Episode 95 - Poison - Flesh & Blood (Part 1)

[00:00:05] Speaker A: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now on to the Rock Roulette podcast. [00:01:14] Speaker B: Hey, everybody. Welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1200 albums, stuck them in a list, stuck them in a wheel. And typically every other week we spin the wheel, she picks a record for us and we go through it side by side, track by track, and we talk about the music, lyrics and the production, and we vote on it. One out of ten. Again, just a bunch of friends who want to do a podcast, who love music, just having some fun. And again, anybody who listens to us, we really want to thank you. Spread the word if you like us, or leave a comment, tell us what you like, what you don't like, if maybe you want to have us do an album, whatever it is, just give us a buzz, man. We really appreciate it. So thanks. Tonight we have Mark. Oh, hi, Mark. [00:01:56] Speaker A: What's up, guys? [00:01:57] Speaker B: And I'm sab. Ciao. Buenasira. So last week we wrapped up Joshua Tree by U two. Obviously a massive album. You know, I've said many times on this broadcast YouTube podcast that YouTube is one of my, well, my favorite bands. And the Joshua Tree was actually the first new record that I bought from them. And so, you know, it's a milestone in my music listening career. And I mean, I love the album and obviously market, you know, you gave it some pretty high scores and frank gave it some pretty high scores. So, I mean, overall, I think there's a reason that the album sold as well as it did. And this is not because they're YouTube, because believe me, there's gonna be albums here. Forget. I'm like, so what do you think? [00:02:42] Speaker A: Yeah, I mean, obviously the first four tracks are, I don't know how you touch the first four tracks, right? And this stuff. And there's good stuff on the second side too. It's just, you know, it's hard to, you know, if you take him one at a time, I guess it's easier. But if you try to compare, like, it's hard to compare that first side to the second side. It's just. It's impossible. [00:03:03] Speaker B: Experimentation, I would say. [00:03:05] Speaker A: Yeah, I think so. [00:03:07] Speaker B: They kind of. [00:03:07] Speaker A: Yeah, it's a good, it's a good album. Again, I didn't appreciate them as much in the eighties as I did as I do now, so. [00:03:16] Speaker B: So that being said, we get to spin the wheel again tonight. [00:03:20] Speaker A: Mm hmm. [00:03:22] Speaker B: So is there what you're still looking for? You two finally came up, right? [00:03:32] Speaker A: Yeah. Yeah. You can't, like, say that anymore. Like, that's what you want to pick because it's already here, so. [00:03:37] Speaker B: Well, like I said, I don't want them to come up because then it would be something if I did, like, and you guys, what the fuck is this? Like. No, it's good. Well, I mean, at least we had ace, right? [00:03:49] Speaker A: Well, we've got. [00:03:49] Speaker B: Well, obviously one the wheel picked and one we picked for Ace, so we doubled up on Ace. [00:03:54] Speaker A: Yeah, well, maybe. Maybe this time the wheel will do what I want, but I don't think it will. It never does. [00:04:01] Speaker B: Yeah, last time we just kind of vetoed it because we just was just within that, those parameters. Right. She loves kings of Leon, too, because she's already picked him twice since we've done the first one. [00:04:16] Speaker A: Yeah, it wants us to do more, but, yeah, sorry, wheel, that's not works. [00:04:21] Speaker B: Yeah, you have to wait. Come on. [00:04:23] Speaker A: There is some. There are some rules. So even though this is impromptu, there's lots of rules in here. And we can't, you know, we just want to try to get a little bit. A little bit of variety. Anyway. [00:04:34] Speaker B: Yeah, I mean. I mean, because if we didn't have that rule, we would have done three big kings of Leon albums already within the span of, what, two months, whatever. So. Yeah, so I don't know what I'm thinking. [00:04:50] Speaker A: I don't know. [00:04:51] Speaker B: What was I thinking? I had a thought. Something heavy, maybe eighties. I was actually listening. We were talking about skid row. I was actually listening to skid row. You've gone wild. Haven't heard that in a while. [00:05:03] Speaker A: Something else, you know, I mean, that doesn't count. See, that doesn't count in the cheesy eighties for me. But there's a couple of bands in the late eighties that I do like, but a lot of stuff is cheesy, but I don't count that. I would be fine with that. It probably won't happen. [00:05:22] Speaker B: I don't. I don't have any specific vibes tonight. [00:05:25] Speaker A: Okay. [00:05:26] Speaker B: Like I did with, uh, I said seventies and eagles, so. But YouTube, that's pretty massive. So she. She might be going back to the weird shit this week. [00:05:36] Speaker A: I think it's very. Well, you know, if we didn't get you two, we're gonna do slippery when wet and that. [00:05:42] Speaker B: Yeah. [00:05:42] Speaker A: There's another gigantic album, but, yeah, I think you two is the right call, just because. Fairly close, but I would have done. I would have done slippery if it was there. Was fine. [00:05:55] Speaker B: I think Frankie would have been upset, though. [00:05:57] Speaker A: Oh, if you. Yeah. Feeding it to hear that. Yeah. Well, I'm sorry, Frank. Sorry, Frank. Sorry. You're not here, so there's nothing we can do about that. [00:06:07] Speaker B: But I'm ready when you were. [00:06:10] Speaker A: All right, here we go. Can you see the wheel? [00:06:13] Speaker B: I see it. [00:06:14] Speaker A: Here we go. [00:06:35] Speaker B: Oh, nice. I am so good with this. [00:06:40] Speaker A: Are you good with this? [00:06:42] Speaker B: You're not. [00:06:43] Speaker A: Oh, yeah. [00:06:44] Speaker B: Yeah. Poison. Flesh and blood. I think it's their best album. [00:06:49] Speaker A: So this is. What is. This is the third one. Third one, right? [00:06:52] Speaker B: Yeah, the third one. [00:06:54] Speaker A: So this is still CC Deville, correct? [00:06:56] Speaker B: Yes. I gotta tell you, pick this one for poison if they're gonna pick like, fucking crack a smile or some shit like that. [00:07:04] Speaker A: Wow. Wow. It's definitely not. It's definitely not picking weird shit now. It's going back into the mainstream. [00:07:10] Speaker B: Yeah, but we never had poison, so this is. This is. [00:07:14] Speaker A: I know. I'm really. I'm really excited. Yeah. [00:07:17] Speaker B: I think overall, this is their best album. I think it's. I think, to me, that the four of them, the original band, this is where they hit their peak in terms of songwriting. And, I mean, Ricky Rocket plays some really nice drums on this, so that's something to listen to. I think we deal with some heavier subjects as well. [00:07:42] Speaker A: This is 1990. Why do I think this is in the eighties? It's not. It's 1990. I know, but I always. I always think this album is. Is eighties. It's not. So what did this thing sell? Let's see. 3 million in the United States, three times platinum. Now, hold on, I need to see something. So are we saying that. I'm assuming we're saying that the second album was bigger, right? Are we saying that the second album is bigger as far as, like, sales? Yes. Five, 5 million. But. But that makes sense because what song is on there? [00:08:22] Speaker B: Well, the second one. [00:08:25] Speaker A: Every roads fall angel mama don't dance nothing but a good time and that's a short album. That's 36 minutes. This album is longer than that. [00:08:36] Speaker B: Yeah. [00:08:38] Speaker A: Yeah. [00:08:38] Speaker B: What 1112 songs, if not more. [00:08:41] Speaker A: Well, I think this doesn't. This, um. Doesn't this, like, suffer from the 14 songs? Doesn't it suffer from the. We have 760 minutes and we need to put a whole thing on. So it's 57 minutes. [00:08:55] Speaker B: Yeah, there's. There's some throwaways on here, I think, but I think there's some stand that stuff I'm. Unless I remember incorrectly, I do think CC Deville gets about 15 bars per song, blowing every song, but I could be. [00:09:08] Speaker A: Wow. Yeah, the first record, it was more very short and to the point. Then the next record was the next record, he. He stretched out a little bit and then. Yeah, I think here it gets pretty. He gets pretty long. Listen, I don't hate him as a guitar player. I think. I think when he's on and he's playing for the song, it's great. There are some times, though, where it's a little self indulgent. A lot self indulgent. He's not really playing for the song. He's just playing to play as fast as he can. And from what I've seen, a video of him on the stadium tour and them on the stadium tour, they were. They were awesome. They were probably my favorite band on there. No tracks. Just, you know, they're actually better now than they were in their prime, I think. [00:10:00] Speaker B: I mean, I've mentioned to you a few times that that live album swallowed this. Live, I think it's called, is. I think it's bad. You know what I mean? To the point where I said to myself, how do you release this as a live album? Like, you don't sound good. So who knows? I mean, maybe. Maybe there was enough trickery in the studio with that one. But, I mean, he was also having issues, right? Because I think that was after this album, so they were on the outs. [00:10:30] Speaker A: And was that. Was that before or after the MTV problem? [00:10:35] Speaker B: I don't remember where he was playing. [00:10:37] Speaker A: The way he played a different song he wasn't supposed to play. [00:10:39] Speaker B: Well, they started out with Skinny buff, and he just stopped. It went into talk dirty. And so Brent Michaels, I remember, he goes, it ain't perfect, but it's rock and roll. So anytime I screw something up, like, it ain't perfect, but it's rock and roll. [00:10:53] Speaker A: Yeah, you might as well use it. You might as well use it. Yeah. [00:10:55] Speaker B: I think that was, um. That was one of their last shows. [00:10:59] Speaker A: Oh. Before they. Before they broke up and they got Richie Katzen. [00:11:03] Speaker B: Richie Katsun here. Turned out to be another disaster for them. [00:11:06] Speaker A: Oh, wow. That's because he slept with Ricky Rockets wife. [00:11:08] Speaker B: Yeah. Fiance, I think, at the time. [00:11:11] Speaker A: Say, whatever. [00:11:12] Speaker B: That album isn't bad either. Um, native tongue. It's not terrible. [00:11:17] Speaker A: No. Well, he's a good guitar player. [00:11:18] Speaker B: Yeah. There's, you know, there's a maturity on that album, too, which. Do you remember when this came out? Because I remember. [00:11:26] Speaker A: Oh, I remember when this came out. Oh, yeah, I bought. [00:11:29] Speaker B: You got the single. Remember there's a little intro guitar thing before on Skinny Bob. And I remember somebody had the single, probably it's either you or Nick. And it had that swamp juice thing, and Nick was like, I bet you that's probably like a little acoustic thing. And that's what it was. [00:11:47] Speaker A: Well, that was kind of skinny pop to do that. And this is a Bruce Fairburn album, I believe, right? [00:11:55] Speaker B: Yes. [00:11:57] Speaker A: Yep. Bruce Fairburn. I mean. I mean, he had a lot of, he had a lot of big thing. And they're doing the. The Kiss Van Halen thing where all the songs are written by everyone. Yeah, I mean, I'd like. Listen, I. I think. I think generally I'm a poison fan in general. I mean, the first. I remember when the first album came out, it was kind of like, what the hell is going on here? Because these girls are not. I remember looking to cover going, this is some ugly girls. But I mean, to me, that album is much more demoey sounding to me. I mean, these are much more produced because. Yeah, now, now the Bruce Fairbrand produced a prior one. I'm gonna have to look. [00:12:44] Speaker B: That's Tom Worman. [00:12:46] Speaker A: Is it Tom Warman? [00:12:47] Speaker B: Absolutely, yes. Open up and say, I saw him. [00:12:50] Speaker A: You don't like that. You don't like that production, right? [00:12:52] Speaker B: I don't know. I don't like the production on that album. I think it's. I think it sounds terrible. It suffers again from the drums that sound like crap. I don't like the sound at all. I liked it sounded the first one better. Lates were all, you know what I mean? And it could. I don't even know, but it could have been. Oh, no. I think. What's his name to the first one, the german dude. I think Wagner did the first one. [00:13:13] Speaker A: Did he? All right, now, hold on. [00:13:14] Speaker B: Maybe not. [00:13:16] Speaker A: I don't know. I thought that was more of like a demo that they. That they just redid. [00:13:21] Speaker B: Yeah, it's messy, the first one. [00:13:24] Speaker A: No. Yeah, Rick Brown. So this is. It's a glorified. The guitar sounds like that. Now, I'm not always happy with his guitar tone. Usually. Generally. Lucisi. Yeah, generally. I mean, I don't like it on the first record. I mean, it's not bad, but it's just. It sounds like a demo. And I think it's gotten. It got better as it went along. I mean, but some of his guitar playing got a little too much. A little over the top for me in general. And that's where. And that's where he loses me sometimes. But I have to. I mean, I haven't listened to this album in a long time. I mean, I listen to this a lot, but I haven't listened to it in probably good 25 years at least. Maybe more. Me, 30. I don't know. Less than I actually sat down, had played this whole thing through. [00:14:10] Speaker B: I mean, one good thing to. The songs are really short. They're like little pieces. [00:14:14] Speaker A: Well, I think this was one of the. One of the albums that was in the a disc cd changer in the back of my Hyundai sonata. Hyundai. What was it? Excel. Oh, my God. [00:14:26] Speaker B: That thing was. [00:14:27] Speaker A: They use such cheap plastic that the fucking. At the fucking. All the plastic stuff inside started turn pink, even though it was red inside. But anyway, so I think the CD was probably in the. In the changer. I'm pretty positive at that point. Yeah, I'm excited for this. I was. I was hoping we got poison somewhere along the line, so. Yeah, it's a good happen to get. [00:14:50] Speaker B: Yeah. [00:14:51] Speaker A: Cool. All right, let's see if I just can pull this up and then we can do this. I'm sure we got this. I'm sure we got this on release day. [00:15:01] Speaker B: I'm pretty sure I actually have the CD. I forgot I had the CD. [00:15:04] Speaker A: But did we play any songs from this? I'm sure we did on skinny bop. Right. And I think we did ride the wind, too. [00:15:16] Speaker B: I want to say we tried ride the wind. This could have been a transition period for us, though, the 90, like, because that's when we lost the singer, and then we couldn't find this thing to remember. We had a couple of auditions, and then someone came in just to take you out of the van. [00:15:31] Speaker A: No, I think. No, I think this is. This is the time when we got him because it's genuine 1990, so. Yeah, that was right in the middle of it, I think. [00:15:40] Speaker B: Okay. [00:15:41] Speaker A: Yeah, right in the middle. Cool. I'm very happy. Very nice. Okay, so I'm excited. [00:15:48] Speaker B: Yeah. [00:15:49] Speaker A: I haven't heard this in a long time. Well, the first one is the strange days of Uncle Jack, which is instrumental. [00:15:55] Speaker B: Yeah, it's just an intro piece. It's kind of like that doctor feel good thing. [00:15:58] Speaker A: Yeah. Yeah. So I guess we'll do production and music on this, I guess. [00:16:04] Speaker B: Yeah. [00:16:05] Speaker A: Here we go. I don't even remember this, dude. I just. I know once I hear it, I'll be. I'm just drawing a blank right now. Here we go. I have no memory of this fucking song. [00:16:46] Speaker B: Really? [00:16:47] Speaker A: You remember? Yeah. [00:16:49] Speaker B: It's not really a song, though. You know what I mean? It's. It's obviously that thing going on, I guess. The keyboards. [00:16:54] Speaker A: Yeah. But I don't. [00:16:55] Speaker B: There's nothing that really. [00:16:56] Speaker A: I don't remember this. [00:16:58] Speaker B: Yeah. [00:16:59] Speaker A: I don't know why. Like, I remember other songs. I just. For some reason. I mean, maybe. Is that all that goes on here? I forget. [00:17:05] Speaker B: There's not much that goes on. Okay, but honestly, think about this, right? The first time you listen to it, and then, you know, it's an instrumental. Are you really gonna keep listening to it it. To go into the next song? [00:17:15] Speaker A: No, you fucking skip it. [00:17:16] Speaker B: Yeah, exactly. [00:17:17] Speaker A: So let's continue. Here we go. [00:17:41] Speaker C: There you go. Okay. [00:17:53] Speaker A: Yeah. This was a common thing to do in the eighties, too, right? There was always some kind of intro thing. Bon Jovi had a bunch of this stuff, too. [00:17:59] Speaker B: Well, what do you call it? I mean, obviously, motley crue had it with the doctor feel good, right? The wizard, T. Rytaren Tintletown, which is what this kind of reminds me of. And I'm pretty sure that was, like, Cece Deville in the background, screaming. It's probably all of them, but if you hear the voice, you know, that weird voice that he has. Yeah, I'm pretty sure that was just him. [00:18:21] Speaker A: Probably. [00:18:21] Speaker