Episode 90 - Soundgarden - Down on the Upside (Part 2)

[00:00:04] Speaker A: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement, and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights 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 onto 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 week, we spin the wheel and she picks a record for us, and we go through it side by side, track by track, and we vote on music, lyrics and production. Again, just a bunch of guys who, a bunch of friends that wanted to do a podcast who love music, nothing fancy. And again, we want to thank all the listeners. Please spread the word if you like it and make any suggestions, comments, criticisms, whatever it is, man, we'll take it all. We'll always get back to you ASAP. So tonight we have Mark. Oh, hi, Mark. [00:01:51] Speaker C: What's up, guys? [00:01:52] Speaker B: And I'm saf. Ciao. [00:01:54] Speaker C: Buenas. [00:01:55] Speaker B: So last week, another nineties biggie. She picked Soundgarden down on the upside for us, which is a pretty damn long album and the last album from them before they broke up, so definitely some handsome. We were actually all pretty shocked that this thing sold, supposedly from whatever we could find. Less than 2 million records. I mean, those are streaming numbers. What do you think so far, Markovna? [00:02:21] Speaker C: Yeah, I mean, obviously the hits are on the first side. [00:02:25] Speaker B: Mm hmm. [00:02:25] Speaker C: So the second side, I don't know how much I know of this, and I'm curious to see, is this going to do, like, the typical second side where it's not as good as the first side, or is it going to surprise us? I don't know. [00:02:38] Speaker B: Yeah, I actually forgot the song. I mean, I knew that there were definitely hits on here, and there were songs that I knew, but just didn't know the titles. Again, I wasn't a massive fan of these two records by Soundgarden. Kind of more into the heavier stuff that came before this. But obviously, I mean, they have talent. They can write a song. Chris Cornell. I mean, the voice is infamous. The drumming is obviously great. I mean, it's again, they're great musicians. They're one of the standout bands from that era. So, yeah, I mean, I'm very curious, especially if I really don't know any of these songs. This could definitely be a case of, oh, shoot, the second side is better than the first. I like the second side better than the first. [00:03:22] Speaker C: You never really know. [00:03:23] Speaker B: No. [00:03:23] Speaker C: So it's just one of those things where I think, you know, you know, the hits from the. They threw on the first side and now the second side is like, almost like undiscovered stuff. [00:03:36] Speaker B: Yeah. [00:03:36] Speaker C: If you don't haven't listened to this record, you would never, you know, you would never know these songs. [00:03:40] Speaker B: So, I mean, as far as I know, I never listened to it. I definitely didn't buy it. But who knows? [00:03:46] Speaker C: I will remember something here. Yeah. Like I said, I know they're like pretty news. Rhinosaur burden in my hand, blowing up the outside world. Like, all the big stuff that came off of this. I know. And then, like, this is. I feel like I say this, like every band, like, I'm the hits guy from this band. So it seems like, oh, wow. Yeah, I know the hits of this band. Oh, yeah, I know the hits of this band. It starts to. It starts to, like, give me a little paranoid thing like that. I don't listen to much music. Besides the stuff that I like, I'm starting to think that I don't listen to music at all. [00:04:20] Speaker B: I mean, back in. Back, especially in the nineties, obviously, where I had a little bit, I always say a little bit more disposable income. A lot of these people let me down. I mean, obviously there was some really great music in the nineties, obviously. But there were those people where, oh, man, their lead single is great and you go to buy it. I'm like. And I always said to myself, wait for another song, wait for another single. But again, like any era, right, sometimes you only get that one single. [00:04:50] Speaker C: Yeah. [00:04:50] Speaker B: And that's it. So. [00:04:53] Speaker C: Yeah, and you had to spend the money on it. Like, you had to buy it and you couldn't give it back because you wouldn't get all your money back once you open it. That was it. [00:05:01] Speaker B: Yeah. Unless your friend bought it. You had to buy it to listen to it. [00:05:07] Speaker C: Yeah. [00:05:07] Speaker B: Well, I mean, when. When did, um. I mean, like Napster and when did that stuff kind of. That was before this, right. Because that was that around the black album era. [00:05:16] Speaker C: Well, that. No, I don't think so. [00:05:19] Speaker B: Was it after that? [00:05:20] Speaker C: I mean, I'll look at it right now? Um, so 1999. So it was after this. That's what I thought. The naps was late nineties, so. Yeah, so this was still the part of, like, you didn't get any free music. Like, you paid for everything and. Yeah, and, yeah, if you didn't like it, too bad. Well, you bought the album, you're done. Sell it back for half price. [00:05:43] Speaker B: We don't like the artists were still making some kind of money off those sales. [00:05:47] Speaker C: Yeah, well, I mean, up until, you know, up until really fairly recently, they were still selling physical copies of stuff. And once the streaming really happened, you know, I mean, what can artists make on the stream? You know, those services don't pay very much, so. [00:06:00] Speaker B: Definitely not. [00:06:02] Speaker C: No. Well, I'm excited. I want to. I want to get started because I know this is very curious. This is the era. Like, I don't know if we said it last week, this is the era of the 70 minutes CD. And then everyone tried to jam as much stuff they could on. On a CD because they could. And not all. Not all of it's good. [00:06:22] Speaker B: Yeah. Again, I mean, this was their last thing. I mean, they broke up not too. After the. Not too long after the last video they made. [00:06:28] Speaker C: Yeah. And then you get back together for what, 2012? Something like that. I think so. All right, so the next song is called Apple bite. No idea. Me either. Here we go. That's weird. It kind of sounds like, you know, James recordings you used to do. Well, no, it's not like over recordings used to do, like when we were in band rehearsal. Like the boombox. [00:07:16] Speaker B: Yeah, those were the good old days. [00:07:18] Speaker C: Yeah, the good old days. Maybe that's on purpose. [00:07:21] Speaker B: Yeah, it just reminds us, like some kind of like sixties five. [00:07:24] Speaker C: Yeah, I can see that. All right, let's continue. Like, the drum sound. [00:08:24] Speaker B: Yeah, the bass is really good too. [00:08:27] Speaker C: It's a really long. It says 1 minute 18. There's no vocal yet. [00:08:30] Speaker B: Yeah, I don't think there's a lot of words in the song either. [00:08:33] Speaker C: It doesn't look like it from what I see. But I figured it would have gotten started ahead of time. [00:08:37] Speaker B: Yeah. Again, I'm getting that Pearl Jammy vibration vibe from this, even. Even the production. I'm almost waiting again for Eddie. Better to come in on the vocal. [00:08:47] Speaker C: Yeah. Oh, and we would be remiss to not mention this before we get started, that as of this recording, Steve Albini just passed away. Yeah, it sucks. Yeah, he did tons of stuff. We'll just look him up really quick just so we can at least say what he did. Nirvana, the Pixies, the breeders, PJ Harvey, the Jesus lizard, Jimmy Page and replant. Like he did lots of stuff. Man. [00:09:17] Speaker B: That's a big. A lot of big names on that list. [00:09:20] Speaker C: I watched a bunch of his stuff on YouTube. He was