Episode Transcript
[00:00:05] Speaker A: This is our musical reaction, breakdown and commentary analysis of this song. Under fair use, we intend no copyright infringement, and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holder for purposes such as education, criticism, comment, news reporting, teaching, scholarship, and research.
These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now, on to the Rock Roulette podcast.
[00:01:14] Speaker B: Hey, everybody. Welcome back to another episode of Rock Roulette podcast. That's right, the Crazy Ass podcast that took over 1200 albums, stuck them in a list, stuck them in a wheel. And typically every other week we spin the wheel, she picks a record for us, and we go through it track by track, side by side, and we talk about music, lyrics, and production. And we scored one out of ten. Again, just a bunch of friends who wanted to do a podcast who loved music, nothing more than that. And once again, we want to thank anybody who listens. We got some, a little uptick in listens recently, so hopefully that trend continues. If you like what you hear, please spread the word. You know, leave comments, questions, criticisms, whatever you want. We'll listen to everything. And I, you know, if you want to pick an album for us, that's cool, too. We can do whatever we want. I mean, like I said, we're just here having fun. So tonight we have Mark.
[00:02:03] Speaker C: Oh, hi, Mark.
[00:02:04] Speaker A: What's up, guys?
[00:02:05] Speaker B: And I'm Sav.
[00:02:06] Speaker A: Ciao, buenasira.
[00:02:08] Speaker B: So last week, we wrapped up the debut album from winger, which was called Winger.
And obviously an album that carries a lot of. Well, I mean, for anybody who knows or was in that era and had any ear to the. To the ground about that kind of music, you would know that that album was both kind of lauded because of the musicianship, but also kind of because of the unfortunate reputation that linger had, had gotten at that point.
I don't know. I'm trying to think. I think musician wise, it was pretty good. They did a lot of cool things with different kind of tempos and things like that. But I.
Me personally, overall, it was okay. You know, as we say in italian, meds are meds. Mark, what do you think?
[00:03:00] Speaker A: Yeah, I mean, I think everyone always thought that they were great musicians. I don't think anyone ever, like, thought that they weren't right. But, you know, I think they suffered from a lot with everything late eighties suffered with lyrics and themes and stuff. They started to get a little tired, you know what I mean? Almost a decade of that stuff. So I think, you know, you know, even though the musicianship was great, I think, you know, they suffered just as bad as some of the other later eighties bands did. But I thought, I like, the first side's okay, you know, the second side is a couple of good songs, but, you know, overall, you know, the majority of the good stuff, I think, is on the first four tracks. And then it starts to kind of go downhill for me anyway. But I was never a super big winger fan, so, you know, I obviously knew about them. And then unfortunately, Beavis and butthead thing kind of killed them, too. That almost took their whole career down, pretty much.
[00:03:55] Speaker B: So, I mean, I'm kind of interested in hearing, like I said, I do have pool, but I don't really remember. I remember. I mean, again, I may listen to it. I remember more than I thought I did. But I'm actually curious if we have the second one ever comes up just to see how kind of how they followed up the first one and see if they, you know, if they change themes or if they kind of just went full blown into, you know, more of those off rhythms as opposed to some of the stuff they did on the second side, which I thought was a little bit more straightforward. And I think those are the ones that kind of suffered the most. So.
[00:04:31] Speaker A: So, yeah, it's. It's one of those things, like, you know, me, too. Yeah, me too. I. It's just, you know, it's just unfortunate for them, you know, I mean, that they ended up, you know, getting the Beavis and butthead thing that kind of killed them pretty much. So, you know. Hey, look, it is. It is what it is, you know, I mean, like I said, they're. They're great musicians. I mean, you can't take that away from them. But, you know, I mean, not all the songs were great, and, you know, I mean, the stuff that was good was good. It's just, you know, you sometimes can't get away from, you know, what. What that kind of publicity, you know, does to you, so. But I'm glad we got it. I hope. I would like to hit some other stuff, like maybe later on, which would be great. I think we could do that.
[00:05:12] Speaker B: I mean, listen, they. They had their 15 minutes, right?
[00:05:16] Speaker A: Oh, yeah.
[00:05:16] Speaker B: I mean, they weren't necessarily top tier, but they got their name out there with a couple of hits and 100% in a genre like, that. That was so overblown. Right. Just to be able to make a name for yourself was. Was a. Was a good thing. So, you know, kudos to them for that.
[00:05:35] Speaker A: Yeah, I mean, I think, you know, a lot of people remember who they are from the, you know, a bunch of big songs they had, but really, I don't remember a lot on the second 3rd stuff. So, you know, are they, like. They're not. Obviously not a one hit thing because they've had more than one, but, you know, they weren't up there with, like, the, you know, the bigger bands of the time frame. They weren't a bon Jovi sized band, so.
But whatever. It was good. I'm glad we got it.
Anyway, are you ready for this week?
[00:06:09] Speaker B: Yeah, I'm excited to.
To spin the wheel.
[00:06:13] Speaker A: Yeah. What do you think we're gonna get?
[00:06:16] Speaker B: All right, so we've got poison, and we got winger. Clearly two things within the same genre. So I think I'd like to get either something newer or something classic, because, I mean, I don't specifically remember the last time we got something classic, like a big classic or big new, you know.
[00:06:39] Speaker A: Me either. Yeah, I think. I think the same thing. Hopefully the class of things I got.
[00:06:42] Speaker B: It doesn't.
[00:06:43] Speaker A: We haven't heard.
[00:06:44] Speaker B: Yeah, exactly. Something we can sink our old teeth into.
[00:06:49] Speaker A: Yeah.
Before the air AArp comes and gets us.
[00:06:54] Speaker B: Yeah, exactly.
[00:06:56] Speaker A: All right, so let's do this. All right. Are you ready?
[00:07:00] Speaker B: Yeah. Let's spin.
[00:07:01] Speaker A: Here we go.
Oh, you called it.
[00:07:24] Speaker B: Oh, nice.
CCR Green river.
[00:07:29] Speaker A: Hmm.
I don't know how much I know. I mean, obviously, I know, credence.
I also know they're not from the south, which is kind of funny, too, because I remember I always thought they were from the south, but they're not from the south.
Are they from California? Is that where they're from?
I don't know where they're from, actually. California.
[00:07:49] Speaker B: There you go.
[00:07:51] Speaker A: But their sound is so, like, swampy, southern bayou kind of sound that you think.
And, you know, everything I've heard from John Forgery's pretty. Been pretty good.
Yeah.
[00:08:07] Speaker B: Great voice.
[00:08:09] Speaker A: Yeah. Who's in this band? So it's John Fogarty. Right. Leading, backing vocals. Lee, guitar. Piano. Keyboards, harmonica. Tom Fogarty, rhythm guitar. Did you know his brother was in the band?
[00:08:21] Speaker B: Yes, I did.
[00:08:22] Speaker A: Did you? I didn't know.
[00:08:23] Speaker B: I did. Yeah. I know that there were two folk readies in the band.
[00:08:26] Speaker A: Yeah, I didn't know that.
Stu cook on bass and Doug Clifford on drums.
So this is. What year is this? This is 1969. Wow.
Yeah. So this is gonna be good. There's. There's a couple. I mean, there's a couple songs I know in here and.
Oh, wow, this is a short album, is it? 29, 25. I think this is gonna be a single episode night for us.
[00:08:57] Speaker B: You don't yap too much. We can. We can knock it out.
[00:09:00] Speaker A: Well, I don't know if we don't have a lot to yap about on this. I think, you know, I think we. I know of CCR and all the big songs. I kind of know, but I don't know. Albums. I never went back to kind of do that.
[00:09:13] Speaker B: No, my big intro to CCr was my dad had Ccr. The K Tel Records greatest hits was like 20 songs on there.
[00:09:22] Speaker A: Yeah.
[00:09:22] Speaker B: So just kind of glimpse into the titles here. There's definitely a couple. At least two. I know.
[00:09:27] Speaker A: Yeah. I mean, when you get that kind of stuff, they have so many songs that, you know, you don't realize, you know? So I'm excited. I'm excited. I like his voice. I. One thing I remember is back in the eighties, he got sued by his own old record company, I guess, because he sounded too much like himself.
Right. Do like center field or whatever. And they were like, yeah, yeah, that sounds too much like another song you wrote, but. Yeah, but I wrote that song.
[00:09:51] Speaker B: Yeah.
[00:09:52] Speaker A: I think he ended up winning that. I think.
[00:09:54] Speaker B: I think so, too. Something similar happened to Neil Young, too.
[00:09:57] Speaker A: That's crazy. So what would you like me to sound like? Someone not myself.
[00:10:01] Speaker B: I know that work.
[00:10:03] Speaker A: He's just so distinctive. And he writes songs in this distinctive way from what I wrote, the stuff that I know, like, I know no deep tracks of any kind, so. So this is the third album. Right? Wow. So before we go, when did their first couple of albums come out?
[00:10:18] Speaker B: Probably the same year.
[00:10:20] Speaker A: 68. Oh, wow. All three in like a year. 68. 69. 69, actually. One in 68. Three in 69.
[00:10:28] Speaker C: Wow.
[00:10:29] Speaker A: Two in 71 in 72. And then they were done by 72.
[00:10:33] Speaker B: That's the thing with these old bands, right? They just, like, somebody thinks about the Beatles, right? And you start looking at the discography and like, oh, how long were they around? Oh, less than ten. Wait, what?
[00:10:42] Speaker A: Six years. Six years. They had 64 to 70, right? Or 69? Yeah, basically this is the same way. And they performed Woodstock to CCR, which I didn't know if I knew that.
[00:10:56] Speaker B: I don't remember. I mean, I've seen the movie and there's like, woodstock one and two. Right. Because there's one that's kind of like the main one. And there's another one I think the comic was deeper into was played.
We were actually on that, uh, right on the grounds. Right. A few. Couple of years ago. So a couple summers ago. Right. The actual. This is good. I mean, again, like you said, I I know the hits. I don't know all that you've cut. So there's. I mean, there's got to be some gems on here, right?
[00:11:22] Speaker A: Oh, and the songs are short. Like, the longest song here is 457. The longest song.
All right, so let's do it. All right, so first song is the title track, green river. Here we go.
Oh, I know this song.
Oh, yeah. I didn't know what it was called, but I knew this 100% know this song.
[00:12:01] Speaker B: So, technically, this is one of the.
One of the supposed reasons why Green river from Seattle, you know, the band supposed. I was actually, when I heard, you know, green River, I had looked it up, and. But there's two or three different possibilities, so they never really confirmed which one. But this is in the mix as a possibility. So.
[00:12:32] Speaker A: So this song is about a childhood vacation spot. But even though he makes it sound like, you know, this could be New Orleans, whatever is really about California, I mean, he's really good at. Like, you would never really know that they're not from there just by the way he sounds.
And I've always liked. I always liked his guitar playing. I always thought it was very tasteful and for the song all the time.
Yeah. So I definitely know this song, but I think I'm gonna enjoy this because I do. For all the stuff that I've heard, I really liked. So.
So let's listen a little more so we can listen to some production and stuff, because I'm sure I haven't really been paying attention. I just heard the beginning riff stuff. So here we go.
[00:13:29] Speaker C: Stopping at the lower captain bat. Walking along the river dancing in the moonlight I can hit a bull roll calling me wondering.
[00:14:11] Speaker A: All right, I think the solo's coming up already. It's a short song. It's like 233. So, yeah. His voice is very evocative of the place it brings you into wherever you think this is from, even though it's not really from where you think it's from.
So he does a really good job at that.
[00:14:28] Speaker B: I love his voice. I think, you know, if you're going to talk about standout vocalists throughout rock, I think he's. He's. He's in the mix, without a doubt.
[00:14:38] Speaker A: Oh, 100%. Yeah. His voice is great.
[00:14:41] Speaker B: Yeah.