B: It was, like, some kid and. [00:18:23] Speaker A: All right, got, like, 30 seconds. Let's finish it out. I don't even think we're gonna vote on this, because there's really nothing going on here. [00:18:29] Speaker B: Yeah. [00:19:01] Speaker A: All right, there you go. Right. Before it goes into the next song, there was an interesting little guitar thing he was doing, like the Eddie Van Halen Cathedral thing with the volume. Swell thing. Sounds like a violin, sort of, kind of. There it is. Eddie Van Halen thing again. Everyone's trying to do it. It's not. Everyone did it. Right. All right, so let's see. So the next song is Valley lost souls, I think. I really like the song. [00:19:28] Speaker B: Yeah, it's a really good song, actually. There's some, like, cool stuff he does in the beginning with the drums and everything. [00:19:33] Speaker A: I know everyone thinks that poison likes is this cheesy, like, you know, I guess because of the first album, the way they looked and stuff, which is not much different than, like, kiss, you know, I mean, putting makeup on. Mean, different makeup, obviously, but no one took them seriously either. So, I mean. I mean, obviously, after the last record and they sold 5 million copies, I don't think anyone had any, you know, reservations about, you know, what if they can sell records? [00:19:59] Speaker B: But they weren't always as Glammy on stage, though, right? It seemed as if they were. Well, I mean, at least when you think about, like, let's say, fallen angel, like, yeah, they sold Glammy, but they're not overly glammy. Like, some of the pictures on the album, I think. [00:20:14] Speaker A: No, I think that they put that out there, and I think they toned it back really quick, and then people picked it up and. And did what they were already been doing. You know what I mean? Like, listen, I assume that this is kind of second wave of glam metal, right? [00:20:29] Speaker B: Mm hmm. [00:20:29] Speaker A: First wave. I guess you got to consider Motley crue in the first wave and rat and stuff like that in the first wave of hair metal, quote unquote hair metal. I mean. I mean, when they say hair metal, you're talking about them, right? [00:20:42] Speaker B: Yeah, these guys are definitely. [00:20:44] Speaker A: I mean. I mean, luckily, this album came out in June of 1990 and not the fall of 1990, because I wouldn't have done shit because Nirvana would have came in and destroyed this. [00:20:54] Speaker B: But they may have had enough cred to kind of maybe. I mean, unskinny bop and ride the wind were pretty big MTV hits, so I think. I mean. Oh, and what do you call it, too? It was the. The bell that is on here. [00:21:08] Speaker A: Life goes on to believe in. [00:21:09] Speaker B: That was a pretty big. [00:21:11] Speaker A: And life goes on. [00:21:12] Speaker B: Yeah. I don't remember that on tv, though. [00:21:15] Speaker A: Was it. Was it a single? I think so, yep. [00:21:19] Speaker B: Fourth single, life goes on has already made an appearance on our podcast. [00:21:25] Speaker A: Has it? [00:21:26] Speaker B: Oh, yeah. Remember the Hilario speedwagon? [00:21:30] Speaker A: Oh, that's right. See, it's all tying back together. [00:21:33] Speaker B: There you go. [00:21:33] Speaker A: I forgot about. [00:21:35] Speaker B: Yeah, that'd be funny. Whatever. What episode are we on now? [00:21:41] Speaker A: Five. [00:21:43] Speaker B: Wouldn't know. Whatever number that was to this. [00:21:45] Speaker A: And, like, I'm gonna have to look it up. See? All right, so. So here we go. Valley of lost Souls. Now, one thing I can say. I'm not too. I'm not liking that production whatsoever. And this is not a remaster, so it's this. This side. This is a real. Oh, no, it is remaster 2006. While they didn't do a very good job of remastering shit because that sounds pretty crappy. [00:22:31] Speaker B: Yeah, it's a little thin. [00:22:32] Speaker A: Is it a little thin? [00:22:33] Speaker B: It is a little thin. [00:22:34] Speaker A: The drums are like. I don't know. [00:22:36] Speaker B: But he is doing. I mean, that is a cool little thing. I remember, too, my drummer friends from school, and we were talking about this when he came out. It's like, where did this come from? You know, like his little. Because, again, it's not like, oh, my God. But it's. I mean, for him, I think what he played through the first two to do this little thing, and he does some little things throughout each song, too. Little accents here and there, and these little fills and things. So to me, this is his best drumming album, because the one after this, even though there's some good songs, he doesn't really do anything like this. He kind of goes back to a more simplistic style. And I was like, oh, I was disappointed by the drumming in the next one, you know, again, he holds down the beat. It's not like he's screwing up, but again, just that little intro that he did. There's nothing on the poison records before this. So this is a nice little. Oh, cool. [00:23:27] Speaker A: Yeah, I think his drumming is really good on this. Yeah, well, you know, third record. Trying to prove that. Trying to prove that they're not just a flash in the pan. Right. That they're not. They can play their. Their instruments. They're not just like, oh, this joke. Look at the guys with the makeup on. Right. And hopefully. I have to remember. I don't remember, but we'll see. I'm thinking his lyrics a little bit better, too. His lyrics got pretty decent on the next one, too. [00:23:48] Speaker B: Yeah, I think. I mean, again, this is the typical stuff. [00:23:53] Speaker A: Of course. Wow. You would. What? There would have to be teenage songs on here. I mean, really. And it's part of the genre, really. Right. Just when I said that the lyrics gotten better, I think they're. I think they kind of, like, just said, no. How about not really? I mean, they're not horrible, but, you know. I don't know. I mean. I mean, I was never. I mean, his voice isn't bad. There's definitely worse than him, but it's. You know, it's. [00:25:35] Speaker B: It's a little bit higher. Here he is using his voice a little bit differently, I think, here. [00:25:40] Speaker A: Yeah. I don't know. I can't get past the production, man. Pretty crappy. [00:25:42] Speaker B: It's. It's okay. I mean, I do remember being a little bit better. Here's the deal, though. Again, you know how we talked about sometimes after production, it's kind of like the person, I think that the drums, the actual drums don't sound too bad, but the hi hat and cymbals get lost. And I mean, in the album before they're non existent, so. [00:26:03] Speaker A: No, but it's just. It's just such a thin sounding. It's like. It's like ou eight one two is a very thin sounding record. Even though I have a. I have an affinity for that album because I had just started to play guitar, like, the year prior to that, or a year and a half or whatever it was. So I have like. It was like. Like my first real, like, Van Halen, Van Helen album when I was learning to play. So even though the production is not great, I like the album. But I feel the same with this, is that it's very. It's very thin. No, things that were out prior to this, like the black crow stuff that was out prior to this and lots of other stuff that was out. Like, even, you know, even Warren around this, you know, around this time for cherry pie, thought that was a better sounding record. Yeah. [00:26:48] Speaker B: Different through. [00:26:50] Speaker A: I don't know. I mean, I don't really like the drum sound here at all. The guitar sounds okay. Like I said, I'm not a super big fan of his guitar sound, so. Yeah, this is a little bit better. I haven't heard the other album in a while, so. The prior. The one. So I forget if I like that one better. Yeah, I mean, it's okay. I mean, I can't hear Bobby doll whatsoever. Not that he's a great bass player in general. Yeah. I have to stop listening to other stuff. [00:27:15] Speaker B: Yeah. Yeah, I know. Yeah, I gotta do that, too. [00:27:17] Speaker A: All right, so. So here are the lyrics. Oh, lord have mercy 12340 kick it out I hit the highway a tough life past 16 no angel of mercy coming down to save the soul of me that's not bad. [00:27:30] Speaker B: Yeah. [00:27:31] Speaker A: I took a greyhound limousine straight to grand essential NYC cause ass catches grass when you're living fast no one rides for free and the ass castes grass I mean, I like the sentiment of it. So it's. I assume it's like someone leaving their little town, right, and coming to New York. I assume that's what that means. [00:27:49] Speaker B: Maybe. Trying to make it right. [00:27:50] Speaker A: Trying to make it. Yeah. So the chorus is living it up. Giving it up living in the valley of lost souls wanting it all taking the fall living in the valley of lost soul so, you know, it's not bad. I mean, I like the idea. I mean, the ass cast, of course. Ass catches grass. You know, I was like, oh, the lyrics are better. [00:28:08] Speaker B: I mean, offhand, though, there could be one, even at this .1 of the most serious. Some of the most serious lyrics we had heard from. [00:28:15] Speaker A: Oh, yeah. [00:28:15] Speaker B: And another, like, fallen angel, which obviously had some painted picture and some stuff in the first act, too. They kind of talk about, like, probably tough. [00:28:24] Speaker A: Yeah. I mean, I think the lyrics got better as they went. [00:28:26] Speaker B: But I do think, though, overall, though, this definitely sounds different than their other stuff. This is kind of like. Oh, okay. You know what I mean? [00:28:34] Speaker A: Mm hmm. Let's continue. [00:28:41] Speaker C: She did my job. I know. [00:29:37] Speaker A: Before solo, we'll do lyrics, see what we think about that. I like the bridge. [00:29:40] Speaker B: Yeah. I love. I've always liked this song. [00:29:43] Speaker A: Yeah. [00:29:43] Speaker B: I mean, this is. This is. I don't know how many songs. I don't. I mean, I know the first four albums, but this is probably top ten for me. It's always been. I've always really liked this song. Just. I like the movement of it. I like lyrics or lyrics, whatever. [00:29:56] Speaker A: I mean, no, I mean. I mean, they're definitely better than some of the earlier stuff, so. [00:30:00] Speaker B: Yeah, I mean, he's trying to paint a picture, so. [00:30:03] Speaker A: Yeah. So I hit the highway a tough life past 16 no interest, mercy oh, did I do the wrong one? Oh, sorry. [00:30:09] Speaker B: Yeah. [00:30:10] Speaker A: Oh, duh. Okay. Miss Misery come ride with me how I love her company she did Boston justice and wronged all the right out of me me, me. The devil wears a black suit he says I'm living like a bum so what? I'm looking like I'm half dead a gypsy on the run and then back to the chorus and then the bridges. It feels like. Feels like time's running out on me but I wasn't bored to play nobody's food fool, ain't nobody gonna hold me down gotta roll, roll, roll, roll, roll. [00:30:41] Speaker B: Roll, roll, roll so, one thing that I'm pretty sure is existing in almost every poison song is a bridge before the chorus. I don't think they ever. I don't think they ever do chorus into. Into solo. I think there's always a bridge. [00:30:55] Speaker A: Is there? [00:30:55] Speaker B: It's kind of a staple. Yeah. Yeah. Well, obviously here. There is. I don't know if it's in every song, but I want to say it's very common. [00:31:03] Speaker A: Okay. [00:31:04] Speaker B: I mean, think about even. Every rose has a sore. Right. Even though it's been a while now. Right. They didn't go from the chorus. They go into that little thing before the solo. That's very, very common for them that I noticed. [00:31:15] Speaker A: Yeah. I've never paid attention to that, but, wow. Yeah, that might be very true. Okay, I gotta listen. I still haven't listened for the bass playing yet, so I don't. [00:31:24] Speaker B: I don't hear the bass at all. I try listening. I don't think there's anything. [00:31:27] Speaker A: Yeah, it's so freaking thin, man. I can't. [00:31:29] Speaker B: Yeah, it gets. It gets buried. I mean, the guitar is definitely the prominent thing. And, I mean, he. I mean, listening to him live, I mean, not now. I think, again, I think they've. They've kind of got their shit together. But if you listen to, like, swallows live. He's so loud, man. [00:31:44] Speaker A: Yeah, I'm gonna back it up a little bit. And we're going to the solo. Here we go. Now, what I can say is, is that it's just. See, this is the stuff that he plays that I don't like. [00:32:30] Speaker B: It's kind of a mess. [00:32:32] Speaker A: It's notes for the sake of notes. It's just. There's nothing going on for you to remember the solo at all. It's just a blur of notes just to play fast for the. For the sake of playing fat. And I think that's where he loses me. Like, I like some of the stuff when. When he plays for the song, I think it's much better. But here. And I'm not against fast guitar playing, and I'm not, you know, if you use in the right places, I think it's great. But there's just some times where it's just too much, and it's just. That's all it is. [00:33:01] Speaker B: There's a couple of times in there where it sounds like he makes mistakes, too. Like he's trying to go somewhere and then he just stops abruptly and goes into something else. [00:33:08] Speaker A: Well, I think it's just. He's just trying to play as fast as he can, you know, to show that he's as good a guitar player as everybody else, you know? I mean, that's. I mean, realistically, that's what the. That's what the time was about. If you were guitar player in the eighties, you know, it was all about how fast you could play. It was all about what you could do, what tricks you could do with things you could do. And I think, you know, I mean, people blame, you know, the Eddie Van Halen thing for that, but he didn't play like that. Like. Like I say, all the time, they took parts of his style and tried to do things with it. I mean, not just him, but other players too, but tried to do those things, whether it's tapping right or it's whammy bar or whatever, where in his style, it was part of his style. And there was a reason for everything he did, generally, you know. And here it's just like, okay, we're just gonna play super fast just because we can. [00:33:53] Speaker B: Yeah. I don't think I've ever been a fan of the solo of this song. No, but it does sound like him, though, right? I mean, I was listening to it, I'm like, I could probably pick him out. I think maybe it's more of a tone. Not what he's playing, but kind of that tone. [00:34:08] Speaker A: Yeah, his tone is kind of specific. I don't really like his tone, but. Yeah, you're right. I mean, I think there's some good riffs in there. I like the riff coming out, the tennant. I like that coming out. The song is arranged. Well, I mean, they can write a song. They can write a catchy song. Like I said, I like this song, but. Yeah, I'm just forgetting how bad the production is for me. It's just so thin. Yeah. And you're saying the last one was worse than this? [00:34:33] Speaker B: Yeah, I mean, I. Listen, I do think it's better then the last one from. And again, this is from having listened to them on my commutes. [00:34:44] Speaker A: But, I mean, I can't believe it's worse than this because this sucks. So, I mean, and I like the album, but I don't remember it being this this. Unless the remaster, unless the remastered should be better, not worse, right? [00:34:57] Speaker B: Well, it depends. It depends. But you know what I mean, honestly, I don't think this sounds too much different from the original mechanic, that maybe I thought it was better or maybe because overall I liked it better, maybe, than the second one. [00:35:10] Speaker A: Maybe it'll change in the songs. Maybe they put. Maybe they put more emphasis on songs they thought they were going to put out. [00:35:15] Speaker B: Yeah, that's possible. [00:35:17] Speaker A: That's where the production is better. Okay, let's continue. [00:35:30] Speaker C: It. I need to find out. Living in the baby. I. [00:36:01] Speaker A: I like the somebody save me in the choruses there. I like that. That's pretty good. Like, I think overall it's a good song. [00:36:11] Speaker B: It's a good intro track. [00:36:12] Speaker A: Oh, so let's go over. Since we didn't go over, let's go over the people in the band, just in case no one knows who was in poison, especially people who listen to this podcast. I'm sure, they know poisonous, but we'll go over anyway. So, Brett. Brett Michaels on lead vocals, rhythm guitar. Cc Deville, lead guitar, backing vocals. Bobby Dahl, bass, piano, backing vocals. Ricky rocket, drums, backing vocals. And then John Webster, keyboards and piano. Who's John Webster? A musician, engineer and producer who primarily plays keyboards. Okay. Yeah, he worked on a lot of recordings with Bruce Fairburn and Bob Rock. [00:36:47] Speaker B: There you go. [00:36:48] Speaker A: In the eighties and nineties. Um. Why don't you go first? [00:36:51] Speaker B: Um. I'll say. I'll say seven on the lyrics. I mean, again, comparable to some of the other stuff. I'll throw a seven out there. I'm gonna say an eight in the music. I mean, again, I've always been a big fan of this, and I felt that it was them kind of spreading their wings a little bit compared to the other stuff. And, you know, it is about something different. So I'm gonna say seven on production. I know you might