Episode 89 - Soundgarden - Down on the Upside (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 rights holders 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 a record for us, and we go through a track by track, and we rate it based on music production and lyrics. Again, just a bunch of friends who want to do a podcast. We want to thank everybody who listens to us. And again, any comments, questions, whatever you want, just send us a line. Typically markets back to you guys right away and, you know, whatever. Maybe make a suggestion for a record. We can go off the cuff. We've done it before, so whatever you guys want. But again, thanks so much for listening. Now, typically, we've been a duo, a trio, but not the guy who has been missing for so long. So we want to give him a very big introduction. We want to welcome back Steve. [00:02:08] Speaker A: Steven. [00:02:09] Speaker B: Behave yourself. [00:02:11] Speaker A: Stephen, behave yourself. [00:02:14] Speaker C: What up? [00:02:14] Speaker B: Welcome back, Steve. [00:02:16] Speaker C: Thank you. [00:02:17] Speaker B: We have Mark. Oh, hi, Mark. [00:02:19] Speaker A: What's up, guys? [00:02:19] Speaker B: And I'm Sev. Ciao, Buenos Aires. So last week, we wrapped up the debut album by the Foo Fighters. And, I mean, definitely some. Some strong riffs, some decent production here and there, a little slighty here and there. But again, I don't know if it was me, if it was whatever, but drum sounded great. Some good riffs. Again, I think it was him. He did it by himself, so I think it was him kind of figuring out where this was going to go. And obviously, some of it was written before Nirvana had broken up. And you can feel the sentiment there, too, of. He kind of felt lost, I think, towards the end. And there were some comments, obviously, about Kurt and some comments about Courtney, so. But, I mean, overall, not. Not too bad. I mean, it's definitely listenable. What do you think, Mark? [00:03:06] Speaker A: Yeah, no, I liked it. You know, it's not a perfect album, but, you know, for somebody just doing it by himself. Steve, do you know anything about, like, how many of those songs are written ahead of time or, like, what happened in. During that whole thing? [00:03:19] Speaker C: Not really. I want to say most of that was written after the fact. Right. There was a couple that were mingling from the days in Nirvana, but I think it was kind of like that project that got Dave roll back into things. Right? [00:03:34] Speaker B: Yeah, but I mean, again, it's. It's. I think even his voice, it was just going even to the next album with, like, ever long and monkey wrench. You could tell. I think even in himself, he had. He had more confidence, I think, overall, and so. But again, not. Not a bad effort, so. And definitely a staple of the nineties. So, Martha, what do you think? Was that good for you as far as the nineties record? [00:04:02] Speaker A: Yeah, no, it's a good 90s. It's really not grunge, though, but it's. But it's a good nineties record. I mean, I enjoy. I enjoyed a bunch of the songs on there, and there's some other stuff that, you know, again, nothing's perfect. So, you know, I think overall, is that a strong effort? I'm obviously. And sold, you know, it sold. What? What did it sold? A million, would they say? I think it was a million, right? [00:04:22] Speaker B: Yeah. [00:04:23] Speaker A: Really? The next album is when it took off? [00:04:25] Speaker B: Yeah, absolutely. [00:04:26] Speaker A: Except for that mental commercial was the Mentos videos everywhere. I remember that. [00:04:30] Speaker B: Yeah, that was a great. It's funny because that's one of my least favorite songs on there. But I know that really was a great, um, a great video. And again, it was still back in the day when MTV could make or break you, so. And they still had a rock station on the radio, things were a little bit different. So on mainstream radio. Let me. Let me specify. Yes. But, yeah, well, I mean, if that's what we're going to yap about, we get to spin the wheel again. Steve is back to see this. The wheel spin. Steve is there. Is. You have any feelings about what it could pick for us tonight? What she could pick for us? [00:05:09] Speaker C: Um, honestly, no. [00:05:11] Speaker B: I don't really know. I don't know. I think, like, since Steve is here, so it'd be cool if we got something heavier or something. Just absolute super cheese. Well, I'm ready if you guys are ready. [00:05:29] Speaker A: We all ready. Here we go. [00:05:54] Speaker B: We gotta respond. [00:05:56] Speaker A: Yep. You can't do them. It's too close. Right? Kings of Leon. [00:06:00] Speaker B: Yeah. Yep. We'll just say what it was. It was Kings of Leon. I can't read a mark. [00:06:04] Speaker A: Because of the times. [00:06:06] Speaker B: Because of the times. Oh. So sorry, guys. But just to show you that we are, you know, we abide by our rules. We. We say that it's gotta be at least ten records in between, so. And it's actually funny, right? Cause kind of good by June. Definitely have some of the kings. Only on vibe, too. We picked off. [00:06:23] Speaker A: Yeah, 100%. [00:06:24] Speaker B: So it's almost like we kind of have a little bit of them lingering anyway. But, yeah, we get to respin the wheel. [00:06:32] Speaker A: Okay, here we go. Spin number two. Oh, it finally did what I said it should do. [00:06:59] Speaker B: Look at that mark. Why don't you call it out? You've been dying for something like this. [00:07:03] Speaker A: Yep. Sound garden down on the upside, is. [00:07:07] Speaker B: This kind of like the first came first? [00:07:12] Speaker A: No, this is 1996, so this is not first. Yeah, yeah, there's gonna. There's definitely gonna be songs, you know, on this. On this thing. It's a long. Jesus Christ. Holy shit. They. They took. Okay, we can put a lot on CD and did it on this record. 16 tracks. [00:07:30] Speaker B: Holy moly. [00:07:31] Speaker A: That's a fucking wreck. Holy shit. I didn't realize it was that long. 65 minutes. [00:07:38] Speaker B: Yeah, there's a lot of big hits on this one. [00:07:41] Speaker C: Yeah. [00:07:42] Speaker B: I'm actually curious here, because I'm not a big fan of the big hits on this record, honestly. So I'm curious to hear the stuff that. I don't know, more than anything. [00:07:52] Speaker A: You couldn't get away from sound going in the nineties, though. [00:07:54] Speaker B: Well, between this and the other one. But this is kind of like a second. A second step of them. Not, uh. I mean, I would say, what. What's the record with Jesus Christ? Pose and. [00:08:08] Speaker A: See, now you're gonna try to make us try to figure out, remember, what albums are super unknown, maybe. [00:08:13] Speaker B: No, it's bad. [00:08:15] Speaker C: Bad motor finger. Right? [00:08:16] Speaker B: Bad. Yeah, I think that was kind of like their last real heavy record. Right? And then they kind of got. Then it got a little bit softer after that. [00:08:25] Speaker A: Yeah, well, this is another band where I'm, um. I'm super hits guy, so I don't know, like, all the deep track stuff. So this is interesting to me because I've never. Never really did a lot of the deep track. I mean, I gotta say, some of the songs are short. I mean, but there are a lot of songs. [00:08:41] Speaker B: I think bad Motor Finger was actually the last one I owned because I really liked louder than love. And then bad motor finger was pretty good. And then, I don't know, too. Too crazy about this stuff and not that the songs are bad. I mean, they're definitely going to be catchy. And. And honestly, I haven't listened to this stuff in a while, so there could be some stuff here where back in the day, I wasn't too crazy about, but, you know, listening it with fresh ears, I'm like, oh, you know what? That's pretty good. Now I'm kind of digging it. [00:09:07] Speaker A: Let's see. How much did this sell? Only platinum. Really? Wow. Yeah. I mean. I mean, as far as, like, chartwise, 2017 chart. What does that chart in? 96? Oh, it went to two on the Billboard 200, but it only sold a million copies. Is that right? [00:09:24] Speaker B: That doesn't sound right. Yeah, I don't think that's right. No. I mean, all these songs are on MTV are the hits, right? The hits were on the radio and the hits were on MTV. [00:09:34] Speaker C: Yeah. [00:09:37] Speaker A: Certified platinum. 1.6 million in the United States. Wow. I would have thought it would be way more than that. I mean, again, it is 96, right? So grunge is starting. If it's not done, it's starting to fade. [00:09:50] Speaker C: It's pretty much done. [00:09:52] Speaker A: Yeah, it's done. [00:09:54] Speaker B: But, I mean, these guys are kind of like the front runners, right? We always talk about the people who kind of, you know, are in the beginning of it. And again, for anybody who, please remember that at one point, this stuff was just alternative, and then it became garage. Right. That's really what. What it is. [00:10:16] Speaker A: Yeah. Wow. I'm so sorry. I'm still. I'm still trying to figure out in my head why this only sold a million copies. A million and a half copies. Again, it is 96, so it's not, you know. [00:10:26] Speaker B: Yeah, but look at some of the songs on here, though. I mean, these are massive songs. This is a massive. [00:10:35] Speaker A: Well, I guess we're gonna find this out right away. [00:10:37] Speaker B: Yeah. [00:10:38] Speaker A: So, Steve, would you like to do your old job and pull some lyrics up? [00:10:41] Speaker C: Sure. Give me a second. [00:10:43] Speaker A: I mean, I'm happy we got this, because, again, this is a band that, like, I know a bunch of stuff from, but I've never. I don't know if I've ever listened to a whole album straight through. [00:10:51] Speaker B: I mean, I haven't. Like I said, bad motifing was the last one that I really listened to straight through. [00:10:56] Speaker C: Yeah. Actually, I think I did listen to the song back in the bag, but. [00:11:04] Speaker A: It'S been, like, that long, so, obviously. Chris Cornell on lead guitars, rhythm guitar, mandolin, mandola. And Brody's piano, Kim Thale. On lead guitar, Ben shepherd on bass guitar, backing vocals, mandolin, mandola, and intro instrumentation. And Matt. And Matt Cameron on drums. Matt Cameron. Like, he's. Like, he's in this band. He's in Pearl Jam. Like, he's everywhere. [00:11:32] Speaker B: Temple the dog. [00:11:33] Speaker A: Temple of dog, too. Yeah. [00:11:35] Speaker B: Yeah, that was him. [00:11:36] Speaker A: So he's. He's been around that scene forever. Cool. I'm. I'm psyched that we got sound guard, and that's good. The wheel. The wheels. Not pulling very many punches lately. We did fighters last week, and now we're doing. Yeah, we're doing this. [00:11:49] Speaker B: Nineties. Nineties. [00:11:51] Speaker A: Nineties. Nineties. Only about one year off. Right. So foo Fighters, 95. Just 96, which technically is gonna be in two years. Gonna be 30 years ago. [00:12:04] Speaker B: Crazy. Crazy. [00:12:07] Speaker A: I know. Cool. All right, so, Steve, you're already on your side. [00:12:12] Speaker C: Yep. I found. [00:12:13] Speaker A: All right, so the. The first song is, um, let's go over this a little, because there's lots of stuff, so it's pretty noose. So this is a popular song, I believe. [00:12:28] Speaker B: Yeah, I think I like this one. [00:12:31] Speaker A: Oh, wow. It's written a weird fucking tuning. Cg c G E. Yeah. Fucked up tuning. I know. I know. They do a lot of that. I know. I don't know. I was never, like, a big Kim thale, like, lead guitar guy, so maybe he'll change me over, so I don't know. I mean, this is a weird, weird tuning, though. It's really