Episode 96 - Poison - Flesh & Blood (Part 2)

[00:00:05] Speaker A: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rightsholder for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now, on to the rock Roulette podcast. [00:01:14] Speaker B: Hey, everybody. Welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1200 albums, stuck them in a list, stuck them in a wheel. And typically every other week we spin the wheel, she picks an album for us and we go through it side by side, track by track, and we rate it based on lyrics, music and production. Again, just a bunch of friends who wanted to do a podcast, who love music. And as always, we want to thank our listeners, anybody who listens, who consistently listens, who listens at first, the time, whatever it is. Thank you so much for spending your time with us. And again, leave us comments, questions, suggest something. We're down for anything, you know, whatever audience we have. We love you guys. Thanks for tuning in and spread the word if you like it, you know, spread the word. So tonight we are a trio again. We have Frank back. My name is Frank and I'm sexy. [00:02:17] Speaker C: Hello, everybody. Great to be back. [00:02:19] Speaker B: I gotta say, I do dance every time that thing comes on I do swing from side to side. [00:02:24] Speaker C: That makes some of us infectious. [00:02:28] Speaker B: We have Mark. Oh, hi, Mark. [00:02:30] Speaker A: What's up, guys? [00:02:31] Speaker B: And I'm sad. Ciao, Buenos Aires. So last week, the wheel picked poison for the first time and a pretty big record, their third record, which I don't think was as big as the second, but was still pretty big. And it came out in 90, which was an era of the nineties, I guess started with an era of change for, we'll say hair metal, pop, metal, glam metal, whatever the hell you want to call it, this type of music, because obviously we knew what was around the corner, but this made a good enough impact. They came out in time, I think. And poison had kind of earned their dues as a band and popular enough where they were still kind of an MTV baby and they were still on the charge and it's flesh and blood. So, Frank, what is your experience with this record? Do you remember coming out? Because I remember you were probably there since we were all kind of hung out in the same area where we went to buy it, and we listened to it in mark's car, and we were. I remember going track by track on it, so that's what I remember. Is that you there? Do you remember that? Do you remember anything else? Mm hmm. [00:03:37] Speaker C: Yeah, I mean, it was. It was. It was great. I mean, this was the album that really where they transformed themselves from that glam kind of look and just focused more on serious music and as musicians, so that's what really stood out. And I think we all kind of liked it in a way. I remember it, but, yeah, I remember a lot about it. I loved it. [00:04:02] Speaker B: Yeah, I mean, I think it's definitely a little bit more mature. They handle some topics that they hadn't done before. The drumming is great. I think this is definitely his best drumming album having. I'm pretty sure I've heard all the poison records, and I was actually very. Even though native Tong is not a bad record, I was disappointed in his drumming because it's very impressed with it here. I think. I think they gave him a lot of room, and then, obviously, they give Cece a ton of room on this record, so. And, Frank, you mentioned before the podcast that you wanted to speak about CC, so the platform is yours. [00:04:36] Speaker C: Yeah. You know, you know, he's one of those guitarists that, for whatever reason, you know, when it comes to debating where he is, where he fits in terms of the ranks, he seems to be getting left out of those conversations of great guitars for that time and that era and that music in that genre, on this album especially, I think he did a great job. This was. I think, yeah, this was the last album that he played with poison for quite a few years. And I think he just did a great job overall on this album. And, of course, Ricky Rocket on the drums did great. The vocals were great. I mean, overall, it was just a really, really good, from a music standpoint, just really well put together. [00:05:20] Speaker B: Mark, we haven't heard from you yet. You want to chime in? [00:05:23] Speaker A: I'm just listening to Frank. [00:05:26] Speaker C: Yeah, let's. Let's hear this. [00:05:27] Speaker B: The platform is yours now, Mark. [00:05:29] Speaker A: And that. He's a. He has a man crest around cc DeVille. It's fine. Come on. I think, like we said last episode, he. You know, I think when he does good stuff, I really like it. I do think he's underrated. I think people made a lot of fun of them because of the way it started, you know, I think everybody who saw the first record went was some ugly chicks on that album cover, because everyone thought they were girls because that's how. That's how glam and they were. So I think at this point, they kind of ended up being, you know, they ended up being more serious, like you said. So I like some of the stuff that's on there. I mean, in some of the. And we went through some of the souls, and we're like, oh, jesus Christ. It's just a flurry of notes that goes by, and there's really nothing. It's for its fast sake, for playing fast. But again, I think all of them were trying to prove themselves. They were trying to say, we're not just this glam thing. We can do more. And I think sometimes it hits the mark, and I think sometimes it's just so overindulgent. You're like, okay, it's too much. I mean. [00:06:36] Speaker B: I mean, I don't think they came out of the look, obviously, because we were checking them out on MTV the last time they played before they beat the crap out of each other backstage. And, I mean, the look was so kind of there. But I just think, again, there was a. There were better songwriters. And I think, again, Cece, when he. When he plays a solo for the song, I think he nails it. [00:07:00] Speaker A: I agree. [00:07:00] Speaker B: But when he plays a solo for, I don't know, himself or, you want to say guitar, whoever the hell he's writing. Yeah. Just. It's lacking, right? There's no soul in. I mean, you think of, like, every rose has its thorn, right? The solo in that song is such a major part of the song. I bet you everybody can hum that solo. I mean, it's just perfect for the song. There's emotion behind it, there's feel. And this. I think the life was it. The life goes on solo mark that we said was good as well. I don't remember which one we said was. [00:07:33] Speaker A: Yeah, well, you know, unfortunately for, you know, for them, you know, they had to add an uphill battle of, you know, the rock guys maybe not liking them as much just because they weren't as heavy or whatever. They were girl music, right? You heard that a lot in the eighties from that. So I think Bon Jovi was put in that category, too, although obviously they transcended that a little bit more. But I think everyone remembering, right, bonjour was a girl band. So you know what? [00:08:04] Speaker B: Listen, they made their mark, right? They made their mark in music. Whenever you talk about this genre, poison bull is top ten, probably even. [00:08:20] Speaker A: Oh, for. For this. Wow. They're the poster child for glam metal there. When you think glam metal, you got to be thinking, they're at the one top five bands, probably, of the glam metal thing. Well, don't you think that they're, like, the top of the. Like, if you think of glam metal, aren't those. Isn't that one of the bands that you think is at the top of that? Has to be. [00:08:48] Speaker B: Yeah, I mean, I guess it meant the genre, when you think about all the bands that were grouped into this genre. Right. So, you know, even what people like. Oh, you know, they weren't like this. They were like this or whatever. So, yeah, I mean, I would say top five, top ten is probably a little bit too broad for them, but, yeah, they left their mark. They're still playing. Right. [00:09:10] Speaker C: So, I mean, think about it. From that time, you had poison enough. See? Enough. Pretty boy Floyd, Brittany Fox. Just trying to think of some of the other ones that come to mind right away. [00:09:25] Speaker B: But don't forget to, if you think about people, I mean, Motley crue is in this category. Bon Jovi's in this category, Duncan. I mean, they were all put into this category. And I'm not talking about who's a better guitar player, who's a better drummer, singer, or songwriter. I'm just saying it was a lot was based on the look. If you kind of had that look, you were so. And I'm sure people would argue, how do you put duck and poison in the same cat? It's not about that. Right. It's about when you categorize these things. I mean, just like grunge. Right? There's probably bands that some people call grunge. And I'll be like, well, no, that wasn't grunge. Wasn't. I mean. Right, like, yeah, they kind of had that, but they also had a little bit more than that. But they're still in that category. And when they were out, so. [00:10:23] Speaker A: Well, because of the look, mainly the. [00:10:26] Speaker B: Look and the lyrics. Right. [00:10:29] Speaker A: Yeah, well, Daken wasn't as much, but still. Yeah, but. But they were still thrown in there. Does it. Even if they really didn't belong in there, they were kind of thrown in there anyway. [00:10:37] Speaker B: Yeah, but I mean, they still have that look, right? The unbuttoned, fancy looking. Not fancy looking, but showy button down shirts right. In the tight pants. [00:10:46] Speaker C: Those were called blouses. [00:10:48] Speaker B: Blouses. Yes, absolutely. They were man blouses. [00:10:54] Speaker A: Man blouses. [00:10:56] Speaker B: But, yeah. [00:10:56] Speaker A: Wow. You know, it's kind of dressed that. [00:10:59] Speaker B: Way for anybody who likes that music. It was fun. [00:11:04] Speaker C: And I got to tell you, they put on a great show live. [00:11:07] Speaker B: Duncan. [00:11:09] Speaker C: Duncan. Poison. They really are great live. Poison. Poison. [00:11:14] Speaker B: What? [00:11:14] Speaker C: I got to see poison, Joan Jett, Def Leppard and Motley Crue on the same bill and stadium tour on the stadium, so. That's right. And poison, what do you think was the best? [00:11:26] Speaker A: Poison was the best band, as far as I was concerned, from what I saw. [00:11:29] Speaker C: Um. Yeah, they really were. They were really tight. They were great. Um, I gotta tell you, def Leppard sounded like they took the DeLorean from. From the eighties right to that show because they were. That sounded that great. Um, motley cruel music, and they sounded great, but Vince Neil just killed them. This was. I mean, Vince nib killed them. [00:11:58] Speaker A: Vince knows me killing them for a long time. [00:12:02] Speaker B: Yeah. Yeah. [00:12:04] Speaker C: So. But that was a great concert tour. All the bands were great, except, like I said, my recruit that closed it out. And that con, the one that I went to, they closed it out. It would have been nice if somebody else was singing. [00:12:19] Speaker A: Yeah, they already tried that. That didn't work, so. [00:12:22] Speaker C: Mm hmm. Well, you know, maybe it's time to try again. [00:12:28] Speaker A: Well, the last things that I've saw recently, he's been a little bit better than that, but he's still. He's got long. He's got a. He doesn't put. It feels like when I watch him live, he feels like he's bored. [00:12:41] Speaker B: Yeah. [00:12:41] Speaker A: I don't know. [00:12:43] Speaker C: Yeah. [00:12:44] Speaker A: But. [00:12:46] Speaker B: Breathing and remembering the lyrics. [00:12:50] Speaker A: Yeah, well, he's always had that problem. He's always skip words, but it's really bad now. All right, so are we ready for ride the wind? [00:13:01] Speaker B: Yes. [00:13:01] Speaker C: Do it. [00:13:03] Speaker A: So here's ride the wind. [00:13:14] Speaker C: I don't hear shit. [00:13:17] Speaker B: Yeah, me neither. [00:13:25] Speaker D: Hot to fire streets of stone modern satellite horses of chrome taste the wild lick the wind like something never stopping for the y'all dropping through the rebel bone without a camera. [00:14:27] Speaker A: So what do we think about that? [00:14:32] Speaker B: That's a good song. [00:14:34] Speaker A: Yeah. I've always liked this song. This. I think it's probably my favorite song in the whole record, I think. [00:14:38] Speaker B: Yeah, we think my favorite is. You have to think about it. I bet this is up there. I mean, it's a simple riff, right. But there's a good melody behind it. And then once the drums really kick in, he's got that other guitar part going. It's almost like notes, so they fill it up nicely. And this is in the Bon Jovi form. Right? [00:15:06] Speaker A: Right. This is not something they would have written on the first record, though. [00:15:09] Speaker B: I don't think so. I mean, the closest thing to this, I would say, is probably fallen angel. Right? Kind of the. The style of the song. [00:15:19] Speaker A: Mm hmm. Why don't you throw some lyrics out? [00:15:23] Speaker C: All right. So, um. Hearts of fire streets of stone modern warriors saddle iron horses of chrome taste the wild lick the wind like something they never saw before their jaws drop into the floor still made of soul and sin rebels born without a care and they all and the day that he listens only to fly where eagles dare and the night she whispers ride the wind never coming back until I touch the midnight sun ride the wind, never coming back again ride the wind never coming back until I touch the midnight sun hmm. [00:16:07] Speaker A: So what do we think this is about? Is it like riding motorcycles? That's what I always thought it was about. [00:16:14] Speaker B: Yeah, I guess so. Right? Iron horses of chrome. [00:16:18] Speaker A: I think so. [00:16:18] Speaker B: But I guess it's all that wanderlust kind of thing, right? I mean, this reminds me of, like, a Bon Jovi cowboy song. It's kind of like his version of that. [00:16:29] Speaker A: Mm hmm. Well, they always had a little bit of that, too, right? Or at least now in the second and third record, they always had a little bit of that. So what do you think about. We think about it, Frank, so far. [00:16:41] Speaker B: Yeah. [00:16:41] Speaker C: You know, I think it's just one of those free spirited kind of songs. You just want to drop down the convertible top, or in this case, ride your motorcycle onto the open road. [00:16:53] Speaker A: Yeah. I've always liked. I always like to riff in the song, even though it's very simple. I just. It's just a very good riff. And like I said, when he writes stuff like this, it's really good. [00:17:02] Speaker B: Yeah. I mean, he fills it up. Right? I mean, again, when the drums kick in, this other stuff that's going on. So it's funny because the second verse coming up, I. Not the first part of it, but the second part of it, I always