[00:14:42] Speaker A: And it's a little hard. Like, I'm trying to listen to other things, but it's a little hard to listen to anything beside his voice. His voice is really pushed up front.
[00:14:50] Speaker B: Yeah.
[00:14:50] Speaker A: And it's got that little. That little slap bag delay going on on it. Like older, like, rock stuff.
[00:14:56] Speaker B: Yep.
[00:14:57] Speaker A: So. So it's pretty cool.
[00:14:58] Speaker B: Which you think is very common for them, if I. If I remember correctly?
[00:15:02] Speaker A: Yeah, I think so.
[00:15:04] Speaker B: At least maybe on some of the heavier stuff.
[00:15:10] Speaker A: All right, I'm gonna read some lyrics.
Well, take me back down where a cool water flow, y'all let me remember things I love Lord, stopping at the log with a catfish bite walking along the river road at night barefoot girls dancing in the moonlight and then no chorus, and then second verses. I can hear the bullfrog calling me aw. Wonder if my ropes still hang into the tree or love to kick my feet way down the shallow water shoo, fly, dragonfly get back to mother pick up a flat rock skip across the river well, and then I guess the solo is coming up after this, so. Yeah, it's. It's pretty cool that, you know, he can, like, make it out that he's, like, from this area in New Orleans. Right. But really it's California. He doesn't sound like a California band or what I would think of a sixties California band would sound like. He's, like, totally opposite that.
[00:16:09] Speaker B: Yeah. I mean, I don't know if. If yacht rock had begun yet. I don't know exactly specifically, but why.
[00:16:17] Speaker A: Do you think this is yacht rock?
[00:16:18] Speaker B: I think these guys are in that.
That's what I'm saying. Right. Because, I mean, technically, outright is a lot of the California bands, and so.
[00:16:27] Speaker A: Yeah, but I don't think this really goes with no, yacht rock, to me, is more. I'm thinking of, like, like, late sixties California bands. You're thinking like mamas and the Papas or the doors or. You know what I mean? Like, they don't sound this way. They sound like they're from the south. Like, you would think that this and, like, Leonard Skinner from the same place, you know, I mean, it's all very southern and southing, but he's not.
[00:16:50] Speaker B: Yeah, there's a lot of that influence.
[00:16:52] Speaker A: Yeah, but it sounds really good.
Um, I don't. I'm not hearing a lot of bass. I'm not really paying attention. I really have to. His voice is just so upfront that it's hard to pay attention. Anything else?
I'm curious to remember what the solo is on this. I haven't heard this in a while. So here we go.
Very. For the song.
[00:17:38] Speaker B: So, yeah, very simple.
[00:17:42] Speaker A: It's similar to. It's similar to the doors, I think, a little bit, you know, the lead. The lead style a little bit. I think it's very similar.
Yeah, it's good.
[00:17:54] Speaker B: I mean, I like the way the drums sound. Listen, I'll take this production over, like, ace free Ellie and.
[00:18:02] Speaker A: Something new. John production is that great. So.
But, um. Yeah, the bass is pretty good. I was listening to the base a little bit during that. It's pretty good.
And. And the riffs. I mean, he's really good at writing riffs. Like, his riffs. Yeah, memorably. They stick in your head, so, yeah, I like it.
[00:18:21] Speaker B: Yeah, it's a really good song.
[00:18:22] Speaker A: I mean, this song's kind of, like, halfway over already. It's so short.
All right, let's continue. Here we go.
[00:18:48] Speaker C: If you get along. Come on.
Wherever.
[00:19:26] Speaker B: And that's it.
They're like, hey, John, you don't want to talk about something else you did in camping? It's a pretty short song. No, that's good. That's good.
[00:19:34] Speaker A: No, it's funny that they don't really use that. They just use Green River a couple times in the whole song. Like, there's no real chorus.
[00:19:42] Speaker B: Yeah, I like how they change it up at the end, too. If you notice, like, the drummer starting to play along to what the guy's playing on the guitar, it's like, bump, bump, bump bump bump. Like, he's actually following along.
So that was pretty cool. That was a cool little change up.
[00:19:57] Speaker A: Yeah, I do kind of like. I do kind of like the way this kind of, like, played out and the way they, like, very shorts. I mean, obviously, it's the sixties, right? So if you want to get played in the radio, you got to be under, like, three minutes.
So, I mean, they're kind of doing that, and that's probably why it probably got played on the radio.
I assume this was a single. My assumption single in July, 1 month before the album, the same day was released, and I went to number two.
So, yes, it was a big hit. So. Which makes sense. Like, I know this song, but I didn't know the name.
Look, I know the song, but I don't know the name. I'm sure there's gonna be lots of stuff on here I'm probably gonna know. And I don't know the name of.
[00:20:42] Speaker B: The song, I would say reminds me a little bit of run through the jungle. To kind of run through the jungle.
[00:20:50] Speaker A: Yeah. I mean, I think they kind of.
I don't know, but I think they kind of reuse.
[00:20:56] Speaker B: Well, I mean, they had a style.
[00:20:57] Speaker A: Yeah.
[00:20:58] Speaker B: Yeah.
[00:20:59] Speaker A: But it's a good style. It's awesome.
[00:21:02] Speaker B: Yeah. Oh, yeah.
[00:21:02] Speaker A: Yeah. Why don't you go first?
[00:21:04] Speaker B: Um, let's see. I mean, honestly, sex on the lyrics. I'll be a little bit. I mean, it's cool. Like, it definitely paints a picture. You can kind of put yourself there. It's not necessarily somewhere I want to be, per se, because I'm not a big, like, camping guy, but, I mean, it definitely paints a picture. So I'm gonna say seven on the music. I mean, it's good. It's quick, but it's. It's good. And again, I really like what was going on at the end of.
I'm gonna say seven on production. I mean, I think it's produced perfectly for what it is. So, yeah, I mean, it's a good start. So what do you think?
[00:21:41] Speaker A: Yeah, I really like. I like the lyrics a lot. I think that he does a good job of, like, making you feel like you're there and he's telling a story. So I really like. I like lyrics. I'm gonna give him a seven.
I like the music. I'm giving that seven. And what else do I need to say about the music? I like the riffs. I think his solo thing was right for the song. He has a style that he uses.
Again, I have to go back to the fact that they're not from the south, and it's south. So swampy and so bot. You know what I mean? Maybe it's just in my head that that's what it's supposed to be. But, I mean, he's. They're doing an awesome job at doing that and making it sound like that, even though they're not from there. So it's great.
And I guess I'm giving a seven on the production, which means this Nicky titty, baby. 777.
There you go.
[00:22:35] Speaker B: Right out of the gate.
[00:22:37] Speaker A: Right out of the gate.
Right out of the gate. Probably better than winger already.
Again, nothing. Nothing new to the winger fans. But, you know, this is in a different. It's in a different thing for me. I always, like. I was like my. My rock music with a little bit of melody.
[00:22:55] Speaker B: Yes.
[00:22:56] Speaker A: So. So if I can get some melody, too. And it's good. I'm good.
So the next song is commotion. Do you know this song? I don't know if I know this.
[00:23:07] Speaker B: I want to say I recognize the title.
I don't know if I specifically remember. But again, I think this is a band, like you said, where you know a lot of songs, and sometimes you just don't remember the titles.
Because, like I said, that KTL record had 20 songs on. I mean, there's ten on each side.
I'll never forget looking at it. You know what I mean? When you saw the grooves, there's so many. Obviously was all those songs. So, I mean, ten songs on one side. Just imagine all those grooves.
[00:23:38] Speaker A: Yeah, because I still have it somewhere. Actually, they're all probably, what, two minutes long. That's why.
[00:23:43] Speaker B: Yeah, well, think about these songs. I mean, think about the one. The one that we used to play. Right.
Which one do we do? Not cool stuff. The rain. It was the other one.
[00:23:55] Speaker A: I've played that before, though.
[00:23:57] Speaker B: We did, um.
[00:23:59] Speaker A: I don't remember.
When you say it, I'll know it.
[00:24:02] Speaker B: But it was another rain song.
[00:24:06] Speaker A: Was it?
[00:24:07] Speaker B: Okay, I think so.
[00:24:09] Speaker A: Oh, God, I can't speak well while you think about that.
[00:24:14] Speaker B: Yes.
[00:24:15] Speaker A: I'll start playing commotion.
[00:24:17] Speaker B: Yes.
[00:24:18] Speaker A: So here we go.
Yeah. I do not know this.
I do not.
[00:24:43] Speaker B: I don't remember yet if I know it.
[00:24:45] Speaker A: Okay.
[00:24:46] Speaker B: And by the way, it's. Have you ever seen the rain?
[00:24:48] Speaker A: There you go. I'm sure people are screaming at you. It's. You don't know that song.
[00:24:55] Speaker B: You know the name of it?
[00:24:57] Speaker A: Yeah. Well, it's a long time ago. What do you want?
I can't. I'm lucky I remember what. I have a breakfast or when I come into the room. What was I here for?
[00:25:06] Speaker B: Yeah, basically, I'm like. I remember listening to it.
[00:25:09] Speaker A: Yeah. What do we listen to again? Oh, yeah, that's right.
All right, I'm gonna continue. So the supposed song is about he grew up as a country boy, obviously in California, and he doesn't understand how people live in the cities. He doesn't understand about the rushing and all that kind of stuff. So keep that in mind as the lyrics kind of go through. And that thing with the. With the bill. With the bass drum in the bill. That. Bup, bup, bup, bup. That's a very sixties thing to do. Yeah, right.
I know. I've heard that in other 60 songs.
All right, here we go.
[00:25:52] Speaker C: Back up in the church everywhere you come.
[00:26:14] Speaker A: So I will use some lyrics. So, lyrics are. Traffic in the city turns my head around no, no, no, no backed up on the freeway backed up in the church everywhere you look there's a frown, frown calm commotion get, get, get gone come commotion get, get, get gone he doesn't like the commotion. Too much commotion.
He wants laid back country life.
[00:26:38] Speaker B: I like that part right there.
[00:26:41] Speaker A: Which one?
[00:26:43] Speaker B: Bound.
[00:26:43] Speaker A: Yeah, I like that too.
[00:26:46] Speaker B: I mean, that lends itself to be played very heavily, depending on.
[00:26:50] Speaker A: Yeah, I was gonna say it was cool if they changed that up a little bit. And the bass is pretty good. And there's that little sparse guitar part during the versus. It's pretty cool.
Yeah, I know. I do not know this song at all. So this. I don't.
Yeah, it's only, you know, 50 years old. Whatever.
55 was 55 years old, actually.
All right, here we go.
Down.
[00:27:38] Speaker C: Come on, get down.
[00:28:03] Speaker B: I think this would be a fun song to play.
[00:28:05] Speaker A: Yeah, I think it would be very.
You could have a lot of. You could do lots of stuff with it there. You can extend it. You could do a bunch of stuff.
[00:28:13] Speaker B: You can open it up, maybe like a hi hat in there. Kind of like, open up the sound a little bit and throw some heavy guitar in there. So if I had a guess with that guitar, he was playing me personally, and I could be 100,001st, I thought Rick and Barbara said, I don't think that's it. I had a guessdehenous. I would say a telecaster. That's what it reminds me of. It reminds you a little bit of. And again, I know Springsteen was influenced by people like this, and so. But I know he played a telecaster, and I know that some of that high. That's. No, but I could be wrong. It could be something completely different.
[00:28:51] Speaker A: I'm trying. I'm trying to see if it says anything here about what he played.
I'll have to look it up. I don't know what kind of equipment he played, but the solo is very. Is very seven, is very sixties.
It's played very well.
It's. It fits right in with the song. I mean, I don't think it's. I don't think you listen to him and going, oh, my God, he's these Jimi Hendrix. Right? Like, you're not. You're not thinking that.
But, you know, I mean, it's just. It just fits the song very well. And there's a little harmonic in there, which is pretty cool, which he plays too.