weird stuff. You don't. You don't hear very often, but I. But I think they do a lot of that, though. Don't they do weird tuning stuff? I always remember. [00:13:01] Speaker B: I think so. I think so. A lot of their stuff is so, like. [00:13:06] Speaker A: Yeah. All right, cool. All right, so here we go. Pretty noose. [00:13:40] Speaker D: I caught the moon today pick it up I fall out and take the bait eat the fruit and kiss the snake and I don't like what you got me hanging from. [00:14:44] Speaker A: Yeah. He's such a great singer, man. It's just. [00:14:48] Speaker C: Yeah. Chris Cornell's voice is so just unique and powerful and amazing. [00:14:56] Speaker A: Yeah. You hear him singing, you're like, fuck. [00:15:00] Speaker C: Yeah. [00:15:01] Speaker A: They would sing that way. And drums are good. Bass is good. [00:15:03] Speaker B: Although bass is really good. [00:15:06] Speaker A: This may be a little dark, but I can't. I can't almost not mention the parallel of this song and how he died. [00:15:15] Speaker C: I was literally. Literally thinking that as I'm reading these. [00:15:18] Speaker B: Lyrics, as he's singing them, I should forgot how he. I knew he had killed himself. I just had forgotten how we had done it. [00:15:26] Speaker A: Yeah. It's just you hear that and you're like, wow, this is kind of this weird foreshadow. That's not kind of crazy. So, Steve, why don't you read the first verse into the chorus, all right? [00:15:40] Speaker C: I caught the moon today? Pick it up and throw it away all right. I got the perfect steel a cleaner love with a dirty feel? All right fall out and take the bait? Eat the fruit and kiss the snake at night common ruse dirty face? Pretty noose is pretty hate? And I don't like what you got me hanging from? And I don't like what you got me hanging from? And I don't like what you got me hanging from. [00:16:15] Speaker A: Yeah, I'm sure each of those, um, each of those things are meaning or meaning something. [00:16:22] Speaker B: It's about an opportunity that looks good at first, but then turns out to. [00:16:29] Speaker A: Be disastrous, he says, or something. An attractively packaged bad idea. Something that seems great at first, then comes back to bite you. That's not how I. That's not how I interpret that, but maybe not. Now I'm interpreting it different because he's not around and how he killed himself. So maybe I'm interpreted indifferent. [00:16:46] Speaker C: Really. [00:16:49] Speaker A: I don't know. I mean, it's. It's good regardless. [00:16:55] Speaker B: My only thing about this era of soundgarden is that I I would have liked these songs better in kind of like, the older style, which is kind of louder. You know what I mean? They were just so powerful. [00:17:09] Speaker C: Right. [00:17:09] Speaker B: The first couple of records. And this is very. It's. It's. It's kind of heavy, but it's clean heavy. You know what I mean? It's a little polished. [00:17:18] Speaker A: Oh, it's definitely polished. So who is the. Who is the producer on this? Adam Casper. Do we know? What else has he done? Oh, Aerosmith, mud honey, nirvana, foo fighters, queens of the Stone Age, a tragically hip rem, soundgard and Pearl jam. [00:17:38] Speaker C: Okay. [00:17:38] Speaker B: As producer or tons of engineer. [00:17:44] Speaker A: Yeah. He's kind of, like, locked into, like, all this stuff. So it's produced well, it sounds good. It's just. You're right. It's not as. It's not as. It's not as gritty as the earlier stuff. That's all. [00:17:59] Speaker B: Yeah, I think that's. That's. That's the thing that I missed from this, like, especially a song like this that really lends itself to be gritty and heavier and louder. You know what I mean? [00:18:12] Speaker A: I wonder if, um, one of some of the, like, deeper tracks are gonna be a little different. Like, maybe this is, like, this is the, you know, this the actual single stuff. So I wonder if the deeper stuff, maybe. I don't know. [00:18:24] Speaker B: This is a good. I do remember liking this one, though, back in the day. [00:18:27] Speaker A: Mm hmm. It's good. [00:18:28] Speaker B: So pretty strong. [00:18:30] Speaker A: So how do you like, before we go, how you like to drum sound good again? [00:18:36] Speaker B: They're a little polished. I would like them to be a little. There's times when it kind of stops and there's, like, a deadness. Right. Like, if they had a little bit more reverb to them, I think a little bit of that lingering in between when it stops would have been cooler. But, I mean, they do sound good. It's not that the drum is kind of like. Like I said, a little bit something on top of them, but they do sound good for what they are. That makes sense. No, it's not the sound of the drums. It would be, you know, just something on top of me in this song, particularly, where if it had a little bit of a. Kind of that lingering note, I think we'd fill out some of the gaps a little bit. [00:19:25] Speaker A: I'm wondering. The only thing I'm wondering this is around this timeframe. I wonder if this recorded on dat. It's not saying if it was or not, but that would make sense because I remember when we recorded on dat, that sucked. That wasn't fun at all. That didn't sound. That didn't sound good. I mean, it was clean and all, and maybe that's why it sounds like this. Yeah, it's not really saying. [00:19:49] Speaker B: I know. That was terrible. [00:19:52] Speaker A: I'm just trying to look to see if it was, because that would make sense. Right. 95. 96. Yes. [00:19:58] Speaker B: And we did our last time. All right. [00:20:00] Speaker A: 90. Yeah. 96. 97. Somewhere around there. [00:20:02] Speaker B: Yeah. [00:20:04] Speaker A: So maybe that's what it is. I don't know. I mean, it still sounds better than anything we did, but still, you're right. Maybe that's. Maybe that's why it's so clean. All right, here we go. [00:20:39] Speaker D: I'm from and far away. The wooden stake singers got me on what you got me. [00:21:25] Speaker A: Before we get whatever solo is going on, I have to say, though, I really like that wawa riff a lot. [00:21:29] Speaker C: It's so catchy, and it's rather catchy. [00:21:33] Speaker B: Yeah, that's a good song. [00:21:36] Speaker A: And I like. And I like that the guitar on the left side, which is probably Kim Thales, brings weird shit on the right side. It's more straightforward with whatever the riff is. Yeah, it's. I like it. And the drums. He does some weird fills, too. Good weird, though. [00:21:53] Speaker B: Yeah. This is actually, one of the. There's not really, like, an odd time going on in this one, but typically, I mean, trying to even learn his songs. You know what I mean? I was like, oh, as soon as anybody mentioned sound gun, I'm like, all right, but here we go. I'm not. There's no this. I can be straightforward. I mean, and obviously, it goes along with the riff, so. But, yeah, I mean, he's a really good drummer. [00:22:22] Speaker A: Oh, yeah, you can't complain. And the bass player is good, too. I never realized how good the base player was. [00:22:26] Speaker B: Yeah, there's a lot of good going out the base soon. [00:22:30] Speaker A: So, Steve, why don't you give us the next set? [00:22:33] Speaker D: All right. [00:22:34] Speaker C: Let your motor race. Pick it up and get this mother dom out far. Wait, out from. And far away the wooden stake. This thing has got young diamond rope, silver chain. Pretty. No, pretty noose is pretty pain, and I don't like what you got me hanging from. And he says that another three times. [00:23:06] Speaker A: Yeah, yeah, he's definitely trying to put a. He's definitely trying to tell you something without telling you something. [00:23:15] Speaker C: Yeah. Right. [00:23:16] Speaker B: Yeah, but I mean, it does make sense, though, because he does have that, like, right. The contrast and what he's. You know what I mean? The. The, um. What was it? You know, cleaner love, dirty feel, you know, fall out, take the bait, eat the fruit, but then kiss the snake good night. You know? He does. He's playing, like, both sides of. Of the, um, of the situation. Even when he says diamond rope, silver chain, pretty noose. That's pretty pain. [00:23:52] Speaker A: So I'm assuming the part with the fruit and the snake is amity reference, I assume. [00:23:56] Speaker B: Yeah, I think so. But again, right? It's like, you eat the fruit. It's one thing, but then too bad, you know, you shouldn't have done that, because here's the snake on the deal, so. [00:24:10] Speaker A: Gotcha. Yeah, no, I mean, I'm liking this. I'm gonna see what the solo is. I forgot the solo and what it does. I'm gonna back it up a little bit. All right, here we go. That's pretty. That's pretty normal for him, isn't it? Usually, he's a little weirder than that. [00:25:00] Speaker B: Yeah. [00:25:02] Speaker A: I mean, generally, I remember his soul as being a little stranger and that not as normal, so I liked it. I thought it was good. [00:25:11] Speaker B: Who wrote this song? Was it? [00:25:13] Speaker A: All, I believe is Chris Cornell all by himself. It's saying all the lyrics are written by Chris Cornell, except for never the machine forever by Kim Thale and unkind by Ben Shepherd. Ben shepherd is who? That's the bass player. Isn't it funny? Like, I don't even know. I don't know who the bass player is. I. I mean, now I read his name, but can anyone tell you the bass player is in Soundgarden? What does he look like? I don't even know. Like, if I asked. I'm saying, if I asked anyone who the bass player was a sound guardian, would anyone know who he is? Can you tell me his name? If I didn't tell, someone said to. [00:26:03] Speaker B: You, hey, who's in sound guard, but, like, Chris Cornell, Matt Cameron, the guitar player with the weird name and a bass player? That's what I would have said. [00:26:16] Speaker A: Yeah. I never. I never remember this guy's name. I mean, I can see. I'm looking at the picture now. I'm like, oh, yeah, that's the bass player. But I'm like, I would never. I would never know that. So weird. Look, you probably good for him, man. He probably could walk around anywhere and not. No one knows who the hell he is, but he's was in one of the biggest bands in the world. [00:26:40] Speaker B: Yep. [00:26:41] Speaker A: He can still do normal shit. It's good. All right, let's continue. [00:26:57] Speaker D: And I don't care what you got I don't care what you need I want anything? And I don't like what you got me from when I don't want. [00:27:57] Speaker B: So quick little note. Ben Shepherd's actually the one that introduced a weird tuning in this song. [00:28:03] Speaker A: Really? [00:28:04] Speaker B: Yeah, that's what it says. [00:28:06] Speaker A: See, you know nothing about him. Meanwhile, he's the guy throwing all the weird shit at you. [00:28:10] Speaker B: He also did it for the day I tried to live in my wave. Is my wave on this one? I think so. Right? That was. That was a big one. [00:28:20] Speaker A: I don't think so. [00:28:21] Speaker B: Maybe not. Nope. [00:28:23] Speaker C: I don't see it. That. [00:28:25] Speaker B: No, it's not on this one. But that was a really good song too, though. [00:28:30] Speaker A: Well, since Steve is back for the first time. Steve, what do you think? [00:28:35] Speaker C: Should I finish the lyrics real quick? [00:28:38] Speaker A: Oh, yeah, go ahead. Sorry. [00:28:40] Speaker C: I mean, there's not much, but Colin Rose, dirty face, pretty nose is pretty hate. I don't care what you got I don't care what you need I don't want anything and I don't like what you got me hanging from to finish it out a bunch more times. [00:29:01] Speaker A: Yeah, I like that. I like that, um. That