give it lower. I think it never bothered me, but then again, the second one never bothered me until I started, when I heard it on headphones. That's when I kind of discovered, like, wait a second, this doesn't sound that great. And, I mean, I thought this sounded better. Fuller. But I think ultimately, it's not terrible for this song. It's. It's high, you know, treble y, but it kind of works. So what I say, 787. Well, what do you think? [00:37:43] Speaker A: I'm gonna give him seven on the lyrics. I'm gonna give him. I'm gonna give him benefit of the doubt, because I do like this song, and I remember that the lyrics aren't horrible. I mean, there's a couple of cheesy little things in there, but nothing as bad as some of the earlier cheesy stuff, so. Or some stuff that's going on, like, right before this, and some bands that, you know, I say are cheese. So I'd say it's better. I do like the musicianship, I like the drumming. But, I don't know, the guitar playing in the solo kind of throws it off for me. Like, I don't think I can give it an eight just because, like, I don't like the guitar solo. It's just notes, just for nothing, for no reason. So I'm gonna give it a seven. And, yeah, production, it's so thin. Like, I know Bobby Doll plays basically just the root of everything, so he. He's following the guitar part, so he really. There's not very much going on in this song for his bass playing, but even if it was, like, you can't really hear the bass that much. [00:38:37] Speaker B: Yeah. [00:38:37] Speaker A: Like, I don't know what. I don't know what's going on here, so I'm gonna give it a six. I don't really. So far, this doesn't feel like a typical Bruce Fairburn record to me. I. His stuff, typically, for me, is much fuller and more, you know, I mean, everything just sounds a little bit better. So I gotta. I haven't heard this in a long time, so I don't remember it being this thin. But, you know, like I said, sometimes. [00:38:58] Speaker B: There'S just a bend, you know, just what they use. And again, ultimately. Right. Especially at this point, I mean, poison is pretty successful between the first two records. Right. So they also have, I would say, a big saving in it. So, I mean, you think about when you watch Bruce Fairburn produce. For anybody who's seen the making of pump, he's in it, but he's not. And again, I know that it's edited and whatever, but it looks more as if Steven Tyler. Right. He really runs that session. And again, it could be at that. [00:39:33] Speaker A: Point, it's always telling him what to do. [00:39:35] Speaker B: They're big. Yeah. It's like. Did you tell them what to do? This is like the second album from their big comeback. [00:39:42] Speaker A: Yeah, well, I'm hoping that the production changes again. Like I said, I haven't heard this in a long, long time, so. [00:39:48] Speaker B: And Bruce Fairburn also pissed off Paul Stanley. Right, for. [00:39:51] Speaker A: Yeah, pretty much so. And this album was number. Reached number two. So that's good. Yeah. Can't complain. All right, so the next one is flesh and blood sacrifice, I think I remember. I liked this song, too. [00:40:04] Speaker B: The very catchy chorus. This is. To me, this is one of those songs where it's like, what is it? Get me to the chorus. [00:40:11] Speaker A: Yeah, don't bore us. Get me to the chorus. [00:40:13] Speaker B: Yeah, the chorus is very catchy. [00:40:15] Speaker A: Okay, here we go. Okay. Right off the bat. That sounds better. [00:40:31] Speaker B: Yeah. [00:40:32] Speaker A: Yeah. It's not as thin. And obviously this was a single, so maybe that's why. I don't know. I mean, I think the drums sound better. I think the Tom sound way better. [00:40:40] Speaker B: Yeah. Well, let's see what happens after everything comes in. Because, again, it wasn't as much the, um. It was more of the. The cymbals. And I have whatever really got lost to me in that. In that song. [00:40:50] Speaker A: Here we go. [00:41:16] Speaker B: Inch. [00:41:17] Speaker C: I'm gonna take it. I still love to be as born as my baby no, no bag have no regret that piece of bread in my speed on it I feel you want it only to feel the burning come close and hold it up let shed blood sacrifice melt the heart like fire and I shamble like fire to eyes are you willing to sacrifice? [00:42:10] Speaker A: That's a very catchy chorus. [00:42:12] Speaker B: I mean, the verse is okay. It's not terrible. [00:42:15] Speaker A: I like the riff in the verse, though. I like that bomb. I like the whole. I like the whole sparseness of the riff. I like that. [00:42:23] Speaker B: But even this, right. I mean, it's pretty different from I feel from the stuff before. [00:42:28] Speaker A: Oh, yeah. [00:42:29] Speaker B: Kind of a different vibe. And obviously, you know, as I can say, I mean, to me, the production of the. Better. [00:42:35] Speaker A: Oh. Than the last one. Yeah. [00:42:37] Speaker B: Well, then the last one and the last record. [00:42:38] Speaker A: Yeah, I. Yeah, I don't remember the last record. I'd have to listen to, like, any tracks on there to tell you if it's worse. I didn't like number. I didn't like valley lost souls, and I liked that song. I just forgot that the production was so bad. [00:42:49] Speaker B: Yeah. And Bobby dolls really long the mix, because, I mean, in this, right, he's writing. He's like. You can barely hear it. [00:42:56] Speaker A: I know. I mean, what they're saying, he can't play bass. Turn him down. He can play bass. I don't know if he can play bass or not. [00:43:04] Speaker B: I don't. I don't know either. But, I mean, honestly, who. I'm sure I could play that bass line. That dum dum, dum dum dum dum. [00:43:10] Speaker A: I'm sure. Yeah. [00:43:12] Speaker B: And I would like. Hey, can you jack this up? Because I can't hear myself. [00:43:15] Speaker A: I don't really think, like I've ever thought to myself, wow, he has some great bass lines. I mean, I've never really thought that. So I don't really hear him very much. I mean, I'm guessing there are some. [00:43:25] Speaker B: Well, he kind of takes the forefront in unskinny bop, right? Kind of, yeah. [00:43:29] Speaker A: Yeah. Well, definitely. I'm assuming we're gonna hear him on that, but, um. Okay, so the intro is the 0000 thing, and then, like animals tonight we make it. You give me an inch, I'm gonna take it? I'll steer your love like a thief to be as one is my belief? Don't look back, have no regrets? Like beasts of prey we must feed on it? I'll be your one? Your one and only to feel me burn? Come close and hold me now, obviously, this is a sex song, but I have to say, at least, I think if this was on the first album, it wouldn't be as would be more straight in your face. And here, it's a little less of that. So I think his writing is getting better. [00:44:11] Speaker B: Yeah. So here's a quote. As for the lyrics. At the time, I was heavily reading horror books, especially about Dracula. The song is based on fantasy. It is about the love between a man and a woman who spend eternity together. Okay, that explanation sounds deeper than the lyrics. [00:44:28] Speaker A: Well, flesh and blood sacrifice. [00:44:29] Speaker B: Flesh and blood sacrifice. Yeah, yeah. [00:44:32] Speaker A: So. And then the choruses, the pre choruses come closer to me, and then, oh, tonight's a night we give it up, you know? All right, great. Flesh and blood sacrifice melts the heart like fire and ice flesh and blood like fire to ice are you willing to sacrifice? So, you know, I mean, interesting. Like, trying to. Trying to change it around. So, I mean, listen, is it. Is it friggin anything like in the last record and the lyrics and that stuff? No, it's not. It's not bad. I mean, for the type of band that they started out as, right. To be able to get to this part, at least they were given a little bit of. See that? This is why, to me, they're like second tier Glenn metal people, because they at least were given a chance. They took some chances. They didn't try to do the same song over and over. Right. The lyrics got a little bit better. The music got a little bit better as they went along. Where some of the other stuff was just like. It was the lowest common denominator. Very stock glam metal for the time. Feels like they're moving around. [00:45:29] Speaker B: Yeah. I mean, I think, like I said, I mean, this to me, is the third album. I think it's, to me, their most solid. I mean, there's definitely stuff where it sounds like album filler to me. And it's. It's. It'll be coming up more on the second side. I'm just reading on the lyrics where it's like, oh, we have to. You know what I mean? You kind of have to. Because, I mean, when you look at the titles, they're like ball and chain and don't give up an inch. Right. You're like, okay, I know what that's about. [00:45:55] Speaker A: Yeah, of course. Well, but there's gonna be a little bit of that. I mean, they didn't totally abandon that part of them. [00:46:00] Speaker B: No, no, but those are not the standout songs. I think the ones, again, like you're saying when it took a little bit of chances and stuff, like, even this, I mean, is it like, whatever, but I mean, if you listen to the older stuff, it is. It's a little bit different. It sounds different. The guitar riff he's playing sounds different. [00:46:17] Speaker A: Oh, yeah. No, I mean, like, I do like the riff in the verse. It's. That's maybe my. I mean, I'd like the intro thing to that. [00:46:25] Speaker B: Yeah, I like that. [00:46:26] Speaker A: Yeah. But the verse riff is more interesting to me than some of the other stuff is, so. All right, let's continue. [00:46:57] Speaker C: I take you down with all of my gun I fish blood for being blood sacrifice felt like fire and ice bless are you willing to sacrifice? I'm a love and a river. [00:47:48] Speaker A: You're right. There it is again. [00:47:49] Speaker B: There's another bridge. [00:47:51] Speaker A: Yep. Okay, so far, you're one for one. Two for two, actually. [00:47:55] Speaker B: Yeah. [00:47:56] Speaker A: That'd be funny if, like, there's always a bridge in front of every so long. Wow. [00:48:01] Speaker B: It's very common for them. [00:48:03] Speaker A: I've just never. I never noticed that. So funny. All right, well, so the verse is there's no more time to think about the flame will die if you doubt it's a game of love and hate to lose it all is a chance we take come to me and take my hand and it's in the fire that we must stand I'll take you down under my gun wait take you down under my gun wait, wait, wait where is it? Where's my. Where's my little drop? Wait, wait, wait, wait, wait. Hold on, hold on. And there you go. Just like Gene Simaju's love, you know, for penis, the same thing. Um, love gun, you know, they go, penis, pretty much our flesh and blood is one. And then. And then it's. Oh, it's rocking tonight now. It's kind of funny. Like he's saying this is about, like, vampires. The vampires, or. I'm assuming that's what he's thinking. Yeah, but, like. But he has to introduce. Oh, it's rocking tonight, like, in the pre chorus. Like. Like you can't get away from it. See, that's where. See, this is weird. Like, the cheese of the hair metal happens, like, there, because he can't not do that. And so take me down. I'll take you down. And then back to the back of the chorus. I mean, his. His voice is serviceable, right? It's not horribly. Like, he's not out of tune or anything. It's just not. It's not like you go, oh, my God, he can sing great. I mean, like I said recently, you know, in live stuff, I think he's better. He's better now than he was live during this time frame anyway. But, you know, I don't think you're going to them for great vocal ability. [00:49:40] Speaker B: Yeah. I think. Except the pronunciation thing he does sometimes. I think that's what gets a little bit too, you know, like, adding a mouse, and that would make it. And bonjour, John. Bon Jovi does that, too, sometimes. [00:49:52] Speaker A: Yeah. [00:49:52] Speaker B: Right. Would they get. I don't know. Yeah, the way. Exactly. The way they enunciate certain things. And. And then also some of it does come across a little bit southern, and you're like, which is fine. Listen, you sing the way you want to, right? [00:50:07] Speaker A: Yeah. [00:50:08] Speaker B: I mean, look at all the british bands that don't sound british people like. Oh, they're british because they hide it. [00:50:13] Speaker A: Yeah. [00:50:14] Speaker B: So, I mean, that was. [00:50:15] Speaker A: Freaks me out. [00:50:16] Speaker B: Do what you want, but, yeah, sometimes it doesn't. [00:50:18] Speaker A: I don't know. Well, oh, before I forget. So here's our. Here's our bridge. Our blood runs deeper than a river less you need, the more I'm gonna give you and give you and give you. But good. Oh, that. See there? There's where. There's where it is. So if you want to make fun of poison, that's where you're gonna be making fun of stuff. All right, here comes a solo. Let's see. Maybe it'll be less, maybe less. I think it's less of the. Just wanking off a lot of million notes a minute thing. So. So I do like that solo better. I like the second part of it better than the first part. That's where that, to me, sounds like Cece Deville. The way he plays that, it's not just sound, it's kind of note choice. And the way he plays that sounds like him. So I guess that's good that he has a sound that sounds like him. Right. That's always a good thing. But, I mean, I'm not a big fan of the. Just tons of note for no reason. [00:52:05] Speaker B: So you. You wouldn't consider him, like, an underrated? [00:52:10] Speaker A: I think he's a little bit underrated, I think. I think because of the band he's in and because of the earlier stuff. Right. It was a little more like the first record, there was a little more simplicity to his playing, I think. And then on the next record, he got really super, like, a lot of notes. That's what I remember. Like, here in the second record going, jesus Christ, this is so much. You know, even though the first one was much simpler, this one, the one after, it was just too much. And this in so far, in this one, there's a little bit of the too much I think people bag on him because of the band he's in. He's not a bad guitar player by any stretch. But I think because of where he uses some of the ability he has him to play those really like. Like too many notes just for the sake of notes. I don't know. I mean, you know, I don't put him on the same level as like obvious like a Randy Rhodes or Eddie van. I like. He's nowhere near that kind of. Those guys were just, you know, it's hard. It's hard to like, compare those kind of players to him. I think he's underrated in the same way that ace freely is underrated. Except I think Ace freely overall has more melody and his solos are much more catchy. And there's songs within songs where here the solos can be songs within songs. Cuz he has done that like every rose. I think that solo is a song within a song. [00:53:31] Speaker B: Yeah, those are standout. Yeah. And I think. I think even on the slower stuff here, he kind of does it. [00:53:37] Speaker A: Yeah. [00:53:37] Speaker B: But he's given a ton of on this record I. That I do remember that. I do remember where I was like, oh, my God, every solo is like long. Even this. I mean, take eight bars, but then you think it's going back in this song. He still gets like one or two more bars to kind of. Yeah, go back in. [00:53:55] Speaker A: I mean, I think he has something to prove, too. I think, you know, he knows that, you know. Was he ever let. I mean, I can't say 100%. I don't remember. See, the only time I remember seeing. I mean, I guess he was on guitar magazines back in the day. I don't remember that, though. Although I could be remembering totally wrong. But even if he was, it just wasn't. He wasn't taken the same way. Right? He was the. He was the guy with a lot of hairspray with the makeup on from poison, right? That's how he was taken. For good or for work. For bad. I think he is a little underrated. I mean, I don't think he's worse than. I think he's probably better than some of the other cheesy guitar players that are out there. I mean, there are some really talented guitar players in the eighties, right? But maybe the songs weren't very good or they were in a band that didn't really go anywhere or. And doesn't mean they weren't. They were better. They weren't better than him. But, you know, talent doesn't always equal, you know, fame or popularity or whatever you could be. [00:54:50] Speaker B: I mean, listen, there's definitely some. There. There are guitar players in this genre, right? Like. Like Vito Brada. [00:54:56] Speaker A: Oh, yeah. [00:54:56] Speaker B: What was his name? From talking. Right. That are considered. I mean, stand out guitar player. [00:55:01] Speaker A: Oh, they're both. [00:55:02] Speaker B: Yeah, but that's what I'm saying. So no matter what people considered this, whatever they wanted to say about this music musically, there were people who stood. [00:55:10] Speaker A: Out for their instrument in all the parts, whether it's bass playing or drumming or whatever. Right. There's always guys. [00:55:17] Speaker B: Exactly. [00:55:17] Speaker A: That were better. [00:55:18] Speaker B: How would you compare him? All right, so let's say pound for pound, what about, like, mick Mars in the glam era? Like, let's say theater of pain and girls, girls, girls. Not the first. [00:55:29] Speaker A: I think Mick Mars is a better guitar