Episode 97 - Winger - Winger (Part 1)

[00:00:04] Speaker A: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement, and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now onto the Rock Roulette podcast. Hey, everybody. Welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1200 albums, stuck them in a list, stuck them in a wheel. And typically every other week we spin the wheel, she picks a record for us, and we go through it side by side, track by track, and we talk about music production and lyrics, and we just rate it again. Just a bunch of friends who want to do a podcast. We love music. Nothing professional, nothing whatever here. Just a bunch of guys having fun. So tonight we have Mark. Oh, hi, Mark. [00:01:41] Speaker B: What's up, guys? [00:01:42] Speaker A: And I'm Sev. Ciao. Buenas. So last week we wrapped up flesh and blood by poison, which, again, I still consider. Overall, I think it's their strongest record. And I think the general consensus was the songs that were more old poison y were the ones that kind of stood out and not as good as the other ones where they kind of spread their wings a little bit in terms of the music, the lyrics, and the general vibe. What do you think, mark? [00:02:12] Speaker B: Yeah, I agree. I think they had kind of changed their, their tune a little bit. So I think that that ended up affecting, you know, what you kind of, like, thought about the stuff that sounded more old school poison. I think they were changing. They were changing up. They were changed with the times, too. So, I mean, you know, they've been around for six or seven years already, so. And I don't think anyone kind of thought in the next year that that whole genre would have been dead. So, yeah, they didn't know that either. [00:02:41] Speaker A: They semi stuck around a little bit. I mean, they had, um. I mean, when native tongue came out, stand was kind of, was played a lot on MTV. From what I remember, that was a pretty good song. And, yeah, so, I mean, I think that that's a, that's a pretty interesting album. I mean, obviously, Richie Katzen's on it, so different guitar player. There's a little bit of a different vibe. So, you know, if that comes up, I think. I think we'll generally like that one as well. So we'll see. [00:03:05] Speaker B: Yeah, I haven't heard. I haven't heard that in a long time. [00:03:07] Speaker A: Honestly. I haven't either. Yeah, I haven't either. [00:03:09] Speaker B: So we're not gonna be able to get them for another. [00:03:12] Speaker A: Another 1010 albums, though. [00:03:14] Speaker B: But. So I don't know what to pick this week. So I sort of, kind of got hair metal, I guess, right? Sort of, kind of. Even though it's nineties and not eighties. I don't know. I still. We still haven't really. We still really haven't gotten that grunge album from, like, the, like, the early nineties grunge, nirvana, early sound guard, and early pearl Jam. Like, we really haven't gotten that. So I still. I still am kind of waiting for that to happen. [00:03:41] Speaker A: I don't know what I'm trying to think. I said to myself, this has been a rough week. I want something either really good or really bad. You know what I mean? I think that would be a great way to end the week. Something where. I mean, again, it's funny because I saw a clip with Kevin Smith recently, and he said, oh, you know, back in the day, I would just say movie stock, and it sucks. You know what I mean? And then he said, now he doesn't really say that anymore. He says, even if he doesn't like a movie, right, he just tries to point out the good in it, you know, and the way he. What he doesn't like, you know, doesn't present it in a sucky way, just like, well, you know, I don't like this. And this. I'm like, you know what? I think that's how we've. How we've been on this overall. I don't think we've been overly critical or, I mean, even if we haven't liked something, obviously, we always try to find if there's anything good we like in it. So I think we're decently respectful. I mean, obviously, being musicians who have written songs ourselves and have never produced anything, unfortunately, never had anything really out there, we can understand, right? You try to. You do your best. You try to get it out there, and sometimes it hits with people and sometimes it misses. [00:04:50] Speaker B: But I think that as you get older, I think you tend to participate. You enjoy things that you may not have enjoyed before, or at least can, like, say, hey, I see the good stuff in this, even if I don't like it. Where back in the day, you were really like, this is the music I listen to. I don't want to listen to anything else. Like, even if you listen to. Let's give it a. I don't know, let's give it an idea, like. Like, you have a guilty pleasure, right? You have. Let's. Let's say you'd like Duran Duran in the eighties, but you couldn't tell anyone you liked Duran and Duran in the eighties because you were a rock kid and you listened to rock music. Like, you couldn't tell anyone even if you'd liked it. That would be a different. You know, it would be different nowadays. You'd be like, oh, I didn't really like that record then, but I like it more now than I liked it then. [00:05:31] Speaker A: So, yeah, I mean, luckily there were some songs, too, that kind of crossed boundaries, right? Where it was okay to like certain songs. And no matter what kind of music you like, I think some songs really traverse boundaries. And so even if it, like you said, a guilty pressure for somebody who, you know, was metal, and it was like, oh, cheers for fears. That's pretty good. You know, something really poppy like that, let's say. [00:05:55] Speaker B: Well, yeah, you couldn't. You couldn't really admit that you, you know, you couldn't really. If you were the metal guy, you couldn't say, you like Bon Jovi, right? If you liked Iron Maid and you were in that kind of scene of heavier music, you couldn't say, oh, I like Bon Jovi. [00:06:09] Speaker A: Like, well, I mean, I like bolt, too, so, I mean, well, I think it depends on the crowd, right? There's going to be people that it's okay to like both. And, I mean, I think in general, we were a little bit more accepting. So I think once we kind of got out of the quote unquote metal scene, we all kind of veered off into kind of different things then and then. But whatever. It was a fun time. [00:06:34] Speaker B: Yeah, it was. It was a good time for music, so. Alrighty. So we ready to spin? I'm ready to spin. [00:06:40] Speaker A: Yeah, let's spin. [00:06:41] Speaker B: Let's see what's going on. So can you see the wheel? [00:06:44] Speaker A: I can see it. [00:06:45] Speaker B: All right, here we go. [00:07:09] Speaker A: Holy cow. [00:07:10] Speaker B: This is it. [00:07:12] Speaker A: This is perfect. [00:07:13] Speaker B: It finally. It finally came. [00:07:15] Speaker A: This is perfect. Winger by winger. [00:07:19] Speaker B: Ladies and gentlemen, we got the debut album. That doesn't usually happen. [00:07:22] Speaker A: This is it. I wish I had my shirt from beautiful. [00:07:29] Speaker B: You know, I didn't feel bad for them at the time, but now looking back, um, I feel. I felt super bad for them, because really, like, musician wise. Like, they were super duper talented like this. Everyone in there is, like, a really good musician. [00:07:43] Speaker A: Yeah, I saw. I saw free clinic with the drummer, Rod Morgan. [00:07:47] Speaker B: You told me. [00:07:48] Speaker A: Yeah. Great guy, great player. I mean, he was part of the. The Dixie dregs. He came up from the south, so. [00:07:54] Speaker B: So I guess this kind of counts as, like, hair metal. Like, in the middle of it, right? [00:07:58] Speaker A: 88 super hair metal. I mean, think about Kipling with his shirt open, thinking about an underage girl. [00:08:07] Speaker B: But it always had a little bit of, like, progressive in there, though, even though it was, like. It was really poppy metal. But there was always, like, this little, like, progressive thing going on because they're such good musicians. It kind of felt like it wasn't always. It wasn't the poison kind of hair metal, even though it was hair metal or glam metal, whatever you want to call it. [00:08:27] Speaker A: That's what I'm interested in hearing, honestly, because I remember people saying that, and again, I wasn't specifically a fan of anything, so I didn't hate them. It wasn't like, oh, my God, winger sucks. I don't think I ever really said that. But I just never, like, it never clicked in with me. So when people talked about, oh, it's kind of progressive, I don't know if this album is. I think the second one, I remember people saying it was more towards that, so. But again, I mean, obviously, there's big hits on this album that we know, and there could be songs that. I mean, I know Nick had this for sure. I know that. [00:08:57] Speaker B: I mean, I'm sure I heard this. I'm sure I've heard the whole thing at some point somewhere. I just. I really haven't listened to this, literally, since it came out. So we're talking almost 40 years, 35 years, whatever it is. [00:09:11] Speaker A: I. Yeah, I'm there with you. I mean, I'm sure that this made its way onto my phone for my. My commute, where I'm like, oh, I want to listen to this and see what do I really think about this? But I don't think it ever did. So it's been a long time for me as well. [00:09:28] Speaker B: Yeah. I mean, just looking at some of the titles I do. They do kind of jog the memory, you know, obviously not the big singles, because there's, like, three big singles on this album. So, you know, you either could have gotten this right, which is the big album from Glingair, or you could have gotten something like, pull right, which is, like, their third album, or you know. [00:09:48] Speaker A: Which I bought because I saw the drummer and I was like, this guy's cool. [00:09:51] Speaker B: Oh, he's good. They're all good. [00:09:53] Speaker A: Yeah, they were a trio at that point. I don't know if it was. I think Paul Taylor. Is that him? The guy who helped? What did he write a lot for? Was it Ace frehling, the keyboard player? [00:10:03] Speaker B: I don't know. I'm looking. I'm looking at him right now. [00:10:05] Speaker A: Oh, no, I think it was. What's his name? Mick Mars, I think. [00:10:08] Speaker B: Yeah, the other side of Mars. Yeah, that's what it is. [00:10:11] Speaker A: Yeah. [00:10:11] Speaker B: Yeah. [00:10:12] Speaker A: Listen, this is another man that keeps playing. [00:10:14] Speaker B: Sammy Hagar. Gary Phil from Boston. Eric sing. Eric Martin from Mister Big. Aldonova. Steve Perry. Jurnee Alice Cooper, Tommy Shaw. He's done lots of stuff. So this is Kip winger, Red Beach, Paul Taylor, Rod Morgenstein. [00:10:31] Speaker A: I mean, obviously Red Beach. I remember his name really being a stick out in those days amongst my high school guitar player friends. [00:10:39] Speaker B: Oh, yeah. He. He was the shred guitar player. He was the prototypical. You wanted to have a good looking, really complai guitar player. He was like. He was like one of the guys. Yeah, it's. And he's, you know, he's stayed around. He's played in white snake and a bunch of stuff. [00:10:58] Speaker A: Yeah, he's. I think he was in docket for a while. [00:11:03] Speaker B: He's in lots of stuff. It says here. Let's see what he's been in to. He was. He's working with Fiona, I think. Yeah, he's done. He's done tons of stuff. Winger white snake, mainly that. Winger, white snake is mainly where is. And he has, you know, his own stuff. He did Fiona, but it was 86, so I'm not sure about this album. I don't. The different. Different Fiona. There's a bunch of fionas. I remember the album. I see the album cover. I remember what it looks like. [00:11:32] Speaker A: Yeah. He was on two docket albums. [00:11:34] Speaker B: Was he? Oh, yeah. Docket. [00:11:35] Speaker A: Well, eras late. I'm sorry. And a live one. Yeah. I have erasitive. [00:11:39] Speaker B: I remember liking that, which