Episode 91 - The Eagles - On the Border (Part 1)

[00:00:04] Speaker A: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement, and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the Rock Roulette podcast. [00:01:14] Speaker B: Hey, everybody. Welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1200 albums, 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 it side by side, song by song, and we talk about the lyrics, the music, and the production, and we rate it just based on our own likes. Again, just a bunch of friends who want to do a podcast. We love music and we figured, what the hell? So once again, we want to thank everybody leaving comments, questions, listens. We really appreciate it. Pass the word if you like, you know, if you like what we're doing, if you think we're boring, tell us like someone told us. We'll try to, I don't know, zip it up a little bit. So again, but it's cool, you know, that we take stuff like that and say, okay, well, what can we do to improve or to whatever. But again, just here having fun. So again, want to thank everybody. Tonight we are threesome. We have Steve back. Stephen, behave yourself. [00:02:10] Speaker A: Stephen, behave yourself. [00:02:13] Speaker C: What up? [00:02:14] Speaker B: We have Mark. Oh, hi, Mark. [00:02:16] Speaker A: What's up, guys? [00:02:17] Speaker B: And I'm Sav. Ciao, Buenos Aires. So last week we finished up the sound garden down on the upside, which again, we thought was a massive selling album because of how often they were played, but it was just under 2 million. And in my opinion, and Mark, you may agree with this, my two favorite songs were on the second side. One of them that was straight out of old school Soundgarden production heaviness, and the one after, which was, to me, a good blend of the new and the old. Especially, I think, the production, the way it was done. What were your thoughts on the album? [00:02:53] Speaker A: Yeah, I mean, I like the stuff on the first side, too, so. But, yeah, I like the second side wasn't bad. Like I said it, I was surprised that it only sold that many albums. And from what I think I could, I'm probably right. But if I'm wrong I'm sure someone out there will tell me I'm fucking wrong. But I think the RIAA, when they, when they do that thing, it's shipped albums not really sold. So the RIAA stuff is how much they shipped. So I don't know if like the sound scan thing I think that's on sales but I never see the sound scan. So if it said 2 million islands it supposedly shipped albums not actual sold albums. So who knows how that really went. [00:03:33] Speaker B: Yeah, I felt like everybody had that except for me. [00:03:36] Speaker A: Yeah. [00:03:37] Speaker B: So Steve, what do you think overall of that record? [00:03:39] Speaker C: I mean the finally heard really the first side, but I liked what I heard. I mean it sure wasn't like classic Soundgarden, but I don't know, it's catchy. [00:03:50] Speaker B: Were you a fan of theirs at that point or. [00:03:53] Speaker C: Yeah, yeah, I was pretty into it. [00:03:56] Speaker B: Yeah. I mean I was really introduced to them. Well, I mean dre obviously played them and I had louder than love. I think that's the one of the album, even though I probably said 100 times. But you know, I definitely like that one. And bad motor finger was, was pretty good. And I mean that got a lot of MTV airplay too. I remember that, like Jesus Christ pose. He's really big on MTV. So they were another MTV baby. Which again, the fact that this thing didn't sell as much is pretty surprising. So, um, and there was like what, 300 songs on the album mark, I think. Right. 17, right. [00:04:32] Speaker A: 16 is crazy. Yeah. 16 or 18. Yeah, it was a lot. [00:04:38] Speaker B: They crammed it all in. So. Well, you got your money's worth, right? [00:04:41] Speaker A: Well, yeah, well that's, well there's really. Did you really get your money's worth though? [00:04:45] Speaker B: You definitely got that. You definitely got your quantity worth. [00:04:47] Speaker A: You got your quantity worth. Yes. [00:04:49] Speaker B: And I mean, again, listen, that's like. [00:04:52] Speaker A: Saying use your illusion. Both of those two records are great when you really probably could take those two records and probably break one good guns n roses record out of that. So. Yeah, I mean it wasn't bad. It's just, you know, I think they probably could have cut it down to probably ten songs. [00:05:07] Speaker B: Yeah, I mean that's another one I'd be interested in getting because I, those two I wasn't a big fan of. I'm a big fan of. But again, you never know going back. So who knows? It's been a long time. [00:05:20] Speaker A: It's been a long time. [00:05:21] Speaker B: Speaking of which, of what could and may or may not come up, we get to spin the wheel, which is always incredibly exciting because we never know what she's going to pick for us. And the last two were big, massive nineties bands. So, Mark, did you get your fill of the nineties yet? Or are you still looking for that consummate grunge album or are you satisfied? [00:05:43] Speaker A: I'm still waiting for that to happen. But it seems to be in a nineties state of mind right at the moment. I don't know if that's going to change or not. Yeah, I think I would like some cheesy. Cheesy, what they call hair metal now, or what we would call glam metal or pop metal or whatever it was from back in the day. I'd like something really cheesy that I don't really know, but it was super cheesy. Late eighties, super cheese. That's what I would like to have. [00:06:05] Speaker B: I'm thinking, I'm thinking classic, maybe classic. I was thinking, I was thinking cheesy eighties, too, because I was like, oh, especially if Steve's back. He needs a good. Some hair metal, but seventies or eighties? Who knows? What do you think, Steve? [00:06:21] Speaker C: I was actually thinking something seventies. [00:06:23] Speaker B: Yeah. [00:06:24] Speaker A: Ooh, seventies. [00:06:26] Speaker C: Yeah. [00:06:26] Speaker A: So that means it's what it's going to do to two thousands. That's what it's going to do now. [00:06:30] Speaker B: I'm thinking two thousands. Last week, something that came out as far away from classic as we can get. [00:06:38] Speaker A: Yeah. I don't. Again, I've stopped trying to figure out if what it's gonna do. I have an idea what I'd like, but I know it doesn't, it doesn't like, usually listen to me. So whatever I said, it's probably not gonna do. [00:06:48] Speaker B: It's part of the fun. Yeah, but I mean, listen, like I said, I mean, soundgarden's pretty close to. [00:06:53] Speaker A: I guess so. [00:06:54] Speaker B: I mean, I know that album was. I don't know what you call it. It's almost like post grunge in a sense. I kind of had that to it, I think. So many labels. [00:07:04] Speaker A: So many labels. A little time. So are we ready to spin this wheel? [00:07:08] Speaker B: I'm ready. I see, I'm ready. [00:07:10] Speaker A: Can everyone see the wheel? [00:07:12] Speaker C: I can see it. [00:07:12] Speaker B: I see it. [00:07:13] Speaker A: All right, here we go. Let's spin the wheel. Let's go. [00:07:38] Speaker B: Whoa. [00:07:39] Speaker A: Seventies? [00:07:40] Speaker B: I think so. [00:07:41] Speaker C: Is it? [00:07:42] Speaker B: Let's see. Before we say anything, if people like you guys are idiots, because I don't know it by the title, although I'm sure there's some famous stuff on there. [00:07:50] Speaker A: This might. This might work out for Steve release date. [00:07:54] Speaker B: Yeah, no, I believe this is a. Okay, I'm sorry. I misread. I misread 1974 in the seventies. People like, what the fuck album is it? It's Eagles on the border, by the way. Sorry. [00:08:09] Speaker A: Well, they already know what album it is because it's in the. It's in the description. We don't. [00:08:14] Speaker B: Well, I mean, I wanted. You know, when it sound like a surprise. It's actually funny. At first, I read the first song, I'm like, oh, wait, is this a greatest hits? And I thought I read another one that. Oh, yeah. I read two. The two that I know. Right. I saw right away. My eyes were drawn towards like, oh, I think this is the greatest hits. But I'm like, oh, shit. No, it's not. [00:08:33] Speaker A: I'm assuming I know stuff that's on here, right? [00:08:36] Speaker B: Oh, yeah. [00:08:36] Speaker A: Okay. I can tell you already. [00:08:38] Speaker B: Well, without a doubt, we know one and ten. Without a doubt. [00:08:42] Speaker A: Yes. [00:08:42] Speaker B: That's for sure. Those are two very popular songs. [00:08:45] Speaker A: Does this count as what you were thinking of, Steve? [00:08:48] Speaker C: Not really, but I guess, you know, we'll take it for now. [00:08:51] Speaker B: Well, you said seventies. I said classic. I mean, the Eagles are pretty classic. Steve, are you a fan at all, or. Uh. [00:08:58] Speaker C: No. [00:08:59] Speaker B: No, not at all. [00:09:00] Speaker C: Not at all. [00:09:01] Speaker B: Oh, we got a hater. [00:09:05] Speaker C: Yeah. [00:09:05] Speaker B: Gotta hate her. So, I know a couple of albums pretty well, but I think other than that, it's. Again, it's probably more of a greatest hits band for me. [00:09:14] Speaker A: Me, too. [00:09:15] Speaker B: Just looking at these titles. I don't know. These are all. Most of these are gonna be deep cuts for me. Unless, again, I don't know the title, because that's possible, too. So that does happen sometimes. You know a song, you just. You don't know the title. [00:09:27] Speaker A: Jesus Christ, there's a remaster. How many fucking songs are on this remaster? How many on this one? There's 31 songs on the remaster. [00:09:35] Speaker B: Oh, my lord. [00:09:36] Speaker C: Jeez. [00:09:37] Speaker A: We're only doing the first ten. [00:09:39] Speaker B: Yeah. [00:09:41] Speaker A: How long? [00:09:42] Speaker B: Ten is a nice number when it comes to albums. [00:09:46] Speaker A: 40, 40 minutes. Okay. [00:09:48] Speaker B: Produced. Co produced by Glenn Jones. [00:09:51] Speaker A: Oh, Beetles. Yeah, I know. Yeah, I know. Two. At