1
00:00:00,080 --> 00:00:03,919
Speaker 1: Ao, this is Sammy J. From Chicago and you're listening

2
00:00:03,960 --> 00:00:07,440
to Shirley you Can't Be Serious podcast, And it's like

3
00:00:07,480 --> 00:00:09,640
something to think about, right, Like what if my name

4
00:00:09,759 --> 00:00:13,359
was Shirley right, and I'm like, yo, I am serious,

5
00:00:13,720 --> 00:00:16,519
and you can feel comfortable with calling me Shirley because

6
00:00:17,440 --> 00:00:20,679
that's my name and you know, always remember, right, like

7
00:00:21,000 --> 00:00:23,960
life is all about when your Internet goes down, it's

8
00:00:24,000 --> 00:00:26,640
not how many dimes it goes down, but how many

9
00:00:26,679 --> 00:00:30,679
times you get back up? Come on, you know, listen up.

10
00:00:31,120 --> 00:00:31,960
Speaker 2: You're better than this.

11
00:00:32,479 --> 00:00:38,280
Speaker 1: HEO.

12
00:00:38,560 --> 00:00:40,640
Speaker 2: Hello, everybody, Welcome back to the Shirley you Can't Be

13
00:00:40,719 --> 00:00:45,640
Serious Podcast. D We are at the end of season five.

14
00:00:46,000 --> 00:00:47,880
Can you believe? I mean, we've made it five years

15
00:00:47,920 --> 00:00:50,000
and this is completed our fifth year.

16
00:00:50,280 --> 00:00:53,320
Speaker 3: I can feel no sense of measure, no illusions as

17
00:00:53,359 --> 00:00:57,439
we take refuge in young man's pleasure, breaking down the

18
00:00:57,560 --> 00:01:05,079
dreams that we make. That's what this podcast is about,

19
00:01:05,159 --> 00:01:09,400
ladies and gentlemen, breaking down the young man's dreams when

20
00:01:09,439 --> 00:01:11,840
we were young in the eighties, young in the nineties.

21
00:01:12,159 --> 00:01:13,799
If you were young in the seventies, you may not

22
00:01:13,920 --> 00:01:16,879
be as big a fan of this episode because you

23
00:01:16,920 --> 00:01:19,079
may love a yes, that's not the yes we're talking

24
00:01:19,120 --> 00:01:19,680
about today.

25
00:01:19,799 --> 00:01:20,280
Speaker 2: That's true.

26
00:01:20,359 --> 00:01:22,480
Speaker 3: By the way, we are here today to talk about

27
00:01:22,640 --> 00:01:30,599
yes ninety nine oh one two five, which is interesting

28
00:01:30,719 --> 00:01:35,560
because if you listen to the intro music for Beverly

29
00:01:35,640 --> 00:01:39,280
Hills nine oh two one oh, yes, it's very similar

30
00:01:39,319 --> 00:01:42,799
to Owner of a Lonely Heart. Oh really, take a

31
00:01:42,840 --> 00:01:55,519
listen to it right here, haven't that I don't know.

32
00:01:55,719 --> 00:01:58,079
I'm just saying, you know, somebody was like nine o

33
00:01:58,159 --> 00:02:00,280
two one oh what about nine oh one two five?

34
00:02:00,519 --> 00:02:02,680
Speaker 2: Hey, I'll tell you this before we get into what

35
00:02:02,760 --> 00:02:06,920
that actually means. I was with our good friend Doug Gray.

36
00:02:06,959 --> 00:02:09,280
We were taking some kids ice skating the other nine.

37
00:02:09,439 --> 00:02:12,120
He was sitting shotgun and we were talking and he's like,

38
00:02:12,719 --> 00:02:14,560
is that like a zip code? Like what I mean

39
00:02:15,080 --> 00:02:18,919
because it's close to nine oh two one oh? Right, yeah,

40
00:02:18,960 --> 00:02:21,400
so nine oh one two five would make a lot

41
00:02:21,439 --> 00:02:21,800
of sense.

42
00:02:21,960 --> 00:02:24,039
Speaker 4: Yeah, that may be somebody's zip code.

43
00:02:24,080 --> 00:02:26,000
Speaker 2: So we looked it up. Uh huh, do you know

44
00:02:26,240 --> 00:02:28,919
what zip code that is? No?

45
00:02:29,080 --> 00:02:30,719
Speaker 4: What zip code is it?

46
00:02:30,719 --> 00:02:33,759
Speaker 2: It's non existent? Just not a zip code? Too bad? Right?

47
00:02:33,960 --> 00:02:34,159
Speaker 4: Right?

48
00:02:34,560 --> 00:02:37,759
Speaker 3: That had been like, yes, so we will in this episode,

49
00:02:37,840 --> 00:02:39,919
we will tell you the secret of what nine oh

50
00:02:40,280 --> 00:02:41,960
one two five means?

51
00:02:42,800 --> 00:02:44,240
Speaker 2: And we will tell you.

52
00:02:44,120 --> 00:02:47,199
Speaker 3: The secret of this band and how they fell apart

53
00:02:47,280 --> 00:02:50,759
and then re configured themselves into what we got in

54
00:02:50,879 --> 00:02:53,560
nineteen eighty three. This, I'll tell you, this is a

55
00:02:53,639 --> 00:02:57,240
fascinating history. And I will also tell you when you

56
00:02:57,280 --> 00:02:59,680
asked me, You're like, hey, do you know what nin

57
00:03:00,159 --> 00:03:02,240
to five means? And I said, I think it's how

58
00:03:02,240 --> 00:03:05,479
many members they've had in this band. I mean, g Andi,

59
00:03:05,639 --> 00:03:09,840
this band is still around. There are no original members left, right,

60
00:03:09,919 --> 00:03:13,800
There's some members from the seventies there and from nineteen

61
00:03:13,879 --> 00:03:17,159
eighty there, but that's it. Like, none of the guys

62
00:03:17,199 --> 00:03:19,840
that we're going to talk about today are still in

63
00:03:19,960 --> 00:03:20,400
the band.

64
00:03:20,680 --> 00:03:23,840
Speaker 2: I will say this typically the band history, that's kind

65
00:03:23,840 --> 00:03:26,240
of your area of expertise. That's where you like to

66
00:03:26,319 --> 00:03:29,400
concentrate and follow rabbit trails and stuff like that. Yeah,

67
00:03:29,759 --> 00:03:34,439
this may be the most interesting formation of Yes and

68
00:03:34,599 --> 00:03:38,319
how it's related to several other bands and the breaking

69
00:03:38,439 --> 00:03:40,560
up of Yes and the coming back together of Yes.

70
00:03:40,719 --> 00:03:42,919
I was blown away, and I dare say that really

71
00:03:43,039 --> 00:03:46,520
no other band has gone through this exact same process.

72
00:03:46,759 --> 00:03:50,479
Speaker 3: Well, I mean, we're here today to talk about their

73
00:03:50,840 --> 00:03:54,719
eleventh studio album right eleventh. I don't know that we've

74
00:03:54,800 --> 00:03:58,120
ever talked about a band's eleventh album. I mean, we've

75
00:03:58,120 --> 00:04:02,120
talked about Aerosmith and Ozzie was Born and many bands

76
00:04:02,120 --> 00:04:04,599
that have many albums. I don't think we've ever hit

77
00:04:04,840 --> 00:04:08,719
the double digits before. And it was almost forty years

78
00:04:08,719 --> 00:04:09,919
It was forty one years ago.

79
00:04:10,039 --> 00:04:13,879
Speaker 2: That's forty one years ago. Spandmed in nineteen sixty eight.

80
00:04:13,960 --> 00:04:15,919
My dad was a teenager when this band.

81
00:04:15,719 --> 00:04:18,759
Speaker 3: Was formed, right, And as I said, they went through

82
00:04:18,920 --> 00:04:22,920
so many changes of members in this band. I could

83
00:04:22,920 --> 00:04:26,879
not possibly in an hour long episode give you everything.

84
00:04:27,199 --> 00:04:29,720
So what's interesting is what we've got here that we're

85
00:04:29,720 --> 00:04:32,920
going to talk about today is really yes, part three,

86
00:04:33,160 --> 00:04:37,839
but it was almost led Zeppelin Part two, right, Yeah,

87
00:04:37,879 --> 00:04:39,959
So we'll get to that story in just a bit.

88
00:04:40,519 --> 00:04:42,839
Before we get into all of that, I just want

89
00:04:42,879 --> 00:04:45,680
to say, Merry Christmas, everybody. Merry Christmas.

90
00:04:45,800 --> 00:04:49,120
Speaker 2: Christmas was a few days ago, even though even though

91
00:04:49,120 --> 00:04:51,720
for us Christmas is in the future, for people listening

92
00:04:51,759 --> 00:04:55,079
to this, it's in the past. Happy New Year, everybody knew.

93
00:04:55,360 --> 00:04:56,600
Speaker 4: That's what I meant to say.

94
00:04:57,040 --> 00:04:59,920
Speaker 3: What I really mean is I'm very grateful and thank

95
00:04:59,959 --> 00:05:02,560
you for the gift that is our listenership, our fandom.

96
00:05:02,639 --> 00:05:06,240
I appreciate you, appreciate you guys so much. You've made

97
00:05:06,279 --> 00:05:09,519
it amazing five years. I hope we have ten times

98
00:05:09,560 --> 00:05:11,959
as many coming up, and we'll be talking about our

99
00:05:11,959 --> 00:05:14,560
eleventh studio album in forty wins.

100
00:05:14,439 --> 00:05:19,319
Speaker 2: Right right, all right, well, let's dive into yes nine, one, one, two, five.

101
00:05:19,439 --> 00:05:22,639
Speaker 3: Let's see we have this new album from this kind

102
00:05:22,639 --> 00:05:26,680
of newly reconglomerated band. Can we open up with a banger?

103
00:05:26,839 --> 00:05:29,120
Speaker 2: Let's save the best for first, What do you say?

104
00:05:29,480 --> 00:05:31,319
I mean, really, let's start off with one of the

105
00:05:31,399 --> 00:05:34,680
biggest songs of nineteen eighty four. I think it was

106
00:05:34,720 --> 00:05:38,399
like eleventh overall for that year. We're talking about one

107
00:05:38,480 --> 00:05:40,839
of the best years for music.

108
00:05:40,720 --> 00:05:44,959
Speaker 3: In history, right, maybe the best, arguably the best year

109
00:05:45,439 --> 00:05:50,480
in history, and this one topped the charts for several weeks.

110
00:05:50,600 --> 00:05:53,399
Here we go number one, owner of a lonely heart.

111
00:06:15,439 --> 00:06:17,839
First three seconds of the song, and we got so

112
00:06:17,920 --> 00:06:19,000
much to talk about already.

113
00:06:19,120 --> 00:06:21,600
Speaker 2: It's incredible, right, one of the first songs to include

114
00:06:21,600 --> 00:06:22,519
a bunch of samples.

115
00:06:22,800 --> 00:06:27,879
Speaker 3: Yeah, other than some select rap groups, Yeah, nobody was

116
00:06:27,879 --> 00:06:29,120
doing this in nineteen eighty three.

117
00:06:29,199 --> 00:06:32,399
Speaker 2: In the rock world, and really they pop in this song.

118
00:06:32,519 --> 00:06:36,120
It's almost impossible. You can't ignore them. It's like no, no, no,

119
00:06:36,560 --> 00:06:39,319
really cool. This song was released October twenty fourth, nineteen

120
00:06:39,360 --> 00:06:42,360
eighty three. This song reached all the way to number

121
00:06:42,360 --> 00:06:44,240
one in nineteen eighty four.

122
00:06:44,800 --> 00:06:46,199
Speaker 4: Yep, do you want to hear the top five?

123
00:06:46,519 --> 00:06:49,560
Speaker 2: I was expecting you. I hate to lead with that,

124
00:06:49,600 --> 00:06:53,519
but I know you're four right now. Okay, So this

125
00:06:53,839 --> 00:06:57,319
reached number one January twenty first, nineteen eighty four. Your

126
00:06:57,319 --> 00:07:00,279
top five not as strong as I was hoping. Four

127
00:07:00,279 --> 00:07:03,600
in January of eighty four. Number five, Break My Stride

128
00:07:03,639 --> 00:07:07,319
by Matthew Wilder. Yes, I know that, number four, Talking

129
00:07:07,360 --> 00:07:08,639
in Your Sleep the Romantics.

130
00:07:08,839 --> 00:07:11,759
Speaker 3: Yes, we covered that one in our top five of

131
00:07:11,839 --> 00:07:14,120
nineteen eighty four. Be sure and go check out that one.

132
00:07:14,160 --> 00:07:15,920
We did talk about this song too.

133
00:07:16,240 --> 00:07:18,199
Speaker 2: Yes, spoiler alert, Yes we did.

134
00:07:18,439 --> 00:07:20,240
Speaker 3: Didn't know that we were going to cover this album

135
00:07:20,360 --> 00:07:22,600
for sure, and so yeah, so it made it onto

136
00:07:22,639 --> 00:07:27,120
that chart. Number three Karma Chameleon, Yeah, pretty big, unescapable.

137
00:07:27,240 --> 00:07:27,480
Speaker 4: Yep.

138
00:07:28,040 --> 00:07:31,839
Speaker 2: Number two, say say say, Paul McCartney, Michael Jackson.

139
00:07:31,480 --> 00:07:32,360
Speaker 4: It's your favorite one.

140
00:07:32,360 --> 00:07:37,800
Speaker 3: This is where Michael Jackson wins an arm wrestling. It

141
00:07:38,000 --> 00:07:40,639
was oddly flirting with his sister.

142
00:07:40,800 --> 00:07:41,240
Speaker 4: I don't know.

143
00:07:42,959 --> 00:07:45,680
Speaker 2: That was before his major fallout with Paul McCartney over

144
00:07:45,720 --> 00:07:49,519
the Beatles catalog issue and of course number one owner

145
00:07:49,600 --> 00:07:58,120
of a Lonely Heart.

146
00:08:05,079 --> 00:08:08,079
Speaker 3: Can we talk about the guitar. This guitar sound that,

147
00:08:09,759 --> 00:08:12,560
I mean, it grabs a hold of your brain and

148
00:08:12,560 --> 00:08:13,240
squeezes it.

149
00:08:13,240 --> 00:08:13,560
Speaker 2: It does.