little change in riff right there. I like that. That was pretty cool. [00:29:06] Speaker C: Mm hmm. [00:29:08] Speaker A: Yeah. Broke it up, so. All right. Steve, go. [00:29:12] Speaker C: All right, let's see. Lyrics. Yeah, I don't know. Like, now that after the fact. I don't know. You know what? We'll go seven. Right now with lyrics and music will go seven also, you know, it was a bigger hit, but I don't know if it was, like, necessarily as much as I thought. And then production, we'll see. It was solid. Everything was good, except for maybe, like Sav said, maybe a little more grit would be nice. But overall, it's good. [00:30:03] Speaker A: Right? SAP, go ahead. [00:30:05] Speaker B: Yeah, this is a little bit hard for me, because, again, I know some of the other stuff that's coming up, and I think this was one of my favorites from the stuff that I actually knew. So, yeah, I'll say seven on the lyrics. I'll say seven on the production. Again, you know, obviously, a little bit more Brit would have been cool, but it's clear. I mean, it's. You know, you can hear everything. Obviously, the drums sound. Sound good. Music. I'll say seven. I was gonna say eight, but, you know, I'm gonna say eight. I'm gonna say eight. Because, again, some of the other stuff, the singles and stuff, I wasn't crazy about. But I do remember liking this one and the fact that I do. I still like it and probably would still kind of crank on the radio. So I'll say seven. Eight. Seven, Mark. [00:31:04] Speaker A: Okay, so let's say, what am I gonna do? I'm gonna do 787, I think, seven on lyrics, because I'd like to, you know, eat those. You eat the apple, you get the snake. So you get. You do one. The good and the bad. Right? Is that we're saying what that is pretty much the whole thing. [00:31:20] Speaker B: I think so, yeah. [00:31:22] Speaker A: Then I'm gonna say eight on the music. I like the riffs a lot. I like that wawa riff a lot. I like the fact that they don't play the same thing. So the left hand side is doing something, the right hand side is doing something else. And drums are good. Bass is good. Vocals, obviously, are good. I think you're not gonna. You're gonna have a hard time not having the music be good, generally, whether the song is good, maybe a different thing, but I don't think, music wise, you're gonna say these. You know, this thing. This thing's not good. [00:31:52] Speaker B: So now. [00:31:54] Speaker A: And production is good. Seven. I'm gonna give a seven. So seven. Eight. Seven. Very nice. [00:32:00] Speaker B: Good start. [00:32:01] Speaker A: Good start. Yes. All right, so the next song is rhinosaur. [00:32:05] Speaker C: Rhinosaur. [00:32:07] Speaker A: Yep. I probably know this one, too. I always. Every time I hear the name of the song, I would never remember until I. Until I hear him, like, oh, yeah, I know that. [00:32:20] Speaker B: Yeah, I definitely know the title. I don't remember the song until, like you said, if I hear it. [00:32:29] Speaker C: Yeah. I have this song on my phone. [00:32:32] Speaker A: So I know it. Ok. Steve's ahead of us. [00:32:36] Speaker C: Yes. [00:32:37] Speaker A: Here we go. Rhinosaur. [00:32:58] Speaker D: Standing well, Miami. Hurl on my arms with haste around my rain carry with sound only help it when you hurt I'm in death in a sweet. [00:33:39] Speaker A: Yeah, now I remember that. She's like her. I was like, oh, yeah, you don't remember it? Really? Wow. Yeah, I remember hearing this a lot. It's weird. So the bass player and Kim Thale Steve play this and drop D. Right? Chris Cornell played in a standard two, so he normally, they said they don't do that, like, if everyone's playing the drop d. Like, if almost everyone plays the same, like, drop D or whatever it's going to be. But in this one, it was a little different. [00:34:13] Speaker C: Interesting. I wonder if that's why there's that interesting kind of sound to it in, like, the chorus. [00:34:23] Speaker A: Maybe. Yeah, because of that. Yeah, yeah. He played a lot, I think. Even live, he played all the time, right? [00:34:36] Speaker C: Pretty much, yeah. Well, I mean, after a certain point. [00:34:41] Speaker A: I mean. And, dude, his vocals are so fucking good. Like, he could be singing about whatever, and it sounds good. [00:34:48] Speaker C: Yeah. [00:34:49] Speaker A: So he's just so power. His voice is so powerful. [00:34:54] Speaker C: And then this song's got such a cool grief to it. [00:34:58] Speaker A: Okay, please throw it out. [00:35:01] Speaker C: All right, here we go. Um. Standing with my enemies hung on my horns with haste and livery killing with charm only happy when you hurt only deadly in swarm only healthy in the dirt only empty yards. [00:35:27] Speaker A: Yes. Weird. And supposedly, it's a very ambiguous lyric and can be applied to several people or groups of people. So I don't think. I wonder if it's one of those things where it's like, you have to interpret this yourself. [00:35:43] Speaker B: I mean, it's not. It's not a. Obviously, it's not about good people. This isn't like, hey, buddy. [00:35:52] Speaker A: No. So I like the lyrics in that, too. Pretty good. And this was a. Went to number 19, so I'm surprised you really haven't never heard this. [00:36:03] Speaker B: No. Yeah, I really don't. I remember the title, though, which is funny. So. [00:36:10] Speaker A: Yes, as soon as he came on, I went, oh, yeah, I remember this. All right, well, let's continue. Maybe it'll jog your memory. [00:36:20] Speaker B: Yeah, maybe. [00:36:21] Speaker A: Here we go. [00:36:39] Speaker D: Let's go beneath my feet, like everything when you break. [00:37:22] Speaker A: Before we get into that part, I noticed the drums are really dry. I mean, that is a signature of the grunge time. Anyway, drums are really super dry for the most part. [00:37:36] Speaker B: I mean, some of the production, like the first pearl Jam record wasn't that dry, and the second one got drier. So I think it started off again. Even these guys, when they first started, I mean, the albums were so loud, but in a good way. You know what I mean? So again, maybe it's a. It was a kind of trend of like. Okay, well, maybe to make it a little bit more palatable, you kind of do it in this kind of. This style of production, so. [00:38:10] Speaker A: Hmm. Yeah, I think that, um, it's. But it just ended up being a typical thing. Well, and the late. The early stuff from Soundgarden was late eighties, right? Wasn't it, like 88? Sure it was that. I'm pretty sure that's what it came out before the. Before this thing even broke is being grunge, right? Like you said, it was alternative. [00:38:33] Speaker B: I mean, I was listening to sound guarded on Dr. E. That's how I got louder than love. Here's the first album. Yeah, so, ultra Meg. Okay. Was 88 and louder than love was 89. [00:38:48] Speaker A: Imagine, like, releasing that in 88. What was going on in 88? You know what I mean? It's so, like, opposite of what was happening. [00:38:59] Speaker B: Well, mainstream. Yeah, yeah. [00:39:01] Speaker A: What's. I mean? [00:39:02] Speaker B: Yeah, I mean, 88. The hair metal bands were still reigning supreme. [00:39:07] Speaker A: That was. Yeah, that was everything. It was the hit. The height of that. I think so. All right, Steve. We'd read some lyrics. [00:39:17] Speaker C: Alright. So I plane I'm sick and tame drawing the hordes all I wait and I show the lame the meaning of harm they scroll beneath my feet like feathers in sand I graze among the graves a feeling of peace only bending when you break only feeding when you're cold only healing when you ache only feeling when you don't. [00:39:52] Speaker A: Pretty good. Yeah, I like, I like, I do. [00:39:57] Speaker C: I like it. [00:40:01] Speaker A: And you're right, the verses have some weird. It sounds like. It's like maybe. It seems like there's some kind of octave going on. I mean, I know the bass is playing the same exact thing as the guitar, but it just feels like there's something else going on there. Because it's not really super dirty, though. But it is, but it's not. [00:40:19] Speaker C: Yeah, right. It has that weird kind of like. [00:40:22] Speaker A: It'S like in between and like Savino saying it's not as it's not as heavy because it's not really super dirty. [00:40:29] Speaker C: Right? [00:40:33] Speaker A: Yeah. I don't know. [00:40:35] Speaker B: But this part coming up, the beginning sounded familiar to me. [00:40:38] Speaker A: Oh, this one's this part coming up. Yeah, I think so. [00:40:41] Speaker B: Yeah. When it just went into it, I was like, wait, is this. So maybe I do know this and just kind of remember this part. Let's see. [00:40:48] Speaker A: I hundred percent know this song. So here you go. Every time I hear, would you say. [00:41:35] Speaker B: Kirk Hammond on solo? [00:41:38] Speaker A: Yeah, but. Yeah, but it's not. I don't know. Whenever Kirk Hammitt uses why? It's different for me. I don't know why this fits the song. Oh, right. [00:41:46] Speaker B: I mean. [00:41:46] Speaker A: And. [00:41:47] Speaker B: Yeah, I mean, totally fits the song. [00:41:49] Speaker A: And it's funny, anytime I hear bass and guitar do that, like, together, I think black Sabbath, like, when. That's Black Sabbath, which I'm sure was. Which. Which had to have been an influence on them, I'm sure. [00:42:03] Speaker B: Yeah, absolutely. I mean, honestly, like, the first few, even, like, bad motor finger, there's. I mean, they call it stoner metal now. Right. But, I mean, there's definitely traces of that in there, that heavy bass and guitar, you know? So. [00:42:23] Speaker A: Yeah. And listen, either you make a song that's a solo that's very, like, memorable and hummable, singable, or this. And this is fine, too. It doesn't always have to be that way. So, you know, either you're going for that kind of more melodic and where people can, you know, hear it, like. Like the riff in the last song, or you do this, which is just, you know, wobbling and sort of shreddy for the time, I guess. I mean, I'm just happy that there's actually solos because, you know, a lot of. The lot of the grunge stuff during that time didn't have anything. So I'm good. I'm good with it. So we got, like, 45 seconds. Let's finish it up. [00:43:15] Speaker D: Only when you come only here and where you wake only feeling where you die. [00:43:52] Speaker B: That band sounds a little like the beginning of rusty key. [00:43:57] Speaker A: I took that, too. [00:43:59] Speaker B: And give them credit, too. Like, we talk about bands that have their own sound, right? I mean, if you didn't know who this. If you hadn't heard the song, you would say, oh, this sounds like sound Gordon. [00:44:10] Speaker A: Yeah, no doubt, no doubt. It's, um. It's that super recognized. And his voice, too. I mean, you. [00:44:19] Speaker B: Oh, yeah. I mean. [00:44:22] Speaker A: I mean. And lyric, you know, realistically, like, he was sounding really even before he passed, you know, before he took his own life. Like, he was sounding really good. Like, he didn't lose very much, even into his fifties. And that's kind of weird, too. So, Sabina, when you go first, all. [00:44:53] Speaker B: Right, I'm gonna say seven on the music. I didn't like this one as much as at first, actually. I wasn't crazy about the chorus. I really like the verses and even that. The part where the soul and everything, I really like that. So the only thing I really didn't like was the. Was a chorus, but the rest, it was pretty good. I'll say seven on production. I'm gonna say six on the lyrics. They're not terrible, but I liked. Again, I'm comparing it to the first one, which I like better, and I gave a seven to. So I'll say 