Episode 92 - The Eagles - On the Border (Part 2)

[00:00:05] Speaker A: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement, and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rightsholder for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the Rock Roulette podcast. [00:01:14] Speaker B: Hey, everybody. Welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1200 albums, stuck them in a list, stuck them in the wheel. And typically, every other week, we spin the wheel. She picks an album for us, and we go through it side by side, track by tracking, and we talk about the music production and lyrics, and we rate it just based on our own taste. Again, just a bunch of friends that wanted to a podcast that love music. Nothing serious, just having some fun. And again, we want to thank everybody who takes this trip with us. Thanks for listening. Pass the word if you like it, leave any comments, criticisms, or make a suggestion. Hey, why don't you guys review this album? We're open for anything. We're the bosses here, whatever that means. So we're just having fun. Today we have Mark. Oh, hi, Mark. [00:01:58] Speaker A: What's up, guys? [00:01:58] Speaker B: And I'm Sam. Ciao. Buona, Sierra. So last week, we did the first side of Eagles third album on the border. And it started off, I think, with the most typical sounding song, I think, for people like us who kind of, you know, we're more of like a greatest hits. Even though we like the Eagles, we're not really. We never really ventured far into their catalog. But obviously, I mean, the other stuff was very, very countryish. And one song, I don't remember the name of it, but it was very bluegrass and southern. And we also brought up the fact that Lynn Johns was the original producer, but they didn't like the style that he was doing. And he said, well, you guys are a country band, not a rock band, which they didn't like. And they wrote in the other producer. But again, there isn't much difference, I think, in a sense. But again, it is very country, more country than I'm used to hearing from the Eagles, even though, obviously, there's always tinges of southern rock and even the hits. But, um, again, Eagles fans please shout out and be like, yeah, this is. This is the bulk of it, or it isn't the bulk of it. So what do you think so far, Mark? [00:03:08] Speaker A: Um, yeah, I mean, I always knew there was some kind of southern tinge to their songs, but, like. Like you said, we're like greatest hits people, so we don't really know, like, the deep cuts or. Or whatever. So, I mean, it wasn't bad. It just, you know, I still think. I still think that they hadn't solidified their lineup to what ended up happening on hotel California, which ended up being kind of the lineup. I can't show the air quotes, but. Air quotes. The lineup, even though it only lasts for. It only lasted for two records, right? [00:03:39] Speaker B: I believe so, yeah. [00:03:41] Speaker A: Yeah. [00:03:41] Speaker B: Also, California, I think, was their next. [00:03:44] Speaker A: I think with. I think with Joe Walsh, they got a little rockier, which is probably where they wanted to go anyway. Yeah. I'm excited to hear the second side because it has obviously one song I know. And then four songs I don't. So. [00:04:00] Speaker B: Yeah, me too. I am curious to hear what goes on if it says country tinges. [00:04:10] Speaker A: So this is. The song is called James Dean. It was written by Don Henley, Grillen Fry, Jackson Brown, and JD Souther. It's obviously a song about James Dean. [00:04:23] Speaker B: Nice. [00:04:24] Speaker A: And his death, so. Yeah, obviously it's called James Dean, and it's about James Dean. [00:04:30] Speaker B: No metaphor here. [00:04:31] Speaker A: Yeah. And, you know, in this kind of time frame, doesn't. Isn't Jackson Brown, like, writing lots of stuff for lots of people? Like, he's all over the place. [00:04:39] Speaker B: I don't know when he had his breakout. It's like running on empty and. Road crew song. [00:04:46] Speaker A: Yeah, I'm trying to look to see if they tell. If it tells me when. When that happened. [00:04:53] Speaker B: My uncle in Italy was actually a big. A big Jackson Brown fan. I mean. I mean, I've heard him on the radio, but I kind of maybe hear some of the other stuff that it didn't know that wasn't out there, so. [00:05:04] Speaker A: So running on. Running on empty was 77, but I mean, I. I know who he is. [00:05:11] Speaker B: Oh, absolutely. [00:05:13] Speaker A: But. But again, he's like a guy that I don't really know very much besides, like, one or two songs, but I know who he is. [00:05:18] Speaker B: Me too. I mean, again, there might be stuff out there, like. Wait, he wrote this or handled this song? [00:05:25] Speaker A: Yeah, probably a lot more than I. That. I don't know. It's him, probably. All right, so you ready to do this? [00:05:32] Speaker B: I'm ready. [00:05:33] Speaker A: All right, here we go. So this is James Dean. Now, that sounds a little more. A little rockier. [00:06:04] Speaker B: Yeah, it does. [00:06:06] Speaker A: Yeah. And it kind of sounds like stuff they would probably do later on a little bit more, too. So kind of like that. [00:06:13] Speaker B: Well, I mean, the first albums got somewhere again. I was rummaging through my records and I didn't know I had the first record. And I found it yesterday, like, oh, look at that. And I knew I had their greatest hits on vinyl, but I think it's not the original one that my dad had because I'm pretty sure I destroyed that, at least the COVID And this one's like pretty new. So I probably got it at the same place I bought all my ten cent stuff. Yeah, probably. Check that stuff out. Yeah. I mean, this beginning is definitely a little bit more rock than the other stuff that's been going on. It seems it's. [00:06:46] Speaker A: It's a little less. It's a little less yacht rock. Right. And it's not yacht rock at all. At least as far as I can. [00:06:50] Speaker B: Yacht metal. [00:06:53] Speaker A: Yacht hard rock. [00:06:55] Speaker B: Yeah. [00:06:55] Speaker A: Yeah. All right, here we go. [00:07:09] Speaker C: Clean and I know my life it look alright I can see it on the silver screen. You were the low down rebel if there ever was even if you had no call James deep you set it all so clean and I know my life will look alright I can see it on the silver screen. [00:07:43] Speaker A: So it's funny, like there's that, that riff that's very like fifties kind of rock riff going through the whole thing. [00:07:50] Speaker B: Yeah. [00:07:51] Speaker A: And even like the, like the melody sort of like that too. Parts of it anyway. Like parts of it's like 50 stuff and then parts of it's like eagles. [00:07:59] Speaker B: Yeah. And it's got that southern thing going to, I think, in the vocals, the way it's the kind of like the melody, the inference, I guess, maybe not the infants. I don't know what the word. I'm trying to think of a word, but kind of like the tone of it. And I mean, that's definitely Glenn Frey. [00:08:15] Speaker A: Yes. [00:08:16] Speaker B: Louder. I mean, obviously his background vocals going. [00:08:20] Speaker A: He's the singer on this, supposedly. So the lyrics are James Dean. James Dean. I know just what you mean. James Dean. You said it all so clean and I know my life would look all right if I could see it on the silver screen. You were the low down rebel if there ever was even if you had no cause James Dean, you said it all so clean and I know my life would look all right if I could see it on the silver screen. So. So the rebel if the rebel part obviously is the movie rebel without a cause, James D movie. So you were to low down rebel if there ever was, even if you had no cause. [00:09:00] Speaker B: I just read this thing that says James Dean was first written for an album originally intended to have a theme on antiheroes. According to Glenn Frey, he, together with Don Henley, Jackson Brown and JD Souther, were jamming together after attending a Tim Harden show at the Troubadour and they came up with the idea about doing an album about antiheroes. And this was part of the, I guess the jam. [00:09:26] Speaker A: So this didn't. This wasn't written specifically for this record, obviously. [00:09:31] Speaker B: No, they. It was actually more towards the one before because they had written a song called Dueling Dalton. The album, however, evolved into a wild west themed album, Desperado, which was the