makes a lot of sense. Like, if you need somebody to replace George lynch, you need somebody really, really good. So, yeah, I'm excited to hear this. I haven't heard this in a long time. [00:11:49] Speaker A: Yeah. Honestly, this is. I gotta tell you, if I sat down and really thought about records, I'd want. This is one of them. Because, again, right. It comes with a lot of baggage. It comes with. I mean, again, I heard it really. Beavis and butthead really kind of hurt them. [00:12:04] Speaker B: Oh, yeah. I mean. I mean, between that and from some kind of monster, isn't that where he had, like, the poster of Red Beach Kid Bringer on the wall and he was throwing the darts at it? [00:12:13] Speaker A: Poor guy. I was like, oh, come on, man. Yeah, I'm pretty sure it was. Yeah, I'm pretty sure these guys are still kicking, man. They're still playing. And what's his name post a lot about him. Eddie trunk. [00:12:25] Speaker B: Well, even kid Bringer is like. He did some, like, classical, like, compositions and stuff. Like, he's really good musician. I mean, you can never tell by, you know, when you watch him on the videos days, always playing, like, the open string, like he's. And the shirt off with shirt open. You know, he was. It was just like, such a stereotypical thing. But, yeah, I'm super excited for that. The first side has literally, like, why half the side is. Is really big song. [00:12:51] Speaker A: Yeah. [00:12:51] Speaker B: And one cover. [00:12:52] Speaker A: Yeah, I think I remember that one. [00:12:54] Speaker B: I think I remember the beginning is. [00:12:55] Speaker A: Pretty funny, if I remember. [00:12:56] Speaker B: And weasel Zappa plays the left side guitar solo on. On that song. Pretty funny. Cool. I'm waiting. All right, let's do this. So, obviously, we know the first song. Madeline's the first song. That was a big song, too. [00:13:11] Speaker A: I think this one's all right. I don't remember specifically, but. [00:13:14] Speaker B: Yeah, I like this song. It reached number 27 on the mainstream rock billboard chart, so that's pretty good. [00:13:19] Speaker A: Yeah. I mean, they just made an album in 2023, and it's these guys. So now just have another guitar player. [00:13:25] Speaker B: Who? [00:13:26] Speaker A: John Roth. [00:13:27] Speaker B: They have an extra guitar player because Red beach. [00:13:29] Speaker A: Now they do. [00:13:30] Speaker B: Okay. Yeah. Well, that makes sense. That makes sense. Well, now there's an lp version of this song and a radio edit. I don't remember what I've heard. Have I ever heard the lp version? I'm assuming I have, but I can't tell you off the. Off the bat. [00:13:41] Speaker A: I want to say that Ollie remembers listening to this on Nick's cd. So I want to say that this is probably the version that I've heard. [00:13:48] Speaker B: Yeah, I'm super. I'm super psyched for this. All right, let's get this started. Here we go. So here's Madeline. I gotta say one thing. The part I get. I get what's his name's vibes from his vocals. Mark Slaughter vibes. I don't know why. Like, that part right there is mork slaughtery in his vocals for me, which is not, like, my favorite thing in the world. [00:14:23] Speaker A: Yeah, I mean, I think he isn't as high, but I can hear it. [00:14:27] Speaker B: Yeah. [00:14:27] Speaker A: And I mean, my God, this is so hair metal, right? That little guitar intro. This little. [00:14:34] Speaker B: Yeah. [00:14:35] Speaker A: Just pushing me back there. [00:14:38] Speaker B: All right, here we go. [00:14:49] Speaker C: Tell you about this lady sun set your eyes such a sweet believer story never lies when I found your girl you were so far down a black hat in the sky how in the world could it come to fear? Couldn't you see that you've gone too far? Saving your soul for that one last year living your ways upon a star. [00:15:43] Speaker B: Now this song always to me, always. Even though it's like super duper, like hair metal. Synthetic production is super hair metal. So Bo Hill is the producer on this? [00:15:53] Speaker A: Yeah. And honestly speaking, it sounds like rat. The melody sounds like rat. The guitar, I think, kind of sounds like ratified I've never picked up. Well, again, this is not something I haven't heard this song in years. I do know it, though. I mean, I remember it perfectly. [00:16:07] Speaker B: Oh, you have to. [00:16:07] Speaker A: But I'm listening to it now. I'm like, holy shit, it sounds like brat. I mean, just think about Stephen Pierce. He's singing the. Singing it. You know what that whole. Do you know what I mean? [00:16:19] Speaker B: Yeah, no, I just. I just. I always felt, though, that it had a really. It always felt like the song was just a little more. It wasn't so straightforward to me. It always felt a little less straightforward. I don't know. I mean, the playing and the riffs, maybe a little bit. It's just not. It's not as straightforward as a lot of super hair metal is, either. So, I mean, obviously they're. They're very good. They're very good musicians, but the production is super eighties. Oh, my God. Like, the doubling of the vocal and the super process drum sound. I mean, that is one of the things. I'm happy in the nineties that they got the drum sound a little bit better. It wasn't as. It wasn't as produced. [00:16:57] Speaker A: It was a little bit more. [00:16:58] Speaker B: I mean, I don't want to totally dry, don't get me wrong. I mean, there's be something on it, but I think that they got to the point where that. That gated reverse reverb thing they would do on the snare all the time. [00:17:07] Speaker A: Yeah, well, it's more full. Right? That's what it is. And it fills up the. The sound that it's almost kind of like arena live drums, in a sense, I think. [00:17:17] Speaker B: Yeah. So, yeah, I like it so far. I mean, it's not bad. [00:17:22] Speaker A: I like the verse. Yeah, I feel that the chorus kind of. I mean, again, I got to keep listening to it, but feels a little bit like the chorus kind of crashes into it. Yeah. [00:17:31] Speaker B: And Madelaine is such a weird. Is such a weird name for a song. [00:17:36] Speaker A: Well, yeah. And then we had la gumps with magdalene, and then we have them with Madeline. Madeleine. [00:17:41] Speaker B: So here are the lyrics. So. Such tender eyes, such a sweet believer their story never lies when I found you, girl, you were so far down a black cat in disguise how in the world could it come to this? Couldn't you see that you've gone too far? Saving your soul for that one last kiss living your wish upon a star Madeleine this love is too tough to tame Madelaine beware of the girl beware of the pain now, is it supposed to be about, like, a girl who's, like, a hooker? Is that what this is about? I'm not sure what this is about. Like, there's a line. How in the world did it come to this? Couldn't you see that you've gone too far? Like, I don't know where this is kind of going. Yeah, I don't know why he's a prostitute. Maybe. I don't know. [00:18:26] Speaker A: I don't know. Maybe I'll clear up. But, I mean, you know, for what it's worth, a lot of the lyrics in this genre was kind of like, oh, we got to write about a girl, so let's write this. And, I mean, again, I don't know what's coming up, so I won't say. [00:18:40] Speaker B: Exactly what it's usually about. The girl who. Who comes to the big city from the little town. Like, that was a poison thing. [00:18:45] Speaker A: Oh, yeah, there's a lot of that. A lot of them did that, too, though. A lot of. I mean, you probably think of these people as all, like, oh, these are all city guys and whatever, La guys, and. But, I mean, a lot of them came from small towns, other places in the US, because LA was the place back then, right, for this kind of music? [00:19:01] Speaker B: Pretty much, yeah. [00:19:02] Speaker A: I mean, the strip. [00:19:03] Speaker B: All right, here we go. [00:19:05] Speaker C: Running scared through the dark of the day the story never dies the names keep changing and the faces fade take you dead or alive how in the world could it come to clear? Couldn't you see that you've gone too far? Saving yourself all that one last year living your wish upon a star this is love to time. The same. [00:19:52] Speaker B: Solo happens. Yeah. I mean, I don't hate it. I mean, you know, obviously, I don't hear anyone else doing background vocals besides him, at least on the. On the record thing. [00:20:03] Speaker A: Yeah, and they're weird. Kind of the background vocals. Right. Because it's like. It's, like, very low. [00:20:10] Speaker B: And I don't know. Everyone supposedly does background vocals, but. But this one feels like it's just him. [00:20:16] Speaker A: Yeah. [00:20:17] Speaker B: There's not much interesting little, like, during this. During the chorus. The ah. That thing. The ahs. That's not bad. [00:20:26] Speaker A: Yeah, that's what I'm saying. I would think that would be kind of bigger, but it's not. [00:20:30] Speaker B: I mean, he's a better singer than Steven Piercey from rat. Yeah, but I can hear that. I can understand where you. I hear a little bit of the rat thing there, too. Very little. [00:20:38] Speaker A: Yeah, it's kind of the melody, not. I don't think his voice sounds like his. Yes, I just hear it kind of, like, in the melody and even in the riff, honestly. A little bit. [00:20:46] Speaker B: A little bit. [00:20:47] Speaker A: So, yeah, I think it was pretty hands on. Right. [00:20:50] Speaker B: Um, yeah, he actually did some additional vocals on here, too, so, I mean, he was big during this time, so. [00:21:00] Speaker A: Was he the one that didn't really like this kind of music was still kind of. [00:21:03] Speaker B: No, no, that was, um. That was somebody else. That wasn't him. No, he did. He did tons of stuff. Okay, so here's the lyrics. Running scared through the dark of the day the story never dies but the names keep changing and the faces fade take you dead or alive yeah, I'm telling you that's what this is about. And then. And then the same pre chorus. How in the world could have come to this couldn't you see that you've gone too far? Saving your soul for that one last kiss living your wish upon a star then back to the chorus again. And I'm pretty sure we're gonna get a shred tastic solo. [00:21:42] Speaker A: Well, it's already started. We got a little glimpse right there. Right? [00:21:46] Speaker B: Yeah, of course. All right, here we go. Fairly quick for a band, which I always associate with longer solos than that, so. Yeah, but, I mean, obviously, it's played very well. I mean, he's a great guitar player, you know, the bunch of tapping stuff. Yeah, tapping stuff. And then. And then he kind of does a little bit of melody thing. [00:22:37] Speaker A: But. [00:22:37] Speaker B: But. But there's always that, to me, shred thing that's behind all that. And unfortunately. Fortunately. Unfortunately, the Eddie Van Halen effect is in full effect here. And. And unfortunately not him. I'm not even, like, picking on him. But in general, they took all the parts that you, everyone thought that you wanted to take from his playing, but they never got the parts from his playing that they should be taking from him. I think everybody, everybody who played in the eighties, me included, I think we all kind of focused on, wow, look how fast he plays. And look, you know, look at. But we didn't. We didn't take into account, like, the melody and the swing of his playing, you know what I mean? Like, everyone took like, the whammy bar stuff, the tapping stuff, and the really fast run stuff. That's what they took out of it. And you know him, you know, he's a really good guitar player, so I think you can tell from him. I don't think he's as generic as a lot of the guitar players during that time frame. So you can kind of tell who his playing a little bit. He does some weird tapping stuff, too. Even though his tapping. He taps. He does some weird tapping things. You'll hear it on some of the other songs that you're