677 mark. [00:45:28] Speaker A: Hmm. I still like the lyrics here, so I'm gonna continue with my seven. I think I like the music in the other one better, but it's still good. So I'm gonna give that a seven. I mean, I like. I like the soloing. I mean, so far, he hasn't let me down. I always remember him as being a really weird solo guy. So maybe that's earlier stuff I'm thinking of than this. So we'll see. And I guess I'm gonna. I guess I'm gonna do a seven because I think the production is good. So I'm gonna do seven across the boards, which. You know what that means. Which one do I pick, is the question. Let's see. Here we go. Totally, totally unrelated. Nikki Tiddy, baby, 777. Steve. [00:46:16] Speaker C: All right, I'm gonna probably say seven. Lyrics, music. I'm gonna probably go eight. I kind of, like, said, I have this one on the phone. I don't know the diminished kind of sound. The grooviness. I dig it. So eat on the music and the production. I'm gonna say everything's clean and sounded good. [00:46:43] Speaker A: Here we go. So now we're gonna start to hit the tracks that we may not know is these born singles. So this is a song called Zero Chance written by the bass player. So, by the way, rhinosaur was written by Mac Amazon. Obviously not the lyrics, but the music, I think. I think that's what they refer. Chris Cornell did everything except for a couple songs, so. So does anyone any having any idea what this song sounds like? [00:47:13] Speaker C: It's been a while. [00:47:14] Speaker B: I don't think so. [00:47:17] Speaker A: Zero chance. We know what this song sounds like. [00:47:20] Speaker C: Yeah, exactly. [00:47:23] Speaker A: All right, here we go. Zero chance. [00:48:54] Speaker D: Say you look home, find your way back. [00:49:25] Speaker A: Never heard this ever in my life. [00:49:27] Speaker B: I feel like it's very pearl jamming. I mean, it sounds. To me, it sounds like a Pearl jam song. I'm hearing Eddie Vedder saying this as opposed to him. [00:49:39] Speaker A: It's definitely a little different for what I know of them. So. Yeah, this is good in here. Obviously, the bass player wrote this song, so fairly prominent. The riffs a little weird, too. [00:49:55] Speaker C: Yeah, it's really just, uh. Yeah. Different. [00:50:02] Speaker A: Good different or bad different? [00:50:05] Speaker C: I don't know yet. [00:50:07] Speaker B: Yeah. I'm still debating in my. Cause I like some of the chords he uses, but then the. The chorus doesn't go anywhere. Right. It just. It doesn't really change much from the verse and it doesn't. All the lines are pretty much sung the same way. [00:50:25] Speaker A: I wasn't sure what. The chorus came and the verses ended. [00:50:29] Speaker B: Yeah, exactly. I looked online. [00:50:33] Speaker A: All right, Steve, so what are the lyrics in this? [00:50:36] Speaker C: Alright. I think I know the answer. A stumbled on and all the world fell down and all the sky went silent cracked like glass and slowly tumbled to the ground say if you look hard find your way back home born without a friend and bound to die alone. [00:51:03] Speaker A: Those are pretty good, though. I like some of that. [00:51:09] Speaker B: Depression and suicide action. [00:51:14] Speaker A: When are we going to have any grunge stuff that's not about drugs or serious? It was a very depressing time. That's why, like, all, like, the. The people who are like, super party in the eighties stuff with that music came to this. I'm like, what the fuck? You guys need to drink a little bit more, I think. Party up, dude. Party up. Right? You need some of this. [00:51:52] Speaker C: Excellent. Yes. [00:51:59] Speaker A: I've been waiting to play that for a while. [00:52:01] Speaker B: Oh, yeah. [00:52:02] Speaker A: I was gonna say, yeah, it does sound a little pearl jam ish. [00:52:08] Speaker B: Yeah. I even almost like the tone that he uses too, though. Reminds you of Eddie better to a point where wolf was like, is it him in the background, maybe. [00:52:20] Speaker A: Yeah. Well, let's see. Let's see if this continues in the same way or as it changes up. I don't think it's going to change, but here we go. [00:53:10] Speaker D: My chance. Say you live, find your way back home out of. [00:54:48] Speaker B: I didn't think it was gonna end there. I thought it was gonna keep going. [00:54:51] Speaker A: Yeah. I mean, it's a formula in 18 seconds long, but it sounds. It doesn't feel like it's that long. [00:54:59] Speaker C: No, it doesn't feel. [00:55:01] Speaker A: I went to really quick. Uh, so once you read the. The rest of the lyrics, Steve. [00:55:07] Speaker C: All right. I'm thinking of your highness and crying long upon the loss I found and on the plus and minus zero chance of ever turning around why doesn't anyone believe loneliness? Stand up and everyone will see your holiness they say if you look hard you'll find your way back home born without a friend and bound to dialogue. [00:55:40] Speaker A: Pretty dark, pretty dark lyrics. Um, I guess I'll go first, I guess. Um, I don't hate the lyrics. I don't think they're as good as some of the others, the two others prior. So I'm gonna give them a six, I think. Um, music's weird. It's not bad. It's just. I don't know. They meanders a little bit, so I'm gonna probably do probably six on that. And production, though, sound was pretty solid as far as, like, hearing everything and. And going back to music a little bit, I guess the bass playing was awesome on that, too. Lots of cool little riffs and stuff. I liked it. So maybe I'll give. I'll go back to seven under production. Steve. [00:56:27] Speaker C: Yeah, I'm pretty much. The lyrics were all right, but not as good as previous. So we'll say six on that. Music. It was like I said, I don't know, it was kind of waiting for something else to happen. Never did. So I was gonna say six. O music. The production was good. Everything was kind of had its place, even though it's kind of weird. So it was. But there's all. So we'll say seven. Yeah. Saf. [00:57:12] Speaker B: I like the lyrics. I think I like them better than the one before. And it's a couple of cool lines that I learned. So I'll say seven on the lyrics. Music. I'll say six. I think there is some cool stuff that's. That's going on, like a couple of the cool and things like that. And I kind of like that little interlude in between the verse, the chorus and the verse, the second verse. But overall, just kind of didn't go anywhere. And protection is fine. So I'll say. I'll say seven on the production. [00:57:48] Speaker A: I mean, there were some cool little riffs in there, but, yeah, I wish it would have went someplace a little bit. [00:57:54] Speaker B: Yeah, exactly. Something more to kind of flush it out a little bit more. [00:58:03] Speaker A: So the next song that we're coming up to is called dusty. Does anybody know this? [00:58:09] Speaker C: Negatory. [00:58:11] Speaker A: Negatory. Okay, so another. Another deeper cut for us. [00:58:16] Speaker B: Well, I scanned the lyrics. This is where they got the title, the album dusty. [00:58:23] Speaker A: Oh, really? All right, well, here we go. I'm not even looking at that so here we go. [00:58:53] Speaker D: I think it's turning back around and I think I like it. I think it's turning back around I don't know why it is turning back on me down on the other side I think it's turning back on me now on the good ride nothing's gonna put me out back and round and under I'm down on the outside. [00:59:49] Speaker A: It'S another weird song, too. [00:59:51] Speaker C: Yeah. [00:59:52] Speaker B: This one's a little like Pearl Jamie. It's like Pearl jam needs a violent fence. [00:59:57] Speaker A: Yeah, there was. There's a little more pearl jam in this one, too. It's just interesting choice of two tone and stuff. Like, I don't know what. It sounded a little bit better if it was dirtier, maybe. [01:00:11] Speaker B: I think so. That's what I was thinking when the song first started. A little dirt in this probably would have elevated it. I think. [01:00:23] Speaker A: We'Re on track. The track are we on right now? We're on track four. [01:00:26] Speaker B: So it's a song like this that makes me say this. This record didn't need to be. As long as it. [01:00:38] Speaker A: Isn'T. That really the thing with, you know, when people were putting that many songs on records at a certain point, like, I guess they thought, you know, because they had 70 minutes. Right. And we should fill this thing up. That's not always the way to go. [01:00:56] Speaker C: No. [01:00:57] Speaker A: So, what are we doing? [01:00:59] Speaker C: All right. I think it's turning back around and I think I like it. I think it's turning back around though I don't know why it is. I think it's turning back on me I'm down on the upside I think it's turning back on me now I'm on the good ride and nothing's gonna put me out it's backing down and under I'm down on the other side now it's turning back around turning back around. [01:01:37] Speaker A: I guess it's turning back around yeah, right. [01:01:42] Speaker C: Something turning around. [01:01:44] Speaker B: Yeah. [01:01:44] Speaker A: I haven't made my decision about this song yet. Maybe it'll change. Do something interesting. I mean, there's some interest again. There's some interesting drum stuff. There's some interesting, like, riffs. Riff stuff. [01:01:56] Speaker C: Mm hmm. [01:01:58] Speaker A: It's just. I don't know. I mean, it's kind of like. [01:02:03] Speaker C: I was gonna say it's kind of like it's there, but just a little more. [01:02:08] Speaker A: Yeah. I think that's not distorted. I think what? I think distorted would have helped it, or at least somewhere, maybe even switch it up, you know, I mean, verses or choruses or whatever, for sure. [01:02:23] Speaker B: I mean, they just came off kind of. Right, the acoustic song, and now it's kind of like another one, like back to back. [01:02:32] Speaker A: Well, like you said, it's one of those things where, you know, they could have not put all these songs on there. [01:02:42] Speaker B: Yeah, but you know what, though, again, so obviously, we've all written songs, right? And I. That's one thing I've always thought to myself where. What. What songs? There's going to be those songs, right, where the band likes it and they want it to be on there, but producers kind of steer them away or, you know, people don't like it, but it's just, you put it on there because it means something to you. And, you know, whether or not other people like you, like. Well, you know, we wanted this song to be there, so. [01:03:17] Speaker A: Yeah, well, and they were. And they produced this with the guy, too, so it wasn't just him. So they had. They had say, too, about what was going on, so. Which they always have say, generally, I mean, I would think. But especially, I mean, as big as they were at that point, I'm sure they had some say. Here we continue. [01:04:03] Speaker D: I think it's turning back on me everything's easy I think it's turning back on me. Everything's real nothing's gonna put me out. [01:04:43] Speaker A: Well, at least his vocals came a little more alive now. Much better, I think. [01:04:47] Speaker B: Yeah, he's waking up a little bit. [01:04:50] Speaker A: Hmm. [01:04:51] Speaker B: He's waking up a little bit. [01:04:53] Speaker A: Yeah. Yeah. No, I agree. [01:04:55] Speaker B: I like that. The Griffith. I mean, it's simple, right? That little bam, bam, bam, bam, bam. But again, I think it just. Even if it had a little bit of a distortion in the background kind of thing, just to wake it up a little bit. [01:05:12] Speaker A: Yeah. It just is not. There's just not. There's something