one before this. So James Dean wasn't on that, but it was written at that time. [00:09:46] Speaker A: Okay. Yeah, it's very, like I said, it has some fifties elements in it. It has a little bit more of the southern rock kind of stuff, more rocky than it is. Just like southern stuff. So I like it so far. Here we go. [00:10:12] Speaker C: Sock hot, soda pop, basketball and auto shop the only thing that got you off is breaking all the rules James Dean, James Dean so hungry, so clean chasing set it all so clean and I know my life look alright I can see it on the silver screen. [00:11:02] Speaker A: So that was, that was a basic like guitar solo. It fit the song wasn't anything special, but it was fine. I liked it. [00:11:11] Speaker B: I think they just shouldn't keep it simple. [00:11:12] Speaker A: Yeah, and I like in the. I like in the, in the lyrics how they like giving setting up like the. What the fifties were like. So it goes. Well, we'll talk about a low down bad refrigerator. I don't know what that means. A low down bad refrigerator. Cool guy, maybe. I don't know because the next line says you were just too cool for school. [00:11:36] Speaker B: Yeah, maybe it's like a metaphor. [00:11:38] Speaker A: Metaphor for being cool, right? [00:11:40] Speaker B: Yeah. [00:11:41] Speaker A: All right. Sock hop, soda pop, basketball and auto shop. The only thing that got you off was breaking all the rules. Hey, maybe that's where like the way that line goes, you know, what does it remind you of? Sock hop, soda pop, basketball, auto shop. [00:11:58] Speaker B: What are you thinking? [00:12:00] Speaker A: Bleach all song? [00:12:01] Speaker B: I. You know what, I was gonna say that I actually heard the song yesterday. [00:12:06] Speaker A: But it's just the way it sounds like sock hop, soda pop, basketball and auto shop. It's just funny. I wonder if he took it from. [00:12:12] Speaker B: That could have been an influence. I mean, they were contemporaries at this point, right? Or no? [00:12:16] Speaker A: Yeah, I would think so, yeah. 74. I think so. Right. And then, uh. So the rest is James Dean. James Dean, so hungry and so lean James Dean, you said it all so clean and I know my life would look, would look all right if I could see it on the silver screen. So, yeah, they're, uh, you know, painting a little bit of a picture about the times and him and stuff like that. [00:12:40] Speaker B: Billy Joel's first album came out in 71 too. [00:12:43] Speaker A: Okay. [00:12:43] Speaker B: So, yeah, I'm realizing you saw it early. [00:12:45] Speaker A: Yeah, I know it's kind of scratchy. [00:12:47] Speaker B: I mean, it was the roller, but to me. [00:12:50] Speaker A: All right, here we go. [00:12:53] Speaker C: Little James Dean up on the screen wondering who we might be. Along came a spider picked up a rider. Took him down the road to eternity James Dean, James Dean. He brought it silent James Dean, James Dean. You fought inside on the scene you were too fast to live, too young to die, bye bye. Too fast to live, too young to die, bye bye, bye bye. Too young to die, too fast, too young to die, too young to die, too young to die, too young to die. [00:14:24] Speaker B: Long fate. [00:14:26] Speaker A: Yeah, it's long fade. Um, yeah, so I'll read the list. I guess the rest is then we can kind of vote. So little James Dean up on the screen wondering who he might be. Along came a spider and picked up a rider and took him down the road to eternity James Dean, James Dean. You bought it sight unseen. James Dean, James Dean. You bought it sight unseen. You were too fast to live, too young to die, bye bye. You were too fast to live, too young to die, bye bye. Etc. Etc. Until the end of the song. And then another little guitar solo. It's pretty cool. That. That was very eagerly to me. [00:14:59] Speaker B: Yeah, I like the second solo better than the first one. [00:15:02] Speaker A: I agree. Yeah. I like second better. So. So it's a song about James Dean. They didn't stray too much from the. [00:15:10] Speaker B: No. Well, I mean, it was intentionally done. [00:15:12] Speaker A: Right. [00:15:12] Speaker B: I guess they were trying to get a. They wanted to do a full album like this. But it's interesting hunting for Rachel. [00:15:18] Speaker A: So why don't you go first? [00:15:23] Speaker B: The lyrics are fine. I mean, for what they are. I mean, I'll say six on the lyrics. Music is okay. I wasn't too, too crazy about it, but I didn't dislike it either. I'm just gonna go middle of the road. I'm gonna say six on it, and I'm gonna say sex on production, too. I wasn't crazy about the production, honestly. I felt, I mean, again, the drums are. There's not much life to the drums. So I know we discussed this in the last podcast. Is it the producer? Is it him? I mean, they did sound a little bit better when Glenn John's was doing it, but I just think ultimately it's kind of him because it's just something that kind of goes through all the records. So, yeah, I mean, not bad. Definitely better than some of the stuff I remember from the first slide and definitely a little bit more rock. If this. This could be ultimately some of the stuff that they were talking about, even though was written for the last album, technically. So what do you think? [00:16:18] Speaker A: Yeah, I think I'm going to do six across the board, too. You know, lyrics. Okay. You know, they're about James Dean. I like that they. They threw in little things about his car and about his life and about the time he lived in, and then music. Music was fine. I liked music. I liked the second solo, like you said, better than the first. And production. Yeah. I'm still more of a fan of the production that Glen Johns did on the. On the song that I had before. And I'm curious to see at the end of the record, because I know that song is him, too. So. Which. Which is funny, you know, that I don't even think they wanted to release that thing. And I think they have no choice because I think they didn't want to release it because he had produced it. And I think they were just, like, not happy with him. [00:17:01] Speaker B: Yeah. So they were happy with him. [00:17:05] Speaker A: Okay, so the next song is old 55. So this is a Tom Waite song. And it was the lead single from his album closing time in 73. [00:17:21] Speaker B: Yeah, I don't know a lot of Tom waits, but, I mean, he's another. He's another guy who gets a lot of. A lot of talk and. [00:17:28] Speaker A: Yeah, I know who he is. [00:17:29] Speaker B: Oh, yeah. Absolutely. [00:17:31] Speaker A: So I'm curious to see what this sounds like. So this is old 55. Here we go. [00:17:51] Speaker C: Well, my time went so quickly I went liquidy splitly out to my old 55 as I pulled away slowly feeling so holy God knows I was feeling alive and now the sun's coming up I ride in with lady love freeway cars and trucks stars beginning to fade and I lead the parade just to wish it I'd stay a little longer. [00:19:08] Speaker B: Definitely sounds like an eagle's ballet. I mean, the vocals are great, that's for sure. [00:19:16] Speaker A: Yeah, well, Tom Waits doesn't like the version of this. Yeah, I read that he's not particularly crazy about their rendition of it. He's thought their version a little antiseptic. [00:19:26] Speaker B: Yeah. So I'm wondering what, um. Have you ever. Do you know anything by Tom Waits or. [00:19:31] Speaker A: I probably have heard stuff, but. But I think the stuff I've heard, though, has been, like. It was like in the eighties, though. [00:19:36] Speaker B: Yeah. He's got a very raspy voice, and. [00:19:39] Speaker A: I mean, the vocals are great in this. [00:19:42] Speaker B: Yeah, absolutely. [00:19:43] Speaker A: They're awesome. I mean, you can't beat the Eagles, and with their vocal stuff, it's great. And. And obviously, you didn't write the words, so. But I guess we'll. We're still gonna go over lyrics anyway, but the lyrics are pretty good and the melody is pretty good. So Tom Waits is very accomplished at putting this stuff together because even though I don't know what the original sounds like. But it is very. It is the Eagles. [00:20:12] Speaker B: Absolutely. You wouldn't. [00:20:13] Speaker A: If you didn't know this song, if you didn't know this was a cover, you wouldn't know that they didn't write this. [00:20:18] Speaker B: No, absolutely. I mean, I. To the point where I'm like, do I know this song? [00:20:25] Speaker A: I know I'm thinking the