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Speaker 1: Hey, y'all, this is Dale Selby in Dallas, Texas, and

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you are listening to my dogs, Jason and d and

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the best podcast anywhere. Sureley, you can't be serious, Booma.

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Welcome back, ladies and gentlemen, to the podcast that is automatic,

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it's systematic, it's harddromatic. Why it's the Shirley you can't

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be serious podcast covering the soundtrack of Gas. You know,

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we go together like ram lama a little. This podcast

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is supreme. It'll make the girls scream. Ah Yes, radio edit,

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thank you very much. Shell Dragon. Ladies and gentlemen, we

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are here to talk to you about the songs of

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the movie Grease. Yeah.

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Speaker 2: Today we're gonna be talking about the soundtrack, which is

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vitally important to the success of the movie.

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Speaker 1: Guys, if this is the first time you have tuned in,

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this is the second in our set of episodes. The

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first we covered the movie itself, and now we're covering

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the soundtrack. So if you haven't heard that first episode,

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be sure and go back and check that one out.

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But today we're talking only songs. We avoided it last

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week and now we get to dive into the song.

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So here's the thing.

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Speaker 2: There's twenty three songs on this album.

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Speaker 1: That's a lot of songs.

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Speaker 2: That's a lot of songs. And for us, we try

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to keep this around an hour or so, we.

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Speaker 1: Don't have that much. I mean, that's like two minutes

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of song.

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Speaker 2: That's not we're gonna have to burn through these. So

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if you're like, man, they're barely grays in the surface

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on these, well, you know there's a lot of songs.

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Speaker 1: Yeah, exactly, okay.

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Speaker 2: D So for the soundtrack for Grease, we have to

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give a shout out to the executive producer of this

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particular episode, mister Chris Webber.

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Speaker 1: Chris Webber, thank you, Chris Webber. Guys, if you want

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to be an executive producer for one of our episodes,

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it's so easy. You just go over to Patreon dot

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com backslash Shirley Podcast and for as little as five bucks,

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like I can't even get Starbucks for my twelve year old,

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for less than five bucks, you can have access to

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all of our secret hidden Patreon episodes where we cover

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the one hit wonders of the eighties and beyond. We've

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got tons of them out there.

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Speaker 2: Now you really have a library of great stuff for

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you to listen to so checks out over there.

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Speaker 1: So we truly appreciate you, Chris, We appreciate you all

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of our other Patreon family. Thank you guys so much.

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Those episodes are some of our most fun episodes to do,

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so I love those. Tune in. Hey.

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Speaker 2: By the way, I want to give a quick shout

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out to our good friend Melissa Mingle who came on

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and did the Duran Duran episode with us that we

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did two years ago.

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Speaker 1: I think yeah, spoke a little French for us. I

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loved it.

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Speaker 2: I know she's getting ready to move to Colorado Springs

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what so we're going to be missing her, but I

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think she's going to try and squeeze in a Patreon

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episode with us on Kaisha gougu too shy oh perfect

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Duran Duran ti In I know, right, fantastic so and

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I know she loves Greece. So shout out Melissa and

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Mark as they're leaving us. But hopefully we can do

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something before you go. Yeah, Okay, before we dive into

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the songs, I just want to give you an overview

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of how big an album this was in nineteen seventy eight. Okay,

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here's the top four albums from nineteen seventy eight.

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Speaker 1: You ready for this, yes, okay.

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Speaker 2: Number four somebody we have talked about on the Shirle

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You Can't Be Serious podcasts before.

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Speaker 1: We didn't cover this album, but Billy Joels the Stranger

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is number four for nineteen seventy eight. Fantastic album. Okay.

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Speaker 2: Number three is Rumors by Fleetwood mac iconic I mean,

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huge selling album.

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Speaker 1: Yeah, I mean it's yeah, one of the mammoth ones. Yes,

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one of the best selling albums of all time comes

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in third place. Number two is Grease, which we're covering today,

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and number one from nineteen seventy eight, of course, is

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Saturday Night Fever Baby. Oh wow, it's still still in there.

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It's still going. Yeah it is. That makes sense. So

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Saturday Night Fevers number one in Greece's number two. Yeah,

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so two. John Travolta movie soundtracks beat out Rumors.

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Speaker 2: Yeah, that's right, that's nuts Full RSO Records.

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Speaker 1: I think Robert Stigwood made some money in nineteen seventy eight,

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probably so probably a little bit gracious.

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Speaker 2: One more quick note for you on the soundtrack. Two

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of the bass players as in played bass on this album.

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Speaker 1: Okay, not first base and second base, not second base,

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not their base. David hung Gate is that name? Ring

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a bell? Te Yes? And Steve Lucather played the bass,

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Yeah he did. Yep. Studio musicians of the seventies, Yep,

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that's right. Wow the best, Yeah, total fantastic.