150
00:08:13,680 --> 00:08:17,160
Speaker 3: I mean, it's so good, it's so powerful. I don't

151
00:08:17,199 --> 00:08:19,439
know what the magic is that they did. I mean,

152
00:08:19,480 --> 00:08:22,720
this is a studio guitar that they there's no question

153
00:08:22,800 --> 00:08:24,800
that they were doing some magic in the studio here

154
00:08:24,839 --> 00:08:28,120
to make this sound as loud and crunchy as it does.

155
00:08:28,160 --> 00:08:31,000
But chef's kiss that they did their job.

156
00:08:31,120 --> 00:08:34,440
Speaker 2: You've got the great crunchy guitar riff at the beginning.

157
00:08:35,000 --> 00:08:38,240
You've got a little arpeggio guitar, yes that's right, right,

158
00:08:38,320 --> 00:08:42,080
You've got the samples, yep, you've got the samples sound effects.

159
00:08:42,080 --> 00:08:45,840
You've got the bass that's basically mimicking the boom boom

160
00:08:45,840 --> 00:08:48,559
boom boom boom, and then just all this fun stuff

161
00:08:48,600 --> 00:08:51,080
and then the vocals are off the chart. And this

162
00:08:51,200 --> 00:08:57,480
song was composed on the toilet completely and finished on

163
00:08:57,559 --> 00:08:58,519
the toilet.

164
00:08:58,639 --> 00:09:01,200
Speaker 4: Finished, well, not quite finished.

165
00:09:01,240 --> 00:09:04,480
Speaker 3: There's an interesting story about pieces that were missing of

166
00:09:04,519 --> 00:09:09,440
this song, that's true, and the reunification of the band. Yes,

167
00:09:09,519 --> 00:09:12,759
that comes along with this, but we'll get into that

168
00:09:12,879 --> 00:09:14,360
story here in a little bit.

169
00:09:14,679 --> 00:09:16,120
Speaker 4: Did you get to go watch this video?

170
00:09:16,360 --> 00:09:18,559
Speaker 2: Yeah? I did. I think it's one of the worst

171
00:09:18,639 --> 00:09:22,120
videos of nineteen eighty four. What did I seriously think that?

172
00:09:22,200 --> 00:09:26,120
Because it started and then it stopped. So the one

173
00:09:26,159 --> 00:09:29,840
I watched, it's like the band and then John Anderson says,

174
00:09:30,000 --> 00:09:32,960
wait a minute, and the song comes to a grinding halt,

175
00:09:33,000 --> 00:09:36,039
and John Anderson's like, can we do this any other way?

176
00:09:36,159 --> 00:09:38,960
The song restarts, and then it's like people turning it

177
00:09:39,000 --> 00:09:39,720
into animals.

178
00:09:39,879 --> 00:09:42,200
Speaker 3: I remember, like the mainstream video that you would see

179
00:09:42,200 --> 00:09:44,279
on MTV where they didn't show the full I mean

180
00:09:44,440 --> 00:09:46,480
I remember seeing the full version where they threw that

181
00:09:46,519 --> 00:09:49,759
weird stop start thing and change into birds and other

182
00:09:49,799 --> 00:09:53,159
animals and stuff like that snags and lizard right, which again,

183
00:09:53,320 --> 00:09:55,120
I mean, it kind of makes me think of the

184
00:09:55,200 --> 00:09:58,320
Pink Floyd Learning to Fly video where he's like, you know,

185
00:09:58,559 --> 00:10:01,919
takes the running jump and turn into the bird, right. Sure, Well,

186
00:10:02,200 --> 00:10:05,919
the directors of the video are Audrey Powell and Storm Thurgerson,

187
00:10:06,039 --> 00:10:09,159
who did a bunch of the Pink Floyd artwork. And

188
00:10:09,240 --> 00:10:12,759
so I'm guessing this was a director decision, not a

189
00:10:12,799 --> 00:10:13,480
band decision.

190
00:10:13,600 --> 00:10:14,679
Speaker 2: Sure, we won't.

191
00:10:14,399 --> 00:10:15,200
Speaker 4: Blame it on the band.

192
00:10:15,279 --> 00:10:17,960
Speaker 2: For guys who has started in nineteen sixty eight, music

193
00:10:18,039 --> 00:10:21,000
videos was kind of uncharted territory. Sure, you got to

194
00:10:21,039 --> 00:10:23,399
do this to keep up because MTV is a huge

195
00:10:23,440 --> 00:10:24,600
new thing and these.

196
00:10:24,440 --> 00:10:26,399
Speaker 3: Guys are like, what are we doing here? So what

197
00:10:26,440 --> 00:10:28,120
you're trying to tell me is that the video was

198
00:10:28,200 --> 00:10:30,799
killing the radio star. Oh my gosh, that's so good.

199
00:10:30,840 --> 00:10:32,399
You're going to bring it in by the way.

200
00:10:32,399 --> 00:10:34,759
Speaker 2: Okay, we're going to get into that, yeah, okay, but

201
00:10:34,919 --> 00:10:37,440
I do want to say this before we go any further. Yeah,

202
00:10:37,919 --> 00:10:41,600
this song was kicked out of number one by a

203
00:10:41,600 --> 00:10:42,639
song that we've talked about.

204
00:10:42,840 --> 00:10:45,000
Speaker 4: Okay, really.

205
00:10:50,840 --> 00:10:53,440
Speaker 2: Relax by Frankie Goes to Hollywood.

206
00:10:53,679 --> 00:10:56,039
Speaker 4: That was one of our Patreon episode. Loved that episode.

207
00:10:56,159 --> 00:11:00,320
Speaker 2: You remember who was the producer of that song? Don't

208
00:11:00,320 --> 00:11:01,679
remember Trevor Horn.

209
00:11:02,039 --> 00:11:05,519
Speaker 4: Oh that's right. Oh yeah, he's the one that made

210
00:11:05,519 --> 00:11:06,519
that song so good.

211
00:11:06,679 --> 00:11:07,120
Speaker 2: That's it?

212
00:11:07,360 --> 00:11:09,159
Speaker 4: Oh my heed it?

213
00:11:09,279 --> 00:11:12,080
Speaker 2: And said, guys, can I bamp this up for you.

214
00:11:12,360 --> 00:11:16,120
Speaker 3: Yes, yeah, they were just kind of a weird. There's

215
00:11:16,200 --> 00:11:18,240
not any politically correct way for me to say what

216
00:11:18,240 --> 00:11:20,159
I'm thinking right now, but yes, they were kind of.

217
00:11:20,440 --> 00:11:25,120
Speaker 2: An alternate club type of band, lifestyle clubs band. And

218
00:11:25,279 --> 00:11:26,159
Trevor Horn.

219
00:11:26,000 --> 00:11:27,720
Speaker 3: Said, this actually has got a bit of a hook.

220
00:11:27,960 --> 00:11:29,759
If you do some right production on this, we can

221
00:11:29,799 --> 00:11:30,480
make this a.

222
00:11:30,399 --> 00:11:31,240
Speaker 2: Hit, is it okay?

223
00:11:31,320 --> 00:11:31,519
Speaker 4: Right?

224
00:11:31,600 --> 00:11:33,639
Speaker 2: Yeah? Is it okay? If I make this a number

225
00:11:33,679 --> 00:11:36,519
one smash around the world, right, we'll sell lots of

226
00:11:36,559 --> 00:11:39,919
T shirts. So Relax and Owner of a Lonely Heart

227
00:11:39,960 --> 00:11:43,480
are sort of third cousins. Yeah, Okay, In just a minute,

228
00:11:43,480 --> 00:11:45,759
we're going to talk about another song that I think

229
00:11:45,879 --> 00:11:49,480
is very strongly related to this. Yeah, but let's kick

230
00:11:49,480 --> 00:11:52,840
that down the road. Okay, now you mentioned it. Trevor

231
00:11:52,919 --> 00:11:55,639
Rabin wrote this song on the toilet. Well, Trevor Rabin,

232
00:11:56,080 --> 00:11:57,519
who's this guy he's done in? Yes?

233
00:11:57,759 --> 00:12:00,399
Speaker 3: Yeah, so Trevor Rabin had started off he was this

234
00:12:00,600 --> 00:12:03,759
South African guy. He was in a band in South Africa,

235
00:12:03,759 --> 00:12:10,080
got pretty famous in a band called Rabbit Ever Rampant Rabbit. Okay, No, no,

236
00:12:10,159 --> 00:12:11,879
I don't think that was well, maybe I don't know

237
00:12:11,919 --> 00:12:13,799
who knows. Maybe I don't know how Rabbit came up

238
00:12:13,799 --> 00:12:15,360
with his name, but I will tell you that this

239
00:12:15,879 --> 00:12:19,000
that the Volkswagen Rabbit was about to come out in

240
00:12:19,080 --> 00:12:22,600
the US, and they were like, Hey, we like this band.

241
00:12:22,679 --> 00:12:25,279
We want this band to come to the US and

242
00:12:25,399 --> 00:12:29,759
be like composing the music for our promotions of this

243
00:12:29,879 --> 00:12:33,159
new Rabbit car. Yes, and they were like, we're in.

244
00:12:33,559 --> 00:12:37,600
The only problem was in nineteen eighty whatever it was,

245
00:12:38,200 --> 00:12:40,240
they couldn't get a visa to the US.

246
00:12:40,639 --> 00:12:42,159
Speaker 4: And guess why apartheid?

247
00:12:42,279 --> 00:12:44,639
Speaker 2: You got it? Yes, that is right. That's the same

248
00:12:44,679 --> 00:12:47,159
reason why Kruegrans are illegal in the United States.

249
00:12:47,240 --> 00:12:52,440
Speaker 3: Yes, So Trevor Rabin was frustrated. After that left the band.

250
00:12:52,679 --> 00:12:56,440
He went to the UK. I guess UK didn't have

251
00:12:56,440 --> 00:12:57,360
a problem with apartheid.

252
00:12:57,399 --> 00:12:57,799
Speaker 4: I don't know.

253
00:12:58,240 --> 00:13:01,039
Speaker 3: He moved to London, he started a record company up there,

254
00:13:01,360 --> 00:13:04,320
got some funding from a milling company in South Africa, Okay,

255
00:13:04,440 --> 00:13:07,759
and so he starts producing. He produces Thin Lizzy, he

256
00:13:07,799 --> 00:13:11,759
produces Manford man Tever Raven. Yes, Trevor Rabin is producing

257
00:13:11,799 --> 00:13:16,240
these records and of course playing on these albums as well,

258
00:13:16,279 --> 00:13:19,279
because he is a brilliant musician. He's not only a guitarist.

259
00:13:19,320 --> 00:13:22,240
He plays keyboards and other stuff, just you know, an

260
00:13:22,279 --> 00:13:27,080
incredible composer. And so Geffen Records comes in and they're like, hey, Trevor,

261
00:13:27,120 --> 00:13:28,159
do you have any demos?

262
00:13:28,279 --> 00:13:30,279
Speaker 2: And he's like, yes, I do, and he.

263
00:13:30,320 --> 00:13:35,399
Speaker 3: Plays them what would ultimately become yes, nine oh one

264
00:13:35,559 --> 00:13:36,080
two five.

265
00:13:36,320 --> 00:13:39,000
Speaker 2: Yeah. So there actually is an early version of this

266
00:13:39,120 --> 00:13:42,480
song available. It's a compilation of demos and it's called

267
00:13:42,559 --> 00:13:44,759
nine oh one two four. So I do want to

268
00:13:44,759 --> 00:13:46,720
tell you this quick story. You know, we talk about

269
00:13:46,759 --> 00:13:49,080
Trevor Rabin. They really didn't know what to do with him.

270
00:13:49,080 --> 00:13:52,600
He's kind of like Brian Adams. He's a talented singer

271
00:13:52,639 --> 00:13:57,360
songwriter right working on songs. He can sing, he can

272
00:13:57,360 --> 00:13:59,120
play guitar. Am I going to be in a band?

273
00:13:59,159 --> 00:13:59,879
Am I gonna be buy my?

274
00:14:00,399 --> 00:14:00,559
Speaker 4: You know?

275
00:14:00,600 --> 00:14:03,840
Speaker 2: Geffen signed him to this development deal and then they

276
00:14:03,879 --> 00:14:06,440
started kind of trying to push him around to figure

277
00:14:06,440 --> 00:14:09,600
out where he would fit. But he took these songs

278
00:14:09,679 --> 00:14:13,919
to Arista and Clive Davis, who we've talked about before

279
00:14:14,039 --> 00:14:17,600
many times, said no, I don't like these songs. They're

280
00:14:17,639 --> 00:14:21,919
too strange. That's on Noval only Heart yeah and changes

281
00:14:22,000 --> 00:14:23,120
and some yeah, some.

282
00:14:23,159 --> 00:14:25,159
Speaker 4: Of these others talk about. Yeah, most of the songs

283
00:14:25,159 --> 00:14:25,600
on the album.

284
00:14:25,679 --> 00:14:28,000
Speaker 2: Yeah, so this is what he said. Clive Davis says

285
00:14:28,039 --> 00:14:29,919
to him, these songs are too weird. I don't like him.

286
00:14:29,960 --> 00:14:33,360
I want you to write stuff that sounds more like foreigner. Yes,

287
00:14:33,799 --> 00:14:36,679
that's right, and Trevor Ravens liked, thank you very much.

288
00:14:36,799 --> 00:14:37,679
Speaker 4: I'm not going to do that.

289
00:14:37,879 --> 00:14:40,120
Speaker 2: Have a nice day, see you later, kiss my butt

290
00:14:40,679 --> 00:14:44,000
Clive Davis. Right. So, ultimately, these songs caught the ear

291
00:14:44,000 --> 00:14:47,320
of an an our guy named Ron Fair yep. Ron Fair,

292
00:14:47,559 --> 00:14:50,240
who I think you've got a history on, basically said, look,

293
00:14:50,360 --> 00:14:52,360
I love this song. I want it to be a hit,

294
00:14:52,759 --> 00:14:55,200
and I will make sure this song is a hit.

295
00:14:55,519 --> 00:14:55,720
Speaker 4: Yeah.

296
00:14:55,840 --> 00:14:59,600
Speaker 3: He was with RCA Records and he just basically said,

297
00:14:59,639 --> 00:15:02,240
let me play with it, let me edit it. But

298
00:15:02,720 --> 00:15:05,919
as you can easily tell by looking at the album,

299
00:15:06,440 --> 00:15:10,159
this is not an RCA record album. So something else happened.

300
00:15:10,519 --> 00:15:12,639
But you'll have to wait and see what happened there

301
00:15:13,080 --> 00:15:13,840
in just a bit.