same thing. [00:20:26] Speaker B: I'm thinking of it. I said, but, no, but I mean. But I'm like. It sounds like. I can't think what song it reminds me of, of theirs, but I'm like, once they get into those vocals, it's the eagles. And that's it. I mean. [00:20:38] Speaker A: Yeah, well, I'll hear the words. So. Well, my time went too quickly it went lickety splitly out of my old 55 as I pulled away slowly feeling so holy God knows I was feeling alive and now the sun's coming up I'm riding with lady luck freeways, freeway cars and trucks stars beginning to fade and I lead the parade just wishing I stayed a little longer lord, I don't know the feelings getting stronger lyrics. Pretty good. And I think I like the melody more than lyrics, tell you truth. [00:21:13] Speaker B: Yeah, me too. [00:21:14] Speaker A: Melody. The melody is very good. And you're right, his drumming in here is just like. I don't know. It's not like. It's just. Must be him. He just. The way he plays. [00:21:24] Speaker B: Yeah, I guess. I mean. [00:21:28] Speaker A: I mean, it's very, like. There's very little fills. Nothing, really. [00:21:33] Speaker B: Yeah, I mean, I guess it does what he has to do for. [00:21:38] Speaker A: No, I think he's concentrating on the singing part of it, too, so you can't really be too, you know, flashy when you're trying to sing. [00:21:45] Speaker B: But that is Glenn fry on the lead though, isn't it? [00:21:47] Speaker A: It's both of them. [00:21:50] Speaker B: Okay. I feel like I recognize his voice more, but, I mean, that's another thing we spoke about, though, right? In the other episode, is how they're able to combine their voices in ways that sound almost different every time. In terms of whose voice you hear more or the fact that. I mean, this seems pretty. Pretty equal to me. [00:22:12] Speaker A: Yeah. No, and I think. I think the first part is Glenn. Fred. The second part is Don, Hannah, Lisa. I have to listen to it again, and I didn't hear anything in the. As far as the base goes yet, so I wasn't really paying attention. But I have to pay attention now. [00:22:28] Speaker B: That's right. There's another. [00:22:31] Speaker A: Yeah. Oh, yeah. Randy Meisner, right? [00:22:34] Speaker B: Yeah. Really cool. Based off on the first side. [00:22:37] Speaker A: Yeah, he's good. Okay, so let's continue. [00:22:48] Speaker C: I had to be on my way now the cars are all passing me the trucks are all flashing me I'm head home from your place and now the sun's coming up I'm riding the lady love freeway cars and trucks stars beginning to fade and I need the blade just to wish it I'd stay a little longer. [00:24:00] Speaker A: I heard the bass this time. Yeah, the bass is doing pretty good. Cool stuff. Yeah. I don't know what it reminds me of, but it's so funny. Like, it's like I thought I've. Every time I hear the chorus come on, it's like, I know this song, but I don't know this song. It's just the way they sing it and the way their vocals sound. That's probably why. So. So the verse is. Six in the morning gave me no warning I had to be on my way now the calls cars are all passing me trucks are all flashing me I'm headed home from your place and then chorus again. So it's good. And there's a little bit of slide guitar. I mean, a pedal steel guitar going on the back. So it still keeps the southern thing happening. [00:24:47] Speaker B: Yep. [00:24:48] Speaker A: So, I mean. I mean, it's a good song. [00:24:52] Speaker B: Yeah, it's a pretty good song. [00:24:53] Speaker A: Yeah. Like I said, I think that the melody is the strongest part of this song. [00:24:58] Speaker B: Yep. I mean, obviously, though. I mean, I really like chorus. I really like the way they sing the chorus. [00:25:04] Speaker A: Mm hmm. All right, let's continue. [00:25:27] Speaker C: God know I was feeling alive now the sun's coming up yes. I'm riding with lady love freeway cars and trucks freeway cars and trucks riding with lady love freeway cars and trucks riding with lady love. [00:26:35] Speaker A: There we go. So, basically, the next verse is just the first verse, and then they do the chorus where the freeways, cars and trucks on the way out, there's a lot of good little, like, you know, pedal steel dicks in the. In the background there. The bass is really cool. [00:26:53] Speaker B: Yeah. [00:26:54] Speaker A: So I actually like this song a lot. [00:26:56] Speaker B: Yeah, it's pretty good. [00:26:59] Speaker A: So I'm gonna go seven on the lyrics, I think lyrics are pretty good. I like it more for the. I do like it more for the melody than the lyrics. Lyrics aren't bad, but I like the melody a lot. Musicianship, I mean, you know, I think it's played fine. I'm gonna give it a six. And I like the production on this. Maybe it's the vocals sound. Just because they sound so good. I'm probably give the production a seven, I think. I mean, the drums are just. But again, I said, is it more that? Is that more him or is it more who's producing it? I'm not sure. I'm trying to think in hotel California, are the drums like that, too? I think they are, right? [00:27:35] Speaker B: Yeah, they're not. They're not. Um. I mean, other than that kind of feel, you know, when they just can't kill the bees, it's like doom, doom, doom. Then it just kind of, again, fades away into the background. But even that, I mean, they're not strong toms or all the producers. What do they say? Musicians, they sign off on this, so it's not for us to question. I mean, it's fine. Obviously, in a song like this, you don't really want kind of that overpowering thing. So they kind of work here. [00:28:12] Speaker A: Yes. [00:28:13] Speaker B: I'm going to say. I'm going to say six in the lyrics. Again, they're not bad. They kind of paint a decent picture. But I'll say seven on the music. I really like the melody and everything and. Yeah, I'll say seven on production. I mean, I just. I really like the way the vocals were captured, so for that point alone, and again, I don't really have a major complaint overall of what it is, especially of the time and everything. But like I said, it does. It does. I really like the way the vocals are captured. And so they definitely. I guess no matter who produces them, they're gonna. They'll do a good job with that. [00:28:53] Speaker A: Yeah. I mean, one thing you're. I would assume it doesn't matter what eagles record it, is the lyrics. The vocals are gonna be really good. [00:29:00] Speaker B: Yeah. [00:29:01] Speaker A: So. And they have their sound because, like you said, you never heard this song before. You're like, do I know this song? I don't know. [00:29:08] Speaker B: But it's great that you know it's them, right? I mean, once you. I mean, obviously, Glenn Fry and Don Henley, they both have recognizable voices. I think so. But again, once you hear that, those melodies and the way the voice is harmony. That's an eagle song. [00:29:26] Speaker A: Yep. Okay, so the next song is. Is it true? Question mark. So, I don't know. What, is this gonna be, like a more ballady thing again, or is it gonna be a little more uptempo? I'm not sure. It's short. 315, so. [00:29:44] Speaker B: 215. [00:29:45] Speaker A: 315. So let's see. Here we go. Is this. Is it true? [00:30:02] Speaker C: How come you love him? When he takes you for a fool? He's only looking for a good time how can he love you? When he treats you mean and cruel? It's not the best thing that you could find is it true? I can't believe it. Is it true? I just can't see it. Is it true? Is that you? [00:30:37] Speaker A: So that's Randy Meisner singing. The bass part in the chorus is really cool. Yeah, he's really good, man. He's really, really good. [00:30:49] Speaker B: I have to say that since doing this podcast, I think bass players are the undiscovered heroes to everybody. I mean, not only the non bass players in the group, but to. I mean, Nick and. And Steve have mentioned, I mean, obviously, like, yzer Butler, they were like, listen, we always love this guy. But even Steve last week, talking about Randy Mizer, I mean, him not being a fan, even of the hits and saying, wow, yeah, he's doing some really cool stuff. [00:31:16] Speaker A: Yeah. He doesn't like the Eagles at all. [00:31:19] Speaker B: Yeah. I never paid attention. I mean, I don't know how the baseline went. I mean, take it easy. We used to play every time we played out. [00:31:25] Speaker A: Yeah. [00:31:25] Speaker B: I don't remember what Nick was playing. Like, I