missing, but. But at least his vocals there kind of woke that up a little bit where he's not just singing that little register now. He's singing more. And the register, you expect. And then, you know, some of the little fills and stuff that. That sounded more like. Sorry, Soundgarden to me, as opposed to some of the beginning stuff, which was more. More pearl jam sounding. So I don't know. I'm still. My mind is still not made up on this yet. I mean, it's. We still. We still have another two minutes of the song to go, so. [01:05:49] Speaker C: Hopefully something will switch. [01:05:52] Speaker A: You want to read the rest of the ricks the lyrics, Steve? [01:05:55] Speaker C: Sure. I think it's coming on the wind just like you said it. I think it's coming on the wind and I'm gonna let it I think it's turning back on me everything's easy I think it's turning back on me everything's real to me nothing's gonna put me out it's backing down and under I'm down on the upside now it's turning back around turning back around turning back around. [01:06:33] Speaker A: Do we have any idea what this song's about? [01:06:39] Speaker B: I mean, I don't know. It sounds kind of positive. It's turning back around. [01:06:45] Speaker C: It sounds like. [01:06:46] Speaker B: It could be something. It was supposed to be called down on the upside, but the bass player changed it to Dusty. He wrote the music. [01:06:59] Speaker A: Yes. [01:06:59] Speaker B: That. The fact that they didn't want. They didn't want a song title to be the title of the album. So they just. [01:07:09] Speaker A: Don'T change the name of the song. [01:07:11] Speaker B: Yeah, because when Chris wrote it, he wrote it down on the upside, that was. That was the title he had written. But the bass player wrote the music and he called it Dusty, so they kept it that way. [01:07:25] Speaker A: Okay. Dusty it is. [01:07:28] Speaker B: Yep. [01:07:30] Speaker A: All right, let's continue. Here we go. [01:07:53] Speaker D: Save seven. I think it's. Come on. I'm gonna live nothing's gonna pull me out I'm down on the outside now turning back around turn it back around turn it back around turn it back around turn it back around turn back around turn it back around. [01:09:41] Speaker A: There you go. So are the rest of the lyrics basically just repeats the other stuff? [01:09:51] Speaker C: Um, there. Yeah, pretty much, yeah. [01:09:58] Speaker B: I was just thinking to myself as the song was going. Going to see, like, a band, right? And they play a song that you don't like, and you can't wait for that song to be over so you can hear what they're playing next. That's the sentiment that this song gave me, really. Like, I went to go see them in concert and they played this. I'm like, okay, what's that? [01:10:23] Speaker A: Yeah. I have strange feeling this probably wasn't a big concert song. [01:10:27] Speaker C: Probably not. [01:10:30] Speaker A: Well, what type? Sabina, go first, then go ahead. [01:10:34] Speaker B: Um, I mean, I'll probably say a five on the lyrics. I mean, it's pretty much straight up repetition. I'm pretty sure there's a. Seems to be a good sentiment in there. But, I mean, music. I mean, I gave one to six, so I have to give this one a five, too, even though I think some of the stuff that's going on in school. But again, it just. It doesn't really seem to go anywhere. So production is fine. I'll stay seven on production. I mean, I like the way the guitar sounded and the drums. So I think that kind of flatter production kind of lent itself better to this. I'm going to say it's the band where they didn't want to add anything. They wanted to keep it simple like this, you know, in terms of, like, no distortion or whatever. But, yeah, I mean, this is. This one just kind of didn't do it for me. Mark. [01:11:31] Speaker A: Hmm. Yeah, I think. I think 557 is gonna be my thing, too. I mean, you know, there is some cool riffs in there. Yeah, it doesn't go anywhere, really. I mean, there are separate parts. If you listen to it, there are separate parts, and there's some, you know, interesting things that they're going. They're doing, but it doesn't really do much for me. And, like. Like you said, there's stuff in them, stuff in the lyrics that's okay, but it's not as good as the one prior, so I have to give it less. [01:12:00] Speaker C: Yeah. [01:12:01] Speaker A: This, to me, is a track that probably could have been left off the album, more likely in its form, that it is right this moment. Maybe, you know, they changed it up, maybe it would be better, but for me, it doesn't do a lot. Steve. [01:12:13] Speaker C: Yeah. I'm probably gonna mirror the rest of everyone else with the 557. It's lyrics were all bad enough, and the music was just. There were parts, but not enough to make you like it that much. And then I guess, you know, the overall good thing that's been pretty consistent throughout the album is the production. So about seven of that. [01:12:55] Speaker A: Alrighty. Well, the next one's called Ty Cobb. They released this single, but it didn't chart, but someone flipped it around, and rhinosaur was on the b side, and they started playing rhinosaur, and rhinosaur went to number 19. I like that. [01:13:10] Speaker C: Nice. [01:13:13] Speaker B: I definitely remember the title, so I may remember the song. [01:13:17] Speaker A: Do you? Well, it has some mandolin on it, so I don't think. Is it gonna be a hard song? I don't know. [01:13:24] Speaker B: It's a hard and aggressive with a lot of cursing. [01:13:28] Speaker A: Yeah. Is there. I know nothing about this either, so here we go. So it's just funny that this is. That they released it and then they just played. They just played the b side because they liked it better. And that thing trapped and that thing charted. That's so funny. But that. That shit happens all the time. Having with kiss. Right. They released whatever, I forget what was on the other side of Beth, and someone flipped it over and decided to play that. Yeah, that became a gigantic song. [01:13:59] Speaker B: Rock City was something weird, right? That was. [01:14:01] Speaker A: Yeah. Forget. I forget. Flip you maybe. Could be. But. But, you know, it's just one of those things that you never know what's gonna happen. You've released something, and then someone decides that's. That's, you know, back in the day when actual dj's picked music, which they don't do anymore generally, so. All right, here we go. Ty Cobb. So they released this as a single. How the hell did they think there's. [01:15:37] Speaker C: Yeah, right. [01:15:39] Speaker B: This is like watching Scarface on, like, NBC. [01:15:45] Speaker A: Makes no sense. And you wonder why I didn't chart, like, you know, especially then, like, 96, like. Well, yeah. How is all the cursing in there? How is that charting? [01:15:59] Speaker B: Yeah, so they do say that hot rod. I mean, I know you're gonna read the lyrics, see, but hot Rod death toll was the original name of the song. [01:16:08] Speaker A: Oh. Why they changed it to tai car? [01:16:13] Speaker B: I guess they thought supposedly he. I mean, you know, I'm not the biggest baseball fan, but I even. I know, like him if he was a legend, but supposedly he was. He had a surly attitude and bad temperament, which I didn't know about him. His career was overshadowed by his surly temperament and aggressive playing style. I don't think it was overshadowed. I mean, he's considered one of the greatest of all time. [01:16:37] Speaker A: Yeah, I know. That's just. And it's so weird to have that, like, mandolin in the middle of, like, this punk rock song. [01:16:46] Speaker C: Yeah. Little change up. It's kind of. Wasn't expecting. I kind of like her. [01:16:51] Speaker A: No. Well, it came on the beginning. You thought that's the only place it was gonna be, right? [01:16:56] Speaker C: Mm hmm. [01:16:57] Speaker A: And then, like, out of the blue, there's some more mandolin. Okay. All right, well, read the lyrics, Steve. All right. [01:17:07] Speaker C: I was sitting in the magic hat with smoke and mirrors and the tire rubber fires watching disappear and what made it slow down? Sucking on a volume chain and another motherfucker goes down the drain hard headed fuck you all hard headed fuck you all hard headed fuck you all just added up to the hot rod death toll hard headed fuck you all hard headed fuck you all hard fuck you all just added up to the hot rod death toll yeah. Get that. Feel like a really hard one to. [01:17:48] Speaker A: Put down the fucking radio, you think? No, maybe we get either beeped or friggin when they used to just lower the volume. [01:17:58] Speaker C: Yeah. [01:17:59] Speaker A: You wouldn't even hear the song. It would just be volume lowering or. [01:18:03] Speaker B: When they kind of do it backwards, you know, you get that, like, what's his name? Let's roll another joint. But it's like, roll another. [01:18:20] Speaker A: All right. Well, it's not that long of a song, so it says three minutes. That's longer than I think. But I'm just curious if they're gonna continue. Use the mandolin through the whole thing. I probably. I would assume it's weird. Again, another. Another excuse. Just put a song on an album, I think. Because you can. [01:18:44] Speaker C: Yeah, why not? [01:18:47] Speaker A: We got 70. We have 70 minutes. Let's do it. That's everything. Here we go. [01:19:03] Speaker D: Everywhere. I got the thing. Now you are you all fuck you up. Call it fuck you all, fuck you up. [01:19:46] Speaker A: I like that part in the middle. [01:19:48] Speaker C: Yeah, I like that. That was kind of cool. [01:19:51] Speaker B: Yeah. [01:19:52] Speaker A: Wasn't expecting that. [01:19:55] Speaker B: No. [01:19:57] Speaker A: All right, read the list. Read the rest of the lyrics. [01:20:03] Speaker C: Sick in the head sick in the mouth and I can't hear a word you say not a bit and I don't give a shit I got the glass I got the steel I got blew off to hate and all you need is your head on a stake hard headed fuck you all hardheaded fuck you all hardheaded fuck you all just added up to the hot rod death toll hard headed fuck you all hard headed fuck you all fuck you all just added up to hot Rod death toll. [01:20:39] Speaker A: It'S basically fuck you all, basically. [01:20:45] Speaker B: The funny thing is, I just like reading about Ty Cobb quickly. They're saying a lot of the. These. A lot of these things were just false accusations, like, falsified about his aggressiveness and his racism and everything. Like, this one guy who wrote a biography after he died kind of falsified the information. [01:21:09] Speaker A: Crazy. Yeah. Even back then, right? Same shit happens. Just different. All right, so we got, um. Got, like, a minute left. Let's play it out. Here we go. [01:21:27] Speaker D: Out. I fuck you out I fuck you out I fuck you out I fucking suck you out I suck you out. [01:22:24] Speaker B: So who's playing the mandolin? [01:22:29] Speaker A: I believe I read it before both Chris Cornell and Ben shepherd, and it comes back again on track 15 later on the second side. [01:22:43] Speaker C: Sweet. [01:22:45] Speaker A: I don't know if that was the right choice, you know? Whatever. Steve, why don't you go for is there any more. Well, before. Is there any more lyrics or is basically the same stuff again? [01:22:57] Speaker C: I was gonna say, yeah, pretty much the same shit repeated. [01:23:02] Speaker A: Okay, so then you can go. Go ahead. [01:23:05] Speaker C: All right. Lyrics. I don't know. I think we're gonna say five on the lyrics, just because. I don't know. They don't really go anywhere, so we're just. Fuck you. So we can say five on that. Um, honestly, the music was kind