player. I think in general, I think his riffs are better, probably. And let's see. I think overall, he's a better guitar player. I don't know who I would. [00:55:40] Speaker B: What about, like, warrant, the guys from Warren? [00:55:42] Speaker A: Well, Warren d Martini is good. [00:55:44] Speaker B: Yeah. From rap. [00:55:45] Speaker A: Yeah. And he's good, too. I mean, I think more. I think I. I don't. Again, I don't know, the breakup of, like, solos, who did what. [00:55:55] Speaker B: That's the problem, right? [00:55:56] Speaker A: Yeah. I mean, here, you know, who's doing the solo is one guitar player, and it's CC DeVille as far as guitar playing goes. I mean, though. Even though Brett Michaels plays rhythm guitar. But Brett Michaels plays rhythm guitar. Like. Like Vince Neil plays rhythm guitar. Maybe a little bit more. Maybe a little bit more, but not very much. [00:56:15] Speaker B: Well, I think he does acoustics. I mean, he writes his own song. [00:56:18] Speaker A: I've never listened to him, but, yeah, I mean, I do. I think he's all underrated. Probably. Is part of it warranted? Yes, because I think a lot of the stuff just ends up being, like, wankery for the sake of wankery, you know? I mean. I mean, it's kind of like this. Hey, wait, here you go. Oh, hold on. Oh, where is it now? Oh, I can't find it. I got too many clips here, and I can't find what I want to play. [00:56:47] Speaker B: Oh, tell me it's a gene Simmons. [00:56:48] Speaker A: No, no, no, it's not the gene. No, it's not. It would. No, it's not. It's not the gene Simmons thing. Oh, come on. [00:56:56] Speaker B: Where it, like, shoots the beat. [00:56:57] Speaker A: Yeah, I know. I probably have that somewhere. Oh, here it is. It's like this. When I hear. When I hear the fast stuff, I hear this. And then there are other times where I think he. He writes some really good solos. They composed there. They had. They could have some fast stuff in it, they could have some slow stuff in it. But it's more of a. It's more of a song inside of a song kind of thing. I mean, I don't think you have to always have that, but I think that there are some times where that's, you know, the songs you're gonna remember. Like here, like I said, the solo is better. I talked a lot about this solo, and I. I don't even like that song. This song. [00:57:43] Speaker B: I mean, here's the deal. I always. I did always say to myself, though, I said, I'm. When it came, I want poison. And the one I want to talk about, I'm happy this album came out, because, again, I do think the songs overall are a little bit more mature. I think the drumming is better. But I'm like, I got to ask Mark what he really thinks about CC DeVille. You know what I mean? Because in general, sometimes you just think people have bad reputations, but when you talk to musicians at things, they'll say, well, he wasn't that. He really wasn't that bad. Like, he just. He caught a lot of flack, like you said, because it was poison. But sometimes people catch flack, and it's well deserved. [00:58:21] Speaker A: Mm hmm. Oh, yeah. No, I mean, I think there's times where it is well deserved. Yeah, but. But there's other times where you have to admit that he plays some good stuff and he can eat. He's obviously talented. He's not. There's like, he can't play, you know? Again, the talent doesn't always equals good. You know, I could take from one of my favorite bands, kiss, right, when they got more St. John in that band. But he's not. He's obviously a talented guitar player. Just some of the stuff was just like, okay. And I've even softened myself, myself on that a little bit, too, over the years that it's not as bad as I remember. Oh, my God. I can't believe. It's just like a buzzing bee floating around. I mean, there's some, you know, there's some okay stuff, but, you know, generally, it was a lot of notes for them, for the sake of notes, and that. That's what I think this is, too. [00:59:04] Speaker B: So, I mean, it was of the time. And you know what? I think they could say whatever. Whatever they want to about that, but I think they wanted that to be. [00:59:12] Speaker A: Oh, no, it only helps push you. [00:59:15] Speaker B: Push you forward when you have something. [00:59:17] Speaker A: Well, you had to have the hot shot. I'm. Again, we say this all the time. There's before Eddie Van Halen, this after Eddie Van Allen. After Eddie Van Halen, everybody had to have a hotshot guitar player no matter what band it was in that genre of music. [00:59:31] Speaker B: I mean, some of them got it right. [00:59:33] Speaker A: Yeah, of course. [00:59:34] Speaker B: Even, like, guys like Vivian Campbell. I mean, just really good solo players and songwriters. [00:59:40] Speaker A: Yeah, I would say Vivian cam is a better guitar player than him. [00:59:42] Speaker B: I would say so too. Yeah, yeah, yeah, absolutely. [00:59:46] Speaker A: Yeah. I mean, but then again, I don't know enough of Vivian cam. I like, I've heard her. I've heard bunches of stuff, but I don't know. Everything he does is great. It's probably not. [00:59:54] Speaker B: I mean, I'm thinking more the teal stuff, so. [00:59:59] Speaker A: Yeah, I hope we get one of those. [01:00:00] Speaker B: I think it's the first three. [01:00:01] Speaker A: All right, let's finish this up. Here we go. [01:00:20] Speaker C: Love, sacrifice are you sacrificed? [01:01:10] Speaker A: See, I like that drum part at the end. Like a little stutter at the end. I like that. I always like that. [01:01:16] Speaker B: But, um, are there any more lyrics? [01:01:19] Speaker A: No, just the chorus. And I like how they put the O's back at the end of it. I mean, it's a good song. I don't hate it. No. [01:01:27] Speaker B: Decent one two punch, right? [01:01:29] Speaker A: Coming out of it. Yeah, 100%. I guess I'll go first. So I'm gonna say lyrics around the same for me. They're about a seven. And I guess I'm gonna do music still a seven. Even though I like the solo better in the song than that song. They're kind of on par for me. And then production, I think, is better. I'm gonna. So I'm gonna give it one notch. So I'm gonna do. I'm gonna do the good old triple seven. Nikki Tippy pippy 777 lyrics? [01:01:58] Speaker B: I don't know. I mean, considering the sentiment he was working around, you know. Is it terrible? No, but it does feel like a bit of cliches, just kind of strung together, you know, any words that rhyme, kind of like that have to rhyme. And that's it. I'm gonna say a five on the lyrics. I'm not too crazy about them. Music. I'm gonna say a seven. I think it's catchy. Again, I've always liked listening to this song. And I'll say seven on production. I mean, again, coming into poison's third album, right after what they had done on the other one, and just going in and listening to it fresh, I was like, oh, shit, this is. This is different. I mean, I think. I think we kind of listened to this together in your car. Honestly, when it first came out, pretty positive we did. [01:02:43] Speaker A: I want to say we went to go pick it up and we put it in the car right away. [01:02:47] Speaker B: Yeah. So I think we were all kind of like, oh, no. [01:02:51] Speaker A: Okay, so the next thing is instrumental again. So this is a swamp juice sol. Oh. S o u l o. [01:03:48] Speaker C: Sa. [01:04:25] Speaker A: I mean, is that bad? No, I kind of. Yeah. And. But that's. That was a very. That was a very in thing to do back then. The bluesy, kind of slidey, kind of open tuning, kind of. There's lots of bands that did that just because, oh, look how blues we can be. I think. I think it's just. You had to kind of do something like that. Um, yeah, I mean, obviously, it's CC Deville, I would tend to think. I don't think that's. I don't think that's Brett Michaels. So, um. Yeah, I don't hate it. I mean, it's played well. I mean, see, like, you listen to something like that and what do you. You know, what do you think? You know, it's. It's played well. I mean, you. You can't be a crappy guitar player and play that. So, you know, give them, you know, credit for it being okay. Are we gonna. Are we voting on that thing? Probably not, right? [01:05:18] Speaker B: I mean, unless you wanted to. [01:05:21] Speaker A: I mean, I don't know. What am I gonna say? Seven on music? I mean, that's all I can say. I mean, it's very cliche for the time. [01:05:28] Speaker B: It's not terrible. I mean, I do think it definitely have that zeppelin five. I was thinking to myself, well, let's see this. If I think of Jimmy Page paying it, would I have said, oh, that's good. You know what I mean? As opposed to probably him doing it. So in which case, it wouldn't be fair. Right? [01:05:46] Speaker A: Wow. [01:05:46] Speaker B: Yeah. I mean, it's. It's cool. There's nothing wrong with it. Like you. [01:05:51] Speaker A: Yeah. [01:05:52] Speaker B: But it was of the time, without a doubt. So it's like that last ditch effort, kind of. [01:05:58] Speaker A: So this was the thing that was on. That we were talking about before, right? Before Unskinny bop. Right? This was on the single, wasn't it? [01:06:04] Speaker B: Yeah, it was on the single. [01:06:05] Speaker A: Okay. So obviously the next thing is unskinny bop, which is probably the biggest song right from this. [01:06:15] Speaker B: I think so. Yeah, I think so. [01:06:17] Speaker A: Let's see what it. Let's see what. It ended up as. Number five on the mainstream rock and number three on the hot 100. So it was that. This was high. [01:06:25] Speaker B: Yeah. [01:06:26] Speaker A: And he's saying that unskinny bob means nothing. It was just a placeholder before they started working on lyrics. So it was never meant to be. That's named the song. And I. And I think I remember the video. Didn't the video have some kind of, like, neon cowgirls or something? Dancing to what, Brett Michaels like? [01:06:42] Speaker B: Yeah, they were anime. [01:06:44] Speaker A: I mean, that was high tech. [01:06:46] Speaker B: Yeah, it's pretty bad. I think it was pretty bad, if I remember correctly. [01:06:51] Speaker A: Here's the casingo. The casingo had swamp juice and then unskiddy bop, and then on the other side, had valley lost souls. [01:06:58] Speaker B: Oh, so we got. Yeah, so we did get to hear it. Nice. [01:07:02] Speaker A: Pretty funny, the casing. [01:07:04] Speaker B: I think I remember saying that I like that song better than this one. Yeah, well, this is a fun song, right? I mean, this is the kind of song. I mean, again, if you hate it, you hate it. But if you didn't hate it and it comes on, it's just catchy as hell. Right? It's fun. It's stupid. Yeah, it's super stupid, but it's just catchy. [01:07:27] Speaker A: And even though the lyrics are cheesy in here, they don't bother me because this is exactly what this song is. This is. This is like. This is like talk dirty to me. This is like the talk dirty to me of the record. Yeah. And talk dirty me doesn't hate that. I don't hate. I don't hate that song, either. I mean, we've played that song a million frickin times. [01:07:44] Speaker B: Oh, my God. It's one of the first songs ever playing drums that in Detroit rock setting. [01:07:48] Speaker A: There you go. [01:07:49] Speaker B: First two songs ever learned. [01:07:51] Speaker A: All right, so here we go. Unskinny bop. I assume we're gonna hear bass now, so it should be good. I have to admit, though, even though the bass is there. The bass is still. The bass is still trebly, though. It's not as bassy. [01:08:11] Speaker B: Yeah. But I think it kind of sounds good with the drums because the toms are there. You know what I mean? [01:08:16] Speaker A: Yeah. [01:08:18] Speaker B: So that deepens the sound of overall, I think. [01:08:21] Speaker A: I guess. I mean, I always remember this being. I thought I always remember it being more full, but I guess, you know, it's. It's relative, I guess. I don't know. All right. [01:08:36] Speaker C: Oh, jumping why can't you? And leave my winning? Every time I touch up, you get hot I wanna make love, you never stop? Come up for eight woman to the door what's been going on? And anybody just knows me away. [01:09:39] Speaker A: So another thing that I guess I have to mention is that, you know, some of his stuff is so simple to play. Right. That if you're learning to play guitar, you feel like you accomplish something because you be able to play a song that. You know what I mean? That. It wasn't that hard. It's not like. Yeah, it was accessible. You weren't. You weren't learning Van Halen and not being able to play that or pick whatever other, like, super hard guitar stuff that was happening during the time. So, you know, I mean, there's something to be said about something that's a little simpler, that gets people to feel like they. They can. You feel like you can do this. Like, listen to the Ramones. Like, you feel you could. Like, you can play the Ramon song. So there's nothing wrong with that. But, I mean, even though the lyrics are a little, you know, a little, you know, whatever, they are cheesy. There is a little good double entendre, though. Technically, he uses. He uses that pretty well. [01:10:30] Speaker B: Yeah, it's kind of like he wants to do it, but not that much. [01:10:35] Speaker A: Yeah. [01:10:36] Speaker B: Right. [01:10:37] Speaker A: So what's got you so jumpy? Why can't you sit still? Like gasoline? You want to pump me and leave me? When you get your fill? So different than. Different than maybe stuff that was earlier on. He's putting her in control and not him in control, which, if you kind of think about it, it's not, you know, that you know, in. It sounds like a simple, dumb little song. Right. But really, if you kind of think about it, it's a. It has a little more into it than maybe some of the earlier stuff he would have wrote. Even though this is, like, as mainstream as cheesy as glam rockettes. [01:11:09] Speaker B: Right. [01:11:09] Speaker A: Right here. [01:11:10] Speaker B: Yeah, absolutely. So this is what I think this is what you expected the poison single. [01:11:16] Speaker A: To sound, like, 100% like this. That's why they put it out. [01:11:20] Speaker B: Yeah. [01:11:20] Speaker A: Okay, so. So every time I touch you, honey, you get hot? I want to make you? I want to make love? You never stop? Come up for air? You pull me to the floor? What's been going on in that head of yours? Unskinny bop? Just blows me away? Unskinny bop, bop, bop? All night and day? Unskinny bop, bop, bop, bop? She just loves to play unskinny bop. Nothing more to say now he can say that unskinny bop doesn't mean anything. But when I think unskinny bop, I think sex. [01:11:47] Speaker B: Yeah. [01:11:48] Speaker A: Skinny bop, I guess. [01:11:49] Speaker B: Oh, yeah. [01:11:50] Speaker A: Maybe it doesn't mean anything, but that's what I always thought when I first heard it, so. And this again, like you said, this is. This is what they think poison is, right? [01:11:58] Speaker B: Oh, yeah. I mean, it was like, what the hell is going on? But I mean, this is definitely poison. I mean, listen, am I saying that's unique to them and whatever? No, I mean, obviously this topic was widely used in the genre. [01:12:15] Speaker A: Of course. It was the whole genre basically, for a long time. [01:12:18] Speaker B: Basically. [01:12:20] Speaker A: I think it was the whole genre for a lot of bands at the beginning of their career. And then as they went a couple of albums and they tried to get more serious, I think that happened almost everybody. [01:12:28] Speaker B: Well, I mean, I think too at some point how you write about the same thing. You write about that and you. I mean, again, just like Vince, you know, it gets to the fourth album. He's still talking about a 15 year old. Right on. Girls, girls, girls. It's like, come on, man. Yeah, well, this is the same album with wild side. [01:12:47] Speaker A: He's not. He's not talking about 15 year old girl. That's Nicki six. Right. Old lyrics. So blame Nikki six for that one. Well, it didn't bother me because I was 16 or 15, so it didn't bother me or 17, whatever. I was. [01:13:01] Speaker B: Yeah, well, yeah, you don't. Yeah, you probably don't think about it right back then. [01:13:04] Speaker A: No. [01:13:05] Speaker B: And then you kind of get old. You're like, wait a second. [01:13:08] Speaker A: Yeah, because when you're sit. When you're 15, 1617. That's fine. Because whatever he's talking about is girls of your age bracket, you know, I mean, so, yeah, makes a lot of sense. It's a little weirder later on. You're like, oh, that's gotta be weird for them singing now. [01:13:23] Speaker B: You. [01:13:25] Speaker A: So. So, yeah, so, like I said, I think that, um. I think it's interesting that. How he uses. You know, I. Even though the lyrics are kind of cheesy that he. He's doing some interesting things in here regardless. And I think, you know, again, I think it is still probably better than some of the lyrics on the earlier stuff. Just. Just the way he's writing. You got to get better, right? [01:13:46] Speaker B: So, yeah, you should get better. [01:13:49] Speaker A: You should get better. Yeah, well, and I. I mean, I think from the first record to this record, they're definitely better. [01:13:54] Speaker B: Yeah, I mean, there's definitely some. Some good. I mean, something to believe in. There's some very good lyrics in it, you know what I mean? And even I didn't take that song too serious. I was like, oh, blah, blah, blah. But I mean, again, as a band, you can write whatever you