don't think I really paid attention. So I don't know how the baseline was in that. Was that Randy Meisner? Was he the original one from the beginning? [00:31:34] Speaker A: Yes, I believe so. [00:31:36] Speaker B: Okay. And then he left and someone else. So, I mean, that would have been him playing on it, unless, you know, they had a stupid musician. [00:31:44] Speaker A: Wow. Again, back. Yeah, back. You. You never knew back then who was playing, and we don't know who's playing now. [00:31:51] Speaker B: Yeah. [00:31:52] Speaker A: We don't even know if it's actually people playing now, so let alone a person, you know, could be a. Could be computer at this point, but, yeah. So his. His bass playing is pretty cool. I mean, his singing, you know, his singing is not bad. He has, like, a little bit of a Beatles Beatley voice. Like, he has, like, a mix between, like, a mix between, like, John Lennon and Paul McCartney. Like, mixed together. You can hear some things. I'm not sure. Is it more Lenin than McCartney? I don't know. [00:32:21] Speaker B: I don't know, honestly. It's funny, because I was thinking this kind of reminds me of, like, a George Harrison song. [00:32:27] Speaker A: It could be. Yeah, a little bit. [00:32:29] Speaker B: But that's. But it definitely reminded me of a little bit more beatlesque, maybe even a little America kind of a little bit. But again, if I heard the song, I would not know. Well, in the. Well, I pick up in the chorus, you can hear Glenn Frey in the chorus. Without a doubt. [00:32:49] Speaker A: Yeah. [00:32:51] Speaker B: If I had heard this and I didn't, I would not know this was the Eagles. [00:32:55] Speaker A: No. Well, because you never. Because you would associate the Eagles with Glenn Frey and. And. [00:33:01] Speaker B: Yeah. [00:33:02] Speaker A: What's his name. Yeah. [00:33:03] Speaker B: But even kind of like the music, right. It feels like the signature sounds maybe we're not really hearing. And again, maybe if you. Once you start going through the catalog, you say, you know what? Okay, the hits are the hits, but kind of like the other songs, they all have to kind of like this really country thing going where it is more country than some of the stuff that. That we've heard on the radio. [00:33:29] Speaker A: Yeah, I'm sure it is. Well, I mean. I mean, Glen John's said that's what they are, you know, I mean, whether they liked it or not, he probably wasn't wrong. Like I said in the last podcast, I mean, he's. He's right. There's a big twinge of country here, and you can't just, you know, they're not the who, like you said, because I'm not just a rock band, but that's not bad. Just not what they are. [00:33:51] Speaker B: But I don't. And listen, again, I'm saying this from somebody who doesn't know. I don't know of the Eagles in the country genre. Right. I mean, it's not way. Okay. Oh, like, Taylor Swift started out as, like, you hear that? But I don't hear where the Eagles are a country. You know what I mean? A country western band. Like, oh, yeah, they used to be country, but it's like, I don't know, maybe it doesn't sound like they were accepted by them as a mainstream country act. You know what I mean? [00:34:22] Speaker A: No, no. I don't think they're ever a country act, but I think that they had a lot of country in Iraq. [00:34:28] Speaker B: Yeah. [00:34:31] Speaker A: That'S probably what he's meaning. More than that. Their country. You know what I mean? That, you know, they have country in their rock. But. [00:34:36] Speaker B: But, no but I'm saying some of this stuff is just straight up country. I think even this. It's. It's. It's. You know what I mean? It's kind of like that old school country sound to me. Like that's what this sounds like. [00:34:49] Speaker A: Yeah. All right, so the lyrics are. How come you love him when he takes you for a fool? He's only looking for a good time. How can he love you when he treats you mean and cruel? He's not the best thing that you could find. So time and fine. That's not bad. It felt a little clunkier when he sang it than when I read it. And then the chorus is. Is it true? I can't believe it. Is it true? I just can't see it. Is it true? Is that you? So I'm enjoying. I'm enjoying. He's blaze playing in the choruses. I got to listen now in the verses and see what he's doing. I don't know if it's a little simpler there, but I like it. He's good and, like, he doesn't have a bad voice. It's just I'm not used to hearing anyone else besides Glenn Fryer or. Or Don Henley singing eagle stuff. [00:35:38] Speaker B: I do think that they have better, the two of them, to me, have the best lead vocals. [00:35:43] Speaker A: Oh, of course. Yes. Yes. All right, here we go. [00:35:52] Speaker C: When we were young, we didn't really ever care. You were hung up. I had a good. I never knew it then the man I was in love how could I know it was the right time now? Yes. I was so wrong for leading you on. There wasn't much I could do. [00:36:41] Speaker B: I. [00:36:41] Speaker C: Was a wild one, but I can change song, if that's important to you. [00:37:11] Speaker A: Background vocals again. Very good. [00:37:14] Speaker B: Yeah. I'm a little confused about this song, though, lyrically. Because, I mean, it sounds like he's speaking first about somebody she's with, but then it almost sounds like he's the guy. [00:37:25] Speaker A: So let me read the second verse, maybe make it a little cleared up. So when we were young, we didn't really have a care. You were hung up. I had a good line. I never knew it then, but, man, I was in love. How could I know it was the right time? So it kind of feels like when he was younger he had feelings for her, but he didn't realize it then. So now, I guess the first part is now and then he was saying about it when he was young. And the third verse was, yes, I was so wrong for leading you on there wasn't much I could do. I was a wild one but I can change some if that's important to you. So, to me, it feels like. It feels like he led her on when he was younger, but he didn't really realize he was in love with her until she left him. And now she's with the other guy, and now he's realizing this now. That's what it means, I think. Yeah. Well, yeah. The first time is it's talking about, why are you with this guy? I don't know. Is that the best person you could be? [00:38:25] Speaker B: But he also says you were hung up. I mean, it would usually when somebody says you were hung up. I guess I took it as you were hung up on somebody else. [00:38:33] Speaker A: No, on him. [00:38:34] Speaker B: But I still had a ch. Yeah, I guess so. [00:38:36] Speaker A: No, it said you were hung up. I had a good line. That means he had a good line of shit. He was talking to her, so he was. And I never knew it then, but, man, I was in love how, how could I know it was the right time? And then the next verse is, yes, I was so long wrong for leading you on right there wasn't much I could do I was a wild one but I had to but I can change some if that's important to you. [00:39:00] Speaker B: Yeah, I guess that's what throw me. [00:39:02] Speaker A: Off yeah, he was a wild one but he's still a wild one yeah, that's. [00:39:07] Speaker B: That's what's kind of. That was kind of throwing me off, I guess, the way. The way I was hearing it. [00:39:12] Speaker A: Yeah. [00:39:13] Speaker B: I mean, I was a wild one, but I changed. To me would have made more sense at this point. Like, it's saying, like, he's still doing that. [00:39:22] Speaker A: Yeah. [00:39:23] Speaker B: And he could change. So it's like, well, you're not that much better probably, than this other guy she's with. [00:39:29] Speaker A: Yeah, well, obviously he thinks he is. [00:39:31] Speaker B: And I'm not expecting that. [00:39:35] Speaker A: And the, and the witch McCall is pretty good, too. The guitar solo was good. The slide guitar solo was good. [00:39:43] Speaker B: Yeah. [00:39:44] Speaker A: Yeah, it fit the song. Yeah, it's interesting song. And I can definitely hear the George Harrison thing now. Yeah, yeah, I can hear that. Again. It's not a bad song. I like it. [00:40:02] Speaker B: No. [00:40:05] Speaker A: Let'S finish it up. Here we go. [00:40:30] Speaker C: She's really. She's really. She's really. [00:41:08] Speaker A: They love to fade. [00:41:10] Speaker B: Yep. [00:41:11] Speaker A: I like, to fade. So I'm okay with the fade, maybe because you don't hear it anymore. I'm like, anytime I may