The baseline is awesome.
[00:29:29] Speaker B: And they jacked it up to write the volume of it. It just. It got louder.
[00:29:33] Speaker A: Mm hmm.
[00:29:34] Speaker B: It really, I think, helped the song. It filled up the song more than the first go around.
[00:29:40] Speaker A: Yeah, 100%. All right, so here's the second verse. People keep talking, they don't say a word. Jaw, jaw jaw, jaw, jaw talk up in the White House talk up to your door. So much going on, I just can't hear. And then back to the chorus again. So, you know, he doesn't like the kind, doesn't like the city, right? It's just too much going on. He likes it more laid back. He doesn't probably understand why everyone's running around, so we don't understand it either.
We lived in the city. You know, you don't realize it when you're there, but once you move out, you're like, why? I can't believe I lived in a place like this. You know, you don't kind of realize that when you're in the middle of it. So it's normal stuff for you, so.
All right, let's continue. Here we go.
[00:30:42] Speaker C: Come on.
Come on.
[00:31:32] Speaker B: How long was that one?
[00:31:35] Speaker A: That one is 244. It's.
[00:31:37] Speaker B: How was the first?
[00:31:38] Speaker A: 1233.
[00:31:40] Speaker B: I knew it. 10 seconds.
[00:31:42] Speaker A: Yeah, it's kind of, it's kind of, it's kind of crazy. Um, I'm trying, I'm just trying to look here to see, um, what he used.
[00:31:49] Speaker B: I mean, honestly, what more do you need in that song, right? I mean, unless you kind of, like, you kind of go soloing throughout. You know what I mean? If you're gonna give.
If not, then. I mean, the song is what it is. It's just, that's what it needs to be.
[00:32:02] Speaker A: You know, it's cool in the back. So he did use some Rick and backwards. That's a good. You. You actually 100% right about that. I mean, as far as I can tell, he's played some Les Paul's later, later on, but it looks like he was playing Rick and back. He might have been playing that back then. It does sound a lot. It does sound a lot like stuff from the sixties that people who use that, though, so. Yeah, no, it was awesome.
I guess I go. I'm going first.
Okay, let's see. So I don't think. I mean, lyrics. Okay. I mean, I don't think they're as good as. Oh, I didn't. Did I finish reading lyrics? I did not. Right?
[00:32:39] Speaker B: Oh, maybe another verse.
[00:32:41] Speaker A: Yes, one more verse. So. Hurrying to get there so you save some time run, run, run, run rushing to the treadmill rushing to get home worry about the time you save, save that being said, I'm gonna give lyrics a six. I don't think the lyrics are as good as the prior song.
I think the music, though, is just as good. I thought, I'm gonna give that a seven. I like the bass. I like, I like the leak apart parts. I like the stuff at the end. They changed it up a little bit.
I like that little riff in between the first chorus guess. Right. That was pretty cool.
I think production is still the same as before, so I'm gonna give that a seven. So I'm gonna do 667 or 677. Sorry.
[00:33:25] Speaker B: I gave the lyrics to six on the other one. There's a sentiment here that I'd like, and there's some cool lines, but I don't think. All right, so I'll say five on the lyrics. I don't think I'm gonna say five because I gave the six to the other one. Music. I'm gonna say seven as well. I mean, it kind of, it wasn't grabbing. Nothing wasn't grabbing me at first, but it felt a little empty. But I felt like they built up. And then by the end, by the time the song was over, I was like, yeah, this is really good.
And, yeah, production gonna say seven as well. I mean, it's. It's good. It's. It's. To me, again, it's produced the way it should be. So.
[00:34:05] Speaker A: For two, it's sixties production. Right. But. But it's got sixties production, though.
[00:34:09] Speaker B: Mm hmm.
[00:34:10] Speaker A: So just for your own knowledge. So he's used everything he has. He's used. He's used telecasters. He's used stratocasters. He used Les Paul's, Rick and backer. So he's leaves lots of stuff. So who knows what he's using, where, what time, when, you know, when this is happening.
So just, you know, he used whatever you need to use.
[00:34:29] Speaker B: Yeah, whatever was there.
[00:34:31] Speaker A: It was there. All right, so next song. Let's see what's the next on. The next song is wrote a song for everyone. I doubt I know what this is. Or is. It was my micro correct. Am I in the right one? Hold on. No, sorry. Tombstone shadow, do you know this one?
[00:34:50] Speaker B: Not. Not from memory, no.
[00:34:52] Speaker A: Yeah, me either. You see, this is. This is the kind of stuff, like, like, it's like, it's super brand new to me now. It's like, oh, my God. Like, I've never heard this creed in song before, because I only know really, the big. You know, the big songs. So, I mean, there's enough of them. So you, like you said you fill that KTL record with all the songs.
[00:35:10] Speaker B: Yeah, exactly.
So, yeah, I mean, again, this is another band where I just kind of never, I've always wanted to, you know, because I like, pretty much all the hits.
[00:35:21] Speaker A: Mm hmm.
[00:35:21] Speaker B: So I always, I was always curious to say, you know, there's got to be some other good shit that I've never heard, so.
[00:35:27] Speaker A: Yeah.
[00:35:28] Speaker B: Again, I'm really glad this came up.
[00:35:30] Speaker A: Yeah. Okay, so this is, um, Tombstone Shadow.
[00:35:44] Speaker C: Tombstone shadow.
[00:36:12] Speaker A: So very much a blue song, right?
[00:36:15] Speaker B: Yeah. Okay, so here's an example, right? We talk about a lot of times you talk about kind of like the hair and metal bands when they used to do that book and you would get stuff like this. But, so he's basically doing that. Typical.
Right. First two lines are the same. Third line is different. Then. I mean, he changed a little bit on the fourth line, but, but it's a little bit more interesting. Right. It's not just straight up words or whatever. It's, it's, to me, it's an example how you can take that formula and make it a little bit more interesting.
[00:36:49] Speaker A: Um, yeah, but you know why I think it is? I think it's just more genuine. It comes across correctly because it's, it's not just, hey, look, I play the blues. You don't mean. I think that's where, like, a lot of the eighties hair metal people, when they tried to do this, it just came off very fake because. Just came off fake. Like this comes off like this is what should be. So that's why it sounds okay. Yeah. I mean, and authenticity. Right. Really more about what it is. So, you know, just because they could play this stuff doesn't mean that it sounded like if he tried to do a hair metal song, it wouldn't sound good. Right. Because he's not. It's not what he does. So this is within his wheelhouse. And the blues part of it is within his wheelhouse. So that's, that's why it sounds authentic when other bands do it doesn't sound that way.
So. And starting with the chorus, that's a. Yeah, that happens once in a while in the blue stuff too. So I guess I might as well read the chorus before we start. I guess so. Tombstone shadow stretching across my path tombstone shadow stretching across my path every time I get some good news oh, there's a shadow on my back so, yeah, this is kind of be, going to be what? This is like bad luck kind of thing, I assume.
[00:38:06] Speaker B: Yeah, I guess so. At first I'm like, tombstone. Oh, that must be like, maybe it's a reference to a place or whatever, but I guess it's like death.
[00:38:16] Speaker A: Which.
[00:38:16] Speaker B: Is a pretty cool way of putting it.
[00:38:18] Speaker A: I've never heard, ya know, that's pretty cool already. The lyrics are better, I think. Yeah, that's good.
I'm curious to see where they go with this, like, bluesy kind of thing. I mean, the guitar playing in the middle is good.
Yeah, I like it.
[00:38:32] Speaker B: Yeah.
[00:38:33] Speaker A: All right, let's continue. Here we go.
[00:38:49] Speaker C: Wet down in shambadu.
$5 on the table.
Keep my weight from my tomb.
[00:39:29] Speaker A: So.
[00:39:31] Speaker B: Is the tempo changing there, or is it just me? Does it seem like.
It seems like it's going faster, slower? I don't know if it's the.
So weird.
[00:39:42] Speaker A: There's no click track. I'm sure. So it's very possible.
[00:39:45] Speaker B: I know, but it's, like, so noticeable.
[00:39:49] Speaker A: Yeah. I didn't even notice that. Yeah, I was just listening to guitar playing. I really wasn't listening to anything else, actually. So, yeah, it shows you that it's not sometimes what you play, it's what you don't play. There's a lot of the same notes here. Right. But he's using bends and vibrato and all that kind of stuff to make it interesting, even though he's not really playing a lot of notes in theory. Right. So it was good. I'm surprised it was that big of a longer solo. That's. That's longer than red beacon. Reg redden.
[00:40:18] Speaker B: Exactly. Yeah. Maybe Reb should have played this for Kip and, like, listen, maybe. Let me get a couple more bars, man. I'm really good guitar.
[00:40:28] Speaker A: It's very possible. It's very possible.
[00:40:30] Speaker B: And they. I mean, and they're also doing interesting stuff in the verse. Right. Even in the chorus, because they don't. They. The way they break it up. Because the second line, they don't say the second part right away the way they do in the first. There's, like, a pause, then they go that, and then they quickly go into, like, the next line.
[00:40:49] Speaker A: Mm hmm.
[00:40:50] Speaker B: So that's. That's pretty cool, too, the way they're changing that up.
[00:40:53] Speaker A: I mean, for me, this is basic blues.
Basic blues. But I'll read a little bit of this. But even though this is supposedly one whole verse, there's still parts left. So I'll read the first part, I guess.
Saw the gypsy man way down in San Bernie. And I had to look it up as we were going, which I thought it. What it was. San Bernardino is. San Bernardino. Hmm. Said I saw the gypsy man way down in San Bernardino $5 on the table. Oh, keep me away from my tomb so I guess he's trying to have the gypsy guy give him good luck. So he doesn't die maybe. Or give him, like, a. Maybe he's reading his, like, fortune or something.
Yeah. I mean, it's very interesting, the lyrical things he used in here. This is a little more interesting lyric lyric wise, so. All right, let's continue, because supposedly there's another part of this verse here. Adam, is it gonna be another, like, big long story?
[00:41:45] Speaker B: Well, they just kind of went right into a solo, so I was expecting.
[00:41:49] Speaker A: Seriously, I wasn't expecting chorus, but, yeah.
[00:41:51] Speaker B: It'S cool that they went right into a solo.
[00:41:54] Speaker A: Yeah. All right, here we go.
[00:42:04] Speaker C: Shout out.
Stretching across my player every time I get some good news, there's a shadow on my back.
[00:42:48] Speaker A: That was, like, one note for almost the whole solo is so crazy. I was like, what the hell? Why is there only one note being played through the whole thing? I was like, that's.
And then he. Then he did some bending and some other notes. I was like, wow, he's gonna play this note through this whole thing. It's kind of crazy.
Yeah. Besides playing the one note, then I think he kind of doubled himself, too, besides that. So he was kind of doubled himself playing that one note. That was a long one note. Boy, I know.
[00:43:16] Speaker B: I can play. Yeah, I'm gonna play that later.
[00:43:21] Speaker A: Yeah. Well, anyway, you know what it is, too. Again, it's. Again, it's.
[00:43:23] Speaker B: It was good, though, right? It's kind of, like, so simple, but it did fit right in the simplest of ways, just like the Ramon try with the. What is it? The high e string. And I want to be sedated pretty much.
[00:43:38] Speaker A: Yeah. I mean, you know, again, it's. Sometimes. Again, like I said, it's the stuff you don't play that makes a big deal. So he plays one note, and he's able to use that one note, just vibrato and, like, doubling the note, because obviously, there was no technology to double. You had to do that yourself.
[00:43:54] Speaker B: And it was loud, too.
[00:43:56] Speaker A: Oh, yeah. It was just loud. Boy, I mean, that was a good. Almost four bars of just that one note.
[00:44:03] Speaker B: Yeah, exactly. That's pretty long.
[00:44:05] Speaker A: Yeah, it's crazy.