302
00:15:14,200 --> 00:15:17,639
Speaker 2: Okay, I don't feel like we've told people enough how

303
00:15:17,919 --> 00:15:21,919
terrible this music video is, especially in relation to how

304
00:15:22,039 --> 00:15:25,000
great the song is. Yeah, it's there's a lot of

305
00:15:25,039 --> 00:15:26,960
potential that got missed, I think on this one, but

306
00:15:27,480 --> 00:15:28,919
it was still on all the time. It was on

307
00:15:29,039 --> 00:15:31,600
all the time because it was a time and history.

308
00:15:31,320 --> 00:15:34,080
Speaker 3: Where there were a lot more videos to play. But

309
00:15:34,399 --> 00:15:37,279
MTV was instead of just setting the standard that these

310
00:15:37,320 --> 00:15:38,919
are the songs you're going to listen to, they also

311
00:15:39,000 --> 00:15:41,639
followed the top forty and this was a song people

312
00:15:41,679 --> 00:15:43,159
were listening to and they're like, well, we got to

313
00:15:43,159 --> 00:15:44,679
play this video even if it's terrible.

314
00:15:45,120 --> 00:15:47,240
Speaker 2: Even if it's terrible and it's full of old, ugly

315
00:15:47,320 --> 00:15:49,240
English guys, right.

316
00:15:49,840 --> 00:15:52,279
Speaker 3: Just gank that guy out, carry him out like I'm

317
00:15:52,440 --> 00:15:55,039
mad man. I hate to move on too fast from

318
00:15:55,080 --> 00:15:56,159
this song, such a good song.

319
00:15:56,519 --> 00:15:58,799
Speaker 2: I do want to emphasize there's one part in the

320
00:15:58,919 --> 00:16:01,559
song that just every time my hair blows my socks off,

321
00:16:01,679 --> 00:16:02,919
let me play the part in the song that really

322
00:16:02,919 --> 00:16:18,720
blows my socks off, right, So they really lean on

323
00:16:18,840 --> 00:16:20,440
that part of the heart.

324
00:16:20,919 --> 00:16:24,559
Speaker 3: That sound That voice is John Anderson, Yes, and John

325
00:16:24,639 --> 00:16:29,679
Anderson is one of the og Yes guys and was

326
00:16:29,879 --> 00:16:33,240
not a part of this project at all until he

327
00:16:33,480 --> 00:16:36,840
was until he was and he gets credit a writing

328
00:16:36,879 --> 00:16:40,639
credit on the song, even though Tever Rayburn basically completed

329
00:16:40,639 --> 00:16:43,759
the whole thing on the toilet, on the toilet, because

330
00:16:44,200 --> 00:16:46,159
he had the chorus, and he had kind of the

331
00:16:46,320 --> 00:16:49,639
scat of the of the lyrics, but didn't really have it.

332
00:16:50,120 --> 00:16:54,519
But that very first line, that move yourself, Yeah, that

333
00:16:54,759 --> 00:16:58,279
is John Anderson's contribution. He came in and added some

334
00:16:58,360 --> 00:17:02,399
more lyrics in the verses other places, and that opening

335
00:17:02,519 --> 00:17:07,359
line and that solo, that long scream lonely heart. Yeah,

336
00:17:07,400 --> 00:17:10,920
you just pointed out it's it helps make this song

337
00:17:11,039 --> 00:17:12,960
what it is. I mean, maybe he didn't.

338
00:17:12,720 --> 00:17:15,440
Speaker 4: Write it, but he made it something special.

339
00:17:15,599 --> 00:17:17,720
Speaker 2: It's a banger, and when it hits that, it levels up.

340
00:17:17,960 --> 00:17:18,160
Speaker 4: Yeah.

341
00:17:19,079 --> 00:17:22,160
Speaker 2: Just and there's so many breakdowns and movements, and this

342
00:17:22,359 --> 00:17:24,119
is not your standard.

343
00:17:23,799 --> 00:17:24,640
Speaker 4: Rock and roll song.

344
00:17:25,359 --> 00:17:27,559
Speaker 2: This is just awesomeness all over coming at you from

345
00:17:27,599 --> 00:17:30,519
all directions. Yep, all right, we're gonna move on to

346
00:17:30,599 --> 00:17:31,079
the song.

347
00:17:31,200 --> 00:17:32,400
Speaker 4: We got to move on. We'll never get through the

348
00:17:32,440 --> 00:17:33,200
album if we don't move on.

349
00:17:33,319 --> 00:17:36,759
Speaker 2: All right, well hold on? Oh wait, the next song

350
00:17:36,839 --> 00:17:38,599
on the album is called hold On.

351
00:17:48,799 --> 00:17:50,839
Speaker 3: As a guy who plays music and a guy who

352
00:17:50,839 --> 00:17:53,759
plays guitar, I can tell you that many, many, many

353
00:17:53,839 --> 00:17:57,160
many guitar players start off by learning to play the blues.

354
00:17:57,440 --> 00:17:59,480
Speaker 4: If they want to learn to play rock and roll music, right, right.

355
00:17:59,480 --> 00:18:03,039
Speaker 3: That's just that's like stage one, right, if you want

356
00:18:03,079 --> 00:18:04,759
to be able to play the lead guitar, you're probably

357
00:18:04,759 --> 00:18:07,680
gonna learn how to play the blues first. It's not

358
00:18:08,000 --> 00:18:11,440
basic necessarily, but it is kind of stage one, good

359
00:18:11,480 --> 00:18:15,200
starting point. This is what happens when a progressive rock

360
00:18:15,319 --> 00:18:18,480
band takes a blue song and says, okay, let's.

361
00:18:18,319 --> 00:18:20,799
Speaker 2: See what we can do with the blues. Well, all

362
00:18:20,880 --> 00:18:23,480
one up? Yeah, yeah, I think this is what happens

363
00:18:23,519 --> 00:18:27,720
when a progressive rock band takes two blues songs and

364
00:18:28,000 --> 00:18:28,920
merges them together.

365
00:18:29,119 --> 00:18:29,799
Speaker 4: Yeah, that's right.

366
00:18:29,920 --> 00:18:32,240
Speaker 3: You've got a combination of two songs, one called hold

367
00:18:32,279 --> 00:18:34,240
On and the other one called moving.

368
00:18:34,079 --> 00:18:37,400
Speaker 2: In, right, both written by Trevor Raven. He brought them

369
00:18:37,440 --> 00:18:39,519
to the band and Trevor Rabin had written both of

370
00:18:39,559 --> 00:18:42,039
these songs, and they're like, you know what, like this part,

371
00:18:42,440 --> 00:18:45,079
like that part, I think we should merge this into

372
00:18:45,200 --> 00:18:47,799
one song. And you can kind of hear it at

373
00:18:47,839 --> 00:18:50,160
the beginning. It's got one beat and then it hits

374
00:18:50,240 --> 00:18:52,160
that chorus and it kind of changes right there.

375
00:19:00,039 --> 00:19:06,200
Speaker 3: It's great, Oh yeah, this is a fantastic song. And

376
00:19:06,279 --> 00:19:08,880
you say, you know he brought it to the band. Yes,

377
00:19:09,680 --> 00:19:11,480
we've got to kind of know who that is, right,

378
00:19:11,519 --> 00:19:13,759
who's the band? Okay, let's talk about this. Yeah, on

379
00:19:13,960 --> 00:19:17,880
the base, we've got Chris Squire, founding member of the band. Yes,

380
00:19:18,119 --> 00:19:22,240
we have Alan White drummer, Okay, member of the band.

381
00:19:22,319 --> 00:19:27,319
Yes on keyboards, Tony Kay had been a member of

382
00:19:27,519 --> 00:19:30,960
the band, Yes, and then he wasn't Yeah. Yes, and

383
00:19:31,319 --> 00:19:34,039
you've got Trevor Rabin. Who's the guy who's got this

384
00:19:34,240 --> 00:19:36,440
demo that they're turning into an album. I just want

385
00:19:36,440 --> 00:19:40,119
you to know, d I've got this diagram that shows

386
00:19:40,759 --> 00:19:43,319
who is in the band, Okay, what band they were in,

387
00:19:44,039 --> 00:19:46,680
what band they went to? Because I couldn't keep it straight.

388
00:19:47,319 --> 00:19:48,960
But it's so incredibly fascinating.

389
00:19:49,119 --> 00:19:50,440
Speaker 4: It is complex stuff.

390
00:19:50,559 --> 00:19:53,039
Speaker 3: And the thing is is that these guys, most of

391
00:19:53,119 --> 00:19:55,720
them were successful in multiple different bands.

392
00:19:55,759 --> 00:19:56,079
Speaker 2: That's right.

393
00:19:56,279 --> 00:19:56,480
Speaker 4: Yeah.

394
00:19:56,599 --> 00:19:59,839
Speaker 3: When Trevor Rabin has this kind of disappointing news from

395
00:20:00,119 --> 00:20:03,160
you know, from Clive Davis of hey, can you sound

396
00:20:03,200 --> 00:20:06,480
more like Foreigner, it's like, okay, now I'm depressed.

397
00:20:06,759 --> 00:20:06,920
Speaker 4: Right.

398
00:20:07,079 --> 00:20:10,079
Speaker 3: He then had this little glimmer of hope that Ron

399
00:20:10,160 --> 00:20:11,599
Fair was going to do something with owner of a

400
00:20:11,640 --> 00:20:14,880
Lonely Heart, but then that didn't materialize, so he's kind

401
00:20:14,920 --> 00:20:17,480
of had two false starts here, and then he gets

402
00:20:17,480 --> 00:20:23,240
a call from Phil Carson and Richard Steinberg of Atlantic Records.

403
00:20:23,440 --> 00:20:26,160
He gets a call from Phil Carson because Phil Carson

404
00:20:26,279 --> 00:20:27,519
had just been introduced to.

405
00:20:27,720 --> 00:20:29,599
Speaker 4: Him by Mut Lang.

406
00:20:30,160 --> 00:20:31,960
Speaker 2: I did not come across a Mutt Lane connection.

407
00:20:32,160 --> 00:20:32,359
Speaker 4: Yeah.

408
00:20:32,440 --> 00:20:36,240
Speaker 3: So Mutt Lang had worked with Trevor Rabin. Before Trevor

409
00:20:36,319 --> 00:20:38,240
Rabin it was I mean, it's a fantastic musician. So

410
00:20:38,319 --> 00:20:41,039
he'd done a lot of studio session work and so

411
00:20:41,559 --> 00:20:44,640
Mutt Lang is like, hey, Phil Carson from Atlantic Records,

412
00:20:44,680 --> 00:20:47,680
you really should talk to Trevor Rabin. And so Phil

413
00:20:47,759 --> 00:20:50,480
Carson listens to the demos and he's like, Okay, I

414
00:20:50,720 --> 00:20:52,279
have two bands for.

415
00:20:52,359 --> 00:20:52,759
Speaker 2: You to be in.

416
00:20:53,640 --> 00:20:56,200
Speaker 3: And he's like, I can do one band unless you

417
00:20:56,279 --> 00:20:58,599
know some sort of magic trick that I don't know right,

418
00:20:59,000 --> 00:21:01,000
And he's like, oh, well, get you just got to

419
00:21:01,039 --> 00:21:05,960
pick right. And so band number one Cozy Powell what Yeah,

420
00:21:06,279 --> 00:21:08,920
James Buckley's Ears just worked up too, who was a

421
00:21:08,960 --> 00:21:13,920
friend of Trevor Ravens, Jack Bruce Keith Emerson from Emerson

422
00:21:14,000 --> 00:21:16,640
Lake and Palm, who's also a friend of Trevor Rabins.

423
00:21:16,680 --> 00:21:18,400
Speaker 2: Well, we'll talk more about them here in a second.

424
00:21:18,480 --> 00:21:21,519
Speaker 3: And then these other two guys named Chris Squire and

425
00:21:21,599 --> 00:21:24,680
Alan White is who he met first, and he immediately hit.

426
00:21:24,640 --> 00:21:25,240
Speaker 4: It off with them.

427
00:21:25,359 --> 00:21:28,599
Speaker 2: And it wasn't that they made fantastic music on their

428
00:21:28,640 --> 00:21:30,680
first meeting. Yeah, he just liked them.

429
00:21:31,119 --> 00:21:32,160
Speaker 4: They just got along.

430
00:21:32,240 --> 00:21:34,039
Speaker 2: Well, hey, that's why I hang out with you.

431
00:21:34,279 --> 00:21:37,119
Speaker 3: Yeah, exactly right, that's right. You want to work with

432
00:21:37,200 --> 00:21:39,960
somebody who you like. And I mean, I guess he

433
00:21:40,000 --> 00:21:42,599
already knew Cozy and already knew Keith, and so it

434
00:21:42,759 --> 00:21:44,960
was like, okay, yeah, I know those guys, they're fine,

435
00:21:45,039 --> 00:21:47,759
but he wanted this band that Chris Squire and Alan

436
00:21:47,799 --> 00:21:50,799
White were trying to put together. They do one rehearsal

437
00:21:50,880 --> 00:21:53,000
and then they say, you know what, we think you need.

438
00:21:52,960 --> 00:21:53,599
Speaker 2: A co singer.

439
00:21:54,039 --> 00:21:56,160
Speaker 3: We'd like to bring in Trevor Horn. And so Trevor

440
00:21:56,200 --> 00:21:58,319
Horn comes in and sings with them, and then Trevor

441
00:21:58,440 --> 00:22:01,000
Rabin is like, I am not going to be in

442
00:22:01,079 --> 00:22:05,039
a band with Trevor Horn is just not that good. Okay, Wow,

443
00:22:05,200 --> 00:22:07,720
it's just not gonna work. And so they said, well

444
00:22:08,000 --> 00:22:11,200
how about he produces. He says that sounds great, Trevor

445
00:22:11,240 --> 00:22:13,359
Horn can produce the album. I do not want to

446
00:22:13,480 --> 00:22:17,119
sing with him. And so the record company is like, listen,

447
00:22:17,200 --> 00:22:19,440
we like Chris's voice. I mean, Chris has got an

448
00:22:19,799 --> 00:22:22,000
integral part of the harmonies you're hearing on this sure,

449
00:22:22,279 --> 00:22:25,519
and we like Trevor's voice, but they're not like reaching

450
00:22:25,559 --> 00:22:29,359
out and grabbing us. And so as it happens, Chris

451
00:22:29,440 --> 00:22:31,160
happens to be at a party and who should be

452
00:22:31,240 --> 00:22:34,759
there but John Anderson, and John Anderson comes over and says, hey,

453
00:22:34,880 --> 00:22:36,720
I hear you making some really good music right now,

454
00:22:36,960 --> 00:22:40,279
and Chris says, you should really hear it. And so

455
00:22:40,920 --> 00:22:44,440
they go to John's house, but they don't go inside

456
00:22:44,640 --> 00:22:48,839
because Chris's wife and John's wife hate each other.