felt like there was this thing that didn't agree with my ears. Like, he goes into the end. But when I listened to this song recently, when I say recently, pre Covid, it didn't hit me as much as it did before. There was always this one thing where I feel like he's going off somewhere on the guitar. Like, he kind of changes the riff, and I feel like it isn't where Brett Michaels is singing, so I'm curious to see how it hits me this time, like, through headphones and everything again. [00:17:44] Speaker A: Yeah, I've never noticed. I've never. I don't know if I've ever noticed something like that, but now I'm going to listen for it. [00:17:48] Speaker B: Now, like I said, last time I listened to, it didn't hit me as. As hard as the back. [00:17:56] Speaker A: And I do. And I do think the production on this song is much better than some of the other stuff. [00:18:00] Speaker B: Yeah, this is very well produced. [00:18:02] Speaker A: Yeah. I mean, I still hear a lot of bass, though. [00:18:06] Speaker B: Yeah. [00:18:07] Speaker A: I haven't been really listening for it, but I'm gonna have to see if I can notice this. There's more bass on this than on some of the other stuff. [00:18:13] Speaker B: You know what, though? There's been times where you listen to things where you're not specifically listening for the bass, but you hear it because of the way it's being played. Right? You're like, oh, shit. I never realized. Here it's. [00:18:27] Speaker A: And then we'll find out. All right, I'm gonna back it up, and then we'll continue. Here we go. [00:18:45] Speaker D: Just as far as I could see story told to a great year the lovely lady by the million miles. [00:19:33] Speaker A: So, um. And another thing. I never really listened. Never. Actually, all the times I've heard this song is there was, like, during the verses, there was, like, some little guitar things going on, which I never really noticed. [00:19:44] Speaker B: It's like. It sounds like a big acoustic chorus. [00:19:48] Speaker A: Well, yeah, that. No, no, that stuff I heard. But during the verse, though, there's some, like, electric guitar, like, riffy little. It's really low, though. You aren't paying attention. You wouldn't. You might probably wouldn't even know it's there. I didn't realize there till right now. [00:20:00] Speaker B: But I'm thinking that's the part that I didn't like back in the day. That's the thing that kind of threw me off a little bit, because it only. There's a lot. There's definitely a change in the second half of that verse. Right. It's. It's different than the first part of it, but I don't think they do it in the first verse of it, for whatever reason. That always kind of struck me as a. [00:20:19] Speaker C: What the hell is he playing? [00:20:20] Speaker B: It doesn't sound right, but, like, now it doesn't bother me as much. [00:20:24] Speaker A: Hmm. But what part of the verse was it? Which. [00:20:27] Speaker B: Which actual second one, like, as soon as it starts with story is told. [00:20:31] Speaker A: Really? Yeah, I don't. That never. [00:20:35] Speaker B: I don't really feel it as much as. But back in the day really used to bother me. I was like, what the hell is he playing? Yeah. [00:20:43] Speaker A: Oh, it's weird. All right, Frank, go ahead. [00:20:46] Speaker C: All right, so give me one moment. I lost my spot here. Here we go. Painted flesh, loyalty, humble pride just as far as the eyes can see stories told two old friends, yeah. Of battle scars and lonely bars and nights the rain wouldn't end here's the weathered eyes wearing gypsy smiles and the day he listens here's two lovely ladies in a million miles and the night she whispers ride the wind never coming back until I touch the midnight sun ride the wind never coming back again ride the wind never coming back until I touch the midnight sun ride the wind I'm still the bravest soul in sin burning it till the night is. [00:21:32] Speaker A: Gone I didn't know half those lyrics were in this song. [00:21:36] Speaker C: Me neither. [00:21:38] Speaker A: It's so funny. I mean, I really do like this song. I remember liking this song a lot, like, when it came out, and I really still like it, but some of those words, I'm like, really? Is that what he said? Holy shit. It's funny how that happens when you don't have the lyric sheet. I like. I don't remember if this album had the lyric sheet or not. I have it here somewhere. It did, but it did. Okay. [00:21:55] Speaker B: Yeah. [00:21:56] Speaker A: I have no excuse. [00:21:59] Speaker B: Sometimes you don't read the lyrics. You just gotta go with it. [00:22:02] Speaker A: Yeah. [00:22:02] Speaker B: Or you make up your own shit. [00:22:04] Speaker A: So I'm gonna. I'm gonna hold off my critique of the solo tilt through, because I definitely know how this song go, how the solo goes, and I think there's good things and bad things I want to point out, probably, for me, anyway, but, um. All right, here we go. Okay. So I was never a big fan of that Harmony guitar part in the middle. I don't know why I felt that, like, the harmonies, it was just too. It was just too much. And I didn't know if it was him doing the harmony or he was using an effects device to do the harmony at that point. It was a lot harder to do that back then, so I was assuming he did the harmony. But I just. I was never a big fan of that first part. The second part I like better. And like I said, when he does things like that, when he plays for the song, I definitely like it better. Even, you know, even though I don't like the harmony part as much in the beginning, I still like the solo as a whole. So I think if. [00:23:29] Speaker B: I mean, if it's the song, it's got a little bit of melody to it. It's not all about notes. And, I mean, I think it's one of the better solos overall, especially now listening back to everything bit by bit. [00:23:41] Speaker A: Oh, yeah, yeah. I'm just. I got things when. When the harmony thing is not done right. I. And it sounds like that. I just. I never liked it. And then there was that little thing that could have been a mistake right there. [00:23:53] Speaker B: Oh, that little squeak. [00:23:55] Speaker A: I think. I think he missed it, but he left it in, which is fine. I was. I always remember that thing being there just because of that part. [00:24:02] Speaker B: So, honestly, I mean, I don't know how. How far along he was at this point, I'm assuming pretty. Pretty far gone. So it may have been hard to. [00:24:12] Speaker A: Kind of get him to do it. [00:24:13] Speaker B: Again, stuff out of him. Yeah. [00:24:16] Speaker A: So what do you think, Frank? [00:24:19] Speaker C: I see what you're saying, Mark. I never really thought about it until you just presented it. Overall, I can do it for him, Mark. I know. Thanks for that, bro. I mean, I still like it. I mean, it's just one of those songs you just like on a perfect summer night, you just want to cruise to it. I like it. [00:24:37] Speaker A: Oh, I was gonna say some, you know. Did they do the bridge in the beginning? They didn't do the bridge on this one. [00:24:41] Speaker B: They did not know. So this is only, like, the second one, right? Really, that we haven't. [00:24:45] Speaker A: Uh huh. So, Frank. [00:24:47] Speaker B: Yeah. [00:24:47] Speaker A: So the thing is, is that every time, right before a solo, there's always a bridge. Like, on out of all, out of the first eight songs, it happened six times. [00:25:01] Speaker B: But it's not only this. It's not. I mean, it's not only this record. It's. I mean, think about even to, like, every rose. Right. You know, before it goes into the solo. Does that even been a while still feel so much, right? [00:25:13] Speaker A: Yep. I never thought about that. [00:25:15] Speaker B: Yeah, it's a style of things they've. [00:25:17] Speaker C: Done I picked up is their thing. It's their thing. It's their signature. [00:25:20] Speaker A: Yeah, that's their signature. All right. I mean, I think in general, we. We do like this song. Everybody likes it, so, I mean. Yeah, it's a good song. [00:25:28] Speaker B: It's a good song. [00:25:29] Speaker A: It's a good way to start the side out, too. [00:25:32] Speaker B: It makes me happy. [00:25:34] Speaker A: Put Savino in his happy place. All right, here we go. Hey, his bass. [00:25:50] Speaker B: Yeah. [00:25:51] Speaker A: And I like what he's doing, too. Yeah, well, I don't hear much of the bass generally, so I'm just like, oh, is there bass? And definitely bass now? [00:26:01] Speaker B: I think that's something that Nick, I can hear Nick doing, like, if you were doing that, that's something that he would be doing underneath that. [00:26:07] Speaker A: Uh huh. 100%. Nick is ripping off Bobby Dollar or maybe bobby dolls. [00:26:14] Speaker B: He came to see us in the Bronx when we played. [00:26:20] Speaker A: Steal that from him, and I'm gonna use it myself. That's what I'm gonna do. Let's continue. [00:26:36] Speaker D: Only the wave is tried where eagles and angels stand alive by the wind never coming back until I touch the midnight sun rise better touch the midnight never coming back until I touch the midnight. [00:27:30] Speaker B: So they had the bridge after the solo this time. And I gotta tell you, I've never liked. Yeah, but I've never liked the way that bridge goes into the solo. I feel like the solo just comes smashing in. Even though they do a little bit of a buildup. It just. I don't know, it just, to me, there was no crescendo there. Like, it should have been a crescendo going into. Back into the chorus, but it doesn't because, I mean, there's really not a lot going on under the chorus. [00:27:55] Speaker A: No, no, I can see. I can see what you're saying, but. So I didn't really think about that. That thing was a bridge. I thought that was just another verse. [00:28:04] Speaker B: I take it as a. I mean, just because it's. I mean, it kind of follows the melody, but because it's different. [00:28:09] Speaker A: Mm hmm. I just think. I mean, from what I can tell you right now from I was playing a couple of the songs during the week just to kind of refresh myself on how they went. And I'm pretty positive it's the same chords and stuff. All except he's just arpeggiating the chord and not just playing. I think it did just that he seems to do that. It's that, like in Valley of Lost Souls, there's that part right before the solo, and it's basically the same thing. It's just the same chords. He's just playing it differently. So I'm sure that's probably the same thing that's happening here. I'm guessing more than likely, but not that I haven't tried playing the song in a long time, so I don't remember, but I'm pretty positive that's. Frank, I want you to read the last part. Lyrics, please. [00:28:53] Speaker C: Absolutely. So there's a bridge of all the truth and lies and the stories of writers in the sky only the babies trying for eagles and angels dare to fly ride the wind never coming back until I test the midnight sun ride the wind never coming back again ride the wind never coming back until I touch the midnight sun ride the wind never coming back again ride the wind never coming back until I touch the midnight sun that's it. All right, so there you go. That's. That's ride the win. [00:29:28] Speaker B: Frank, you go first. [00:29:29] Speaker A: Oh, Frank's gonna go first. [00:29:30] Speaker B: Well, he hasn't been here, so we'll. [00:29:33] Speaker A: Let him go first. [00:29:34] Speaker C: Yeah, no, I like. Listen, this is one of those fun songs that you just, like we talked about. It's just, you know, it's fun. It's carefree. It's just free spirit. The lyrics, Mark, I'm with you there. I didn't know half those lyrics were in there. I just. I think I may have made them up along the way, because I just remember a different song. But I'm gonna give the lyrics a seven. The music, I really do like how the. How cc plays this out, and the drums are really great, so I'm gonna go and give that a. I'm gonna give that a seven. And the production overall, I liked it a lot. I give that an eight. [00:30:17] Speaker B: Yeah, I'm gonna say seven on the lyrics. They're pretty good. I mean, you know, it's like he's telling a story. Yeah. Music. I'll say eight. And I'll say an eight in the production. I mean, it's still. It's still a good song. It's. You know, if it comes on the radio, I'll probably leave it on. It's a good driving song, like you said, and it's a. It's a good poison song. You know, I mean, it's. It's kind of up there. Ally? I think they do a pretty good job with it, so. Mark. [00:30:48] Speaker A: Yeah. I'm gonna concur with everyone else and say seven of the lyrics. I think lyrics are pretty good. This is definitely more of a mature song than they would have written on the first album, so you can kind of see the progression. And probably even on the second album, too. And musicianship. Yeah, I'm gonna leave that a seven. Two, you know, short, I guess. I mean, again, I like the riff. I like little parts of these playing. I heard some things that I never heard before, so that's pretty cool. And then production. Yeah, I think this, to me, so far, I think this is the best produced track so far. At the beginning, it started really super thin, and now it's. You know, this is the way I would like it to be produced, so I like that a lot. So. Yes. Seven, seven, eight. All right, so the next song is don't give up an inch. I don't. I'm sure as soon as I hear it, I'll. I'll know what this is. But I. For whatever reason, right this moment, I have no inkling about. I don't remember the song right at the moment. [00:31:51] Speaker B: Well, they'll tell you right up front because it starts with the chorus. [00:31:55] Speaker A: Is that what they do? Okay, that's fine. Yeah, I'm sure right away I'll know what it is. I just haven't heard in such a long time that I can't really tell you what it sounds like. Do you remember what this sounds like, Frank? [00:32:05] Speaker C: No. [00:32:06] Speaker A: No. I'm sure you'll know it as soon as it comes on, but. [00:32:09] Speaker C: Yep. [00:32:10] Speaker A: I can't. I can't, like, figure out what it's. What it's. What it is. Don't give it up an inch. Okay. All right, here we go. [00:32:20] Speaker D: Don't give up an inch, girl. [00:32:24] Speaker A: Okay. [00:32:25] Speaker C: Yeah, yeah, I got it. Yeah. [00:32:31] Speaker A: That's so weird. Like. Like, albums that you listen to for a long, long time, a lot, and then haven't listened to and, like. I mean, I literally probably haven't listened to this album, probably for a good. Probably almost 30 years. Probably. But as soon as that thing came on, I knew exactly what it was. So funny, right? [00:33:09] Speaker D: First time we took a long ride there by your side I did my first cry for Mary, Mary quiet, contrary just how does your God roll? She said, you ring my bell and rattle my shell be a pretty man all in a row put me to the desk laying me down the rest oh, my nails cut me up like a diaper for me. [00:33:44] Speaker