hear fade now, I'm like, oh, that's not bad. Why don't you go first? [00:41:23] Speaker B: The lyrics are okay. I mean, I'll say a five on the lyrics. They're all right. I mean, I'm gonna say six in the music. It's not terrible, but I don't think it's as good as the first one. All the chorus is proud. I like the chorus, and I like what the bass are doing. And, I mean, again, once they all come in with the vocals, I mean, you can't go wrong. They could probably take a horrible melody and still make it sound. Not that I'm saying that it was, but I'm saying even if they took some shitty ass melody, they could still probably make it sound good with their vocals. Production's fine. Trying to think if I want to give it a. You know what? I'll give it a seven. I mean, we've kind of knocked some of the production, and I think that it actually was pretty good for the song, that it was like the one before, so it's okay. I mean, like I said, I don't like it as much as the first one, but it's not. It's not. It's not a bad song. I think the balance may be better than. Than the rockers on this one, except for the first one, which I know I knocked going into this, but what do you think? [00:42:33] Speaker A: Yeah, I think my. My things are gonna be the same. Five for lyrics. It looks okay. Musicianship. Six. You know, the bass thing is pretty cool, and the slide thing is pretty cool. I like both those things. And production. Yeah, it wasn't bad. And I agree that the ballads are their forte. I mean, but is that surprising to you, though? Because they are. You know, they are accounted in the yacht rocky kind of thing, so I spit. They're good at it. [00:43:03] Speaker B: Yeah. [00:43:04] Speaker A: Alrighty. So the next one is good day in hell, and this is Henley and Fry together, and they're both singing it's. [00:43:15] Speaker B: Gonna be a rager. [00:43:17] Speaker A: Yeah. Well, I wonder if they're gonna get back to the rock stuff, or is it gonna be more of. More this? [00:43:23] Speaker B: I mean, yeah, I'd say a little bit rock. [00:43:26] Speaker A: All right. [00:43:26] Speaker B: I mean, because they have what? Well, all 55 is the true is a ballad. We know the last one's a ballad. Ballady. [00:43:32] Speaker A: Yeah. [00:43:33] Speaker B: So I'm thinking they'll stick a rocker in the middle here somewhere. [00:43:36] Speaker A: Let's see, here we go. There you were right. There you go. [00:43:45] Speaker B: Yeah, this is so, this really reminds me of, like, John Henley stuff on the solo, though, if you think about. I said all she wants to do is dance for the other one. I can't remember which one, but that's what it kind of reminds me of a little bit, so. [00:44:01] Speaker A: All right, here we go. [00:44:32] Speaker C: Can't you see she wants you? She has you deep in her eyes. Wondering why she haunts you. You in the devil's disguise. She can tell you all about it. She sees it in the stars. She'll burn you if you try to put her down. Oh, well, it's been a good day in hell. Tomorrow I'll be glory back. [00:45:13] Speaker A: I mean, they're good when they sing together, man. [00:45:17] Speaker B: Yeah. So this sounds again like it's somebody who left the person singing, right, and then goes with this other person. [00:45:25] Speaker A: Um, well, let's see. So move in. Can't you see she wants you. She has you deep in her eyes. You've been wondering why she haunts you. And beauty in the devil's disguise. She can tell you all about it. She sees it in the star. She'll burn you if you try to put her down. And then the chorus is, oh, well. It's been a good day in hell. And tomorrow I'll be glory bound. I'm not sure yet. [00:45:50] Speaker B: Yeah, I'm not sure. That's what kind of throws me off, because it's kind of third person, which they do. A lot of it seems again, and talking to the guy about the woman, but then it's like that. I'll be glory bound. Okay, well, it all suddenly becomes first person. [00:46:10] Speaker A: Yeah. I mean, can't you see? I mean, now, you could take it another way. Move in. Can't you see? Can't you see? She wants you, she has you deep in her eyes. It could mean you saying that to yourself. It may not be the third person. Could be, you know, I mean, you've been wondering why she haunts you. So maybe he's talking to himself. I don't know. [00:46:34] Speaker B: I can't. Could be that. Could be it. [00:46:39] Speaker A: I mean, it sounds like other. Another eagle song, though. But. But it's good. But, but again, there's definitely a southern rock tinge in this, even though this is a rockier song. Somebody. I like it so far. [00:46:53] Speaker B: That's far. [00:46:56] Speaker A: Let's keep. Let's continue. [00:46:57] Speaker C: Fire. She can keep you loaded. Fire. Devil's on the phone. He laughs and says, you're doing just fine seeing how I'm going down oh, well, it's been a good day in hell. Tomorrow I'll be pouring. [00:47:39] Speaker A: And I'll read the. Read the verse before we get into that. So higher she can keep you loaded feeding you whiskey and wine fire. The devil's on the phone. He laughs and says, you're doing just fine in that big book of names I want to go down in flames seeing how I'm going down. Okay, so I'm not sure what he means by the big book. Big book of names going down in flames. I'm confused. [00:48:09] Speaker B: I get my guess is kind of like a reference to. Oh, you even, like, what is a casino like? Oh, you know, the FBI's got a book and your name is in it. You know what that means? You know, like that kind of deal. Like you've been marked. [00:48:27] Speaker A: That. Or that can mean that she's with a lot of men and that he's in this big book of names of all the men she's been with. Could that be what it is? [00:48:33] Speaker B: Yep. [00:48:33] Speaker A: That could be it, too, maybe. Because now, obviously, he's with her now, right? She can keep you loaded, feeding you whiskey and wine and the devil's on the phone. He laughs and says, you're doing. No, don't worry about it. You're doing good. [00:48:45] Speaker B: Yeah, that could be it, too. I mean, I want to go down. I want to go down and faint. I mean, it seems like this guy knows what he's getting into. Right? But again, there's a little more first person reference in this one than in the first verse. Right. [00:48:59] Speaker A: Wow. [00:49:00] Speaker B: Like, it could be him talking to himself. [00:49:03] Speaker A: Yeah. Cuz, like, she. Yeah, she can keep you loaded. So that either could be third person talking about someone else or talking about himself. [00:49:10] Speaker B: Yeah. [00:49:11] Speaker A: So. I don't know. But. But I like all the little. All the little slide guitar playing, all the little licks in the middle is pretty cool. [00:49:20] Speaker B: Yeah, it's pretty good guitar work on their record, so. [00:49:24] Speaker A: Yeah, I mean, even this, you know, this guy is not the. What I guess anyone would call for me would be the lineup that I know. Right. Because of the Hotel California lineup. But he's pretty good. He's not a big guitar player at all. No, I like him. All right, here we go. What do you think of that? [00:50:25] Speaker B: It was good. [00:50:26] Speaker A: Yeah, I like it. He's a good Saigeter player. [00:50:30] Speaker B: He got a lot of room, too, which is nice. [00:50:35] Speaker A: Yeah, no, no. Yeah, no, they didn't give him, like, one or two bars and then. Let him. He let him. You know, and stop them and let him go a little bit. So that was pretty good. [00:50:43] Speaker B: Yeah. [00:50:45] Speaker A: Yeah. I don't hate this at all. I like when they do a little bit of rockier stuff, personally. [00:50:51] Speaker B: Yeah. They're good at it. I mean, again, we're not expecting hard rock from the Eagles, but, I mean, like I said, I. You know, I love the greatest hits when you listen to it. I was like, it's a good song, good song. Good song. [00:51:06] Speaker A: So, yeah. All right, let's go. [00:51:43] Speaker C: Oh, well, it's been a good thing. Tomorrow I'll be glory. [00:52:58] Speaker B: Honestly, at one point, it sounded like he just lowered the volume and forgot to keep fading. Like, it kind of stayed at one volume. I was like, is he going? [00:53:05] Speaker A: And then it was like, damn. Damn, it's fading too long. So now we figured out what he's gonna. What he is. He's a trucker. So there we go. Trucking. That's all I've been doing. Every girl's a fork in the road stuck in some sticky situations feeling like