457
00:22:49,039 --> 00:22:50,519
Speaker 2: Oh wow, that was.

458
00:22:50,599 --> 00:22:52,359
Speaker 4: A part of their old history.

459
00:22:52,559 --> 00:22:55,480
Speaker 3: Was not only did they eventually not get along with

460
00:22:55,559 --> 00:22:59,720
their wives, hated each other. So they're sitting outside his

461
00:22:59,799 --> 00:23:03,319
house in a car with a tape deck. He pushes

462
00:23:03,400 --> 00:23:07,079
in Trevor Raven's demo and John Anderson listens and.

463
00:23:07,200 --> 00:23:09,119
Speaker 2: Says, I would love to help you out with this

464
00:23:09,240 --> 00:23:09,839
if you want me to.

465
00:23:09,960 --> 00:23:10,839
Speaker 4: He's like, come on over.

466
00:23:11,079 --> 00:23:14,160
Speaker 3: So he just came in really to kind of add vocals.

467
00:23:14,400 --> 00:23:18,160
That was it just add them right, and then he

468
00:23:18,279 --> 00:23:19,119
became the lead singer.

469
00:23:26,640 --> 00:23:29,559
Speaker 2: Okay, can I back you up because I've got something

470
00:23:29,680 --> 00:23:33,240
interesting to add. Okay, So here's the interesting thing to me.

471
00:23:33,759 --> 00:23:38,559
Between the ninth album of Yes, called Tormado, which.

472
00:23:38,359 --> 00:23:42,279
Speaker 3: Is I think a terrible name. Wait wait, Tormado Tormado

473
00:23:42,519 --> 00:23:44,720
like the combination of tornado and tomato.

474
00:23:44,880 --> 00:23:49,640
Speaker 2: Yes, yes, okay, all right, and their tenth album, Drama,

475
00:23:50,319 --> 00:23:53,920
John Anderson quits. John Anderson is the lead singer. He's

476
00:23:53,960 --> 00:23:56,079
the sound of the band, he's the signature of the band.

477
00:23:56,440 --> 00:23:59,039
So he leaves. Okay. Then you add these two guys,

478
00:23:59,119 --> 00:24:02,279
Trevor Horn and Jeffrey Downs, who you and I know

479
00:24:02,400 --> 00:24:03,799
better as the Buggles.

480
00:24:03,960 --> 00:24:24,839
Speaker 3: Yes, they lost Hans Zimmer somewhere along the way. What

481
00:24:25,680 --> 00:24:27,720
Hans zimmern Zimmer got lost?

482
00:24:27,799 --> 00:24:28,880
Speaker 4: And they're like where Hans go?

483
00:24:29,119 --> 00:24:32,359
Speaker 3: Oh wait, there's yes, let's see if they need people,

484
00:24:32,480 --> 00:24:33,720
And as it turned out, they did.

485
00:24:33,839 --> 00:24:38,000
Speaker 2: So Trevor Horn and Jeffrey Downs step into Yes. Trevor

486
00:24:38,039 --> 00:24:40,240
Horn takes over lead vocals. Now stay with me on this.

487
00:24:40,960 --> 00:24:44,039
He imitates John Anderson's.

488
00:24:43,559 --> 00:24:44,279
Speaker 4: Voice, can't.

489
00:24:44,680 --> 00:24:46,599
Speaker 3: I mean if just think about the guy who's singing

490
00:24:46,680 --> 00:24:49,200
video killed the radio sar and the guy who's singing

491
00:24:49,799 --> 00:24:52,880
leave it right, and you're gonna go there's no way

492
00:24:52,920 --> 00:24:54,440
that guy sounds that like that other guy.

493
00:24:54,680 --> 00:24:55,119
Speaker 4: Right.

494
00:24:55,440 --> 00:24:57,839
Speaker 2: I'm gonna look at my diagram here. So after the

495
00:24:57,960 --> 00:25:01,240
tenth album Drama, Yes, Sa, that's it. We can't stand

496
00:25:01,279 --> 00:25:04,319
each other. We're breaking up. Okay. Imagine a piece of

497
00:25:04,400 --> 00:25:07,839
glass shattering. So Chris Squire and Alan White are looking

498
00:25:07,920 --> 00:25:10,000
for a band. Okay, well, I thought we've got to

499
00:25:10,079 --> 00:25:11,720
keep going. We're only on song number two. We got

500
00:25:11,799 --> 00:25:14,160
to move on to song number three. Here, hold that thought,

501
00:25:14,160 --> 00:25:16,359
because this is a heck of a story. Song number

502
00:25:16,400 --> 00:25:29,519
three is it can happen? Ge' down? Okay. This is

503
00:25:29,599 --> 00:25:32,119
the third single released in June of nineteen eighty four,

504
00:25:32,319 --> 00:25:35,319
reaches number five on the mainstream rock charts, number fifty

505
00:25:35,359 --> 00:25:38,079
one on the Hot one hundred. Written in nineteen eighty one,

506
00:25:38,400 --> 00:25:42,160
when Chris Squire, John Anderson, and Trevan Raven had created

507
00:25:42,200 --> 00:25:43,640
this band called Cinema.

508
00:25:43,440 --> 00:25:47,160
Speaker 3: Yeah, well before they got to Cinema Yep, Chris Squire

509
00:25:47,359 --> 00:25:49,200
and Alan White are still looking for a band.

510
00:25:49,279 --> 00:25:50,680
Speaker 4: The Yes has broken up.

511
00:25:50,839 --> 00:25:52,920
Speaker 3: They're looking for a band, and I love the intro

512
00:25:53,119 --> 00:25:55,960
to this because this is a sitar playing. Right, You've

513
00:25:55,960 --> 00:25:59,279
got that East Indian style of music going, and it's

514
00:25:59,680 --> 00:26:02,839
idea like this. The Beatles had.

515
00:26:02,440 --> 00:26:04,559
Speaker 2: Brought it over, Thank you, George Harrison.

516
00:26:04,680 --> 00:26:08,559
Speaker 3: Right, Robbie Shankar showed everybody how cool the sitar could be. Right,

517
00:26:09,200 --> 00:26:12,720
And one of the bands that had an incredibly great

518
00:26:12,839 --> 00:26:17,000
song with a sitar called Kashmir was a band that

519
00:26:17,200 --> 00:26:18,960
you know, led Zeppelin.

520
00:26:19,119 --> 00:26:19,519
Speaker 2: That's right.

521
00:26:20,079 --> 00:26:23,480
Speaker 3: And so while Chris Squire and Alan White were looking

522
00:26:23,640 --> 00:26:26,759
for a band, they just again, I love these party

523
00:26:26,799 --> 00:26:29,519
meetings because they seem to be scattered throughout the storyline.

524
00:26:29,640 --> 00:26:30,720
Who should they happen to meet?

525
00:26:30,799 --> 00:26:34,960
Speaker 2: But Jimmy Page and Jimmy Page is like, oh, I

526
00:26:35,079 --> 00:26:35,640
loved Yes.

527
00:26:36,480 --> 00:26:39,599
Speaker 3: We obviously loved led Zeppelin, right, I mean they're brothers

528
00:26:39,680 --> 00:26:42,759
like they Yes and led Zeppelin both started in sixty

529
00:26:42,880 --> 00:26:45,759
nine rolling Stone when those two albums came out, rolling

530
00:26:45,759 --> 00:26:48,839
Stone said, these two bands are the bands most likely

531
00:26:48,920 --> 00:26:49,480
to succeed.

532
00:26:49,680 --> 00:26:50,279
Speaker 2: Oh wow, and.

533
00:26:50,440 --> 00:26:51,559
Speaker 4: They're not too far off.

534
00:26:52,119 --> 00:26:54,839
Speaker 3: I mean, we're kind of doing this in memento order

535
00:26:54,920 --> 00:26:58,480
here where we're righting our way back history. So we'll

536
00:26:58,519 --> 00:27:00,759
talk about the Yes of the nineteen seventies.

537
00:27:00,799 --> 00:27:01,160
Speaker 4: In a bit.

538
00:27:01,279 --> 00:27:05,160
Speaker 3: But obviously Zeppelin has broken up, John Bonham has died,

539
00:27:05,440 --> 00:27:08,319
and Jimmy Page is looking for a band, and Chris

540
00:27:08,599 --> 00:27:11,039
and Alan are looking for a band, and so of

541
00:27:11,160 --> 00:27:14,079
course they get together, right, And so then they've got

542
00:27:14,160 --> 00:27:16,920
to think of a name. And we've got the ex

543
00:27:17,039 --> 00:27:20,480
members of Yes and the ex member of Led Zeppelin.

544
00:27:20,920 --> 00:27:28,519
Speaker 2: So you have X Yes Zeppelin, X y ze It's brilliant.

545
00:27:28,720 --> 00:27:31,200
It's so freaking brilliant. It's too bad that this did

546
00:27:31,279 --> 00:27:32,720
not really ever take off, right.

547
00:27:32,960 --> 00:27:35,839
Speaker 3: Well, they I mean, they did a whole bunch of

548
00:27:35,960 --> 00:27:39,640
demo songs right, their ambition, their ideas, We're going to

549
00:27:39,720 --> 00:27:40,279
make an album.

550
00:27:40,359 --> 00:27:41,240
Speaker 4: This is going to happen.

551
00:27:41,440 --> 00:27:44,400
Speaker 3: And they've got every right, having just had successful careers,

552
00:27:44,440 --> 00:27:46,599
to think it's going to happen, right, And so they

553
00:27:46,720 --> 00:27:51,079
demo up several songs, and apparently there are bootleg copies

554
00:27:51,119 --> 00:27:53,160
of these demos out there, like we could go track

555
00:27:53,240 --> 00:27:54,480
them down if they surely wanted to.

556
00:27:54,720 --> 00:27:56,880
Speaker 2: I believe one of those songs is called Run with

557
00:27:57,039 --> 00:28:01,920
the Fox. Yes it is Hey Christmas, Happy Holidays? Really? Yes?

558
00:28:02,119 --> 00:28:03,920
Speaker 4: Okay, yep, it is a song for Christmas.

559
00:28:04,119 --> 00:28:08,400
Speaker 3: And so they had obviously Jimmy Page plays guitar, You've

560
00:28:08,440 --> 00:28:12,400
got Chris Squire playing bass, You've got Alan White playing drums.

561
00:28:13,119 --> 00:28:13,880
Speaker 4: What are we missing here?

562
00:28:14,559 --> 00:28:20,279
Speaker 3: Lead singer, lead singer, Yeah, geez, I don't our lead singer.

563
00:28:20,440 --> 00:28:22,039
Kind of we had a falling out with him. Jimmy,

564
00:28:22,079 --> 00:28:24,920
do you know anybody I could call Robert Plan if

565
00:28:24,960 --> 00:28:27,519
you like? Sure, that'd be great, if I think that's

566
00:28:27,559 --> 00:28:30,400
a good idea, I mean, And so he calls Robert

567
00:28:30,440 --> 00:28:33,400
Plan up, and Robert Plant listens to the music of

568
00:28:33,480 --> 00:28:37,680
the former members of Yes and Jimmy Page, and of

569
00:28:37,880 --> 00:28:42,359
course he is absolutely one against it. Yeah, he's like

570
00:28:42,640 --> 00:28:45,359
too complex, don't like it, don't like it. And he's

571
00:28:45,359 --> 00:28:48,039
still kind of bummed out about John Bonham dying. And

572
00:28:48,240 --> 00:28:52,440
so basically that killed X y Z before it ever

573
00:28:52,519 --> 00:28:53,039
got started.

574
00:28:53,480 --> 00:28:56,480
Speaker 2: It did give us, However, the Honey Drippers, You're gonna

575
00:28:56,480 --> 00:28:58,039
have to give me more information on that, sir. The

576
00:28:58,079 --> 00:29:00,720
Honey Drippers were a little band, had a couple of

577
00:29:00,799 --> 00:29:04,240
hit songs. Basically, it's Robert Plant and a couple of

578
00:29:04,279 --> 00:29:06,880
his buddies who just want to put out songs that

579
00:29:07,200 --> 00:29:10,599
honor his favorite music. So he came out with a hit,

580
00:29:10,799 --> 00:29:12,960
a remake of the song See of Love.

581
00:29:26,119 --> 00:29:28,279
Speaker 4: I remember that one very well. I just thought that

582
00:29:28,400 --> 00:29:30,440
was Robert plant By himself. I didn't know that the

583
00:29:30,519 --> 00:29:32,039
group was called the Honey.

584
00:29:32,000 --> 00:29:34,880
Speaker 2: The Honey Drivers. Yeah, that song was a hit, and

585
00:29:35,359 --> 00:29:37,000
that fell in my lap right as you were saying that.

586
00:29:37,119 --> 00:29:40,480
But there's fascinating other stories with other bands, with other

587
00:29:40,559 --> 00:29:42,359
hit songs that we got to get to. Sure, But

588
00:29:42,440 --> 00:29:44,039
before we move on, I want to hit just a

589
00:29:44,079 --> 00:29:46,480
couple of things on It can happen. During the guitar solo,

590
00:29:46,720 --> 00:29:51,359
you hear lines from the movie the importance of being

591
00:29:51,680 --> 00:29:54,960
earnest by Oscar wild Yes, is that anything to you?

592
00:29:55,640 --> 00:29:58,720
Speaker 3: I know who Oscar wild is, and I'm familiar with

593
00:29:58,799 --> 00:30:01,319
the importance of being earnest. It's kind of a staple

594
00:30:01,400 --> 00:30:05,920
for a drama major. Yes, I thought it might. Yes, yeah,

595
00:30:06,759 --> 00:30:09,960
I have no relation to this at all, but it's

596
00:30:10,079 --> 00:30:12,920
just interesting. I'll tell you Oscar Wilde was convicted of buggery.

597
00:30:13,039 --> 00:30:14,079
Whenever he would.

598
00:30:15,400 --> 00:30:15,799
Speaker 4: Huggery.

599
00:30:15,920 --> 00:30:17,839
Speaker 3: I believe he might have died in jail from some

600
00:30:18,000 --> 00:30:21,519
sort of disease he got from buggery or something. But anyway,

601
00:30:21,839 --> 00:30:25,039
a well regarded and renowned playwright.