A: Okay, come on now. [00:33:47] Speaker B: That's straight up kiss, right? Is that what you're gonna say, or no? [00:33:51] Speaker A: Wow. Yeah, I know. [00:33:57] Speaker B: I can't think. [00:33:59] Speaker A: All right, I'm gonna. I'm gonna finish this thing out. So. Frank. And read the lyrics. But I was thinking about just the lyric itself. I'm like, seriously, this. This hearkens back just when you think that they, like, past that. No, there's no pass. [00:34:13] Speaker C: Oh, no, no. [00:34:14] Speaker B: This is. Yeah, this. Yeah, I think that the album. I thought the album hit a brick wall with the first one, but it's. It's not as bad as this. [00:34:26] Speaker A: No. [00:34:26] Speaker B: And meanwhile, this is probably somebody's favorite track on this album, if that's you. Sure it is. It's all good. It's all good. [00:34:32] Speaker A: It's all good. All right, let's continue it, then. Frank can read the lyrics. Here we go. All right. Frank. Go ahead. Do it. [00:34:58] Speaker B: They're so bad, I can't read them. [00:35:00] Speaker C: Hold on. Hold please. Hold please. Don't give up an inch, girl, if you won't take me for the mile don't give up an inch, girl, if you won't take me for a mile miles from home and I'm all alone and looking for a first time we took a long ride and there by your side I did my first crying and then. Hold on. Well, marry Mary, quite contrary. Hmm. That's a very interesting word there. Just how does your garden grow? She said, you ring my bell and rattle my shell I'll be your pretty maid all in a row put me to the test lay me down to rest while your nails cut me up like a knife put me in you like a flesh tattoo and scarred this poor boy for life. Hmm. [00:35:58] Speaker A: Wait. Hold on, Frank. Rarity. [00:36:00] Speaker D: I take a look at my enormous penis. [00:36:04] Speaker B: Continue. [00:36:06] Speaker C: It's. It was a hot one in the summer sun. Oh, we didn't. Right. I'm sorry. Maybe I was just trying to rush it through. [00:36:16] Speaker A: He was trying to. He was trying to get past the penis. [00:36:19] Speaker B: Yeah. [00:36:20] Speaker C: Yeah, yeah, that was. Mary. Mary, cry contrary just how does your garden grow? I mean, you had to be giggling when you wrote that, right? [00:36:30] Speaker A: 100%. I mean. I mean, seriously. I mean, I. I mean, in one way, it's very clever that he. That he put a nursery rhyme in there. Although kiss had done that. Yeah, but I just. It's just that the lyrics are a little bit, you know, I just. You know, you listen to some of the other stuff, you're like, wow, he's like, went past this stuff. But. And the song is not great, so that's why it makes it even funnier. [00:37:04] Speaker B: The production isn't bad, though. I mean, that's one good thing. Going for it, I think. [00:37:08] Speaker A: The. What? [00:37:10] Speaker B: The production isn't terrible. [00:37:11] Speaker A: Oh, no. Production is pretty good now. But. But, but the. The part. I mean, he is using. He's using a lot of double entendre, right. And I kind of think. What's the. What's the chorus part? Read the chorus again, Frank. [00:37:27] Speaker C: You see, that's the thing. This. This thing doesn't have the chorus for me. [00:37:32] Speaker B: Well, it's that first. [00:37:33] Speaker C: Don't give up an inch, girl, if you won't take me for a mile. Don't give up an inch, girl, if you won't take me for a mile. [00:37:39] Speaker B: That's all he says in the course. [00:37:41] Speaker A: Yeah. So to me, that's like the sexual frustration thing. Like, don't make me go anywhere unless you're gonna give me everything. Right? That's. That's. That's basically what. That's basically what he's saying. And then the Mary, Mary, quite contrary. How does your garden grow? Do we have to say what the garden is? You know, he's just. He's using tons of double entendre. Tons of double entendre. So in that way, it's very. It's very, very interesting that, like, he's using that kind of stuff. But in general, it's. It's. This, to me, is more of a filler track. It's more of a filler track for me. [00:38:17] Speaker B: No offense to Bren Michaels, because I think, you know, again, I think some of his best lyrics are on this record. But if I ever came to you in 1990 with this and you didn't fucking say, listen, let me take this from you. We'll never talk about this again. Go stand in the corner with another pen and paper, and you just write something else, okay? [00:38:41] Speaker C: And then smack me in the back. [00:38:42] Speaker B: Of the head as I'm walking away. [00:38:44] Speaker C: No, I'm really serious. [00:38:47] Speaker A: Wait, like this? [00:38:48] Speaker B: I mean, yeah, but you know what, though? Listen, ultimately, right, a lot of these things are probably studio driven, right? Record label driven. How many times have you heard from bands where did you. Something serious? And all of a sudden, it's like, you don't have any sex songs. There's no sex songs here. There's no fun songs here. Right? You can't do that. I mean, they tried stopping Marvin Gaye from writing what's going on. Right? Pretty much like, you're not that kind of singer. Meanwhile, it's considered one of the best albums I ever made. [00:39:17] Speaker A: Yeah, no, I know. I just. Every time I hear the thing about the what's. I can't remember the lyric right now. What's the lyric? We were laughing at Frank. [00:39:27] Speaker B: Mary, Mary quite control Mary, Mary after. [00:39:30] Speaker C: That, how does your garden grow? No, the one that he talks about, his piece of deal. Hold on, hold on. [00:39:38] Speaker B: Um. [00:39:39] Speaker C: Oh, yeah, yeah, yeah. Hold on, hold on. Where is it? Put me in you tattoo and scarred this poor boy put me in you like a flesh tattoo and scarred this poor boy for life but even that. [00:39:55] Speaker B: Tattoo line, right, was used so many times. I saw many bad you and tattoo rhymes, right? Motley crue used it. I think kiss used it. Obviously they used it. It's like rhyming start and heart. [00:40:09] Speaker C: Yeah. [00:40:10] Speaker B: I mean, come on. But you know what? I think this is a compliment to them because I think maybe on another record, when you think of songs like Ride the wind and even Valley of lost souls and stuff like that, like, oh, this kind of stands out because the other ones are all about whatever. Meanwhile, this stands out, right? Because the other stuff is just lyrically better. [00:40:30] Speaker A: Mm hmm. Yeah. I mean, again, I'm going to say it again. I give him credit for the way he's using the. The nursery rhyme and then doing that, you know, some of that's interesting. You know, that put me in you like a flesh tattoo is. You know that spinal tap, like. Like, don't they have, like. Like, isn't there a song that they have bun. Funny songs like that, right? [00:40:51] Speaker B: Lick the glove. [00:40:53] Speaker A: Smell the glove? [00:40:54] Speaker B: No. Oh, is it smell the glove or lick the glove? [00:40:56] Speaker A: I don't think it's all the glove. [00:40:57] Speaker B: You could be right. That makes it even funnier. [00:41:01] Speaker A: Pretty much. So, you know, it's just one of those things that, you know, when you hear lyrics like that, you think. You think spinal tap. I think spinal tap, yes. [00:41:07] Speaker B: Smell the glove. [00:41:09] Speaker A: Smell the glove. That's what I thought. All right, well, let's see. Let's see what the rest of this thing does. Here we go. [00:41:32] Speaker D: Achieve like a name with me before I beg and be swear I needed, needed her a whole lot more white nails put me into you like the best tattoo, ain't it? [00:42:13] Speaker A: So that little part right there during the chorus, he didn't. That's the first time they've done that, right? The little guitar part, that wasn't in the other choruses, right? I don't think they were pretty positive. [00:42:22] Speaker C: I don't remember them. [00:42:24] Speaker A: No, I don't think so. No. Why don't you. Why don't you read, uh. Once you read lyrics. [00:42:28] Speaker C: Got it. Hold on. I mean, man, this is not one of my favorite songs, I'll tell you that. It was hot it was a hot one in the summer sun and more than he was rising I remember that September and just how you left me smiling I left there shaking body was aching like it never did before begged and pleaded swear I needed needed you a whole lot more put me to the test lay me down to rest while your nails cut me up like a knife put me in you like a flesh tattoo and scarred this boy for like it. [00:43:03] Speaker B: Huh? [00:43:04] Speaker A: That read the first part again. [00:43:07] Speaker C: Um, starting all over. I mean, it was a hot one. [00:43:10] Speaker A: Yeah, yeah. There's like a line after that that I was just laughing at. Go ahead. [00:43:14] Speaker C: It was a hot one. In the summer sun more than heat was rising I remember that September and just how you left me smiling. [00:43:26] Speaker A: It's just so. It's just so fifth grade. I mean, listen, there's a. There's a time and place for all that, but, I mean, I just don't think this song is great, so it just. It makes it stand out so much. I don't know. I don't feel it forced. I feel that it's just like, what it's going on through the whole record. It's. You're right. It stands out like a sore thumb because a lot of the stuff is not about that. [00:43:50] Speaker B: Well, the next one is gonna. I think the next one's kind of up this alley, too. That always stuck out to me, too. [00:43:56] Speaker A: I'm like, not the next one after. [00:43:58] Speaker B: Oh, the one after. Yes, yes. One after that. [00:44:01] Speaker A: One after. All right, well, maybe I haven't. I don't remember the solo, so maybe he maybe saves it for me. [00:44:06] Speaker B: Yeah, I don't know if there's a bridge here, either. [00:44:08] Speaker A: I don't know. Let's see. [00:44:09] Speaker B: Maybe they save the bridges for the first time. Except for that baby. [00:44:13] Speaker A: Maybe they figure we use all the bridges on the first side. We don't have to do it again. [00:44:17] Speaker B: Yeah, exactly. [00:44:18] Speaker A: All right, here we go. Yeah. To me, that's just, uh. He wasn't even trying to figure out what he wanted to do there. There's a couple parts of. Okay. But it's just. It's a lot of. [00:45:11] Speaker B: Just a lot of noise. [00:45:13] Speaker A: Yes, a lot of noise. That's what I think, anyway. And then the dad. Yeah. It's not one of my favorites on this record at all. So, what do you think? Oh, here he goes. Go ahead. [00:45:28] Speaker C: Well, I don't know. I just have. What? This sneaking suspicion that they were not in the same state when they started recording the song. [00:45:35] Speaker A: Why you say that? [00:45:36] Speaker C: No, no, it's just one of those songs. They just feel like it was thrown together very quickly. There's a phyllo song that they just like, let's just get this over with. [00:45:44] Speaker A: Yeah, I feel that way, too. [00:45:45] Speaker C: I really do. It's like. All right, Cece, you come in on Monday. Ricky Rocky, you come in on Tuesday. Bobby doll. Well, Bobby Dahl and Ricky Rocket probably came in together. They never had a problem. [00:45:55] Speaker A: Yeah, it's, um. [00:45:56] Speaker C: It was weird. [00:45:57] Speaker A: Yeah. It feels like something they did. They needed a song, right? And they just threw something together because they needed to have more songs on here. [00:46:03] Speaker B: So, I mean, there's a lot of songs on here anyway. [00:46:06] Speaker A: Yeah. 15. Well, again, it's that. It's that time frame like we talked about before, right? The cd is out, so everyone wants to make everything 60 minutes. That's just basically when. When you probably could have had a, you know, a 40 minutes record and it would been fine. That's what they're doing, so. All right, let's continue. [00:46:39] Speaker D: If you won't take me more if you want to take me away. [00:47:13] Speaker A: There you go. I gotta say, the drumming, I do like. I think he's doing some. And I do like that little guitar thing in the. In the chorus, so I do like that. [00:47:26] Speaker B: So, yeah, definitely chorus better, I think. [00:47:29] Speaker A: Yeah, but, you know, I mean, the cliche thing of hitting the chord, doing the ver, doing the words in the chord, doing the verse, and the second half of the verse, like, he chugs the chord. That's so. That's so stock stuff that everybody was doing. It's just like Frank said, it feels like a very. Like, we need a fucking track. So I'll go first. Since I love the song so much, I. I think I get to give it a five on the lyrics. Even though there's some, like, interesting, quirky things that he does and I give him credit for, like, double entendre and a bunch of stuff. I don't think it's anywhere near as good as any of the lyrics. Prior, um, musicianship. I mean, you know, it's. It's. The drums are good. Even the bass was pretty good on this. I mean, I could. I heard it a little bit more. I'm gonna say six on the music. And, I mean, I think the production is the best part of the whole thing, so I'm gonna give it a seven on production just because the production was good. [00:48:24] Speaker B: Saf, how do you rate these lyrics? [00:48:28] Speaker A: You rated? My giving them a five or lower? [00:48:30] Speaker B: Yeah, I'm probably gonna go on a four. I'll go for four on this one. Um, I mean, they're pretty. They're pretty bad. Um, music. I'm gonna say five. Yeah. Production is seven, so go four or five. So, I mean, again, I don't think the song overall is horrible, but I just. I feel like. I don't know. They did better on this. So, to me, again, it's. It's a standout for the wrong reason, and I mean that to a compliment to them compared to some of the other stuff. [00:48:56] Speaker C: So, Frank, um, that was kind of rough to read. I mean, if I wasn't reading it, I would have probably given it a six, but because I had to read it, I mean, I'm gonna give it a four. The lyrics, um, I don't. Then I don't think they were the best, uh, best ensemble, but. All right, there's that, uh, the music. I really like the drums, too. I think. I think the drums are excellent throughout. And the guitar was great as well. So I'm gonna give the music a seven in the production. I'm gonna give that an eight as well. So. Yeah, that's my. That's my take. [00:49:30] Speaker A: Yeah. When you have to read the lyrics, right. It makes it worse. [00:49:33] Speaker C: Yeah. I mean, you know, somebody else was reading it and I would have given a higher score, but. Man. [00:49:37] Speaker A: All right, so. So the next one is, which was a. This was a big, gigantic song from this record. Something to believe in. So this is about what, his roadie or is that who it was? It was his roadie or. [00:49:48] Speaker B: I think so. I would say only about him. There's like one verse. It's kind of like an anthology. Right? Because you got the Vietnam vet and or. [00:49:55] Speaker A: Yeah, I thought this. This