really good. Like to show you how he did things and how he recorded things and check it out. [00:09:26] Speaker B: I love that stuff. [00:09:27] Speaker C: Yeah. He had like a whole YouTube channel. He was doing it. Telling you how he kind of recorded things and interesting things about, you know, how he did record music stuff. So we just had to mention that. Anyway. Just has nothing to do with this. But no. [00:09:40] Speaker B: Well, I mean the era and I mean the fact. Always give a shout out to anybody that passes away in the industry. [00:09:46] Speaker C: All right. Let's continue. Let's see if we get some lyrics. Here we go. [00:10:40] Speaker D: No one can say. [00:11:16] Speaker C: So this is more like an instrumental really with very little vocal. It's weird. Like really distorted. Interesting idea. But you really can't understand what the fuck he's saying unless you're reading the words. [00:11:27] Speaker B: I know. What are we at the ten minute mark now? [00:11:29] Speaker C: And I'm not really. Believe it or not 245 it feels a lot longer. So the intro. There's some something that says only forever it's only forever and then the next part is. No one can save the pure or the brave no one can save them at all growth and decay growth and decay it's only forever it's only forever supposedly this is about like an Adam and Eve thing. Supposedly. I mean would you really know what. What's going on here without looking at lyrics? [00:11:57] Speaker B: Absolutely not. Well, I mean, let alone the fact that I don't really know what he's saying until you've read me the lyrics. [00:12:02] Speaker C: Yeah. Well, it's all distorted and like really like soaked in reverb and it's interesting idea. Like, I like the music a lot. I mean it is kind of repetitive. But I think that's the point. [00:12:13] Speaker B: But again, I'm kind of getting that b side vibe. You know what I mean? Like the stuff they left off the record. [00:12:19] Speaker C: And this was written by Matt Cameron, believe it or not. Very weird. All right. So it's 245. We have 224 to go. Let's continue. This feels like it's lasting forever and ever yeah it's only forever it's only forever so the only other parts in here is loosely and tightly everything fits even the wrist on your arm growth and decay growth and decay and then it's only forever it's just that only forever it's only forever. This is the longest. How long is this song? 509 so far? It's really long because it doesn't really go anywhere. [00:14:08] Speaker B: It almost sounds like an album opener in a sense of, like, you know how sometimes you get that weird album opener? [00:14:15] Speaker C: Mm hmm. [00:14:15] Speaker B: And then it kind of goes completely somewhere else or an album closer. [00:14:21] Speaker C: This side's supposed to be very psychedelic, supposedly, so we'll see. All right, we got another 111. Have a few. [00:14:28] Speaker B: I like when the distortion comes in and. You know what I mean? At least it makes it slightly more interesting, I think. [00:14:33] Speaker C: Yeah, it just doesn't go anywhere, though. It's the same thing over and over, and that's why I think it feels so long, because it doesn't change. I mean, obviously, this was done as just, like, an atmospheric kind of thing. Does it need to be 509, though? [00:14:45] Speaker B: No, no, probably not. [00:14:47] Speaker C: All right, here we go. Here we go. It's a weird little song. Long song, actually. Not little. [00:16:03] Speaker B: I know. [00:16:05] Speaker C: Okay, I'm gonna go first. I don't know what to say about the lyrics. Five to say. Nothing really there. Musicianship. Trying to think. It's not played badly, obviously. And I didn't realize how much the bass player has, like, in this band. Like, this guy, the second guy, he has a lot to do with stuff. [00:16:27] Speaker B: Yeah. [00:16:28] Speaker C: I don't know how much the first guy had to do, but this guy has. Shepard has a lot to do. [00:16:32] Speaker B: Yeah, he's really good. [00:16:34] Speaker C: There's lots of stuff. I guess I'm gonna say seven on the music, and I like the production a lot. I like all the little pieces and stuff. I just don't think it needs to be five minutes, but I'm gonna give it an eight on production just because it sounded really good. Just didn't really go any place. What do you think? [00:16:49] Speaker B: Yeah, I'm gonna say five in the lyrics. I mean, probably go lower, but I'll say five music. I'm gonna say six. I mean, it was okay. I think it's the kind of music that you listen to on your bed in headphones, and you kind of just close your eyes kind of thing. So it does have a cool atmosphere about it. Again, clearly, it's not meant to go anywhere, so it is what it is, and, yeah, I'll say seven on the production. I mean, again, I picture myself, like I said, when I kind of thought about it, laying in bed and just listening to it moving or thinking about it. It's a cool in that regard. But, I mean, if you're listening to the record. I would have hit skip a while ago, probably, or at least fast forward to see if it went anywhere. [00:17:32] Speaker C: But maybe, you know, if you're listening to the whole album, you're sitting there with headphones. Maybe you leave it on just because it's very tricky. Yeah. [00:17:37] Speaker B: No, in that case, I think I would. But if I'm, like, cruising, I'm like, hey, let's listen to the new sound guard. [00:17:41] Speaker C: Now you're like, skip. All right, well, I think this is going to be more of a normal song. So this is called Never the machine forever. Here we go. [00:18:10] Speaker D: How it takes coming round come on down, come down, come down, come on from the way you are. [00:18:24] Speaker C: So, am I kind of, like, wrong to say this is what I think Soundgarden sounds like? [00:18:28] Speaker B: Yeah, this is absolutely what Soundgarden sounds like. The production. I mean, the. I would never think that this was on their last studio album. [00:18:37] Speaker C: I actually like this a lot. [00:18:38] Speaker B: Yeah. I mean, compare and it's not even about whatever. I mean, just compare to any song that's come before this. Nothing has sounded like that. Yeah, no, this is definitely the closest to classic sound. [00:18:49] Speaker C: Cool. I'll see you go. So they came in a little. It came a little weird. Now they come and they pulling it back to the beginning, maybe. [00:18:56] Speaker B: Yeah. [00:18:57] Speaker C: And again, I don't know everything they've done prior, but to me, when I hear it. When I heard this, it's this what I. This is what I think sound garden should be in my head. So. Okay. It makes me feel better, at least. [00:19:06] Speaker B: Yeah. [00:19:07] Speaker C: All right, I'm gonna back it up a little bit. Here we go. Well, actually, I'll leave. I'll read lyrics, I guess, and then we'll get to that. So the verses. I can't live when it lives it won't live if I die machine has no heart to give heart it takes could be mine come on, come on, come on, come down, come out from where you hide okay. I like the lyrics already better. Right. [00:19:45] Speaker D: Tell me the way you are get on with you. [00:20:07] Speaker C: And the drum pattern is really good. It's different. [00:20:11] Speaker B: Yeah. I mean, that's typical. Met Cameron right there. [00:20:14] Speaker C: It's just. It fits that so well. Perfectly what they're trying to do. [00:20:18] Speaker B: Yeah. [00:20:20] Speaker C: Yeah. I mean, I shouldn't be surprised, because he's really good, so. [00:20:22] Speaker B: Yeah, he's a great drummer. [00:20:26] Speaker C: All right, so the. The verses follows me down the river shadows me through the sky a sideways glance in the mirror stalemate. Machine in a tie come on, come down, come out from where you hide. Get up. Get off. Get on with your life. So, supposedly, it's like a life and