602
00:30:25,240 --> 00:30:27,319
Speaker 2: Yes, yes, I did watch the video on this. I

603
00:30:27,359 --> 00:30:29,559
will tell you that the highlight for me was the

604
00:30:29,640 --> 00:30:33,440
guys in a circle with the camera panned up looking

605
00:30:33,519 --> 00:30:36,480
at them, and they all have cheap colored sunglasses on.

606
00:30:36,680 --> 00:30:38,599
All I can think is that these guys need help

607
00:30:38,640 --> 00:30:39,319
with the videos.

608
00:30:39,680 --> 00:30:43,119
Speaker 3: It's interesting because we can we kind of have to

609
00:30:43,200 --> 00:30:47,039
look at what was going on with them at the time,

610
00:30:47,400 --> 00:30:50,799
because just because they had had success in the past

611
00:30:51,319 --> 00:30:53,680
doesn't mean they've got all kinds of money to spend now,

612
00:30:53,920 --> 00:30:56,599
or that the record company is ready to spend all

613
00:30:56,720 --> 00:30:58,480
kinds of monere on them.

614
00:30:58,720 --> 00:31:00,759
Speaker 2: But I'll come to that story in a little bit too.

615
00:31:00,880 --> 00:31:03,519
Chris Squire wrote this one on the piano. Chris Quire

616
00:31:03,599 --> 00:31:06,160
says this song it was a message of hope, just

617
00:31:06,240 --> 00:31:08,640
a way through the world looking for a good route.

618
00:31:09,680 --> 00:31:12,920
Love it. Next song on the album is called Changes.

619
00:31:19,200 --> 00:31:23,359
Speaker 4: So this one starts off and it sounds like a xylophone.

620
00:31:23,359 --> 00:31:24,400
Speaker 2: Sounds like a xylophone to me.

621
00:31:24,559 --> 00:31:27,079
Speaker 3: I just looked up personnel. I cannot find anybody playing

622
00:31:27,119 --> 00:31:29,319
the xylophone. So I don't know if that falls if

623
00:31:29,359 --> 00:31:31,680
it falls under percussion and Alan White was doing.

624
00:31:31,559 --> 00:31:35,160
Speaker 4: It right, or if they did it on synthesizer. I'm

625
00:31:35,200 --> 00:31:37,839
not sure. Okay, I got nobody playing xylophone.

626
00:31:37,839 --> 00:31:38,039
Speaker 1: On them.

627
00:31:38,400 --> 00:31:40,680
Speaker 2: I've got something for you, and you gotta think I'm crazy.

628
00:31:40,799 --> 00:31:41,079
Speaker 4: Okay.

629
00:31:41,279 --> 00:31:45,240
Speaker 2: The song starts off so distinctly with that xylophone, and

630
00:31:45,359 --> 00:31:47,799
then you hit a guitar note, and then it transitions

631
00:31:47,839 --> 00:31:48,799
into a different song.

632
00:31:48,960 --> 00:31:52,839
Speaker 3: Yeah, it turns into a Tangerine Dream kind of electronic masterpiece.

633
00:31:52,960 --> 00:31:55,039
Speaker 2: Yeah, I've got two songs that I think were influenced

634
00:31:55,039 --> 00:31:56,359
by this song. I'm gonna play it for you real

635
00:31:56,440 --> 00:31:57,240
quick and see what you think.

636
00:31:57,319 --> 00:31:57,839
Speaker 4: Yeah, I love it.

637
00:31:58,240 --> 00:32:01,359
Speaker 2: Tell me if I'm crazy gaining part of this song

638
00:32:01,519 --> 00:32:03,319
I think influenced this song.

639
00:32:10,920 --> 00:32:16,359
Speaker 4: You're not it's it is the same rhythmic. I hope

640
00:32:16,400 --> 00:32:17,240
definit Dave's listening.

641
00:32:17,559 --> 00:32:19,839
Speaker 2: Dave, are you listening? Go back and listen to our

642
00:32:19,880 --> 00:32:20,960
Beastie Boys episode.

643
00:32:21,039 --> 00:32:21,519
Speaker 4: Yeah, heck you.

644
00:32:22,000 --> 00:32:24,279
Speaker 2: And then it transitions into a different song that I.

645
00:32:24,319 --> 00:32:33,279
Speaker 3: Think could be this one. That one came out before.

646
00:32:33,519 --> 00:32:35,720
So maybe that song was influenced by the Police. Sure,

647
00:32:35,920 --> 00:32:37,400
I mean very easily.

648
00:32:37,160 --> 00:32:40,400
Speaker 4: Could have been. So this one was not one that

649
00:32:40,680 --> 00:32:42,400
he had on the demo either.

650
00:32:43,200 --> 00:32:46,039
Speaker 3: This is one he wrote while he was depressed after

651
00:32:46,119 --> 00:32:47,559
being told by Clive Davis, you need.

652
00:32:47,559 --> 00:32:50,480
Speaker 2: To sound more like foreign I'm not kidding.

653
00:32:50,559 --> 00:32:52,759
Speaker 3: That's exactly how Okay, gosh, I get to write a

654
00:32:52,839 --> 00:32:56,079
song here to express my blues. It's this song that

655
00:32:56,440 --> 00:32:58,039
that we get from Trevor raven from this.

656
00:32:58,480 --> 00:33:00,680
Speaker 2: So Trevor Ravens the guy who stepped in and wrote

657
00:33:00,759 --> 00:33:03,799
unwholdly hard and kind of got this Yes project off

658
00:33:03,839 --> 00:33:06,279
the ground. Did you know that he has written several

659
00:33:06,599 --> 00:33:11,680
movie scores, you mean, like National Treasure, Yes, Like National Treasure,

660
00:33:11,799 --> 00:33:17,799
con Air and Armageddon, Yes, and Black Trash. Well, to

661
00:33:17,880 --> 00:33:20,759
catch you with that last one, Black Trash. Black Trash,

662
00:33:21,680 --> 00:33:23,920
that was his first one. He wrote it in nineteen

663
00:33:24,079 --> 00:33:28,119
seventy six when he still lived in South Africa. And

664
00:33:29,200 --> 00:33:29,960
Black Trash.

665
00:33:30,240 --> 00:33:33,079
Speaker 3: Yeah, it might sound like a black exploitation thing, but

666
00:33:33,279 --> 00:33:36,000
it's it's not. It kind of sounds like a buddy

667
00:33:36,039 --> 00:33:40,799
cop movie. It's it's a black journalist and a white cop.

668
00:33:41,079 --> 00:33:44,200
I believe that are teaming up to try to, you know,

669
00:33:44,400 --> 00:33:47,160
solve some sort of crime that's going on. Interesting he did,

670
00:33:47,279 --> 00:33:49,880
he composed that, he and he's had dozens.

671
00:33:50,000 --> 00:33:51,960
Speaker 2: Okay, let's just run through this list real quick, because

672
00:33:52,000 --> 00:33:55,240
you've said you've said some Armageddon bad Boys to Coach Carter,

673
00:33:55,440 --> 00:33:58,519
con Air, Deep Blue Sea, Enemy of the State, get

674
00:33:58,680 --> 00:34:02,680
Smart Gone in sixty. I am number four National Treasure,

675
00:34:02,880 --> 00:34:06,920
remember the Titans, rock Star and Snakes on a Plane.

676
00:34:07,079 --> 00:34:08,639
Speaker 4: Snake's on a Plane.

677
00:34:11,280 --> 00:34:14,239
Speaker 3: Spoiler alert. I don't think there are any Skippers on

678
00:34:14,320 --> 00:34:17,920
this entire album. Hm, you're gonna go ahead and disagree

679
00:34:17,960 --> 00:34:19,119
with me on that. I'm going to disagree with you.

680
00:34:19,199 --> 00:34:19,400
Speaker 2: Well.

681
00:34:19,400 --> 00:34:21,119
Speaker 4: I can't wait to see which one you pick.

682
00:34:21,360 --> 00:34:24,719
Speaker 3: But Yes, So, like I said, I feel like we're

683
00:34:24,760 --> 00:34:27,920
kind of going in reverse on this history here. But

684
00:34:28,400 --> 00:34:33,280
to jump back forward, XYZ doesn't work out, right, they

685
00:34:33,400 --> 00:34:37,119
get together with Trevor Rabin, like I said, and they're

686
00:34:37,159 --> 00:34:40,519
putting this music together based on his demos, and he's

687
00:34:40,559 --> 00:34:43,280
going to be the singer. And they've decided, Hey, we're

688
00:34:43,320 --> 00:34:45,800
gonna call this band Cinema.

689
00:34:46,119 --> 00:34:46,280
Speaker 4: Right.

690
00:34:46,679 --> 00:34:50,800
Speaker 3: It just happens to be a coincidence that three of

691
00:34:50,920 --> 00:34:54,079
the four band members at this point are former members.

692
00:34:53,800 --> 00:34:56,079
Speaker 2: Of Yes Okay? Now, who are those three?

693
00:34:56,519 --> 00:35:01,320
Speaker 3: Those three are Tony Kay, Chris Squire, and Alan White. Now,

694
00:35:01,400 --> 00:35:05,480
Tony Kay came from a previous He was a Yes

695
00:35:05,599 --> 00:35:08,800
member from long ago. He was sacked back in nineteen

696
00:35:08,800 --> 00:35:11,599
seventy one. That's right, Yeah, he was still friends with

697
00:35:11,760 --> 00:35:14,800
Chris and Alan. They I don't think we're in the

698
00:35:14,880 --> 00:35:18,159
decision making process for that sacking. But you know why

699
00:35:18,199 --> 00:35:21,119
he got sacked. No, he refused to play the synthesizer.

700
00:35:21,280 --> 00:35:23,800
He's like, I will play the organ and i will

701
00:35:23,840 --> 00:35:25,840
play the piano, but I'm not going to play these

702
00:35:25,920 --> 00:35:26,840
new synthesizers.

703
00:35:27,079 --> 00:35:27,920
Speaker 4: I don't like them.

704
00:35:28,360 --> 00:35:31,079
Speaker 3: Well, if you're familiar with Yes's music from the seventies,

705
00:35:31,400 --> 00:35:33,320
you're going to have to need some synthesizers, my friend.

706
00:35:33,480 --> 00:35:37,360
Speaker 2: Right before you go there eighty version of Yes. Trevor Horn,

707
00:35:37,440 --> 00:35:39,800
who had been the lead vocalist. He goes on to

708
00:35:39,920 --> 00:35:42,679
become a major record producer.

709
00:35:42,960 --> 00:35:43,119
Speaker 4: Yes.

710
00:35:43,400 --> 00:35:47,519
Speaker 2: I even saw something that said Trevor Horn invented the eighties.

711
00:35:47,840 --> 00:35:51,880
Speaker 3: He definitely had a heavy hand in the sound of

712
00:35:52,039 --> 00:35:54,800
especially the new wave side of the eighties. For sure,

713
00:35:54,920 --> 00:35:57,840
the British new wave sound was heavily influenced by mister

714
00:35:57,920 --> 00:35:58,480
Trevor Horn.

715
00:35:59,199 --> 00:36:01,480
Speaker 2: I came across an album of Trevor Horns that he's

716
00:36:01,559 --> 00:36:05,000
done recently where he reimagines a bunch of songs from

717
00:36:05,000 --> 00:36:08,000
the eighties. Okay, one of which is Owner of a

718
00:36:08,079 --> 00:36:22,199
Lonely Heart, which is a symphony version of it. Awesome, right,

719
00:36:22,360 --> 00:36:24,719
So he goes on to become a record producer. But

720
00:36:25,000 --> 00:36:28,440
two of the guys from that nineteen eighty version of Yes,

721
00:36:28,840 --> 00:36:32,400
Steve Howe and Jeffrey Downs, they go on to form

722
00:36:32,440 --> 00:36:36,119
a band with John Wetton on bass and Carle Palmer,

723
00:36:36,320 --> 00:36:38,760
and they create the supergroup Asia.

724
00:36:43,920 --> 00:36:47,400
Speaker 4: Right huge, I mean yeah, like these guys, they don't

725
00:36:47,440 --> 00:36:48,000
seem to fail.

726
00:36:48,079 --> 00:36:50,679
Speaker 2: It's incredible. Now, I will I told you before we

727
00:36:50,719 --> 00:36:52,880
started this. I'm like Heat of the Moment is one

728
00:36:52,920 --> 00:36:55,559
of Asia's biggest, probably their signature song. Yeah, and you

729
00:36:55,679 --> 00:36:57,800
play that big guitar sound at the beginning of Heat

730
00:36:57,840 --> 00:37:00,800
of the Moment. It sounds a lot like a lonely heart.

731
00:37:00,679 --> 00:37:01,000
Speaker 4: It does.

732
00:37:01,719 --> 00:37:04,639
Speaker 3: It's not that it's the same melody per se, but

733
00:37:04,800 --> 00:37:07,519
maybe that same chord is the first chord. And that

734
00:37:07,639 --> 00:37:11,239
guitar sound, that crunch that sound guitar, big crunchy guitar

735
00:37:11,360 --> 00:37:14,760
right at the beginning. It's very similar. It's also very

736
00:37:14,840 --> 00:37:16,920
similar to the sound of the guitar for the theme

737
00:37:17,280 --> 00:37:19,000
for MTV.

738
00:37:23,360 --> 00:37:23,800
Speaker 2: Interesting.

739
00:37:24,320 --> 00:37:27,639
Speaker 3: So at the point that Chris Squire has got John

740
00:37:27,679 --> 00:37:29,880
Anderson in the car and is playing the tape for

741
00:37:30,039 --> 00:37:32,119
him so that their wives don't know that they're hanging

742
00:37:32,159 --> 00:37:35,880
out again together, they've spent all of their money. We

743
00:37:36,000 --> 00:37:38,280
mentioned that Phil Carson from Atlantic Records was the guy

744
00:37:38,280 --> 00:37:40,719
who had kind of gotten them going. Well, Phil is

745
00:37:40,840 --> 00:37:42,559
the guy who's footing the bill for all of this,

746
00:37:42,719 --> 00:37:46,400
and he's spent three hundred thousand pounds and they're not done,

747
00:37:47,039 --> 00:37:50,719
but they're close. And they go back to a guy

748
00:37:50,920 --> 00:37:55,960
named Ahmet Urchin, who is a founder of Atlantic Records

749
00:37:56,280 --> 00:38:00,519
and who thirteen years earlier had signed the band for

750
00:38:00,559 --> 00:38:05,920
the first time called Yes. So he hears this new

751
00:38:06,199 --> 00:38:10,960
version John Anderson and Tony Kay and Chris Kuiir and

752
00:38:11,159 --> 00:38:13,800
Alan White and this new guy who's obviously very.