I want to explode all this gratification and sick conversation someone get me out of town. So, obviously, this is. This is not his first rodeo. So he's obviously meets all these women because he drives around the truck all the time. [00:53:37] Speaker B: Yeah. [00:53:38] Speaker A: And then another nice little outro solo from him. He was good. [00:53:43] Speaker B: Yeah. Do you like the tone in this? [00:53:46] Speaker A: Yeah, I like the guitars one. He's good. Yeah. I mean, there's not much bad to say about that. And I. I even think. I mean, there was less. There was less of the basie playing around, right? There wasn't as much, but it was good, though. I mean, he was in the pocket. Everything was good. So I'm gonna say I don't hate the lyrics. I'm gonna say I actually like the lyrics better than the last one, so I'm gonna say seven. I like the lyrics a lot. I don't know. I just like it because they're a little more rockier, and I think that's why I'm giving it a seven, just because I like that it's not the ballad again, because I know that there's a big ballad coming up. [00:54:21] Speaker B: Yeah. [00:54:21] Speaker A: So I like. I like that a lot in the music is good. I'm gonna give it a seven. I like the. I like the slide playing. I like the. I like the way. I like everything. Bass playing is good. Drumming fits what it is like. It's not. It's not flashy or anything, but I like when they do a little more rock stuff. And I like the production. I'm gonna give a seven, so I'm gonna give triple sevens and that's gonna be this one. Seven, seven. [00:54:53] Speaker B: Is that the first seven triple sevens we gave on this record? I remember hearing any. [00:54:58] Speaker A: Yeah, it's the first one. Why don't you. Why don't you go? [00:55:04] Speaker B: Yeah. I mean, I'm gonna say six in the lyrics again. They're okay. I mean, there's some really cool lines in there that I like music. Yeah, I'll say seven on the board. I mean, the more I listened to it, the more I liked it. I mean, not that it was bad from the beginning, but, you know, as it progressed, I was kind of. I started getting more and more into it and this really reminds me more of what Eagles rock is to me, you know, again, when they get to the rockier stuff. Yeah. Production. I'll say seven. I mean, it was cool. So six, seven, seven. Close. Yeah. [00:55:37] Speaker A: This is one of my more favorite songs on the record, I think just because it's nice beat and I do like when they, like you said, I like when they go into the rock side a little bit. [00:55:47] Speaker B: Yeah. [00:55:48] Speaker A: So now we come to best of my love. This was the band's first billboard hot 100 number one single. [00:55:58] Speaker B: Nice. [00:55:59] Speaker A: It topped the easy listening adult contemporary, aka yacht rock. Before it was called yacht rock, it was easily easy listening adult contemporary. [00:56:11] Speaker B: Maybe 30 years from now it'd be called something else. [00:56:14] Speaker A: Yeah, probably. So it was the number twelve song. Billboard ranked it as the number twelve song of 1975. [00:56:21] Speaker B: Wow. [00:56:22] Speaker A: So for all the, like, songwriting geeky people out there. So I guess Glenn Frey was in Laurel Canyon and he was playing with this tuning that who showed him Johnny mission show, this guitar tuning, which I'm not sure what it is, but he showed him this and he ended up writing the song, which ended up being the best of my love. And then was. This is recorded at Olympic Studios. [00:56:55] Speaker B: Yeah. Well, Glenn, John produced there. [00:56:57] Speaker A: Yeah. So. So they didn't. Again, like we said in the first episode, he. They were unhappy over John's preference for country rock and toning down their rock aspirations and the dissatisfaction with John's, which was reinforced by the similar. The similarly honed Desperado album, which was a comparative failure and John's no drug policy during recording. So I guess they wanted to do their drugs and he wouldn't let them. So I guess. So, like, screw you, whatever. So they held off on the release of the single for a long time. Yeah. Is it because he produced it and they didn't want to, like, you know, put it out there, and it became big. [00:57:46] Speaker B: I mean, that's what it sounds like. Unless there's something else. [00:57:50] Speaker A: Um, they were. They said they were reluctant to release it. It's a single. I don't know. I don't know why. [00:57:58] Speaker B: Again, maybe if they were trying to get more the rock stuff out there and probably. [00:58:04] Speaker A: I mean, they did release already gone, so. And. But. But then they released James Dean, so I don't know. All right. I have a feeling this is gonna have a lot more awesome vocals and high harmonies and I haven't heard in a while, but I. But I know the song, though. [00:58:22] Speaker B: Yeah, I know. Me too. I haven't heard in a while either. [00:58:25] Speaker A: Yeah, I have to listen for the bass and see what the bass does in here. So I'm sure since it's about the bass is going to be pretty good. Yeah, so. So. Lead vocals, Don Henley, brush drums. John Henley. Glenn Fry, 12th string, acoustic guitar, background vocals. Bernie Layden, pedal steel guitar, background vocals. And then Randy Meisner, bass, background vocals. So this is another big, big song from them. So here we go. The best of my love. [00:59:19] Speaker C: Every night I'm lying in bed holding you close in my dreams thinking about all the things that we see coming apart at the seams we tried to talk it over, but the words come out to us I know you were trying to give me the best of your love. [01:00:02] Speaker A: So is it what you remembered it as? [01:00:07] Speaker B: So when it gets to the core? Yeah. I mean, yes, but it sounds a little bit different to me. It's almost cleaner than I remember it. [01:00:17] Speaker A: Yeah. I mean, to me. To me, it's very country tinged. I mean, I think because of the petal steel kind of does that to it. Like, if it didn't have the petal steel, I don't think it would feel as country. [01:00:31] Speaker B: Yeah. It's so funny. Just, like, hearing it. It sounds like. Oh, I remember being. I'm not gonna say muddier, but it's very clean to me. Like, the acoustic is very high treble to me, as opposed to what I remember, but not, like, bad trebly. It's like, oh, this sounds cleaner again. I probably heard this more on the radio songs. If you get on the radio, am radio, probably. [01:01:00] Speaker A: What do you. What do you think about the lyrics and so far, in the melody of. [01:01:05] Speaker B: The lyrics, they're good. I mean, they're. You know, I think the thing, too, is that obviously the chorus, you know, where. You know where it is. Well, I guess it's whatever they call reframer chorus, I'm thinking more. More of towards the end of it, the way it repeats and when the other things come in. So I thought that that came in sooner in the course, but obviously it's not just two lines. [01:01:32] Speaker A: Yeah. So the lyrics are every night I'm lying in bed holding you close in my dreams thinking about all the things that we said and coming apart at the seams. We try to talk it over, but the words come out too roughly. I know you were trying to give me the best of your love. See, kind of like takes that last part of the verse and kind of attaches it to the chorus. Right? Yeah, sort of, kind of because it. Because the melody changes, like, right there. [01:01:57] Speaker B: Mm hmm. [01:01:59] Speaker A: So, yeah, I think I remember more the outro chorus stuff when they start repeating a little bit more. I think that's really what I remember more about this song. [01:02:09] Speaker B: Yeah. I mean, I know he's a sweet darling. I mean, that's something that really sticks out of my head. So again, I probably thought that that was the chorus throughout the whole song as opposed to coming in later. [01:02:23] Speaker A: Well, maybe that part really isn't chorus. Maybe is refrain. I mean, is the refrain, so. All right. And the bass has a little bit of stuff going on too, which is pretty cool. [01:02:33] Speaker B: You know what? I didn't catch the bass, so now I gotta listen to the melody and you see. Okay, like, do I really remember it? How much do I remember it? [01:02:43] Speaker A: All right, well, pay attention. Here it comes. [01:02:46] Speaker C: Beautiful faces, loud empty places. Look at the way that we live wasting our time on cheap