death match between an individual and a less specifically defined entity and supposed to be based on personal experience. This is a Kim thale. [00:20:57] Speaker B: I don't know if he was fighting. [00:21:03] Speaker C: Sounds like. It sounds like it could be, like. It could be like, what you call the matrix. [00:21:09] Speaker B: Yeah. [00:21:09] Speaker C: Because it says machine a lot. Right. Machine. [00:21:12] Speaker B: Machine. [00:21:12] Speaker C: But I make for a good song. Yeah, it's good. [00:21:15] Speaker B: Yeah. [00:21:16] Speaker C: So I'm assuming you like this better. [00:21:18] Speaker B: I do. Absolutely. As soon as it started, I was like, oh, shit, where did this come from? [00:21:23] Speaker C: See, there you go. You never know what's gonna happen on side two. [00:21:25] Speaker B: Mm hmm. [00:21:26] Speaker C: Side two could either be really interesting or it could be just a dud, but so far, I mean, they're doing okay. All right, let's continue. Cool little solo. Short, but cool. I liked it. [00:22:44] Speaker B: Is that what. More of what you were thinking of stuff that he does? [00:22:47] Speaker C: Yeah, I mean, obviously, maybe because he wrote this is. Maybe that's why it sounds like old school. Maybe. I don't know. [00:22:54] Speaker B: Yeah. [00:22:57] Speaker C: So, yeah, for me, yeah. I mean, again, not knowing a lot, but from the stuff that I've heard. Yes. This makes more sense. All right, so the. The bridge is forever means all is not seen never means forever brings everything. And then guitar solo. And then the next verse is I fashion will and desire always I and I survive mercurial mind the fire Ferreiras direction and drive. That's a big word to be using. Ferivorus. Come on, come down come out from where you hide get up, get off get on with your life and then now this part here, that's the bridge part happening. I'm gonna back it up so we can go to bridge. All right. You like it so far? I think you do, right? [00:23:47] Speaker B: I do. Yeah. Cool. Other than this and pretty new, my two favorites so far. [00:23:55] Speaker C: Cool. Yeah, I like this a lot. Yeah, here we go. Yeah, I like the guitar thing with the little harmonic things. [00:25:30] Speaker B: Yeah, that was cool. I like that, too. [00:25:32] Speaker C: And I guess we have to, like, say his vocals. I mean, do we have to say his vocals? Yeah, I mean, generally. All the time. His vocals are generally good. [00:25:42] Speaker B: Yeah. [00:25:43] Speaker C: If you don't like the song, you have to. You have to appreciate the vocals. [00:25:46] Speaker B: And he did it with such ease, right? He wasn't. [00:25:48] Speaker C: Yeah, it always felt like it wasn't forced. [00:25:50] Speaker B: It was just came out. [00:25:52] Speaker C: Yeah. He had a great voice and super powerful. [00:25:56] Speaker B: Oh, yeah. [00:25:57] Speaker C: You always felt the power when he sang, right? [00:25:59] Speaker B: Yeah, and quiet, too. And it needed to be. I mean, he, you know, think about, uh, that song that we did by, um, audio slave. [00:26:12] Speaker C: Mm hmm. [00:26:13] Speaker B: What was that called? Like a rock. Like a stone. [00:26:17] Speaker C: Like a stone. [00:26:19] Speaker B: So, I mean, he could do. You could do it all. [00:26:23] Speaker C: Yeah, no, he's awesome. So, the last part, which I didn't say, is the outro. Now I see myself clearer why time I visualize I spy device in the mirror checkmate watch machine die what's cool? Checkmate. Once you go first, then, yes, I'm. [00:26:47] Speaker B: Gonna say seven on the lyrics. I mean, it's pretty cool. Even if you don't know what's going on, you kind of have an idea what's going on. But there's still the good lyrics. Music. I'm going to say an eight because, again, this could be my favorite one so far. And I'm going to say an eight on the production, too. I think it captured their old sound, and they did a really good job. So what do you think? [00:27:13] Speaker C: I think I'm. I'm doing the same thing. Seven on the lyrics. I think the medium music is really good. I like a little guitar riff thing. His vocals are real good. Bass is good. Drums are really awesome. [00:27:23] Speaker B: Yeah. [00:27:24] Speaker C: Like, this is, like, one of my favorites so far. I mean, I like stuff on the first side, but this is this, to me, like you said, it feels more like old sound garden, what I think that is. And production is an eight. Yeah, it's just great. Cool. See, every once in a while, you find these things. You never know. [00:27:42] Speaker B: Yeah, well, maybe they were less. Less inhibitions on the side, you know, maybe like, he. Listen, this stuff might be a hit. This might be a hit. Just jam it all in the front. [00:27:55] Speaker C: Yeah. All right, so the next one is tighter and tighter. Do you know this one? I'm assuming you don't either. [00:28:01] Speaker B: I don't. I mean, again, I thought I didn't know some on the first side by the titles, and then once the choruses came around, I was like, I know this song. Yeah, but like I said, I never listened to this on my own, so. [00:28:15] Speaker C: No, me neither. Okay, so this is a. This is a Chris Cornell song. So tighter and tighter. Here we go. [00:28:59] Speaker D: I know. Shallow faith lost my grip mistake found my shape remember me, right? Sweet tire, sweet tire for me I sweet tired for me. [00:30:15] Speaker B: Wow. [00:30:16] Speaker C: What do you think about that? [00:30:17] Speaker B: That's really good, too. [00:30:19] Speaker C: Yeah, yeah, really good. [00:30:21] Speaker B: I'm, like, bobbing my head, kind of go swinging. [00:30:24] Speaker C: Is this more old style, too, to you? [00:30:27] Speaker B: So, yeah, it's the beginning was definitely reminded me of. Again. Again. I think the production has to do with it. It kind of mixes old and new, but in a good way because it's still kind of loud. Right. And I like the effect on his voice. I think there's kind of a little bit of Hendrix going on in there, too, maybe. [00:30:49] Speaker C: Yeah, it is a little psychedelic, too. [00:30:52] Speaker B: Yeah, I like that. I just. I wasn't feeling this even on the hits on the first side. What's like. What's going on with this one in the one before? [00:31:00] Speaker C: Yeah, it's still doing good. So I like the guitar playing. I like the wawa playing on there. It's all good. There's nothing that. There's nothing not to like here. [00:31:13] Speaker B: No. [00:31:15] Speaker C: So the verse is shadow face blowing smoke and talking wind lost my grip fell too far to start again start again a sudden snake found my shape and tells the world remember this, remember everything's just black or burning sun and then choruses. And I hope it's a sweet ride sleep tight for me sleep tight for me I'm gone sleep tight for me sleep tight for me I'm gone I don't know what this is about yet. [00:31:49] Speaker B: I don't know if it's, like, depression or anger, maybe, but I even like the chorus, how it kind of starts off, like, before it goes to ride. It's like, I hope it's a sweet. And then it stops, and then. You know what I mean? And then it goes into ride. They say the ride. And then he goes into the other part of the chorus. I mean, it's. It's composed really well. [00:32:11] Speaker C: Yeah, it's very good. [00:32:13] Speaker B: Yeah. [00:32:15] Speaker C: And you're right, it kind of sounds a little older, but it has the newer things that they're doing together with it, which is really good. [00:32:21] Speaker B: But it's louder, I think, than the other stuff on the first side. Right? I think. [00:32:25] Speaker C: Yeah, that was smart. [00:32:28] Speaker B: Yeah. [00:32:31] Speaker C: All right, let's continue. Here we go. [00:32:33] Speaker D: Woman sleep swinging from deep one last thing from the spend tonight and run away another hits me and I have to say