was always a. This is always a good song. [00:49:58] Speaker B: It is a good song. [00:49:59] Speaker A: It's well written. See, it's funny. Like you come from that. Then you go to this, you're like, I don't understand how that happens. [00:50:07] Speaker B: I mean, honestly, they probably could have done one of those things where, hey, why don't we group those songs together towards the end? Because it kind of. There's almost a flow, and even, like, the first one on the first side kind of is a little brick wall ish when you kind of hear it compared to what's before. But then again, flesh and blood is a sex song. But I think it's different sounding, though. You know what I mean? I think that's what. Even though the lyrics aren't whatever and it is about sex, it's different for them. And it's. It's more interesting than something like this where this is just straight up, you know, dumb bum, bum bum, whatever. So I think that's what kind of sets that apart, where you're like, oh, shit, this sounds different. Yeah, it's about the same shit, but. [00:50:54] Speaker A: Yeah. All right, so here we go. Something to believe in. [00:51:19] Speaker D: Well, I see him on the tv preaching about the promised lands he tells me believing Jesus steals the money from my hands some say he was a good man, lord, I think he sings suicidal Vietnam baby fight a losing war on a foreign show to find his country didn't want him back the boomers took his best friends inside I always took his wife, his kids no regrets any time I don't remember anymore. He can't forgive. He cried, forgive me for what I done there. Cause I never met the things I did and give me something to. [00:52:43] Speaker A: It's very well written. [00:52:45] Speaker B: Yeah. It's composed very well. The little stops and the. I mean, even though that thing with the guitar where he does it twice. Bran and, I mean, you know, little things like that. And even towards the. Towards the end where Ricky rocket does this cool little. I'll point it out, this cool little accent thing. It's well written. It's very southern sounding. Right. I mean, which I think was too kind of a thing back. And some of them have started kind of dipping into that southern rock thing. [00:53:15] Speaker A: Mm hmm. Bon Jovi did it right a little bit, and. And they did it on the prior record. Every rose is kind of sort of like that. That's where that started for them. I think we started wearing the cowboy hats and did. I started doing all that stuff. I always felt that this is. This is a sister song to every rose for me. [00:53:34] Speaker B: Mm hmm. [00:53:36] Speaker A: The vibe is very similar. Tempo is very similar, except. Except instead of acoustic guitar, now we have piano, and the piano sounds good. [00:53:46] Speaker B: Mm hmm. [00:53:48] Speaker A: Yeah. So. [00:53:49] Speaker B: Well, it's. It's. It's a. It's a. It's a very good. It's a very good ballad, I think. I mean, you know, the lyrics are good. The music is good. I think he does enough to make it serious without it being cheesy. [00:54:06] Speaker A: Yeah. I think there are a couple of parts in here that get me a little bit when they come up, I'll tell you. But, I mean, in general, I do. [00:54:13] Speaker B: Enjoy beast factor or. [00:54:14] Speaker A: Yeah, a little bit. Just. Just some things that had the way he sings things, and you're like, he didn't really have to. [00:54:20] Speaker B: Oh, yeah, he does a little bit of that. Yeah, I like, always like that when he starts. [00:54:28] Speaker A: Yeah, there's a little bit of that. Frank lyrics, please will I see him. [00:54:34] Speaker B: On the tv. [00:54:37] Speaker C: Preaching about the promised lands he tells me to believe in Jesus and steals the money from my hands some say he was a good man but, lord, I think he sinned 2022 years of mental tears cries a suicidal Vietnam vet who fought a losing war on foreign shore to find his country didn't want him back that bullets took his best friend in Saigon our lawyers took his wife, his kids no regrets and a time I don't remember in a war he can't forget he cried forgive me for what I've done there because I never meant the things I did and give me something to believe in if there's a lord above and give me something to believe in or lord, arise. [00:55:24] Speaker B: So that's actually about his cousin. I never knew that. I mean, yeah, I thought it was just kind of a. Like a general. [00:55:34] Speaker A: Well, the thing at the beginning, like, like that's been covered before. Like the Tammy Faye. [00:55:38] Speaker B: Yeah. [00:55:39] Speaker A: Jim Baker right there. The. The Saturday morning preacher guy who tells you to give him all his money and then he's flying around private jets. Well, you don't have any money, so, I mean, that's. [00:55:50] Speaker B: But I do give him credit. I could. I mean, but it ties into the theme of the song, ultimately. Right. It's, it's. It sounds like somebody who believes in God but is struggling with his faith because. Right. You got this preacher guy who, like you said, I mean, even though they're called prophet ministries, so it's kind of out there. But, you know, you can understand, like, I don't understand this. And then the Vietnam vet, it's like, why would you let this happen? And then obviously, the first coming up, it's kind of like, like, I believe in you. Why would you let this happen? I mean, to me, that's how I read the song. Somebody struggling, he wants to believe, and he probably believed more. And then it's hard when things happen, and so. [00:56:38] Speaker A: Well, it's a very, it's a very adult theme. Right. It's more like when you hear. When you hear this song, you hear the song before it, like, you're like, I don't understand how these two things get on the same record at the same time. I mean, again, maybe they need to put a little bit of that party rock thing on there. Although I think they get it did a good job on the first side without having to be the way. Don't give up in inches. You know what I mean? So I just think that. I think it's just, it's such a big difference in the two songs. After back to back, it even makes it more obvious. Like, if you were to take something to believe and move the down one and put those other two songs in a row, it wouldn't probably be as obvious, but now it's gonna be super obvious. [00:57:25] Speaker B: Sandwich in between. Yeah, no, absolutely. It's sandwich in between. I mean, give him credit. Like, yeah, there's a ballad on the first side, but that's more of a power ballad with. This is more of, like, you know, if you want to say, like you said, the formula, sister to every rose, but every rose was on the second side too, though, wasn't it? [00:57:45] Speaker A: I'm pretty sure that was. I'd have to look it up. [00:57:48] Speaker B: It wasn't them that did that three three song for three four song formula. [00:57:53] Speaker A: No. Out of all the things that. That were formulaic about poison, they didn't do that. But again, and it's funny that, like, we like this record so much, but there are places where you're like, I could have been better. They could have done that better. Oh, I don't like that song as much as. But I think overall they're doing. They're doing a great job. [00:58:10] Speaker B: Listen, if Brett is Brett Michael at CC Deville, would you in a podcast and then got our album, I bet you they would say the same thing. [00:58:16] Speaker A: Probably have one if we had one. [00:58:20] Speaker B: Ricky Rock. The fuck is he playing? [00:58:23] Speaker A: That sucks. [00:58:25] Speaker B: Yeah, there's that drum sound. [00:58:27] Speaker A: Yeah. Why does this snare sound like that? I don't know. [00:58:30] Speaker B: Yeah. [00:58:32] Speaker A: All right, here we go. [00:58:42] Speaker D: Last Christmas Eve they told me the news I tried all night not to break down and cry as tears rolled down my face I felt so cold and empty like a lost soul out of place and the mirror, mirror, all the walls seem a smile give me something to believe in I give something to believe in I give us a whole world sometimes I wish to God I didn't know now. [00:59:41] Speaker A: All right, before we get to that, was there a bridge there? [00:59:44] Speaker B: That was kind of a little bridge. That's a mini bridge. [00:59:47] Speaker A: There you go. [00:59:48] Speaker C: A bridge is a bridge. [00:59:50] Speaker B: Yeah, you know, those are like those little cute ones you see in the parks that are like over the brooks that you could, you know, walk over and not even get your shoes wet. [00:59:58] Speaker A: It's the mini bridge. A bridge is a bridge all right, Frank, lyrics, please. [01:00:05] Speaker C: All right, so my friends, my best friend died a lonely man in some Palm Springs hotel room I got the call last Christmas Eve and they told me the news I tried all night not to break down and cry as tears rolled down my face I felt so cold and empty like a lost soul out of place and mirror, mirror on the wall sees my smile it fades again and give me something to believe in and give me something to believe in if there's a Lord above and give me something to believe in and give me something to believe in oh Lord, arise sometimes I wish to God I didn't know now the things I didn't know then road, you got to take me home yeah. [01:00:52] Speaker A: Mean, do we know what happened to his friend? There was an over was a drug thing. Yeah, I'm sure. Well, he said hotel room. Chances are that's probably what it was. But, you know, putting his personal things into this. Right. Well, the Vietnam vet. And this is personal to him. I don't know if the preacher thing is personal to him. Maybe it is, but, um. Yeah, it's a good song. It's the mature poison. [01:01:18] Speaker B: Yeah. And, I mean, in order to show that they can write a song like this and do a good job. [01:01:24] Speaker A: Yeah. And anyone who says, like, oh, they suck so much, I mean, listen, listen. [01:01:29] Speaker B: They could say, hey, this song sucks, too, so. [01:01:32] Speaker A: Yeah, I mean, but, you know, I mean, a good song is a good song. No. Even if you don't, you can't, like, deny that this is not a good song. All right, so now we're gonna hear the solo. I'm gonna, like, I will defer till after it's over. All right, here we go. So that. See, this, to me is where he excels. It's a very composed, worked out fit. The song solo. I mean, it's not. Again, that's why I take this. And every rose is very similar. Some of the things he does, some of the things he plays. And maybe he was thinking to do the same exact thing. Maybe, you know, well, I did that there. Let me try to do that, Sierra. Maybe he's trying to tie those things together. I don't know if that was even on his radar at that point, but. [01:03:05] Speaker B: I mean, I think it's one of the best on the record. [01:03:08] Speaker A: Mm hmm. [01:03:09] Speaker B: Personally. [01:03:09] Speaker A: Yeah. [01:03:12] Speaker B: Perfectly. It's not overloaded. It doesn't go an extra four bars. [01:03:16] Speaker A: No, it's the perfect. [01:03:19] Speaker B: Yeah. [01:03:19] Speaker A: Yep. [01:03:21] Speaker C: Yeah. There goes that random alarm, savino. Why not at 1253? Goes up randomly. [01:03:28] Speaker B: See if I can find that. [01:03:31] Speaker A: I don't know where it is. [01:03:32] Speaker B: I know what it is. I just know what the hell it is. [01:03:34] Speaker C: Well, we all know what it is. [01:03:37] Speaker B: But I'm saying it's a watch. Wait, is it. [01:03:41] Speaker A: What time is it? Yeah, 1253. [01:03:44] Speaker B: I guess so. I think it's late. Wasn't it earlier last time? The battery must be dying. It has a broken band. I got to fix the band on it. That's why I don't. [01:03:55] Speaker A: We gotta find it first. [01:03:57] Speaker B: I know that's number one. [01:03:59] Speaker C: I mean, it's got to be close. We hear it. [01:04:02] Speaker B: Yeah, but I think it's, like, in my pen thing or something around here where it kind of shoved it into something. [01:04:08] Speaker C: Remember when those pens used to have the clock on top? [01:04:14] Speaker A: All right, the height of technology. [01:04:17] Speaker B: Calculator watches. [01:04:20] Speaker A: Yeah, and you couldn't use those in school, then they would catch. [01:04:23] Speaker B: You can wear those to test. [01:04:27] Speaker A: Nope. All right, let's continue. Here we go. [01:04:29] Speaker D: Drive by the homeless sleeping on a cold dark street like bodies in an old bone grill underneath the broken old neon sign used to read Jesus saints a mile away living rich folk and I see how to live in it while the poor, they eat from hell of my rich drink from the golden cup and it just makes me wonder why so many lose so few weeks give me something to believe in now. [01:05:15] Speaker A: Didn'T he have to do the ha? That always annoyed the hell out of me every time I heard that song. Always you wanted us. That song was new. [01:05:24] Speaker B: I really like the drums doing that little like. [01:05:28] Speaker A: Yeah, his drumming on this record is very good. Every time I hear the hot, it sounds like. It sounds like Eddie Murphy doing James Brown on Saturday Night Live. I don't know. I don't know. I think you could. I think the song would had a more impact about the ha ha. [01:05:51] Speaker B: But it is something he does, right. And throughout songs. So, I mean, if nothing else attributed to him, his style, I guess, I mean, even just like talk dirty me, right? When he does it. Cool. And I understand it's different in that song, but he's probably done it throughout this record too. And we just haven't really pointed. But I understand what you're saying. You don't want any? Ha. [01:06:13] Speaker A: I just. I don't know. It just. I don't know why it bothers me. It's bothering me since this song is new, that hopper. Ha. I just. I just think without it, it would have been better. What do I know? [01:06:25] Speaker C: It was. It was a thing back then. I mean, a lot of bands used to do it. One of the ones that comes to mind is Motley crue, wildside when business. And they go into that whole basting. There you go. [01:06:36] Speaker A: I guess. Yeah, it annoys me, you know, for. [01:06:40] Speaker C: A while I thought he was saying who, but now it's who that was. [01:06:44] Speaker B: That was like the last part of the people. [01:06:48] Speaker A: That's too funny. All right, Frank, read the lyrics of the last part. [01:06:52] Speaker C: All right. I drive by the homeless sleeping on the cold, dark street like bodies in an open grave underneath the broken old neon sign that used to read Jesus saves a mile away live the rich folk and I see how they're living it up while the poor they eat from hand to mouth the rich drink from the golden cup and it just makes me wonder why so many lose and so few win, huh? Give me something to believe in and give me something to believe. [01:07:24] Speaker A: The part about the. The bodies is it says an open grave. You know what I always heard, I don't know if I'm wrong. I heard old bone grave. [01:07:33] Speaker C: Oh. [01:07:34] Speaker B: Because of the way he does. He's like, bodies in open grave again. He can. [01:07:38] Speaker A: He see. [01:07:39] Speaker B: Gives that little draw in this. [01:07:41] Speaker C: Remember, he is from Pennsylvania. So some of that actually come out. [01:07:45] Speaker B: Southern Pennsylvania. [01:07:46] Speaker C: Oh, yeah. [01:07:49] Speaker A: I've been hearing that thing wrong for fucking 40 years. [01:07:54] Speaker C: Hey, listen, just think about those before we start. [01:07:58] Speaker B: I was gonna say, how old is. [01:07:59] Speaker A: The fucking record now? 30 years. Sorry. 