talking wine. Left us so little together. That same old crowd was like a cold dark cloud that we could never rise above. But here in my heart I give you the best of my love. Sweet dawn, you get the best of my love. Get the best of my love. O sweet dawn, you get the best of my love. You get the best of my love. I'm going back in. It was a quiet night and I would be alright if I could go sleeping but every. [01:04:15] Speaker A: You know, there's your part, Serena. [01:04:18] Speaker B: I mean, that's what I remember. Yeah, I think they probably carried out. It's more. They probably keep repeating it at the end. I would say if you do it again. [01:04:28] Speaker A: Mm hmm. I'm pretty positive. Yeah, I think that's part of the whole thing, but. So the second verse is. Beautiful faces and loud and empty places. Look at the way that we live wasting our time on cheap talk and wine left us so little to give that same old crowd was like a cold dark cloud that we could never rise above but in my heart I give you the best of my love oh, oh, oh, sweet darling I get. You get the best of my love and it repeats. Yeah. I mean, it's a very catchy thing. I mean, I don't. I don't listen to this song very often, but I can't. You can't not forget that. It's so good. [01:05:09] Speaker B: I really like how they. How it's like Dan Henley sang the first verse pretty much by himself, and then. Then it's him and fry, but then fry drops out, and Henley does it by himself. I mean, it's really. You have to appreciate how they've worked on the vocals. I mean, the fact that they could all sing, I mean, just adds so much to it. They really play around with it, because, I mean, they could really just do solo singer. Right. And then everybody in the chorus, but they don't do that. They play around with vocal so much in each song. [01:05:47] Speaker A: Yeah. [01:05:47] Speaker B: That it keeps it interesting. More interesting. I think that if it wasn't happening. So. [01:05:53] Speaker A: 100%. Yeah. I mean. I mean, their vocal, their vocal prowess, you know, makes the sound of the eagles, really. So then there's the bridge. I'm going back in time and it's a sweet dream it was a quiet night and I would be all right? If I could go on sleeping like, I don't remember. I don't remember the. The bridge as much. I don't either. [01:06:14] Speaker B: I mean, again, this must have been one of those. You kind of remember the chorus. [01:06:19] Speaker A: Yeah. I'm gonna have to look and see and see if they actually cut this on the. On the single version. So maybe that's why I don't remember it. Maybe they cut that bridge out. Maybe. I don't know. All right, let's continue. I'll look while we're listening. [01:06:39] Speaker C: What's gonna happen today? You see it your way, I see it mad, but we both see it slipping away. You know, we always had each other, baby. I guess that wasn't enough. [01:07:18] Speaker A: And before we get into that. So, yes, they did cut the song, and they were pissed they cut the song up. So that's probably why you never heard that part, because you probably only heard the single version. You probably never heard the other version that wasn't the single, so that makes sense. Me either. [01:07:35] Speaker B: Yeah. I don't. I mean, like I said, I don't. I don't. It's been a while, like you said, it's really been a while since I've heard this song, so. But yes, some of it. Maybe there was. [01:07:47] Speaker A: Yeah. I don't know. I don't know how much they cut. They don't say here how much they cut, but they must have cut enough, because this song is what this song is. 435, so they probably cut. Probably cut the bridge or some other part. Maybe. Maybe they cut that. This verse that we. I don't remember. So maybe they cut this verse. I don't remember. Yeah, so third verses, but every morning I wake up and worry what's gonna happen today? You see it your way and I see in mine. But we both see it slipping away. You know we always had each other, baby. But I guess that wasn't enough. Oh, oh, oh. But here in my heart I give you the best of my love so what do you think the meaning behind the lyrics are? [01:08:36] Speaker C: Um. [01:08:37] Speaker B: I mean, it sounds like two people that are trying to kind of keep a relationship going, right? But they just can't. And they. They really gave the best that they could. I mean, I think that's makes it sounds like when you think about the, um. It sounds like there's possible redemption in. In there, but then when it gets to the end. [01:09:04] Speaker A: Yeah. [01:09:04] Speaker B: I mean, there really is. [01:09:06] Speaker A: Yeah. He said, you know, we always had each other, baby. I guess that wasn't enough. [01:09:10] Speaker B: Yeah. I mean, at that point, it's like, okay, well, that's. That's how I see it. We, you know, we loved each other the best way we could, but it just. It wasn't enough. [01:09:20] Speaker A: Yeah. [01:09:22] Speaker B: Which goes to show I never paid attention. But if you listen, oh, sweet darling, get the best of my love. If that's all you think about, right? They go, okay. You know, they're giving each other the best of their love. Everything's hunky dory, but you're like, no, that's not what it's about. [01:09:35] Speaker A: No. And they wanted to pull the single once they heard. Once they heard it was cut, but it sold, like, a million copies, so they couldn't pull it and ended up being their first, you know, number one. So they had to leave it. But they weren't happy. I wouldn't be happy either. Someone cut my song up and didn't tell. At least didn't tell them and didn't tell them that it was gonna end. Didn't have any input on how it was cut. [01:09:57] Speaker B: Exactly. I mean, it's one thing if you're like, listen, the song is four minutes. If you cut it down to three and a half or even four, whatever it is, right. I mean, three. Three plus is usually the thing, I think. [01:10:10] Speaker A: Mm hmm. [01:10:13] Speaker B: At least working, I'd be like, all right, yeah, maybe this out. [01:10:17] Speaker A: Yeah, well, they didn't tell them, and then they were, they were like, pull it, pull it. But at that point, it was too late. Here's, let's, uh, let's get to the big, big outro. Here we go. [01:10:35] Speaker C: Sweet daughter you get the best of my love, the best of. Sweetheart, you get the best of my love the best of all sweet darling every night and day? You get the best of my love the best of all sweet dog, oh, you get the best of my love the best of all sweet dog, you get the best of my love? Best of my love, the best of sweetheart, you get the best of my love. [01:11:44] Speaker A: There you go. I mean, that's such a recognizable chorus, like, oh, yeah. So, yeah, that just ends up being. [01:11:54] Speaker B: Yeah, I mean, it's over the table. I know that one. I know that one. [01:11:58] Speaker A: Yep. I know, I know. So why don't you go first? Go ahead. [01:12:03] Speaker B: I mean, the sentiment is nice. There's some really nice lines in there. You know what? Let's end it. I'm gonna end it on a triple seven. I'll say seven for the lyrics, seven for the music, and seven for the production. [01:12:19] Speaker A: Okay. Triple seven time. Yes. Mickey, tippy, baby. Seven, seven, seven. Yeah, yeah. I mean, I don't know how you. I think I'm gonna. I'm gonna do the same. Even though I gave seven for the lyrics of the prior one. I'm gonna do sevens across the top again. Another sevens. And there's another one. And this will be this one. [01:12:41] Speaker B: Dicky titty, baby, 777. [01:12:44] Speaker A: Mister Bob Dylan, 777. [01:12:46] Speaker B: Is that what that was? [01:12:47] Speaker A: Yes. [01:12:48] Speaker B: I've actually been. Been listening to. I was trying to get. My son is always like. He's very big into kind of like the acoustic and some of the folk stuff I try to listen to. It's amazing. I mean, obviously, you just. A lot of hits from him and everything, but going through some of the catalog, there's songs I don't know, but this is really good. And this is really good. So again, these people that you just, you kind of know of and you don't dig deeper, but meanwhile, you started digging deeper. Damn, I should have listened to a lot of. I could have listened to this stuff. [01:13:26] Speaker A: Yeah. So what did you think? Overall? [01:13:30] Speaker B: It's okay. I mean, I'll be honest with you. Overall, I expected to like it more. I was actually like, oh, cool, legals. You know