753
00:38:13,719 --> 00:38:16,079
Speaker 2: Good, and he's like, this seems like the new Yes

754
00:38:16,199 --> 00:38:20,800
to me? Did you to?

755
00:38:24,119 --> 00:38:27,559
Speaker 3: And they're like, we really want to separate ourselves from that,

756
00:38:27,760 --> 00:38:30,239
or some of them. Trevor Raven is like, I don't

757
00:38:30,280 --> 00:38:34,159
really want to be the new Yes, and he's like,

758
00:38:34,719 --> 00:38:36,679
I really think you should be. But they came out

759
00:38:36,679 --> 00:38:41,159
with a promo on MTV as Cinema, right, and all

760
00:38:41,159 --> 00:38:43,480
of a sudden their phones start ringing and they're like, hey,

761
00:38:43,719 --> 00:38:46,400
you can't call yourself Cinema because we're a band that

762
00:38:46,519 --> 00:38:49,280
is already called Cinema. And so at that point, what

763
00:38:49,360 --> 00:38:52,159
do you do the band name you wanted is gone.

764
00:38:52,440 --> 00:38:55,239
They're pushing this new band name on you, and you're thinking,

765
00:38:55,480 --> 00:38:56,199
are we going to be like.

766
00:38:56,239 --> 00:38:56,840
Speaker 4: The new Coke?

767
00:38:57,440 --> 00:38:57,639
Speaker 2: Yeah?

768
00:38:58,239 --> 00:39:01,760
Speaker 3: Right, they literally they they they've got the new name

769
00:39:01,880 --> 00:39:06,920
and the album they almost called the New Yes Album. Yeah,

770
00:39:07,000 --> 00:39:09,360
I'm glad they didn't go with that, although I still

771
00:39:09,440 --> 00:39:12,679
think that Nino one two five is a terrible title.

772
00:39:12,800 --> 00:39:15,840
Now you mentioned Nino two one four earlier. The way

773
00:39:15,920 --> 00:39:19,280
that they get this number, this random number that's not

774
00:39:19,400 --> 00:39:23,679
a ZIP code, is it's apparently just the catalog number

775
00:39:23,880 --> 00:39:25,199
for their record label.

776
00:39:25,280 --> 00:39:25,480
Speaker 1: Yeah.

777
00:39:26,159 --> 00:39:28,360
Speaker 3: Like like when they don't know the name of the album,

778
00:39:28,440 --> 00:39:31,239
they'll go, hey, hand me album nine oh one two four.

779
00:39:31,440 --> 00:39:33,800
And the information that I got was that was what

780
00:39:33,920 --> 00:39:36,760
this album was called. First they first called it nine

781
00:39:36,800 --> 00:39:40,800
oh one two four, but somehow there was, like I

782
00:39:40,840 --> 00:39:43,800
don't know, the different regions of the world, there was

783
00:39:43,880 --> 00:39:46,280
already a nine oh one two four, and so they

784
00:39:46,280 --> 00:39:48,199
were like, well, let's just call it nine oh one

785
00:39:48,239 --> 00:39:48,800
two five.

786
00:39:49,039 --> 00:39:52,599
Speaker 2: Then that's interesting. So the band Cinema that never really

787
00:39:52,760 --> 00:39:55,679
formed with Chris Squire and Alan Whye and Trevor Raven,

788
00:39:55,760 --> 00:39:58,880
those guys, one of the remnants of that Project is

789
00:39:58,920 --> 00:40:01,480
an instrumental song on the album. Next song on the album,

790
00:40:01,519 --> 00:40:16,880
and it's called Cinema. This is the song on the

791
00:40:16,920 --> 00:40:18,480
album that I really don't have any use for.

792
00:40:18,719 --> 00:40:20,519
Speaker 4: This is a song on the album that won the Grammy.

793
00:40:20,679 --> 00:40:24,119
Speaker 2: I know, I know, it's okay. I've disagreed with the

794
00:40:24,159 --> 00:40:24,960
Grammys before.

795
00:40:25,679 --> 00:40:28,000
Speaker 3: Oh my gosh, No, this is a great song. You

796
00:40:28,199 --> 00:40:30,199
just you want to have people singing. You don't want

797
00:40:30,199 --> 00:40:31,920
to get stuck in the middle of a singing album

798
00:40:31,960 --> 00:40:32,760
with a no singing song.

799
00:40:32,800 --> 00:40:35,320
Speaker 2: That's right, that's right. Use this no singing song. I

800
00:40:35,440 --> 00:40:38,559
am glad it's not twenty minutes long like their old stuff.

801
00:40:38,599 --> 00:40:41,519
Oh yeah, right right. They had a double album d

802
00:40:42,079 --> 00:40:47,880
where there was one song per side both albums double.

803
00:40:47,639 --> 00:40:51,599
Speaker 3: Album, double album, four songs. Yes, I got no No,

804
00:40:52,360 --> 00:40:55,840
keep that not interested? You were you were in stark

805
00:40:55,920 --> 00:40:59,119
disagreement from the yes of the seventies fans. Yes, so

806
00:40:59,320 --> 00:41:04,519
this actually came from one of those twenty minute long songs.

807
00:41:04,800 --> 00:41:08,800
It was just the intro to that song. I don't

808
00:41:08,840 --> 00:41:11,679
know how long this song is was our time two minutes,

809
00:41:11,840 --> 00:41:14,880
So this, this two minutes was the instrumental before. I

810
00:41:14,920 --> 00:41:17,840
guess maybe more instruments because that was the nature of

811
00:41:17,880 --> 00:41:21,079
the band, but maybe the two minutes before John Anderson

812
00:41:21,119 --> 00:41:24,119
started singing. But yes, I don't think we had room

813
00:41:24,159 --> 00:41:27,559
in nineteen eighty three for any twenty minute prog rock songs,

814
00:41:27,760 --> 00:41:31,519
but we got room for a two minute prog rock

815
00:41:31,760 --> 00:41:34,840
intro which the Grammy's loved it.

816
00:41:34,920 --> 00:41:38,119
Speaker 2: Man A nineteen eighty five got the Grammy for the

817
00:41:38,199 --> 00:41:41,400
Best Rock Instrumental. This is one of two Grammy nominations

818
00:41:41,480 --> 00:41:42,159
that they received.

819
00:41:42,360 --> 00:41:42,559
Speaker 4: Yeah.

820
00:41:42,719 --> 00:41:46,360
Speaker 2: The other was Chris Squier's version of Amazing Grace off

821
00:41:46,440 --> 00:41:50,039
of the nine oh one two Live Oh Okay, which

822
00:41:50,320 --> 00:41:52,400
was directed by Steven Soderberg.

823
00:41:52,960 --> 00:41:56,360
Speaker 4: Oh yeah, I did see that. Yeah, mister Steven Soderberg.

824
00:41:56,400 --> 00:41:59,000
Speaker 2: Ho about that? Very nice. When this song is played live,

825
00:41:59,079 --> 00:42:01,199
it's usually followed by a hit like Leave It or

826
00:42:01,480 --> 00:42:04,440
Owner of a Lonely Heart, Thank Goodness. Yeah. Oh.

827
00:42:04,559 --> 00:42:08,000
Speaker 3: By the way, So I was doing last minute research

828
00:42:08,360 --> 00:42:11,320
at a bar before I came over for a year. Yes,

829
00:42:11,519 --> 00:42:13,960
and one of my buddies at the bar, Ron is

830
00:42:14,199 --> 00:42:16,159
sitting next to me and he asked me what I'm doing,

831
00:42:16,199 --> 00:42:19,559
and I'm like, I'm researching and I know one two five,

832
00:42:19,639 --> 00:42:20,920
and he's like, I don't know what that is? And

833
00:42:21,039 --> 00:42:24,440
I said Owner of Lonely Heart. He goes, oh, Frank

834
00:42:24,519 --> 00:42:27,920
Zappa covered that song, and I was like, what now, Ron,

835
00:42:28,159 --> 00:42:32,159
anytime I mentioned any band, he will bring up Frank Zappa.

836
00:42:32,280 --> 00:42:34,920
It is unavoidable. Really, it will either bring up Frank

837
00:42:35,039 --> 00:42:36,599
Zappa or he will bring up Buckethead.

838
00:42:37,079 --> 00:42:40,639
Speaker 4: But they he loves those bands. But I had to

839
00:42:40,719 --> 00:42:41,519
hear it. I had to go.

840
00:42:41,760 --> 00:42:44,880
Speaker 3: Okay, Frank Zappa has covered Owner of a Lonely Heart.

841
00:42:45,440 --> 00:42:48,920
Apparently it's like a mashup or something. It's bamboozled by

842
00:42:49,039 --> 00:42:51,119
love slash Owner of a Lonely Heart.

843
00:42:51,599 --> 00:42:52,880
Speaker 4: We'll listen to that one here.

844
00:43:02,119 --> 00:43:02,199
Speaker 2: Now.

845
00:43:02,199 --> 00:43:04,239
Speaker 3: If you remember, we talked about Frank Zappa whenever we

846
00:43:04,400 --> 00:43:06,719
covered Toto four.

847
00:43:06,960 --> 00:43:08,440
Speaker 2: He humiliated Steve Luca.

848
00:43:08,760 --> 00:43:12,039
Speaker 3: He did poor seventeen year old Steve Luca thir Lik

849
00:43:12,199 --> 00:43:15,039
left Frank Zeppa's audition with his tail between his legs.

850
00:43:15,079 --> 00:43:17,920
Speaker 2: That's it. That's it. Hit stop on your tape player,

851
00:43:18,039 --> 00:43:20,519
kick it out, flip it over for side to wait.

852
00:43:21,480 --> 00:43:24,760
This is the song I've been waiting the whole episode four.

853
00:43:25,639 --> 00:43:28,079
I don't blame you. It's freaking awesome. This song is

854
00:43:28,119 --> 00:43:29,840
called leave It.

855
00:43:30,519 --> 00:43:32,000
Speaker 1: I can feel.

856
00:43:46,400 --> 00:43:47,880
Speaker 2: The dreams.

857
00:43:51,800 --> 00:44:01,639
Speaker 3: Real the year is nineteen ninety six. I am working

858
00:44:01,840 --> 00:44:05,519
as a waiter in a restaurant called the Varsity Sports Girl.

859
00:44:05,760 --> 00:44:08,039
We had a new thing, it was called a PA

860
00:44:08,360 --> 00:44:13,199
where it played music across the whole restaurant that was

861
00:44:13,519 --> 00:44:17,360
programmed from the satellite. And one day, as I'm working,

862
00:44:17,519 --> 00:44:19,960
I heard a song that I probably hadn't heard in

863
00:44:20,039 --> 00:44:23,639
at least ten years. Yeah, and this came on and

864
00:44:23,800 --> 00:44:26,840
I heard it with the speakers that were so powerful

865
00:44:27,360 --> 00:44:30,000
that the hair on the back of my neck stood up,

866
00:44:48,000 --> 00:44:50,519
and I was like, I forgot how freaking good this

867
00:44:50,719 --> 00:44:51,440
song was.

868
00:44:52,280 --> 00:44:55,039
Speaker 2: I mean the ping ponging vocals on this and the

869
00:44:55,519 --> 00:44:59,480
melody and that kind of intro vocal thing that happens.

870
00:44:59,280 --> 00:45:03,719
Speaker 3: Building harm it's in I you remember last episode. I

871
00:45:03,800 --> 00:45:06,320
told you I had texted my brother and I was like, hey,

872
00:45:06,519 --> 00:45:09,760
do you do like a breakfast in America? And he

873
00:45:09,920 --> 00:45:13,880
sent me question mark right, and I said Supertramp nineteen

874
00:45:13,920 --> 00:45:17,840
seventy nine. And a full day goes by and he's like, ah, yeah,

875
00:45:17,920 --> 00:45:20,400
I know a lot of these songs. I just didn't

876
00:45:20,519 --> 00:45:22,599
know that I know them, Like I don't know the

877
00:45:22,679 --> 00:45:24,199
names of the songs, but I seem to know all

878
00:45:24,199 --> 00:45:27,119
the words. So that was his supertramp response. YEA so

879
00:45:27,440 --> 00:45:31,159
week ago I texted him, I said, actually, I'll go

880
00:45:31,199 --> 00:45:33,719
a few texts up. He said, did you watch the

881
00:45:33,800 --> 00:45:36,639
yacht Rock documentary yet? I said not yet, but I

882
00:45:36,760 --> 00:45:40,840
will so good. I said, did you own yes, nine

883
00:45:40,920 --> 00:45:45,119
oh one two five, And his response was, that's the

884
00:45:45,199 --> 00:45:48,559
dumbest question I've ever heard. I would pay one hundred

885
00:45:48,639 --> 00:46:05,039
dollars for anything with the song leave it. Plus, it

886
00:46:05,199 --> 00:46:07,920
was instant street cred to me to say I was

887
00:46:08,039 --> 00:46:10,960
listening to nine oh one two five on my Pioneer

888
00:46:11,239 --> 00:46:16,039
pk R seven, a w instant give it up for's brother.

889
00:46:16,519 --> 00:46:18,920
So yeah, actually went down and saw him and we

890
00:46:19,039 --> 00:46:20,440
watched yacht Rock together.

891
00:46:20,840 --> 00:46:21,440
Speaker 2: Oh it's great.

892
00:46:21,559 --> 00:46:22,880
Speaker 4: Oh it's fantastic documentary.

893
00:46:23,280 --> 00:46:23,480
Speaker 2: Love it.

894
00:46:23,599 --> 00:46:26,679
Speaker 3: So the harmonies on this song, love it. This actually

895
00:46:26,880 --> 00:46:28,880
finally gets me to the beginning of the history of

896
00:46:28,920 --> 00:46:33,559
this band. Okay, okay, So in nineteen sixty seven, Chris Squire,

897
00:46:34,039 --> 00:46:37,519
the bass player, and a guy named Peter Banks, a guitarist,

898
00:46:37,679 --> 00:46:40,360
were in a band called the Sin s y N.

899
00:46:41,280 --> 00:46:44,280
They left that band and joined a band called Mabel

900
00:46:44,360 --> 00:46:49,199
Greer's Toy Shop that was a psychedelic rock band. A

901
00:46:49,679 --> 00:46:55,480
club owner introduces Chris Squire to his bartender named John Anderson.

902
00:46:55,719 --> 00:46:56,119
Speaker 2: That was it.