30 years. [01:08:02] Speaker C: 30 years. 30 years. Well, think of all those people thought it was snoopy. Hang on. You know, there's that. [01:08:10] Speaker A: This is true. [01:08:12] Speaker C: So, yeah, so it goes in. It's the chorus. And if there's a lot above. And give me something to believe in. And give me something to believe in. You take the high road and I'll take the low road. Oh, lord, arise. You take the high road I'll take the low road. And give me something to believe in. Oh, lord, arise. You take the high road and I'll take the low road and and give me something to believe in. You take the high road and I take the low road yeah. [01:08:38] Speaker A: I mean, I like, I like the background vocals that are coming up over here. It's a very, well, very good song. [01:08:44] Speaker B: They do. I mean, in general, they do have. I mean, I know we spoke about it too, on the first side. They do have good background because they all contribute, as far as I know, they all contribute. [01:08:55] Speaker A: I'm pretty sure the bass is actually. [01:08:56] Speaker B: Pretty good in this. He's he's doing some cool stuff here. [01:08:59] Speaker A: Mm hmm. [01:09:00] Speaker B: You can actually, you know, if you listen to some little fills and it's not just kind of hiding behind the guitar and whatever Ricky Rocket is playing. [01:09:10] Speaker A: And then there was little parts where he was doing those little fade in, like, little guitar, like what? What sound? Like birds. [01:09:17] Speaker B: Yeah. [01:09:17] Speaker A: So that was pretty cool too. Yeah. I like the song. Ha. Except for that part. Other than that, I like it. All right, here we go. [01:09:40] Speaker D: I give something to believe me I give it, I give it something to believe in take out. I give something to believe it. There's times I wish I didn't know now things I didn't know they. [01:10:23] Speaker B: Give. [01:10:24] Speaker D: Me something to believe in you. [01:10:33] Speaker A: There we go. Yay. Yay. That part bothers me a little bit too. Okay, I gotta admit. [01:10:45] Speaker B: Why don't you go first? [01:10:47] Speaker A: Mmm. The lyrics are really, really good. I'm probably gonna give the eight for the lyrics, I probably could go higher if I wanted to because I think they're just very well written. Musicianship. Eight production eight all around. Everybody's good. Bass good. Drums good. Guitar is good. I like all the little guitar parts. Got a bunch of little guitar solos at the end. They're pretty good. Everything's good. His vocals are good. You know, it's short. Besides the ha and yay. Besides those two things, it's, it's. It's a good song. I like it. [01:11:18] Speaker C: Frank, um, I gotta tell you, this is by far, I think, one of the best songs that poison ever written. Um, the theme of loss is just, just dealing with loss throughout. The whole song is just talks about it so. Well, um, the lyrics. The lyrics are just amazing. So I'm gonna give lyrics a ten. [01:11:38] Speaker B: Thanks. [01:11:39] Speaker C: Um, it's just, it just, it's just a beautifully written, composed song. So, um, the music portion of it, you know, there's that one part when you get to the chorus where it's so you hear the first verse and you just hear the despair. And then all of a sudden, when the chorus comes around, you hear the guitar and the piano in the background, almost like welcoming the person in. And even though they say, give me something to believe in, it's almost like the guitar. That's that guitar and that piano is just saying, opening up some kind of a gate for the person to come in. I found that great. I'm gonna give that music there a ten. And the production, I mean, everyone sounds just great on it. The guitars, the guitar is just perfectly timed. The drums, you can hear it. They're great. Piano, everything. So I'm gonna give production a ten. [01:12:30] Speaker B: Nice. [01:12:30] Speaker A: That might be the first tens. I don't think Frank's giving a triple. [01:12:34] Speaker B: Ten since Alice Cooper. [01:12:35] Speaker C: I love Dallas Cooper. [01:12:38] Speaker A: I'm kind of. I'm now feeling my things too low. Sabrina, why don't you do yours? I might have to change mine. [01:12:44] Speaker C: Yeah, you should be embarrassed. [01:12:46] Speaker B: What? [01:12:46] Speaker C: A seven? [01:12:47] Speaker A: I didn't give any sevens. [01:12:49] Speaker B: No, no, he did. Triple eights. Triple eight s. All right, so again, we. So with you two. Great. I had said, do you do it individually? Do you do it compared? I mean, this is probably one of their best written songs, like stem to stern. So you know what? I was gonna go triple eight s, but. And this isn't in lieu of Frank. I don't feel it's a triple ten, but in their catalog it probably is. So I'm going to give him bone here because I tore the last one apart. So I'll give him triple nine s on this one. I mean, I do think the lyrics are really good. It's probably lyrically his best song ever. Again, I don't think it's. It could be very easily cheesy, and there are things that are on the nose, but I just think he actually does it very well. The music, again, the little accents and the way they stop, and I think they keep it interesting. The solo is very good if it's a song. And again, it's. It's in lieu of nothing new, of. I'm sorry. It's in that every rosette tradition where the solo becomes a part of the song, like, real part of the song. And, yeah, I mean, production picked up everything really nice. I was gonna do triple eight s, but again, I think they deserve triple nine, so I'm gonna go triple nuts. [01:14:00] Speaker A: See, now I'm feeling like I rated this way too low, because now Frankie's saying, I didn't think about the uplifting part. Like. Like, really, if you think about it, this chorus is uplifting because the verses are so, like, down about what's going on, but the chorus is. Fuck. I got to change it to nines. God damn it. I have no choice. I mean, he's right. [01:14:22] Speaker B: It's very gospel y, right. The end. I mean, it's. It deals with a topic I think, that a lot of people struggle with. Right. The belief. And, you know, I want to believe. I mean, that's. That's what comes across to me. Like, he wants to believe, but how do you. How do you believe when things like this happen? You know, you really got to dig down, and so I don't feel that he strayed away from it. I think he kind of wrote the song, and it kind of strengthened him. [01:14:47] Speaker A: Yeah, you're right. All right. I was wrong. Definitely nines. I mean, I still don't like. [01:14:51] Speaker B: Hey, listen, I was going to go triple h, too. I really was. But, I mean, in their catalog, this is. [01:14:58] Speaker A: Oh, yeah. [01:14:58] Speaker B: I mean, lyrically, this could be one of their best. This could be their best lyrics ever. Honestly. What do you think about what's really better than this? [01:15:06] Speaker A: They're good lyrics for anybody. [01:15:08] Speaker B: Yeah. [01:15:08] Speaker A: So not. Not just for them. [01:15:10] Speaker B: No, they're. Well, they're. Well, they're. They're. Well, they're simple but well written. And the melody where he tells a story and does it well, you know what I mean? Give them. [01:15:23] Speaker A: All right, so now we've had that. So now we get to do ball and chain. [01:15:26] Speaker C: God. Geez. I mean, there should be a pause after listening to that magnus opus. [01:15:32] Speaker A: Nope. No pause to get you right back into it. [01:15:34] Speaker C: Well, geez, here we go. I still hope you got it. Another dick joke in this one. [01:15:41] Speaker A: Here we go, bowling j. I mean, this is still a cliche thing that everyone has to do, right? [01:16:00] Speaker B: It's like all these white bands got together and watched, like, Robert Johnson documentary, like, yo, let's do something like that. [01:16:08] Speaker A: I mean, it's just. I understand that, like, if you like this, like, the blue stuff, you want to put it. It's just you haven't really done this kind of stuff. I mean, they're doing it more here. I mean, there's a couple. There's that swamp juice thing in the beginning, so I guess that kind of says the same kind of thing. But I don't know, I just. Every time I. It feels too cheesy. Every time I hear glam metal, hamm, metal, pop, metal, whatever kind of band does it, even when Bon Jovi does it, it feels a little. It feels a little cheesy and. [01:16:35] Speaker B: But the thing is, too, for people who didn't listen to this kind of music, you knew when a trend became a trend, and this was something that became a trend, right? Or you did the slide and whatever, and all of a sudden, everybody's doing, and it isn't something. It. That's why it doesn't come across as natural. And again, especially at this point, poison, right? They just had their biggest album. They're all over the place. Ultimately, you could do whatever the fuck you want to do. So this is what they're doing. They're like, they want to do this. Absolutely do it. But the fact that we probably played this even back then, like, let's say we skip. We did something to believe it, and then this came up. I bet you we were all probably, oh, boy. Even in the nineties, right when this came on, I bet you were like, oh, here we go. You gotta have this. [01:17:22] Speaker A: Every one of these bands has to have this fucking song. [01:17:25] Speaker B: Yeah. So this isn't now, in hindsight, it's fresh. Back then, I'm pretty sure we all said the same thing. [01:17:33] Speaker C: It was a trend. I mean, even when you think about Warren Uncle Tom's cabin. Absolutely. There you go. It's right there. Sliding guitar. There we go. [01:17:42] Speaker B: If we ever get to that, I may shock you guys with my thought about that intro piece. [01:17:48] Speaker C: Wow. [01:17:50] Speaker A: Everyone thinks that they needed to be a blues man after this. That's. That's what it is. Everyone thought, are we going to show you our blues chops here. We're going to go and do blues. And it's fine if it feels natural when it's done, but very few of these things feel natural. [01:18:04] Speaker C: Southern blues, nonetheless. [01:18:06] Speaker A: Yeah, well, yeah, I guess. I guess you could have Chicago blues different, I guess. True, but. All right, let's continue. Come on, CC. Come on. [01:18:43] Speaker B: I bet you if you go to the area in Pennsylvania where they're from, like, they say, how do you say please? Oh, please, please, then. But, you know. So this is what this. So here's the scenario, right? Mark is. Mark is playing this riff that. On the. On the electric guitar, right? Meanwhile, I steal his acoustic guitar on the slide, and I'm in the corner doing this shit on the side by, and he's probably like, shut the fuck up. Like, that's what I picture. Like, one guy in the corner going, bo on the slide guitar, and the other guy's trying to write a riff, and he's like, shut up. [01:19:17] Speaker A: Can't hear my riff. What the hell's going on? Yeah, it's really, um. Yeah, it just doesn't. It doesn't. It sounds very forced, and. And it's not just them, so I'm not. Not picking on poison, but a lot of. A lot of this stuff sounds very forced. So I don't know when they do this. We'll see. Well, I forget what the. I'm sort of remembering what the song is now. So let's continue it. Yeah. [01:21:13] Speaker B: You know how I. The only way I think the song could be better is if. Maybe. I'm not saying it would be, but maybe if the. The electric was acoustic, maybe it would have made it a little bit more interesting. [01:21:26] Speaker A: Maybe. [01:21:27] Speaker B: Maybe if they had done it in that vein and there's probably is, like, a version of that somewhere, but I feel like that main riff is a little reminiscent of, like, AC DC. But if they did the riff, this would be a better song. [01:21:38] Speaker A: Yeah, well, I like the little. I mean, that stuff they use in the chorus and that bit. But the. That was definitely sound like Ac DC. [01:21:51] Speaker B: That's that honky tonk piano. Come in here somewhere, too. I think that was another thing, right? The piano, the whole bing bing, bing, bing, bing. That was another thing that showed up in places. [01:22:01] Speaker A: All right, Frank, go ahead, do it. [01:22:04] Speaker C: All right, so come on, come on get on your dress and put on a smile let loose this place and get out a while, a while while you don't need nothing fancy just a whole lot of attitude I'll be your man. Now, baby, if you're doing what I want you to do I keep on telling you she's my ball and chain by lock and key and I'm liking it. Baby, she's my ball and chain my lock and key, and I'm liking it. Good. [01:22:39] Speaker A: Okay. [01:22:40] Speaker B: I mean, I guess the only difference, right, is ball and chain has a negative connectivity, but he's like, oh, I like it. So maybe that's his take on. It's like, oh. Everybody's like, oh, she's like a bowling chain. Or he's like a bowling. I'm gonna make it a good thing. [01:22:52] Speaker A: Yeah. That is an interesting way to look at it, though. Okay. [01:22:56] Speaker B: It doesn't save the song, though. [01:22:59] Speaker A: No, it doesn't really save the song, but. Yeah, but at least there's something positive we can pull out of this, right? That he's. He's flipping it around a little bit. Give him credit for that. [01:23:08] Speaker B: But again, it's a compliment. [01:23:11] Speaker A: Yeah. He. He's not using it as the negative connotation. Using as positive connotation. So that's a little different. Okay. All right, we gotta pull something out of this. So here we go. [01:23:36] Speaker D: Good. And. Come for me. She knocked you out. She's just a little too nasty. I like it. I'm a lion, baby she's my fall and she's my luck and she's my fall and shame my lock and key. [01:24:24] Speaker A: There it is again. [01:24:25] Speaker B: Yeah, they had a little bit of a bridge. It's that same little. [01:24:27] Speaker A: It was like a half a bridge. [01:24:28] Speaker B: Exactly. It's like that little. Like I said, that little park bridge over the brook. [01:24:32] Speaker A: All right, Frank. Go ahead. Did we lose Frank or did he mute himself again? [01:24:37] Speaker C: Ah, shit. I ruined myself. Hold, please. Here we go. I'll t t tell you. Mama always said there was