like, oh, that's a little weird. That's a little different. He kind of took it in a different place. But, yeah, it was a good song. It was a good solo. [00:23:58] Speaker A: Yeah. [00:23:59] Speaker B: Yeah, I liked it. It was good. I mean, listen, I don't think I'm going to be wanting for guitar playing on this record, so. No, no, I. Cool. So I. So, what are you thinking so far? Do you obviously remember the song? Right. So what are you thinking so far? [00:24:13] Speaker A: Um. It's okay. I mean, yeah. It's not. It's not terrible. No, I mean, to remember it all these years. Right. And not, um. And not having heard it for. For so long. [00:24:25] Speaker B: Oh, yeah. [00:24:26] Speaker A: But I do. As soon as I, like I said, I just. I feel like. I really like the. The verse. I like the melody in the verse. I just feel like. I don't know. The chorus is just boring compared to it. [00:24:39] Speaker B: Yeah, I could see that. [00:24:40] Speaker A: But it's not terrible. [00:24:44] Speaker B: Yeah. I'm hoping. I'm hoping to hear songs, like, later on in the album that I haven't. Haven't heard in a long time or never heard. I guess that I'm sure I listened to this record, but, like, I could. I don't know if I. Maybe when I start hearing I will remember them, but I don't. Off the top of my head, looking at some of the names, I'm like, I don't remember. Like, they're familiar, but I'm not sure. [00:25:02] Speaker A: But I mean, at the time, right, this. This was the music of the day. Too. Right. [00:25:05] Speaker B: So, yeah, I. [00:25:07] Speaker A: It was the music of the day, and it was on the radio. It was on MTV and liked it. So, I mean, we probably oversaturated ourselves as well. [00:25:18] Speaker B: Well, and considering that we really didn't have MTV in the Bronx. No, no. So we had to. We had to deal with, like, the hood version of. What was it called? The thing that was on, like, uhf or what the hell was. [00:25:33] Speaker A: Yeah, yeah, uhf. I remember. [00:25:35] Speaker B: That was it. I forget the name of this. I forget the name of the actual show, though. [00:25:41] Speaker A: Yeah, forget to. Like I said, we used to get whoever. Whoever had cable, they would record the videos for us. Right. And then we would just kind of pass it around, all of us, and watch it. [00:25:52] Speaker B: Yeah. [00:25:53] Speaker A: Sometimes we get together at somebody's house and just watch it. [00:25:56] Speaker B: Mm hmm. Yeah. Because we. I didn't have cable, so I couldn't. I couldn't see this. Like, it wasn't playing on the UHS channel. Like, I didn't know. [00:26:03] Speaker A: Yeah. [00:26:04] Speaker B: All right, let's continue. Here we go. Well, every song during this time frame had to do the one step up vocal thing. Bon Jovi. I mean, I can't. Probably more songs that I can remember. [00:27:26] Speaker A: That do that if we probably start thinking about it right now. [00:27:29] Speaker B: Yeah, I mean, I think that was kind of, like, part of the formula of. Of songs then. So I'm gonna read whatever, an extra. [00:27:36] Speaker A: 30 seconds of the song, basically. At least 30 seconds. [00:27:40] Speaker B: I'm gonna read, um. I'm gonna read the last little piece of lyrics that I didn't get to read. So I guess out of the solo, all your glory was left like an angry child waiting to take your luck away but you still can't see your. But you still can't see you're still running wild oh, Madelaine, don't. Now don't run away from me. And then back into the chorus, because then they kind of slowed it down. I kind of like that he. That he did the guitar lick at the end was kind of like the solo thing. Right. So he kind of redid that again. That sounded good. [00:28:08] Speaker A: What do you think of it as a. As an album opener? [00:28:11] Speaker B: I think it's pretty good for an album opener. It's up tempo. I don't think it's bad. [00:28:16] Speaker A: Do you want to go first or. [00:28:17] Speaker B: No, you go first. [00:28:19] Speaker A: Let me see. The lyrics aren't terrible. They seem to tell a story. I'll look up. Exactly. They think there's. I was trying to find. Kip says it's a chick song. He means it's a song about a girl. One of his favorite subjects in this case, madeleine, is a wild woman, too tough to tame. This is actually their first single, too. You know what? I'll say a six on the lyrics, because I feel that, you know, there's definitely worse things coming, and it seems to at least kind of tell a story about this person. Music. I'll probably say a six as well. It's not terrible, and it's pretty short. I mean, it goes by pretty quickly. Production, I don't know. I don't think it was too crazy about the production also, I think it, um. I'm gonna say six on the production as well. I felt like it was lacking something. [00:29:11] Speaker B: Yeah. [00:29:11] Speaker A: Base, but, yeah. Was that. I mean, yeah, it needed something. I need a little punch. [00:29:17] Speaker B: Yeah. This is not a. This is not a remaster. So this is the mix. And to me, it's very. It's very treble forward. It's very high end forward. Like, I barely even hear the bass there, so maybe that's what it kind of does. [00:29:31] Speaker A: Remind me what year this album came out. [00:29:33] Speaker B: 88. [00:29:35] Speaker A: So let's start kind of towards. It's like the height, but late height, right. It's kind of. Yeah, like the firehouse era. And Firehouse came out. [00:29:47] Speaker B: I think that was later. It was later. Well, meanwhile, while you're looking that up, I'm gonna go. [00:29:51] Speaker A: Yeah, I was gonna say, so, yeah. [00:29:54] Speaker B: I mean, the lyrics aren't bad. I'm gonna give them a six. Trying to think what I'm gonna do for musicians. I mean, it's not. I mean, obviously it's played very well. I'm not a big fan of, like, the background, but there's a lot of processing on his voice, too. A lot of reverb, a lot of delayed. [00:30:08] Speaker A: Mm hmm. [00:30:08] Speaker B: It's not the. I mean, it's not my favorite thing in the world to have happen, but, yeah, I guess I'll give it a six. I'll probably do six on production to six all the way across. I mean, it's not. It's definitely not bad. I mean, it's not a. It's not a bad opening track. Now, the next track, this riff always felt a little off timey to me. This is where I think you feel a little bit more of the progressive parts of this, if you can call it that. And this had to be, like, one of their biggest, bigger singles. Well, actually, not really. Actually, the other one was bigger than this. This got to 34. The other one got the 27. [00:30:40] Speaker A: The one we haven't listened to yet? [00:30:42] Speaker B: Yeah. The one that's. One that's coming up right now is gonna be 34. The one we just listened to. [00:30:46] Speaker A: So, wait, Madeline charted higher, or the other one? [00:30:49] Speaker B: No. Madeline. [00:30:50] Speaker A: Charlie. Yeah. [00:30:52] Speaker B: So this is gonna be hungry. But I always thought this song was bigger, but obviously not. I mean. Well, I don't. Maybe the video was bigger. I mean, this video was on. [00:31:00] Speaker A: Remember the video? [00:31:01] Speaker B: It probably has something to do with him and his shirt off or open. [00:31:04] Speaker A: Yeah. [00:31:05] Speaker B: Spin it around. [00:31:06] Speaker A: And I apologize to Kip if that's not the case, because I just don't remember. Maybe that that image is stuck with me. [00:31:11] Speaker B: Yeah. I only remember him playing, like, one hand and then spin, doing spins. [00:31:16] Speaker A: Yeah, I remember that, too. Like, almost to not even having his hand on the fretboard. Right. Just kind of like. [00:31:22] Speaker B: Yeah, no, it's always open notes. He must have wrote the songs everywhere where he could have open notes in it. Good for him if he could figure that out. All right, so here we go. This is hungry. [00:31:30] Speaker C: I hear the ticket on the clock counting every day I've been alone how long before you're coming back? If I don't see your face I'll. [00:31:49] Speaker A: Turn the stone. [00:31:53] Speaker C: Can'T keep holding on this way if you want another day can you hear me when I say it? For your love, girl, I feel I rain for your love I raise think. [00:32:27] Speaker B: Of that beginning part again. So now we have a new beginning thing. [00:32:32] Speaker A: It's okay. I mean, it's not bad. It's almost Beatles, right? In a sense, when you get the, like, Eleanor Rigby kind of thing. And again, I mean, not to say that, oh, if it's got that and that, it's a Beatles. No, I mean, it's just kind of reminiscent of it. Yeah, yeah. It's got a cool. You know, the timing is weird, which is good. I mean, it's a good weird. And, I mean, it goes to show, obviously, how tight they were and the fact that they could do. Because obviously, a lot of bands that were popular, nobody was doing this kind of timing in terms of. Again, that's called quote unquote hair metal. Right. I mean, poison was. Nobody was doing timing like this mainstream metal. [00:33:16] Speaker B: No. Well, that's what I was gonna say is that I always. This song, even more in the last song, always felt a little. Because it's a little bit off time, but it's not really off time. It's probably still in four four. But it feel it just the way it's played. And I like the riff. The riff is a little more interesting. So this is where you kind of see more than musicianship. You're right. And there was no other bands, like, in the genre generally kind of doing this. [00:33:42] Speaker A: I mean, again, Bon Jovi, right? They weren't doing this. Skid row wasn't doing this. I mean, I'm trying to think of. And again, this is not. I'm not talking about guys like Momstein or. You know what I mean? Like people who. Something like that. I'm talking about more stuff like this. I just wish it wasn't so generic. The lyrics are so generic. [00:34:02] Speaker B: I know. [00:34:03] Speaker A: I mean, everybody was hungry for love, too, right? [00:34:05] Speaker B: Yes, pretty much. [00:34:06] Speaker A: There's so many hungries back then. I mean, white lion had a hungry. They had a hungry. [00:34:10] Speaker B: I like white lions. Hungry better. Mean, as far as a song goes. [00:34:15] Speaker A: You like white line or this one better? [00:34:16] Speaker B: I like white lines better. I think. I think I like Vito. Brad is better as a guitar player. Although back in the day, I can say that now, but back in the day. Well, no, back in the day, I was like, okay, this. He's a. He's an Eddie Van ham clone. That's what he is. That's what I remember saying that and that I ever thought he was bad. It's just I. When you're younger, you know what I mean? You come to sing, and Van Halen's one of my guys. Like, I hear this guy go, and I'm like, why? Why am I gonna listen to this guy? Just listen to Eddie Van Halen. Why am I listening to him? Because it was. It was so similar, but not really. But back then, I felt it was. You know what I mean? [00:34:50] Speaker A: But think about how many people. He probably said the same thing about Hendrix, right? All this guy's a Hendrix poem. [00:34:55] Speaker B: Oh, yeah, pretty much. [00:34:55] Speaker A: And then maybe listening back later, either they became more. Or you're like, I could see the difference now kind of influence as opposed to clone. [00:35:03] Speaker B: Well, Red beach was always on all the guitar magazine and stuff, so you couldn't get away from him either. I mean, we all knew he was a good guitar player. And I think, like, he's playing, like, just in this part right here. You can kind of tell that he's got something going on. He's not. He's not the same old, same old guitar player that's in all the other. You know what I mean? All the other hair metal people. So here are your fun lyrics that you love so much. I hear the ticking on the clock counting every day I've been alone how long before you're coming back. If I don't see your face, I'll turn to soan can't keep holding on this way can't go