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Speaker 2: All right, you're ready to dive in track by.

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Speaker 1: Track, tell me about it, stud all right.

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Speaker 2: The first song right out of the gate is the

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title track called Grease.

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Speaker 1: All right. So for a movie about the fifties, this

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is not a fifties sounding song.

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Speaker 2: Well, yeah, that's because Robert Stigwood called his good buddy,

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mister Barry Gibb and said, Barry, I need a title

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song for this this musical I'm doing.

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Speaker 1: Yeah. So they're on fire still with the number one soundtrack,

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like you've said, so what did he say? Okay, so

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this is a great story.

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Speaker 2: So Robert Stigwood decides I need a title song for

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this musical. And of course, I mean we've already talked

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about how Grease was all a musical. They had songs

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already lined up, and Robert stick was like, no, I

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need something more.

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Speaker 1: I need to punch it up.

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Speaker 2: So he calls this good buddy, Barry GiB who's scorching

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hot at this moment. And he says, Barry, I need

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a title track for this musical I'm doing.

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Speaker 1: It's called Grease. And Barry Gibbs like, let me write.

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Speaker 2: A song called grease. He's like, I can't write a

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song called I mean, what is that? And rober Stick

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was like, oh, you know, just write grease. Da da

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da da da da whatever, you know. And Barry Gibbs like, man, grease,

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that's quite a word.

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Speaker 1: Grease.

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Speaker 2: So he hangs up the phone and an hour later

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he calls back and he says, what do you think

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about Greece? Is the word?

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Speaker 1: Robert Stick was like, sound good to me. Man, you're

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the music. Let's go with it. It's funny because in

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the musical and in the movie they never actually say

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the word grease. I know, they don't say it the

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whole time. And so you've got how do I make

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a song about a word that is the title but

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is not referenced at all in this Now, obviously you've

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got the Greasers, you know, and so you've got that

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kind of grease, and you've got the car engines, so

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you've got that kind of grease. Sure, but you know

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what This movie was called in Mexico, right, Maasilena Vasilena.

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So that's really the sexual innuendo that they're going for

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in the movie, and that's the kind of grease that

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the song should have been about. But I think that

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what he did with it is brilliant. So here's the

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interesting thing.

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Speaker 2: They got Frankie Valley, you know, former fifties heart throb

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to sing this song.

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Speaker 1: Yeah, Frankie Valley had been the lead singer for the

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four seasons. So you got sy Bay Baby and then

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Big Girls Don't Cry, Walk like a man. Oh what

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a night? I mean, just a ton Oh what a night?

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There you go. Just before this, like nineteen seventy four,

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he had a solo hit with a song called My

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Eyes Adored You. Interesting. How would he? I wonder if

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he had any idea that this random song that he's

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doing for this random movie based on a musical is

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going to be his final number one hit. Well, so

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here's the deal they offered him.

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Speaker 2: They said, do you want to do Beauty School Dropout

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where you'll appear in the movie, or do you want

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to sing the title track.

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Speaker 1: He's like, that's a no brainer.

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Speaker 2: The music is what Lives Forever, not the movie. Nice

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and so he's like, I'll sing the title track.

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Speaker 1: Yeah, And so they didn't know where to put the

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song in the movie. And then they had done this

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cartoon because this initially they had talked about this being

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a completely animated movie, and so there was a big

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production done for the animation, which you get in the beginning,

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but they had a different song for it. They put

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the grease music over that, and they're like, wow, fit's perfectly.

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Speaker 2: It's like it was written to it. Yeah, pretty incredible.

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By the way, Frankie Valley was not on a record

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label at the time, huh. So Robert Sig was like,

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no problem, we'll put your single on Rso.

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Speaker 1: My gosh, this guy. Yeah.

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Speaker 2: Here's the interesting tidbit about this song. The director of

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the movie, Randall Kleisner, he hated the song. He hated

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this song because it was two seventies.

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Speaker 1: Yeah.

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Speaker 2: He wanted everything to sound fifties, and so he fought

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for a song written by Paul Williams and Charles Fox.

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Speaker 1: Are we talking about Rainbow Connection? Paul's Williams, Yeah, Lilinis Wow,

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Lilinus And Charles Fox, who wrote the Happy Day's theme

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song perfect. I mean, yeah, I mean that I would

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probably back him. Had I not had hindsight to look

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back on, I would have been, like, guys, he's right.

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Let Paul Williams musical genius. Let the guy who wrote

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the Happy Days themes, let them give us the themes

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of the song.

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Speaker 2: And yet he would be wrong, because this went on

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to be a number one hit August of nineteen seventy eight.

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Book Run through the Top four Sure, number four, Boogie

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Ugi Ugie by Taste of Honey, okay, number three, Miss

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You by Rolling Stones Okay, yeah, three times a Lady

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by the Commodore's number two Yeah, and then of course Grease.