Okay, I'm gonna back it up just a little bit, and then we'll continue. Here we go.
[00:44:19] Speaker C: Cost $5 more.
They'll put some on your pillow and put some on you don't.
You said, take a long vacation.
[00:44:43] Speaker A: So.
[00:44:44] Speaker B: Um, I. I wonder if this really happened to him.
[00:44:49] Speaker A: I don't know. Maybe. It sounds very. It sounds very, very specific. I know.
[00:44:55] Speaker B: I mean, don't get me wrong. I mean, not that you couldn't write this in a tongue in cheek kind of way. But all of a sudden, I'm like, you know what? I feel like I see him with this guy for $5.
[00:45:08] Speaker A: Yeah.
So the second part of the first verse was.
So after he went to the gypsy, he said, I got 13 months of bad luck. Bound to be some pain. Don't you do no don't you do no traveling, flying, no machines. And then back to the chorus, tombstone shadow. And then the last verse is. The man gave me a luck charm cost dollar five more said, put some on your pillow and put some on your door he said, take a long vacation oh, for 13 months or more oh, lord, he's got 13 months of bad luck don't fly don't go flying don't go traveling. But he says, don't go traveling. But then he says, go on vacation. What is it? What is it? You don't want me to go on vacation?
[00:45:50] Speaker B: If it's a different guy, maybe it's one of those. I'm wondering if it's one of those cases where there's, like, the old joke where the doctor gave a guy six months to live and the guy couldn't pay, so he gave him another six months to live. It's almost like that. It's like, well, you give me five more bucks, I'll give you a good luck charm. That'll keep you safe. You know, before, I couldn't guarantee. But now for another $5.
[00:46:12] Speaker A: There you go. Mm hmm. All right. Let's get it. Let's continue it out. Here we go.
[00:46:29] Speaker C: Rest. When I cross my pain every time I get some good news.
[00:47:04] Speaker A: There we go. So what you think about that one?
[00:47:08] Speaker B: I like it. Honestly, I think that's my favorite one so far.
[00:47:12] Speaker A: Me too. It's really good.
Yeah. I mean, yeah.
[00:47:18] Speaker B: It's a variation on a theme, but, I mean, it's just a good. A good song.
[00:47:24] Speaker A: Well, then go. Go and rate it.
[00:47:28] Speaker B: I'm trying to think about the lyrics. I mean, I'll say six on the lyrics. I mean, I think they're better than the last ones. They're fun.
Seven on music again. I mean, I know I've rated them. You know what? Maybe I'll say eight. Then I'll say eight on the music. Because I do think that this one is my favorite. So I gave the other one seven. So logically, I should give this one an eight.
And in production, I'm gonna say seven. I mean, it was. It was strong. Again, it was. It's a song that you've heard before.
[00:48:00] Speaker A: Yeah.
[00:48:01] Speaker B: And the instruments kind of make it a little bit more interesting than some of the other stuff, so that's pretty good. What do you think?
[00:48:09] Speaker A: Um, yeah, I like the lyrics. I think there's really interesting things in the lyrics. I like the tombstone shadow thing.
There's just. Just the sentiment and lyrics and the way he's kind of telling the story here. I think it's very reminiscent to the first song. So I'm gonna give it the same. I gave it the first song, which is seven musicianship.
I'm gonna do seven again. I think I'm doing sevens across like the production. So now I gotta do this thing again since I did sevens again. I'm giving lots of sevens today.
Who am I gonna give sevens? Let's do.
Here we go. Nikki Titty baby. 777. There we go. Yoda likes it too, so. Yeah, I thought it was good. Like the production was good. I like the backing parts. Like it's standard blues. One, four, five. It's standard blue stuff. But it's like I said, it's. When it's done correctly, it feels authentic. It doesn't feel like you're faking it.
[00:49:02] Speaker B: Yeah.
[00:49:02] Speaker A: And I think that's. It's just a very, very authentic kind of blue stuff. So I like it. Alright, so this is, side one is almost over. So this is the longest song in the record. 457. This is Rotor song for everyone. I don't think I know this either.
It's an interesting, it's an interesting title.
[00:49:27] Speaker B: Yeah.
[00:49:28] Speaker A: So let's see. Let's see what this is about. So here we go. Wrote a song for everyone.
[00:49:48] Speaker C: Met myself coming.
Count it, Will. Fell out I was feeling strong out hung out on the land saw myself going down to what you all I want all I want to ride my silver tune rush on forever rush on for truth rush on forever.
[00:50:47] Speaker A: Now I don't know if I've said this, but his, his vocals are so distinctive. The way he says lines and the way he does stuff, it's just, it bring whatever he sings feels like, he brings it to life. That makes sense.
[00:51:00] Speaker B: Yeah. He has a lot of emotion in his voice. Yeah, absolutely. Again, I rank him up there. I've always loved his voice and it fits too. Right. Because he can, he can. He does a lot of the rest. I mean, I've always been a fan of raspy voices, but in this one it's not as raspy. Right. He can, he can, he can bring it down to this kind of sentiment and emotion and it sounds just as good.
[00:51:26] Speaker A: Supposedly, this song is about his ex wife a couple years after they had a child together.
So the first verse is met myself, a Cumming county welfare line. I was feeling strung out, hung out on the line? Saw myself are going to war in June? All I want, all I want is to write myself a tune wrote a song for everyone wrote a song for truth wrote a song for everyone and I couldn't even talk to you. So pretty much, he's writing songs, but he can't even talk to her. Like, he's writing all these things, putting all these things on paper, but he can't even talk to his wife.
[00:52:03] Speaker B: It's a very strong.
[00:52:05] Speaker A: Yeah, it's good again.
[00:52:08] Speaker B: Yeah.
[00:52:08] Speaker A: As soon as he started singing, it, was it just you, like, you feel like. You feel the emotion in his. His voice because it's. It's so, so distinctive, the way he sings, the way he pronounces things.
And I'm trying to listen again. It's hard to listen to. I find it hard to listen to the music when he's singing, but they're.
[00:52:29] Speaker B: Doing kind of, like, this off thing, too. Right. It's like.
You know what I mean? So, again, the little I know the songs that I know, and I don't always pick up. Maybe you don't specifically, but when you start breaking it down and you hear like, oh, they did, like, cool and interesting stuff like this. It wasn't just simple, like four fours and simple melodies and stuff like that. So that's cool.
[00:52:56] Speaker A: Yeah, I like it. All right, here we go.
[00:53:01] Speaker C: Got myself arrested wound me up in jail Richmond bout to go up communication fail if you see the answer now the time say what I want all I want to get you down praise red song for everyone rush on for truth rush on for everyone.
When I couldn't even talk to you.
[00:54:27] Speaker A: Now I don't, you know, I don't look at him as, like, a big, like, lead guitar player. I think it was more as a songwriter, but he's a really good lead guitar player that sold. It was good.
[00:54:38] Speaker B: It was very melodic.
[00:54:40] Speaker A: Mm hmm. He used a lot of. A lot of double stop notes and two notes together. It's pretty cool. Very, very good. Very modic. Very good for the song. Yeah. I mean, again, I think of him as a songwriter. I don't think it was a guitar player. I mean, that's the same kind of thing you can say about Prince. Right. No one really thinks of him as a great guitar player, but he is.
[00:55:00] Speaker B: Yeah. Until you see him play. Right. It's mm hmm.
[00:55:04] Speaker A: Yeah, no, it's good.
So the second verse is. Got myself arrested wound me up in jail Richmond bout to blow up communication fail. Now, this Richmond is not Richmond, Virginia. It's Richmond, California.
And supposedly, there was that Richmond about to blow up. Communication failed. There's a civil rights. It's a civil rights thing. There was a lot of african american population there, and they struggled during the civil rights movement. So that's what that's about. So it's very topical to the time.
If you see the answer, now's the time to say all I want all I want is to get you down to pray and then back to the chorus again and then solo. So, yes, it's really good. It sounds like some other stuff he's written, though.
[00:55:50] Speaker B: Absolutely. Yeah. I mean, yeah, yeah. I mean, there's definitely similarities in melody, and, I mean, if you speed it up, it sounds like, who'll stop the rain if you kind of make it faster? But again, if you sound like yourself, then that's just your thing. That's your style. That's. You know what I mean?
[00:56:15] Speaker A: Well, that's. It's kind of funny that he. He got sued for sound like himself. He's always sounded like himself. Even then.
It's crazy.
And, uh, you know, and the other stuff is good. The drummer is doing good stuff and rhythm guitars doing stuff in the back. Yeah, everything's good.
[00:56:32] Speaker B: Yeah, that's very tight. The drummers doing. It's good. He's like, you know, he does these fills of, like, these odd times, and then again, he does these things where he just follows the guitar. All of a sudden, he does, like, you know, he's doing on the. On the Beatroots kind of doing, like, double time out of nowhere, like, okay, that's cool.
[00:56:49] Speaker A: Yeah.
Yeah. Because I don't really think. I mean, I think he's such a big personality in this band. Like, you sometimes forget there's other people there because his vocals are so big and front. In the front of everything.
They weren't trying to hide his vocal.
[00:57:03] Speaker B: Yeah, no, and, I mean, he's not just a singer either, right? He's a singer guitar player. So he takes two spotlights, in a sense, pretty much.
[00:57:13] Speaker A: All right, here we go.
[00:57:37] Speaker C: Thousand years and change somebody says, now look, it's just the same pharaoh spin the message round and round the truth they could have saved a million people how can I tell you?
Rush on forever run a song forever song rush on Forever.
[00:59:25] Speaker B: The drummers just claim their producers probably stop. Stop hitting the ride the song's over, man.
But that was cool, too, at the end, right? They did a little bit of that kind of off time thing, and that was good. That was another good one, man. See, this is what I'm talking. This is the shit where.
What was the one that we had listened? Oh, the Eagles. Right. And we were kind of disappointed because we thought we'd find, like, gems that we hadn't heard, and. But it turned out that the ones that we knew were the better, the better songs.
But this is like. I mean, this is an album I go back to. I mean, without a doubt, so far.
[01:00:06] Speaker A: No, there. There's some hidden things in here, right. That you haven't really heard now. So these bunch of lines here are really interesting. So. So the people standing thousand years in chains somebody said it's different now look, it's just the same pharaoh spin the message round and round the truth they could have saved a million people how can I tell you? So those last two lines is basically like, so pharaohs in this place means government. So the fact the pharaohs spend the message around and around, and they could have saved a million people, which is reference to the Vietnam war, that they could have saved a million people from dying if they really told you what was going on, but instead of lied to you.
So it's very. Again, another. It's very topical to the time. Yeah, but it's good lyrics.
Good lyrics.
[01:00:53] Speaker B: Yeah.
[01:00:53] Speaker A: So what do you think about. So what do you think about this, as far as the song goes, rate this one?
[01:00:59] Speaker B: So I'm thinking triple sevens. I mean, I like the sentiment and the seriousness in the.
I mean, I like that message where he sings a song. You know, he's writing a song and he has to write it for everyone, but he can't even speak to this one person. So I really, you know, I like that sentiment because I think we kind of all go through that time. I mean, not all. I'm not saying everybody. Oh, yeah, everybody writes songs for whatever, but, you know, just sometimes it's easier to almost speak to a crowd, right, than to speak to one individual person and kind of see what you need to say to that person.
So, yeah, I'll say seven on the lyrics. I'll say seven on the music. I mean, it's. It's. It's good. And, I mean, the production fine, too. I mean, it's a really good song.
So I'm gonna say triple seven. So pull one out, nikki titty, baby.
[01:01:53] Speaker A: Seven, seven, seven. There you go. Um, I I think maybe these might be the best lyrics so far.
So in that there's a bunch of good. I agree. Everything you said about the lyrics, I like the faro line. I thought that was an interesting way of, like.