on another day can't you hear me when I say girl, I'm hungry for your love? Girl, I'm hungry baby, let me in hungry for your love hungry, I can't get enough so, yeah, it's. You know, it's cliche lyrics. The music is not cliche. [00:35:56] Speaker A: No. It could be. Right. I think if. If they simplified the riff and didn't make it as complicated, but they chose not to. And, I mean, again, I do remember, like you said, there was something weird. Not weird, but. But hearing it now, like, oh, it's cool if I'm trying to pick up on the pattern and whatever. It is cool to hear something like this in this genre where people, like, we're not playing it straightforward, we're doing it like this. [00:36:22] Speaker B: And even the intro thing, like, they didn't have to come in with that. They could have came in different, but. [00:36:27] Speaker A: Even that is off, if you think about it. Like, he's kind of singing straight, but if you hear what's going on behind them, it's not. It's not simple. Whatever's going on, even that is a little bit different. [00:36:37] Speaker B: So trying to see who. Who played me. Played what on here. So there's a bunch of people doing strings and all that kind of stuff. [00:36:47] Speaker A: Yeah, I kind of assumed I. [00:36:49] Speaker B: Keyboard, you know, I think it's actual strings. I think it's actual, like, you know, string instruments. It's not. It's not samples or anything, so it's probably why it sounds so good. I mean, the production here is a little bit better than the last one. I think it's a little. Little more full, but not. But not by very much, though. [00:37:07] Speaker A: Yeah. [00:37:08] Speaker B: Let's continue. I'm. I do want to. I do want to get to the solo. Solo. Yeah. Here we go. [00:37:16] Speaker C: You love the color of my heart when I look in your eyes and my face will fear so still together when we're apart I began to die holding on this way if you want another day can you hear me when I say girl, I'm hungry for your love girl. [00:38:27] Speaker B: I don't really like that part that much. [00:38:29] Speaker A: Oh, not at all. To me, it doesn't fit at all. It went into, like, this different range. Yeah. [00:38:39] Speaker B: I mean, I don't hate the chorus. The chorus is kind of catchy. [00:38:43] Speaker A: Yeah, it's not. Again, it's not a terrible song. I mean, again, the fact that they are doing the cool little, you know, accents and stuff like that. [00:38:53] Speaker B: Well, yeah. And this, since I'm not just playing straight chords, like, he's playing little riffs in the chords, and the drums are kind of following a little bit. Sort of. Kind of. Although his stuff is pretty straight in this, though, I don't hear much like, him going. That's not where the timing is. I don't think it's more in the guitar playing, to me. [00:39:15] Speaker A: And I'm assuming the base is just kind of. [00:39:18] Speaker B: Yeah, well, the base is not really. Not really pushed up, so. All right, so here's. Here's lyrics. It loves the color of my heart when I look in your eyes everything's so clear? So still together when we're apart I begin to die unless you're here. And then obviously, pre chorus, chorus again. And then there's the little bridge part. I lie awake all night, I can't stop remembering. You got to make it right. I can't hold it in. Yeah. Like I said, I'm not a big fan of that predez bridge thing, whatever you want to call it. Pre solar. I mean, I don't hate this song. Obviously. It. It was good enough that I remember it. I know exactly where. What the song is from back in the day, so. [00:40:05] Speaker A: Yeah, I remember this as well. And again, I wasn't, like, an avid listener of this album. [00:40:12] Speaker B: No, I mean, you know, it went to 35, so you heard on the radio. It was top 40 songs, so it was up there. All right, here we go. Solo time. No, it's. [00:40:49] Speaker A: I mean, come on, they can't cut them off like that. It sounds like shit. Me, personally, because I was kind of getting into it, like. All right, where's he gonna go next? It's, like, hungry. And then they do this little dining. [00:40:59] Speaker B: Yeah. And a little bit of the zeppeliny thing that, like, kingdom come with later. I mean, it's a little cashmere, right? [00:41:06] Speaker A: Yeah. [00:41:06] Speaker B: I mean, but that was kind of. [00:41:07] Speaker A: You know, but it just honestly sounds like someone ran over to his. His speaker turned amount to zero all of a sudden. You know? I mean, it just seems so abrupt. [00:41:14] Speaker B: It was short for a solo. It was really short. [00:41:16] Speaker A: The first one, too. I mean, this one, though, like I said, it just really felt like somebody hit stop while he was still playing. He's like, wait, wait, wait. [00:41:23] Speaker B: I mean, it is kind of weird that I would. I. I remember being longer, but obviously. No, that's. That's the solo. I mean, whatever he did there was great. [00:41:32] Speaker A: Yeah. I feel. [00:41:34] Speaker B: Yeah. Even though it's shreddy, he does have a little more feel than the average, like, shred guitar player guy. So, I mean, you know, he obviously is very talented and, you know, you can't. You can't actually. You can't say, you know, he can't play guitar. It's not like no one would talk about him. Like they talked about Cece Deville. Right. That no one's ever said. No one would ever say that about him. [00:41:55] Speaker A: Meanwhile, Cece Deville's getting twelve bars, a damn solo guy. [00:42:01] Speaker B: Doing whatever you want. [00:42:02] Speaker A: I mean, again, that was nineties, so maybe he. I don't know what to say. [00:42:08] Speaker B: Prior, he was getting a lot of stuff, too. The album before that, he was getting stuff. He was getting longer solos. Not as much as that, but he was getting a little bit longer. [00:42:17] Speaker A: I mean, again, I don't know enough about this band to know what the deal was. Maybe was a conscious effort to say, listen, we want focus on everything. So the guitar solo is not going to be that long. You know what I mean? We're just going to have. It's more about the pieces. I don't know, because again, I mean, that just sounded like it ended so abruptly. [00:42:34] Speaker B: Yeah, it was like four bars even. [00:42:37] Speaker A: Just the way it ended, like, halted and then. All right. Amen. [00:42:41] Speaker B: Yeah. Yeah. I'm not. I'm not sure they need to do the cashmere thing in the middle. [00:42:44] Speaker A: Yeah. I was like. [00:42:48] Speaker B: It wasn't exactly cashmere, but it was cashmere enough. [00:42:50] Speaker A: Yeah, it's. Yeah, I mean, that's kind of a vibe, but it's. It's not as good. It's a little tinny kind of what it is. [00:42:55] Speaker B: I mean, I think it's. Is kind of the production you're gonna hear on this record. It's a very eighties production, so it's gonna sound like this one. [00:43:01] Speaker A: You know what? I honestly, I would think it would sound better. [00:43:03] Speaker B: No, no, I wouldn't think so. I think a lot of the 80 stuff on this time sounded this way. It was very guitar forward. It wasn't as much bass as you thought you remembered, you know what I mean? It was really made for, you know, a lot of people playing it in the car. So you most. Well, unless you put subwoofers and stuff and put in your car, you didn't have that much bass. But still, you know, I would like a little more than this. Like, I don't even know where the bass player is doing. What's he playing? I have no idea. [00:43:28] Speaker A: I mean, considering the band's named after him. Who knows? Maybe there'll be more stuff later on. [00:43:32] Speaker B: Yeah, I don't know. Here we go. Now, did that sound a little weird? And it was a weird guitar tone, so it felt like he had, like, the wawa, like, cocked up, and he was, like, took all the frequencies out. Was very weird sounding. Ref. Yeah, it wasn't very full. Yeah. For all the big eighties drums in here, that part should have had bigger eighties drums. Like, I'm not saying I want that, but if you're gonna do it, like, this is the part to do it on. I don't hate that part. [00:44:21] Speaker A: Yeah. Just sounded very tinny. No, it's okay. I just needed bigger. [00:44:41] Speaker C: In I pray, baby I pray all day for your love I. [00:45:34] Speaker B: Yeah, well, at least he got some of the guitar playing back at the end. Okay, I'll go first. I don't hate the lyrics. I mean, I kind of think they're on par with the one prior, so I'm gonna say six. Musicianship. I think the musicianship, to me, is a little bit better. I like the. I like the riffs. Like, you could really hear, like, the. The riff at the end. Like, what he was kind of doing. I kind of like that. I mean, his guitar playing was good. Drumming is good. I don't know what the bass is doing. Probably just open strings, because that's kind of like what he does, as far as I know. So I'm gonna say seven. And then production, even though it's a little bit better, there were some interesting choices there that I don't think I would have made. So, for me, I'm gonna say six. What do you think? [00:46:18] Speaker A: Sounds hard. Because, I mean, like I said, I really like what you're doing in the. You know, with the accents and everything, and. But there's parts that I really don't like, so, I mean, lyrics kind of. I'm gonna say a four on the lyrics. I mean, it's just so generic, you know? I mean, I think their lyrics meet. [00:46:39] Speaker B: Where you really gonna go? You know, what's coming up? Are you really doing four here? [00:46:44] Speaker A: Oh, my lord. [00:46:46] Speaker B: I'm just. [00:46:47] Speaker A: I'm letting you know on the Motley crue version. Yeah, that's. Believe me, I know it's coming. So I have to. I have to gauge. I have to think about that as well. Music. I mean, I was at it. [00:47:02] Speaker B: I gave it a seven. I think that there were some interesting things done there. Like, I'm not. I'm not super, like, into the cashmere thing in the middle. Because I think everyone kind of picks that kind of melody, even though it was not the same thing. Everyone just picked that song from zeppelin and kind of used it in different places. I like to think at the beginning with the. With the cellos and all this stuff, I think that's pretty cool. I think his guitar playing is good. His drumming is good. [00:47:22] Speaker A: No, I like that. I mean, I like the, you know, the kind of complexity of what they were doing. Again, they could have just played it straightforward, but they didn't, and they were tight. And. Which I like. I mean, I always love when the drummers and, you know, accents the riff and just. It gives it more oomph, you know? I'll say seven for this one, because, I mean, I don't. Again, I don't know everything else that. Coming down the bike. I want to say six in production again. I mean, I just think it's. It's not terrible, but it's kind of thin. It's not incredibly thin, but it still doesn't have that. I think if it had a little bit more, like, even that part where it was just a drum and that guitar just needs to be a little bit bigger, I feel. [00:48:03] Speaker B: So now we get to a song that obviously we've hit a lot of songs like this. And I know we had a conversation during the week about, like, how I take these songs like this, no matter what song it is. Like this. I understand now, being whatever age I am now, comparative to when I was 16 or 17 or whatever it was, hearing songs like this. Because when you're 17 and you hear about. And you hear a rock star talking about a girl 17, you're not thinking about them with the 17 year old girl that you're thinking about you with the 17 year old girl. You know what I mean? [00:48:36] Speaker A: Maybe. I don't remember. I remember this song disturbing me back then, too, so. And I was. What I was. When did this come out? 88. I mean, I was 14 at the time, and maybe. Maybe I wasn't thinking it, but I think I kind of thought it. And it's so funny when you hear these songs, and even though