least two on here. [00:09:56] Speaker B: I definitely know one in ten. Without a doubt. One. I'm not a fan of ten. I think I am. [00:10:02] Speaker A: Who's the personnel on this, also the. Oh, yeah. So it's the. It's the. It's the. I don't know what that guy is, but. So. So this is before. This is before. What's his name is on here. So. Joe Walsh. There's no Joe Walsh on this Glenn floor. Glenn Frey, Don Henley, Bernie Layden. He's another guitar player. I guess that he was there before the other guy. And then Randy Meisner on bass guitar and Don Felder, so. No, Joe Walsh. [00:10:32] Speaker B: Good dumbfounder. I mean, you got, obviously, Henley, Fry, Felder. [00:10:36] Speaker A: Well, Randy Meisner was a big. He was. He did lots of stuff on here, too, right? Yeah, he was. Yeah, he has a right on it. A writing thing on this. So I'm curious to see. Steve, why don't you want. You pull the lyrics up and. [00:10:49] Speaker C: Yep, I got them. [00:10:50] Speaker A: I think. I think for me, I am still. I mean, I keep saying this, and it makes me sound like I don't listen to music. Like I'm. This is another band where I'm the. I'm the hits person. [00:11:00] Speaker C: Yeah, that's as far as it goes for me. That's all I know. [00:11:03] Speaker B: But you don't even like the hits, though, Steve, huh? Yeah, no, listen, I like the hits, I think. I mean, harmony wise, they're. They're really good. [00:11:12] Speaker A: Obviously, guitar wise, you're gonna have good vocals. [00:11:15] Speaker B: Yeah, vocals are really good with them. They harmonize really well. So I'm curious to listen to Henley on some of the deep, because as a drummer, I'm not a massive fan of his. I find them to be kind of. I mean, again, he does nothing wrong. Don't get me wrong. Obviously he does whatever, but you know what I mean? Kind of like standouts. [00:11:35] Speaker A: Yeah. [00:11:36] Speaker B: So. [00:11:37] Speaker A: Well, if you don't really know any of the other stuff, maybe there is some standout stuff. [00:11:40] Speaker B: Yeah, exactly. So I'm curious. [00:11:42] Speaker A: For me, this is, like, total, like, new things. Except for the two songs. I know. So we'll do the first one, because that's. [00:11:48] Speaker B: So. [00:11:48] Speaker A: We know he doesn't like that, this one. So. [00:11:50] Speaker B: Yeah, I mean, from memory. I mean, obviously, it's a massive hit of theirs. I was actually thinking about the song the other day, believe it or not. I was like, I don't like that evil song. I think I heard it somewhere. [00:12:02] Speaker A: There's some great vocals. [00:12:02] Speaker B: Oh, yeah, they have great vocals, that's for sure. [00:12:05] Speaker A: Yeah. So, I mean, I think I'm gonna like it just on that. On that. Uh, and I. Like I said, I know none. Not enough by the band to know when Joe Warriors. I think it's. He comes in later. I don't know if he comes in before Hotel California or on hotel California. Of course, we don't get hotel California? [00:12:23] Speaker B: No. Why would we? [00:12:24] Speaker A: I'm like, you want seventies? Here you go. Here's a. Here, listen. [00:12:28] Speaker B: We got. I mean, the Foo Fighters first album obviously had three pretty big hits on it. We just got down to the upside by Soundgarden. So I have been pretty good lately. I think I said nineties. Nineties seventies. So. [00:12:41] Speaker A: Yeah. [00:12:41] Speaker B: Mark, next week I'll give you. I'll say two way, whatever it is, and I'll say eighties metal and see if it comes up for you. [00:12:48] Speaker A: Yeah, I told you, whatever I say, it just ignores me. Eighties cheese, goddamn wheel. Yeah, I just. It does. It doesn't matter what I do. What I say. [00:13:00] Speaker B: Bitch. There you go. [00:13:02] Speaker A: That's what it does. Bitch. Alright, so we ready for first song? [00:13:07] Speaker B: I'm ready. Let's do this. [00:13:09] Speaker A: All right, here we go. So this is already gone. [00:13:26] Speaker D: I heard some people talking just the other day and they said you were gonna put me on a shelf but let me tell you I got some news for you and you soon find out it's true and then you'll have to eat your lunch all by yourself. Cause I'm already gone. [00:13:57] Speaker A: Yeah, you can't. The vocal on as ridiculous. And there's no. And there's no. And there's no shenanigans going on here either. It's too early for any shenanigans. [00:14:08] Speaker B: No, I mean, vocally, they were always a good band. They knew how to harmonize. And guitar rifts. [00:14:13] Speaker A: Pretty good, too. Very catchy. [00:14:15] Speaker B: Yeah, it's not bad. It's not a. It's not a bad song. It just wasn't one that kind of massively sucked with me. But it's. It's definitely not a. Not a bad riff. [00:14:25] Speaker A: It has a little bit of the southern influence you can hear. Steve, what do you think? I mean, you've heard this song before, right? [00:14:33] Speaker C: Of course. Honestly, I'm kind of drawn to the bass line and the bass tone. It's kind of just like really fat. [00:14:43] Speaker A: Still alive. I don't know. Very good question. [00:14:45] Speaker C: Good question. I don't know. [00:14:47] Speaker A: I don't know if he is or not. No, he died in 2023, actually. [00:14:50] Speaker B: Oh, wow. [00:14:51] Speaker A: So. Just recently. So. But, yeah, but he hasn't been in the band for a long time. Right. [00:15:00] Speaker B: When did he leave Hotel California? After. [00:15:04] Speaker A: So. After Hotel California. Wow. A long time ago. It's crazy. He's been gone that long. [00:15:10] Speaker B: I just know that because I looked up Joe Walsh. That was. That was Joe Walsh's first album. [00:15:14] Speaker A: There you go. See, I know some shit sometimes and I don't even know. I know shit. [00:15:17] Speaker B: Good job. [00:15:22] Speaker A: Thank you. Thank you very much. Okay, so let's. Let me get to the end of the chorus then. Steve, you can read some lyrics. Here we go. [00:15:36] Speaker D: And I feel. [00:15:57] Speaker A: All right Steve, let's hit us. [00:15:59] Speaker C: Well, I heard some people talking just the other day and they said you were gonna put me on the shelf but let me tell you I got some news for you and soon you'll find it's true and then you'll have to eat your lunch all by yourself because I'm already gone and I'm feeling strong I will sing this victory song. [00:16:33] Speaker A: I was just listening. I was listening to the bass part. The bass part is pretty good. [00:16:37] Speaker C: Yeah. [00:16:37] Speaker A: That kind of is a seventies thing, though, right? Seventies. Baseball tend to be really good. [00:16:43] Speaker C: Yeah. [00:16:44] Speaker A: Like, they don't just play the route. They're all over the place themselves, in and out of stuff. A lot of movement. [00:16:52] Speaker C: Yeah. [00:16:54] Speaker A: Yeah. What do you think of his drumming so for. It's just basic, right? Super basic. [00:16:59] Speaker B: Yeah. I mean, you know, he's doing nothing wrong. [00:17:03] Speaker A: No, obviously. [00:17:04] Speaker B: Right. It's not, uh. What the hell's he doing, you know. [00:17:07] Speaker A: To me, like, even the seventies, the bit. The drummer as well, probably late sixties. Early seventies is still early seventies. They tend to be a little more busy. But he's not really busy. He's kind of like. Kind of like a Ringo Starr kind of Rolling Stones drummer. Charlie Watts drummer. Right. [00:17:23] Speaker B: Yeah. Well, I mean, ringo, like. Hey, listen, like I said, I would have told you that Ringo was the luckiest guy in music business, but I. Listening to him recently, I got a lot more appreciation for his playing and what he did and what he added to it, so. But downtownly also did a lot of lead vocals and vocals, so who knows, right? Maybe he's like, if I. If I overcomplicate it, I don't know his story. So it could have been one of those as well. [00:17:53] Speaker A: Yeah. [00:17:54] Speaker B: Maybe he didn't want to do too. Too much. [00:17:56] Speaker A: I mean, there's a lot of catchy stuff in here. The vocals are good. The bass player is good. That little guitar riff is super good. The mere fact that Steve doesn't know a lot of egos, but he knows this song means that, you know, obviously it's good enough to, you know, be stuck in your brain for God knows how long. [00:18:13] Speaker C: Forever. [00:18:13] Speaker A: Forever. I mean, this song's 50 years old. Yeah, it's kind of crazy. [00:18:17] Speaker B: The song is not already gone from Steve's mind. [00:18:20] Speaker A: No, it definitely is stuck in his guy. Yeah. You can't touch it, Steve. It's gonna stay there forever. [00:18:33] Speaker B: Well, now you put that song at Steve's head. [00:18:35] Speaker A: I know. [00:18:36] Speaker C: Yeah, that one's stuck in my head. [00:18:38] Speaker B: There you go. All right, parachute pants. [00:18:45] Speaker A: All right, here we go. [00:18:46] Speaker D: The letter that you wrote me made me stop and wonder why but I guess you felt like you had to set things right. Just remember this, my girl. When you look up in the sky, you can see the stars and still not see the light. [00:19:10] Speaker B: That's right. [00:19:11] Speaker D: Is I. I will see. [00:19:37] Speaker A: I know the bit. I know the song enough that that's coming up, but, um. So it's kind of funny. So Don Felder only plays lead guitar on already gone, and then a song, good date in hell. On the second side, the other guitar player, Bernie Layden. Layden. Guess that's how you say his name. He's playing electric and acoustic on everything else. So Don Feldo doesn't really play a lot. He was brought in for only those two things, and then he joined the band right after. And then this other guy left in 75. Bernie Layton left in 75. And that's when. That's when Joe Walsh came in, I guess right before Hotel California. So. [00:20:10] Speaker B: So they had three guitar players and, you know, Glenn Frey, Felder and Walsh. [00:20:15] Speaker A: Well, not the same, but not the same time. No, because Bernie Leedon Layden left, and then Joe. And then Joe Walsh came in right