903
00:46:56,360 --> 00:46:58,840
Speaker 3: John was a bartender who I guess sang at the bar,

904
00:46:59,159 --> 00:47:01,440
and the club owner was like, you need to go

905
00:47:01,719 --> 00:47:05,239
meet with these guys because Mabel Greers Toy Shop was

906
00:47:05,320 --> 00:47:09,039
not making particularly great basics. They're not that great, all right,

907
00:47:09,159 --> 00:47:11,039
but these guys I can tell they've got talent.

908
00:47:11,280 --> 00:47:12,159
Speaker 4: You need to meet with them.

909
00:47:12,239 --> 00:47:15,079
Speaker 3: So when John Anderson and Chris Squire first started talking

910
00:47:15,119 --> 00:47:19,280
to each other, they found that they both love the

911
00:47:19,400 --> 00:47:23,519
harmonies of Simon and Garfunk call really Yes, very good.

912
00:47:24,000 --> 00:47:28,119
So then they brought in Bill Bruford on drums and

913
00:47:28,599 --> 00:47:31,440
Tony Kay on keyboards. Tony Kay is one of those

914
00:47:31,599 --> 00:47:35,320
original guys, and they decided, you know what, Mabel Greers

915
00:47:35,519 --> 00:47:38,199
Toy Shop is going to become yes.

916
00:47:46,480 --> 00:47:46,960
Speaker 2: Better name.

917
00:47:47,119 --> 00:47:51,280
Speaker 3: Well except that when somebody says, what you're doing over there,

918
00:47:51,480 --> 00:47:53,960
I'm looking at Yes, you're looking at what? Right?

919
00:47:54,280 --> 00:47:54,519
Speaker 4: Yeah?

920
00:47:54,760 --> 00:47:56,519
Speaker 3: If I said I'm looking at Van Halen, you know

921
00:47:56,599 --> 00:47:59,000
what I'm talking about. If I said I'm looking at Genesis,

922
00:47:59,159 --> 00:48:02,239
you probably are thinking I'm either reading the Bible or

923
00:48:02,719 --> 00:48:05,960
listening to Phil Collins. But yes, nobody gets it. There

924
00:48:05,960 --> 00:48:08,920
are other options were Life and World, which really I

925
00:48:09,000 --> 00:48:13,039
don't see those as better either, Like it's again it's

926
00:48:13,079 --> 00:48:16,599
too vague. Yes is not a great band name in

927
00:48:16,719 --> 00:48:17,280
my opinion.

928
00:48:17,760 --> 00:48:20,239
Speaker 2: Yeah, I was thinking that the version that added Trevor Raven,

929
00:48:20,280 --> 00:48:21,760
where Trevor was like, I don't really want to be

930
00:48:21,800 --> 00:48:23,480
called Yes. Maybe they could have been called No.

931
00:48:25,880 --> 00:48:29,320
Speaker 3: So they played cover songs, covering the Beatles, Fifth Dimention

932
00:48:29,559 --> 00:48:32,440
and Traffic, And then how many times.

933
00:48:32,280 --> 00:48:32,880
Speaker 4: Does this happen?

934
00:48:33,079 --> 00:48:36,320
Speaker 3: There's a big show where Sly where some band in

935
00:48:36,400 --> 00:48:38,599
this case it was Sly in the family Stone failed

936
00:48:38,639 --> 00:48:41,880
to show up. Wow, And these guys were ready waiting

937
00:48:41,960 --> 00:48:44,480
on the bench, ready to go, and they got the call.

938
00:48:44,800 --> 00:48:46,719
When they played that night, they were so good that

939
00:48:46,920 --> 00:48:49,800
the host of the show says, I want to manage

940
00:48:49,800 --> 00:48:51,880
you guys. The guy named Roy Flynn says, I'm going

941
00:48:51,960 --> 00:48:55,400
to be your manager. He gets them a gig performing

942
00:48:55,480 --> 00:48:59,960
with Cream at Cream's farewell concert. That gets them more success.

943
00:49:00,360 --> 00:49:03,760
Then they see this band called King Crimson. Now we

944
00:49:03,840 --> 00:49:06,199
talked about crog Rock in our last episode and who

945
00:49:06,280 --> 00:49:08,280
the players are, and King Crimson is one of those.

946
00:49:08,360 --> 00:49:10,599
But they saw those guys and they're like, we have

947
00:49:10,760 --> 00:49:13,159
got to up our game. We've got to become better,

948
00:49:13,400 --> 00:49:17,440
and so they improve, and that's when they get signed

949
00:49:17,519 --> 00:49:21,960
by mister Ahmet Ertjin of Atlantic Records, who would then

950
00:49:22,280 --> 00:49:25,199
help them finish this album thirteen years later, and in

951
00:49:25,320 --> 00:49:28,159
nineteen sixty nine they come out with the album Yes,

952
00:49:28,599 --> 00:49:31,559
and then Rolling Stone says they're going to be the

953
00:49:31,599 --> 00:49:33,320
most successful band of the seventies.

954
00:49:33,519 --> 00:49:35,119
Speaker 4: They tour with Iron.

955
00:49:35,000 --> 00:49:38,239
Speaker 3: Butterfly, that band, and I Got a Davida and I

956
00:49:38,280 --> 00:49:41,840
Got a Davida Baby. They bought Iron Butterfly's PA system

957
00:49:42,000 --> 00:49:45,559
so that they could sound better, okay, and then Tony

958
00:49:45,639 --> 00:49:49,199
Kay and Steve Howe are fighting because Tony Kay doesn't

959
00:49:49,239 --> 00:49:52,119
want to play the synthesizers, and he gets booted from

960
00:49:52,159 --> 00:49:56,519
the band. And by nineteen seventy eight seventy nine they

961
00:49:56,599 --> 00:50:00,519
are at the absolute height of their commercial success. They

962
00:50:00,559 --> 00:50:04,360
played Madison Square Garden and they have one million dollars

963
00:50:05,079 --> 00:50:08,239
in nineteen seventy nine money, one million dollars in box

964
00:50:08,280 --> 00:50:12,639
office receipts. But John Anderson, Chris Squire, and Alan White

965
00:50:12,760 --> 00:50:14,239
were disagreeing about which.

966
00:50:14,119 --> 00:50:15,000
Speaker 4: Way the band should go.

967
00:50:15,559 --> 00:50:19,960
Speaker 2: Their wives too, Yes, Squire and White what they wanted

968
00:50:20,000 --> 00:50:21,440
to be heavy rock.

969
00:50:21,519 --> 00:50:24,679
Speaker 3: They want to be hard rock. And Anderson wanted to

970
00:50:24,760 --> 00:50:29,400
be light and more fantastical, more proggy. Yeah right yeah,

971
00:50:29,719 --> 00:50:34,400
And so that ultimately ends because they're doing their sessions

972
00:50:34,800 --> 00:50:38,440
and then I'm not kidding, Alan White is roller skating

973
00:50:38,519 --> 00:50:38,679
and a.

974
00:50:38,760 --> 00:50:41,119
Speaker 4: Roller disco and breaks his foot.

975
00:50:41,599 --> 00:50:44,599
Speaker 3: Oh the drummer needs his foot, he does, and so

976
00:50:44,920 --> 00:50:47,320
they have to take a break from the sessions. And

977
00:50:47,519 --> 00:50:50,519
so the rift and the break from the break, and

978
00:50:50,599 --> 00:50:54,360
also some financial disputes results in John Anderson saying.

979
00:50:55,079 --> 00:50:56,159
Speaker 4: See you later. I'm out here.

980
00:50:56,239 --> 00:50:59,880
Speaker 2: Guys, He's going to leave it. Thank you for bringing it.

981
00:51:00,519 --> 00:51:03,920
But it was nicely done. Thank you, thank you. I

982
00:51:04,000 --> 00:51:05,440
do have a couple of nuggets for you on this

983
00:51:05,519 --> 00:51:07,519
song leave it. Yeah, okay, I talked to you the

984
00:51:07,599 --> 00:51:09,920
other day. The music video looks like it was done

985
00:51:10,000 --> 00:51:12,679
on an Apple two E in nineteen eighty three.

986
00:51:12,760 --> 00:51:14,960
Speaker 4: I got my Macintosh computer right yep?

987
00:51:15,239 --> 00:51:17,519
Speaker 2: Okay, So all it is is just the guys in

988
00:51:17,679 --> 00:51:22,400
tuxedos and using the latest technology to like fold their

989
00:51:22,480 --> 00:51:25,039
picture and make them rotate their heads pop off and

990
00:51:25,159 --> 00:51:27,239
do circles switch bodies.

991
00:51:27,639 --> 00:51:28,079
Speaker 4: It's weird.

992
00:51:28,239 --> 00:51:31,400
Speaker 2: It literally is. It's somebody playing on a computer. It

993
00:51:31,480 --> 00:51:33,760
has not aged. Well, so here's the deal. I've been

994
00:51:33,800 --> 00:51:36,599
giving these guys a hard time because they're video stink,

995
00:51:36,719 --> 00:51:39,920
but the songs are great. This video was done by

996
00:51:40,000 --> 00:51:42,599
Godly and Cream. Does that name ring a bell? Yes?

997
00:51:43,320 --> 00:51:46,679
Speaker 4: Yes, But I am trying to remember who they were

998
00:51:46,719 --> 00:51:47,239
connected to.

999
00:51:47,519 --> 00:51:50,119
Speaker 2: These guys were in a rock band. I'll play that

1000
00:51:50,199 --> 00:51:52,519
for you here in a second. But they directed music

1001
00:51:52,599 --> 00:51:57,079
videos like Every Breath You Take, Girls on Film Rocket

1002
00:51:57,199 --> 00:52:00,199
by Herbie Hancock. They did Everybody Have Fun To by

1003
00:52:00,239 --> 00:52:03,760
Wang Chung. I mean, these guys are MTV staples. They

1004
00:52:03,800 --> 00:52:06,400
came out of a rock band called ten CC in

1005
00:52:06,519 --> 00:52:13,519
the seventies, so don't forget it.

1006
00:52:15,920 --> 00:52:17,280
Speaker 4: So I recognize that.

1007
00:52:17,480 --> 00:52:19,960
Speaker 3: I don't know if I remembered it from back then,

1008
00:52:20,559 --> 00:52:22,480
but this is a part of the Guardians of the

1009
00:52:22,519 --> 00:52:25,320
Galaxy soundtrack, so I remember it from that movie.

1010
00:52:25,440 --> 00:52:27,400
Speaker 2: So that song is called I'm Not in Love, Yeah,

1011
00:52:27,480 --> 00:52:29,519
one of the great songs of the seventies. Godly and

1012
00:52:29,559 --> 00:52:32,280
Cream came out of that band started directing music videos,

1013
00:52:32,320 --> 00:52:33,519
including Leave It.

1014
00:52:33,920 --> 00:52:36,639
Speaker 3: Was it on the Synchronicity album that we talked about

1015
00:52:36,639 --> 00:52:39,039
them talking about them directing the Every Breath You Take.

1016
00:52:39,400 --> 00:52:41,119
Speaker 2: Probably okay, probably go.

1017
00:52:41,239 --> 00:52:42,159
Speaker 4: Back and check that one out.

1018
00:52:42,199 --> 00:52:45,559
Speaker 2: That's season one, right, They also had another big hit

1019
00:52:45,639 --> 00:52:48,119
in nineteen eighty five, I'm Gonna play for you real quick. Okay,

1020
00:52:50,599 --> 00:53:00,760
play the game. That's a big hit called by god

1021
00:53:00,800 --> 00:53:04,960
Lean Cream that I do not recognize making music videos

1022
00:53:05,119 --> 00:53:07,039
and making hit songs, yeah, there.

1023
00:53:06,920 --> 00:53:10,760
Speaker 3: You go, apparently making bad music videos, although heck no,

1024
00:53:11,000 --> 00:53:13,079
I mean if they did the if they did the

1025
00:53:13,119 --> 00:53:14,840
every Breath You Take video, that was awesome.

1026
00:53:14,960 --> 00:53:17,800
Speaker 2: There you go. This song was the second single, and

1027
00:53:17,920 --> 00:53:21,639
I love the one down, one to Go. This song

1028
00:53:21,719 --> 00:53:23,960
hits number twenty four on the Hot one hundred. The

1029
00:53:24,039 --> 00:53:27,599
top three that week were Hello by Lionel Richie, which

1030
00:53:27,599 --> 00:53:31,280
we've covered, Footloose at number two, and Against All Odds,

1031
00:53:31,519 --> 00:53:33,199
which we talked about in our Best of eighty four.

1032
00:53:33,400 --> 00:53:35,239
Let's move on to the next song. Okay, So the

1033
00:53:35,320 --> 00:53:37,199
next song on the album is called our Song.

1034
00:53:48,119 --> 00:53:50,440
Speaker 3: So as a little bit of ironies, as we come

1035
00:53:50,519 --> 00:53:52,880
into this song, we're having a little bit of issue

1036
00:53:53,000 --> 00:53:57,320
with the fan versus the heater in our studio today,

1037
00:53:57,440 --> 00:53:59,960
Yeah we are. And we went from being a little

1038
00:54:00,119 --> 00:54:01,400
chile too, like now I'm.

1039
00:54:01,280 --> 00:54:05,599
Speaker 2: Like starting to listen a little bit over here, as

1040
00:54:05,679 --> 00:54:07,800
it turns out that relates to this song.

1041
00:54:08,280 --> 00:54:10,800
Speaker 3: That's right, Yeah, The first line of this song was

1042
00:54:11,119 --> 00:54:15,440
Toledo was just another pit stop along the Good King's Highway.

1043
00:54:15,719 --> 00:54:18,920
This is a reference to a Toledo show that they

1044
00:54:18,960 --> 00:54:24,480
had done six years earlier, very memorable, nineteen seventy seven.

1045
00:54:25,159 --> 00:54:28,159
They were inside an arena that got up to one

1046
00:54:28,320 --> 00:54:45,199
hundred and twenty six degrees fahrenheit outshood. I would have

1047
00:54:45,280 --> 00:54:48,840
been laying on the floor plumb, passed out from that

1048
00:54:48,920 --> 00:54:50,280
heat six.

1049
00:54:50,559 --> 00:54:53,000
Speaker 2: You know where they play this song a lot? Death Valley,

1050
00:54:53,559 --> 00:54:58,559
possibly Toledo, Ohio plays this song a lot. Yeah, due

1051
00:54:58,559 --> 00:55:00,239
to that little nod there.

1052
00:55:00,519 --> 00:55:04,920
Speaker 3: There are several Kings Highways, none of them are near Toledo.