Like, spinning, instead of saying it, like, straight out, like, he's went. He metaphored it, which was nice. I like that. So I'm gonna give eight on lyrics, I think. Musicianships. He has seven. It is. It is reminiscent of some other stuff he's gonna write later. Right. But it's just in a slower. It's a slower rhythm, less beats per minute. Right. On that, than was the song you said it was.
[01:02:33] Speaker B: I want to say. Yeah. Who will stop the rain?
[01:02:36] Speaker A: Who will stop the rain? Yeah. So. So, yeah, it's very similar to that. But, you know, the chorus is a little. He's got a little. He changed it up there a little bit, so it's good. And the production. Seven. Yeah. Everyone was good. I mean, again, this is your right. This is what we were hoping to find in the Eagles record.
Songs that were like, wow. Like, we didn't even know the song existed and look how good it is. But we really didn't find that there.
So, yeah, it's awesome.
I mean, I can't really. I can't really complain about it so far. It's a good record.
[01:03:06] Speaker B: Yeah, absolutely. That's. So that's the first side.
[01:03:09] Speaker A: That's the first side.
[01:03:10] Speaker B: Nice.
[01:03:11] Speaker A: So, yeah, so I told you quick.
So the next song, obviously, we all know this song, bed rising, this was a. This was number two. Put. Went to number two in the United States and won number one on the UK singles chart.
And it's been re recorded by at least 20 different artists, ranging from folk to reggae to psychedelagram. Yeah. So this is one of five songs by the band that peaked in number two.
It did not get to number one. It was blocked by love theme from Romeo and Juliet. But Henry Mancini, that was the number one song it couldn't get past.
[01:03:49] Speaker B: It's just the time.
[01:03:51] Speaker A: Yeah. You know, it's like. It's like you know who. You never know who you're going to be up against when it happens. Right.
[01:03:57] Speaker B: So I know exactly that. That's another interesting topic, I think. What songs kept what out of number one?
[01:04:06] Speaker A: Well, the ones famous for me, because I follow Van Halen, is that they couldn't get to number one because thriller was on top in 1984 with 1984, and Eddie Van Halen played on throw on beat it.
[01:04:18] Speaker B: Yeah.
[01:04:20] Speaker A: So he somehow mucked himself up and stopped his own band from getting to number one.
[01:04:26] Speaker B: Well, he mucked himself up, too, by not taking any royalties from that either. Right.
[01:04:31] Speaker A: Well, yeah. Not that you didn't take anything to it for free.
[01:04:34] Speaker B: Yeah, I won't listen again. Not that there's anything wrong with that, but he didn't do it out of friendship. Right. It was just kind of like.
[01:04:42] Speaker A: No, I mean, I think Quincy Jones asked him to do it. He just did it.
[01:04:45] Speaker B: Yeah.
[01:04:46] Speaker A: And he figured no one was around. He said. He said nobody was around. I had nobody to ask if I could do it or not. He said, who's gonna even hear me on this record anyway?
Literally. No, it's gonna be one of the biggest records ever released, and it was gonna stop his band from getting to number one.
[01:05:03] Speaker B: The biggest selling album of all time.
[01:05:07] Speaker A: Yep.
See, there you go. I mean, I'm not crying for him because he had five another four number one albums after that fact.
[01:05:16] Speaker B: Yeah.
[01:05:16] Speaker A: So it was fine. But. But, you know, at that point, like, you feel like everyone else would probably, like, you just stopped our own record from getting to number one by playing on his record, so whatever. That's crazy. All right, so here we go. Bad moon rising.
[01:05:43] Speaker C: I see trouble on the way I see earthquakes and lightning I see bad town today don't go around tonight but if you finally take your dad there the bad moon on the right I hear hurricanes blowing.
[01:06:15] Speaker B: I.
[01:06:15] Speaker C: Know the end is coming soon.
[01:06:20] Speaker B: I.
[01:06:20] Speaker C: Hear rivers overflowing I hear the voice of razor ruinous don't go around tonight.
[01:06:42] Speaker A: I wanted to get pressing lyrics.
[01:06:44] Speaker B: Huh.
Such a happy little diddy. I'm saying that the lyrics are pretty depressing for a happy little diddy.
[01:06:51] Speaker A: They're super depressing. I don't know if you look to see what the lyrics mean, but. But basically, I guess after. After JFK was shot, so now, like, politics are becoming bad. Like, I mean, that's what the bad moon rising is. And troubles on the way.
Earthquakes and lightning could be losing to the bombing strategy in Vietnam.
[01:07:16] Speaker B: Yeah.
[01:07:16] Speaker A: So it's just such a happy, poppy song and such an iconic. Like, that stupid little riff at the beginning is nothing, but it's just. You 100% know what this song is?
[01:07:27] Speaker B: Yeah. Oh, it's like. It's. It's. It's iconic. Plus, it's in one of my favorite horror. It's not my favorite horror comedy movies. American werewolf in London. So.
[01:07:37] Speaker A: So, uh. So the first thing is I see it. So the verse is, I see bad moon rising I see trouble on the way I see earthquakes and lightning I see bad times today don't go around tonight well, it's bound to take your life there's a bad moon on the rise and then the second verse is. I hear a hurricane a blowing I know the end is coming soon I feel the rivers overflowing and the voice of rage and ruin so, supposedly the lyrics sort of allude to the Vietnam war somehow. I mean, that's what they're saying it could be about, but it's very. I think you can take it in a lot of different ways. And it's very metaphorical. It's not. It's not meaning. He doesn't really mean hurricanes. He doesn't really mean to rivers overflowing. He's trying to say something else.
So it's really good. Yeah. You can't deny this song.
[01:08:26] Speaker B: No.
[01:08:29] Speaker A: It'S just. It's so good. So, I mean, there's not much to say. I mean, what do you say? It's like everything's good about it.
[01:08:37] Speaker B: Yeah. I don't remember the solo. I know it's coming up. I don't remember.
[01:08:41] Speaker A: Yeah, I'm gonna. I'm gonna back it up. Here we go. It's a short song. It's literally 219.
How short it is.
All right, here we go.
Yeah, now I remember it. So it's basically just like. Like outlining the chords and. Good. It doesn't need any more than that. Four bars of. Just simple, you know, playing to the chords. It's good.
[01:09:30] Speaker B: Yep. It's a great song.
[01:09:32] Speaker A: It's a great song.
All right. I mean, what else do you say about this? Like, I don't. Nothing to say.
[01:09:37] Speaker B: I'm still being played today. I mean.
[01:09:40] Speaker A: Uh huh. So 54 years later.
[01:09:43] Speaker B: Yeah.
[01:09:44] Speaker A: 55 years later. Excuse me. It's crazy. Let's continue it. It's almost done. Here we go.
[01:10:00] Speaker C: Looks like we're in finaster weather one eye is taking it foreign act.
Well, I don't go around tonight, but it's finally. Take your dad there's a bad moon on the right.
Don't come around tonight take your dad there's a bat moon.
[01:10:36] Speaker A: Yeah, it's. It's. It almost can be a perfect song.
[01:10:41] Speaker B: Yeah, sure.
[01:10:42] Speaker A: It's to the point. The last verse is. Hope you got your things together hope you're quite prepared to die looks like we're in for nasty weather 1 hour is taken for an eye again. More, I think more Vietnam.
Like, get your things together. You're gonna go to Vietnam. Be prepared to die where you get. When you get there.
[01:10:59] Speaker B: I mean. I mean, plus, obviously, the sixties where there was big turmoil anyway, right?
[01:11:04] Speaker A: Mm hmm.
[01:11:04] Speaker B: So a lot of stuff going on in the sixties.
[01:11:07] Speaker A: So did you go first or. I went first last time.
[01:11:10] Speaker B: I think I went first.
[01:11:12] Speaker A: Okay, I'll go first.
[01:11:13] Speaker B: I think you should go first.
[01:11:16] Speaker A: Lyrics are a nine. I don't think you can make a better short pop song that feels super poppy, but really has horribly depressing lyrics.
I'm sure there's a lot of songs like that where it's very poppy and that. But if you listen to the lyrics, like, really? Is that what they're saying?
[01:11:33] Speaker B: I mean, technically the title is that too, right? I mean, it's not like, whatever. I mean, it's bad moon rising, so it's kind of like they could have made that title and use these lyrics and made some kind of morbid, really kind of, like, depressing song. But he tongue in cheeked it and was like, you know, fuck it, I'm gonna make a little ditty out of this shit.
[01:11:55] Speaker A: Yeah. I mean. I mean, you can't really even. I mean, all the, all the way he's playing through the chords and stuff there, whether his brother's playing rhythm, he's playing little lead lines, depending on where the chords are. It's really good music. Nine and whatever. They're doing production nine for that, too, because it's. I don't like to hear it say anything's a perfect song, but if you wanted a perfect, like, pop song that actually said something, even though you didn't know it said something, and it sounds really positive, but it's really negative and really giving you, like, a social, political thing within. You know, it's not like they're saying that straight out in your face. I mean, but you could sing the song and not even know what you're singing.
[01:12:32] Speaker B: Yeah.
[01:12:32] Speaker A: So in that fact, I mean, how can you. It's. It's almost a perfect song for me. What do you think?
[01:12:37] Speaker B: I see, I was going to do triple eight, but now I'm wondering if I'm lowballing it.
[01:12:41] Speaker A: I think you're low ball. I think you could almost do triple ten s on that if you really wanted to. Well, if you think about all the things that are going on and all the things that he's doing and how short it is and how to the point it is and what he's accomplishing within a song that really sounds really poppy and upbeat, but really is not.
[01:12:57] Speaker B: Yeah. So here's what I'm going to do. I'm going to go 988. I know it's lower song. I'm gonna say 980. I just. I don't feel the 999, but I do feel the 988. I think it's. The production is. It's probably the. I mean, again, not that anything's produced badly. It's really not. But there's. There's a little extra here, I think. I think this one and then the slow one are the two best produced. And again, nothing. The other ones are produced well, too. Exactly for what they are. It's just a little bit extra, I think, in this one. And I. But, yeah, I mean, this is a great song, man.
[01:13:32] Speaker A: It's great song.
[01:13:33] Speaker B: Really, really good song. And a great way to start the side.
[01:13:35] Speaker A: And, you know, I. I didn't even really know what the lyrics were about until, you know, later on, like. I mean, even now you're reading something, you're like, really? That's what he's saying. Geez, I don't.
[01:13:45] Speaker B: I'll be honest, I don't think I ever really, really paid attention. But it makes sense, though, because, I mean, they did write stuff about protesting and war. I mean, fortunate son is a massive protest song. So, I mean, this is definitely within their wheelhouse.
[01:13:59] Speaker A: Yeah, it was with is what a lot of sixties bands did that time, too, but a lot of them were a lot more to the point and really more in your face. This is just so ambiguous.
[01:14:08] Speaker B: I mean, again, hiding those lyrics behind the poppy little diddy is just awesome. I mean, we mentioned that a lot about the Ramones, too, right? The simplicity of the music. But some of the lyrics that you know about sniffing things and whatever that other song was about.
[01:14:23] Speaker A: But. But again, a lot of those things. But still, the lyrics are really in your face, though. They're not hidden as well as this is hidden. This is very hidden. Like, it's. It's so of the time that if you don't list it down, you might even not realize what you're singing. So, I mean, that's. I think, uh, that that's why I gave it nines across, because it's. It's hard to do that, you know, successfully. Anyway. All right, so this next song is Lodi. Do you know this song?
[01:14:48] Speaker B: Yes. I think you'll know this one too, once you hear it.
[01:14:50] Speaker A: I'm sure I do.
[01:14:51] Speaker B: Yeah.
[01:14:53] Speaker A: Yeah. This was the b side of Bad Moon Rising, released like, four months before the album came out. So, yeah, it's not saying where it.
[01:15:01] Speaker B: And this one too, once you start hearing it, you'll not only will you know it, but you're gonna hear similarities, I think, to some of the other stuff that he's written.