goodbye the sleep tire for me, I got. [00:34:06] Speaker C: The Kosovo comes in with recent lyrics, but I like that a lot. I like how they change the chorus up. [00:34:12] Speaker B: Yep. [00:34:13] Speaker C: The second time around makes it look very interesting. [00:34:16] Speaker B: At one point, I don't know if you heard it. I think it was only on the left side in the verse, in the middle of nowhere, there was a little wa like. And he only did it once. [00:34:25] Speaker C: Mm hmm. [00:34:26] Speaker B: It was so cool. I was like, that was it. Like he didn't keep doing it. Or just this one little. [00:34:32] Speaker C: Okay. Weird little things they throw in there. Just little earworm things. [00:34:37] Speaker B: Yeah. [00:34:39] Speaker C: Okay, so the second verse is warm and sweet swinging from a window's edge tight and deep one less sin before I'm dead before I'm dead a sucking holy wind will take me from this bed tonight and bloody wits another hits me and I have to say goodbye. [00:34:58] Speaker B: It sounds like death, right? [00:35:01] Speaker C: Yeah, definitely. But. Yeah, but this is really good. I like this a lot. I'm gonna back it up. Here comes a solo and see what he does here. That was a good solo. I liked it. Yeah, I like that. I like the stuff behind it. It was very black Sabbath. Yeah, like, the riffs behind the solo stuff. [00:36:28] Speaker B: Yeah, I like that. It was, like, loud and it was long, too, right? It was. A lot of times you complain. Sometimes when these guys start this really good solo, all of a sudden it's like two bars, and you're like, wait, that's it? [00:36:39] Speaker C: Yeah. [00:36:40] Speaker B: Like, this is the kind of solo that this song needed. [00:36:44] Speaker C: Oh, a thousand percent. Yeah, it was really good. I liked it a lot. And like I said, I don't. I don't have much of a knowledge about his. Like, the stuff that I've heard has always been weird stuff. Anytime I've heard, like, guitar things from him, it's always been weird. Really strange. So this is more straight, more straightforward than I've ever heard from him, because I don't listen to them. So, for me, this is not what I think of when I hear his soloing. [00:37:09] Speaker B: Straightforward. But, I mean, obviously, still interesting. Right? Because there's a lot of. There's still a lot of stuff going on. [00:37:15] Speaker C: Yeah. No, I mean, because there's a lot of stuff I normally hear from him. It sounds just a little weirder than this. This is. For me, this is straightforward. Meaning, like, it's. It's a good solo. Not that the other stuff isn't good. It's just sometimes it goes into a weird direction that this is not in. So I like it. [00:37:30] Speaker B: Yeah. [00:37:31] Speaker C: Very cool. All right, let's continue. [00:37:46] Speaker D: Sleep tight. Sleep tired. For me, I got sleep. I got. [00:39:12] Speaker C: Very good. Awesome. And you even got more outro solo, which was good, too. [00:39:19] Speaker B: Yeah. [00:39:21] Speaker C: Why don't you go first? [00:39:24] Speaker B: You know what? I think I'm gonna say triple h on this one. I mean, the lyrics were really good. The music was really good, the production was really good. I mean, these are, like, again, back to back, the two strongest songs for me on the record right now. So what do you think? [00:39:43] Speaker C: Yeah, I think I'm doing the same thing. Triple eight. Yeah, this is even my. This might even be better than the song before it. The song before. [00:39:50] Speaker B: I'm debating now which one I like better. [00:39:54] Speaker C: The song before it was very. From what I remember, very old school. Like, this has parts of it and then new stuff, so I think. I think I like it better. [00:40:04] Speaker B: I mean, it's really strong. [00:40:07] Speaker C: I mean, you know, they came in a little weird with that intro, but they've more than made up for it. [00:40:12] Speaker B: Yeah, two really strong songs, and that. [00:40:17] Speaker C: Was a Chris Cornell one. On the next one that's coming up, no attention is another Chris Cornell. So, I mean, he didn't have a lot on the first. On the first, he did, but, like, you would expect him have even more. But, you know, the bass player did a whole bunch of stuff in the middle there. [00:40:33] Speaker B: Yeah. [00:40:34] Speaker C: On the first side. So I'm curious to see now. I wonder if they can, you know, keep this up. [00:40:42] Speaker B: Yeah, I hope so. You mean, again, this is the. They're bringing in the old stuff, and it's. [00:40:46] Speaker C: Oh, yeah, seriously? [00:40:47] Speaker B: Yeah, I like it sounding better, I think. I mean, again, this is the stuff that I like from them, the heavier stuff. [00:40:55] Speaker C: Yeah, but that was heavy, but it was. I can't explain it, I think is a little more heavy. But even though it's heavy, it still had, like, that psychedelic y, kind of, like, newer sound guard and stuff going on. [00:41:09] Speaker B: Yeah, I mean, this stuff is just. It's just. It's louder, I think, and the production is louder. You know what I mean? I feel like the first set was safe, let's say. [00:41:20] Speaker C: Mm hmm. [00:41:21] Speaker B: You know, there wasn't a lot of experiment, from what I remember. I mean, I could be wrong, but there wasn't as much going on, even musically. I mean, this stuff is full of shit. Go. There's a lot of stuff going on in these songs. Yeah, the good stuff. [00:41:37] Speaker C: It's really good. I mean, everything was good. Bass playing was good. Drumming, obviously. [00:41:40] Speaker B: It's really good on this record. [00:41:42] Speaker C: He's good place. No, not me either. Like I said, I couldn't even tell you who he was before this. All right, so this is no attention. [00:42:11] Speaker D: You know, I gotta make my mind. [00:42:34] Speaker C: I'm assuming you like this one too. [00:42:36] Speaker B: Yeah, I like that too. [00:42:38] Speaker C: So. So this is. Does this sound like the Soundgarden too? [00:42:42] Speaker B: So here's what I think. I think it's in that vein, but the production, I think, is a little bit cleaner on this one than it was on the other one for whatever reason, I think this is a little bit more of what I found. Me, personally, I'm hearing a little bit cleaner production, so it could be as loud as two songs ago, but it's. It's not. But it's still good. Like, it's still dry, you know, whatever. There was that song on the first night, too, that was a little bit faster. Right. But none of us really dug it. I forgot which one it was, if it was like the last one. But this. I'm like, this is good. The correlate the chorus. He's screaming in the chorus and. But you know what I mean, it sounds really good. [00:43:18] Speaker C: Yeah, yeah. [00:43:19] Speaker B: I'm digging this one, too. [00:43:20] Speaker C: All right, so the verse is, I've got war in my mind blood in my hands and love on my head so open your hands, open your mouth let it be said you know I've got it made in my mind don't waste my time it's not going to change so say what you want spit it out loud into my face now I'll pay no attention no attention I'll pay no attention I'll pay no attention it's good. This is 426. It's not too bad. So let's continue. [00:44:01] Speaker D: Take it where to walk when the smile just want to say I feel like no way I put no attention I put no attention I put no. [00:44:49] Speaker C: Before the solo comes in, it's weird. Like, the verses feel really punky and then the choruses feel very, like, sabbathy. [00:44:59] Speaker B: I didn't like what he did in second verse, though. He changed it. [00:45:03] Speaker C: Did he? [00:45:04] Speaker B: Yeah, he changed the first. 