before. [00:20:21] Speaker B: But Felder was there. [00:20:22] Speaker A: Felder was still there. Yeah. Well, Felder just come in. Yeah. [00:20:26] Speaker B: But he plays guitar now. [00:20:28] Speaker A: Yeah, I guess he does play lead two. [00:20:30] Speaker B: I don't think lead, but he's got to play rhythm. I mean, I've seen him with a guitar in his hands. [00:20:33] Speaker A: It says lead. He has. He plays some slide guitar on this, too, so. Yeah, so I guess technically three. Yes. Three guitar players. [00:20:40] Speaker B: Yeah, I mean, that's the other thing, too. That's cool. About the. About the Eagles, right. Glenn Frey's voice is very recognizable. Don Henley's voice is very recognizable. [00:20:49] Speaker A: Yeah. And then Randy Meisner, too, is on. He sings, too. And. And the other guitar player sings. Basically. Everybody sings except for Don Felder, but he didn't. He wasn't really on this record. He just came in for two things and joined later, so. But literally everybody. Everybody sings in this band, so that's why their vocals are so good. [00:21:10] Speaker B: Yeah, exactly. [00:21:11] Speaker A: All right, Steve, shoot the lyrics. [00:21:13] Speaker C: The letter that you wrote me made me stop and wonder why but I guess you felt like you were. You had to set things right. Just remember this, my girl. When you look up in the sky, you can see the stars and still not see the light. That's right. And I'm already gone and I'm feeling strong. I will sing this victory song. Woo hoo hoo. Woo hoo hoo. [00:21:38] Speaker A: Woohoo. [00:21:40] Speaker B: I'm glad you made because he definitely said two different. [00:21:44] Speaker A: Boo. [00:21:44] Speaker B: Boo. Booze. [00:21:46] Speaker A: There was one line in there, the the water. You could look up in the sky, but can't see the light. That's a good line. [00:21:51] Speaker C: Mm hmm. [00:21:52] Speaker B: Mm hmm. [00:21:53] Speaker A: So. So I'm assuming this is about a relationship he left. [00:21:55] Speaker B: Yeah, that's what it sounds like. [00:21:57] Speaker C: Mm hmm. [00:21:58] Speaker B: Well, I mean, it sounds like she was gonna leave him. And neither he did it at the same time or just before she did it. [00:22:04] Speaker A: And coincidentally, they didn't write the song. It was, it was written by Jack Temption and Rob Strandland. I guess they send a tape over and they liked it, so they did it. [00:22:15] Speaker B: Oh, nice. [00:22:17] Speaker A: They also wrote peacefully easy feeling on the left in the rep prior record, which was another big song. Yeah. [00:22:24] Speaker B: Wow. [00:22:28] Speaker A: I guess so. Obviously. All right, let's see, let's see. Solo. Here we go. So, too, so long. [00:23:01] Speaker C: It's pretty at the same time. [00:23:03] Speaker A: Yeah. And mean, if you kind of think about it, it's kind of like the precursor to what's gonna happen on hotel California. You know what I mean? Sort of, kinda. Although it's two different people. This is just him, I believe. It doesn't say the other guys playing. So Bernie's not playing on this, I don't think. I don't know 100%, but he probably just double tracked two things. But it's pretty cool, though, to be able to play the two separate things and make it and not being all clashed together, that's a skill mistake. [00:23:29] Speaker C: Yeah. Yeah. [00:23:30] Speaker A: Don felt was a good guitar player, so I'm not surprised. And, and, I mean, you know, I mean, there are some catchy things, but I don't think it's as catchy as some of the other stuff there. It's obviously not hotel California catchy. [00:23:42] Speaker B: It's not that, though. I mean, honestly, again, it's, it's, it's better than I remembered. I mean. [00:23:46] Speaker A: Oh, they turn in Savino. [00:23:49] Speaker B: No, I mean, listen again. I mean, out of the many songs I probably know, and even though I said I don't know, the deep cuts, they have so many hits, when you think about it. [00:23:59] Speaker A: Yeah. [00:24:00] Speaker B: I think their first greatest hits is still one of the best selling albums of all time. It's on the list somewhere. [00:24:05] Speaker A: I would really not be surprised. I mean, they were big for a long time. [00:24:09] Speaker B: Well, I'm not gonna tell my ratings now, obviously, but it's. It's. It's not as bad. Again, I. Not to say that I was like, oh, I hate this song. It just kind of wasn't on the top of my egos kind of thing. But I could have been thinking of another song. [00:24:26] Speaker A: Nice. All right, let's continue. Let's continue. Here we go. [00:24:35] Speaker D: Heaven knows it wasn't you who set me free so oftentimes it happens that we live our lives in chains and we never even know we have the king and I feel and so I will sing. I will sing this victory song. Cause I'm already gone yes, I'm already gone and I be strong I will sing this different song. [00:26:12] Speaker A: There you go. Good. Good guitar playing at the end. And the bass play is really good. What I didn't notice about the drumming, though, is that he's not really big, like Phil kind of guy. Like, not on this song anyway. [00:26:23] Speaker B: No, it's very simple. Kind of rattata. [00:26:26] Speaker A: A lot on the snare and not as much in the Thomas. [00:26:29] Speaker B: Yeah, but the bass is, what? Really sick. I mean, obviously, the guitar playing is always going to be good, I think, on an eagle song. But again, I will say one thing for sure about this podcast. Like, if some. If you could do a control f on our podcast and look up bass, I bet you that would be the most. The word that comes up the most, because I think overall, it's one thing that we always say, and it's, well, not. We always say, but it comes up so much. Right. We're like, oh, the bass is good. The bass. Right. You know, maybe these songs, again, the pop things that you weren't paying attention to at certain points like this, I never would have thought that the bass was like. I'm like, oh, shit, that's really cool what he's doing. [00:27:07] Speaker A: Or where is the bass? Yeah, yeah. [00:27:11] Speaker B: Some albums. Exactly. [00:27:12] Speaker A: Like, is there any bass going on? I don't know, but sometimes you get the opposite. Since Glen Johns produced this, obviously, he produced the Beatles, so that's why the truth. Well, that's why this is so clean. And so, I mean, you. You. I don't think it can be produced much better than this. It's just very good. But we're gonna have savino go for us since he hated this song, and see and see if he's changed. [00:27:33] Speaker B: No, no, I never said I hated this song. I said it just wasn't one of my favorites. [00:27:36] Speaker C: You think I finished lyrics? [00:27:38] Speaker A: Oh yeah. Oh, please do. I forgot there was another good line there I heard. Go ahead, Arab. [00:27:42] Speaker C: Well, I know it wasn't you who held me down heaven knows it wasn't you who set me free. So oftentimes it happens that we live our lives in chains and we never even know we have the key but me, I'm already gone and I'm feeling strong I will sing this victory song because I'm already gone yes, I'm already gone and I'm feeling strong I will sing this victory song because I'm already gone yes, I'm already gone already gone. Okay. [00:28:14] Speaker B: It sounds like there was a nighty night at the very end I thought I heard I could be wrong, but maybe, um. Yeah, I'm gonna c vin lyrics. I mean, there's a couple, couple good, good lines that I liked in there. I'll be a little bit conservative now. Yeah, I'll say seven on the music. I mean, the music was good. I definitely liked this one better than I had remembered. But again, I know I liked it just in comparison to some of the other stuff. Maybe not as much, but I mean, obviously the, the musicianship is solid, the voices are solid. I'm gonna say seven on production. I think my only complaint, and I don't know that it's really production as much as the sound. The drums are a little like dead to me, kind of, so. But again, the drums are never a standout. [00:28:58] Speaker A: That's a seventies thing though, isn't it? Isn't that seventies thing, though. Drums kind of sound. [00:29:02] Speaker B: But there's some stuff that's better, I think. I mean, think about even rock and roller. I mean, I think the drums on that sounded better than this, maybe. But again, I don't necessarily, I'm not going to blame the producers as much as maybe the kind of the drum sound, because he does have a think about hotel California. The drums on that, they sound like this. So I think it's just kind of his sound. Yeah, it's, it's not a, I mean, not a bad song, obviously. And it's definitely lead off track, I think. So Steve the hater. [00:29:34] Speaker C: I think I'm gonna mirror what you said six on the lyrics. You know, there, there are a couple little things here and there. You know, it's kind of like a story that goes through the lyrics. So, you know, it's all right. Music, I guess, was better than I remembered it. Or maybe it's just that freaking bass line that I focused on. Yeah. So I'm gonna say seven on the music and production will say seven. Everything was. Yeah, everything had its place in the mix. Although maybe the drums were a little. I don't know, maybe that's just because of the drum playing. But, um. Yeah, let's say overall, seven on production. So, Mark. [00:30:19] Speaker A: Hmm? I think I'll do six on lyrics. I'm gonna be conservative. Even though, again, I know two songs on this album, so they may be the best things for all I know, or they may not be, but I'll do six. Just. I want to be conservative. Seven on the music. Guitar playing is good. Blaze playing is good. Vocals, obviously, are very good. Like, you can't have much better background vocals than that. I mean, everyone is singing. It sounds great. I'm gonna give the production eight. I think the production is very well done. I think the drums are just more him. I don't think drums have anything to do. That's how every. Every eagle song I've heard kind of sounds like that, drumming wise. Yeah, I think it's more him than it is whoever's producing