the girls underage and especially with these guys, whatever, however aged they are, I mean, I don't know how old he was at this point. I've assumed 20 something, I'm going to. [00:49:02] Speaker B: Tell you right now. So they give you at least an idea of how old he was. So he's 63, so he was 20. He's kind of late twenties, right? Yeah. Yeah. So. So he was, like, 27. Oh, yeah. But again, I don't, I don't take it that way. I understand why it's not a good look now, but like our conversation said, there's so many songs that are going back for a long time. Into the fifties, right? Probably. Probably before that, too. But, yeah, I didn't take it that way at the time. Now you look back and you go, I might not have aged that well. So this is 17, at least. [00:49:40] Speaker A: She's always. Is that agent cassette in New York, I think. I mean, listen, I'm not justifying it, but at least it's better than the 15 year old that what's his name was going after. [00:50:05] Speaker B: Now, again, that riff is not as easy as it sounds. [00:50:09] Speaker A: It's a little Van Halen y to me. [00:50:11] Speaker B: I want to say weird syncopation thing because he's kind of playing with the. He's kind of playing with the. With the delay, too, on it. So it's not as easy as a sound. And I think if you're a band, you might have a harder time playing this on. You think you would. He says Red beach wrote the riff when he was 15. He said he was trying to rip off Led Zeppelin with that weird syncopation, but he doesn't remember which song he tried to rip off. He doesn't probably either the crunch or Walters walk. So. So he says he's seen cover bands play this song and none of them play it right. He says, because it's. There's a little, there's a bunch of picking, the bunch of syncope. Syncopations. And, you know, this is another thing, like, you're not hearing because of the weird syncopation stuff. This is not something that any, any rock band, a lot of rock bands did. You know what I mean? So it's one of those things. This was their biggest so far on this album. This is number 19, and it was on the hot 126. This is a big. This is big for them. So let me just back it up a little bit and then we can get to lyrics. Here we go. [00:51:19] Speaker C: From the corner of my eye when I burn it was rolling outside. I said, please excuse me, I didn't get your name Miss Shame not to see you again and that's when I thought she was coming to my door. She went for sleep. [00:52:06] Speaker B: Yeah, there's the lyric right there. So have to take. [00:52:11] Speaker A: So here's the deal, right? He almost has, like, you, okay? So he sees this girl, but he doesn't know how old she is, right? And then he says, she brought me to the floor, she says, I'm only 17, right? And it sounds like, oh, wait a second. Right, but that's not where the song goes. No, it's almost like he has this moral thing. He's like, oh, my God, like, shit, I didn't know you were 17. No, whatever. I am. [00:52:35] Speaker B: Yeah, well, but then it goes into like. Well, I don't even know. I don't even know if it goes into oh, well, yet. I mean, I think that the fact. [00:52:42] Speaker A: That daddy says she's too young, but. [00:52:44] Speaker B: She'S old enough for me. [00:52:47] Speaker A: Because again, you can almost take it, like where he's stopped. I mean, there's, I mean, just kind of reading ahead, almost like where he's. He wants to stop it. But she's kind of like at this point, you know, saying, oh, blah, blah, blah. No, it's all right. I mean, once he goes into that again, like when she's the one who says, I'll show your love, like you've never seen. Okay, she's only. She's only said. I mean, he's saying she's only 17. I mean, listen, right, one of the. [00:53:15] Speaker B: Famous bands, even in the sixties, there was this stuff going on, right, in the seventies. And I mean, everyone's. Everyone has one of those, man, even bands that you really love have a song about this. So this is. I think there was a lot more. Well, I think maybe not during the eighties, maybe during the eighties, but definitely in the seventies. Definitely in the sixties and the fifties, a girl of 17 wasn't a girl of 17. Now, as far as emotional, you know what I mean? Those girls were a little older in their own head than maybe 17 year old girls. Now, not that I know, but I'm saying that would be my assumption that that's why you don't hear as much of this anymore. I don't know. I mean, that's the only thing I can think of is that it was very. It was happening all the time. [00:54:05] Speaker A: I mean, I think it's a attention grabbing. Oh, yeah, I believe it in a sense, right. Because it stirs a little bit of controversy. It makes it dangerous, right. So it's a kind of like, hey, the kids will get on this. The parents will hate this, but the kids will get onto it again and again. When this album came out, yeah, I. [00:54:27] Speaker B: Mean, I was 14, you know, there were 17 year old girls singing this song, you know? There were. [00:54:34] Speaker A: Of course, you know, there were. [00:54:36] Speaker B: So, you know, I mean, yeah, it's a little creepy when. Now, looking back, I don't know. How does he. I mean, I assume he sings this song now. Like, you gotta, you know, when you're 27 singing. It's bad enough when you're 63 singing it. [00:54:50] Speaker A: You know, when he's 63, like, she's only 40. [00:54:54] Speaker B: She's only 53. 53. [00:55:00] Speaker A: Yeah, exactly. Yeah. No, because when I had kind of forgotten, because I was never a big fan of the song, I'll be honest with you. So, I mean, not even the lyrics, because again, back then, I probably wasn't thinking about his age or whatever. I just wasn't a fan of the song. And again, this is explicitly where I remember him with the shirt open, spinning around, kind of like shifting side to side. Yeah. I mean, but then, like, when it gets into. There you go. Whisper to the floor. I'm like, oh, wait a second. Maybe he's like, listen, you're good looking. But I was like, no, no, I remember. [00:55:37] Speaker B: Well, 100% he didn't know she was 17 until the course. [00:55:41] Speaker A: No, no, I agree with that. So he does add a little bit of that moral dilemma in there. [00:55:47] Speaker B: I think I'll read you the lyrics, although you probably don't need lyrics yet, but I'll read them anyway. Yeah. I saw sparks fly from the corner of my eye. And when I turned, ooh, it was love at first sight. I said, please excuse me, I didn't catch your name. Oh, it'd be a shame not to see you again. Which is a normal conversation. Right? He sees a girl, right? He doesn't know, oh, who are you? And then. And just when I thought she was coming to my door, she whispered sweet and brought me to the floor. That's a weird little thing. Like, I thought she was coming to my door. Isn't she at your door? Ready? I don't know. And then she said, I'm only 1717. It's catchy, though. I'll show you love like you've never seen. Oh, she's only 1717. Daddy says she's too young, but she's old enough for me. Yeah. And there it is. Like the citation goes. This is a chorus. That's subtle. That's a subtle nod to the fact that kip winger is a pedophile. I don't think that's. Yes, if you're looking through it, through the lens of the lens. Because at the beginning, he didn't know she was 17. [00:56:55] Speaker A: Listen. Yeah, that's what I'm saying. I was like, oh, maybe. Maybe that's the whole thing. It's kind of like, oh, you know, whatever. Call me next. Year, I guess. You know what I mean? [00:57:06] Speaker B: Lyrics do get worse as they go along. But I do like the riff and I like the syncopation. I like that part of it. Like I said, there wasn't a lot of bands doing stuff like this, so. [00:57:15] Speaker A: I don't maybe just. Is it Elvis Cooper that just ruined them being 18 because I'm 18? Is that the whole thing, that they couldn't be 18 because everybody's like, oh, you know what I mean? Because, again, that's bad enough. [00:57:25] Speaker C: Come to my place we. Oh, everything going down in your head I need some time to work it out to make you mine and that's what I thought. She was coming to my door she went, my sweet and brought me to the door I'm only 17, you ain't seen love, ain't seen nothing like me she's only 1717. [00:58:14] Speaker B: Now we have to. We have to dissect this next bunch of lyrics because I'm a little confused, but I'm not confused. He says, he says, come to my place, we can talk it over. Oh, everything going down in your head now is it? So she comes over to his place and to talk over what's going on with her and him, right? And then, oh, everything going down in. [00:58:33] Speaker A: Your head these lyrics make no sense. [00:58:35] Speaker B: But she was the one that pursued this, right in the first part. [00:58:37] Speaker A: This is. Yeah, these lyrics make absolutely no. [00:58:40] Speaker B: And then she goes. And then he goes, she said, take it easy, I need some time. So now she's double. Is she second guessing what she was doing? And then it's. Then it's time to work it out to make you mine and then it's back to the same pre chorus and chorus again. [00:58:54] Speaker A: That's the thing, too, because that pre chorus makes no sense. There's no need to repeat it. You know what I mean? It should be different at this point. He's progressed. I mean, honestly, the lyrics make absolutely no song. They did in the beginning, but this makes zero sense. Yeah, because now he's saying right to her comment, we owe everything going down in your head. Okay, maybe he's like, okay, listen, but again, she pursued him. Now it sounds like he's pursuing her. But then she says, take it easy, I need some time, time to work it out to make you mine. [00:59:21] Speaker B: Yeah. I don't know. [00:59:22] Speaker A: I mean, like mine. How? [00:59:23] Speaker B: Well, no, I mean, you know what she means. But. But is she confused? Is she not confused? It sounds like she's confused before. [00:59:30] Speaker A: And I mean, he was like, whoa, wait, you're 17 and I was like, you're 17. All right. [00:59:36] Speaker B: I mean, you know, lyrics aside, right? I mean, the chorus is catchy. Where's his catchy? Regardless of. [00:59:41] Speaker A: I mean. I mean, again, though, not in. Listen, this could have any. Any lyrics. I just. In general, I've never been, like, a fan of the song. And it wasn't even because I didn't know the words. Yeah, all the words. [00:59:51] Speaker B: I like the melt. The melody's good, though. So, I mean, if you take the lyrics out of it, the melodies. All right. And that's why it's cat. That's why you still remember it freaking 35 years later. 