plenty of fish in the sea so I baited my hook but good and caught one for me just for me she'll set you up with her body and then knock you out with her charm she's just a little too nasty, baby but that never did me no harm no, I keep on telling you she's my ball and chain my lock and key and I'm liking and I'm liking it baby she's my ball and chain my locking my lock and key and I'm liking it good. [01:25:19] Speaker B: Cool. [01:25:21] Speaker C: There you go. [01:25:24] Speaker A: Hmm. Yeah, I mean, you know, I mean, again, I think they have to have some of the fun stuff on here, so I guess that's what it is. [01:25:33] Speaker B: But, you know, but think about this, too. Right. If you put these in the same category as don't give up an inch and come hell or high water, they're all cliche titles. Right? Come hell or high water, don't give up an inch and this. The lyrics are a lot of cliches. Again, it just. It feels like, hey, we have to write. We still have to write these kinds of songs. [01:26:00] Speaker A: Even if we don't want to. [01:26:01] Speaker B: Stuff like this is so easy to put together. [01:26:03] Speaker A: Well, you can feel that they're not as crafted as the better songs on the album. [01:26:07] Speaker B: Yeah, it doesn't. Doesn't feel. Again, this is a compliment to them. I mean, it doesn't. It shows, like, this song could easily be on the. On the record before for it. [01:26:15] Speaker A: Mm hmm. Yeah, yeah. They took so a big step on this record, and then it feels like when they do this is a step back a little bit for them. [01:26:23] Speaker B: And, I mean, I think the next song is a business. A big standout to me, too, which could be my favorite song on the album. So it's like you get these songs sandwiched in. [01:26:32] Speaker A: Yeah. And, I mean, the side's still not bad. I mean, you know. You know, there's gonna be a couple songs. I mean, nothing's perfect, but, you know, the side still has a bunch of good stuff on it. [01:26:40] Speaker B: Yeah. [01:26:41] Speaker A: So far, anyway. I mean, he's gonna be, like, three good songs on this side, half the sides gonna be good. So that's. That doesn't always happen, either. All right, here we go. I guess it's solo time, CC, let's see what he does now. Either he's gonna, like, wow me with something, or it's just gonna be flurry of notes all through the whole thing. Like, it started out okay, and then it just went into the flurry. Too much of the flurry, that's all. [01:27:32] Speaker B: He also does a lot of that laughing guitar thing. Right. You know how, like, Steve Vi does that in Yankee Rose? Like, I feel like I hear a lot of that. [01:27:43] Speaker A: Yeah, let's not. Let's not start comparing him to Steve. [01:27:46] Speaker B: No, but I'm saying. You know what I mean, though? It sounds like a laughing guitar. [01:27:50] Speaker A: Yeah, but he's doing. What he's doing is just. It's just notes. It's just notes. There's very little melody in there for me. Um, and I'm not averse to fast guitar playing. I mean, I'm not taking it that it's just some people, when they do it, sounds like that. I just. You know, for me, I just. I like the beginning part of the solo. I thought it was all right. I was like, oh, he's gonna, like, do this. Everybody's done this on a bunch of songs like this on the first side, too, where the beginning parts. Okay. And then it just goes into that and it just continually goes through there, so. All right, again, not. Not one of my favorite songs on the album, so let's continue. It's pinball wizard right now. [01:28:43] Speaker B: It sounds like a little bit. [01:28:45] Speaker A: A little bit. Anyway. [01:28:46] Speaker B: Yeah, it does. [01:28:47] Speaker A: It's like a chorus between pinball wizard and AC DC together. [01:28:50] Speaker B: Yeah, yeah, pretty much. And again, I don't mind that part. You know what I mean? The riff is not terrible. It's. But again, too, the bass could be doing some cool stuff under that, too. And it's not doing it. It sounds empty. [01:29:02] Speaker A: Yeah, well, he's just playing the root note. Not really doing a lot on this. Sorry, I started that by accident. I'm gonna back it up. [01:29:10] Speaker B: I was actually nice. [01:29:11] Speaker A: I was like, oh, you see, I'm trying to get it over with. I think that's what it is. My fingers. I just go. Let it. Let it play. Go. All right, here we go. [01:29:41] Speaker D: I fall and change my luck and be I'm a lion, baby she's my fall and shame my life and key and she loves me. [01:30:05] Speaker A: I must say, I do like that little riff. I kind of like that with. And then with the little pinball wizard thing at the end. I don't hate it. I'm not going first this time. [01:30:18] Speaker B: Frank wants to go first. [01:30:19] Speaker A: Yeah, Frank, you go first. [01:30:21] Speaker C: I do, yeah. [01:30:23] Speaker B: I heard it in your silence. [01:30:26] Speaker C: This is, you know, this is one of those fun, fun little ditties, right? Much different than what we just. Then we just heard, of course. Not quite sure whether we're gonna go with it or how it fits the overall scope of the whole album, but, I don't know. It was kind of fun. I'm gonna give lyrics. Lyrics here a six. Music. Like the music. I like. Cc's, again, guitar playing. I think it's been great so far. So I'm gonna go ahead and give that a seven. And production, I'm gonna give that a seven as well. So, Mark? [01:31:02] Speaker A: Um. Yeah, I'm probably gonna give the lyrics a six. I mean, they're not as bad as the other one. I don't think. I think they're better than that. I think I give that a five, so I'll give this one a six. The music's not bad. I mean, again, drums are really good. I have to keep saying that the drums are really good. And in general, I like most of the guitar playing here, except the second half of the solo is not, like, what I really like. But, I mean, it could be. Could be a lot worse. He's played a lot more solos on this thing where it's just notes and nothing. So at least the first part of the soul, I like. So I'll give that a. Give it a six, and then I'll give a seven on production because I think the production has been much better since the first side. And I remember the first song coming on, going, why is this sound so thin? So it's. I like it a lot better on the second side. Saf. [01:31:56] Speaker B: Yeah. I think overall projection is better on this side with the songs around this side. I'm gonna say a four on the lyrics again. I mean, they're in the same band. It's just a bunch of cliches and whatever. I mean, I was gonna say five on the music, but I do think it is better. It's more interesting, if nothing else, than that last one. So I'll say six and, yeah, production, I'll say seven. I mean, again, if I'm listening to this, I'm skipping this in the other one and the one on the first side, I just. Because if the other stuff just stands out better, I mean, again, this is a compliment to them. It's not. [01:32:31] Speaker C: Oh. [01:32:33] Speaker B: So, I mean, I think the next song is great. [01:32:37] Speaker A: Yeah. And speaking of the next song, life's a tragedy again, I know I've heard this song a whole bunch of times. I just haven't heard it in a while, so I'm sure it comes on, I'll know what it is. And so you think this is your favorite song on the record? Right? [01:32:52] Speaker B: Um. I have to listen to it, but I want to say that it need to. I've always thought of it as my favorite. So let's see what happens now. [01:33:02] Speaker A: Okay. All right, here we go. Life's life loves a tragedy. [01:33:34] Speaker D: And lies that I told you all the hearts left broken begged for but soon load I'm feeling lonely feel like I can't go on the streets of all grown cold now the mystery she's all gone she's all know I go now she's on. [01:34:35] Speaker A: So I have to say that he uses some of the same guitar techniques as he used in something I believe in the little volume swells and a bunch of other things. Yeah, I remember the song now, but he's playing for. [01:34:47] Speaker B: Right. And sounds good. This is like, oh, yeah. [01:34:53] Speaker A: Yeah. No, he's. He's playing for the song, and all the things that he's doing are good. Drums are good, too, again. [01:35:02] Speaker B: Yeah, he does a few little fills now when they come in, so. [01:35:05] Speaker A: Yeah, I like. I like everything that's going on here. What do you think, Frank? [01:35:10] Speaker C: Liking it? Liking it a lot so far. Just reading through some of the lyrics here, and it just feels. Yeah, I like it really good, actually. Can't wait to hear the rest of it. [01:35:20] Speaker B: Do you remember the song, Frank, or. No? [01:35:22] Speaker C: A little bit. Vaguely. [01:35:24] Speaker B: I mean, it changes so completely now, so. [01:35:28] Speaker C: Yeah, vaguely. [01:35:30] Speaker B: Yeah. [01:35:30] Speaker C: So, Lisa, lyrics. Mark. [01:35:32] Speaker A: Yes, sir. Go ahead. [01:35:34] Speaker C: Of all the words I've spoken it in lies that I've told of all the hearts left broken beg for, bought and sold lord, I'm feeling lonely feel like I can't go on the streets have all grown cold now the mystery is all gone she's all gone she's all gone gone, gone, all gone now she's all. [01:35:56] Speaker A: Yes. He bounces himself back a little bit. [01:35:59] Speaker C: Mm hmm. [01:36:01] Speaker A: Yeah. The lyrics are already better than the other song already. And it's only already. [01:36:05] Speaker C: Yeah. [01:36:05] Speaker A: A minute 27 in. Yes. All right, let's continue. So it says it changes. So here we go. [01:36:40] Speaker D: Power. I think it's time for me to fly where my life is a turn to heaven and my heaven turnstone life in the wind smile now there while the truth made me down on the phone I'm one more step by swearing I go over the edge I gotta stop living at a place thank you for wake up good time. [01:37:30] Speaker A: After the solo happens. Yeah, and I remember the song. I really like this song, too. [01:37:36] Speaker B: This is what I'm saying, though. You can make a song fun and serious at the same time. [01:37:41] Speaker A: And it's funny he uses this. They use the same technique of the chord. The things. The chord, the thing. And then. And then ride the chord in the second part of the verse. But in this one it sounds better. I think it's just a better song, that's why. Better melody. Drums. There's some cool drum things he was doing in here, too. [01:38:01] Speaker B: Yeah, this is what I'm saying. Yep. Absolutely. Like the way he switches between the high and the low and the fills, and then he goes a little bit slower. A little bit. I mean, drumming wise, no matter who you are. I mean, again, I'm not saying this is whatever, but as a drummer, I think you can appreciate. Oh, yeah, he's doing some cool stuff. His films are not just like, rolls across the top. They're like, bought out? [01:38:28] Speaker A: Yeah, no, he's done. He's doing great on this. Frank, lyrics, please. [01:38:34] Speaker C: Yeah, hold on. Well, I ain't getting any younger can't you see it in my eyes the sweet has turned to sour I think it's time for me to fly well, my vices have turned to habits and my habits have turned to stone life's just a wink and a smile now, man while the truth nails me down to the bone one more step, I swear oh, no, that's it. Didn't do that one. [01:39:04] Speaker B: Keep going. [01:39:06] Speaker C: Oh, yeah. One more step, I swear and I go over the edge I gotta stop living at a pace that kills before I wake up dead good times, good times, bad times, bad times how life loves a tragedy heartbreak heartbreak heartaches, heartaches how life loves a tragedy yeah then he went to solar. [01:39:29] Speaker A: Yeah, I like it again. It's funny. It's like, song I like. Song is like a song I like. Songs like that. Yeah, it seems like it's gonna be that way to the whole second side. I'm gonna back it up. A little rep for the solo. I'm hoping. I'm hoping. Now, if I remember correctly, the solo is not. Is going to be for the song. I hope so. Here we go. [01:40:10] Speaker D: For some days so they swole, they stand I think it's time I move on I won't go in stone heartbreak of the tragedy. [01:40:58] Speaker B: Yes, there it is. [01:41:00] Speaker A: Again I thought the soul was coming before but I did like a little. That little, little one little soul line he did before that came back to. To the verse. It's good. Yeah. I like. I'm liking this more. I forgot how much this. How good the song was. I haven't heard in a long time. Hmm. Frank, lyrics, please. [01:41:22] Speaker C: The nights I spent in danger was strange as I thought were friends only to wake up in anger for some pleasure they swore they would sin I think it's time I move on like a rolling stone because I got all the broken dreams I can buy try to sell the one I stole good times, good times, bad times, bad times how I lie how life loves a tragedy heart breaks, heartbreaks heartaches, heartaches all life was a tragedy there you go. [01:41:52] Speaker A: Then you got the. No, the bridge. [01:41:55] Speaker C: There you go. There you go. The bridge. That's not marked here. Well, I paid the price for every thrill I got those thrills are all long gone now. Maybe I'm still paying for them, like it or not. [01:42:08] Speaker A: So what do we think this song is about? [01:42:11] Speaker B: It sounds like, basically bad decisions and almost like, you know how, like, oh, you know, the media, they love a tragedy or whatever. They like that bad news and kind of thing. You know, that's what it feels like. And he's in the spotlight, so I almost feel like, oh, if. Especially if it happens to him, then it becomes even more like. It becomes news because of who he is. [01:42:41] Speaker A: Mm hmm. Yeah, I can see that. Very nice. Yeah. Like, I'm liking this song a lot. I forgot how much I like this song. I said that before, but. And everything's been pretty good on it. So now this is definitely the solo now, so hopefully we shall see. Let's see what he does. Come on, CC. I'm rooting for you, buddy. Here he goes. He did it again. That was very good. [01:43:43] Speaker B: I liked it. I like the second part better than the first one. [01:43:46] Speaker A: The second part sounds like journey. [01:43:48] Speaker B: Oh, my God. Yeah, I was gonna say that. I was like, holy shit. Wait a second. [01:43:52] Speaker A: Mm hmm. Sounds like near Sean. Very, very similar in style. He would play something. Yeah, I like the. I like the whole solo for, you know, even the. Even the first part where it had a little bit of trickiness going on, used the whammy bar and did a bunch of stuff. I kind of liked it. I liked it better than the flurry notes stuff that he does. So this is more the style I like from him. It was good. I liked it. Awesome. All right, so we got, like, 50 seconds left. Let's play it out. [01:44:44] Speaker D: Would love the tragedy. [01:45:11] Speaker A: You know, though, I think I would like that song faded