him. So I like production. I thought it was clear. I thought everything was. Everything was in this place. And I like the fact that he pumped the bass up as much, much more than I remember. So. [00:31:11] Speaker B: So just a heads up from what I'm seeing here, the. This website that has lyrics on it specifically says that Glynn Johns did not produce already gone, but he produced the next one. It just lists really, one for each one. I don't know if that's exactly what happened. So who knows? Maybe we could listen for a difference, if there is any difference, like, let's say, in the drums, for example, and if they sound exactly the same. And that's just. You got to say that that's the sound that he's going for. And again, they do sound like drums in hotel California, from what I remember. Anyway, it's actually been a while since I've heard that song. [00:31:44] Speaker A: All right, so the next thing is, you never clot, you never cry like a lover. Don Henley, JD Souther, who is american songwriter, he hit up. He wrote a bunch of Eagles songs with him, so he's done other stuff besides, obviously. And this is a Don Henley lead vocal. So I don't think I know this song. I don't think I do. But we'll see when it starts, because I might know it, and I don't know that I know it. Here we go. I think the drums are better. [00:32:38] Speaker B: I mean, it's. Yeah, they sound better. They sound better. I mean, for. For lack of making mistake, and somebody like, well, you know what? That's wrong. It's not whatever, but I think, in general, whoever's producing it. But this definitely has a Beatles vibe to me, without a doubt. That sound has a little bit of. It sounds like something that he would do if it's truly just him. [00:33:05] Speaker A: So I'm gonna read you. I'm gonna read you some production things. So the album was initially produced by Glen Johns and recorded Olympic studios. Is that where the Beatles recorded Olympic? I think. I think some Hendrix stuff was done in Olympic. But during the making of the album, disagreement arose between the Eagles and Johns as the band tried to lean towards a more hard rock sound. They felt that Johns was over emphasis, overemphasize that the country influenced rock sound. Johns, however, felt the Eagles were not capable of what the band wanted to be wanted, and told the band, you're not a rock and roll band. The who is a rock and roll band, and you're not that. The band, Glenn Fry in particular, but not Don Henley, was also unhappy with the no drug policy Johns had during the recording. They didn't want to record in London, was concerned about the lack of success of the previous album, Desperado, and more assertive, and wanted more input on the album, which Johns was unwilling to allow. Okay, so the only two. The only two tracks that they kept from him. Here we go. Were the best of my love and you never cried like a lover, which is this song right here. So now we're gonna see what the drums sound like. So. So we know it's this one and the one that you. And the one that you know, the tense song. [00:34:21] Speaker B: Well, I mean, best of my love is. That's a massive hit right now. [00:34:25] Speaker A: So. So this is what his production sounds like. So take him. Take it for what it's worth. [00:34:31] Speaker B: Well, this already has. I mean, you can. I mean, I hear Beetle s, but I can hear this other, too. [00:34:36] Speaker A: Yeah, well, that's what he thought that. That's what he thought they were. So he's saying that John's had. There was less echo because the guy who did it secondarily was named Bill Schmizzick. And they're saying that. What are they saying? They're saying that he. He uses less echo. [00:34:58] Speaker B: The other guy uses less echo. [00:34:59] Speaker A: Yeah. Glenn. Glenn had a stamp that Glenn had a stamp that he put on his records, which is a deep echo that's really smooth, like ice cream. [00:35:06] Speaker B: Well, you could hear it here. [00:35:07] Speaker A: Yeah. And they wanted a tougher sound, so that's why they want the other guy, so. [00:35:11] Speaker B: Yeah. Well, I mean. I mean, hearing the way this song starts, how tough are you gonna make this song? [00:35:16] Speaker A: I don't know. Are the Eagles really tough, though? I mean, they're not really. [00:35:21] Speaker B: I think so. [00:35:23] Speaker A: He wasn't wrong. [00:35:25] Speaker B: Like witchy woman. Maybe it's like they're right there. I mean. [00:35:31] Speaker A: Yeah, maybe. [00:35:32] Speaker B: But then again, there could be some heavy teeth cuts that we just don't know. Right? Some. [00:35:36] Speaker A: Well, I guess we're gonna find out. So I was a little excited. This. This was a Glyn John's thing, and now there's only two songs, so. There you go. All right, here we go. Let's continue. [00:35:48] Speaker D: You never cry like a lover. Sigh, AI when it feels real good or see the sky through the stone and wood. You never cry like a lover. I thought I saw somebody I love sleeping deep inside you. If I could catch you in an ungar moment, I'd stay right there beside you. [00:36:33] Speaker A: So, yeah. He produces very well. I'm sorry, I don't know what the fuck anyone's listening to. I mean, I guess they didn't want this sound, but you can't tell me that this doesn't sound better than the first track. [00:36:46] Speaker B: But I mean. Well, I mean, here's the deal, right? You have to hear. Technically, the only way to really make a judgment is to hear if Glynn Johns had produced a version of the first song to compare it, because, I mean, this is. This is ballady. I mean, again, what are you. What are you gonna do with this? Unless they had heavier guitars going on in the background or something going on. But I. So it's hard to judge. And, I mean, that last one is a ballad to, I think, or ballad esque. [00:37:18] Speaker A: I think. I think I need to change. I think I need to change my production value, which I'm going to put back to seven. There's no way that that song is better than this song. It's just not. It's not produced better. Sorry. [00:37:33] Speaker B: It's good for what it is, right? I mean, well, they complain was really the drum sound. I mean, yeah, the drum sound better here, but there's. It's different. It's a different song. [00:37:46] Speaker A: Yeah. [00:37:47] Speaker B: I would like to hear him do an already gone and see if he may. If he would have made a difference to it. [00:37:55] Speaker A: Well, I can say that. I can say that I like the way this is produced better, regardless if it's not the same song. The other song would have been. Would have been better if it was produced this way. That's my opinion. He's just. He's just a better producer now that they were going for a thinner sound. So, you know, who knows? Oh, well, Steve, why don't you, once you read. Read the first bunch of lyrics, all right. [00:38:22] Speaker C: You never cry like a lover. Should sigh when it feels real good or see the sky through the stone and wood. You never cry like a lover. I thought I saw someone I loved sleeping deep inside you. If I could catch you in an unguarded moment, I'd stay right here beside you. [00:38:46] Speaker A: All right. I guess. I guess he doesn't. Is this, like, anti her or I. He sounds like he wants to be with her, but he doesn't like the way she is. The way she is with him, I guess. I don't know. [00:39:04] Speaker B: Yeah. Sounds like unreciprocated, I would say, maybe. [00:39:12] Speaker A: Yeah. All right, let's continue. [00:39:18] Speaker D: You never smile at me late at night. Laugh out loud when we get it right. You can't get loose if there's too much light. You never smile like a lover. Try a little harder. I can't live with you, baby, can't live without it. Sometimes I believe in love, sometimes I doubt it, but you. I. [00:40:25] Speaker A: All right, well, grab that solo once Steve, read some lyrics. I mean, I'm still liking the production a lot. I can definitely hear what they would. They hear what they're saying about the echo that he uses. It's definitely there, but, I mean, if it's the song. [00:40:42] Speaker B: All right. [00:40:44] Speaker A: Yeah, I think it's. I think production is really good, and the base is really awesome. [00:40:49] Speaker C: Basis killing. Yeah. [00:40:51] Speaker A: Super killer. All right, Steve. [00:40:55] Speaker C: You never smile at me. Late at night. Laugh out loud when you get it right. You can't get. If there's too much light. You never smile like a lover. I can't live with you, baby, can't live without it. And sometimes I believe in love. Sometimes I doubt it. But your life, as your life goes on broke like a broken down carousel. Somebody left it. The musical. Where? Somebody left the musical. [00:41:35] Speaker A: There's a couple good lines in there. [00:41:37] Speaker B: Yeah. [00:41:39] Speaker A: And he has a good voice, too. [00:41:41] Speaker B: He does. I mean, whether you're like. I mean, whether or not he does have a good voice, I agree. [00:41:48] Speaker A: And, yeah, I was. I wasn't. I wasn't expecting the bass in there, either. And they just came out of nowhere. I was like, oh, all right, let's see. Let's see what the solo is. I don't know who does a solo on this. I don't know if it's Glenn fry. I don't know if it's the other guy. I have no clue, but let's see what he does. Here we go. Yeah, it's not bad at all. I mean, it's very. It's very airy. So there's a lot of either reverb or echo on that. I don't know if it's too much, which could be. I mean, I generally like the production, but unless they were going for a sound like that, which. Which is fine. I don't think it, like, ruins the solo, but. No, it's very reverb y or echoey, depending on what he's using back then. [00:43:01] Speaker B: I mean, I actually like the way it sounded. I thought it kind of. [00:43:04] Speaker A: Yeah, no, I don't. [00:43:04] Speaker B: Like. I thought it kind of. It fit the song. The sound, it's like. Because the production is, like you said, it's definitely airy, and that kind of. [00:43:16] Speaker A: Fill it out, it does soften it up a little bit, because I think