36 years later. What a 34. Whatever it is. Um. Oh, wait, wait, wait. I. I gotta play this now. Hold on. See, you just reminded me. Find it. See? God damn it. I should have had that, like, already. There we go. 70 years later. Or this was even better. [01:00:19] Speaker A: Yeah, 2000 years later. [01:00:22] Speaker B: But, yeah, I mean, but I do like the musical part of it. I mean, I think. I think it's. I think the music parts are really good. I always remember this song being a little weird, too. I was felt it was a little off kilt there. And obviously it is. [01:00:33] Speaker A: Well, there is kind of like a drag right in the verse. It's not. Again, it's not just straightforward because it's like, ah, it's all sports. [01:00:41] Speaker B: Yeah. And the accents and stuff. Yeah. I mean, it's. It's pretty cool. And that. And that if you take. If you take the subject matter out of it. [01:00:47] Speaker A: I mean, again, they were doing something different. [01:00:49] Speaker B: Take away the 6th to 17 subject matter. Right. And if you just focus on the music part, it's much better. So here's solo. Here we go. The drum timing on that is pretty damn spiffy. [01:01:43] Speaker A: Yeah. [01:01:43] Speaker B: The way he, like, holds those notes and stuff. It's pretty good. [01:01:47] Speaker A: Yeah, yeah. [01:01:47] Speaker B: I mean, you take that part of it. I mean, the solo's great there. It's everything that you want in a hair metal solo, you know what I mean? He's got some melody and he's got the fast little tappy things that he does. And then they stop in the middle. Right. That's pretty cool too. They change that up and then that riff. I mean, I can. I can separate. For me, I can separate the pedophile lyrics from the. From the musical part is because the music part is pretty decent. But I think the lyrics do get worse, don't they? Yeah, they do. So what did you think about the solo part? Did you like that? [01:02:18] Speaker A: So I liked the beginning. I thought it was a good version, you know what I mean? Like, you're shredding, but it was shredding with the melody. You know what I mean? That last part, though, wasn't too crazy about, like, the really fast part, because I think there was a couple of. In my ears, a couple of weird notes. But, I mean, overall, it could have. [01:02:35] Speaker B: Been some outside notes there, too. I mean, you know. You know, he's. He's a good guitar player. [01:02:39] Speaker A: Yeah. You know, but, yeah, I mean, listen for a shredding solo again, it had. It had feel to it. [01:02:45] Speaker B: Yeah. [01:02:45] Speaker A: I mean, not too long ago, we listened to someone else kind of doing a lot of notes. [01:02:49] Speaker B: Yeah, there's a difference between this lot of notes and that lot of notes. This is much better. Lot of notes. [01:02:54] Speaker A: There is. I mean. [01:02:55] Speaker B: Yeah, I agree. [01:02:57] Speaker A: I mean, it goes to show you can shred, but you can still have feel to it with not just notes. [01:03:03] Speaker B: Well, I kind of think that there's still kind of. [01:03:05] Speaker A: Oh, it's like. Oh, I kind of pick up a melody in there and. You know what I mean? [01:03:09] Speaker B: The best guitar players that do the shreddy stuff have some melody and some feel in their playing. It's not just all. Just notes just spit out. So. All right, let's continue it. Here we go. All right, we gotta go over that before we hit the chorus. [01:03:43] Speaker A: Yeah. I don't know, honestly. I mean, here's the deal. Even if she was 22 in this song, I would say the lyrics are bad, personally, you know, I'm really separating it from whatever. It's not even about that. So I said, okay, again, let's say it wasn't even that. But, yeah, go ahead. [01:04:01] Speaker B: Yeah. Such a very. Such a bad girl loves to work me over time feels good dancing close to the borderline she's a magic mountain she's a leather glove oh, she's my soul it must be love was he trying to write something with rhyme? Something with love? So he used leather glove, magic Mountain. [01:04:18] Speaker A: I mean, I don't know, but it's like Magic Mountain. Isn't that where kiss was when they did a phantom of the park? And leather glove, all I think of is spinal tap. So maybe he was watching those movies back to back, like, you know what? I'm going to do a tribute to these two moments. [01:04:30] Speaker B: It's very possible. I mean. I don't know. I mean, it could be. It could be lots stuff. Maybe. [01:04:34] Speaker A: I mean, listen again, like you said, separate, whatever. There's still not good lyric. [01:04:39] Speaker B: Yeah. Wow. [01:04:40] Speaker A: I mean, I see him feeling close to the borderline again, as a reference to the age. It's almost like. I think that. [01:04:46] Speaker B: Well, there's gonna be some more guitar playing at the end of this two, which is gonna be nice. And he gets. He gets a little more stuff going on here. This is. This is a good guitar song for. [01:04:54] Speaker A: Him, and they give him some more space. [01:04:56] Speaker B: Well, this is. This is a riff and stuff that he wrote, so maybe that's why he has a lot more space. All right, here we go. [01:06:08] Speaker A: Oh, yeah. [01:06:09] Speaker B: Now I'm horny. All they needed, really. I'm surprised. I'm surprised this wasn't in there. [01:06:17] Speaker A: That would have made it so much for us. [01:06:21] Speaker B: I mean. I know, but you know what? Don't. If it was some other band, it might have been. [01:06:26] Speaker A: Yeah. Like, faster puts it down or something. [01:06:29] Speaker B: Yeah, pretty much. All right, you go first. [01:06:32] Speaker A: Um, again, lyrics, even if it isn't that. I mean, they're just so bad. So I think I gave Motley cruel one. I'll give this one a two, because I think it's. It's like. See, music is hard for me because I don't. I'm not a fan of the song overall, but I think the musicianship that's playing is very good. So I'll say a 6th just because I think the one before it was a stronger song. And again, this is not because of whatever, but, I mean, you got to give them credit for what they do. I mean, there's awful times. The guitar is obviously really good. He's playing a lot of good stuff. Production. Let's get six on production. It wasn't, I think, for what it was, is actually maybe the best produced song. So not. Not a go to for me. What about you? [01:07:24] Speaker B: I like the melody of the lyrics. I mean. I mean, you're right. Yeah. The lyrics aren't anything to write home about. Even if you take the subject matter out. [01:07:31] Speaker A: Yeah, yeah. [01:07:32] Speaker B: Even take the subject matter out. Like, he's nothing. He's not writing anything here. I mean, it. But it's not supposed to be. So I don't know if I'm giving it. I don't know if I'm gonna give it a two. I'm gonna give it a five. I mean, again, I don't. I think I probably could think of lots of other songs with the lyrics or worse, musicianship. I'm gonna give it an eight because I think everything that they're doing there, you know, take. Take the subject matter out. To me, it's much. It's much better as far as music goes and production, I think it's produced a little smidgen bit better than the other stuff. Yeah, I actually think I heard some bass in there, too, which is always good. So I'm gonna give that a seven. [01:08:10] Speaker A: So there's odd times and stuff. He's in there. I mean, you can hear him, you know, go with the bass drum and the drums. [01:08:16] Speaker B: Yeah. So he's just buried a little bit. [01:08:19] Speaker A: Yeah. Just not doing anything else, really, in the rest of the song where you're like, oh, that was cool. This is cool. [01:08:25] Speaker B: So now we're coming to a song called without the night. I don't remember if I know this or not. I think this is a ballad, probably. Well, it's. Well, they didn't do the three. They didn't do the two. And then third song, ballad. So now it's fourth song, ballad. So let's see. Here we go. Without the night. Oh, I remember this now. [01:08:53] Speaker A: Yeah, I think. I think this is the one I recorded off of Nick CD, actually. [01:08:58] Speaker B: It's gonna be very keyboard heavy. Here we go. It's very night ranger. Yeah, right. Or one of those aor kind of bandst. Yeah, it sounds like. Yeah, I don't hate it, actually. I actually. Actually, this one might be. I mean, if it continues to go this way, it might be one of my songs I like the most. [01:09:34] Speaker A: Yeah, I do remember liking this, at least back in the day. I mean, so far, I definitely remember it. And I mean, even. I mean, even. Even in this, they still got a little bit of an off time kind of going. [01:09:41] Speaker B: Yeah. [01:09:42] Speaker A: So. [01:09:43] Speaker B: Yeah, that's their thing. I guess so. [01:09:46] Speaker A: I mean, listen, they were trying something different and I don't think. You may not catch it if you're not paying attention to it, in a sense. You know what I mean? Maybe as musicians, but, you know, they're kind of going straight, but they're not getting there. You know what I mean? Like a to b, but a typical a to b for the era. But they're taking pit stops along the way. I guess it's kind of a way to a metaphor where it's like, oh, yeah, I've heard this before. But then you kind of, oh, well, that's a little off time. And this is this so far. [01:10:16] Speaker B: I like it. All right, here we go. [01:10:30] Speaker C: Watch the sun go down it's just my luck again I can hear the sound of your voice haunting me again but just the sound is not enough I try to wait but I'm not back it's hard to do when I need you here it seems like forever this would be so much easier. [01:11:28] Speaker B: Yeah. I remember this now. I don't hate this. [01:11:30] Speaker A: I don't think this was a hit, though. Was it a. Because when I. When I stumbled upon, I was like, oh, I never heard this song. That's pretty dumb. [01:11:37] Speaker B: Yeah. I don't think it was a single. [01:11:39] Speaker A: I don't think so. [01:11:40] Speaker B: Unless it was on a b side somewhere, maybe of something else. It's possible. It has that typical eighties, very clean chorusy, clean guitar. I'm curious to see what kind of solo he's gonna throw in the middle of this. I'm be curious. Let me read you some lyrics. I think you're gonna like these. Really? These lyrics a little bit better than the. The bar is really low right now, so. Watch the sun go down it's just my luck again I can hear the sound of your voice haunting me again I don't know if I like that. I don't. There's too much against. I don't really. I don't know if I like that right there. But anyway. But just the sound is not enough I'll try to wait but I'm not that tough it's hard to do and I need you here it seems like forever without the night this would be so much easier without the night reminding me of the pain without the night I could keep my heart from believing I'll be fine without the night so I guess when the night comes he thinks about her, I assume. [01:12:37] Speaker A: Yeah. So you should go to one of those places where it's, like, day for a long time. [01:12:42] Speaker B: Like Alaska. Like. Like 23 hours out of the day. It's sun, and 1 hour is dark. [01:12:48] Speaker A: It's like, hey, kip, how's your ex girlfriend? I don't know. You told me. [01:12:52] Speaker B: I don't even think about her. It's always. There's always daylight here. [01:12:54] Speaker A: Yeah, but wait. Do you know what else is coming after this? No. Oh, no. It's the night, damn it. God damn night. [01:13:05] Speaker B: All right, let's continue. [01:13:09] Speaker C: How much you've been through. [01:13:20] Speaker A: All the. [01:13:20] Speaker C: Love you giving up you try to win but you're not better too many times when you need me near it seems like forever without the night this would be so much easier without the night reminding me of I could keep my heart and believe it I be fine without the night. [01:14:18] Speaker B: Okay, so before we get to the solo, I'll read your verse. Let's see. I'm trying to figure out where I'm at. Okay. I remember you used to say how much you've been through and laugh how easy the games we play can break a heart into two all for love you've given up you try to wait but you're not that tough too many times when you need me near it seems like forever yeah, it's typical. I miss you and he switched it up, though. [01:14:47] Speaker A: I mean, right. Cause now it's like. But he should have switched it up in the chorus, too, like, kind of singing it. It sounds like her perspective, like she's going through the same thing. [01:14:57] Speaker B: Yeah. So he should have switched the chorus up to be. [01:14:59] Speaker A: Yeah. Just kind of keep that continuation, you know, continuity going, but, yeah, I mean. [01:15:04] Speaker B: It'S, it's typical ballad. It's not bad. It's not super bow. Right. It's a little more, it's a little more mid tempo than his ballad. [01:15:10] Speaker A: I kind of minds of something like heart might do, like, in that era. [01:15:13] Speaker B: Mm hmm. Yeah. I can see hard doing this song. [01:15:16] Speaker A: Yeah. [01:15:17] Speaker B: I'm curious to see what he does in guitars over here. I mean, I'm sure it's gonna be, it's gonna be very to the point. I don't think he's gonna be a lot of shred going on here. I think it's gonna be more