4123. I think it's five bars. And then he went back into the rhythm that. The melody that he did in the first verse. And I don't know why he did that. I mean, I didn't. I'm okay with changing things up, but I didn't like it because to me, it reminded me of the first side, the stuff that I wasn't liking on the first side. So I don't know why he kind of went back to it. [00:45:31] Speaker C: Yeah, I don't know. I didn't notice. Let me give you. Let me give you lyrics. So it's. They're going to tell you where to walk and when to smile and just what to say they say you have your own fall make your own mind but don't make no waves and if you've got a handful of change don't throw it away it's gonna come so say what you want suck all my lies suck on my brain and then no attention. Chorus and post chorus. But it's just weird for me. Like, the chorus is very. Feels more sapped, maybe because it's, like one line things. It's not really chords, just like a riff. [00:46:17] Speaker B: Yeah. [00:46:18] Speaker C: So that's where it sounds a little sappy to me in the beginning. And the stuff in the verses sound much more punky. [00:46:23] Speaker B: Yeah, it's kind of got that vibe. [00:46:25] Speaker C: Yeah, I like it, though. [00:46:27] Speaker B: Yeah, I do like it overall, like I said, just didn't like that switch. [00:46:32] Speaker C: Yeah, well, I'm sure it was on purpose. Change it up. So. All right, here's solo. Let's see what happens. Here we go. It's kind of short. Yeah, but, you know, like, the list all. [00:47:22] Speaker B: I mean, I did like it. [00:47:25] Speaker C: Oh, you did? You didn't? [00:47:27] Speaker B: I did. [00:47:28] Speaker C: Yeah, me too. I mean, I think I was gonna. [00:47:31] Speaker B: Say the feel of as much. As much as a solo, as kind of like a musical bridge. Yeah, almost. [00:47:38] Speaker C: Yeah, it didn't need to be very long. You just need to break it up a little bit, that's all. Yeah, I mean, it's really weird. Like, this song is 426, and we're only 204. We have another 222 to go. I don't know what's gonna happen here. Yeah, it feels like it's starting to run out of steam. But I don't know. Maybe they're gonna change it up and do something. I'm curious. All right, here we go. [00:48:03] Speaker D: I pay no attention I pay no attention I pay no attention no attention I pay no attention no attention I pay no attention no attention no action no action not touching no birthday can I bring no birthday I cannot wait no sa. [00:50:24] Speaker C: What stuff at the end? [00:50:26] Speaker B: Yeah, well, you know what I mean. Like, that kind of change the shift kind of. [00:50:30] Speaker C: I was okay with the shift. [00:50:33] Speaker B: I like the riff. But again, I don't know. I feel like it took away from what the song was. I think this song needed to be a two and a half minute song. I even could have done. I was even okay with the whole pay no attention. Like, when he said it a few times because it was still in the vein of the song, but to me, it kind of went off course with that. [00:50:58] Speaker C: Yeah, maybe it was a little too long. Yeah, maybe it should have been, like, three minutes long. [00:51:03] Speaker B: Yeah. Like, if you're gonna use that riff at the end, cool, that's fine. Like, it was a good riff. Maybe go out on that. Even have him solo a little bit over it. [00:51:11] Speaker C: I wasn't expecting him to go back into the verse. Again, the second verse again. So. Because that's what they did. So it wasn't, wasn't, wasn't. I was surprised that that happened. So, I mean, generally I liked it. It's just. Yeah, maybe it was just wasn't as. It was too long, maybe. I don't know. Anyway, so the lyrics I'm gonna give. Let's see. I like the lyrics, I'm gonna give it to seven. Musicianship. I mean, you know, it's good seven too. And I think I'm gonna do my first seven. Seven. I think the production was good too, but, you know, I don't think I'd like it as much as the songs prior. I mean, not to say it's bad, it's just. It's just. I think it could have been a little shorter, like you said. So let's see, here we go. Nikki Titty baby, 777. What do you think? [00:52:02] Speaker B: I'm gonna say six on the lyrics because I gave seven to stuff I liked better. I'll say seven on the music again, just. I like most of it. I just didn't really like the trends. And it's the same part that they're gonna tell you where to walk and what to smile, what to say, where. He just changed it up for me. It was kind of like hitting a wall slowly. And I'm not just crash course, you know what I mean? Crashing into it, but kind of like bumping into it. It's like, whoa, what the hell happened? Trying to take on the production. Yeah, I'm going to say seven on the production. I mean, it's played well, but it just. It has those timbers of the first side where it was. Again, I felt like it was kind of. It went into that safe mode again and it just needed to be raw. [00:52:59] Speaker C: Yeah, I could see that. [00:53:02] Speaker B: But, I mean, that's terrible. [00:53:05] Speaker C: No, it's not terrible. [00:53:06] Speaker B: Not bad. [00:53:07] Speaker C: So this one is switch opens. This is written by the bass player, so I don't know what. What that means or it's gonna sound like. Is it gonna sound like stuff in the first side he wrote? I don't know. This is 352, so let's see what it does. Here we go. Switch opens. [00:53:59] Speaker D: Draw your name. [00:55:18] Speaker C: Well, what do you think? I don't like the melody in the verse. [00:55:25] Speaker B: No, I don't like it either. I'm not feeling the same. Too much. [00:55:29] Speaker C: Yeah, it's not as good. [00:55:31] Speaker B: Yeah, I mean, I don't know if it's maybe the stuff that he's writing, even though, like, we obviously, a really good bass player. [00:55:37] Speaker C: Mm hmm. And the bass is real upfront in this, but he just may not be as good of a songwriter, maybe. I don't know. [00:55:48] Speaker B: I mean, it's interesting, right? There's. I mean, there's some cool stuff going on, but, I mean, in general. I don't know. [00:55:57] Speaker C: A little disjointed to me, though. [00:55:59] Speaker B: Yeah. And not much to hold on to, kind of. [00:56:05] Speaker C: Well, I read the. I read the lyrics, so. Hey, you slaves, go hang your owners? Draw your names among their ashes? Lay your children on their thrones? Gather round and fall right down here at sundown? Nothing is what nothing is when everything is all right, switch opens. Nothing opening around. And let's get the garden? Let's get let's the garden rise I can't read. Switches on. Switches on. Switches on. Switches on. So. Okay. It's just the melody is not really great. I mean, there's some interesting pieces, but again, like you said, and we. When I said, too, is that it just feels so disjointed that it doesn't feel like it sounds like it's just stuff that's put together for the just sake of it. I don't know. Let's continue. Ready to continue and see what happens. I don't think it's gonna change up. All right, here we go. [00:57:19] Speaker D: You in your side over left your heart together. [00:59:07] Speaker C: Yeah. Well, I like. I like the riff. Like, the ending riff and the intro riff, that riff that they do at the beginning. Like, I'd like to riff. [00:59:13] Speaker B: Yeah. [00:59:14] Speaker C: It's just. It's just we're very. I don't know. It's a weird song. [00:59:18] Speaker B: You know what it is? You know when sometimes when in a band, different people write songs, right? And you kind of know who's writing a song, kind of, by listening to it. That's what this kind of felt like. It felt like the last three, even though I didn't like where the last song, where it went for those couple of pieces, it just. They felt like band songs. Right. This sounds like someone else coming in and writing this stuff and then playing to it. [00:59:54] Speaker C: Yeah. [00:59:55] Speaker B: I don't know. It doesn't. It sounds. Again, it sounds like, hey, guys, here's my song. Let's