want, whenever you want. I mean, I know sometimes people, unfortunately expect certain things. It's like movie directors, whatever it is, right. Whatever genre, people may get to a certain point, like, well, I don't take this seriously because you've never done anything like this, but then you're like, okay, well, no, I didn't want to do it before, but I want to do it now. So you have a right to write about whatever you want. [01:14:27] Speaker A: Oh, no, I know. I just think that, unfortunately, some people pigeonholed themselves early on and they couldn't get out of it. I think that's what happened with a lot of bands. Unfortunately, the bands that always had the ability to talk about whatever, those guys were able to change it around a little bit. I think when you got pigeonholed really, really early on as a certain way and you can't get out, doesn't matter what you do, no one's gonna take it. [01:14:51] Speaker B: Yeah. [01:14:52] Speaker A: Seriously. Right. Because they don't think you're serious. So. Because you weren't serious from the get. [01:14:56] Speaker B: Go, I mean, listen, something to believe it worked out for them. So. Because I was giving credit. I mean, again, I was cynical when it first came out, but then I'm like, you know what? Fuck it. I mean, you can write about whatever you want to. I mean, other people believe it or don't believe it. I don't think he's lying in that song. No, I think he believes what he's writing about. So, yeah, just again, you know what? I don't want to write ten serious songs. That's not what I want to do. I want to throw in a couple of serious ones and I just want the rest to be fun. [01:15:29] Speaker A: Well, you know, I mean, I think that, you know, that was part of the charm of that timeframe, is that there was a lot of fun, there wasn't always serious. Right. You could go to a concert and get. I'm just saying. But, yeah, well, comparative to what came after it, right in the grunge stuff, is that, I think that, you know, people felt that it was a lot more fun then as opposed to what ended up happening, you know, in the nine, early nineties. [01:15:52] Speaker B: So, I mean, listen, these people all had their mega problems, right? And I understand. They just didn't put it all in the song lyrics, so I understand the mentality. They're like, I don't want to. I don't want to write about this because this is not. People don't want to hear this. They want to forget about. [01:16:09] Speaker A: Yeah. All right, let's continue. Here we go. [01:16:19] Speaker C: So strange every time I touch it, but you get hot I wanna make love, you never stop come up for eight woman to the floor. What's been going on? [01:16:42] Speaker A: And. [01:16:46] Speaker C: Just blow me away I'm skinny by nothing more to say you say I can see right through you yeah. Who ride, who went in a race? [01:17:26] Speaker B: There you go. [01:17:28] Speaker A: Three in a row. [01:17:30] Speaker B: I noticed it. I told you I noticed. I noticed it. Yeah. I was like, wait a second. Do they have a bridge before every solo? [01:17:39] Speaker A: Yeah, they do. [01:17:40] Speaker B: Hey, listen, give them credit, right? That's actual stuff that they're writing, so. [01:17:44] Speaker A: Okay, so here's the verse. You look at me so funny love by got you acting oh, so strange you got too many bees in your honey I'm just another word in your page every time I touch you, you get hot I want to make love, you never stop come up here. You pull me to the floor. What's been going on? That hair. Yours. Back to the chorus. And then the bridges. You're saying my love won't do you. That ain't love written on your face. Well, honey, I can see right through you well, who's writing who at the end of the race? So, you know, he's using a lot of double entendre again. He's putting her in control. She's the one that wants all this, not him. Right. So he looks like the good guy, not the bad guy. [01:18:21] Speaker B: Well, it's like he wants it, and then, I don't know, like, in the first person. It's like he wants it, and then she gives it to him, but maybe he gives too much, I guess. [01:18:29] Speaker A: Yeah. And she wants it too much from him. He doesn't know what to do. Come up for air. You pull me to the floor so it's. It's. It's her. [01:18:36] Speaker B: Yeah. Yeah, I guess. Leave me when you get your fill. [01:18:38] Speaker A: Yeah. So she's doing what? She's playing the role that normally the man would play. Right. So she's the one. So, you know, it's a little bit of a twist. [01:18:45] Speaker B: Yeah, it is. It's definitely. [01:18:47] Speaker A: I mean, I think earlier on, it would have been more of him, you know, I mean, not as much of her. So he shows some growth. Sabina some growth in his. His tna lyrics. [01:18:56] Speaker B: Yes. [01:19:00] Speaker A: Yes. [01:19:01] Speaker B: You know, I always thought he said, who's writing who when you're in a race? Not at the end of the race. [01:19:07] Speaker A: Who's writing who at the end of the race. [01:19:10] Speaker B: Yeah. It always says, like, who's writing who? That's what I'm saying, though. Right? His pronunciation sometimes, but that was a listen. That was another characteristic. You know how many song lyrics you probably misheard in the eighties? [01:19:20] Speaker A: Oh, forget it. Well, there weren't always lyrics in the albums in the eighties. That's the problem. [01:19:25] Speaker B: Yeah, and then you get some of these people. I mean, look at Vince Neil. My God, anybody who wants to get a laugh, look up Vince Neil. The lyrics on YouTube when they're trying to figure out what he's saying. [01:19:36] Speaker A: Yeah, it's pretty funny. Well, he only sings every other. Every other verse or every other every other word. So you never know what the hell he's singing. He's gotten a little bit better recently, but it's still kind of bad. But he's always been like that, though. It wasn't as bad earlier on, but he is all. He'd always kind of miss things around. It's just. It got really bad. Like, after doctor feel good time, it got really bad. There's times there, like, he sings, like, two words out of the whole verse, and then either puts the mic out for the. For the. All the fans to sing, because he doesn't want to sing anymore. It's rough. All right, solo time. Here we go. Now, I'm still gonna say the same thing about the. I'm gonna say the same thing about the. Just because. Just because. Now I obviously know this song for a long time. I know how the solo goes. So to me, it kind of feels like a solo that's kind of composed, like, just because I know the song for so long. But really, if you listen to it, it's a couple of bends and some whammy bar thing, and then a bunch of flurry of solo, and then some bend and a whammy bar thing, then bunches of flurry of notes. That doesn't need to be that fast or all jammed in altogether that quick. [01:21:14] Speaker B: I mean, I was gonna say something like this lends itself to have a feel solo. Right. Kind of something you can like. It kind of starts off that way. That. But then, yeah, it does go into that. [01:21:25] Speaker A: Yeah. I mean, that's kind of his thing on this record, though. And even probably on the record prior, like I said, there was a little bit of that in the first record. But I think it was more. It was more simple. It was much simpler. And I'm not saying it's better or worse. It's just. [01:21:38] Speaker B: Well, he probably could only do at that point, right? [01:21:40] Speaker A: Or maybe not. Who knows? Maybe that's just what the songs call for. Maybe he's just playing more. Playing for the song there because it would have to be more melodic. And here it's just like he feels like he. Again, I think everyone felt like they needed to show that they were a better guitar player than the other guy. [01:21:54] Speaker B: Well, especially too, right? He's in a massive. I mean, they. You know, they were a big band. He sold millions of albums. I mean, they're busting his balls, right? Because who else is going to be the standout? I mean, guitar players were just as important as the singers back then, right? What does the solo sound like? What is. [01:22:12] Speaker A: Well, again, those are the things from him that I don't like as much. Even though I'm okay with this, just because I've listened to this for goddamn, how many years now? 30 something years. So it's. You know, I just. Because I know the song, but, you know, I'm not a big. I'm not a super big fan of that. I think he could have probably done a better job. I think he was just trying to show that he could play fast on every song. So, you know, again and again, there had to be a lot of pressure, like, because. No, you. If you're in this band, right, like, why don't they taking me seriously? Look. Look how many records we. Right. Look at all this stuff. And that's for any band that's really big, you know, unless your guitar player just is the guy and is a really good guitar player. If. If people think he's not a good guitar player, even though, like I said, I think in some ways he is underrated because everyone thinks he just sucks. Now, when you listen to things like that, I can't disagree because it's just too much of that little thing that he does. [01:23:09] Speaker B: Yeah. [01:23:09] Speaker A: So, you know, but, you know, the song is very good. I mean, it's very popular. It's very poppy. It's very. It's easy to remember, like, you're not gonna forget the chorus. [01:23:20] Speaker B: No. [01:23:20] Speaker A: If you don't like this music and you don't like poison, you probably know this song and you probably can't get this stupid song out of your head. 30 years. [01:23:27] Speaker B: Absolutely. So, yeah, I mean, it's catchy as hell. And even the fact of what the title is, too, right? [01:23:33] Speaker A: Which obviously means nothing. I'm just gonna back it up a little bit so we can hear the. The outro bridge or whatever that is. Pre chorus again, whatever it is. Here we go. [01:23:46] Speaker C: What's wrong? What's left? What the hell is going on? I see. It just goes all night for you. I get my name. [01:24:35] Speaker B: The thing he did there at the end, it sounded like he made a mistake, and I left it in. [01:24:39] Speaker A: Oh, that little. Yeah. [01:24:41] Speaker B: And then it kind of just. [01:24:42] Speaker A: Yeah, I always remember hearing that going, yeah, I know. [01:24:45] Speaker B: I was like, wait a second, dude. [01:24:47] Speaker A: Unless that was on purpose and you. [01:24:50] Speaker B: Left it in, but it just. I don't know, man. That's bad if it's on purpose. [01:24:54] Speaker A: I mean, I. I never really hated that part of the song. It's very strange. Like, that doesn't bother me at all. It doesn't bother me at all. It feels like. Like he turned his volume down and just. He didn't hit it exactly the way he wanted to, and he could have went back and fixed it, but maybe he liked the way it felt, because to me, it feels good. It just. Maybe it could have. He just hit it wrong, I think. Yeah, I'm okay. I'm okay with that. I'm okay. Why don't you go first? I mean, lyrics, but they're fun, though, so you have to kind of take. [01:25:24] Speaker B: That factor of six, because I gave the other ones five. I'm gonna say seven on the music again. I mean, it's seven. There is some thin parts in there. One thing. I mean, I don't think we mentioned yet. I mean, they also do pretty good background vocals, right? They all sing background vocals. [01:25:41] Speaker A: Yeah. [01:25:42] Speaker B: So I think that they definitely do a good job with. I mean, if you listen to this, I'm boos that go on in the songs, and so I give him credit for that because I know, obviously, we're talking about the Eagles and their background vocals and Bon Jovi, so, yeah, I listen. It's. It's a fun song. Will I always listen to it when it comes on the radio? Not necessarily, but in a pinch, I'll probably go back to it, because, I mean, again, it is a fun song. So what do you think? [01:26:08] Speaker A: Yeah, I think six, seven. Seven is the same thing for me. I mean, just because it's so catchy, you know, the lyrics are fun. I mean, they're not great, but. But they're fun lyrics, though. So I have to give the fun factor there. I mean, you know, probably if you took him, is like, oh, my God, look how crappy these lyrics are. You know, you could give it five, four if you wanted to, but they're just very fun. And, you know, it's a fun popular song and it's in your head, it's written well. So, you know, I mean, again, no, you either like these guys or you don't like these guys. You know what I mean? I mean, if you're trying to put them up against some other bands at the time or bands that came before it, like Motley Crue or rad or anything, or Def Leppard or whatever, you know, I don't think that's fair because they're not in that tier of band. But they, at this point, they were big, man. They were one of the biggest bands in the world. [01:26:57] Speaker B: Yeah, they were big. And my thing is this, right? Don't say you don't like something because of who it is. Because ultimately, who gives a shit? Like who. Who do you have to defend yourself to be? I mean, if you like a song, you like a song. Who cares, you know, if your favorite band is like, whatever, you know, some black metal band from Norway, but you're like, oh, I love unskilling, Bob. What are you gonna do, get beat up? I mean, who cares? If you like it, you like it or vice versa. You know what I mean? If you're like, oh, poison is my favorite band, but I love this black metal song from Merwell. Okay, that's cool. It's a well written pop metal song, right? [01:27:35] Speaker A: 100%, yes, that's what it comes down. It was very popular. It went up really high. They sold a lot of copies, so good for them. All right, so the next one's, let it play. I haven't heard this one a while. I have to remember what this is like. [01:27:47] Speaker B: Okay, this is kind of. [01:27:48] Speaker A: There is this kind of filler. [01:27:50] Speaker B: No, I think it's better than filler. I think there is some filler on this record. I think this one isn't filler per se, but it's kind of like their stab at, like, kind of how, like, bon Jovi took a stab at the cowboy stuff. I think this is, like, kind of a stab, yet a blues ear maybe thing, but not that to do, actually, even though they may do it at the end, if I remember correctly. [01:28:13] Speaker A: But we'll say, I haven't heard this in a long time. I'm sure it's like, as soon as I started. [01:28:15] Speaker B: It's been a while. [01:28:16] Speaker A: Yeah. All right, here we go. So let it play. [01:28:22] Speaker C: When I hear the music. Something like that. You're running late. The boss is bitching. It's going outside in the cow. When I don't need a bitch, I swear we all got our clock available. I hear you. All my chums just fade away when I hear the news and let it fade I let it be when I hear the news show as I see the day. [01:29:44] Speaker A: I mean, it's not bad. It's, um. What I want to say. It's. I don't know. I mean, I think it's sort of, kind of a. It's sort of, kind of a. I don't know. It's just. It's a weird. It's a weird thing, because I now remember the song 100%. It's just. I don't know. I think that the. The cinema is good, and the background vocals are really good. I think this is, so far, best background vocal recorded. Background. [01:30:10] Speaker B: Yeah, they do good background. What I don't understand in the beginning is, like, when I hear the music, lord, don't let it play. I always wonder why the hell they said that. [01:30:19] Speaker A: Yeah. Do you think he messed up and did just. [01:30:21] Speaker B: I don't know. I'm like. Because it's not like he says it in the rest of the song. Right? He just said, lord, let it play. And I was like, oh, maybe I misheard it, but he clearly says, lord, don't let it play. [01:30:32] Speaker A: The rest of. He says, I hear the music, let it play. [01:30:34] Speaker B: Yeah. Which makes sense. [01:30:36] Speaker A: I know. Maybe he messed it up and either didn't realize he messed it up or just left it because he liked the way it sounded. I don't know. So when I hear the music, lord, don't let it play. Ha. Something like that. Okay. So did you ever go up on the wrong side of bed with an aching head and just fall apart? That part that always found the sound felt a little weird to me. But then it gets better in the verse. Like, the second part of the verse is better. You're running late. The boss is bitching, it's cold outside, and the car won't start. I get. So I guess he's ramming those together. So I guess it sounds better with the second part, because when I hear the first part, it sounds weird. And then we put the second part is fine. [01:31:18] Speaker B: Well, because he says, with an aching head and just fall apart, as opposed to saying, with an aching head and it just falls apart. Or I fall apart. You know, it does sound like there's an actual word that needs to be in there, but I always thought it was odd, too, the way he says it. [01:31:34] Speaker A: Yeah. And then, well, I don't need the bitch, I swear. Because we all gotta cross the bear and the choruses. But when I hear the music all my troubles just fade away when I hear the music let it play let it play when I hear the music sure as darkness I can see today when I hear the music let it play so, basically, it's like, music is gonna fix your. No matter what's going on, you're gonna hear some good songs, and it's gonna make