if it had less of that on, it would be a little rougher. And obviously, that's not what he was going for here, and he told him so. You're not the who. That's a rock band. That's not you. Okay. [00:43:35] Speaker B: Hearing those words. Right. I mean, obviously, you'd have to look into it deeper. I mean, is there a solo here where they kind of. You know what I mean? It's more electric. It was. Or was it always this kind of. Because obviously, I think this sound fits the song. But if there's some other version here where it's. But who know? Maybe it's on that, um. That 31 track. [00:43:56] Speaker A: Yeah, that was actually a different record. I pulled up the wrong one because there's too many eagles things. And the Eagles. It was like a best of kind of thing. So that had, like, 50 tracks. I wouldn't be surprised if there's some kind of outtakes around here somewhere about this. I would have to look. But. But this is. This sounds like the eagles, right? This is not. You wouldn't. You wouldn't think this is anybody else? [00:44:18] Speaker B: No, I think it sounds like that. [00:44:21] Speaker A: Yeah. Right. Let's continue on. [00:44:37] Speaker D: I was hoping you are the one? You never move like you used to do? Pour it out when you feeling blue. Somebody must have put some pain on you? You never cry like a lion? You never cry like the love? You never cry like alone? You never cry out like a love cold and cry. [00:45:51] Speaker A: Yeah, it's long outro. I mean, Steve, why don't you do the lyrics and then I think I'm gonna go first. [00:45:57] Speaker C: Okay. You never move like you used to do. Pour it out when you film blue. Somebody must have put some pain on you. You never cry like a lover. You never cry like a lover. Cry. You never cry like a lover. You never cry. Cry like a lover. Come on and cry. You never cry like a lover. [00:46:24] Speaker A: Yeah. I think he wants her to cry a lot. Yeah. This, to me, is a. This amusing eagle song. I mean, I wouldn't think this would be anyone else. I don't know how much tougher this song would sound without the production of his on. I. I don't think it could be very much tougher. It's not a tough song. [00:46:42] Speaker B: Maybe that's why they only kept this and the other one. [00:46:46] Speaker A: Right. [00:46:46] Speaker B: Maybe they're like, this is. This is fine. [00:46:49] Speaker A: Yeah. I'm still gonna give lyrics a six. I think it's very similar to the first one. Musicianship. I mean, I think everything's good here. I'm gonna say seven background vocals. Vocals are really good. I like, as far as production goes, like, the drum sounds way better here. I think the sound in general is way better. Yeah. I mean, I like. I like his production style from what I've heard compared to so far. I like his production style better. I think it fits them better, but. So I'm gonna give that an eight because it's probably gonna be one of the few songs. I mean, unless something else comes out that way, I don't know if it's gonna be produced better than him. I mean, he kind of knows what he's doing. If he produced the Beatles, he knows what he's doing. So I get. I gotta give. I gotta give the. I defer to him. So I just. My opinion. Safe. [00:47:40] Speaker B: Yep. I'll say six on the lyrics again, some. Some good lines I'm gonna say. So I'm a little torn on the music. The reason being is that I didn't like the verses, but the build up towards to the solo, the solo and that part after the solo, when it was still kind of going on and the vocals were going on, I thought that part was, like, really good. I would get. I would give that part a set, a seven. But the rest of it, to me, it's one of those songs where if you're listening to a record, you just leave it on. It's kind of a good song, you know? I'll say seven. I mean, that part really stood out to me. I really liked that part a lot. The end was like, all right, enough. But it has played well. I'm gonna say seven on production again as well. I don't think it's badly produced. It is what it is. It's not. It's not bad. Again, it isn't necessarily. So. I'd seek out. But if it was playing and I kind of lean back and maybe. Yeah, just listen to it. Steve. [00:48:50] Speaker C: Yeah. I think I'm gonna do what I did. Last one. The 667 lyrics are, you know, all right. Nothing special. Um, music. I mean, the musicianships, great bass. I just dig in the bass. I guess that's one thing I never really noticed, since I never really listened to the band. So we'll say seven on the musicianship and then production. I'm still gonna say seven. Yeah. [00:49:26] Speaker A: The bass player, he's a monster, right? This. This point, if he continues this way. [00:49:30] Speaker C: Yeah. Right. [00:49:31] Speaker A: It's kind of crazy. Okay, so the next song, not written by them either. This is written by Paul Kraft. This is the bass player singing. So now we get a new person. So first three songs, three different people. So that's pretty cool. All right, so let's see. I don't. I don't think I know this midnight flyer. And does anybody know this? [00:49:50] Speaker B: I don't know by the title. [00:49:51] Speaker A: Me either. All right, here we go. The drums are back. [00:50:10] Speaker B: Yeah. [00:50:11] Speaker A: Yeah. [00:50:11] Speaker B: I just think it's. It's him. [00:50:13] Speaker A: Well, no, it's not him, because listen to drums, and it's the way he wants it. He wants it thin and live sounding. That's what they wanted. Thin and live. They wanted it. They purposely said thin. They want it thin and live sounding. And you can't make this thing friggin rocky. It has banjo on it. [00:50:32] Speaker C: Yeah. Right. [00:50:33] Speaker B: Well, I mean, it depends on what's going on behind. I mean, this, to me, sounds like a straight up country song. [00:50:38] Speaker A: Yeah. [00:50:39] Speaker B: I mean, so I don't know. I mean, maybe further on down the record, there's. I mean, it's not bad. [00:50:48] Speaker A: No, but. But Glenn's Glen Johns is not wrong. He. He was trying to bring this out of them because that's probably what was going. I mean, I've always considered them some kind of a southern tinge rock band. [00:51:02] Speaker B: Are they in the. Are they in the yacht rock genre now? Is that them? [00:51:08] Speaker A: I would kind of. I would kind of think they sort of yacht rock. [00:51:13] Speaker B: I gotta look them up, because, honestly, I thought they were kind of in that no matter what we would say. You know what I mean? Like. [00:51:20] Speaker A: Uh huh. [00:51:21] Speaker B: Are they considered. [00:51:23] Speaker A: I mean, I guess, sorta. Well, you look that up. Let's. Let's continue with this. [00:51:28] Speaker B: Yeah, I gotta look it up. [00:51:52] Speaker D: A runaway team of horses? Ain't enough to make me stay sun? Throw your rope on another man? And pull him down your way? Make him into someone? To take the place of me? Make him every kind of fool you wanted me to be? Engineer, won't you let your whistle? [00:52:30] Speaker A: So, I assume a midnight flyer is a train. I'm assuming of some sort. I mean, in the base here is very subdued, I guess because he's singing. It's weird to hear an eagle song with someone I don't recognize singing. Singing. [00:52:47] Speaker B: Yeah. I don't know that I would know, necessarily, that this was the eagle. I mean, that part really sounds like them. [00:52:54] Speaker C: The rest of it, yeah. [00:52:55] Speaker B: No, yeah. [00:52:56] Speaker A: Super country. [00:52:58] Speaker B: Yeah. I mean, again, this is coming from someone doesn't know all the songs, doesn't have all the albums, so. [00:53:03] Speaker A: But it's kind of funny. Like, they're saying they. They want to be more rock, but what's this? This is nowhere near be a rock song. It's like, is he wrong? I don't think he's wrong. Maybe they thought that they were gonna be more than that, or. I don't know. The critics are saying that midnight Flyer is the one dud on the record. [00:53:21] Speaker B: This is, like, country bluegrass, basically. [00:53:24] Speaker A: Yeah, that's what it is, pretty much. And. And Glenn Frey's gonna be playing slide guitar on the solo here, so that's be interesting to hear. All right, Steve, lyric time. [00:53:35] Speaker C: All right. Oh, midnight flyer engineer? Won't you let your missile moan? Oh, midnight flyer? I paid my dues? And I feel like traveling? On a runaway team of horses? Ain't enough to make me stay? So throw your rope on another man and pull him down your way? Make him into someone who can take the place of me? Make him every kind of fool you want me to be? Open my flyer engineer won't you let. [00:54:11] Speaker A: You assume so now, I'm wondering. There's a couple of lines in there that. I don't think it has to do with a train. [00:54:18] Speaker B: Well, no, I think the train is to get away from this person. [00:54:20] Speaker A: Oh, is that what it is? [00:54:22] Speaker B: Which is funny, right? Because, I mean, the first three songs all have a similar theme, pretty much. It's all about kind of getting away from. I mean, the second was kind of not getting away, but possibly getting away. The first one is definitely about getting away. [00:54:38] Speaker A: And what do you think about his vocal? [00:54:41] Speaker B: It's okay. It's. I mean, I don't think he's as good as Henley or Fry. [00:54:47] Speaker A: No, I don't think he's as strong as. [00:54:48] Speaker B: It's fine for the song, but, I mean. [00:54:50] Speaker A: Yeah. All right, well, let's. Let's continue on. [00:54:54] Speaker D: I'll go to Santa Fe, maybe San Antonio. Any town is where I'm bound any way to get me gone don't think about me never let me cross your mind except when you hear that midnight lonesome whistle wine. [00:55:17] Speaker C: Engineer won't you let. [00:55:19] Speaker D: Your whistle. [00:55:52] Speaker A: Guitar in there? But maybe it comes coming later. Maybe. Yeah. That's, um. The other guitar player. Yeah, no, I mean. I mean, it's played well. It's played well, and. But this is straight up. This is straight up bluegrass country to me. [00:56:07] Speaker