what I mean? I don't know. All these songs, and, you know, I'm definitely, like, the hits and everything, and I'm cool. You know, people like, oh, my God, man, they got a lot of good songs, man, they got great melodies, good guitar playing. So this one was okay. It almost felt like. Almost like they were still kind of working with the sound. I mean, looking back at the first one, the first album feel, there's almost more eagle ish of what we know. This is a little bit more on the southern side, and I'm not just saying that because Glen John said. I mean, I think it is. I mean, I just. I think, again, in a good sense, I think somebody who likes country music, a purist, maybe, would enjoy these songs. [01:14:30] Speaker A: So I would think. So I would think if you're an Eagles fan, you like this. Yeah. I mean, again, I think that, you know, the next lineup is where, you know, it all came together for them and. And figured it out and again. And that. That didn't last very long, so. [01:14:44] Speaker B: No, but again, I don't know. You know, like, again, the first song, the first album, just take it easy, witchy Woman. So I don't know what the other songs. Peaceful, easy feeling, I think, is on the first one as well. So, obviously, there's three major. At least three major hits in the first one, which, you know, run the gamut, too, right? Some a little bit more rocky, but it's only kind of the southern rock then the kind of southern ballad type deal. So, yeah. Again, when you don't know all the catalog, right. [01:15:15] Speaker A: It's hard to. [01:15:16] Speaker B: From one album to the net to another. [01:15:19] Speaker A: I mean, all I think is, from what I know and from what I know, the next lineup, for me is. Is what I think. What I think the Eagles are. Whether that's true for Eagles fans or not, I don't know. But for me, that's. That's the. That's the lineup that I look at and go, oh, yeah, that's the. That's the classic lineup. We're really not really. This might be the classic lineup just because they had, like, three albums together. [01:15:42] Speaker B: Yeah. [01:15:42] Speaker A: So, yeah. So who knows? But. But it's definitely, you know, it definitely pushed into. It was always the adult contemporary. You know, people say, oh, you like the Eagles? It's so light. So, you know, it's not all. It's. [01:15:56] Speaker B: Here's the deal. Right. I think ultimately, certain band names, it's like winger, right? [01:16:02] Speaker A: Yeah. [01:16:03] Speaker B: There you kind of have this concept of what they are, whether or not you really know everything of them. So, I mean, to me, it's one thing to say, especially hotel California. I was like, oh, my God, if I hear that song again, all right, but it doesn't mean it's a bad song, because if you don't like a song, hearing it once is bad enough, but if you hear it a lot, you're like, okay, I don't want to hear it now, but I love this song, but I'm just not in the mood for it because I've heard it. So I'm like, you know, that's different than saying I've never liked it. Those are two separate. You kind of have to separate. Oh, I'm just sick of hearing this song. But it's a great song. As opposed, like, I've never liked this song song, so I'm never gonna listen to it. [01:16:47] Speaker A: There are two different concepts when you have songs pushed down your throat so much that sometimes you resent the song because you've heard it so much, even though it's a great song. Yeah, but you've heard it so much that drives you crazy, and that happens all the time, but it's still a great song. [01:17:04] Speaker B: Just like, I hear it again, but this song. Awesome. [01:17:08] Speaker A: Yeah, no, and I'm glad we got this record, too, because it's the record that. I mean, I think it would have been easier if we, like, got hotel California, you know what I mean? I'd be like, oh, my God, that's such a. That's the record. But this, you know, you kind of see some of the stuff that was going on that's not maybe the stuff that casual fans like us don't know. Right. And then if you're an Eagles fan, you probably know this record inside out. You know, everything on here. But for us, you know, we, like you said, you have the greatest hits, and it's great, but you don't really dig so deep into the. Into the. Into the catalog. And this is a good. This is a good record to do, I think, because it's just. It's, like, right in the middle of it. [01:17:49] Speaker B: Yeah. I mean, obviously, if anybody. If anybody listens to us and you're an Eagles fan, please say, hey, here's what I think as an Eagles fan. [01:17:58] Speaker A: Yeah. [01:17:58] Speaker B: I would place this album because that'd be great, because who knows, you know what I mean? Out of the. I think it's, like, the five that they did. This could be one of the least favorites for hardcore Eagles fans. It could be a favorite for hardcore Eagles fans. [01:18:11] Speaker A: Yeah. I'd like to know what the hardcore Eagle fans. [01:18:13] Speaker B: Yeah. I would love to know. You know, my son and I've been going through youtubers ranking their Pink Floyd albums, and it's crazy how diverse people are where they place even the major records in terms of it. So, yeah. I mean, if you're an Eagles fan and you're listening, say, hey, you know what? Yeah, it's middle of the road for me. Or you know what this is? I consider this one of the best for this reason. So that'd be cool. Shout out. Shut it up. [01:18:39] Speaker A: 100%. Yeah, I'd like to know what you go, fans. Think about this. It's just. Just because I'm such a casual fan that I don't know. So. [01:18:47] Speaker B: And it's. And it's hard for us to. Because right now, like, I want to go listen to the other stuff and how do I compare it? Right. But they look, I don't want to listen to it because if it comes up, I want it to be fresh then and there. Right? [01:18:59] Speaker A: Yeah. Well, it's funny that. That we can have an album that's 50 years old, that's fresh for us, right? [01:19:03] Speaker B: Yeah, exactly. [01:19:04] Speaker A: It's 50 years old. It's crazy. All right, so why don't you do your thing? [01:19:10] Speaker B: Yep. So we are part of the deep dive network. Podcast again. Podcast network again. Great bunch of guys who took us in. If you want more individualized podcasts about bands that you love, like maiden multi eagles, unfortunately. But who knows? Maybe they'll come up. We'll come up with that. Rush rash. Everybody's a rush. Ratchet's priest. I mean, you name it, it's probably on there, except for maybe a handful. But check them out. And, Mark, where can they find this? On the interwebs. [01:19:37] Speaker A: On the interwebs. Rock roulette pod, all the socials. Rockrulletpodcast.com. don't forget, we have our Spotify playlists that come out every time we finish the second part of the episode. So that gets posted up to see, you know, the songs that, you know, made the rankings at a certain level, they get put up on those things. So it's cool. You can. You can see what we. What we ranked as songs that we put on a playlist. So that's pretty cool. And, yeah, social media, you know, we post stuff all the time. So interactive with us there and set your podcast player to download automatically. That way you get the podcast when they come out, and next week, we will be spinning again. Who knows what we'll get? I wasn't. I wasn't expecting this record, but was Steve wanted seventies? We got seventies, but I don't think it's the seventies Steve wanted. [01:20:30] Speaker B: He was a little disappointed, but who knows? I mean, unfortunately, he wasn't able to join us tonight, so maybe some of these songs could have won him over a little bit. Over. [01:20:41] Speaker A: Well, he liked the bass playing, and he was, like, very surprised. It surprised him, especially since he's not a fan at all, even of the big stuff. So, yeah, I mean, it just shows you that that's. That's happened a lot where the bass player, you're like, wow, I didn't really realize how much bass is on here. It's like when we did the Doris record, and we're like, look how much bass playing is on this. And they don't have a bass player, but they had a bass player in the studio. And when you listen to the studio cuts, you're like, wow. [01:21:09] Speaker B: Yeah, there's a lot of bass going on. [01:21:12] Speaker A: And a lot of bass, too. [01:21:14] Speaker B: Yeah. [01:21:15] Speaker A: All right, guys, we will see you next week. Later.