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Speaker 1: I cannot but think of Buckwheet when you say three

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times maybe.

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Speaker 2: By the way, Peter Frampton is playing guitar on this song,

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oh wow, Barry Gibb is singing background vocals. And of

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course we mentioned before this is not in the play

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at all, written specifically for the movie.

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Speaker 1: All right.

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Speaker 2: Next song on the album is a song called Summer.

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Speaker 1: Nights Some Love a.

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Speaker 3: Girl.

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Speaker 1: So this is I mean, number one magical song. Yeah.

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But just to throw this back, so this this is

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really our kind of introduction of the two characters. They're

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kind of introducing themselves, and you've got this great back

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and forth of guys perspective versus girls perspective. But you

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have to think for just a second. This original musical,

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Sandy wasn't from Australia, right, and so you have to go, well,

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how did these two not know each other and not

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know that they would end up in the same high

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school together. Well, in the original musical, Andy Dombowski was

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of Polish Catholic descent, and she went to a private school.

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She went to a Catholic school, and so when he

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met her, Danny lied and said he went to Lake

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Forest in Chicago. And so when they end up together,

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it's still a big surprise, but it's because she's just

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moved into the public school from the private school and

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he's been there the whole time.

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Speaker 2: Once again, I don't really understand the fact that Sandy

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doesn't bother to call him when her change, her plans changed, right.

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Speaker 1: Dude, This was the fifties, man. People didn't pass out numbers.

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You just have to telephone numbers. No, not a different time, man.

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Speaker 2: Okay, all right, So obviously this was written for the

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play when it moved to Broadway. In the original stage play,

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the song here was called Foster Beach about that little tidbit?

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Speaker 1: All right, blow your socks after that, go Foster Beach. Yeah.

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Speaker 2: Now, then, here's one thing I found on this When

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Riz says in the song, because he sounds like a drag,

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almost certainly the stage play had a are inserted right there. Really, yeah, okay,

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I love this song. You get the guys and the

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bleachers and they're bebopping and they're combing their hair and telling, uh,

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you know, the sexual locker room type of stories. And

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she's telling the girls how sweet he was and how

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how loving. And the girls are like, oh, does he

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have a car? Did he spend a lot of money

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on you? And the guys were like, god, did she

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get busy?

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Speaker 1: You know, what's the deal. So have you heard of

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no Ches d Orano by Angelica Maria and ral Vale?

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Have not?

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Speaker 3: Let's have a listen now, interesting, this would be great

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I think for your wife Spanish class.

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Speaker 1: That's right, everyone translate the songs right here. So this

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song reached number one in the Mexican charts in nineteen

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seventy nine.

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Speaker 2: Wow, that's higher than the American version. I know the

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American version reached number five.

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Speaker 1: As a single. Not one another Perfect, How about that

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great song? Love the song?

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Speaker 2: At the end, you have this big high falsetto from

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John ta Volta.

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Speaker 1: Oh, it clingches it because you're expecting him to stay

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in that same chest voice that he's had the whole song,

252
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and he drills it up all the way to meet

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her like he's singing maybe higher than she is. They

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are after it. Man. Oh, and he does the point

255
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to the sky in that blend of the two scenes. Oh,

256
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it's a movie.

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Speaker 2: It's great and it's so seventies. I love it, Okay.

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Next song on the album is a song called Hopelessly

259
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Devoted to You.

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Speaker 1: It's not it's not the fust now. I told you

261
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when I listen to this song, it's all kinds of

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country to me. You got that steel guitar, I mean it,

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And you said, didn't really seem like that to you.

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Speaker 2: Well, I just have it stuck in time for the

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summer of seventy eight on every radio station that was

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hot one hundred.

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Speaker 1: You know, well, I told you that Olivia Newton John

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had done country music before this, right right? This was

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actually on the country chart, her first top twenty hit

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in like two years. Interesting. Yep.

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Speaker 2: So this song was written specifically for the movie. This

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is the one we talked about last week. Was written

273
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halfway through the filming of this movie.

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Speaker 1: Yeah, they had to come back and refilm the scene.

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That's why she's all by herself out on the back porch,

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you know, mooning at the moon or whatever. It's just

277
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mooning at the moon, pining at the moon. I don't

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know that's a game. She's out just out there on

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the forge by yourself. Yeah, you know, longing for coming.

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Speaker 2: Yeah, definitely. So this song was written by John Furr.

281
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This is the same guy who wrote have You Ever

282
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Ever Been?

283
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Speaker 1: Mellow?

284
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Speaker 2: And Magic? Some of her biggest hits. Right, She had

285
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it in her contract that she had to have a

286
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solo and they got done film and they're like, whoops,

287
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where's Olivia's solo?