B: Absolutely. [00:56:08] Speaker A: There's no rock going on at all. All right, Steve, finish it up. [00:56:11] Speaker C: All right. Uh. I picked my duels and I feel like traveling on maybe I'll go to Santa Fe maybe San Antonio. Any town is where I'm bound any way to get me gone uh. Don't think about me never let me cross your mind kept when you hear that midnight lonesome whistle mine oh, midnight flyer engineer, won't you let you us alone? Oh, minute flyer I paid my dues and I'm traveling on I paid my dues yeah. [00:56:44] Speaker A: Typical for them. It seems like in the first three songs, all about getting away from women. Yeah. [00:56:50] Speaker B: Right. [00:56:51] Speaker A: The first time he was already gone. The second one, he didn't like the way she was as a lover. And he's getting out of there now. He's going on a train here. [00:57:00] Speaker B: Yeah. [00:57:01] Speaker A: I'm pretty sure the next song has nothing to do with that, though, so. Which is. Okay. It's going to change it up. [00:57:05] Speaker B: They are considered. Yeah. Rock, by the way. [00:57:07] Speaker A: Are they on the list? According to wikipedia, I'm sure they probably are. Yeah. Makes sense. All right, let's continue this midnight fire. [00:57:19] Speaker D: Engineer, won't you let your whistle blow. [00:58:56] Speaker B: That was, like, the best part of the song. [00:58:58] Speaker A: I was gonna say. That's my favorite part of the song. [00:59:00] Speaker B: Yeah, man, they would have kind of kept that whole vibe through. I mean, listen, obviously they do what they needed to do, but, I mean, all of a sudden, it became kind of like a rocky jam. [00:59:10] Speaker A: Uh huh. [00:59:11] Speaker B: It was. It was all. It was cool. I was like, where was this? [00:59:15] Speaker A: A little bit of flange on guitar. Got some sly guitar. And the bass playing is nasty. [00:59:20] Speaker B: Yeah, he's basically doing a little bit of a solo. [00:59:23] Speaker C: Bass was standing out more to me than the freaking guitar solo. [00:59:27] Speaker A: Yeah. No, seriously, it was really good. [00:59:29] Speaker B: But even the drums, he was doing a couple little fills here and there. I mean, it got really interesting there at the end. [00:59:34] Speaker A: It changed my, it changed my perception of the whole song, I think. All right, sav, why don't you go first? [00:59:41] Speaker B: I mean, I'm gonna say five on the lyrics. They're okay, but I can't give a six, too. I don't think they're better than the ones before it. I do like that whole whistle train thing. I'm always a sucker for lines like that because I love hearing that. Even where we are here, sometimes you'll catch that, you know, the whistle. It's really cool music. Tell you, music is hard, man, because I was. I was at a five for this one, honestly, I'm gonna say five. I mean, I don't. Because that last part, I thought was really good. I don't know. [01:00:15] Speaker A: It's tough. [01:00:16] Speaker B: It's. It's tough because that last part was. Was really good. You know what? I'll throw them a bone. I'll say six. I mean, again, it's. No matter what the song is, it's not played badly. I mean, technically, it's played really well for what it is. So I'll say six because that outro was really good. Um, I'll say. I'm gonna say six. In production, I thought it was a little. It was a little flat. This one. And this again, this is nothing to do comparison because I gave a seven. Two already gone. But I feel like the production should have been tighter. Right. It was still airy for a song that shouldn't have been airy. It should have been a little bit tighter. So, Steve. [01:00:56] Speaker C: Yeah, I'm gonna say five on the lyrics because they were nothing really special. Music is. Yeah, I'm going to say, like, you know, I'm gonna go six. It was a five. And then that, in part, kind of turned it around a little bit for me. So we'll say six on the music and, um. Yeah, six on production, too. Yeah. Mark. [01:01:32] Speaker A: Yeah. Five on the lyrics. I don't think they're as good as the stuff prior. The music, man, is just. Regardless of whether I don't like this type of music, I can't take away the musicianship of what's happening. So the banjo playing is really good. The guitar playing is really good. The bass playing at the end, at the beginning, because he was singing so much, I don't think he could play as much. But at the end, I can't give it a six. I have to give it a seven. Everything's played super well. I. It's not something that I want to listen to, except the end part I really like. But, I mean, the banjo playing is really good. [01:02:10] Speaker B: Yeah. [01:02:11] Speaker A: So, I mean, as far as music, just. Just pure musicianship, whether take me out of the equation, whether I like it or don't like it, that was played very well. So. And production. Yeah, I'll say a six. I still think that you can definitely tell the difference between this and what Glynn John's does just because it's just produced differently. He has a different mindset. So, you know, maybe coming, you know, to the next bunch of songs, it'll. It'll change up more rocky. But that end part was awesome. That was the best part of the song. I thought it was great. [01:02:42] Speaker B: Yeah, that's really good. [01:02:43] Speaker A: So the next song is my man. And so this is a guitar player. Bernie Leedon's laden. I don't know how to say his name. My man is a tribute to Graham Parsons. And Graham Parsons. Do we know who he is? He was. [01:02:57] Speaker B: Yeah, the grandparents. [01:02:59] Speaker A: Yeah. [01:03:01] Speaker B: I didn't realize he died so young. [01:03:04] Speaker A: He played with the birds and. Yeah, he was super. He was 26 when he died. Drug overdose. So this is, I guess the. This is a tribute to him. And I guess there's a reference to one of his songs in this song, which was on the. One of the birds. It was on the birds groundbreaking country rock album, sweetheart of the Rodeo in 1968. So I'm curious to see how this changes things up now. And the lead vocal. Now I'm different. Another lead vocalist again, this is the guitar player singing. [01:03:39] Speaker C: Nice. [01:03:40] Speaker A: Yeah, so it's. Everybody's getting their champion, so here we go. My man. [01:04:06] Speaker D: Tell me the truth how do you feel? Like you're rolling so fast that you're spinning your wheels don't feel too bad you're not all alone we're all trying to get along with everybody else trying to go their way. You're bound to get tripped and what can you say? Just go along till they turn out the lights there's nothing we can do to fight it no man's got it made till he's far beyond the fate we who must remain go on living just the same. [01:05:06] Speaker A: He'S got a good voice. Yeah, it's very smooth. [01:05:11] Speaker B: Yeah. And that first line of the chorus reminds me a lot of Crosby, stills and Nash actually does it. Yeah. The way the voices sound. [01:05:18] Speaker A: I mean, the vocals are ridiculously good, but, you know, what do you expect when everyone sings? [01:05:24] Speaker B: Yeah, exactly. [01:05:25] Speaker A: You know, but this is. This is definitely a yat rock song to me. [01:05:31] Speaker B: Yeah, I can hear that, but it's. [01:05:34] Speaker A: Saying very well, and. And knowing that it's a tribute to another guy that was his friend that overdosed the lyrics. You know, when you start. When Steve starts reading them, it just makes it. It just makes you think right about what he's feeling. And so, in that case, I think the lyrics are very, very good so far. So, Steve, why don't you read some lyrics? [01:05:55] Speaker C: Tell me the truth. How do you feel? Like you're rolling so fast that you're spinning your wheels? Don't feel too bad you're not all alone we're all trying to get along? With everyone else? Trying to go their way? You're bound to get tripped and what can you say? Just go along till they turn out the lights? There's nothing we can do to fight it no man's got it made? Till he's far beyond the pain? And we and we who must remain go on living desperate. [01:06:32] Speaker A: I wasn't expecting his vocals to be that good. [01:06:35] Speaker B: Yeah, they're good. I like them better than Meissner's. [01:06:38] Speaker A: I think so. Yeah, I agree with you, at least. [01:06:40] Speaker B: What he's saying in that song. [01:06:42] Speaker A: Yeah, I think there's another song he sings later on and on the second side, so. Well, yeah, well, he's. I don't think the other guy. Does he sing anymore here? No, it's the only song he sings. [01:06:54] Speaker B: But again, right, a ballady, quiet song. So you're kind of wondering these arguments. [01:07:01] Speaker A: Where's the rock, man? Where's the rock? [01:07:03] Speaker B: Yeah. [01:07:04] Speaker A: Again, the more you hear, the more you go, oh, he's 100% right. Know, maybe they wanted to be that way, but it does. I mean, I think it probably took the next change for that to happen, you know, with Joel Walsh being there, maybe. I mean, I. I mean, even that's not super rocky, but it's more rocky, I think, but, yeah, but, I mean, it's still a good. Still a very well written song, regardless. And the vocals, awesome. It makes you. It makes you more. More appreciate the vocals, like, whatever's happening now or, you know, everyone's, like, cheating and fixing things up and auto tuning and pitch correcting. Like, does this need to be pitch corrected? Even if it's not perfect, it sound. It sounds as much as perfect as I need it to sound. [01:07:44] Speaker B: And, I mean, there's. There's work there, right? Because if you think about how even when they all sing together, if you hear from song to song, it sounds different in every song when they do, like, the gang vocals, because you can tell that there's. I mean, they have to work out with a say. Right. Well done. You're gonna have a higher voice here, but not in this. You know what I mean? Like, you're gonna be more present here. It still doesn't. You know, it's them, but they still. The way they arrange the vocal, it's different. So they don't