learn it. Let's play it. As opposed to. And I'm not saying that the other songs were written as band songs, either. Maybe there's just a thing about it. And again, I mean, not to knock the bass player. He's a really good bass player, but I don't know. Some of the stuff. I don't remember what I commented on the first side with the stuff that he had written specifically. But he wrote some of the hits, too, though, right? In the first side or no, am I wrong? [01:00:31] Speaker C: On the first side, pretty nooses. Cat is Chris Cornell, rhinosaur is Matt Cameron, and blow up the outside world and bird in my hand were both Cornell. The only thing that, I mean, they released it, but Ty Cobb was Shepherd, so you did zero, zero chance. And Dusty, you kind of, like six on that overall. Yeah. You didn't like them as much? Well, which is kind of similar to this stuff. I don't know what to say. I mean, I don't think the lyrics are horribly bad. I'm gonna give it a six. The music, I mean, music wise, like, his bass playing is great. I mean, the guitar didn't really do very much, but follow the bass here, like you said, it's like, here's the way the song goes. And didn't feel like there was as much collaboration maybe, on this song, so I'm gonna give it a six. And production, I think, was fine. I think it sounded good. I mean, Matt Cameron, you know, played very well. I mean, and his vocals, it wasn't really exploring his range at all. It was very monotone. [01:01:39] Speaker B: Mm hmm. [01:01:40] Speaker C: So that's one of the things I didn't like, too. So, I guess six, six, seven. What do you think? [01:01:46] Speaker B: Yeah, I think I'm gonna say the same thing. I mean, again, there's some interesting stuff going on. It's like, oh, my God, this song sucks. But I don't know, just like you said, it didn't. It lacked a little focus, and what's going on is not that complicated. Right. It's just really that moving, mainly that ban amp banner. Banner kind of thing. [01:02:09] Speaker C: Yeah, I like that. I like that riff, though. That's the one that like. But, yeah, I think if you're probably right, this doesn't feel like anything that was super collaboration. [01:02:20] Speaker B: Yeah. [01:02:21] Speaker C: Sounds like a key came in with this, and here it is. And they were like, okay, it kind of sounds that way to me. So whether that's the case or not, that's what it sounds like. All right, so the next thing is over Florida. And this is another Chris Cornell, I believe. Double check. Yes. Chris Cornell again. So let's see if this is any different. Here we go. They seem to like that on this side, to come in with that lo fi like thing and then come back into the song. I mean, it's okay once or twice, but, like, they did it like, three times already. [01:03:00] Speaker B: Yeah. They're relying in general. All right. That was kind of. [01:03:06] Speaker C: No, I mean, but, like, they're doing it three times on the side so far. It's like, I don't think you need to do it that many times. [01:03:11] Speaker B: Yeah, well, hopefully this gets heavier like. [01:03:12] Speaker C: The other ones did, too, and maybe. Maybe we'll get lucky. Here we go. [01:03:27] Speaker D: Come on. Take me away stuck inside troubles found nothing's gone. [01:04:00] Speaker B: Won'T make you. [01:04:07] Speaker D: Won'T make. [01:04:08] Speaker B: You rise I like the chorus. I'm not crazy about the verse. It's not bad. But again, I think this song would lend itself better to kind of just. Especially that chorus. It was a really cool riff that I'm thinking, like, if they're just rocking out on it and he's just screaming it out, I would like it much better. But I like it better than the one before, though. [01:04:45] Speaker C: Oh, yeah. This is better than switch opens. Yeah, no doubt. So the verse is, come on in and take me on an override. Stuck inside and up all night at Dave's troubles far away mother's in her cage nothing's going to pinch this nerve of mine I want to make it right I want to make it right now the only thing I can think is that maybe he'll still step up the vocals coming into the next chorus. Whatever. I don't know. Maybe. [01:05:14] Speaker B: Yeah. [01:05:16] Speaker C: I mean, the baseball, it's. It's a little stone temple pilots to me, too, maybe because the base is like. It's like that. Very moving. Like the base is really moving underneath. [01:05:24] Speaker B: Yeah. [01:05:25] Speaker C: Because he does that a lot. [01:05:26] Speaker B: Yeah. [01:05:28] Speaker C: You know, I mean, it's not. A pilot's the bass player. He's very. He moves over, all over the place. So this is what sounds like to me a little bit. But I don't hate. It's much mellower. [01:05:37] Speaker B: Yeah, it's. Yeah, it's not. It's not bad. I mean, I do really like the chorus. [01:05:42] Speaker C: Yeah. Maybe they'll change your mind. Let's see. Here we go. [01:06:03] Speaker D: Here. Far beyond nothing's gonna pierce this nothing's gonna pierce this new mind won't make you rise won't make you rise all the great over the fire. [01:07:36] Speaker C: They turned it up a bit. [01:07:38] Speaker B: Yeah. I was kind of hoping it stayed there, but I had a feeling it. [01:07:44] Speaker C: Was going to come back down again. [01:07:46] Speaker B: I mean, I had a feeling, but I was like, just stay there. [01:07:50] Speaker C: Yeah. So the verses close the door and pull the shades and climb the walls feel medicine heal the lines of age I'm here and now I'm gone I'm there and far beyond nothing's going to pinch this nerve of mine nothing's going to pinch this mirror of mine and then that other chorus. I don't know if it's a chorus or just whatever the hell this bridge or. I'm on the wire over and higher over the pretense over the spire on and connected I'm over floating now I'm over floating now I'm over floating now over floating alone, alone, alone, alone, alone alone alone alone alone, alone, alone, alone lots of alone. Yeah, I mean, I like some little changes. I think he's. He started to belt out the chorus a little bit, which was nice. [01:08:40] Speaker B: Yeah. [01:08:43] Speaker C: But, yeah, it definitely had a feeling it was gonna go back down. [01:08:47] Speaker B: How long is this? [01:08:48] Speaker C: 1508. So there's a guitar solo coming up somewhere. Yeah, it's long. All right, let's continue. [01:09:04] Speaker D: Sake it down and swallow our gift roll upon you now stare your shadow down remember to forget your shame to make you I'm on the water. [01:10:35] Speaker C: I'm. [01:10:35] Speaker D: On fire I'm on the breakdown I'm on the fire all I cannot I'm over I'm overboard and now I'm overboard and now I'm overflowing. [01:11:12] Speaker C: Well, I was. [01:11:13] Speaker B: Like, wait, was that five minutes or not? [01:11:15] Speaker C: What? [01:11:16] Speaker B: I was like, was that five minutes or not? I was like, is there to come back in with something? [01:11:21] Speaker C: No. Well, let me read the last course before we decide to give our thing. So it's breathe and take it in and gently blow it on drink it down on swallow hard and gaze roll the potion up stare at, stare your shadow down remember to forget and then rename your shame so I think I like that third verse better, the way he was singing it. But, yeah, I was expecting the chorus to get a little more, you know, full voice kind of thing, which you didn't really do. Why don't you go? [01:12:00] Speaker B: I really like that line about remember to forget and then rename your shame. But I mean, I don't think these lyrics are as good as the one before or the one before that. That I give it a seven. I forgot which one I won, so I'm gonna say six on the lyrics. I mean, the music was pretty good. I definitely liked this one better. And I think upon more listens, it'll probably grow even more on me. So I'm gonna say seven on the