like, I kind of like it, but I don't like this part, or I only like this part or whatever, and this kind of is jammed here and there. But I said again, I was thinking to myself, there are definitely songs on here that I think listening to, again, I may like better.
So.
[01:23:47] Speaker C: Yeah, I think, um, it might. You might like, and even me, we might like some of the stuff we were like, eh, if we listened to it a couple times, might grow on you. Yeah, it's not a bad idea.
[01:23:57] Speaker B: Some solid riffs. I mean, it's, you know, some pretty good riffs. And I think his melody, he's kind of learning. And his voice, too, right? His voice develops as it progresses.
I think here he's probably even a little not, not embarrassed, but, like, all right, I'm the drummer of Nirvana and now I'm the guitar singer for my own band, so.
[01:24:27] Speaker C: Well, you know, also, you know, I think on the second album, he can't. He comes more into his own, I think.
[01:24:35] Speaker B: Yeah. If you listen behind them. Right, in the second one.
[01:24:40] Speaker C: Yeah, well, which I'm sure he probably.
[01:24:43] Speaker B: Wrote things and probably told them what to do and. But still, when you have other people, even other people playing your stuff, it's. It's. There's probably still going to be a difference to it.
[01:24:54] Speaker C: Well, he rerecorded all the dramas.
[01:24:57] Speaker B: Yeah, well, there you go.
[01:24:59] Speaker C: He didn't like the way they were sounding with the other guy. And he really tell the other guy that was happening till after the fact. He's like, hey, should I come down? He's like, no, everything's good. We just re recording some things. Good. And meanwhile, he recorded all the drums again and again. It's not easy to be the drummer in the band for the guy who was a drummer from Nirvana. So it's a tough thing. And I don't. You know, at a certain point, you can't be surprised because in his head, he knows exactly what he wants to hear, right?
[01:25:27] Speaker B: Yeah.
[01:25:28] Speaker C: Because he's a drummer. He knows exactly what he wants.
[01:25:32] Speaker B: I mean, this happens in other bands, too, right? I mean, like aerospace Steven Tyler was a drummer, and he. He was always telling what's his name? What to play.
[01:25:41] Speaker C: Joey Kramer.
[01:25:42] Speaker B: Yeah. And I forgot who else I was thinking of, where I was like, oh, he was a drummer. And then, yeah, I mean, I'd have to think, too, that if we. We were in a situation where all of a sudden I was a rhythm guitar player and let's say somebody else was playing drums. Like, no, no, no.
I mean, I hope I wouldn't do that. But, I mean, especially if you've written. You know what I mean? If you've written the song and you have the drums in your head.
[01:26:10] Speaker C: Yeah.
[01:26:11] Speaker B: So, I mean, I'm even surprised he even went with another drummer.
[01:26:16] Speaker C: Well, it was a drummer they were playing with, you know, he got the drummer, the bass player from another band, and, you know. So, anyway, but it was cool. I'm glad we got foo fighters. This is good.
This is something that I was always wanted to really, like, dive into a little bit more. I'm glad we got this.
[01:26:31] Speaker B: Yeah.
[01:26:32] Speaker C: Awesome. All right. Why don't you do your thing?
[01:26:35] Speaker B: So we are part of the Deep Dive podcast network again. Like I always say, great bunch of guys who took us right in. And you've got more individualized podcasts. You got rush, like our buddies at Rush Rush, our buddies at Judy's priest cast and euro heap, Tom Petty, made in. You name it, it's there. So if you want something more specific, geared towards a specific band, then please check it out. I'm not as discombobulated as we are, but, hey, that's the fun of us and our niche. I guess so. And, mark, where can they find this on the interwebs?
[01:27:10] Speaker C: Rock roulette pod and all the social media. Rock roulette podcast.com.
You know, keep posting some comments. We always try to get back to you as much quick as we can.
Tag us on stuff. You want us to hear all that kind of stuff. Make sure that you please review us on whatever podcast platform you listen on. Whether that's apple or good pods or pocketcast or whatever that is. Always helps us out and set the auto download so you get, you know, our episodes as soon as they come out. We try to get every week. We've been pretty good doing every week for the last couple, you know, probably three quarters of the podcast at the beginning was a little shaky, but now we're kind of like, yeah, settled into, you know, every Sunday releasing. So it's good. So the next week we get to listen and to a new album because we get to spin the wheel again.
[01:27:59] Speaker B: Yeah, we get to spin. See what the hell she picks this time, man.
[01:28:02] Speaker C: Yeah. Again, if you look at the last bunch of things, obviously this is not a. This is not a rigged thing. She picks what she wants. She says, here, take it. Suck it up. You don't know this band. Too bad.
[01:28:16] Speaker B: Yeah, exactly. There's no way. And just like I said, going back to Judas Priest, the debut. This debut, I mean, even though the first three songs were more popular than I actually remembered, but obviously, come the next album, it starts getting bigger. So, yeah, this is the fun of it. Again, discovery and rediscovery. So thanks, whoever takes the trip with us.
[01:28:41] Speaker C: Yeah, definitely. It's awesome. All right, guys, we will see you next week.
[01:28:47] Speaker B: Ciao. Ciao. Later.