always sound the same, even when they're all singing together. It's just really, really, really well done, which is known about the ego. I mean, you have to be able to appreciate something like that. [01:08:23] Speaker A: Yeah. I mean, again, even if the. Like, I don't want to listen to, like, a lot of this softer rock stuff. I mean, anytime you listen to the vocal, you gotta be like, wow, that's just freaking great. All right, let's continue. [01:08:37] Speaker D: I once knew a man, a very talented guy he'd sing for the people and people would cry. He knew that his song came from deep down inside. You could hear it in his voice and see it in his eyes so he traveled alone touch your heart and then be gone like a flower he bloomed till that old hickory wind called him home my man's got it made he's gone far beyond the pain and we who must remain go on living just the same. [01:10:00] Speaker A: Solo. Solo was good. So that's the guitar player playing pedal steel. I'm trying to, like, listen to the vocals. So trying to hear each person's, like, individual part. But you're right, it is different on this one, too. [01:10:13] Speaker B: Yeah. You know, a good job keeping it different. So, I mean, that. That had to be taken, how to be planned out, I would think. I don't think that's natural. [01:10:26] Speaker A: Oh, no, they know. They. They kind of figured out who was doing what. Yeah, I'm sure. All right, Steve, why don't you read what we're up to so far? [01:10:32] Speaker C: I once knew a man, very talented guy. He'd sing for the people. And the people who cry they knew that his song came from deep down inside. You could hear it in his voice and see it in his eyes and so he traveled along touch your heart then be gone like a flower he bloomed till that old hickory wind called him home my man's got it made he's gone far beyond the pain and when and we who must remain go on living the same we who must remain go on laughing. [01:11:12] Speaker A: Like just a heartfelt message in this for his friend. Yeah, I mean, you know, he must have you know, he must have missed him enough that he had to write a song about it together, kind of get it out of his, you know. Get it out. [01:11:23] Speaker B: Yeah. Like therapeutics. Therapeutic. [01:11:26] Speaker A: 100%. Yeah. All right, we got 42 seconds. Let's fish it up. Here we go. [01:11:29] Speaker D: Now my man's got it made. He's gone far beyond the pain we must remain go on living just the same we who must remain go on laughing just the same. [01:12:12] Speaker A: That's super duper. That's really country, so. Yeah, but it is kind of, like, for me, like, the definition of, like, what? Yakrat songs Yakrat sounds like. So, Steve, why don't you go first? [01:12:28] Speaker C: Um. You know, I'll go seven on the lyrics. They were. I kind of liked them. Um, music. I don't know. We're gonna say six on the music. It was all right, but wasn't exactly. I don't know. Um, production. Uh, we'll say, you know, we'll say six on production, I guess. Um. Yeah, saf. [01:13:06] Speaker B: I'll say a six on the lyrics. I like the first verse better than the second. Like, I thought the first verse was, uh, more poetic, and the second was a little bit on the nose. But again, obviously, the sentiment is there. I'll say six on the music. I mean, it's okay. Production, I'm gonna say six again in the production. Again, it's a little flat for me, I think, but it's okay. I mean, obviously, as it is what it is. The vocals, obviously, are always gonna be. I don't think we're gonna say vocals are bad on any of these songs or musicianship. Again, it's not about the way it's played. It's just whether or not I like the song. So, Mark? [01:13:48] Speaker A: Yeah. I think I'm gonna do triple sixes across. Obviously, the vocals are good. I mean, everything's played well. Definitely the bass is taking a backseat in this song. He doesn't really do very much besides. But he holds everything down, though, you know? I find myself trying to listen to what he's doing now that I know that he does stuff like that. So trying to see where he is. Like, I'm not expecting, like. Like, monster guitar playing out of this, because that's not really what this is about. But the sentiments good in the. So in the. You know, in the music and in the lyrics and production is okay. All right, so to end this side, this is a song on the border. So Henley, Layden, and Fry wrote it, and then Henley's the lead vocal with Fry Meisner and Laden. So everybody sings. So I don't know if they switch off or do anything, but I guess we're gonna find out. [01:14:40] Speaker B: We might know this one. [01:14:41] Speaker A: You think so? [01:14:42] Speaker B: Yeah, I definitely know that name. So I don't know if I knew it because it was a. Because I knew was one of their albums or because I know the song. So this. [01:14:53] Speaker A: I don't know. It does sound familiar, though. [01:14:56] Speaker B: Yeah. [01:14:56] Speaker A: All right, here we go. Let's do it. [01:15:18] Speaker D: Cruising down the center of the two way street wondering who is really in the driver's seat minding my business I'm out on the border I'm walking alive don't you tell me about your law and order I'm trying to change this. What I. [01:16:02] Speaker A: A little more southern rocky, I guess. [01:16:05] Speaker B: Yeah, it's got a little bit more of a. But again, it's. It's subdued, though, right? It's still subdued. [01:16:10] Speaker A: Mm hmm. And the verse sounds like something they're gonna do later on. Right. Or something that he did solo. I'm not sure exactly what I'm hearing there, but it sounds very familiar. [01:16:19] Speaker B: Yeah. The drums remind me a little bit, too, of the witchy woman thing. That's, like, kind of the way he's doing it and everything. [01:16:27] Speaker A: So far, the music isn't bad, but. [01:16:28] Speaker B: I'm not crazy about the melody. I think the melody's kind of throwing me off a little bit. [01:16:32] Speaker A: Hmm. Steve, what do you think? [01:16:34] Speaker C: It's all right. I mean, it's. It's getting a little better, but still not my cup of tea. [01:16:41] Speaker A: It's very, uh. It wants to be rocky, but it can't really be. That's how I feel. [01:16:47] Speaker C: Yeah. [01:16:47] Speaker A: So why don't you read the first set of lyrics? [01:16:49] Speaker C: All right. Cruising down the center of a two way street Warren. Warren Warden who's. Who's really the driver's seat mind and my business along comes big brother says, son, you better get on the side or the other I'm out on the border I'm walking the line don't tell me about your law and order I'm about to change this water to wine. [01:17:18] Speaker A: So, I mean, they're using the border as, like, not tech, not really the border. Right. But on the line of whether your law be on the. On the right side of the law, the wrong side of law. Is that what we're saying? [01:17:30] Speaker B: I think so. Like, on the fence kind of. Right? [01:17:33] Speaker A: Yeah. Okay. I like the war of the wine line. Like that. That was pretty good. There's always something in their lyrics that you can pull out going, oh, that was pretty, pretty smart way to do that. So, yeah, even if you don't like. [01:17:50] Speaker B: He's got his. Definitely got some political lyrics. [01:17:55] Speaker A: All right, let's continue. Here we go. [01:17:58] Speaker D: After a hot day, I'm safe at home fooling with my baby on the telephone? Out of nowhere somebody cuts in and. [01:18:12] Speaker B: Says, hmm, you in some trouble, boy. [01:18:15] Speaker D: We know where you've been? I'm out on the border? I thought this was a private line? Don't you tell me about your law and order? Change this water to wine? Never mind your name, just give us your number? Never mind your face? [01:18:52] Speaker B: Just show us your heart? [01:19:00] Speaker D: And we wanna know whose wing are you under? You better step to the right? Or we can make it home. [01:19:20] Speaker A: Alright. Before we get into whatever that is. That was an interesting little part. Changed it up a little bit. The bass came back again. [01:19:28] Speaker B: I like. Yeah, I like what the base of that little. [01:19:32] Speaker A: Yeah, I like that one. All right, Steve, read it out. [01:19:35] Speaker C: After a hard day I'm safe at home fooling with my baby on the telephone? And nowhere someone cuts in and says, hmm, you in some trouble, boy, we know where you've been? I'm on the border? I thought this was a private line? Don't you tell me about your law and order? I'm trying to change water into one? Never mind your name, just give us your number? Never mind your face? Just so it's your card and we want it when we want to know whose wing you're under? You better step to the right. [01:20:15] Speaker A: So supposedly this song inspired by the Watergate scandal. [01:20:20] Speaker B: Yeah, they said at some point, sake of night, dick. [01:20:25] Speaker A: Yeah. [01:20:26] Speaker B: Which I used to say. I mean, I don't think it's ever watch Ronan Martin's laugh in, but at the end, one Dick Martin, Dan Rowe would say, good night, dick, and be like, good night, Dick. But they did. In this case, it's in regard to Richard Nixon, who left office like five months after this. Director. [01:20:46] Speaker A: Yeah, I would. I would never thought that that's what this is about. [01:20:49] Speaker B: Well, it's inspired, but I mean, if you think about it, obviously. Just give us your number, never mind your face, just show us your card, and we want to know whose wing you're under. So. [01:21:04] Speaker A: Okay. [01:21:05] Speaker B: You better step to the right or we can make it hard, and then you can kind of pick up some political overtones. [01:21:12] Speaker A: Mm hmm. Yeah, I wasn't really even thinking that, though. Shows you how they can, like, hide things if you're not really paying attention. I mean, in one point, the saying it's a hard rock song. And next part, it's supposed to be an r and b type song. I think it's more r and b than it is hard rock. [01:21:29] Speaker B: Yeah. [01:21:29] Speaker A: It's not