[01:15:10] Speaker A: So there obviously was a single version that was 221. This is the long version, which is 310.
So they cut this thing down somehow for radio?
[01:15:21] Speaker B: Yeah.
[01:15:22] Speaker A: Because at 310, it was too long, maybe. There's a lot of solo going on and stuff. Who knows? I'm just curious, I would assume.
[01:15:28] Speaker B: I mean, there's four verses in this song, which is pretty big for them.
[01:15:32] Speaker A: Yeah. Still 310, though. Yeah, I know. All right, here we go. Lodi.
[01:15:45] Speaker C: Just about a year ago I set out on the road seeking my fame and fortune looking for a particle things got faded and things got worse, I guess you know the tune.
Oh, Lord, stalking lo die up in Rodin on a greyhound I'll be walking out if I go I was just passing through seven months or more ran out of time and money looks like they took my friend.
[01:16:46] Speaker A: So the interesting thing about this song is that's that thing again, where there's really no chorus, where it's just one line. It's an interesting way to write a song. Right?
[01:16:56] Speaker B: I like songs because. Honestly.
[01:16:59] Speaker A: Yeah. I mean, I like both. I like both things, but I like when it's broken up. I like when it's broken up, where he writes a song that has a big chorus. Right. Then you come to this song. The chorus is not very big.
[01:17:08] Speaker B: Just one line, really.
[01:17:09] Speaker A: Yeah.
[01:17:10] Speaker B: Second.
[01:17:11] Speaker A: Lodi again. Lodi. California, by the way.
[01:17:14] Speaker B: Oh, yes.
[01:17:14] Speaker A: It's all about California.
So the verse is. Just about a year ago, I set out on the road seeking my fame and fortune and looking for a pot of gold. Things got bad and things got worse, I guess. You know the tune oh, Lord, stuck in Lodi again. So basically, a musician going out on the road, trying to be. Trying to make a name and make money. But meanwhile, either no one's coming to his shows or he can't get gigs or whatever, and he's kind of just stuck in this town because he gets to the town, he can't leave because he has any money, so he's stuck.
So verse two is rode in on the greyhound. I'll be walking out if I go. Which means he has no money, right?
[01:17:50] Speaker B: Yep.
[01:17:51] Speaker A: I was just passing through. Must be seven months or more. Ran out of time and money. Looks like they took my friend oh, Lord, I'm stuck in Lodi again so basically he goes there.
[01:18:02] Speaker B: Do you remember the song now or. No, no, it's. It's a. It's a pretty decent hit. I mean, I was always, like, when I was younger, I was like, what the hell is Lodi?
[01:18:13] Speaker A: There you go. Yeah. I mean, again, I. The sentiment in the song is very. He's very good at light writing lyrics like this, which gives you a picture of what's going on. So. Cool. I'm curious to see if there's a solo coming up because, like I said, they cut it down to 212. They probably took any instrumental break out of this, I would guess.
[01:18:32] Speaker B: Yeah.
[01:18:33] Speaker A: And just left. And just left the verses because they cut them almost a minute out of the song. Yeah.
[01:18:38] Speaker B: I don't know, honestly, because, I mean, on. If you think of. I mean, think about, like, the stations where you hear this kind of music regularly. Right. The rock stations, their odds are they're not going to be playing the two minute version. Right. Just like they're not going to be playing the two minute, whatever version of light my fire. They're going to be playing the album cut.
[01:19:00] Speaker A: Mm hmm.
[01:19:01] Speaker B: So.
[01:19:01] Speaker A: Well, back in the day, though.
[01:19:03] Speaker B: Oh, yeah. No, but I'm saying, like, listening to it now, like, if we, you know, I mean, like, you classic rock, satellite, or whatever the hell you're gonna be hearing this version, I assume.
[01:19:11] Speaker A: Oh, yeah. Well, who knows if anyone even has the friggin single version anymore. It's probably no place to even use, so who knows what that is? All right, let's. Let's continue. Here we go.
[01:19:36] Speaker C: The man from the magazine said I was on my way somewhere I lost connection ran out of songs to play came into town at one night stand looks like my plans, fella through die if I only had a dollar every time I had to play while people sat there throne, you know I catch the next train back to where I live o Lord talking, stalking all day.
[01:21:21] Speaker B: Was that song really three minutes?
[01:21:23] Speaker A: Yes. Why? Does it feels longer?
[01:21:25] Speaker B: No, it feels shorter.
[01:21:27] Speaker A: Yeah. So my assumption is those little breaks that were there, they must have cut those out. Right. And they probably cut something at the end out. I'm thinking, too. Yeah. So, I mean, I don't know how you make the song mature than it is. I know. So it's kind of crazy.
Okay, so verse three. The man from the magazine said I was on my way somewhere I lost connections I ran out of songs to play came into town, a one night stand looks like my plans fell through oh, Lord stuck in Lodi again. And then the last verse is, if I only had a dollar for every song I sung every time I've had to play while people sat there drunk, you know, I catch the next train back to where I live oh, Lord, stuck in Lodi again. So this musician wants to. Always hoping to make it big, but can't really get it done. Now we stuck in this frigging town. He can't get out because he has no money.
[01:22:19] Speaker B: Well, I think any. Any musician can at least some point, right. I mean, even whatever little we. We did, we can. There's. There's stuff in here that we can relate to.
[01:22:29] Speaker A: Mm hmm.
[01:22:30] Speaker B: Right. So, I mean, it's a cool little. Cool little story, right?
[01:22:35] Speaker A: Well, since I went first last time, why don't you go first this time?
[01:22:39] Speaker B: I'm thinking I'm gonna go triple sevens on this one. I mean, it's good, but, I mean, again, it is reminiscent of.
And not that it's bad, but some of the other stuff that I do really like, so.
But, yeah, I mean, I like the story again.
You know, we've had. We. We've had people in our career tell us, oh, you shouldn't do this because this is not. What's. This is not popular and or whatever. So it's kind of the opposite of what he was told. But you can understand people whispering in your ear about what you should or shouldn't do to make it, or. Yeah, you're gonna be big, and then they kind of just abandon you, so.
[01:23:22] Speaker A: But, yeah.
[01:23:23] Speaker B: And it's almost like a little movie, right. You could picture a movie going. Going on about him and trying to make it, getting out, but just kind of almost laughably, like a running gag where he just winds back up into this town, no matter how many times it seems like he's gonna get out. So, yeah, it's. Again, I mean, there hasn't been a bad song on this album yet, I think. So what do you think?
[01:23:50] Speaker A: Well, first I have to do this. Nicky Tippy baby, 777.
[01:23:54] Speaker B: That's right.
[01:23:57] Speaker A: So, yeah, I think I'm gonna do sevens across as well. Again, like, the sentiment, I like the fact that it's different in the chorus thing, where it only says the chorus line, like, one time. I kind of like that. And, yeah, there really hasn't been much bad on this. There's nothing bad here at all. But before. Let me just do this before I continue. Nicky titty, baby.
[01:24:20] Speaker B: Seven, seven, seven.
[01:24:21] Speaker A: Um, so, yeah, I think that, um. I think it's kind of funny that they had to cut this song down from three minutes to two minutes.
[01:24:30] Speaker B: Yeah.
[01:24:31] Speaker A: Like, you know. You know what would make this song better? If we made it from three minutes to two minutes.
[01:24:36] Speaker B: Yeah. Basically cut a minute and. But it's almost. Again, it's it's almost.
It's, um. What is. It's, like, poetic justice in a sense, in terms of what he's talking about in the song. Right. And then what they eventually had to do to get the song played.
[01:24:51] Speaker A: Mm hmm. Yeah. Crazy.
All right, and we continue. And the next song is Crosstie Walker. Do you know. Do you know the song?
[01:25:01] Speaker B: No. Didn't he say that in, um. He said crosstie Walker in commotion. Right. I think. What, in one of the songs, the hell is a crosstie walker?
[01:25:10] Speaker A: I assume a cross tie walker is like a train or hobo, maybe. Cross tied. Like the ties on a trail track.
[01:25:17] Speaker B: Yes. Hobos catching trains. Good call.
[01:25:19] Speaker A: Yeah. So I'm trying to think. I'm curious again. Hopefully, this is, like, another little gem that we have never heard. All right, here we go. So, cross tie Walker.
Oh, he does really like to use that, doesn't he?
[01:25:34] Speaker B: Yes.
[01:25:35] Speaker A: That's. That's sort of been rising again. Sort of.
[01:25:37] Speaker B: Yeah. Definitely likes to throw down.
[01:25:42] Speaker A: When he's trying to make it sound like a train, too. Is that the chugga chugga thing going on, too? So I appreciate it's similar to bad moon rising. Just the rhythms looks a little bit different.
[01:25:52] Speaker B: Yeah, I mean, listen, they have a style. They. They have. They kind of go in and out of kind of this. That's.
I don't want to say genre, but kind of like this. These types of songs where they kind of go in between kind of specific styles.
[01:26:08] Speaker A: Yeah, it's very, um. It's very like. They call it, like, swamp rock. It's very swampy. Like, they do some bluesy stuff, and then they do this, which is more like the. The southern Louisiana kind of feel thing. Yeah, I think this is kind of like. All right, here we go.
[01:26:33] Speaker C: I went down to the station just to take care there were no red band I pulled out from the platform nobody raised their hand there was no till the regret from a runaway.
[01:27:24] Speaker A: All right, we're gonna get through a solo already. That's quick. This is only 322. This is short song. So the verse is, I went down to the station just to take a ride I went down to the station just to take a ride found myself in a flat car yesterday behind and then again, this. I think they're saying that this is a little more reference to Vietnam. Pulling out from the station there was no brass bandaid pulled out from the platform nobody raised a hand and there were no tears of regret from my run around one. Right. Train, train, train, train. So that pulling out from the platform there's no blood. Brass band supposedly means, you know, getting on the train, going to war. But no, no one was there to, like, see you off or anything. So it's obviously. There's a running theme on this album, too, so that's good. I like it.
[01:28:09] Speaker B: Yeah. He doesn't think. I mean, again. Right. He does. Where he does that. Typical. Two things the same, then one, but then come another verse and none of the things. Right. There's no rip repeating because he did that in the other one, too. And then he. You know, they throw these little, like, in this way, he goes into that boom, boom, boom, boom. You know, instead of keeping it straight, he kind of. Okay, well, I did this the first time. Now I'm going to change it up with the. The way I'm rhyming and I'm going to change it up by adding this thing in between. So, I mean, he keeps a little bit more interesting.
[01:28:38] Speaker A: Oh, yeah, no, I think. I think. I think they do a really. He does a. He. Even though he kind of uses that blues thing of the two lines. In the third line, he doesn't really do that all the time. He may use it once, but the second time is always a change.
[01:28:50] Speaker B: You know, changing it up a little bit different.
[01:28:53] Speaker A: Yeah, it's cool. All right, let's. Let's continue. I think I backed it up a little bit. Here we go.
I was thinking the guitar playing reminds me of, like, have you ever heard, like, Elvis Presley music from back in the fifties?
[01:29:24] Speaker B: Yeah, I was gonna say it reminds me. Johnny Cash, too.
[01:29:27] Speaker A: That, too. I mean, but it's very similar in that they play, like, to the core. You know what I mean? They play those little. Those little parts that are more like. Not really like lead lines or more like. More like just arpid in the chord kind of thing with the thing. Like Scotty Moore, who was good Elvis guitar player. That's very similar to what he would do. And like you said, maybe Johnny Cash, too. Same way.
[01:29:49] Speaker B: Yeah. I mean, I have to think that country music in general is an influence on them. Right. I mean, in some cases, I hear kind of like, the purest form of country music in this, so.
[01:30:00] Speaker A: Yeah, I agree. Yeah. Well, it's blues. It's got a little country. It's got a lot of stuff.