melodic, I would assume, unless you Cc Deville, and then you just play ridiculously fast things in songs that don't need it. I love cc, but some of that, you know, I can live without. Here we go. Yeah, that's pretty much what I thought was gonna happen. [01:16:19] Speaker A: Yeah, that's good, though. [01:16:21] Speaker B: It was good. I have no problem with that. There is, though. There isn't a lot of, there's not like, I mean, I don't know this song enough. So maybe, maybe if I heard the song over and over and over, I would pick out, like, oh, those are, that's the part of this solo that's so iconic. Like, I don't feel there's a lot of that because maybe the song is just not as big. You know what I mean? Maybe if I, you know, listen to this album a lot, it would be like that for me. [01:16:47] Speaker A: Yeah. [01:16:48] Speaker B: Like, I don't hear, I don't hear, like, super iconic stuff. Like, like, even, like we just said, cc develop, like, you know, in the, in the, in the big ballad. [01:16:59] Speaker A: Yeah. [01:16:59] Speaker B: So in their big ballads, there tends to be stuff, you know, every rose has a very iconic solo. [01:17:05] Speaker A: Yeah. [01:17:06] Speaker B: Something from Bon Jovi, you know what I mean? Yeah, that would be iconic. I mean, it's a great guitar player. It's just I don't. I don't feel that iconic thing. And maybe it's just because I don't listen to this album very much, but it was good. I liked it. [01:17:19] Speaker A: Yeah, no, it was a. It's a lot of fear, a lot of emotion in it. I mean, it kind of reminded me a little bit of something that what does they might do? What's his name from White Snake? John Sykes. [01:17:31] Speaker B: Yeah, I can hear that, too. I heard a little steve I going on there. [01:17:35] Speaker A: Some of that, too. Yep, I hear that. Yeah, definitely. [01:17:38] Speaker B: All right, let's continue. [01:18:06] Speaker C: Reminding me of the day I could keep my heart believe it I beat so much easier reminding me of the pain keep my heart unbelievable I define without the night. What without. [01:19:18] Speaker B: There's a little bit of journey ish going on there, too. [01:19:20] Speaker A: Yeah, there's a little bit of that, too. [01:19:22] Speaker B: Right toward the end. [01:19:23] Speaker A: Yeah. I can hear them doing this as well. [01:19:26] Speaker B: Yeah, it was. It was a good mid tempo, good middle song. [01:19:30] Speaker A: Yeah. Honestly, I think it's my favorite so far. [01:19:33] Speaker B: Me too. [01:19:34] Speaker A: Yeah. I specifically remember I have this. I have this song somewhere on my billions of tapes that I have made through the years. I never owned the record, but like I said, I must have gotten off from Nick. [01:19:46] Speaker B: Yeah, I'm sure. Well, I'll go first. I'm gonna do sevens across the board, I think, on this, so. Which means I need to do this. Nikki titty, baby, 777. I. I think the lyrics are better than stuff that's come before productions. I think is better. Heard bass in this, which was good. I forgot to mention her bass, which is nice. And his guitar playing was good. Like, it fit all the parts, even the things at the end. Like, it was all good. Yeah, I liked it. It's a nice mid tempo. Rockers have their soft side song. What do you think? [01:20:20] Speaker A: I'm gonna say, I'll say six on the lyrics. I'm gonna say seven on the music. Yeah, it was good. I mean, again, like I said, this was. This was a standout to me back then. It was one of those songs that kind of gets to you. I say an eight of the production. I mean, I'm gonna throw them bone because I think some of the other lower. But I think from what this is, it's really well produced. And so. Yeah, I mean, it's. It's my. It's my favorite so far, I think. [01:20:49] Speaker B: Yeah, I agree. So now we come to the COVID There we go. [01:20:53] Speaker A: You ever hear this song before? [01:20:55] Speaker B: I think. I'm sure I have. So it's purple haze. I forget. Hey, there's the beep again. Where is it? This can be a running thing now. [01:21:07] Speaker A: I know. That's funny, though, because you hear and I don't. Because my headphones like noise cancelling. I can't hear it. [01:21:12] Speaker B: It's 1253. [01:21:13] Speaker A: Yes. That is the witching hour now. [01:21:16] Speaker B: It's not done. [01:21:17] Speaker A: Yes, ladies and gentlemen, this is not 12:53 a.m. no, I'm sorry. I'm sorry. It's not PM. Excuse me. [01:21:26] Speaker B: It's amazing. [01:21:27] Speaker A: That's what I meant to say. This is 12:53 a.m. it's at 12:53. [01:21:32] Speaker B: P.M. so I'm gonna. I'm gonna start this. And I forget how. I forget how. I don't remember. We'll see. [01:21:39] Speaker A: I remember the intro. I think the intro is kind of cheesy. [01:21:43] Speaker B: Oh, boy. All right, here we go. Oh, come on. [01:21:50] Speaker A: Uh huh. Yeah, I remember that. [01:21:52] Speaker B: Really? [01:21:53] Speaker A: Yeah. [01:21:54] Speaker B: I was like, should not pass judgment on this yet. I would. There's two trains of thought about covers, right? Either you do a cover just like the original, but then at that point, why are you doing a cover just like the original? Right. Or you do it different. So now they've done it different, and I'm not too sure I like it. [01:22:10] Speaker A: Yeah, well, I mean, I always remember that I was like, what the hell is this? [01:22:15] Speaker B: I don't remember. All right, Kip. And, you know, I'm. I. We haven't really said through all this time. He has a good range in his voice. Like, he's able to cover lots of stuff. And at the beginning that the first part of Madeline was a little squeaky mark slaughter ish. But I haven't really said that very much after that, though. [01:22:33] Speaker A: Yeah, he doesn't really go into that high range all the time. [01:22:36] Speaker B: No. Okay, here we go. [01:23:19] Speaker C: Acting funny, but I don't know. Why. [01:23:33] Speaker A: Do you think so? [01:23:35] Speaker B: They're doing. They're putting their own stamp on the timing and stuff, what they normally do. I can't say I hate it. Can't say I hate it, but I don't know. I mean, we've. We've. We've reviewed the original one. Right. That was on for the first episode we ever died. Our first episode, so. Which is a long time at this point, but they changed some of the notes up. The groove is not the same. It's very. It's much more in their style, the way they throw timing. So what were you gonna say? [01:24:11] Speaker A: I was gonna say that once the are over. And they get into the intro where it's a little bit heavier, you know, with the cards, the guitars, like, I like that part. I think once it gets into the verse, me personally, I think it falls apart. I think. I don't know. It loses some of the heaviness and sometimes that stopping thing, you know what I mean? It gets too much. And again, like you said, they are throwing their own stamp. So this definitely sounds like a winger cover of it, and it's not terrible, but I just. Once they got past that beginning stuff, and I really like that it was a little bit heavier than whatever. All right, this is cool. But when it gets into the verse of the singing and, like. But like you said, too, it's like, banana, banana. And then they change that last note, and it just sounds weird. [01:25:05] Speaker B: Yeah, well, because you used to hear in the original song, not that. Not again. If you do it the same way, I could say, why'd you do it just like that? If you do it differently, why'd you fucking change it? [01:25:15] Speaker A: But I'm saying I think they've done enough already to make it different without having to throw in that note. Because to me, it sticks out like a sore thought. [01:25:24] Speaker B: Yeah, it kind of messes it up for me. Okay, I'm going to continue. I have an open mind. [01:25:50] Speaker C: Help me. Help me. Hey. Who hates all in my eyes? [01:26:24] Speaker B: They've changed some other notes, too, I gotta say. [01:26:27] Speaker A: His ooze and ahs had me laughing. I mean, I just picture him without a shirt in bed with that 17 year old girl trying to impress her. [01:26:34] Speaker B: Look, I can play purple haze. [01:26:36] Speaker A: Oh, wow. [01:26:42] Speaker B: Yeah. I mean, it kind of almost loses the song, really. [01:26:47] Speaker A: I mean, there's a bass there that's good. Like, actually, I thought this verse was better than the first one. You know what I mean? It didn't fall apart as much I thought, this time around. So maybe I just either they did something different. I just wasn't hearing it that way. [01:27:01] Speaker B: They went to Dana. Dana. And then they changed the note, and I was just like, okay. I mean, I don't want to be exactly like the song, but I don't want it to be that much different from the song either. [01:27:11] Speaker A: Yeah. [01:27:11] Speaker B: There's some songs where you can do that. Right? Like, let's take some examples. Let's take an example. Ace freely did 2000 man and dynasty, right? [01:27:20] Speaker A: Mm hmm. [01:27:21] Speaker B: That's way better than the version that the Rolling Stones did. [01:27:24] Speaker A: Yep. [01:27:25] Speaker B: You can. You can argue that it's better. He made it his own, right? Pretty woman, Van Halen, you can arguably say, I'm not saying it's better, but they put their stamp on it. But that's not so much different. There's enough of it. That's because his guitar playing is a certain way, even though it sounds. You know. I mean. I mean, they're missing a verse. Right? Because I think that he. Just. Another lyrics, but. [01:27:46] Speaker A: Oh, are they? I didn't know that. [01:27:48] Speaker B: Oh, yeah. This is. There's missing. There's missing lyrics. Yeah. So those are two examples of where someone did a cover, right. Did it their own way, but it's either better than the original or it's. It sounds like the original, but just like the other band doing it. This sounds like the other band doing it, but I don't think it's. I don't. I think by changing that note there, I think that just throws it. Totally throws it off for me. [01:28:12] Speaker A: Yeah. This. I mean, I feel like it's good parts about it, and then there's weird parts about it. You know what I mean? It's like, even the. Right. I mean, obviously, when he's doing it, that's the one main solo part, and it's so driving. But this thing kind of. It's more atmospheric, which, again, is fine. Right. But I guess that's the thing you have to listen to with the ears of, hey, you know, they're trying to make it their own. What do you think of what they're doing? Because they could have just done. But they're not. Clearly they're not. [01:28:43] Speaker B: No, clearly they're not. And I assume that left guitar is a good weasel zapper. I assume so, yeah. All right, let's continue. [01:28:56] Speaker C: You got me. Blow. Blow my mind. [01:30:35] Speaker A: I love that little thing at the end. That's so itty movies. [01:30:41] Speaker B: And the solos were, you know. I mean, I think by changing the. I appreciate the not doing it the same, but I think changing the riff and changing the way the song drives just keeps me from liking that. [01:30:55] Speaker A: You gotta go first. [01:30:56] Speaker B: I don't know. I gotta go first. Fuck. [01:30:58] Speaker A: Well, you don't have to do lyrics. I mean, we did lyrics. I don't even. I mean, even think. [01:31:02] Speaker B: I'm not doing any lyrics. I'm not gonna. I mean, the musicianship is good. The question is, do I like it? I think that's really what the problem is for me. Like, I appreciate that. I mean, I can't give it a really low score because that, obviously, there's musicianship involved. I mean, I think the atmospheric part of the production messes it up for me too. So I'm gonna do production for us. I don't like to production. So I'm gonna say, just because I like Jimi Hendrix and say four. [01:31:28] Speaker A: Nice. Fucking winger. Fuck you, Bo Hill. [01:31:33] Speaker B: I don't hate it. I just don't think it. I