really r and b either. [01:21:31] Speaker B: No. [01:21:32] Speaker A: Yeah. They're all. They're trying to figure it out, what they want to be still. So, I mean. I mean, obviously, there is the eagle sound throughout this, but I think in the next incarnation of the band is where some of this stuff really shines. So they obviously got better at writing, you know what I mean? After this record, too. [01:21:48] Speaker B: So, I mean, I give him credit. I mean, for what it's worth, for the five songs. I mean, they're all pretty different. Right? There's some tones here and there, but I don't think any of them are like, oh, my God, this sounds like the last one. This sounds like the last one. And I think, obviously, the fact that you have different people writing. You have outside people writing. You have different people within the band writing. [01:22:08] Speaker A: Different people singing. [01:22:09] Speaker B: Yeah, different people singing. I mean, that it does sound. It does kind of make each song unique ish. [01:22:17] Speaker A: Well, and then the only thing that really, like, puts it all together is the. Is the vocal. Like, the vocal kind of, like, ties them all together because they're. The vocals are similar because that's what their. Their vocal sound sounds like. [01:22:28] Speaker B: Yeah. Once you kind of get to the gang vocals, it's called whatever, you know? And obviously, some of the guitar work a little bit. [01:22:34] Speaker A: Yeah, but it's so different, though. [01:22:36] Speaker B: Yeah, but, I mean, they are kind of five different songs. [01:22:41] Speaker A: Yeah. All right, let's continue. Here we go. [01:22:57] Speaker D: I'm trying to change. Change this water to I. [01:23:46] Speaker A: A little wawa thing on the other. On the left hand side is pretty cool. Yeah, I like that. [01:23:51] Speaker B: There's, like, a little bit of funk in this, too. Kind of. [01:23:54] Speaker A: And the bass again. He's got it. He's got it going on again. Steve, did you think that there would be this much bass in there? [01:23:59] Speaker C: Base is just going there. Hell, no. [01:24:03] Speaker A: Yeah, he's a good bass player. [01:24:04] Speaker C: I am thoroughly impressed. [01:24:06] Speaker A: I like it a lot. Yeah. So you can hear that they're trying to put the female background vocals in there. Right? Because the little bit of r and B kind of. They're trying to do that. I don't really think that they're succeeding in the r and B territory, but they're trying. Let's continue. [01:24:44] Speaker D: It. Won't you tell me about your. [01:25:08] Speaker A: There you go. Out on the border title track. [01:25:11] Speaker B: Yeah. [01:25:13] Speaker A: Who wants to go first. [01:25:15] Speaker B: You go first, Mark. [01:25:16] Speaker A: Oh, great. I guess I give six in the lyrics. I didn't know that's what it was about. I would never have thought that. But interesting how he kind of weaves that all together. I mean, I like the guitar playing a little bit. I like that little riff thing that they were doing, that little lead thing that they kept repeating over and over. That was pretty good. And even the guitar playing in the verses is okay. And the bass playing at the end there was really good. So I might give that a seven. I liked. I like, musically, I liked what they were doing. Production, I don't know. I think this might be a little bit better than that one. One prior. So I'm gonna say seven on that. Seth. [01:25:57] Speaker B: Yeah, I'll say six on the lyrics. I mean, there's some cool little things he does in there. I don't know. I think music is a big mishmash. I feel like they're trying to do so many things, and when it's done well, it's done well, but when it's not, it's not kind of. I mean, honestly, I'm going to say five on the music because I've given sixes and sevens for stuff that I thought was better. And there's definitely some good parts in here. I just feel it's disjointed. You know, it's like a bunch of different styles in one, but they don't really gel. And honestly, I'm gonna say five on production. I really didn't like the way the song was produced. I felt like it was way too airy for me. And I do like the part with the bass and stuff, but there's no oomph in this. And you figured that this would be the song. I mean, technically speaking, where if they're gonna talk about, especially the production, this would be the one that would stand out a bit. And I know, to me, just. It doesn't. So, Steve. [01:27:00] Speaker C: Yeah. Lyrics. I don't know. I guess we'll see. We'll see six on the lyrics. They were all right. And I guess the kind of meaning behind them politically and whatever, I'll keep it at that. Music. I don't know. It's kind of sounding like, I don't know, mishmash a little bit, and then towards the end, like the last song that got good. So we'll say six on the music and production. I mean, it sounded good, but it just didn't grab me as much as it should, I guess. It didn't. Didn't sound as good as it should. So we'll say six. So we'll say triple six. [01:28:05] Speaker B: I think maybe two. If the tempo was slightly faster, too, it could have kind of helped it along. [01:28:10] Speaker A: Yeah, it was kind of plotty. [01:28:12] Speaker B: Yeah. [01:28:13] Speaker A: I don't know. You're making me second guess my. Second guess my. [01:28:18] Speaker B: No, I'm saying you don't have to. I just. I don't know. You know, I think ultimately, to what kind of. I think there was a better song in there. To me personally. I mean, I don't think. I think that's to what's kind of like. I was like, how? There's some stuff here where I think if they had done it differently or it sounded differently, it could have been better. It's almost like there's three songwriters to the song, and each of them wrote their own part, and then they just kind of put it together. [01:28:48] Speaker A: Kind of mash it together. Yeah. Yeah, see that? So. So how we feeling on the first side already? I gotta say, all the songs are kind of different, so you're not getting a lot of, you know, repetition, so that's good. [01:29:02] Speaker B: Yeah, I definitely give him credit for that. I don't. I don't feel like any of the songs are. I mean, there's a. Again, there's kind of theme, but I don't necessarily feel where I was like, oh, this sounds like the last one. Or I don't necessarily think all the songs sound like typical eagles either. And again, this is based on straight up hits. There's definitely parts here. I was like, I wouldn't know that it was them. I mean, obviously, anything you hear Don Henley singing, glenn Frey singing, and it's older, you're like, okay, I know that's the Eagles. Yeah, but you got different singers, different writers. [01:29:37] Speaker A: Yeah. I mean, I applied the different types of songs all the way through, and I just trying to repeat the one song. They could have easily done an already gone all the way through. [01:29:46] Speaker B: I thinking, that's my favorite, though. It's funny going into it, I'm like. [01:29:51] Speaker A: Which is the funniest thing in the world. Cause you were like, ah, that's not a song I don't like that much. [01:29:56] Speaker B: Yeah. Cause I just. But, I mean, you know, it's. It's. It's a good. It's a good ditty, right. To me, that's kind of a diddy kind of song, where you're just snapping your fingers, kind of bobbing your head kind of song. Right. It's a feel good, feel good song. And I think, to me, it is at this point. I think it's. It's my favorite. Again, I do applaud Randy Meisner. I never picked up on his bass playing, but I give him credit. I think he, to me, is. I'm not gonna say he's a star. I mean, there's a lot of good stuff going on. Obviously, the vocals, the guitar playing is good. I just feel the song in general could be a little bit better. [01:30:30] Speaker A: Yeah, well, this is, you know, this is them, too. Trying to figure it out, too. Right. So figure out exactly where their niche is going to be. And obviously, they wanted to be more rocky than. But it's funny. Like, we want to be rockier, but none of the songs are rockier, which I find funny. [01:30:43] Speaker B: Yeah, exactly. I mean, some of these songs are really strong. I mean, obviously, that midnight flyer thing has this, like, southern rock, bluegrass, country, bluegrass. Mm hmm. [01:30:55] Speaker A: Yeah. Well, it's not a bad first side. I don't think we've scored this as high as some other things on the first side. But, I mean, I applaud. I. Like I said, I applaud the different types of songs, so that's pretty cool. Why don't you, once you do your thing? [01:31:09] 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. And if you want more individualized podcasts, like everybody's at Russia, you now Judas Priest, you've got Uriah heap, you got zeppelin, you've got Van Halen Maiden. Is it eagles work or. No? Do you know? [01:31:30] Speaker A: I don't think so. [01:31:31] Speaker B: Oh, there you go. So don't go to there for them. Go to them for pretty much everything else, and then you'll definitely. You'll find something, and you'll definitely find people who know exactly what they're talking about when it comes to the individual bands. And, Mark, where can they find us on the interwebs? [01:31:48] Speaker A: Rock, roulette pod, all the social media. Make sure you review us. Give us a five star if you like what we're doing. Set your podcast player to download our stuff automatically. That kind of helps us out, too, that we don't miss any of the new episodes that they come out and. Yeah. So next week, we'll get to finish this off. [01:32:06] Speaker B: I look forward to the second set. [01:32:07] Speaker A: I'm curious if it doesn't get taken down, because I hear the Eagles are very. They're very protective of their stuff. So we'll see. Will this. Will this. Anyone hear this? I don't know. It's a. It's. You never know. It's one of those things. [01:32:22] Speaker B: Living on the edge. Living on the border. [01:32:26] Speaker A: Living on the border. All right, guys, I guess we will see you next week. [01:32:32] Speaker C: Later it.