[01:30:04] Speaker B: Yeah. It's got some rock. I mean, it's. Yeah, it's a good. It's a good blend of influences.
[01:30:09] Speaker A: Yeah. And it makes them. Makes their sound. Whatever their sound is.
[01:30:12] Speaker B: Yeah.
[01:30:13] Speaker A: Push it all together.
And his voice. Well, his voice makes the whole thing, pretty much. All right, here we go.
[01:30:28] Speaker C: Ain't no sand in my pocket, yeah, I'm just in front walking where I'm a free train wrong.
Save me a call don't you waste my time if you see me come don't you wake my down.
Cause there's more miles between us than the sand.
[01:31:40] Speaker A: Changes it up a little bit there, too.
[01:31:42] Speaker B: Yeah.
[01:31:43] Speaker A: So it's got no sand in my pocket. You know I ain't tied down. Ain't no sand in my pocket, never do sit down. I'm just a cross tie walker where the freight trains run, run, run so he used cross tire walker one time.
[01:31:57] Speaker B: Yeah.
[01:31:58] Speaker A: And then, like we said, he doesn't usually repeat. But now this time, the first one was similar, not the same. But now the second time, he does the repeat. If you see me coming don't you waste my time if you see me coming don't you waste my time because there's more miles between us than a Santa Fe line. Run, run, run, run, run so he kind of mixes it up.
[01:32:15] Speaker B: Yeah.
[01:32:16] Speaker A: Which, you know, makes it a little more interesting than if you just said the, you know, the two lines all the time.
[01:32:21] Speaker B: Yeah.
[01:32:22] Speaker A: Again, it's very authentic sounding. It doesn't sound like this is. Shouldn't be coming out of him. Or this. They shouldn't be doing this.
[01:32:29] Speaker B: No, yeah, exactly.
[01:32:31] Speaker A: I mean. I mean, I don't know how it was taken back in the day. Like, who knows how what people said about that? This. They could have said it was. Oh, you know, it's just copying this, copying that. Like, I don't know. I don't know what the.
I don't know what the sentiment was back in the day about this, but I like it.
[01:32:46] Speaker B: I like it.
[01:32:49] Speaker A: Yep. Let's continue. We're almost done. Here we go.
[01:33:19] Speaker B: You got your fade out.
[01:33:21] Speaker A: Well, yeah, well, it's a sixties, man. There's a lot of fade outs.
[01:33:24] Speaker B: I was waiting for that. Bum, bum bum bum, bum bomb.
[01:33:29] Speaker A: No, I like. I like that little bass line. That was pretty cool.
[01:33:33] Speaker B: Me, too. Yeah, the baseline is good, too. And this is a lot of walking bass lines, and, you know, which lends, obviously, to the style of music that they're doing. So. Drums good?
[01:33:43] Speaker A: Yeah, no, everything. Everything's pretty good. I mean. I mean, you can't really say anything is played badly at all.
[01:33:48] Speaker B: No.
[01:33:50] Speaker A: I guess I'll go first. I'm gonna do six on lyrics. I don't think they're as interesting as some of the other stuff he's done on this album. But they're not bad. I like the fact that even though he's making it simple, he kind of switches up that double line single thing.
Yep. Seven on the music. I thought the music was very. Played very well. I like the guitar playing.
The very Johnny Cash, Elvis Presley, which probably had to be an influence on them too, just the way it sounds.
Guitar playing. I thought that was pretty cool. Outline the chords and stuff. That's neat.
It's harder than it sounds like to do correct, you know, convincingly, anyway.
And then production, they give it a seven. I liked it. We think.
[01:34:34] Speaker B: Yeah, I think I'm gonna do exactly the same. I mean, I do like lyrics about trains and stuff like that. I've always liked that, you know, the. The train whistle in the distance kind of thing, so.
But, yeah, I'm gonna say six on the lyrics. Yeah, seven on the music. It's played really well. Again, he keeps it interesting. And, yeah, seven on production. I mean, again, something typical of their sound, but just a good song. So.
[01:35:03] Speaker A: Again, I think we're finding more things here to like than we did on the eagle stuff for we don't know. So I think that's good.
[01:35:10] Speaker B: Exactly. This. This is what I wanted then, and I was hoping that's what we would get here. But I was also cautious because you never know.
[01:35:21] Speaker A: All right, so the next song is sinister purpose. I like the name. I don't know what it's about. I don't think I've ever heard it.
[01:35:27] Speaker B: I don't think I've ever heard that either. Not by the title anyway.
[01:35:30] Speaker A: Nope. All right, here we go. Sinister purpose. Let's see what we got.
[01:35:39] Speaker C: When the sky is great and the moon is late I've been down to get you roots of a crochet seven of us knocking at your door.
[01:36:13] Speaker A: This is a very 60 sounding song.
[01:36:16] Speaker B: Yeah. It's got a good groove to it, though.
[01:36:18] Speaker A: Mm hmm. Usually I don't like when, like, the lyrics and the guitar playing, like, match each other, but in this case, I think it works.
[01:36:25] Speaker B: Yeah. You don't like that? I mean, I think if it's done well, it could be cool.
[01:36:29] Speaker A: Mm hmm.
[01:36:30] Speaker B: I guess. I guess it depends on the strength of the riff, right.
[01:36:32] Speaker A: So, yeah, I mean, I have to say, I mean, I don't know if. I don't know if I like the melody as much as some of his other stuff, but it's definitely different than some of the stuff we heard prior on this album. So I like that.
When the sky is gray and the moon is hate I'll be down to get you roots of earth will shake sinister purpose knocking at your door come and take my hand I'm really not too sure what this is about yet, so.
[01:36:57] Speaker B: I think this is about, like, the devil.
[01:36:59] Speaker A: Oh, is it?
[01:37:00] Speaker B: Hold on. I read something somewhere.
[01:37:02] Speaker A: Okay.
[01:37:03] Speaker B: The eight track off of Green river, indicatively titled Sinister Purpose, depicts a narrator characteristic of the devil offering their unholy services to the subject in a prototypical sinister and satanic manner.
[01:37:17] Speaker A: Okay. Yeah. Knocking at your door come and take my hand so take my hand is Satan come take my hand right. So, additionally.
[01:37:27] Speaker B: So additionally, the lyrics, particularly in the second verse, seem to infer a further parallel parallelism between the devilish narrator and warfare, no doubt alluding to the band's renowned sentiments regarding the contemporary contemporaneously coinciding war in Vietnam.
[01:37:46] Speaker A: Okay, so there's more of that. Yeah. I wouldn't think that he was just totally gonna give this up.
[01:37:51] Speaker B: So, yeah, I mean, obviously, a lot of. A lot of protests. I mean, hey, look at the air, right?
[01:37:56] Speaker A: Yeah.
[01:37:57] Speaker B: Not too many pro. Pro Vietnam songs that were coming out in that era.
I mean, rightfully so. So.
[01:38:04] Speaker A: Yeah. Very topical for the time. So. Yeah.
[01:38:07] Speaker B: Cool.
[01:38:08] Speaker A: All right, let's continue. Here we go.
[01:38:18] Speaker C: If you see the. Let go.
Here I am.
Send us your perfect knock on at your door come on, take my knees.
[01:39:18] Speaker A: That was pretty interesting how they had that one note being held and, like, going around the stereo thing, and then him playing those simple. Those simple things. Like, he's not very flashy. It's very. It's very simple, but it works.
[01:39:30] Speaker B: It was good, though. I mean, I think this song lends itself to a pretty. Like a good cover, too. Like, a little bit heavier. I'm sure there's got to be some heavier versions of this song out there.
[01:39:38] Speaker A: Oh, I'm sure. Yeah. I mean, I could see doing some cool stuff with this. Yeah, it's pretty cool. Yeah. So I like this. I like this verse.
Burn away the goodness you and I remain did you see the last war? Well, here I am again.
So it's the devil thing, right?
[01:39:54] Speaker B: It's kind of like a sympathy for.
[01:39:55] Speaker A: The devil, sinister purpose. Knocking at your door come take my hand again so that's pretty cool. Yeah, I like the song. I mean, it's different. I like that they're taking a little bit, you know, different path than the rest of the album. This, to me, is more. This feels more sixties song to me.
[01:40:13] Speaker B: Yeah. Like sixties rock, right. It's not a ditty at this point.
[01:40:16] Speaker A: It's what's no, no, this was never game played in the radio. No, no, it's not. This is not the time for that, but. All right, here we go. I'm gonna back it up a little bit.
[01:40:28] Speaker C: I can set you free.
Make you rich and white.
We can live forever.
Look into mine.
Send us the first.
Not gonna show you.
Come unto my name.
[01:42:00] Speaker A: Yeah. It's so interesting. He bangs you over the head with those guitar parts over and over and over and over and over and over. It's all.
[01:42:09] Speaker B: Yeah.
[01:42:10] Speaker A: You know what I mean? It's the same thing over and over. But he does it so, so well that it just gives a burn into your head.
[01:42:15] Speaker B: Yeah. And then that little kind of like.
Right. The little change in the tempo.
That was really cool. Yeah. I mean, they keep it interesting. I mean, give them credit.
[01:42:31] Speaker A: Yeah. So. And the third. The third verse reminds me of, like, when they talk about musician going down to the crossroads and give you. Giving the soul to be something. Right.
I can set you free. Make you rich and wise. You can live forever. And look into my eyes.
So it's cool.
Yeah, pretty much.
So. Sinister purpose.
Trying to see. So I went first last time. Right. So why don't you go first?
[01:43:08] Speaker B: I think I'm gonna do triple sevens on this one. I mean, I like the lyrics. I like the music.
I think it, um.
It. The more went along, the more it amped up. Because even in the beginning, I'm like, oh, it's cool. But it feels a little empty. But it just. They filled it up and again doing those good parts and even that little change at the end with the. The tempo and everything. I mean. Yeah, it's a really well written song. I gotta. Some of these are hard to judge because I'm not sure. Like, I'm. I feel like I'm being conservative because some. I want to go higher, but.
[01:43:47] Speaker A: I.
[01:43:48] Speaker B: Guess I'll say triple sevens for now. But, I mean, this could probably be eights too. I mean, I really like it. The more progressed, the more I like that. So.
[01:43:58] Speaker A: Yeah. All right, so here's this triple seven thing for you.
Nikki titty, baby, seven. There you go.
I think I'm gonna do the same thing and I'm gonna get. I'm gonna use this one because this is very apropos for the era. Nikki Titty baby, 777. Bob Dylan likes it too. Yeah, I think that.
I like the.
I like a little more distorted guitar in this, which is not really a lot that's on here. So there's a little more distorted guitar. A little feedback. So it's very sixties to me.
And, yeah, I wasn't sure at the beginning if I was gonna like this, but I. The more it went on, the more I liked it. So I like it. And you can see, like, if you did a cover of this, you could, like, expand on this a little bit, too.
[01:44:44] Speaker B: Oh, yeah. So there's a heavy. There's a heavy undercurrent that goes on in this song that you could definitely kind of flush out.
[01:44:56] Speaker A: Well, we've come to the end.
[01:44:58] Speaker B: Wow, really?
[01:44:59] Speaker A: Yep. And the last song is. Nighttime is the right time.
[01:45:04] Speaker B: Is this what's his name? Cover.
[01:45:06] Speaker A: This is a rhythm. It's a cover.
It's a rhythm blues song recorded by american musician Nappy Brown in 1957. Um, it draws in some earlier blues songs, um, including those by Ray Charles, Rufus and Carl, and James Brown.
[01:45:20] Speaker B: So, yeah, Ray Charles is what I was thinking.
[01:45:22] Speaker A: Yeah. I mean, but it's been covered a whole bunch of times.
[01:45:26] Speaker B: Yeah, well, I mean, how many times you heard the phrase, right? Nighttime is the right time?