of. I don't know, it's kind of different. Catchy. Say six on that and production again. We'll say seven. Just everything is solid. We heard that we can manually. It's kind of cool. So. Yeah, so I'll say seven on that mark. [01:23:58] Speaker A: All right, five on lyrics again. I just. I'm just curious about how anyone thought they were releasing that out and it's gonna get played anywhere, especially in 96. Like, maybe they figured it wasn't gonna get played anywhere. I don't know. It's weird. Yeah. I mean, there's some cool parts in there. I think it would have been better off being a straight punky kind of song without the mandolin, but I give props for putting a mandolin in there, so I'm gonna give six just for that. And, uh, yeah, I think the production was okay. Um, I probably give it a seven. I don't think. It didn't sound bad. It just. It was some weird choices. Right? [01:24:42] Speaker B: Yeah. I'm gonna say five on the lyrics. I mean, I do enjoy a curse here. There. But, um. Yeah, music. I'll say six. I mean, there is some cool stuff. I'm gonna see six in the production. The reason being this. I feel that when it's heavy, it sounds really good, and it's. I think it's. It should. Sounded heavier throughout, but it didn't. Even with the mandolin, it still could have been heavier. So I think it took away a little bit of that. It was a little bit too polished for what it was, and that kind of reminds me a little bit, too, some of the pearl jam stuff when they kind of go fast. But even recently, they released a song that's a little punky, but again, it's kind of polished. I just feel it kind of takes away from the vibe of what it's supposed to be, so. Okay. [01:25:38] Speaker A: Yeah. It's an interesting song. [01:25:40] Speaker B: I've never heard it. I do remember the title for sure, though. I just. I've never heard. [01:25:46] Speaker A: But, you know, you have to think, like, if you didn't have all the time, right? If you didn't have 70 minutes to make. Put a record, would this have made the record? Like, if you only had 60 minutes, what? If you only had, what, 35 minutes, would this have made the record? If that was the case, I would have to say no. Right. [01:26:08] Speaker B: I mean, you don't have to use all the. All the time on there. Do you know? [01:26:12] Speaker A: You don't. But I'm just saying. But if you didn't have that time to use. Right. Would this ever mean I don't? Probably not. [01:26:19] Speaker B: Well, I mean, listen, they try to release it as a single, so. [01:26:23] Speaker A: Yeah, I know. I don't get it. Well, I think the next song is going to make up for this song, so the next ones blow up the outside world. I'm sure everyone's heard this. This song went to number one on the mainstream rock. [01:26:41] Speaker B: Oh, did it? [01:26:43] Speaker A: Yes. [01:26:44] Speaker C: I can remember the video on MTV all the time. [01:26:47] Speaker A: Yeah, yeah, it was. It did really well. So that's what I'm saying. Like, they had a number one single and this only sold a million and a half copies. It's kind of crazy. I don't get it, but I'm pretty positive I'm gonna like this. So I remember liking the song back in the day, so there you go. Blow up the outside world. [01:27:29] Speaker D: Nothing seems to kill me no matter how hard I try nothing's closing my eyes nothing can be made for your pain. [01:28:01] Speaker C: I. [01:28:02] Speaker A: Always remember hearing this song and saying it always had a little Beatles beetle y thing going on with it. Does anyone else hear the same thing? [01:28:10] Speaker B: Yeah, they said people told them to, though. I mentioned nirvana, too, a little bit. I can kind of hear Kurt singing this. [01:28:19] Speaker A: Mm hmm. Well, he liked the Beatles, too, so. [01:28:23] Speaker B: It'S not surprising he worshiped, if you ever watched it behind the music for the Nevermind. But, you know, would John Lennon do this way? Would John Lennon do it this way? Like, he would ask him. He would ask. But, you know. [01:28:41] Speaker A: So, yeah, I mean, I like this so far. It's great. I like the effect on his. On his vocal. [01:28:48] Speaker B: It doesn't sound like him. Like, honestly, this is definitely one time where I'd be like, I. If you tell me, I was like, oh, really? I. You know what I mean? Tell me somebody else. [01:29:00] Speaker A: Yeah, but it changes later on the song and then 100% know. [01:29:03] Speaker B: Yeah. [01:29:04] Speaker A: Yeah. Everything's good about this so far. Bass playing is good. Drumming's good. Bars are good. Volkswagen good. Not much to hate. Here we go. [01:29:35] Speaker D: Nothing can break me. [01:30:34] Speaker A: Good chorus. [01:30:36] Speaker C: Yeah. [01:30:40] Speaker A: Yeah. [01:30:41] Speaker C: Like I said, I'm liking this a lot better than the last previous ones. [01:30:46] Speaker A: You think? Just a little bit. [01:30:50] Speaker B: Yeah, it's okay. [01:30:52] Speaker C: It's good. [01:30:55] Speaker B: It's all right. I didn't like it back then. Really? Yeah, it's. I like the pre chorus. I like the pre chorus. That's pretty much the only part of the song I like, really. Again, listen. And I wasn't a big fan of it back then. I do remember this song, obviously, but. [01:31:17] Speaker A: Yeah, you couldn't get away from the song either, now, so. Steve. What, uncle? [01:31:27] Speaker C: Nothing seems to kill me no matter how hard I try nothing is closing my eyes nothing can beat me down for your pain or delight and nothing seems to break me no matter how hard I thought nothing can break me at all not one for giving up so not invincible, I know I've given everything I need and give you everything I own I'd give in if I could at least be ours alone I've given everything I could blow it to hell and gone burrow down and blow up the outside, the outside blow up the outside world yeah, I like it, too. [01:32:29] Speaker A: Yeah, I know Sabrina doesn't like it, but that's okay. [01:32:32] Speaker C: That's. [01:32:32] Speaker B: I mean, listen, between this one and super unknown, I wasn't. I wasn't a massive fan of one of these records, but it's not terrible. I'm not saying. Oh, my God. I mean, it doesn't suck. [01:32:48] Speaker A: Compared to the three songs prior to this. This is. This is the fucking beatles, right? I mean, those. Those last three songs are really the three songs. Like three, four, and five on this side. They're a little filler. A lot filler. [01:33:05] Speaker C: Like that really makes me appreciate this something. [01:33:07] Speaker A: Yes. Seriously. Hey, listen, we. We would take music like this now if there was stuff going on, which is not, so. Yeah, I'm pretty cool with it. All right. We go. [01:33:31] Speaker D: The world bring you down nothing can do me in before you can help everything I need the outside world. [01:34:34] Speaker A: Before we go into solo, why don't you. [01:34:36] Speaker C: Recent lyric, Steve, someone tried to tell me something. Don't let the world bring you down nothing can do me any before I do myself so siddy it for your own and the ones you can have I've given everything I need I give everything I own I'd give in if I could at least be ours alone I've given everything I could to blow it to hell and gone burrow down and blow up the outside and blow up the outside the outside world. [01:35:18] Speaker A: Yeah. Good. [01:35:21] Speaker B: This is released before they broke up, is it? [01:35:25] Speaker A: Yeah, this is. Is this the album before they broke up? [01:35:30] Speaker B: Yeah, that's what it said, that this was the last single before they broke up. [01:35:33] Speaker A: Oh, wow. [01:35:36] Speaker B: It's a nice, ironic final single in Hawaii. [01:35:45] Speaker A: Then they were broken up for a while, right? [01:35:49] Speaker C: Yeah. [01:35:52] Speaker A: I mean, you kind of got to think about that. Like, 96. They were already broken up. Crazy didn't go. I mean, didn't even go. Ten years, right? [01:36:06] Speaker B: No, starting 88, but they did like 88. 89, I think. Like 91. [01:36:12] Speaker A: Yeah. Crazy. All right, here we go. Solo time. Short, but it kind of fits the song, I think. [01:36:49] Speaker B: Yeah, yeah. I actually thought he was going to go into, like, a heavier part right there. You know what I mean? Like, he's going to mimic the song where he does the soft and the hard, obviously. No, because the vocal just came back in. [01:37:02] Speaker A: Yeah. What he says is he's like. It's a. It's a blues type thing. And after I recorded it, the rest of the band loved it and the assistant engineer loved it, but I kept feeling like it was too stiff. I was using a telecaster with elevens on it. I was listening to it going, you know, it doesn't have my trademark finger vibrato that you can hear on Ultra omega and band motorfinger. I wasn't quite satisfied with it, but because everyone else really enjoyed it, eventually I let it go. I finally had to relax and trust the guys that it was cool. So he didn't particularly, you know, want to keep it. He wanted to change it up. But it's so short. That's not almost. Not even solo because it's so short. Yeah, but it fits the song, though. I don't think the song. I mean. I mean, could the song, you know, maybe have taken a little bit more solo time? Maybe. But, I mean, it's a long song already. This is already five something. Almost six minutes. [01:38:04] Speaker C: Really? [01:38:05] Speaker A: This song? Yeah, it's a six. Almost 548. I mean, that's pretty long for 545. That's pretty long for a solo back that. I mean, for a song back then. So how much longer are they going to make it? You know? So I thought it was good. Let me back it up a little bit. Here we go. [01:39:08] Speaker D: The outside. God. Go outside. Go outside. Outside. Blow. [01:40:34] Speaker A: That. That ending part. If I can say anything. The ending parts are really long. [01:40:38] Speaker C: Yeah. [01:40:43] Speaker A: Yeah. They dread. They dread, I think, sounds like 45 seconds. And blow up the outside. So it really is, you know, like it's a five minute song with 45 seconds of just that last part. So with any more lyrics or were we done? [01:41:02] Speaker C: So there's a couple ones. Want to make it understood wanting though it never would trying though I know it's wrong blowing it to hell and gone wishing though I never could and blow off the outside blow up the outside and you know the rest. [01:41:26] Speaker A: Is he blowing up the outside? [01:41:29] Speaker C: Apparently. [01:41:32] Speaker A: All right, well, I guess we'll let Sabina go first because he doesn't like the song. So let him go first. Slam it. [01:41:40] Speaker B: Trying to think. I'll start with. I mean, I say six on the music. It's not terrible, but I like the pre chorus. Then. The chorus production was good. I'll say seven on production. I think it, you know, it does pretty well in separating the two parts. And they both sound pretty, pretty good. Lyrics. I'll say six on the lyrics. I don't think they're terrible, but I don't think they're as good as the sevens that I've given. So, I mean, again, I don't think it's a terrible song, but overall, I wasn't a massive fan of this or just in general kind of, you know, like the black hole songs and stuff like that in this era. So. Steve. [01:42:33] Speaker C: So say probably, uh, seven on the lyrics? Um, yeah, I kind of like, uh. I don't know. Um. And music, I'm gonna say probably seven, too. Very nice. Strong. But there were some parts, I guess, that kind of dragged a little too much. And then production was usual for so far, seven also because it was good. But I don't know, maybe it could be a little better. [01:43:20] Speaker A: So. [01:43:21] Speaker C: Yeah, save triple seven's mark. Nicky titty. Seven, seven. [01:43:28] Speaker A: Here we go. Yeah, I mean, I'm probably gonna. I'm probably gonna go sevens across the board, I think, too. Let me do this then, if I'm doing that. [01:43:40] Speaker C: Nikki, Dicky, baby, seven, seven, seven. [01:43:46] Speaker A: I don't hate the song. I mean, I do that. That. I do think they. I always thought that that intro, the outro part, was way too long, even from back in the day. So, I mean. But again, you know, I think in general, it's a good song. I'm surprised you gave it that high saf. I was like. I was like he was waiting. I was like, only again, I don't. [01:44:07] Speaker B: I don't hate it, but I do think it drags a bit. And I feel like it could have done with one less verse, maybe. And especially if you're gonna make them both the same, where there isn't much dynamic. I mean, it's. Yeah, it's definitely better than the last three. Without a doubt. And like I said, the pre chorus, I thought was really strong. I mean, the chorus wasn't bad, so. But it just, again, it wasn't one of the ones that kind of grabbed me. [01:44:43] Speaker A: I know. I kind of like the. I kind of like the b lesque, like, acoustic parts of it and then got a little heavier. I kind of, kind of like that. I mean. All right, so the next one is, um, burden in my hand. So this is another single. This spent five weeks at number one again, another two number one things, and it's only sold 1.5 million. I know, I keep going back to that. It doesn't make any sense. [01:45:21] Speaker B: I don't know how it's sold worldwide. That's what I'm trying to find that out. But it wasn't. I wasn't finding it. So it's 1.6 in the US only. [01:45:29] Speaker A: This is Wikipedia. So take it. For what? It's what says. Australia, 70,000. Canada 100,000. New Zealand, 15,000. United Kingdom, 60,000 platinum in the United States. It just doesn't see. How do you have. [01:45:44] Speaker B: It doesn't make sense. Yeah. [01:45:47] Speaker A: I don't understand. It's very weird. Well, maybe it was Napster. Maybe it was downloaded on Napster. They didn't buy it. [01:45:55] Speaker B: I was just about to say, was this the Napster? [01:45:59] Speaker A: I think. What, 96 was Napster? [01:46:03] Speaker B: So. [01:46:04] Speaker A: Yes. I don't know. I mean, that doesn't make any sense to me. [01:46:09] Speaker B: Yeah, I mean, those are streaming numbers. [01:46:13] Speaker A: Seriously, that makes no sense. All right, here we go. Burning in my hand I'm sure. Sabina, do you know this song? [01:46:21] Speaker B: No, I don't remember. But I mean, if it was that popular, maybe I just. You know what I mean? Maybe I just didn't know by the title. [01:46:27] Speaker A: Mm hmm. Steve, do you know this one? [01:46:30] Speaker C: Yes, I do. [01:46:34] Speaker D: Follow me into the desert as thirsty as you are crack a smile and cut your mouth and drowning alcohol. Cause down below the truth is, like underneath the river bell sequence yourself and drink the water flows below her. [01:47:26] Speaker C: Out. [01:47:27] Speaker D: In the sunshine sun is mine sun is mine. [01:47:40] Speaker A: So now do you remember it? [01:47:43] Speaker B: Absolutely not. [01:47:44] Speaker A: Really? [01:47:48] Speaker B: Dudes, I'm telling you, I just. Maybe I just wasn't seeking this stuff out or I was just kind of passed it by, saying, that's all right. You know what I mean? It could have been. Didn't pay attention to it enough, I guess. [01:48:05] Speaker A: So what do you think of it so far? [01:48:08] Speaker B: I mean, I was waiting for that part now. I mean, it's not bad. [01:48:14] Speaker A: So it's typical for this record, it seems like. Right? It's not. You're right. It's not. It's not as heavy as the other stuff. So they're. They're leaning more on the. On the softer acoustic y side of them on this. [01:48:30] Speaker B: So who wrote this? Was this a baseball that wrote this to or. [01:48:33] Speaker A: No, uh. Who wrote this? This is. No. Chris Cornell. The last two he did blow up the outside world in this. [01:48:44] Speaker B: But I think I'm reading before about that weird tuning. This is one that the bass player also, I guess, had them tuned oddly. [01:48:55] Speaker A: Is that what they're saying, too? [01:48:57] Speaker B: I think so, if this was on the list. [01:49:02] Speaker A: Okay, so, Steve, do you want to. Wait. You want to read lyrics for the first part? I guess, yeah. [01:49:10] Speaker C: Follow me into the desert as thirsty as you are crack a smile and cut your mouth I'm drowning alcohol because down below the truth is lying beneath the river bled so quench yourself and drink the water that flows beneath her head oh, no, there she goes. I'm into sunshine the sun is mine. Sun tomorrow. [01:49:40] Speaker A: Okay. Not too bad so far. I like. I like the line, uh, following into the desert as thirsty as you are like. All right, here we go. [01:50:03] Speaker D: Won't you cry for me? I lost my hand again won't you fall to be silly somewhere with my go I got my love today won't you cry for me? I lost my hell again would you like for me? I lost my head again won't you cry? [01:51:43] Speaker A: So, supposedly, this is about a song. A song about somebody who shoots his. His lover in the desert. [01:51:51] Speaker B: Yeah. What's his name? Like, it's a modern day. Hey, Joe. [01:51:55] Speaker A: Mm hmm? [01:51:56] Speaker B: I do know the chorus of this song. [01:51:59] Speaker A: You do? Okay. [01:52:02] Speaker B: That's what I'm saying. I think. I think just when it comes to these two albums, I just kind of lump them together. I mean, obviously they're similar in tone, right? This is interchangeable with super unknown. [01:52:20] Speaker A: These lyrics. [01:52:23] Speaker C: I shot my love today did you cry for me? I lost my head again would you lie for me? Close your eyes and bow your head and sympathy because fear is strong and love is for everyone who visit me kill your health and kill yourself and kill everything you love and if you live you can fall to pieces and suffer with my ghost I shot my love today would you cry for me? I lost my head again would you lie for me? I left her in the sand just a burden in my hand almost my head again would you cry for me? [01:53:08] Speaker A: Pretty heavy lyric. [01:53:10] Speaker C: Yeah. [01:53:11] Speaker A: Like, if you don't listen to these lyrics, like, you probably sing this song, like, in the car, you don't know what the hell's going on. Listen to the song and, like, oh, it's a bunch. It's, like, plush, right? From stone temple fives. Like, hey, wait a second. [01:53:24] Speaker B: It doesn't sound like that's all it's about, though, right? I mean, it sounds like him, too. I mean, obviously, a lot of these Erics are dealing with depression. I mean, it seems like he mentions suicide quite a bit in this so far. [01:53:42] Speaker A: Oh, and it's on the record. Guess. [01:53:44] Speaker B: Yeah. [01:53:45] Speaker A: He's always had. I think he's always had problems with that. [01:53:47] Speaker B: I mean, two or three years. Two, three years? [01:53:55] Speaker A: Him, like, ten years ago. [01:53:57] Speaker B: Was it longer than that? [01:54:01] Speaker A: I think. I think it's. I think it's, like ten years ago. 2017. No, it's not ten yet. 2017. That's still wild. [01:54:12] Speaker B: Six or seven years. [01:54:13] Speaker A: Yeah. Yeah. I mean, I like, like, I like the song, so. I always liked this song, but it's. I didn't really think about the lyrics. It's deep. Started in my movie. That's what that's about. [01:54:31] Speaker B: No. [01:54:34] Speaker A: Here we go. [01:55:11] Speaker D: All the little bits I got. Oh, there I see the. Out in the sunshine sun is mine sun is my I shine my love today would you cry for me? I lost my hell again would you lie I lost my elegant. Won't you cry for me? [01:56:35] Speaker A: There you go. So who wants to go first? Steve, wait. [01:56:40] Speaker B: Oh, yeah. Steve, you go first. [01:56:43] Speaker C: You want to finish lyrics, too? [01:56:45] Speaker B: I thought he was calling me. Oh, yeah. [01:56:47] Speaker A: Finish the lyrics, too, and then go. [01:56:49] Speaker B: There you go. [01:56:51] Speaker C: All right. Just a burden in my hand just make her all my heart it's just a tumor in my head and I'm in the dark so follow me into the desert as desperate as you are where the moon is glued to a picture of heaven and the little pigs have gone oh, no there she goes out in the sunshine the sun is mine, sun's mine I shot my love today would you cry for me? I lost my head again I just left her in the sand just a burden in my hand almost in the head again would you crack me? What? Would you cry for me? Um hmm. I'm gonna go seven on the lyrics. Now that I've actually, like, read them and, you know, you know, like, watch them just kind of suddenly pay attention. [01:57:46] Speaker B: To what the hell. [01:57:53] Speaker C: Music. I mean, I liked it. Kind of trying to think. I'm gonna go eight on that. Actually, I was really digging, like, the baseline in the song, so I'm gonna say eight on my music, and then production. Um, I guess we'll say seven, too. So, seven, eight, seven. [01:58:26] Speaker B: I want to say six on the lyrics. They're not bad. Again, I really don't think that they're just about killing this person in the desert. I think there's more going on there. Music. I'm gonna say six again. I mean, again, I'm not sure. Knock this I don't think it's bad, but it isn't an error that kind of grabbed me from them, even. Even back then. I remember, I think John UCLA, too, for not liking it as much as he did. Production. Seven again. I mean, I think it's good. It's clear. It does what it has to do. So, Mark. [01:59:07] Speaker A: I'm probably gonna do seven on the lyrics. I like the lyrics a lot. I think so far, it's some of the best stuff that's on this side, personally, but music, I'm gonna do eight to like this. A lot of cool bass stuff. I was. I was. I didn't mention it while the song was going on, but there was a lot of cool bass shit, so I'd like that, too. And production. Yeah, I'll do. Probably do seven in production, I think. I thought it was still produced well. So, yeah, I mean, I don't hate it. I mean, it's just a favorite. My favorite thing that they've done. No, but, you know, comparatively to other stuff on the side, I like it a lot, so. All right, one more on the first side. It's a long fucking album. Never named. Does anyone know this song? Never named. [02:00:07] Speaker B: This one. [02:00:09] Speaker A: I. I didn't realize. The bass player has one, two, three on this record. 12345. He has six songs on this record. And did you know he's not the original bass player is Yamamoto? [02:00:28] Speaker B: Oh, my God. [02:00:29] Speaker A: Yeah. [02:00:31] Speaker B: I didn't know that. Yes. I'm pretty sure he's on louder than love. [02:00:40] Speaker A: He's on ultra mega Ose and louder than love. [02:00:43] Speaker B: Yeah, that's how I. Absolutely. Yeah, I didn't. [02:00:48] Speaker A: Again, I don't know enough about them again. If you ask me, the bass player was. I was like, I don't know. Like you said, there's. There's Matt Cameron. There's the guy with the beard. Weird name. And then there's Chris Cornell. And the bass player I never knew. [02:01:02] Speaker B: I mean. But he's really good. I mean. Yeah. Especially in that last one. He was doing, like, these cool little fills and stuff like that. So. [02:01:09] Speaker A: Yeah, it was pretty cool. [02:01:11] Speaker B: Yeah. [02:01:12] Speaker A: All right, well, here we go. So this is the last one on the side. Never name. [02:01:21] Speaker D: Wild Mitch. You love me like a God but I was just a kid the kind marvelous now big like the sky but I'm down beside this side I live inside I'm getting on it's a different. [02:01:59] Speaker A: Song for them, too. [02:02:01] Speaker B: Never reminds me pearl jam. Right. It's kind of like the vitality stuff. Yeah, that's. That's what it reminds me of? [02:02:12] Speaker A: Well, vitality is around this time, too, right? 