you feel better. [01:31:55] Speaker B: Yeah. It's gospel y, kinda. Right. That's kind of a sentiment. What do you think of that little guitar thing? [01:32:01] Speaker A: I like the guitar solo there. It's not as. It's. It's a little more melodic. It's a little more. A little more feel. It's nice. Just. [01:32:10] Speaker B: Yeah, exactly. [01:32:11] Speaker A: So I like that better. All right, let's continue. [01:32:24] Speaker C: When the weight of the world lies on my shoulder say let it be I. [01:33:26] Speaker A: See. That's much better for me. [01:33:27] Speaker B: Yeah. I think overall, this is probably the best produced song, too, I think. [01:33:32] Speaker A: Yeah, I like the. [01:33:35] Speaker B: There's no thing between the. They didn't do a bridge this time. You did keep kind of singing. [01:33:38] Speaker A: I was into the chorus. [01:33:40] Speaker B: Yeah, he sang into the song, but they actually went into it. [01:33:45] Speaker A: Yeah. I mean. I mean, you were on a roll for a little bit. [01:33:48] Speaker B: Yeah. But, I mean, clearly it is a thing that they do a lot. [01:33:53] Speaker A: Oh, yes, clearly. [01:33:54] Speaker B: Which is fine. I mean, hey, it's a little stamp and. Yeah, this is the best so far on the record, I think. [01:34:02] Speaker A: Yeah. I think it's just the most. The most. Has more feeling in it. Has more. It's more composed. I think it's a little better, even though, you know, I don't know how composed it is, but it feels a little more composed. [01:34:16] Speaker B: Feels like extra notes in there. They sound like they still fit. Right. He has kind of thing, whatever the hell he's doing, but it still fits. It's. It's. You know what I mean? It's not like. It doesn't sound like. All right, I gotta add these extra notes in there. It's like, okay, I'm gonna add these extra notes, but it's still gonna be. It'll fit. [01:34:36] Speaker A: Well, it's not the bumblebee you want to shoot. That's what it is. All right, so the verse is, life's just rented space getting laid to waste when the lines of my face says I'm growing older just a stitch in time gonna save my mind when the weight of the world lies on my shoulders yeah well, soon I won't have a place to fit but I'll cross that bridge when I come to it and then back to the chorus. I think. I think this verse feels a little bit better than the other one. [01:35:05] Speaker B: Even though it's a lot of words, though, right? He trims in a lot of. Yeah, this is why couldn't sing live. Sank too many words. [01:35:14] Speaker A: And I mean, again. So before we get back. So I like the solo. Seems like he's playing neck pickup because it sounds a little more woofy. So it. I kind of like that. Like that. He changed it up and again, you know, it has a little more bending, has a little more feel. There's not as much super duper fast stuff that is just there to show you how fast he can play. I think it sounds better so far. It's my favorite solo so far. [01:35:42] Speaker B: Yeah, mine, too. Definitely. [01:35:46] Speaker A: All right, let's back it up a little bit and the solo. And then let's go into the spoken part. [01:35:56] Speaker C: Little Bobby doll. Like that. When I hear music no, don't let it fade when I hear the music. [01:36:48] Speaker A: Thank you. [01:36:48] Speaker C: All my jokes breaking away when I hear the music let it play I hear music joy, stop talking let it. [01:37:01] Speaker B: Play. [01:37:07] Speaker C: In and I hear the music let it play, let it play you. [01:37:40] Speaker A: Now, one thing I can say is that the zipper bop a biba bop it's really weird. Like when David Lee Roth does the zipper bop a boop a lap a beep about it sounds more genuine, natural. Yes. When he does the zipper bop a loop of bop a bit, it feels so forced. That's the only. Like, he had me, man. And then he had to do the zippa boppa boop boppa bibba bop. [01:38:15] Speaker B: He has an odd way of singing sometimes. Right again. I think it's almost like caricatures of styles. So he doesn't specifically sing that way, but he's singing that way because that's how somebody who may have written this song before would sing it. You know what I mean? If that makes any sense. Just like the way he enunciates certain things and. Yeah, I mean, I'm not crazy. I'm not a big scat guy. I mean, you know, maybe fellow Fitzgerald. That's okay. And, yeah, I mean, even David Laroth, what he does, I guess, within the, you know, bozzy, bozzy pop, diddy pop and what do you call it? I mean, it fits, but I could do without it in this. It kind of. Remind me of. There's a Bugs bunny cartoon where he just flips out and he's trying to impress press a crowd. He just goes into this scat. He just won't keep going until they hit him in the head. That's kind of what we reminded me of. [01:39:13] Speaker A: But it's. [01:39:13] Speaker B: It's a good. It's actually better. I mean, I've always liked the song, but it's actually better than. I think it's more composed and more well written than I remember. And I think the production. I think production is the best one. The solo is the best one. [01:39:30] Speaker A: Yeah. See, anytime. Anytime I hear, like, people trying to do this. Bob Z. Bobsy doop de bopy bopdi bop. Like, I listen to. Like, my reference is kind of like I'm the one where they get at the end of that, they go, ba ba da shoo dop ba ba shoe doobie doo. That little part, like, that's so well done. And here it feels mean. I like the song, but I feel so forced. It feels like it's just not genuine. And that's really. That's really. I can see, like, people who don't like poison to hear that and go because it just feels like it's. It's forced. And I think that's really. That's really what threw me or what throws me off about the song. [01:40:14] Speaker B: But he doesn't do it throughout the whole song, you know? [01:40:16] Speaker A: I know, but it makes it. [01:40:18] Speaker B: But I'm saying, because that would have really kind of effed it up for me, too. Yeah. I mean, I don't. I'm like, all right, you get through this one part, and then he does it at the end. It's like, okay. [01:40:28] Speaker A: I could. I could live without it, though. I think it's only without it. Or I guess I gotta go first this time, huh? So the lyrics are really wordy. It's a very wordy thing. And it sometimes throws the melody off because you're trying to jam a lot of words into one thing. I think the second verse better than the first verse. I always thought that first verse felt weird to me, even from day one when we heard this back in the day. So I'm gonna give it six on the lyrics. Musicianship. I think the music's pretty good. I'm gonna give it a seven, and the production is gonna give that a seven. I think it's the best produced so far, or at least one of the best produced anyway. Um, but, yeah, the Bosde bosie bobbity bipty zip t boop d bop. It just. It feels so forced and just feels like it doesn't belong or it's just trying to. He's trying to be too much. Trying to be too bluesy. Trying to be too gospel ii when you're. When you are the friggin glam metal band. You know what I mean? And and they're not the only people. Let's let's be straight here. They're not the only people that tried to do that kind of stuff. In the eighties, everyone needed their blues. And it was just very. It felt so forced. No matter who did it, generally, it just, the bands just felt like, hey, look, all the blues were influenced by. But it just. It always felt wrong. Like, it's not like when black Crows did it because that was their style of music. So it sounded fine what they did it. But when they. When the glam metal bands had to throw the bluesy thing in. Whether it's a good thing, like Uncle Tom. Like the beginning. The beginning of Uncle Tom's cabin. Right. Even though that was pretty good. But. But did it really need to be there? Not really. I mean, I guess it's brother or cousin or something, but. But I'm saying. But everyone did that. And some people did it better than others. Right? Like, that one wasn't horrible, but there was, I'm sure with. You can find tons of references to the bluesy thing that people that tried to do that to show that they were blue. Look how much we love the blues. Yeah. [01:42:39] Speaker B: Songs drove me nuts too. You know that every. That. [01:42:45] Speaker A: Oh, yeah, everyone did that. [01:42:47] Speaker B: Like, okay, you know, this has been done so many times. What. What are you gonna do to it? That's gonna be different. [01:42:53] Speaker A: But even if it's done so many times when it's front done by an authority band, that that's what they do. It doesn't sound fake. This kind of doing the zip tie bop, the bop, the boop d bop here makes it makes it is not a good song. I mean, if you take that out, I think it's a better song. I mean. I mean, I don't know why it bothers me so much, but every time I heard that was like, oh, come on. Everyone wanted to beat. Like I said, everyone to be. So it's authentically blues, right? Says how much blues we are. And this. Look at. Look at the blues we do. And it always sounded funny, fake. It's not like, like Aerosmith can do that, right? Because that's their thing. They have a big, heavy blues influence in their playing. And when. When Stephen tyre does it. Right. It doesn't sound fake. [01:43:36] Speaker B: No, it sounds more genuine. But like you said, david Lee Roth does it. Like, is as funny as it can be. You're like, yep. This sounds like something. [01:43:46] Speaker A: Yeah, when he does, it's fine. Or when the band does it as acapella thing, it sounds fine. [01:43:51] Speaker B: Mm hmm. [01:43:52] Speaker A: Here. It just sounds forced. It sounds how? Look, we're just gonna jam this in here because we think that this is what. Because it has a little bit of a. We're trying to make it sound a little gospel. If you throw this in here, everyone's gonna know what it is, and it's gonna sound good, and they're gonna love that that's in there and that. And I could see why people who hate poison hate it for probably one of those reasons. Like, I don't like that there. Go ahead. [01:44:16] Speaker B: That's. That's not gonna turn new people into fans, basically. [01:44:18] Speaker A: Not part. Not at all. [01:44:22] Speaker B: Yeah. Six of the lyrics, too. Music. I'll say a seven, so I'm gonna say an eight on production because I think it is the best produced song. So, I mean, I want to throw it a little bit of an extra bone. I mean, I know gave some of the stuff seven, but I do think, you know, like I said, it's the best produced. And it's full. It's very full sampling. [01:44:49] Speaker A: All right, so now we get into our first. Our first ballad, which I don't. I don't remember hating this song either. I think. I think I like this song. I think I like this song a lot. [01:45:01] Speaker B: Yeah. [01:45:02] Speaker A: So this is, um. Life goes on. Every rocker needs their soft side. So, like we said, this is basically a rip off from Reo speed wagon. I did not know that. Did you know that? [01:45:50] Speaker B: Yes. I mean, well, the beginning part, right. It's not exactly the same going. You know what I mean? [01:45:56] Speaker A: We did the little really super close. [01:45:59] Speaker B: But the first time I heard this song and I heard that, I was like, um, that's our speed wagon. [01:46:08] Speaker A: Yeah. I didn't know her pointing it out. [01:46:10] Speaker B: To my drummer friend. He said, no, it's not. I said, yes, it is. I said that part. That one part, that banana. That is it, man. [01:46:21] Speaker A: Yeah. I mean, they change it up a little bit. But. But that's almost like saying, um, whenever I said, yeah, the queen song goes, dante, and mine goes, yeah, that there's just. [01:46:34] Speaker B: I mean, obviously the Reo is different. It's definitely. It doesn't. It's not full on, but that beginning part is definitely that. [01:46:47] Speaker A: Yeah, it's basically ripped from there. Yeah, I just, it was just one of those things. All right. I mean, it doesn't kill the song for me, but now that I know it, I'm like, I can't unhear it. There you go. [01:47:11] Speaker C: No matter how hard I try this feeling won't end so I pretend you're here by my side tonight on this morning ride keep telling my safe man. [01:47:56] Speaker A: Yeah, I mean, I do like the song. Yeah, I think the lyrics are pretty decent in here, too, so, I mean, they're, yeah, they're longing lyrics. I mean, he didn't reinvent the wheel. Basically. She's not there, and he wants her there and I'm lonely without you kind of thing. Like I said, it's, it's, every bad boy has their soft side, kind of. Remember that commercial for the, I guess if I can find those compilations things. [01:48:32] Speaker B: Yeah, rock ballads. [01:48:33] Speaker A: Yeah, every bad boy has their soft side. [01:48:37] Speaker B: Every bad boy wants to get fucking money. [01:48:40] Speaker A: Pretty much. Yeah, every bad boy wants all the girls to come to their thing. So we're gonna put ballads out. I mean, it worked. [01:48:48] Speaker B: Oh, God, it worked. I mean, that broke this. I mean, the ballads brought hair metal to a different level. [01:48:55] Speaker A: Total, a thousand percent. [01:48:57] Speaker B: I mean, you want to talk about the secret formula? I mean, that probably extend, that's probably what gave it the life that it did. I mean, listen, for what it's worth, when I heard a new band, you know what I went for first? What's the ballad? I want to hear the ballot and see how good the ballad is, because again, I started dropping out of some of this stuff, and then Nick was still kind of, let me hear what the ballot sounds like, you know, because typically, I mean, if you like, there was always, the ballots were pretty good, you know, even for stuff that wasn't popular, that some of the bands that didn't make it, they still have some decent ballads on. [01:49:30] Speaker A: Mm hmm. Well, yeah, that was, and that was the thing. I was, I mean, this is far down on the list. Usually bad was like third song, right? [01:49:37] Speaker B: Generally, yeah, this is, this is now. And I mean, even for them, I mean, this is definitely different, I would say right then, every roadside score, and it's fuller. There's orchestration, I think, going. So reinventing the wheel completely, like you said, not, they weren't copying exactly what they did last time where it's just an acoustic. [01:49:59] Speaker A: So this is the fourth single and went to number 35. So it was top 40 and the Hot 100. So that's good. Top 40 is good. Oh, so. So basically. So I didn't know what the song was about. The lyrics were written after a girlfriend of Cc Deville's was shot and killed in a bar fight in Palm Springs, California. A song is about trying to find the light at the end of the tunnel. So it's not. Someone was far away. Someone was. I. That's what I thought. Someone had passed away, got killed or something. So I. That's what I thought it was. But then again, I was like, maybe that's not what it is. So the first verse is, I felt this before and now I feel it again no matter how. How hard I try this feeling won't end so I pretend you're here by my side tonight on this lonely ride I keep telling myself that life goes on while you're miles away and I. And I need you time rolls on as night steals the day there's nothing I can do now, reading that back now, knowing context. Yeah, it makes a lot of sense. [01:50:53] Speaker B: Yeah. But I just put in the sense of, like, you know, there'd be the whole music thing when they're on the road. [01:50:58] Speaker A: Yeah, you could take it. [01:50:59] Speaker B: Relationships are difficult and, I mean, you're miles away. She's a little bit more than miles away. [01:51:04] Speaker A: Yeah, but, like, you know, it's so tragic. Any kind of good song, you can take it multiple ways. So. Yeah, this is one of the songs I always liked on this record. [01:51:15] Speaker B: Oh, yeah, me too. I mean, so it's pretty solid. Yeah, nothing really. You know what I mean? Nothing's really. I mean. [01:51:23] Speaker A: Okay. [01:51:23] Speaker B: Lyrics have gone some, but, I mean, I wouldn't expect whatever, but I mean, overall, it's a pretty strong suck, I think. [01:51:32] Speaker A: Yeah, I agree. All right, here we go. [01:51:51] Speaker C: So I let out my fears. [01:51:56] Speaker B: But. [01:51:57] Speaker C: One fear I kept to myself how I waited that you love no one else. Like you say, you know me. [01:52:48] Speaker B: You know, it was coming to you and said, again, I didn't say everything, but it is very common. It's definitely a signature of theirs. [01:52:56] Speaker A: So now, leaving reading these lyrics now, I'm not too sure. I'm. They're saying about someone who died, but now it doesn't feel that way. So you healed up my wounds, I tasted your tears, you spilled out your heart. So I let out my fears. But one fear I kept to myself. How I prayed that you loved no one else. Like you saying you love me. I'm confused. How is that about trying to find the light, the end of the tunnel? The scene is about. I don't know. I'm confused. [01:53:26] Speaker B: Maybe this is the best they could do in that situation with that. With that, uh, you know what I mean? Unless it was kind of like, yeah, well, this is one part of it, but you can kind of associate it with this, I guess. [01:53:43] Speaker A: I mean, it doesn't change the song for me. I still like the song. I'm now looking. And then the bridge or post chorus or they want to call this, if you only knew how much