music. I'll say an eight on the production. I mean, it was. It was good, right? Everything was clear. The dynamics were there. I think the production needed. Did everything it needed to do. So, I mean, again, I like the heavier parts of this, and the metal parts aren't bad. What do you think? [01:12:45] Speaker C: I think I'm gonna give the lyrics a six. Then I'm going to give musicianship seven, maybe. I liked. I liked in some parts of it. Like I said, I don't mind the mellowness of it. I think you're right. I think if you listen to it a little bit longer, I think it'll grow on you a little bit. And production. Yeah. Eight sounds good. I think everything was clear. It was, you know, you could hear everything. Nothing was really. Nothing was really garbled up or hidden too low or not or too much or. But it. But it definitely, you know, stays with the vibe of the side being a little more psychedelic stuff. But I like it. [01:13:34] Speaker B: Yeah. I mean, it's more in line, I think, with the first couple, not the first. I'm kind of like the second and third. It feels like a better follow up to those. [01:13:46] Speaker C: Oh, you mean. Are you talking out? [01:13:48] Speaker B: No, the ones on this side. Oh, well, on this side. [01:13:51] Speaker C: I mean, on this side. Okay. Yeah, yeah. I think, in general, this side's been a little more. It's been a little more interesting. [01:14:03] Speaker B: Yes. I mean, honestly, I like this side better. I think there's more experimentation. Obviously, it's a little bit heavier in parts. [01:14:15] Speaker C: Yeah, I agree with that. All right, so the next one is an unkind. This is a bass player song. Again. Shepard again. So I'm curious to see if this is, like, just a. Here's my. Here's my riffs and we're singing it. Or is it gonna be like, more collaboration? So let's see. Here we go. And in kind. [01:14:44] Speaker D: Crying to alive every day breeding our real hatred pathetic, stupid and mankind we deliver faith in the eyes we can live the faith in the ice. [01:15:19] Speaker C: Well, what do you think of that? [01:15:22] Speaker B: I kind of like the way it started, but the melodies are not grabbing me again. [01:15:33] Speaker C: Yeah. And I don't know. I think that the guitar doesn't sound very big. It sounds really small. [01:15:38] Speaker B: Yeah, man, it just. [01:15:40] Speaker C: Right. [01:15:41] Speaker B: I don't understand. I feel like every song he writes, the guitar kind of. And I understand, like, he's a bass player and everything, but I just think if this song. If the guitar was really jacked up, right. It just. It'd be. It would sound better. [01:15:58] Speaker C: I think so, yeah. All right, so the lyrics are. We see the vipers of distance crawl into our lives every day breeding our edens of hatred pathetically stupid and unkind. And then the pre chorus is, we couldn't look the saints in the eyes. We couldn't look the saints in the eyes. And then choruses, on the storm, it's time to go. On the storm, it's time to go. [01:16:25] Speaker B: Yeah. Eden and the snake return in this one. [01:16:28] Speaker C: Yeah, I know. [01:16:29] Speaker B: What do you think of it so far, overall? [01:16:33] Speaker C: Like I said, I think that the guitar is so not punchy like that. It sounds really. It sounds really small. It makes the whole song sound small. Yeah, that's just what I'm. Production wise, I don't. I didn't like that. I know. I don't like that choice. [01:16:47] Speaker B: Yeah. Again, it's kind of clean and safe. I feel. [01:16:52] Speaker C: Well, I don't know if it. It's not really playing it safe. It's just. I think production wise is screwing it up on your face. [01:17:01] Speaker B: Yeah. It needs. That's what I'm saying. Like, the production is kind of like, okay, hey, again, this shit sounds a lot better than some of the stuff we've heard recently. So no matter what. Whatever. Whatever the song is, I think the production is better. [01:17:18] Speaker C: Yeah. [01:17:18] Speaker B: But just for this song particularly, I'm like, come on, give it so much. [01:17:23] Speaker C: Sounds small. [01:17:24] Speaker B: Yeah. [01:17:26] Speaker C: All right, let's continue. Here we go. These are short songs. This is only 208, so we're going to be in and out of this quick. [01:17:49] Speaker D: To the face of the eyes. I. [01:18:25] Speaker C: That was weird. [01:18:30] Speaker B: The percussion on the left hand side reminded me of an old style phone. It's like. [01:18:38] Speaker C: Yeah, I know. It's weird. All right, so the verse is marching in lines of contradiction, forgetting the history we make, loving our hangman as the penultimate joke. And then the pre chorus is we lack the moses to look the saints in the eyes. And then the chorus is the same thing. I mean, I think there's something. There's something that'd be really cool here. I just think that guitars being so, like, wimpy and the production is not being as great here. I don't know. Could be better, I think. [01:19:14] Speaker B: Yeah, I think so. [01:19:16] Speaker C: All right, let's continue. [01:19:52] Speaker B: I feel like that last part kind of had what the song kind of should have sounded like throughout. Like, it opened up a little bit. [01:20:01] Speaker C: Yeah, I like the end part. [01:20:03] Speaker B: Yeah. [01:20:05] Speaker C: Um, I mean, lyrics aren't bad. I'm gonna give him a six. He threw some big sat words in there, so that was always good. Like, the musicianship is not bad, but I feel that the guitar being so small sounding didn't really help. This is that musician problem is that production problem, I think it's gonna be both. I only give both of those a six. I just don't think, you know, they really didn't even flush the song out enough. [01:20:39] Speaker B: Yeah. We say number of the Beast 666. [01:20:47] Speaker C: I remember the beast drop. [01:20:51] Speaker B: I mean, yeah, if you're gonna. I know. If you're gonna put a song like this on the record, I'll do something with it. You got. How many songs are on this damn record? [01:20:59] Speaker C: 1816. It's a lot of songs, man. [01:21:05] Speaker B: Yeah. [01:21:07] Speaker C: But again, that was the trap back then, you know, CD came out, you could put 70 minutes of music on. This is, this is 60. This is an hour and five minutes. It's over 60 minutes of music. So they just threw, they threw everything but the kitchen sink on there because I think everyone thought that that's what they were supposed to do. [01:21:23] Speaker B: Yeah, basically. [01:21:24] Speaker C: I mean, use it all. But, you know, that's always not like if you cut this album down to twelve songs or eleven songs, right. [01:21:33] Speaker B: I would say ten. I don't know that. I don't know that I could stretch it out to. I mean, obviously keep some of the stuff from the second side, keep the hits, you know, even if I'm not a master fan. [01:21:49] Speaker C: You're right. Maybe 1016. That's a lot. All right, so we're at the end. This is Chris Cornell song called Boot Camp. Here we go. Now, are those the lyrics going on the left hand side there? [01:23:20] Speaker B: Oh, I don't know. Is that what that is? [01:23:22] Speaker C: I don't know. Because it's a minute and 9 seconds in. It's only a three minute song. So why are the lyrics coming out? I thought was just like noise. You know what I mean? Like. [01:23:33] Speaker B: Yeah, that's what I thought. [01:23:35] Speaker C: In the background. [01:23:36] Speaker B: Yeah. [01:23:37] Speaker C: So I don't know. I mean, I like some of the stuff in here but, you know, maybe they can end the album with more of like an instrumentally kind of like noisy kind of. That's lyrics. I can't. I'll read them after we're done, but I don't know. Or going out. [01:23:55] Speaker B: I'll pay more attention now and see if that's what's going on. [01:23:57] Speaker