out. [01:45:15] Speaker B: I don't think they do any fade outs on this record. Honestly, I don't remember fade outs. [01:45:19] Speaker A: I think that song in particular. [01:45:21] Speaker B: Yeah. Because it's a really strong chorus I would have with them going out with that. [01:45:26] Speaker A: Yeah, that was good. All right, why don't you go first, then? This is, like, a song that you really like. [01:45:35] Speaker B: I'm gonna say seven on the lyrics. I mean, they're. I like some of the things that he does with the words. He kind of makes simple stuff a little bit more interesting music. I'm gonna say eight. I mean, I've always really liked this song. It's just simple. But again, it's, like, such a fun song that you can sing along to, and it's not about sex or, you know, like these forced cliches and things like that, so. And production. I'm gonna say it a too. I. It's funny, because I always thought that this was the last song on the. On the album from back in the day. And then when I listened to it again, it's like, oh, shit, there's this other song at the end here. [01:46:20] Speaker A: Mm hmm. [01:46:21] Speaker B: But I almost feel like this could have been the album closer, and it would have closed on a really strong note. [01:46:27] Speaker A: Oh, 100%. I'm thinking the same thing. [01:46:29] Speaker B: Yeah. So what do you think, Mark? [01:46:32] Speaker A: I'm gonna give it the same exact thing. Seven, eight. Eight. I like the lyrics. They're fun. I like that. Starts a little different and then changes it up. I like his guitar, so I like the drumming. Bass playing is good. Singing's good. Melodies are good. The chorus is super strong. I would like the course to fade. I think that would have been great, just because it's so strong that it could do a fade easily. Yeah, I liked it a lot. It's. I forgot how much I like this song. It's one of my favorites so far on the album. So, Frank. [01:47:07] Speaker C: I don't remember liking this song so much as I do now. I don't know, kind of reading through it, it just sounds like the downfall of a rock star. Right. So, like, when they're at the peak of their career, they have at least the first part of the song. Kind of reads to me that way. At the peak of their career, they're just surrounded by so many people, especially women, and so many women that love them and want to be with them, but they just kind of take advantage of that. And now that they're all gone, there's no one around because they're at the decline of their career. So that's when, you know, they're looking around and there's nobody around anymore. All that excess, like Savina was saying, all the excess of fun and partying and people always around you now, everybody's pretty much gone, and all your bad habits kind of now become your everyday life, and it's pretty much continues to sink you downward. So I like it really, really good. So I'm gonna give the lyrics an eight. The music, I like the music. I think the drumming is great. Cc has been great. So I'm gonna give that an eight in the production, I'm gonna give an a. So I'm gonna give a triple eight. [01:48:21] Speaker A: Yeah. It could easily went triple eight for me, too. [01:48:23] Speaker C: Yeah, I like it. Really good. [01:48:25] Speaker A: Now my question is. So now, obviously, we have poor boy blues. [01:48:31] Speaker C: Here we go. [01:48:32] Speaker A: Yeah, I know. I don't remember. I don't remember it that much. [01:48:36] Speaker C: It's like CC from Brooklyn. [01:48:41] Speaker A: The blues. [01:48:44] Speaker B: I always. I forgot to mention that before, just hearing him speak in that thick New York accent. Because nobody had that. Right. I mean, other than anthrax. But I'm talking about in this, like, specific genre. [01:48:56] Speaker A: No. [01:48:56] Speaker B: Well, and just don't really speak in other than what's his name. [01:49:01] Speaker A: Maybe Bruce Gill. [01:49:03] Speaker B: I mean, Freddie a little bit. Yeah. I guess Freddie and Chris. But at least, you know, these younger bands. I mean. [01:49:08] Speaker A: Oh, yeah. [01:49:09] Speaker B: I mean, who was really from New York? [01:49:12] Speaker A: No, white line was from New York. [01:49:14] Speaker B: But, yeah, tramp really spoke, so he was from Denmark, I think. [01:49:20] Speaker A: Yeah. But when Vito Bradda spoke, you could tell he was from the boroughs 100%. [01:49:26] Speaker B: Cece's just like, hey, I know this. [01:49:30] Speaker C: Straight from Bay Rich. [01:49:33] Speaker A: Straight out of Bay Ridge. [01:49:35] Speaker C: Yeah. [01:49:37] Speaker A: So this is five minute song. [01:49:39] Speaker C: Oh, Jesus. [01:49:40] Speaker B: This is another one, too, that has an intro. And then I remember. I don't remember the intro. I don't remember the rest of the song, though, honestly. [01:49:47] Speaker A: Okay, here we go. [01:49:50] Speaker B: It's. Again. I think it's that formula, like, hey, we need a song like that. [01:49:54] Speaker A: Yeah. Hey, we need a blue song. So here it goes. All right, here we go. [01:49:59] Speaker D: My dad is here song. Don't you come to me crying cause money don't make you happy, man I now know his share the grass is always green. [01:50:26] Speaker A: It'S like Elvis blues is what it is. I just. I don't know why this is necessary. I don't know. I mean, it just feels so forced. [01:50:37] Speaker B: The way he's singing it, though, that's. That's really bad. [01:50:40] Speaker A: Yeah. The way he's singing it makes it like that. And it's funny, like you said, it's not that. It's horrible. It's not horribly played or anything. Is that you? They've done so much better on this record than when it comes to this. You're like, this is how they're gonna end it. I don't know. [01:50:55] Speaker B: And I mean, that voice, too, because that's the thing, too. And when these bands played this type of song, they all use that voice. Like, even John Bon Jovi, he did the same thing. [01:51:05] Speaker A: I didn't like when he did either. [01:51:06] Speaker B: I know. Like what? Why do you have to sing it like that? It doesn't make it more authentic or. Yeah, exactly. [01:51:19] Speaker A: I don't know. [01:51:20] Speaker B: Let me tell you something. Freaking Wednesday. Bb king, he didn't fucking sing the blues like this. He wasn't like, uh. You know, I've been down hard and, baby, no, he's like. [01:51:31] Speaker A: It's like. It's like bad Elvis. Yeah. Singing what he thinks the blues is gonna be. All right. I'm going to continue because I won't stop this a lot because I think we need to get through this. So here we go. [01:51:43] Speaker D: Every place well, some bound with some and sing them both boy blue. [01:52:11] Speaker A: Watch out. [01:52:27] Speaker D: Live up, down, lord live everywhere almost drowning my own sweat I swear I believe it's due time if I manchin you don't know how feeling fade unless you wear my shoes show us I'm a standing here we got them all blue. [01:53:09] Speaker A: It's like every cliche of blue stuff, like, thrown into one big pot. [01:53:13] Speaker B: It sounds like one might look crude, too, like this is something that would. [01:53:16] Speaker A: Be on girls, girls, girls or even theater pain. [01:53:20] Speaker B: Yeah, I mean, it's basically like jail, their version of jailhouse rock. [01:53:27] Speaker C: I thought they were gonna play your mama don't dance. [01:53:29] Speaker B: Oh, I know, right? [01:53:30] Speaker A: Oh, yeah. [01:53:32] Speaker B: And what was that thing going on during that? Did you hear? There's like. [01:53:37] Speaker A: I didn't hear that. [01:53:39] Speaker B: Sounds like somebody had a stomach ache. I don't think. I don't know what he's saying. But again, I didn't hear that. [01:53:46] Speaker A: Yeah, I didn't hear it either. I heard the high hack and I was. [01:53:51] Speaker B: If you go back. [01:53:54] Speaker A: I heard the hi hack go off, and then I was like, oh, no. And then the harmonica came and I was like, oh, Jesus, here we go. [01:54:00] Speaker B: Why, I'm pretty sure there was something there. Either that or somebody's with me again. [01:54:05] Speaker C: They just threw everything into a big gumbo. Oh, you like that, right, Mark? [01:54:08] Speaker B: I saw we did big white gumbo. [01:54:13] Speaker A: All right, Frank, read the. Read the lyrics. Go ahead. [01:54:16] Speaker C: We're up to that already. Hold on. [01:54:19] Speaker A: I'm sorry you have to read the whole thing. I feel your pain. [01:54:23] Speaker C: My daddy said, son, don't you come to me crying because money don't make you happy, man he said, the grass is always greener any place except where you stand. He says, some are born to win and some are born to lose and sing them poor boy blues. Watch out. I lived uptown, downtown, Lord, I've lived everywhere almost drowned in the puddle of my own sweat I swear I believe it's due time I get my mansion in old Bel Air. Got them poor boy blues. Poor boy blues. You don't know how I'm feeling, baby until you're wearing my shoes. Sure as I'm standing here we got them poor boy blues. Hmm hmm. [01:55:08] Speaker A: Yeah, it's. If the music wasn't so generically wannabe blues. It's just. Again, I'm gonna say it again. It's just very unauthentic and it feels that way. [01:55:22] Speaker B: And I'm a fan of the doom to dunk the doom. Like, I'm a big fan of songs like that. But when they're heavier, you know what I mean? They got that chugging going and the bass. But it's not even that. You don't even have, like, base going like that. [01:55:37] Speaker A: No, it's. It's trying to copy something and then just fail. It's failing miserably. Again, this, to me, this is a song that could have been left off, you know, I mean, I mean, it's strong. Yeah, I'm saying. But if you would end it strong with life's a tragedy. [01:55:55] Speaker B: Yeah. Well, there. [01:55:58] Speaker A: Yeah, 100%. It's tough. I mean, you know, I mean, I understand what they're trying to do. You know, this is a trying to play homage to, like, music maybe that they think, you know, influenced them a little bit or whatever, but it's just every time a band in this genre tries to do this, it just doesn't sound good. It's not just to them. It's not even take them out of the equation. Any band that does. And how many bands have done this, it just never sounds authentic. Yeah. All right, here we go. Let's continue. It's five minutes. We have another. We still have another three minutes of this. So here we go. And again, I have to say, it's not that the parts are played badly. No, no. Somebody's guitar playing stuff is pretty cool. It's just, you know, you got to do that. [01:56:50] Speaker B: You hear it, too there. Again, he did, right? That whole, like, that whole laughing thing. [01:56:56] Speaker A: Mm hmm. [01:56:57] Speaker B: He does that so much. It's just a way I never realized. Yeah, yeah. [01:57:02] Speaker A: When he plays fast, that's what ends up happening. So. All right, here we go. [01:57:15] Speaker D: Out of this jail. In the meanwhile, all my greens go down. [01:57:27] Speaker A: That part right there is very, very yankee rose. Yeah, but. And he's using the wawa there, so it sounds a little even more like that. So it's just like, I mean, it's too much. And again, whatever. This whole thing is generic, so what does it matter if they're stealing that too while they're at it? Okay, let's go. [01:58:17] Speaker B: Don't hurt yourself now. [01:58:59] Speaker A: Oh, Jesus. [01:59:00] Speaker B: Admit it, Mark. That solo totally reminded you of Steve Ray Von. [01:59:05] Speaker A: Yeah. And, you know, I mean, again, there are some okay parts in it. It's just, you just take the totality of all the things they're doing here and just throw it. They're taking every blues cliche and just throwing it into the mix, hoping that this is gonna sound good. Unless they. Unless this is a thing they trying to make fun of, which I don't think it is. [01:59:25] Speaker B: No, I mean, this. I think it's that genre. They want to make a song. And again, it's not played badly. I mean, it's played to the tee of what it is. I mean, the production isn't bad. [01:59:38] Speaker A: You know, it just. It just feel. Again. Feels very. Yeah. Are there any more lyrics? Oh, you know what? Let's wait till we get a little more toward the end and you can read the lyrics all in one shot so you don't have to taste those lyrics for very long. [01:59:51] Speaker C: Thank you. [01:59:52] Speaker B: Yeah, and that's like. And he uses that whole. Hey, CC. Hey, CC. Hey, CC. He uses that shit a lot. [01:59:57] Speaker A: Yeah, I know. [01:59:58] Speaker B: I'm sorry, Mark, that I never wrote your name in any of the songs before the. [02:00:01] Speaker A: So that's totally fine. [02:00:02] Speaker B: If we start recording again, I'll throw your name in there. [02:00:05] Speaker A: Thanks. [02:00:07] Speaker C: Make sure you write in a hua every now and again. [02:00:14] Speaker A: Like he's doing over here. [02:00:15] Speaker B: Oh, my God, that's getting. [02:00:17] Speaker A: Yeah. All right, here we go. [02:00:42] Speaker D: All blue. You don't know how I feel and, baby, let you wear my shoes. Show us I'm a standing here. They got them all blue. How about you? [02:01:02] Speaker A: How about you? [02:01:04] Speaker D: How about you? I got them, I got them, got them. Poor boy blue. [02:01:49] Speaker A: Thank God. [02:01:51] Speaker B: I was expecting that. Bam. You know, for them to go into that slow beat again. [02:01:55] Speaker A: Yeah. That's the only thing I didn't have. [02:01:57] Speaker B: To give him a little drum solo. [02:02:00] Speaker A: Mmm. All right, Frank, finish. Finish the lyrics out. [02:02:04] Speaker C: You know, I was kind of hoping, like, all this, like, laughing guitar kind of a thing, right, that he has going on. I was expecting, like, a little bit of an end there where it's like porky pig comes out and says, you know, that's all, folks. Like the equivalent of that to wrap up the album. That would have been great. All right, lyrics. Friday night I get tanked up and toss them to the local slam. At least I get three square meals until someone gets me out of this jam. In the meanwhile, all my green is going to Uncle Sam Chorus. Let's walk this dog. Don't hurt yourself now. Cece, get them poor boys blue. Poor boy blues. You don't know how I'm feeling, baby until you're wearing my shoes. Sure as I'm standing here. We got them poor boys blues. And they repeat that a couple times. [02:02:59] Speaker A: Frank, this is. This is just for you here. [02:03:05] Speaker C: Yeah, just like that. That would be great. But if you did that, like, in the guitar. [02:03:11] Speaker B: It'S. [02:03:11] Speaker A: It's just so funny. This side is so much good. Is so much. Great song. Yeah, great song. Yeah, great song. Every other song here seems to be. [02:03:21] Speaker C: Like that, which makes you wonder, how did they. What order did they record these tracks? [02:03:26] Speaker B: I wonder that no matter what the album is, I