I miss you. And I'm like, oh, there it comes. Suddenly had one song so far without it. All right, let's back it up a little bit and let's hear solo. Here we go. [01:54:57] Speaker B: So I'm gonna say it first, before you say anything. [01:55:01] Speaker A: Go ahead. [01:55:02] Speaker B: I've always liked that song. I think it's a good ballad solo. And me personally, if it's the song, I mean, I still hear some of that. What do you call it? But I don't think it's over the top. It's still. Still kind of fits within the context. So me personally, I've always liked that solo. Now you go. [01:55:23] Speaker A: I don't hate it. I think it needs to be half the length that it is. And I need. I think you need to concentrate on other parts. Like, I like the end part. I'm not too sure I like some of the fast stuff in the middle. I just don't. I think that he tried to do something similar for every rose. Like, he did the whammy bar thing. He tried to do something similar there. It's just not as good as that solo is for me. That's like, almost like the quintessential, like, ballad solo for the eighties is every road solo. I don't know. I mean, I think. I think it could be a little shorter. And I'm. Listen, I'm guitar player. I want. As long as you can. As long as you can go. [01:56:06] Speaker B: But so to draw a real life comparison, I'll tell you, when we had our ballad. [01:56:12] Speaker A: Uh huh. [01:56:13] Speaker B: We told you to cut the solo. I don't know if you remember. [01:56:17] Speaker A: I don't remember. [01:56:19] Speaker B: Yeah, you cut it. It was actually longer than it was, because I remember what time I was playing. I'm playing the drums, and I went back into, like, the core, whatever it was. And Nick is like, no, this is another. I was like, what the. [01:56:30] Speaker A: How long has this fall? [01:56:32] Speaker B: I was like, what do you. Cc Deville? [01:56:35] Speaker A: There you go. [01:56:36] Speaker B: We had asked you to cut that soul a little bit, so I mean, to cut you off, but I just, if I didn't say it. Then I was like, I probably got. [01:56:42] Speaker A: To say, and you want to know something? You were 100% right. [01:56:46] Speaker B: It was a great song. [01:56:47] Speaker A: No one edited. No one edited him, and he needed to be edited, just like I needed to be edited. [01:56:53] Speaker B: See, there's a lot. Right? The solos are generally long on this, right? There's this. [01:56:57] Speaker A: Yeah. And I'm. I mean, I'm not against the solo that's long. I mean, eight bars. It's not super long for me, but in this context, I think that he could have cut that down in half and picked all the best parts and made one better solo. That's just my opinion. Again, listen, he's very clean. Like, his picking is super clean. Like, he's not really flubbing much stuff. Like, you know, if you don't like him, you don't like him, but you can't, you know, deny that he has some talent there. And, you know, when he really wants to put work into making the solos very memorable, he can. It's just I don't think he always wanted to. And I think at this point in his career, in the last two records, I think he wanted to show that he could play guitar. I think that was a big part of what was going on here, because, again, you know, it's got to be. It's got to be when you're getting beat down all the time about how much you suck because your band sucks. Right. Or what? Because, you know. You know, the metal guys didn't like him. Didn't like this band. So if you were into, like, metallic and stuff, you didn't like this. So, you know, it's. It's. It can destroy your career. Luckily, they were so big, it couldn't really do that to them. I mean, you know, look at winger. Look how winger got destroyed. [01:58:12] Speaker B: Yeah. [01:58:13] Speaker A: And. And technically, they're way better musicians than. [01:58:16] Speaker B: These guys are, but again, good musicianship doesn't mean you write good songs all. [01:58:21] Speaker A: No, I mean, they had a couple of good songs, but their songs always had a weird, like. Like, 17. That the little. The little break. That part is really technical, and really, it's really cool. But you can throw some people off, you know what I mean? Because it's not. It's not straightforward. And even his solos and stuff are really complicated. He's a good guitar player. He's a great guitar player. But it doesn't. It doesn't always mean songs are good. Yeah. I wish it was a little shorter. That's all. [01:58:54] Speaker B: One thing I do notice, too, though. I mean, I said it before, but it sounds that when you hear him play, it sounds like his guitar is up to eleven. You know what I mean? Like, there's certain notes that. There's certain sounds that I hear that I associate with. Oh, my God. He must have been playing so loudly when he did this. When you hear him do some of the things, and I guess it's associated. I'm not saying that I played softly, but hearing like you played loud. And even, like, you know, Johnny played loud or anybody. Matt, whoever. We played with Mario, hearing when the guitar was loud. I can hear things here where I'm like, holy shit. He must have, like, had this thing up all the way. And then obviously they. [01:59:39] Speaker A: So, yeah, no, that's 100% what I think goes on here. [01:59:44] Speaker B: He always. He's always. [01:59:47] Speaker A: Yeah, it's kind of crazy, but, yeah, like I said, I wish. I mean, I don't hate it. I wish it was just. I just wish he had edited it down a little bit. It's like I needed editing and like everyone else. Yeah, it's not bad. Yeah, I just think it could. It could have been whatever. Did I. So I read lyrics to that so far. Right. So I guess we're coming back. Yeah. So let's take it to the end of the solo. And then. And this should be a little. I think it's a little more lyrics. So here we go. [02:00:26] Speaker C: So I tell myself now, I keep telling myself now, just taking a piece of me now. [02:00:36] Speaker A: That's kind of a very played out thing that happens right there. Right? [02:00:44] Speaker B: But you know what, though? I like his film, though. [02:00:46] Speaker A: Yeah. [02:00:47] Speaker B: There's. There's thought in the film. I feel like there's a lot of thought to his fills and his accents on this record. Again, I think, to me, I haven't memorized every poison album. But I have heard the stuff that comes after this. And what he does here, he doesn't do on any other record. So I really appreciated the way he played on this thing. He did a lot of cool little things. Little accents, too. Like, even if something to believe. And I'm going to point out one little thing he does, which even, like I said, my drummer friend was like, I love what he does. That little thing. It's so simple. I said, yeah, sometimes drummers do these little. And probably guitar players, too, right? This simple little thing. But then you say, like, you know what? I love that little thing. And I even say, like the drummer from scorpions, right? Herman Rarebell. Just the fact that he would always accentuate the riff with his drumming, to me, it made the riff that more powerful. Simple thing. Right. [02:01:42] Speaker A: Well, it's funny that I don't hate the drum part. I just. It's just very cliche, what happened right there. [02:01:49] Speaker B: Yeah, yeah, the drop. [02:01:51] Speaker A: But I do like his drum part, though, though I do agree that I think this is probably his best drum album. [02:01:56] Speaker B: Yeah, I think so. I don't know. Maybe him too, though, right? Maybe he's like, oh, I'm the shitty drummer from poison. [02:02:02] Speaker A: Yeah. [02:02:02] Speaker B: I don't know. Maybe that was it, too. Like, he went the opposite of, you know, lars Orange, pulls everything he can on. What do you call it? Justice for all. And then he comes to the black album. Like, I even heard, what do you call it the other day? Wherever I may roam and I'm playing my own drum part, I'm like, why didn't we do this? [02:02:21] Speaker A: He went total opposite. [02:02:22] Speaker B: Oh, yeah. He just went like. He's like four foots. Like, doing everything is almost like four. Four. Like the simplest thing. [02:02:27] Speaker A: Which again. [02:02:28] Speaker B: And then he's like, I'm one roach. Fuck you. I'm in the biggest, probably metal band that's ever been. I'll play whatever I want, sir. [02:02:36] Speaker A: Yeah, that's true. All right, let's. Let's finish this up. [02:02:45] Speaker C: I feel today there's nothing I can do this last night I travel with you. [02:03:41] Speaker A: Now that little guitar part in the end is that. [02:03:44] Speaker B: I know I never liked the ending of this song. I actually forgot about that. [02:03:47] Speaker A: But do you hear the little guitar part at the end? Doesn't it sound like dream on? I never know what that. Even right now? [02:03:53] Speaker B: Yeah, I kind of forgot about it then. As it was getting closer. I'm like, oh, wait, I remember how the song. [02:03:58] Speaker A: I like his. I like his drum fills in that last chorus. In that last chorus. [02:04:02] Speaker B: Mm hmm. [02:04:03] Speaker A: They're really good. [02:04:05] Speaker B: Yeah, really good. You actually hear the bass a little bit, too. [02:04:08] Speaker A: Yeah, a little bit. Which really. You don't hear much on this record at all. [02:04:11] Speaker B: No. Actually, funny, though, when you think about it, kind of starts off with the reo rip off, and then it ends. [02:04:17] Speaker A: They never really came back to that riff again, did they? [02:04:19] Speaker B: See, that is something where I could never do, even if it's the end of a song. Like, if you played that at the end of a song, I'm like, come on, you can't do that. They'll sue us. May not be exactly the same, but it's. It's so reminiscent that you don't think of anything else when you hear what. [02:04:37] Speaker A: The air Smith part. [02:04:39] Speaker B: Yeah, right. I mean, dream on is just drilled into your head. The way that it's done that, as soon as you hear it, you're like, oh, dream on. [02:04:46] Speaker A: I know there's nothing you can do, so why don't you go first? [02:04:50] Speaker B: I'm gonna say seven on the music. I'll say seven on production lyrics, I'll say six on the lyrics. I mean, they're not terrible. I always did like the way he said, um, where is it? Of course, now I can't follow that. Oh, I. The one fear I kept to myself, how I prayed that you love him. I always really liked the way he went into that. And I thought he always did that so well. And you know what I mean? Like, it's such. The sentiment, I really felt behind that. Yeah. So I'll say six, seven, seven. But it's a good song. Again. I mean, I think there's no real clumpers on this side. [02:05:23] Speaker A: No. Yeah. I think I personally, like, I have to finish one last piece of lyrics before I go. So there's that last part when it comes out of the solo, it says, when my mind plays its tricks on me, it shows me things I don't want to see. That's why I tell myself now I keep telling myself, now just take another piece of me and chorus. And then the last part of the chorus is a little different. You're still miles away and I miss you and this last mile I travel with you so that's the part that feels like she's not around anymore. Yeah, but it's really mixed up for me as far as that goes. But I do like the lyrics. I don't think the lyrics are bad. I think pretty decent. I'm gonna say seven on the lyrics. I'm gonna say seven on the music. Like I said, I wish this was a little short. I wish it was more concise, especially on a song like this. I think it needs this concise solo. I think the more of the solo just. It doesn't help to song. It's. It's. It's not really played for the song to me. Not like some of his other stuff is played for the song. So I wish he would have done that. And I like the production a lot on this. I think I like it better than most, the production everywhere on this album. So I'm gonna say eight. I like it. [02:06:32] Speaker B: You gotta throw the bones when you can, right? [02:06:34] Speaker A: Oh, yeah. 100%. So. So the next song is come hell. [02:06:38] Speaker B: Or high war to me, if I remember correctly. Is a filler track from my memory. This song never stuck with me because, you know, it's been a while. [02:06:47] Speaker A: I haven't heard this in a while. All right, here we go. Now, that beginning riff almost sounds like valley lost souls. The riff is very similar. [02:07:26] Speaker B: Yeah. [02:07:26] Speaker A: But I like the. I like the guitar playing there. I think that's very good. I like that. That's some of the better stuff for me. So the drumming is good, too. [02:07:35] Speaker B: Yeah. I think that this is a case of that tentative right that was so damn common, I think, in a sense, because it does sound better than typical. Maybe people that didn't hit as well, it kind of shows that they can kind of do this a little bit better than other people that were. You know what I mean? Were doing it. [02:07:59] Speaker A: Yep. [02:07:59] Speaker B: But I think, again, I think it's a sense of maturity, too, even though. Again, that tends to. Even, like, fallen angel has that tense end. So even though it's so common, they kind of make it a little bit more interesting where they may not have made it more interesting before. [02:08:16] Speaker A: Oh, yeah, it's gross. [02:08:17] Speaker B: Yeah. They throw little accents in and the drumming. And he does this thing, too, a lot on this album where he doesn't hit anything. He leaves it on a little empty space and then puts in, like, something somewhere else. But again, I think those are. Those are interesting choices. You either like them or you don't. But he's doing something unique for him, I think, compared to the other stuff. And, again, it's one of the reasons I appreciate what he does on this record. [02:08:44] Speaker A: Yeah. No, I do like his drumming on this. I think you're right. It is probably the best. So. All right, let's continue. [02:08:54] Speaker C: No regret. [02:09:00] Speaker A: Hey, is that bass I think I hear? [02:09:01] Speaker B: Bass. I wasn't listening to the bass. Listening to his voice. [02:09:05] Speaker A: Yeah, well, listen. You'll hear it. [02:09:25] Speaker C: I never live by nobody. I won't sing it on that shit. [02:09:58] Speaker A: So I'm trying to think, what did that thing sound like to me? There was something in that first verse. I'm gonna have to hear it again when the second verse rolls around. I had it in my head and I forgot. [02:10:08] Speaker B: I like the chorus, but again, just the cliche of how hell or high water, right? How many times was that heard in the eighties? I mean, it wasn't only them and kiss. Other people used it, too, even if it was in the verses. I mean, the chorus is better than I remembered. Again, it's not. It's not terrible. I mean, I think they do a better job of a cliche. Song? [02:10:30] Speaker A: Yeah, well, I think in general, you know, like. Like, you know, there's. You start to get, like, past the second tier, and then you get to the third tier and it starts to get a little this, but worse. Right? [02:10:41] Speaker B: Yeah. [02:10:42] Speaker A: I think that's really what the problem becomes. And that happens. It happened in grunge. It happens in everything, right? The first, maybe one tier, and then maybe some bands in the second tier. And then after that, it's just basically, you know, you get outliers here and there. Because, listen, you know, skid row was at the end of the eighties, right? And their stuff was pretty good. And Warren stuff was at the end of the eighties, and their stuff was pretty good. But there was a freaking whole shitload of bands that just. It was just, let's. Let's throw this stuff out there. Cause it sounds like everybody, right? And see if anyone hits anything. So it did. There's very little, very little differentiation at the end besides a couple of bands. So. [02:11:18] Speaker B: Well, I mean, you're gonna have to throw. I mean, you never know if it's gonna stick, right? And if it sticks, it sticks. You make your money. If it doesn't stick, there's fucking 1015 other bands waiting in the queue. [02:11:31] Speaker A: Yep. [02:11:31] Speaker B: You know, not to not. You gotta give these bands. Some of these bands are due too, right? Because, again, some of these bands were Ralph. They played, they jammed, they, you know, they've been on that scene for a while. [02:11:41] Speaker A: Oh, yeah. [02:11:41] Speaker B: Even though it seemed like, oh, oh, these guys came out this year. But it doesn't mean that that's. They've only been around for so. But people, again, if you don't pay attention to it, then. And it doesn't have to matter. You know, we were musicians. We wanted to make it so we kind of knew the backstory and who was out and how you had to do it and whatever. But if you're just a music listener, you may not give a shit how long somebody's been writing before they had their first hit or whatever it was. [02:12:11] Speaker A: Oh, you don't remember now? It's. It's kind of bang your head. Mental health. Listen to this, the verse when it comes through the next time, and tell me it doesn't sound like that. A little bit. Anyway. I've got no worries, I've got no regrets. Who do they think they're kidding? They ain't seen nothing yet. You try to point your finger. You try to. You point your finger. Try to tell me I'm wrong. That never stopped me from singing my song. I got the last laugh at the