C: Yeah, I wasn't sure. [01:23:59] Speaker B: Me neither. [01:24:01] Speaker C: Here we go. [01:24:20] Speaker D: Stay on the ground like babies on display angels in the cave must contain you there must be something else there must be something good. Far away far away from here far away far away from here far away forgot. [01:25:48] Speaker C: That was the quickest three minutes ever. [01:25:53] Speaker B: Wait, how long was the time? [01:25:55] Speaker C: Almost three minutes. No, but if that was a quick three minutes, though. [01:26:02] Speaker B: Yeah, there are definitely shades of pig fight on that. I mean, the melody and the verse. And there's some stuff going on on the guitar, too. [01:26:10] Speaker C: Yeah, yeah, there's lots of cool noises and stuff, and I like it. So it's basically about denying being yourself for the sake of being part of the system of the mass. Another brick on the wall there you. [01:26:24] Speaker B: Go, there you go, there you go. [01:26:28] Speaker C: Okay, so the lyrics are. I must obey the rules I must be tame and cool no staring at the clouds I must stay on the ground in clusters of the mice the smoke is in our eyes like babies on display like angels in a cage I must be pure and true I must contain my views there must be something else there must be something good far away far away from here far away from here, etcetera. So there's good pieces in here. You know, I would have rather them, like, flesh this song out and made it longer as a full song and cut some of the other shit out. So, what do you think? [01:27:14] Speaker B: I'm gonna say six on the lyrics. I mean, I'm gonna say six on the music. I mean. I mean, there was some interesting stuff going on, but, I mean, it didn't really go anywhere. Production's fine. I'll say seven on the production. What are you gonna give it? [01:27:37] Speaker C: Yeah, I think that's pretty much the score. I like some of the music stuff, but it really didn't go anywhere. It was too short. It wasn't really fleshed out. You know, it would have been better off if they cut some of the other stuff off this album and worked on this thing a little longer and made it a longer song. I mean, it's not horrible. Just, you know, again, I think both sides, to me, are fairly equal. There's some good stuff and then there's some mediocre stuff. [01:28:07] Speaker B: Yeah. [01:28:08] Speaker C: I don't think one side is better. I mean, one side being better. Meaning, because you heard the hits off this thing. I think maybe those. Are they stronger than the songs we like on the second side? I don't know. I think they're kind of equal to me. [01:28:23] Speaker B: Like I said, I wasn't. I wasn't a massive fan of this and the one before, but again, I'd never heard all of them before it, so I know the hits because I didn't buy them. Yeah, but, I mean, I. The two or three songs that I liked on the second side are my favorites, but, I mean, again, none of the songs are terrible, but. [01:28:51] Speaker C: Yeah, I. [01:28:52] Speaker B: Mean, this album does not need to be 16 tracks long. [01:28:56] Speaker C: Oh, no. So very few albums need to be 16 tracks long. [01:29:01] Speaker B: Yeah, I mean, long. It is long. [01:29:06] Speaker C: Well, I mean, it's an interesting thing to listen to because I would never again, might not listen to this album on my own. I might have listened some earlier stuff before I did this, but it's interesting, like, where they ended up and then they just broke up after this. And they were like, broke up for what, 25 years? [01:29:25] Speaker B: Was it that long? [01:29:26] Speaker C: Well, they broke up right here. Right? 97 or whatever. 2007. I know, 15 years. Maybe it's 2012. They came back. So something like that. [01:29:38] Speaker B: I mean, I am surprised that nobody, at least, you know, you typically back then, right? You bought it on cassette. You popped it on in the car. Right. You kind of listened to it as you were cruising. That was more of, like, hanging out. But I don't remember any of my friends, like, having this or so. [01:30:01] Speaker C: Yeah. [01:30:01] Speaker B: I don't know if they just didn't like it either or they just put it in the car. [01:30:08] Speaker C: I mean, I. Like I said, I know the hits because I heard. I mean, you couldn't. I mean, some of these songs went pretty high. The mere fact that this only did, like, 1.6 million and had a couple of big, really big hits on it, I don't understand. [01:30:22] Speaker B: And, I mean, we never want to go see him live either, which is another thing I remember any of my friends saying, I'll just go buy tickets for sound garden. So. [01:30:32] Speaker C: Yeah, well, hey, listen, the wheel gave us some more nineties. I wonder what it's gonna do next time. [01:30:37] Speaker B: Yeah, that's two. I mean, two pretty big. Pretty big bands. [01:30:43] Speaker C: Yeah. To get to check off the thing. Foo fighters and sound. [01:30:48] Speaker B: I don't know, next week, either we go back to the roots of rock, maybe, or she just picks something batshit crazy. She's like, all right, I gave you some famous stuff. Now. Now let's go back to the, you know, debut albums from bands that sound nothing like their debut or somebody like, what the hell is this? [01:31:09] Speaker C: Yeah. All right. Why don't you do your thing? [01:31:12] Speaker B: So we are part of the deep dive podcast network again. Like I always say, great bunch of guys took us in right away. If you want more individualized podcasts about specific bands like Rush again, shout out to everybody's at rush, Ras, Judas Priest, Judas Priest cast. But you got Uriah heap. Uriah Heap was actually playing at the paramount. Coming up, Uriah heap in Saxon. So maybe our buddies at the Uriah Heap podcast wants to go check that out. Are going to check it out. I should say Tom Petty, queen, Led Zeppelin. You name it, it's on there. So again, if you're a fan of a band, check it out. These guys definitely know more about the bands, probably, than we do. So again, check them out. And, mark, where can they find this on the interwebs? [01:32:04] Speaker C: Again, we're at rockrullettepod. On all the interwebs. Rockridlietpodcast.com. Leave us a message. Take a look at our polls, vote in the polls. Listen to the Spotify playlists that are on Spotify for every episode. And, yeah, if you can, you know, rate us on whatever podcasting platform you listen to us on, that'd be awesome. Five star reviews. Help us move up and have more people find us. So we continue to do this, which is. And we're always appreciative to anybody listening. So I guess next week is another wheel spin, which is awesome. [01:32:38] Speaker B: Yep. [01:32:39] Speaker C: And then we'll see if we get maybe a shorter album. Not like an hour long album, 16 songs. [01:32:45] Speaker B: We did all right, though. We didn't. Yeah, I don't think we yapped as much. This could have been a very long podcast, but I think. I think we kept it pretty, pretty good. [01:32:53] Speaker C: Well, luckily, it wasn't a band we know a lot about, so we had less to say. So that's probably why. [01:32:59] Speaker B: Yeah. [01:32:59] Speaker C: So if it was a band we knew and it was an hour, this might be a four hour podcast. [01:33:04] Speaker B: Yeah, we start comparing shit and talking about stuff and. [01:33:07] Speaker C: Yeah, we already did one of those, the ace freely episodes. Like, almost 4 hours. It's kind of crazy. [01:33:13] Speaker B: Yeah. Yeah, we're sorry for that one. Just, you know, listen to it in halves. You'll be fine. [01:33:18] Speaker C: Yeah, it's two. It's two two hour episodes. It's fine. [01:33:21] Speaker B: Exactly. Just play the intro music in the middle of it, and that'll refresh you. [01:33:26] Speaker C: Yeah. All right, guys, we will see you next week. [01:33:30] Speaker B: Yep. Ciao. Ciao. Later.