always wonder what, you know, I mean, how they. How they recorded and then how they sit and pick the songs that are going to be on the. On the record. [02:03:42] Speaker A: Yeah. Who's sequencing the record? [02:03:45] Speaker C: Yeah, I'm curious. Like, did they do all the great songs in the beginning when they were still getting along, and then, like, the end songs as they started to part ways and that's why you hear it? [02:03:55] Speaker A: Maybe. I mean. I mean, really. I mean, there's a bunch of. There's a bunch of great songs on here. Valley lost souls, unskinny bop. Let it play is not bad either. Life goes on is good. Ride the wind something to believe in. [02:04:12] Speaker C: You see, that was something to believe in. They had to still be getting along to write such an amazing song. [02:04:19] Speaker A: Yeah, I don't know. I. I think. [02:04:21] Speaker B: I think really? I mean, I think so. [02:04:26] Speaker A: Well, I could say that they didn't really, you know, they didn't really implode until that MTV thing, so. [02:04:32] Speaker C: Okay. [02:04:34] Speaker A: You know what I mean? So, yeah, the record had been out for a while already, so it's just, you know, I don't know how bad his drug use was on this CC developers. He was pretty much. He was messed up, so. [02:04:46] Speaker B: Yeah, but he gets so much space in this record. I mean, how long is this record? An hour? [02:04:52] Speaker A: Yeah, it's almost like 56 minutes, something like that. [02:04:54] Speaker B: I mean, out of 56 minutes, there's 50 minutes of solo on this record. I'm pretty sure if we go back, because, I mean, even the last one, he's soloing the whole time. [02:05:04] Speaker A: Yeah, yeah, well, yeah, I mean, because they're trying to, like, you know, they're trying to make this copy of what they think the blue song should sound like. And I think that's just why it sounds very unauthentic. It's like, you know, the. The glam rock bands when the nineties came and they're all trying to be, you know, the heavy grunge band, right. Because their music. No one wanted to hear that anymore at that point. The same thing, it's. That it sounds wrong. It doesn't. It doesn't sound. It doesn't sound like the right way. So what are you gonna do? But I think overall, it's a great record. [02:05:40] Speaker B: Oh, yeah. I think it's their best one. I mean, me personally, I think if they had gotten rid of one or two of these songs that sound like, hey, we have to write a song like this, then, you know, we wouldn't have to sing. And again, it's a compliment to them because I feel that those are the standouts. The one that are the balls and chains and the dunkin give up an inch and it's poor boy blues. And again, those songs are not terrible, but I just think they're regressions for them. Those are like, poor boy blues could have been on the last album. Ball and chain could have been probably on the last one. And again, that was probably the most interesting out of these, you know, quote unquote, typical songs. [02:06:27] Speaker A: Samina, I mean, why don't you go first? [02:06:28] Speaker B: I think it's pretty strong overall. [02:06:32] Speaker A: Well, we still have to rate it, so why don't you go first? [02:06:34] Speaker B: Oh, shit. We didn't rate this song. [02:06:36] Speaker A: No, we didn't rate it yet. Sorry. [02:06:40] Speaker B: That's right. I'm gonna say five on the lyrics. There's a couple of cool little things here and there, but, I mean, I give him credit that he doesn't do that. The repetition of the lines thing. At least they stayed away from that. And maybe because this whole song wasn't slow, it was upbeat. [02:07:03] Speaker C: Music. [02:07:03] Speaker B: I'm gonna say five and production's fine. I'll say seven on the production. There's nothing wrong with that. I mean, I'm sure we've all. You mentioned it, and I mentioned the production and second side overall. Again, who knows when they were written, where they were recorded, how. Whatever, whatever. But overall, I do think the second side is produced better than the first. Whatever songs are there, so. But it's. I mean, again, I always thought this album ended on life was a tragedy, and I think it was. That would have been a strong song. [02:07:35] Speaker A: To end on 100%. [02:07:38] Speaker B: You know, it's such a good song to be at the end, but you. Oh, God, this song I wish was. You know what? It's a really strong closure. So what do you think? [02:07:47] Speaker A: Um. Yeah, I think I'm gonna. Gonna mirror your thing. Five, five, seven. Not that anything's really played badly. It's just. It just feels so unauthentic and just, like, it didn't necessarily mean to be there. Need to be there. It's just. Oh, let's do it. Let's do a blues song. We'll throw every blues cliche in. And there you go. It's a blue song. Well, not really. I guess you can. You can call whatever you want. It just doesn't, you know. It is what it is. It's. To me, it's just a filler track to fill a record up, that's all. [02:08:20] Speaker C: Frank, I'm with you. Thank you. So filletrack the lyrics. You know, I'm not crazy about them. I'm gonna give those a four. Yeah, the music itself, I mean, it's a lot of guitar and a lot of loudness, but I don't know, it's not that I didn't enjoy it that much. I'm gonna. For me, personally, I'm gonna give that. I'm gonna give that a six. And the production, I'm gonna give the production to seven. You know, the production did what they could with the song, but. But overall, one of my favorites, for sure. [02:08:55] Speaker A: Yeah. I mean, in general, I think we all like the record. [02:08:59] Speaker B: I mean, as soon as I saw this come up, it's like, oh, cool. [02:09:02] Speaker A: Yeah, no, I'm always up to get a point. I mean, in general, I'm. I'd say I'm a fan of theirs, but, you know, I mean, not everything can be perfect. [02:09:12] Speaker B: No, like I said, I think they. They hit a maturity on this album with some of the lyrics and some of the music and some of the musicianship. I mean, again, I think CC has better solos than him then the stuff where he's just. Because, I mean, even at that point, right, in 90, like, all right, dude, you kind of had whatever you said, you should have shredded up the last album, because that was really in the 87. 88, it was still in the middle of that thing. But at this point, it's like. But this is where his longest solos are. I mean, that's one thing I do remember from the beginning, I was like, God, every solo is like so long, it feels. And again, maybe they just feel long because there's not much going on, maybe. And I do hear a lot of that Vinnie Vincent stuff that I thought back in the day was amazing, but I hear it now, like, yeah, it's just. [02:10:04] Speaker A: It's like Gene Simmons says, the bee buzzing around you. So when it's. Shoot. Yeah, I mean, again, he has. He has moments where, you know, he plays for the song and it sounds good and, you know, this is great. And then you have other times like this where he's trying to prove that he's as fast as he could be, and, you know, again, but but again, you know, that's the time, too. The time was that there was the hotshot guitar player, and everyone had to have one who's faster than who. And you know what I mean? That's just basically what it was. And again, I'm not against fast guitar playing when it's put in the right context. I'm fine with that. [02:10:41] Speaker B: But, I mean, you think about George lynch. Think about, like a George lynch playing fast as opposed to this. [02:10:48] Speaker A: Yes. [02:10:49] Speaker B: I mean, there's a difference. There's a way to do it. Think about Paul Gilbert playing fast. Right. [02:10:56] Speaker A: Even some of his stuff early on, it was, it was really, I didn't like a lot of that stuff just. [02:11:01] Speaker B: Because if you listen to the Mister big stuff, it's kind of, I mean, I was listening to addicted to that rush the other day. I mean, in the context of song as opposed to, like, Racer X, let's say we kind of got to, you know, it's really more of, like, showing off kind of thing, even though they had some pretty good songs. But even in the context of a band like Mister Big is in this genre, but you listen to what he does. And again, I'm not trying to compare, but there's ways of doing it so it doesn't sound like me. [02:11:35] Speaker A: Mm hmm. Agreed. Well, yeah, I mean, I would tend to think that, you know, Paul Gerber's a better guitar player than him, so unfortunately, it is what it is. But, you know, I think in general, we like it. [02:11:45] Speaker B: So I am absolutely, listen, I'll go back to this album. I've gone back to this album a few times. [02:11:52] Speaker A: I haven't heard this in a long time. But I know why I liked it because there's a lot of great songs on here. So I know a lot of people, people do things with poison. Oh, they look at them. They just look, they just put makeup on. They suck. They're not really that good. I mean, you have to, you have to have independent thought here and say, yeah, you might not like what they do or whatever, but you can't, you can't say that there's not a bunch of really good songs on here, at least for me. I can't look at it that way. All right, Savino, why don't you do your thing? [02:12:21] Speaker B: We are part of the Deep Dive podcast network. Again, like I always say, great bunch of guys took a right in. And if you want individualized podcasts about specific bands like Rush, my buddies at Rush, Rash, Judas Priest, you name it, Uriah heap, you got Tom Petty, Queen, Zeppelin. Just check them out. You know, they don't go all over the place like we tend to do. So, yeah, check them out. I'm Mark. Where can they find us on the interwebs? [02:12:45] Speaker A: Rock roulette pod on all the social media. Rockrullettepodcast.com if you want to drop us a line, take a look at our album polls, Spotify lists for all the episodes we've done, and make sure you put us to auto download. And if you can, give us a five star review on whatever podcast platform you listen to that helps other people find us and, you know, makes us feel like we're not just talking to ourselves, which is nice. So, Frank, what do you think overall before we go? What do you think about the album overall? [02:13:17] Speaker C: I mean, I like it. I've always liked poison. I thought they were a great group and fun to listen to. And I just think. I thought. I remember just hearing more songs that I liked that I was kind of, like, on the fence about on this one. But listening to again tonight, I'd be. I guess it's about 50 50, right? Good songs, bad songs, kind of a thing. What do you guys think? [02:13:44] Speaker A: Yeah, I think that's kind of right. I think there's every other song I think is. It's kind of like that. [02:13:50] Speaker B: Yeah, I think they could have cut this down from 14 to, let's say, eleven if they want to include whatever. And. [02:13:57] Speaker A: Oh, it would be that much stronger. [02:13:59] Speaker B: Yeah, absolutely. [02:14:00] Speaker C: Yeah. They cut it down to eleven. That it would have been a good road, but. Fantastic. But. But, you know, it's. There some good songs. They're very memorable. What? You know, one of the things that I remember, and it's a very obscure fact, and maybe the two of you know as well that this is the second album cover they had to edit in censor. [02:14:22] Speaker B: Oh, yeah, because of the tattoo. Right. It was like. It's a real tattoo. [02:14:28] Speaker C: Yeah, exactly. So I think it was. Ricky Rocca has it. I think. [02:14:32] Speaker B: No, I think. I think it's Brent Michaels. [02:14:34] Speaker A: Oh, it's Ricky Rocket. [02:14:36] Speaker C: It's Ricky Rocket. Yes. Okay. And it's like. And then he took the picture, like, the second he was done with it. Right. And it was all bloody and swollen and whatnot and. Yeah, they had a censor it. So I thought that was pretty. You can't get that album cover. [02:14:50] Speaker A: So the original. No. Make any with that album cover. I don't think so. [02:14:55] Speaker C: Yes, they did. [02:14:56] Speaker A: They did. [02:14:57] Speaker C: Yeah. There was. There was some. There was limited press run and just like, open up and say, ah, there was that limited press run and then they had to edit it. [02:15:04] Speaker B: Yeah. I don't understand the big deal about that one, honestly. I have. I have the original cover on vinyl. [02:15:10] Speaker C: Mm hmm. And I think that's the only one you can get it on, by the way, on vinyl. I don't think it ever came out on cd like that. I don't remember it. At least I don't remember seeing it like that. [02:15:23] Speaker B: Meanwhile, you got the damn scorpions and what do you call it with, like, little kids naked on the COVID Mm hmm. Mm hmm. And I never understood. [02:15:34] Speaker C: I. Yeah, I, um. I don't know. [02:15:39] Speaker B: I don't know. [02:15:39] Speaker C: There was a Black Crows album. I'm trying to remember which one it was. [02:15:43] Speaker B: You know, isn't it America? [02:15:45] Speaker C: America. That's the one that I'm thinking about. There's that one. [02:15:50] Speaker B: Uh huh. [02:15:52] Speaker C: That one made it. That one made it to the center. [02:15:54] Speaker B: For a little bit, but I think that got censored too, though. [02:15:57] Speaker A: Oh, did it? I don't. [02:15:58] Speaker B: I think so. Yeah, I think it got. Uh huh. [02:16:02] Speaker A: Uh, that's crazy. [02:16:05] Speaker B: But you know what, though? That even makes more sense than this. [02:16:10] Speaker C: Mm hmm. [02:16:11] Speaker B: At least open up and say ah. I mean, I. Again, I don't. I never understood why. Because you don't. You don't see anything, right? I mean, you see nudity or anything. It's just. No, whatever. [02:16:23] Speaker A: Yeah. Well, next week we get to spin. Awesome. [02:16:27] Speaker C: Yep. [02:16:30] Speaker B: You're back to back bitching. [02:16:33] Speaker A: Yep. And we're inching closer to 100 episodes. [02:16:37] Speaker C: All right. [02:16:40] Speaker A: We'll try to do something special for 100. [02:16:42] Speaker B: All our episodes. [02:16:43] Speaker A: I don't know. I don't think I've heard all episodes and I'm on everyone. [02:16:46] Speaker B: Yeah. If you were a person who's listening to all our episodes, please give us a shout out. Cuz we're broke as fuck, but still. We'll give you a shout out. [02:16:56] Speaker C: We gotta give him something. Look on something. Give him a. Give me an autograph copy of Winter Rose. [02:17:06] Speaker A: Well, someone has to find it first. [02:17:08] Speaker C: I know. Somebody does have to find it first. [02:17:12] Speaker A: That's the problem. [02:17:13] Speaker B: I mean, I tried. I'm pretty. I'm pretty sure I exhausted every concept that I have at the. [02:17:18] Speaker A: Frank's. Lost the luck. [02:17:20] Speaker C: Yeah. I really do. [02:17:22] Speaker A: All right, we'll see you next week. [02:17:27] Speaker C: All right, take care. [02:17:30] Speaker A: Later, guys.