things they do. Eliminate them at the turn of the screw. And then pre chorus is. I never live by nobody's rules. I won't be sinking on their ship of fools. You can't push me. No matter how hard they try. Stand back, this is my turn to fly. Come hell or high water. Ain't nothing gonna hold me down. Come hell, hell or high water. Ain't nobody messing around. And I agree that I think the chorus is better than I remember. Yeah, so. Yeah, so when the next verse comes, you tell me if you don't hear that now. Think of it in your head. [02:13:18] Speaker C: I couldn't erase my smile. I want the shit I just heard. I want to choke on your last words. It's about time. I never live by nobody singing all that shape me no matter how they know. [02:14:20] Speaker A: Come close. I tell you the problem I find I'm so tired. Kiss my big one, though. [02:15:00] Speaker B: Man. That was a big ass. [02:15:01] Speaker A: That was a big one. So did you hear it? You heard it, right? [02:15:05] Speaker B: I actually did hear. [02:15:06] Speaker A: Yeah, it's not exactly. [02:15:08] Speaker B: No, it's got that sensibility. I understand what you're saying, though. [02:15:12] Speaker A: It's the slow parts and then the double time thing that happens. Like right now. [02:15:15] Speaker B: Yeah. And then it goes back into. [02:15:16] Speaker A: Yeah. [02:15:17] Speaker B: This is a very angry song. I wonder if it's about anybody specific. [02:15:20] Speaker A: I don't know. [02:15:21] Speaker B: Maybe Courtney Love. [02:15:23] Speaker A: Everything's about Courtney Love. [02:15:25] Speaker B: Yeah. [02:15:28] Speaker A: So I see their wicked ways and miles of endless lives. I see their jaded lives couldn't erase my smile but what's this shit that I've just heard? Some of a bitch are working on my nerves I'll watch you choke under your last words it's about time to get what you deserve and the pre chorus again, I didn't realize, I just heard it now. The pre chorus has a little piano in it. [02:15:47] Speaker B: Yeah. [02:15:48] Speaker A: Like Christine 16. Yeah. [02:15:50] Speaker B: It's not that simple. [02:15:51] Speaker A: And then back to Chicago chorus. And then here's the. Here's the precor or bridge. I guess I got something that's been on my mind come close, I'll tell you the problem I find I'm sick or tired of damage of the damage you've done don't blame me, I ain't the one blame yourself for the ghost in your past and kiss my ass so it's got to be someone he's mad at, pissed at somebody. [02:16:12] Speaker B: I mean, obviously, could be critics. It could be. [02:16:15] Speaker A: Could be. And then that part with the drums is really good. Like that part right after. His drumming is really good right there. [02:16:21] Speaker B: Yeah, yeah. [02:16:23] Speaker A: I'm enjoying both of them there. You finally get to hear us. A little bit of bass, too, which is nice. [02:16:27] Speaker B: Yeah. [02:16:28] Speaker A: Because I think it kind of gets. It kind of gets blended into, like, the guitar stuff. Yeah, well, he's on. He's on eleven. Why don't you put it on ten? Yeah, well, this one goes to eleven. [02:16:39] Speaker B: Yeah, exactly. [02:16:40] Speaker A: Here we go. Yeah. Okay. It's too much, man. It's just too much. [02:17:15] Speaker B: He does that a lot. He stuck that high. Right? That high string. That high. [02:17:19] Speaker A: No, Ben, he does that all the time. [02:17:21] Speaker B: Oh, my God. He starts a lot, but he just. Right that. I don't think it was bad. I think for what it was, it was fine. But I do feel like. Wait a second. I think you played that exact same solo before. [02:17:37] Speaker A: Yeah, I just know. Yeah. Yeah. It's just. It's too. Again, I'm not. I'm not saying anything bad about the. [02:17:45] Speaker B: Well, how about this? Take it as a compliment. The guy can play for the song, right? He's written songs, like you said, where there's songs within themselves, so he can probably do better than what he's doing. Even if it's less notes and less bars. Right? You could do. I don't think. It doesn't completely not fit. But I do understand. I. You know, without you saying it. I understand what you're saying. [02:18:10] Speaker A: There's no break. There's no place to breathe. He. There's too many notes in too many places. He's not leaving. You know, sometimes it's the note you don't play instead of the note you do play. But here. But here, this is for you because. Because this is what. This is what you're saying about him. [02:18:24] Speaker B: One loud. [02:18:24] Speaker A: Why don't you just make ten louder. [02:18:26] Speaker B: And make ten be the top number and make that a little louder? [02:18:31] Speaker A: Pretty much. [02:18:32] Speaker B: These go to eleven. [02:18:34] Speaker A: This one goes to eleven again. They're going out with a new one. You know that. [02:18:37] Speaker B: Such a great one. [02:18:38] Speaker A: That can only be bad. I mean, maybe we get lucky, but. [02:18:43] Speaker B: Sometimes. Listen. Sometimes the sequels are better or they're good. Right? There. [02:18:48] Speaker A: There are sequels that are pretty funny. I mean, it could be hysterical. [02:18:52] Speaker B: They could make it funny. [02:18:53] Speaker A: I hope so. Anyway. Um. Yeah, so, I mean, it's just too much of the playing. It's just too much that this is. This is the part of the playing of him I don't like. And again, I'm not. I'm not averse to fast playing. I just think it's just. It's too much and it's not good fast playing, for whatever reason. I don't know. It just does nothing for me there. And generally I like him. It's just though, when he. When this happens, it's just like, I could. He could have done something. [02:19:16] Speaker B: Do you think he's. Who do you think is really the main song right away? Like, when it really comes to the wrist, you think it's a collaboration or. [02:19:24] Speaker A: I think it's him and Brett. Michael. [02:19:25] Speaker B: Yeah. Like collaboration. Like, you think it's probably 50 50. Where? [02:19:29] Speaker A: I don't know. But we don't really know that. I don't know. I mean, maybe the base player is stuff for all I know. I don't know. Maybe Bobby Dahl writes all the stuff. I have no clue. [02:19:39] Speaker B: I don't know. Yeah, because, I mean, obviously they're an electric. Mostly they're an electric band, right? So you kind of assume that he would write the riffs. But I mean, obviously Brett Michaels writes his own, so that's what I'm saying. Sometimes. Here's my deal. Give a guy credit, you can still share shit for. Like I always said, even with us, like, whoever writes this song, I'm sure none of us minded sharing. Whatever. But if it had, you know, your name on the music, my name on the lyrics, Nick. Whatever. I always felt like just, you know, give the credit to the person that wrote it. It doesn't mean you got to fight over it, but it's kind of cool because you kind of know. Right. And then you even start thinking about styles, things like that. Okay. I know that he wrote this because it sounds like this. Or this sound. Like even with the remote. Remember we were talking about when the lead singer kind of wrote most of it? It had that fifties sound. So. Yeah, I think it's cool. [02:20:32] Speaker A: Yeah. [02:20:32] Speaker B: I mean, maiden does it. [02:20:34] Speaker A: Of course. Yeah. I mean, I just, you know, I wish that, you know, that he would have. That he would have just done something a little different. That's all. Whatever. It's fine. All right, let's continue. This is. This is the last song on the side, so let's finish it up. [02:21:02] Speaker C: Me round, nothing down nobody messes me around. [02:21:57] Speaker B: Minnie Vincent. I get tomorrow. [02:21:59] Speaker A: Good night. Thank you. Good night. [02:22:03] Speaker B: Ah. [02:22:04] Speaker A: So much. [02:22:05] Speaker B: It could be worse, right? I mean, technically, it's not horrible for what it is, I think for what he's playing. Listen, back in the day, as maybe not when this came out, but I would have told you that the guitar solo to boys are gonna rock was the greatest solo ever. But listening to it now, like, yeah. [02:22:28] Speaker A: But see, that's what reminds me of. Reminds me of. And that's. I mean. And I'd like. Vinnie Vincent's playing in kiss the outside, the kiss stuff. The songwriting is not bad because he's a good songwriter. It's just. It's like, okay, here you go, Vinnie. Just play whatever notes you think you want to play there. Oh. You know, you want to play 20,000 notes in that little piece of thing. Oh, and you're gonna make it go for 25 bars. All right, there you go. I mean, it's not as bad as that, but this is, you know, this, to me, is the worst. Like, I like the beginning part. Solo stuff was good, right? I liked it. And then it just devolved into that, and I was just like, ah, for me, that, again, this. That's where I don't like him. But again, maybe he was trying to prove himself. Maybe that's what it was. I don't know. [02:23:09] Speaker B: He has a lot. I do remember, though, that's one thing I do specifically remember, is that he has a lot of room on this record, I would say. I mean, I don't remember the. The first two, everything he's played, but I'm pretty sure that he doesn't have as much space as he does on this one. [02:23:29] Speaker A: I mean, I think the second one, he has a little more space. The first one is a lot. There's a lot of space. [02:23:36] Speaker B: Yeah. Which is. I mean, hey. But that had to be some kind of agreement, like, hey, guys. [02:23:41] Speaker A: Oh, yeah, well, maybe they all want to do that. I mean, the drumming is even. I mean, he's. But I gotta say, I still like the drumming on this. Drumming is good. [02:23:48] Speaker B: Yeah, absolutely. [02:23:49] Speaker A: And. And, like, his vocals aren't bad, like, throughout the album so far. I mean, it's nothing that cringe worthy. [02:23:53] Speaker B: No, no. I guess I just feel like when it kind of gets into that. [02:23:58] Speaker A: Yeah. Over exaggerated stuff. [02:24:00] Speaker B: Yeah, I got no worries. I got no WordPress, you know, whatever he's doing. Yeah. Maybe it's easier for him to sing in that tone, which is possible, too. [02:24:11] Speaker A: All right, um. Do you want to go first? You want me to go first? [02:24:14] Speaker B: Yeah, you go first on this. [02:24:16] Speaker A: Oh, boy. I mean, I don't hate the lyrics, but I don't like the lyrics. I mean, the chorus is okay. I like the melody in the chorus. Course. It's catchy. I like that. So I'm gonna give it a six musician step ship. I mean, the drums are good. Mean, the guitar pulls it down for me a little bit. I like the beginning part, guitar, and all the rest of is just to. It's two bees in a bottle that you want to just shoot, so. Hmm. I mean. I mean, I'm gonna give it a six. And production, either. Production wasn't bad. I'm gonna give it a seven. I mean, I don't hate the song. It's not the worst thing I've ever heard. I just. I just wish he would have done something different, that's all. [02:24:54] Speaker B: Yeah, I mean, I just. I remember getting to this song, and once I heard that, I'm like, all right. Just anytime you do that kind of thing, I mean, it harkens back even to this. And I know he does it in the first song, but I just feel it's different. So, yeah, I'm gonna. I think I'll say the exact same thing. Six, six, seven. This, to me, was one of the. And again, actually, this song is not as bad as I remember. I actually like him better now than I remembered. But I can tell you, without a doubt, this was a song when I got to this. I would probably skip it back in the day. Now I might give it another listen. Like I said, it's definitely better than I remember. There's a lot more, but musically, I think it's actually not bad. There's some cool stuff going on. You know, it's also using, like, strings and I'm sure the keyboards, but. [02:25:45] Speaker A: Yeah, I was gonna say there's some keyboards in there, too. [02:25:48] Speaker B: Yeah, but there's been keyboard throughout. [02:25:51] Speaker A: Oh, yeah. Well, that was the time, too. This was the late eighties, early, early nineties. There's a lot of keyboard and, like, the metal, quote unquote hair metal thing. So glam metal, whatever you want to call it. [02:26:04] Speaker B: He doesn't. I mean, he doesn't use a lot, a ton of overdubs, does he? [02:26:09] Speaker A: Cool. [02:26:10] Speaker B: Cc devil. [02:26:11] Speaker A: Well, no. Well, yeah. Well, yeah, there's enough in there, I don't think, any more than anyone else. [02:26:17] Speaker B: He doesn't use, like, a ton. Maybe not because he's so fucking loud. I could be wrong. Maybe I just wasn't paying attention to it as much. I felt like he didn't use, like, a ton of overtops. [02:26:33] Speaker A: Oh, he was loud. Wait, wait, hold on. [02:26:35] Speaker B: The numbers all go to eleven. Look, right across the board. 1111. Most eleven amps go up to ten. [02:26:44] Speaker A: Exactly. Does that mean it's louder? [02:26:47] Speaker B: Is it any louder? Well, it's one louder, isn't it? [02:26:49] Speaker A: One louder? [02:26:50] Speaker B: I gotta see if that's it. [02:26:54] Speaker A: Now it's a funny movie. [02:26:55] Speaker B: Yeah. You know, I'll put on YouTube and even just go through some of the scenes and just that Stonehenge. I mean, the black, the glove. I mean, there's just so many. That whole movie is just like one. [02:27:05] Speaker A: Funny scene after a. Oh, what did you say? Black. [02:27:08] Speaker B: How much more black could this be? And the answer is none. [02:27:12] Speaker A: None. Black. Hmm. [02:27:14] Speaker B: We yapped about it. There's a lot about this record, huh? [02:27:17] Speaker A: Yeah, we've been on for a while. It's a record that we, you know, was new when we had it and, you know, it's just. It's remembering, like all that stuff from the time, but, yeah, so I'm happy we got this. This is good. I'm glad we got poison. I generally like poison, you know, so I haven't heard this in a long time. So, I mean, the sides, not. It's pretty solid. [02:27:39] Speaker B: Yeah, I think so, too. [02:27:40] Speaker A: Take out the instrumental stuff. You could probably. You probably could have got rid of that. And it's fairly solid for a first side. Now we're gonna see if the second side, the second has a bunch of good stuff on it, too. But there's some fellow here, too. [02:27:51] Speaker B: Yeah, it's got a couple of fellow, but yeah, there's definitely some strong stuff on the second side, too. So. Yeah. Listen, again, this is my favorite poison album. You know, front to back, I would say. And I do think they, you know, they definitely matured as songwriters, as musicians. For, you know what it's worth, I'm not saying they're virtuosos. [02:28:15] Speaker A: I wish we got native tongue. [02:28:17] Speaker B: Yeah, native tongues, if they got some. It's got some good stuff on there. [02:28:20] Speaker A: Too, just because it would have been such a weird, weird album to do, but, yeah. Well, this is good, though. I'm glad we got this. [02:28:27] Speaker B: Well, you know what, then when you get native tongue, you can compare the solos right now. [02:28:31] Speaker A: Oh, yeah, yeah. I mean, I. I'm sure, you know, I mean, Richard Constance, a great guitar player. But, you know, it may some places CC DeVille is going to be better for that. And again, CC Deville is better in this band, that's my opinion. Regardless of whether he's not as good as our player. I think for the band, he's the right guitar player. [02:28:50] Speaker B: But those songs are different too, though, right? I mean, if you. I don't know if you've ever heard all of it, but they went down a different path and so they weren't writing the same stuff. [02:29:01] Speaker A: It was changing. Yeah. All right. Sav, why don't you do your thing? [02:29:04] Speaker B: So we are part of the Deep Dive podcast network. Again, like I always say, a bunch of guys took us in. If you want more individualized podcasts about certain bands, again, I was saying, shout out to Rush, Rush, priest cast, and your name at Tom Petty. You've got Uriah, he queen. You name it, it's in there. So instead of hearing this, you know. Yep. About different bands and different albums every other week, you can turn to them and say, you know what? I want to hear about Rush. I want to hear about this. So check them out. And, Mark, where can they find us? On the interwebs. [02:29:34] Speaker A: On the interwebs. Brock, roulette pod, everywhere. Make sure you give us a nice review on wherever you listen to your podcast. Podcast, whether that's apple, Spotify, wherever that is. That helps us move up on the rankings set. As for auto download. So you get all our new thing or new episodes as they come out. And, yeah, rock with lit pod, rockrudletpodcast.com. go there. And again, Spotify playlists up there. Album polls are up there on the website, so you get to listen to a bunch of good music that we made playlists for. And, yeah, visit us in all the places. [02:30:11] Speaker B: Awesome. Thanks, everybody who does. [02:30:13] Speaker A: Yes, and thanks, everyone who does, obviously. And I guess we get to finish this off next week. And I wanted eighties, and I got nineties, but it's still. I still feels like eighties to me, even though it's not. [02:30:24] Speaker B: This is as close to eighties as you can get, probably in the nineties. [02:30:28] Speaker A: Yeah, pretty much. All right, guys, we'll see you next week. Later, guys.