1053
00:55:05,320 --> 00:55:07,679
Speaker 2: There you go. This was the b side to Owner

1054
00:55:07,719 --> 00:55:10,519
of a Lonely Heart ah, and it also reached number

1055
00:55:10,559 --> 00:55:13,079
thirty two on the mainstream rock charts. This is a

1056
00:55:13,440 --> 00:55:17,159
you know, this is a song. Yeah, it's it's not

1057
00:55:17,480 --> 00:55:19,599
a skipper, but it's not one of my favorites either,

1058
00:55:19,679 --> 00:55:23,639
that's true. Yeah, moving on, moving on to the next

1059
00:55:23,679 --> 00:55:31,880
song on the album called City of Love, No No

1060
00:55:32,199 --> 00:55:37,280
Regrets at all, Justice not as well take over.

1061
00:55:38,679 --> 00:55:40,599
Speaker 4: So this really, this song really drives in jingles.

1062
00:55:41,079 --> 00:55:42,880
Speaker 2: Okay, that's a line in the song.

1063
00:55:43,000 --> 00:55:44,800
Speaker 4: Okay, I don't know it because it's not a song

1064
00:55:44,920 --> 00:55:46,199
that people really know.

1065
00:55:46,519 --> 00:55:48,000
Speaker 2: I'm not in love with this song either.

1066
00:55:48,239 --> 00:55:52,159
Speaker 3: It's this is probably the lowest of the songs on

1067
00:55:52,280 --> 00:55:55,400
the album for me as well, the little bit you

1068
00:55:55,480 --> 00:55:57,400
get a little bit of a sample at the beginning

1069
00:55:57,440 --> 00:55:59,840
of it that I'm not sure, but it really sounds

1070
00:55:59,880 --> 00:56:03,000
like something from a Beatles song to me. It's just

1071
00:56:03,039 --> 00:56:04,960
where it's just saying city of Love, City of Love,

1072
00:56:05,039 --> 00:56:05,519
City of Love.

1073
00:56:05,679 --> 00:56:08,239
Speaker 2: I will tell you this. Chris Squire got involved in

1074
00:56:08,440 --> 00:56:11,519
rock music because he discovered the Beatles at age sixteen.

1075
00:56:11,599 --> 00:56:14,000
Before that, he was involved in his church choir. All right,

1076
00:56:14,440 --> 00:56:17,880
last song on the album, before we leave it is

1077
00:56:17,920 --> 00:56:37,440
a song called Hearts. So we didn't really talk about

1078
00:56:37,480 --> 00:56:40,199
this much before. I kind of have touched on it.

1079
00:56:40,400 --> 00:56:44,159
Speaker 3: But this is an entirely different sound for the band, yes,

1080
00:56:44,679 --> 00:56:48,079
than they were during the seventies. Sure, as we mentioned

1081
00:56:48,159 --> 00:56:52,280
they had ten full albums in that time, well, nine

1082
00:56:52,320 --> 00:56:55,440
full albums with John Anderson and the last one Drama

1083
00:56:55,559 --> 00:56:58,760
with Trevor Horn and Jeff Downs. But they were full

1084
00:56:58,840 --> 00:57:02,440
prog rock back then. Their progressive rock through and through right.

1085
00:57:03,000 --> 00:57:07,719
This album is much more pop. But this song is

1086
00:57:07,880 --> 00:57:11,639
really a throwback to what I think the people who

1087
00:57:12,239 --> 00:57:15,639
love them from the seventies would probably grab onto. There

1088
00:57:15,679 --> 00:57:18,039
are a lot of people who didn't. They felt the

1089
00:57:18,119 --> 00:57:22,199
same way about this that the people felt when Sammy

1090
00:57:22,280 --> 00:57:25,400
Hagar joined in Haleen or when they came out in

1091
00:57:25,480 --> 00:57:27,400
nineteen eighty four, and they're like, why is any playing

1092
00:57:27,400 --> 00:57:30,199
the keyboards? But this one is a throwback to the

1093
00:57:30,280 --> 00:57:32,800
way that they were back in the seventies. We got

1094
00:57:32,800 --> 00:57:36,239
a nice, long, eight minute long song. I mean it's

1095
00:57:36,280 --> 00:57:38,880
not twenty but if you're on a pop album in

1096
00:57:39,000 --> 00:57:41,760
nineteen eighty four, it's a long song.

1097
00:57:41,960 --> 00:57:44,800
Speaker 2: Yeah, so about eight minutes long. It's got a kind

1098
00:57:44,840 --> 00:57:47,239
of an oriental feel to it. Yeah, you and I

1099
00:57:47,360 --> 00:57:49,480
both agreed. We really liked the chorus of this song.

1100
00:57:50,280 --> 00:57:53,119
It's got a good hooky chorus. I guess when they

1101
00:57:53,159 --> 00:57:57,440
play this song live that John Anderson will speak as

1102
00:57:57,480 --> 00:58:01,079
an introduction to the song speak verse two, which is

1103
00:58:01,840 --> 00:58:05,639
many moons, cascade, one river, the light from side to

1104
00:58:05,800 --> 00:58:10,440
side as we cross in close proximity, like rivers, our

1105
00:58:10,559 --> 00:58:13,639
hearts in twine. Most like I'm listening to Scott's stap.

1106
00:58:17,519 --> 00:58:20,960
Just play the song. Don't give us this poetry cramp

1107
00:58:21,559 --> 00:58:24,159
oh yeah, so, but I like it. It's good. It's

1108
00:58:24,159 --> 00:58:27,079
a good into this album, kind of a grand feel

1109
00:58:27,400 --> 00:58:30,039
to close it out, very epic. Yes, so I guess

1110
00:58:30,360 --> 00:58:33,119
that means we are time for final judgment.

1111
00:58:33,360 --> 00:58:36,960
Speaker 3: Okay, we are comparing this album, yes, nine oh one

1112
00:58:37,039 --> 00:58:40,280
two five to Super Tramp Breakfast in America. If you

1113
00:58:40,360 --> 00:58:42,199
haven't heard that episode, go back and listen to that

1114
00:58:42,320 --> 00:58:45,519
one just before this one. Super Tramp came out nineteen

1115
00:58:45,840 --> 00:58:51,119
seventy nine, exactly forty five years ago now, and this

1116
00:58:51,239 --> 00:58:55,480
one came out in nineteen eighty four, exactly forty years ago.

1117
00:58:55,760 --> 00:58:59,320
That's right, And I'm gonna let you go first, mister Calvin.

1118
00:58:59,639 --> 00:59:01,599
Speaker 2: So this this was really hard for me. These were

1119
00:59:01,719 --> 00:59:04,519
two albums that I wasn't super familiar with. I knew

1120
00:59:04,679 --> 00:59:08,119
the hits. I will tell you this, Both bands and

1121
00:59:08,320 --> 00:59:12,840
both albums have kind of risen with me after breaking

1122
00:59:12,880 --> 00:59:15,159
down the songs, breaking down the album, but I have

1123
00:59:15,280 --> 00:59:17,840
to be honest, so when I look at the hits,

1124
00:59:18,119 --> 00:59:20,920
it's kind of a push. I think that owner of

1125
00:59:20,960 --> 00:59:25,360
a lonely heart and leave it changes hold on. I

1126
00:59:25,519 --> 00:59:27,639
love them so much. And then you look at Super

1127
00:59:27,719 --> 00:59:31,239
Tramp and you have Goodbye stranger. You have the logical song,

1128
00:59:31,480 --> 00:59:33,880
you have take the Long Way Home. Those are so

1129
00:59:34,039 --> 00:59:36,320
good as well. So it's the in between songs. I'm

1130
00:59:36,360 --> 00:59:39,000
not a progressive rock guy. I'm more of a pop

1131
00:59:39,119 --> 00:59:42,199
harmony's kind of guy, kind of softer stuff sometimes. So

1132
00:59:42,280 --> 00:59:45,679
if I'm honest, the album that I grab as I'm

1133
00:59:45,880 --> 00:59:49,800
leaving for a road trip, it's Breakfast at America. That's

1134
00:59:49,880 --> 00:59:53,559
the one I'm grabbing. Wow, I mean I have come

1135
00:59:53,679 --> 00:59:54,960
to love nine oh one, two five.

1136
00:59:55,119 --> 00:59:55,440
Speaker 4: I don't know.

1137
00:59:55,519 --> 00:59:58,280
Speaker 2: I just I like those the little synth piano keys

1138
00:59:58,280 --> 00:59:58,880
a little bit more.

1139
00:59:59,079 --> 01:00:02,159
Speaker 3: Okay, So let me just ask this because when we

1140
01:00:02,320 --> 01:00:05,320
started this, because I kind of suggested both of these albums,

1141
01:00:05,440 --> 01:00:09,320
Yeah yeah, and you really didn't know who Super Tramp was.

1142
01:00:09,639 --> 01:00:11,559
I just didn't know who they were, right, Yeah yeah,

1143
01:00:11,599 --> 01:00:13,960
you like everybody else, you knew the words of the songs.

1144
01:00:14,000 --> 01:00:15,400
You just didn't know what the name of the song

1145
01:00:15,559 --> 01:00:18,039
was or the name of the band. So you didn't

1146
01:00:18,079 --> 01:00:21,079
know those things, and now you're picking it as number one.

1147
01:00:21,280 --> 01:00:23,079
Yeah I am okay, I love it.

1148
01:00:23,360 --> 01:00:23,760
Speaker 2: I love that.

1149
01:00:23,840 --> 01:00:24,880
Speaker 4: Okay, that's fantastic.

1150
01:00:25,000 --> 01:00:26,920
Speaker 2: You've moved the needle for me. I love that.

1151
01:00:27,159 --> 01:00:28,119
Speaker 4: That makes me so happy.

1152
01:00:28,880 --> 01:00:31,960
Speaker 3: So I very much like you, I'm looking at the

1153
01:00:32,039 --> 01:00:34,440
hits and I'm looking at the not hits, and I'm

1154
01:00:34,440 --> 01:00:37,280
trying to gauge those together. But I'll kind of flip

1155
01:00:37,360 --> 01:00:40,480
the script on what you said here, because to me,

1156
01:00:40,840 --> 01:00:44,280
the non hits on these albums are kind of the

1157
01:00:44,639 --> 01:00:47,760
same for me, like it's just like, yeah, I can

1158
01:00:47,840 --> 01:00:51,000
dig this song, this is a groove. I don't have

1159
01:00:51,280 --> 01:00:54,000
really any skippers on any of the albums. There's songs

1160
01:00:54,039 --> 01:00:56,639
that are less good, right, sure. And so then what

1161
01:00:56,760 --> 01:00:58,840
I did was I went back and I looked at

1162
01:00:58,840 --> 01:01:01,920
the hits, and I said, oh, okay, of these songs,

1163
01:01:02,159 --> 01:01:05,960
these hit songs, which ones were the bigger ones for me?

1164
01:01:06,360 --> 01:01:06,480
Speaker 2: Right?

1165
01:01:06,920 --> 01:01:13,480
Speaker 3: And although I absolutely love Supertramp songs, I didn't know

1166
01:01:13,559 --> 01:01:16,960
who they were. I couldn't have told you a song

1167
01:01:17,119 --> 01:01:19,679
that they had done five years ago until I started

1168
01:01:19,719 --> 01:01:23,159
exploring their work and I listened to their all.

1169
01:01:23,239 --> 01:01:25,199
Speaker 4: And I'm like, oh, yeah, I do know these songs.

1170
01:01:25,559 --> 01:01:28,320
Speaker 3: So they are those songs that were good enough to

1171
01:01:28,480 --> 01:01:30,559
catch my ear and make me think of the words,

1172
01:01:30,960 --> 01:01:33,000
but not good enough to have me go out and

1173
01:01:33,199 --> 01:01:36,679
buy the album. On the other hand, in nineteen ninety six,

1174
01:01:36,760 --> 01:01:38,599
when I was working as a waiter in a restaurant

1175
01:01:38,679 --> 01:01:40,840
and leave It came on. It brought me right back

1176
01:01:40,880 --> 01:01:44,039
to nineteen eighty four, eighty five when my brother was

1177
01:01:44,119 --> 01:01:48,000
playing it in his blue Mazda as we drove to

1178
01:01:48,039 --> 01:01:51,480
school in the morning, you know, And as soon as

1179
01:01:51,599 --> 01:01:54,760
I could buy songs on my phone, I was like,

1180
01:01:55,079 --> 01:01:58,119
I gotta buy leave It. I have to, Yeah, And

1181
01:01:58,320 --> 01:02:01,719
so to me, it was of the big hits. Which

1182
01:02:01,760 --> 01:02:04,039
were the bigger hits, or at least the bigger hits.

1183
01:02:04,000 --> 01:02:04,519
Speaker 4: In my heart?

1184
01:02:04,639 --> 01:02:09,400
Speaker 2: And it's got to be nine O one two five awesome, awesome. Well,

1185
01:02:09,440 --> 01:02:11,079
we want to hear from you, guys. How do we do?

1186
01:02:11,239 --> 01:02:15,159
Which one did you pick? Super Tramp Breakfast in America? Yes,

1187
01:02:15,280 --> 01:02:18,280
nine oh one two five? Which was the better album?

1188
01:02:18,400 --> 01:02:21,920
To you, guys, it has been an incredible season number five.

1189
01:02:22,320 --> 01:02:25,000
We may have another episode or two, or maybe we won't.

1190
01:02:25,119 --> 01:02:28,400
We will just surprise you with a little happy New

1191
01:02:28,480 --> 01:02:31,760
Year celebration. Yeah, and then get ready for season six D.

1192
01:02:31,920 --> 01:02:33,320
We've got some great stuff coming up.

1193
01:02:33,400 --> 01:02:36,920
Speaker 3: We're rolling into the year nineteen eighty five, the year

1194
01:02:36,960 --> 01:02:40,199
of Back to the Future and teen Wolf and Phil

1195
01:02:40,280 --> 01:02:46,159
Collins and Peter Gabriel. It's gonna be an incredible year,

1196
01:02:46,679 --> 01:02:51,000
an anniversary year forty years ago. Plus some good movies

1197
01:02:51,039 --> 01:02:54,239
come out in ninety five, some incredible movies came out

1198
01:02:54,280 --> 01:02:56,800
in seventy five. There's no telling what we might cover,

1199
01:02:57,599 --> 01:03:01,000
So guys, thanks so much for joining us full years now.

1200
01:03:01,559 --> 01:03:03,599
Speaker 4: We look forward to seeing you next season.

1201
01:03:04,000 --> 01:03:04,559
Speaker 2: Thanks guys,