97 or whatever. I'd like the bunch of stuff on there I didn't think I was gonna like. [02:02:21] Speaker B: Yeah. I mean, I. You know, I liked it better listening to it now than I did back in the day. But this kind of reminds me of, like, one of the weird ones that would have been on there. [02:02:29] Speaker A: Mm hmm. [02:02:30] Speaker B: That was 94. [02:02:32] Speaker A: That was 94. I got my. I got my times all messed up. [02:02:38] Speaker B: I mean, two years difference. It's not a mega. [02:02:42] Speaker A: Well, in the. In the music thing where that, you know, that's. That's, you know, around the time that Kurt killed himself, the whole thing went shit right after that. So there's a big difference. Like, you know, time frame. So they were doing this kind of stuff earlier on. They did it. But it does sound like that, though. I can. I definitely reminds me of stuff on that album. Steve lyrics. [02:03:10] Speaker C: I had a dog he was a mix he loved me like a God but I was just a kid the kind mother likes y'all big like the sky when I'm downsized inside I'll lay to all the rest I'm just a baby who looks like a boy I'm getting all depressed I'm just a baby who looks like a boy. [02:03:35] Speaker A: Okay. [02:03:36] Speaker C: Yeah. I don't really know what to think about it. I don't know. [02:03:40] Speaker A: That's weird. There you go. Let's continue. It's a short song. I think it's, like, only 227. So here we go. [02:03:57] Speaker D: And I look like a man and I feel like a man in flames. [02:04:38] Speaker A: Sorry. Before it gets going a little bit punky. [02:04:45] Speaker C: Yeah. [02:04:48] Speaker A: It's just different for that. I mean, I think, personally, I think his vocal saves whatever the song there is. [02:04:57] Speaker C: Sure. [02:04:58] Speaker A: For me, you know, it's. His vocal is just so good and strong that, you know, even something that's a little crappy. A little bit. Anyway. I mean, this doesn't do very much for me, but I like his vocals. [02:05:20] Speaker B: This definitely could have been a shorter record. I mean, I don't know what the second sound sounds like or if I'm gonna remember anything from there, but. But again, right. I always think about this, too, especially with double albums, right? When you hear double albums from bands, you're like, this one, this one. But you say to yourself, if I were in that band, if we were the ones writing the song, would we say, no, we want this, on this, we want this. And obviously Soundgarden at this point, right? I mean, they were popular enough to where they would have said. And even the record company maybe would have said, oh, you want more songs? Okay, maybe there'll be more hits off of it. [02:05:56] Speaker A: No, obviously they wanted to put the stuff on here, but. But I. But I think that, again, everyone had this problem where they all thought that they had to fit the whole, you know, fill the whole CD up and stuff. They. They're not the only people that did this, so, you know, so, I mean, they've had a lot of big hits, so they're allowed to, like, experiment. Yeah, but again, I mean. [02:06:20] Speaker B: I mean, they earn the right to do something right like this. You know, we want to put 100 songs. It's fucking right. Whatever. It's. You know, then we're gonna do it. Okay. You're sound guarding. Do it. [02:06:34] Speaker A: Listen, they had two number one hits on this album, and it sold a million copies. So, you know, it's not the. It's not. Probably not as big as some of the earlier stuff, but still a million. Still a million regardless. All right, Steve, lyrics. [02:06:46] Speaker B: All right. [02:06:47] Speaker C: I got my father sense and my big brother's pants and I look like a man and I feel like an ant just a speck on the ground growing like a weed a flick of a seed I'll put my hand in flames I'm just a baby looks like a boy and I feel like I'm boarding it I'm just a baby who looks like a boy. [02:07:17] Speaker A: I'm not too sure what this is fucking about. [02:07:20] Speaker B: Yeah, it's. I mean, the consensus is basically it's about growing up and it's still kind of considering yourself a child. Like, kind of like Peter Pan syndrome. [02:07:32] Speaker A: Okay. [02:07:33] Speaker B: I mean, if you look at it like that, then it makes sense. [02:07:37] Speaker A: Yeah, that makes sense, I guess. All right, here we go. [02:08:13] Speaker D: The time of. [02:08:40] Speaker A: What the hell is going on? The right channel there. Did you hear that? [02:08:43] Speaker B: Isn't that a piano? [02:08:46] Speaker A: Piano? [02:08:47] Speaker B: Is that the ding ding ding ding ding ding ding ding ding? [02:08:50] Speaker A: No. Well, listen, on the right side, tell me what the fuck's going on there. [02:08:56] Speaker B: Okay. [02:08:57] Speaker A: I don't know what it is. I don't know if it's. If it sounds just like reverb or something on that side. Listen, I don't know what that was. [02:09:11] Speaker C: I don't know. [02:09:15] Speaker A: Stop the broke to any more lyrics or is it the same stuff? [02:09:25] Speaker C: Yeah. [02:09:28] Speaker A: I don't know what to say here. I'm gonna say. I don't know. I'm gonna say five on lyrics. I don't think I can go lower than five, but I don't know, I mean, it's an interesting idea, I guess, but. And, like, you know, his vocals, luckily, his vocals are that good that lisa makes him that totally junk music stuff. I'm gonna say six. I don't really like very much what's going on there. There's a riff here and there, and, you know, it's always obviously played well, just not. I don't really like it that much. And production, I don't think it's his purdue. I don't think it's produced as well as the rest of the stuff. So I'm gonna say six, steve. [02:10:10] Speaker C: So, um. Yeah, lyrics, I'm gonna say five, because I wasn't really sure where that we were going. I guess I could see kind of. Yeah, we'll see five on the music. So. Wasn't the biggest fan of it and kind of did really some pearl jam. So I don't know, maybe it's just the fact that I wasn't digging this one, but I would say six on production, so, yeah, five, five, six. [02:10:53] Speaker B: I want to give the lyrics of six because of the sentiment, looking them over, and there's things that I like and things that I don't. So I'm just gonna say five on the lyrics. I'll say five on the music as well. I thought it was a little bit of a mess. And, yeah, production will say six as well, so it just. It comes across as a b side. [02:11:17] Speaker A: Yeah. Well, again. [02:11:21] Speaker B: Yeah. [02:11:23] Speaker A: I mean, if you think about it, if you take four of the songs, right? So this is eight sides. Half of the. Half of this, half of the stuff's decent. Right. And the other stuff is just all kind of, you know, filler in some of. In some cases, throwaway, probably. [02:11:43] Speaker B: I mean, I don't know enough about them to know what's going on. Obviously, if they broke up not too long after this, who knows what was going on at the time. I was like, listen, this could be the last one. Let's just put out whatever, you know, we'll get whatever we can on there. And then again, it's up to them to say, well, you know what? We want this song. Because how many songs weren't here? 1716. I mean, how many songs did they write in total for this? [02:12:15] Speaker A: No. Well, there's a couple other songs that didn't get put on, but even if. [02:12:21] Speaker B: It'S just like, to imagine that, right. There really wasn't much that they wrote for. For this record that didn't make it to. If it. If that's it. [02:12:30] Speaker A: Yeah. So supposedly they did Lollapalooza. And then they would did world tour in 96. And it's just, you know, they didn't enjoy touring anymore. It just was. It was just getting. It was getting bad. So they ended up breaking up. So, I mean, they broke up in 96. They didn't get back together until 2010. [02:13:01] Speaker B: That's a long time. [02:13:09] Speaker A: Yeah. 1012 years they were gone. But then Chris Cornell had his own solo thing and he was in audio slave. Right. So he was key, kept going, doing his stuff, so. Yeah, and Matt Cameron's playing with Pearl Jam. Right. So obviously did. They were doing lots of stuff, so. But what are we thinking so far? I. I personally think there's like four good. Four decent songs on here. Good and decent songs. And then other stuff is just, you know, didn't. Again, if this wasn't a six, if you didn't have this much time, you would never put those songs on there. Or maybe one would have made it. You know, just. Just looking at our numbers, I'm trying to see what else would that hits. Like the seven mark. Not very much. The first two hit about sevens and then, I don't know, zero chances. Is this six overall? Dusty? The six overall tycob's a six overall. Blew up the outside world's a seven. Burden my hands. A seven then never named is a five. So four songs. [02:14:17] Speaker B: I mean, I think I did say, though, in the beginning, I think I gave the first one an eight rating music. [02:14:23] Speaker A: Yeah. [02:14:24] Speaker B: And I do remember saying, I'm going to give this one an eight because I don't remember liking a lot from this thing. So, I mean, again, obviously they're good songwriters. They know how to compose a song. They're good with the timing off timing this and that and the other thing. But like I said, I just. Even when they were out, like, I never bought these. I never bought this. And I never bought super unknown. I just wasn't massive fan of the stuff. But again, I mean, we got a whole other side that, as far as I know, I don't know anything from. They can light it up. [02:15:01] Speaker A: Yeah, I know. Steve, do you know anything from the second side at all? Nope. Yeah, I mean, you know, maybe we'll get. Maybe it'll change. You know what I mean? We're going to find something you really like on the other side. [02:15:15] Speaker C: Possible. [02:15:16] Speaker A: I mean, I can't think it's all gonna be crap. Assuming. Can't be. But who knows anyway. Well, I guess. I guess we get to finish this up next week. Such a long hour. [02:15:29] Speaker B: Yeah. Yeah. We got eight songs. [02:15:34] Speaker A: Do your thing. [02:15:36] Speaker B: Yep. So we are part of the Deep Dive podcast network. Great bunch of guys. So we say they took us in right away. Check them out. If you want more individualized podcasts about bands, that's the place to go. We got our buddies at Rosh rash, Judas priest cast. You got Uriahy, Tom Petty, made in Queen. You name it, it's there. So if you want to hear about your favorite band or, you know, you want to learn about a band, just check them out. And Mark, where can they find us on the interwebs? [02:16:04] Speaker A: Rock roulette pod on all the socials. Rocketlitpodcast.com. Don't forget to review us on wherever you listen to your podcast. That way it helps us move up in the algorithm and, you know, set us for auto download, too. So you get these episodes soon as they come out. Next week we get to finish up Soundgarden. It's going to be an interesting Steve. [02:16:30] Speaker B: Back again for two. [02:16:31] Speaker A: For two weeks in a row. [02:16:33] Speaker C: Yes. That'd be amazing, right? [02:16:38] Speaker A: All right, guys, we'll see you next week. Later.