don't think it makes the song better, even though it's different. I don't think it makes a song better. Like, if they changed it differently and. And did something different, like, they did just enough to make it the same, but then they decided to change that note. I mean, I want to like it just for good, just to the fact that they changed it, but I just don't like it. I. And I hesitate to do this because I think that the musicianship is good. I just. For nice, just like, I can't. I can't consciously give this, like, I would never put this on. When this thing comes up, I would skip this. [01:32:08] Speaker A: Yeah. I probably wouldn't go, I mean, again. But I almost feel like there's too much of it, right? There's. It gets lost. And again, this is their version of the song, but at a certain point, I mean, I forgot what I was listening to, right. Until I get into. All of a sudden, you go back in that. This is hard. [01:32:34] Speaker B: That's why I didn't want to go first. [01:32:35] Speaker A: Yeah, well, I figured you were the, you know, with Patrick, so. [01:32:39] Speaker B: Yeah, but. But, you know, I'm gonna come off. This is going like, I don't like. [01:32:43] Speaker A: This, but to me, it was like 17, right? I mean. I mean, I wasn't a fan of the song, but I'm like, if I separate that from the way they play. So production, I'll say six. I mean, I think it's okay. I don't know what to say for the music, you know? I'll say five, you give it a four. I'll give it a five. I'll throw them a little bit of a bone. [01:33:05] Speaker B: That's fair. But throw them a little bit of a bone. Someone has to throw. [01:33:09] Speaker A: And then, I mean, the singing, too, was just a little bit too. [01:33:13] Speaker B: He's trying too hard. [01:33:15] Speaker A: Yeah. It's like. It's like a sexual version of the song, you know what I mean? But you don't need it in this. This isn't like foxy lady or it's purple haze. [01:33:26] Speaker B: I know. [01:33:27] Speaker A: So I thought it was a little bit. Again, I just pictured him singing this to the girl, you know, being like, ooh. [01:33:34] Speaker B: I just picture him no matter what song he's singing, shirtless over the big open shirt and just spinning around. That's all. That's why that's. It's horrible to say that, but that's the visual I have in my head. Yeah. I just. For me, I just couldn't. I would have liked. I would like it to have been better. I think, like, the immediateness of this, the immediateness of the song in the original version is totally lost here. It gets very mushed out, and there's a little bit too much ambiance. [01:34:03] Speaker A: Well, the beginning of this is laughable, right? I mean, that. [01:34:06] Speaker B: Ooh, yeah. [01:34:09] Speaker A: I mean, that's laughable, I think. I mean, yeah. They probably have a good giggle at it, too, though, I would think. [01:34:15] Speaker B: I really hope so. I hope so. Well, so that's the end of side one. So what did you think so far of side one? You see, we haven't heard this in a long, long time. [01:34:26] Speaker A: I mean, so I think the musicianship is better than the songs that they're writing, if that makes any sense. Right. I think it's. There's typical songs, right? But they're not done in typical ways. So I do give them credit for that. I mean, again, like you said, I do remember people saying, oh, well, you know, winger's more progressive. It's this and that. But in my head, because I never really. Again, I wasn't a massive fan of any of these songs. I just wasn't paying attention to what was going on. But obviously, here, listening to it piece by piece, like, oh, shit. I didn't realize that they were doing this, this and that. So I think musician wise, I mean, obviously they're, you know, they're good musicians. Sometimes it's a little over the top, I think. Like, they don't need as much. Like, even without the night at the end, it was kind of doing still those stops and things like that. I'm like, just keep going at that point. It's not bad. I don't know that I would necessarily go back to these, but I do give him credit. [01:35:29] Speaker B: The three songs on this front side, I mean, if they came on, I probably wouldn't turn them off. [01:35:33] Speaker A: I like without the night. [01:35:34] Speaker B: That's my favorite. And without the knight, I mean, listen, four songs, I probably wouldn't turn any of them off. Are they gonna be. Are they on my, like, desert island? Like, oh, this is my desert island? No, I mean, I appreciate the musicianship. I appreciate, you know, his range of vocals. No, short of the purse, purple haze debacle. I mean, what's not. It's not a horrible side. I mean, it's. It's, it's. We. We rated it middle of the road. [01:35:58] Speaker A: Yeah. [01:35:59] Speaker B: Sixes and sevens, generally, which isn't. Which is definitely not bad. It's not bad. [01:36:05] Speaker A: I think, again, it's. It's. You appreciate the music, the way it's played, and they were doing something different with the genre, in a sense. [01:36:15] Speaker B: Yeah. So you have to give him credit for that. [01:36:17] Speaker A: I definitely give him credit for that. I mean, those parts have to be worked out. I mean, this isn't something where it's. Oh, it's a little bit off time here. This is not. No, I mean, they're doing a lot of stops and accents and, you know, half fills and quarter fills and things where they're. I mean, you have to appreciate that without a doubt, whether or not you like the songs. You don't like the songs. I mean, I appreciate the fact that they can obviously play. And again, I. When I went to see Rod Morgan scene live, I went with my friend who's also a drummer, and even he was like, wow, he's really good. Like, you don't necessarily, if you're not paying attention, you may not pick up on it. [01:36:54] Speaker B: So, yeah, he was solid. He was solid on this. So. All right, so we get to do side two tomorrow. I mean. I mean, it's a good album to get, man. [01:37:01] Speaker A: I'm happy. Yeah, I'm very happy. This is on my. I mean, again, if I had to pick, maybe not 1010 is hard, but let's say out of 20, I would say that this is on there. Because, again, because if whoever's listening to us, whoever you are, if you didn't grow up in this era, this was a band that was almost like a Milli vanilli. Right. Even though they were massive hits and not, not because of what Millie Vanilli did, but I'm saying they became a joke in a sense of. So if anybody had watched Beavis and butthead when what's his name had the Stewart, had the winger shirt, I mean, that was a real thing. [01:37:36] Speaker B: So, yeah, they're kind of like, um. They're kind of like the nickelback. [01:37:41] Speaker A: Yeah. [01:37:42] Speaker B: Of the eighties. Because the. Because nickelback, technically, too, they're very, very good musicians, but. But they're treated the same way. [01:37:48] Speaker A: Yeah. [01:37:48] Speaker B: You mean. [01:37:49] Speaker A: Yeah, they're basically the nickel. The nickelback of the eighties. [01:37:53] Speaker B: And. [01:37:54] Speaker A: And he wasn't doing it, you know. Okay. I mean, I. We mentioned a ton of times with the shirt off and whatever, but again, he wasn't the only one. I mean, it wasn't like, oh, my God, what the hell is this? Nobody doesn't know. A lot of people did that. And so it wasn't as if they had a different image where they were more over the top. No, I mean, they had the poofy hair, but, I mean, they weren't really blending really right. I mean, they weren't makeup or. And Rob Morgan. See, I don't know how people. I think he was older than them. I'm pretty sure he was like a mick Mars of the band. I mean, at least when we saw him, he looked older. So, yeah, I mean, I think, as you can definitely appreciate, he's 71 now. [01:38:36] Speaker B: Oh, so he's like, ten. He's like a decade older than. [01:38:38] Speaker A: Yeah, but like I said, when we saw him was like, oh, but again, like, super cool. You know what I mean? Really cool with the. With the crowd and whatever. And he was doing some cool stuff. So I definitely appreciate you. I get to. I'm glad I got to see him. So. [01:38:56] Speaker B: Well, listen, Beavis and butthead kind of, like, destroyed them. Destroyed them. So. Yeah. And I don't know if it was monster that did that. Did that thing in Metallica. I think it was something else. I don't think it was from the monster thing. I think everything's from monster, but it's probably not. It's probably for some other. Because it had to be earlier. Because monster was 2003. Right. He wouldn't be throwing darts at a kick. Kip winger thing in 2003. [01:39:17] Speaker A: He could have been. [01:39:18] Speaker B: I mean, I think it was something. I think it was something earlier. [01:39:20] Speaker A: But let me tell you something. Whatever it was, even if this. It was like, whatever it was, I mean, it just goes to show some of the lasting power of the kind of reputation. [01:39:31] Speaker B: Yeah. [01:39:31] Speaker A: That they had. [01:39:32] Speaker B: Yeah. [01:39:33] Speaker A: But they were. Listen, they were no more exit, you know, eccentric or glammy or whatever than any other bandaid. But for whatever reason, they kind of became the. [01:39:44] Speaker B: The poster boys for everything that was bad about that music. [01:39:47] Speaker A: Yeah. [01:39:48] Speaker B: Even if they didn't deserve it. [01:39:49] Speaker A: No, I mean, whether or not you'd like to song again, you have to appreciate musicianship and thought that went into the way they're writing this music. [01:39:58] Speaker B: Yeah, well, obviously, they're talented, but, you know, unfortunately, they. They were singled out when you could have singled out anybody. Right. But they singled out theme, and then it was just. It wasn't good for them. [01:40:09] Speaker A: No. [01:40:09] Speaker B: All right, cool. So next week, we get to side two. I'm hoping to find some more stuff on side two that I forgot and that I might like. That should be. That should be good, I'm sure. Um, so, yes. You know, why don't you do your thing? [01:40:21] Speaker A: Yep, we are part of the Deep Dive podcast network again. Like I always say, great bunch of guys took us in right away. And if you want more individualized or individualized podcasts about bands you love, like Rush, shout out. Rush, Raj, Judas Priest, whoever. I'm drawing a blank because there's so many Tom Petty. You're right. He, Van Halen, Queen. You name it, it's on there. So check them out. And, Mark, where can they find us on the interwebs? [01:40:46] Speaker B: Rock roulette pod, all the social media. Rockletpodcast.com. drop us an email over there. Take a look at our Spotify lists we have online. If you can give us a review, that'd be awesome. Five star reviews help us move up on the charts, and more people find us. If you like what we do and set your podcast app, whatever that might be, wherever you get your podcast to auto download. So you get our episodes that we release every Sunday. So you can hold off on. Then on Monday, you can use it in the drive in or whatever. And hopefully you like what we do. It's all random. So we spin the wheel. It comes up with something. And very rarely do we take liberties off the wheel. It does happen, but it's. It's. We probably could count on one hand the number of times we've done that in almost 100 episodes. I mean, if you just look at the albums, what's there? There's no one that would just pick those things. Just lately, though, I mean, the last bunch of things they. The wheel has decided it wants to pick very popular stuff. [01:41:40] Speaker A: Yeah, popular within that media. Listen, there's probably people who, you know, listen to us. Who the hell is wink winger? What is this? But for people in the genre, yeah. [01:41:52] Speaker B: I'm pretty positive that a lot of people listening to this know who winter is, but. Yeah, so. But anyway, you're cool. We will see you next week. [01:41:59] Speaker A: Yeah. Ciao. Ciao. Later.