[01:45:32] Speaker A: Yeah, pretty much. So, I mean, I don't know how we're gonna rate this. I guess we're gonna. We're just gonna rate it, I guess, even though it's a cover.
[01:45:39] Speaker B: Yeah.
[01:45:39] Speaker A: So I'm curious to see what they do. I don't know the original song, but if this is anything like all the other stuff they do, it should be good.
[01:45:46] Speaker B: Exactly.
[01:45:47] Speaker A: And it's short again, 307. So here we go.
[01:46:05] Speaker C: You must not count. Why do they do with the one.
With the one you love?
[01:46:46] Speaker A: So his voice is, like, perfect for this song.
[01:46:49] Speaker B: Oh, man.
[01:46:50] Speaker A: Right?
[01:46:50] Speaker B: Yeah. Yes.
[01:46:52] Speaker A: Yeah. So. And his voice is so distinctive, even the background vocal matter. Who's singing with him is him. It's like a whole bunch of him just singing over and over. So, I guess let me go through the chorus because we're going to hear this a bunch of times. And then the verses would do the same kind of stuff. But so the why do they. Is that's the part that they. The background vocal does. So, you know, the night time. Always the right time to be with the one you love I said the night time is the right time to be be with the one you love I said the night time ooh is the right time to be the one you love and then that's the chorus. So we're gonna be actually going into the verse right now. So you see. But. But see, they do this and it doesn't sound. Again. It sounds like it's fine.
[01:47:38] Speaker B: Yeah.
[01:47:38] Speaker A: Yeah.
Even though it's a cover. It doesn't feel like they're. Like. It doesn't feel. It feels, again, authentic, which I think was why it sounds okay.
[01:47:47] Speaker B: And a little side note, because I was pretty sure it's what it was. This is the infamous Cosby show.
This? Yeah. For the. For the grandparents.
[01:47:58] Speaker A: Oh, maybe I do remember that. That's why some.
[01:48:01] Speaker B: Yeah. What they all sing.
[01:48:02] Speaker A: Oh, there you go.
[01:48:04] Speaker B: Yeah, but he says, why do they. But when Ray Charles says that, it's night and day. That's what was throwing me off. I was like, this has got to be the same song. But why is he saying, why do they.
[01:48:21] Speaker A: No, there's a bunch of. It's based on a bunch of different songs. Yeah, I think so. That's why it's basic blues again. Basic blues again. That, though, people just change around to do what they want, so. All right, let's continue. Here you go.
[01:48:35] Speaker C: Baby, I said I'll baby, baby, come on and drive my crazy?
You know I love you.
I was thinking of, you know, the night time.
[01:49:17] Speaker A: No. There's gonna be a solo coming up, so.
Yeah, it's cool. Yeah, it's just. It's just funny. Like, you hear that other songs are based on this song or this verse or whatever. You know what I mean?
[01:49:29] Speaker B: Yeah.
[01:49:30] Speaker A: So the verse is, baby, I said, baby, baby, come on and drive me crazy? Lord, you know I love you? Always thinking of you hey, baby, oh, I said, baby, you know the night time always the right time to be with the one you love I want to sing this song, so we're going to call it out right before it's happening. So let's. Let's hear the, uh. Let's hear the solo.
You know, all I can think of is, like, if, like, Hendrix did this song, he would have went off crazy. Guitar solo.
[01:50:43] Speaker B: Yeah.
[01:50:44] Speaker A: He's so very reserved. He hasn't really played fast. It's like just. Just, you know, double stops and a little bit of bends here and there. It's just. It's a different kind of guitar playing. Even though. Even though Hendrix has been out for a little bit already. Right. He didn't seem to be very, very much affected by this at all. No, he's got his style, and that's the way he's doing it. And I think that's why I don't look at him as, like, a lead guitar player, even though he is. You know what I mean? I'd like. Not the first thing I think. So I was done with this. Let's just. Let's write it out and then we could talk about it, I guess, a.
[01:51:18] Speaker B: Little bit of amen.
[01:51:34] Speaker C: After the nighttime body.
The right time to be. Wow. Always I want you, love.
[01:52:10] Speaker B: Good way to yell.
[01:52:12] Speaker A: Yeah. And there we go.
So cool.
I liked it.
[01:52:19] Speaker B: It's quick.
[01:52:20] Speaker A: Yeah. Quick in now. I don't know. I don't know. The original.
[01:52:24] Speaker B: A whole album, huh?
[01:52:27] Speaker A: I know.
[01:52:27] Speaker B: I know. The. Like I said, the Ray Charles one because I liked it when they did it. I always thought it was a good song. And then they. It's. It's in the movie as well.
And you get the, um. The girl who does the separate baby.
[01:52:42] Speaker A: Yeah.
[01:52:42] Speaker B: We think is Regina King played the role in the movie.
But this is a good version. I mean.
[01:52:51] Speaker A: Yeah, no, I mean, I don't. I don't. I'm sure I heard the original of some. One. Some version of this somewhere along the line.
[01:52:57] Speaker B: Yeah.
[01:52:58] Speaker A: I don't know what to do here because this is not really their song. So I don't know. I don't know what to do is they didn't really write the lyrics. They didn't write the music. They didn't do anything.
Huh?
[01:53:07] Speaker B: Will you skip the lyrics?
[01:53:09] Speaker A: I don't know. I'm just gonna be. I'm gonna. I'm gonna be super politically correct. I'm gonna do sevens across the board again, because I. I would have to compare it against the original. And I don't really know the original enough to, like, make a comparison. So I'm just gonna give it sevens just because. And that means I have to do this. Mickey. Tibby, baby. Seven, seven, seven. The 777s are getting a workout today.
[01:53:32] Speaker B: Yeah.
[01:53:32] Speaker A: So what do you think?
[01:53:33] Speaker B: I mean, listen, if I'm gonna rate.
[01:53:35] Speaker A: The lyrics, it's hard. Yeah, I just. I just. That's what I'm saying. Just, like, for everyone, I'm just gonna go across.
[01:53:43] Speaker B: I'll say six on them and. Yeah, and I was gonna say seven, seven. Actually, you know what? Maybe I'll do seven, eight. Let's throw the production extra bone because I think. I think it was really, really well produced. So. Yeah, let's say six, seven, eight. Cool.
[01:54:01] Speaker A: Yeah, yeah, I mean, this is a. This is one of the few times we get to do a whole album beforehand.
[01:54:08] Speaker B: And it was good.
[01:54:10] Speaker A: Yeah, it's good. And this is episode 99, which means that 100 we get to spin on which. That I was.
Yeah, it's good.
[01:54:17] Speaker B: That is good.
[01:54:18] Speaker A: Yes.
[01:54:19] Speaker B: Good. Yeah. Because that would have been weird if we did, like, 99, 100 and then we had a spin on 101.
[01:54:24] Speaker A: Yeah, we've been weird.
So this came up at the right time. And again, I think you and I both think that this should have been the thing where we got some gems that we didn't know about. Right.
I mean, if I look at all the. All the stuff there, I mean, it's basically all sevens pretty much through the whole thing, which is good.
[01:54:46] Speaker B: Yeah. This is like a full playlist, right? This whole album is like.
[01:54:50] Speaker A: Oh, yeah. Almost everything is going to pretty much be on, um. On that. Yep.
Across the board. It's gonna be. It's gonna be what it is. It's a little hard to, um.
It's a little hard to get an album that's, you know, this consistent. It's very consistent record. Yeah, that's what I. Yeah, exactly.
[01:55:09] Speaker B: I mean, you know, really good music and, you know, definitely more knowing the simplicity of hits and things like that. Just some of the other stuff that they did and with the timing and just adding these little parts. I mean, the bass lines are pretty cool. A lot of walking bass lines, a lot of cool little drum parts.
So, you know, and obviously his voice and guitar playing, so I'm glad. And this, to me, again, I've always wanted to go through their catalog and say, you know, I like so many songs from this band, but I don't know, you know, there's got to be songs there that I don't know that I'm really going to like. So, again, I'm glad this is, uh. This came up.
[01:55:50] Speaker A: Yeah. 100%. I kind of think that it's hard to, um. It's hard to know what they're going to be because, you know, the big hits all the time. So, um. But I'm glad we got this because it's. Again, you're right. It's a band that I don't really listen to albums of, uh, you hear, like, I mean, you can just put their greatest hits on. You don't really need it very much more, but it's nice to. It's nice to hit this.
Yeah, true. Cool. Well, I'm glad we got. This is awesome. Something a little different back to the sixties again, and.
[01:56:19] Speaker B: Yeah.
[01:56:20] Speaker A: And from a band that we know lots of stuff from, but don't know a lot of the deep cuts. And again, like we said a bunch of times in this album, we hope that the Eagles had this, but this is. This really is the kind of thing, like, oh, wow, look at. Look at how good these songs are. And we've never heard them, so it's like brand new music. Yeah, it's awesome.
[01:56:39] Speaker B: I mean, I think the problem with the Eagles, right, was, I think the thing that we kind of kept saying was the identity maybe wasn't there. It was. It was hard to. To figure out what they were kind of trying to be, you know, and only because they said they weren't right, the country band. But the song sounded more country than they did. Rock. And not even. I'm not even talking about southern rock. I'm talking about, like, rock in general.
[01:57:06] Speaker A: So, yeah, I'm much more pleased with the way this turned out to you. Truth?
[01:57:10] Speaker B: Absolutely.
[01:57:11] Speaker A: So.
[01:57:11] Speaker B: Yes.
[01:57:12] Speaker A: Awesome.
[01:57:12] Speaker B: Very happy.
[01:57:13] Speaker A: All right, Samino, why don't you do your thing?
[01:57:15] Speaker B: So, we are part of the deep dive podcast network. Again. Great bunch of guys took us right in. And if you want podcasts about individual bands, and that's the place to check. I mean, even though we're on there, but I. We're kind of like the sloppy black sheep of the. Of the network. We kind of bounce around, but obviously, the guys on there, they know their shit. Talking about specific bands, again, shout out to our boys of Rush Rash, who we may be joining soon on the podcast, the Judy's priest podcast. We may be joining as well. So, you know, hopefully we can get our schedule synced and have a. We haven't had many, many guests on here, but hopefully we got a couple things lined up, so. And again, you got Tom Petty on there, you got Zeppelin, queen. You name it, it's on there. So. So check them out. And, Mark, where can they find this on the interwebs?
[01:58:09] Speaker A: All the social media is rock roulettepod.com. you can visit rock roulette podcast to see the polls and more Spotify playlists are up. I'm going to try to post that during the week, too, at the end of the episode. So. So you can go right to the playlist without having to go to the website. So I'll try to post that up, but, yeah, come leave a message, put us on your auto download, and leave a five star rating wherever you listen to your podcast, because that helps us. So. Helps us with the algorithm.
That's just one of those things where, you know, people that like it and share it and do whatever, um, you know, helps us out, gets us out there a little bit more.
And so big. 100. Can you believe we're gonna have 100 episodes? Yeah, that's kind of crazy.
[01:59:00] Speaker B: Yeah.
[01:59:01] Speaker A: And. And the 100 episodes.
Yeah, the 100 episodes gonna come before the. The two year episode.
[01:59:08] Speaker B: Yeah. So wonder what number that's gonna be like.
[01:59:13] Speaker A: Probably.
I don't know. I'm trying to think maybe like 156 somewhere. Probably. I would think. I'm not sure. I'd have to edit up. I don't know. I don't, I don't. It's too late for me to do math.
[01:59:25] Speaker B: Yeah, exactly. Too late or too early, depending on who you ask. Pretty much, yeah, exactly.
[01:59:33] Speaker A: All right, well, this is fun. Cool. Hopefully you guys enjoyed this. We enjoyed it. It was something different for us. And we're going to see what happens on 100.
[01:59:40] Speaker B: Yeah. Awesome. Ciao. Ciao.
[01:59:43] Speaker A: All right. See you guys later.