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Speaker 1: Yeah, I mean she did kind of do a little

289
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bit of a solo for her reprise of sander d

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but not really not really a full song.

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Speaker 2: And so they said, okay, well write something get after it,

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and so they came up with this, nominated for an

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Oscar Best Original Song.

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Speaker 1: Yeah, I mean, you got an album full of hits,

295
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and they come up with this on the fly, and

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it is turns out to be the best performing as

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00:14:52,279 --> 00:14:55,480
far as awards go, of all of the songs. I

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love the song.

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Speaker 2: This reached number three in the Hot one hundred and

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00:14:57,679 --> 00:15:01,399
nineteen seventy eight This to Me Screammes summer of nineteen

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seventy eight. I was old enough to remember nineteen seventy eight.

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Speaker 1: I know you were not. That's okay. By the way.

303
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Speaker 2: The song that beat it out for Best Original Song

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00:15:10,639 --> 00:15:12,919
for the Oscar Yeah, last Dance.

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00:15:12,759 --> 00:15:16,840
Speaker 1: By Donna Summer, which we've talked about before in the play.

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Speaker 2: This is where the song It's Raining on Promni goes.

307
00:15:20,360 --> 00:15:22,679
Speaker 1: Oh yeah, yeah, yeah, Well we'll talk about that song

308
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here in just a minute.

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Speaker 4: Yes we will.

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Speaker 1: So, I said they just churned this out, but are

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00:15:26,960 --> 00:15:30,440
actually said. I spent the longest period writing the lyrics

312
00:15:30,480 --> 00:15:34,000
of any song I've ever written. This song, said every

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00:15:34,159 --> 00:15:39,039
thesaurus and every rhyming dictionary I had, just trying to

314
00:15:39,080 --> 00:15:41,759
really make it work properly. Really Yeah, well he nailed it.

315
00:15:41,799 --> 00:15:43,879
This is a beautiful song. I love it, which and

316
00:15:43,919 --> 00:15:47,440
she delivers it so well. The whisper softness of her

317
00:15:47,559 --> 00:15:50,039
voice is I mean it's just going to melt any heart.

318
00:15:50,159 --> 00:15:53,159
Speaker 2: By the way, When John Travolta spoke at the Oscars

319
00:15:53,159 --> 00:15:55,960
in twenty twenty three, after a living John had passed away,

320
00:15:56,039 --> 00:15:58,559
he said, quote, they've touched our hearts, They've made a shine,

321
00:15:58,600 --> 00:16:01,120
and they become deer finds that you will always remain

322
00:16:01,360 --> 00:16:02,480
hopelessly devoted to.

323
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Speaker 1: Moving on to maybe the most important, biggest song in

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the album.

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Speaker 2: This song is called You're the One that I Want.

326
00:16:28,840 --> 00:16:31,879
I defy you not to tap your toes and bob

327
00:16:31,919 --> 00:16:33,080
your head when the song comes on.

328
00:16:33,480 --> 00:16:35,960
Speaker 1: When this song comes on and you're at a wedding,

329
00:16:36,840 --> 00:16:40,399
there are any theater people there, they are running to

330
00:16:40,480 --> 00:16:42,960
the dance floor. That's it. And then there's going to

331
00:16:42,960 --> 00:16:44,759
be a back and forth between the guys and the

332
00:16:44,799 --> 00:16:47,799
girls as they do all of the choreographed moves together.

333
00:16:56,000 --> 00:17:01,399
That's it. And so we talked about the best Award

334
00:17:01,480 --> 00:17:04,519
Performing song with the last song. This one is also

335
00:17:04,680 --> 00:17:08,000
brand new for the album. It's also by John Farr

336
00:17:08,240 --> 00:17:11,960
and this is one of the greatest selling singles of

337
00:17:12,160 --> 00:17:12,799
all time.

338
00:17:13,039 --> 00:17:15,559
Speaker 2: Yeah, it's like still like the number one karaoke song

339
00:17:15,599 --> 00:17:18,720
in Mexico or something like that. Yeah, I mean, let's

340
00:17:18,720 --> 00:17:21,079
talk about the movie for a second. When Sluttie Sandy

341
00:17:21,160 --> 00:17:25,359
comes out, it is jaw dropping shocker. I don't care

342
00:17:25,359 --> 00:17:28,200
who you are if you're not impacted emotionally by that scene.

343
00:17:28,599 --> 00:17:30,759
I mean, it is such a punch in the face

344
00:17:30,839 --> 00:17:33,200
when I first saw it, and it's so much fun. Right,

345
00:17:33,319 --> 00:17:36,440
And she's like, listen, dude, I need a man. Get

346
00:17:36,480 --> 00:17:37,279
your crap together.

347
00:17:37,319 --> 00:17:39,480
Speaker 1: And he's like, I better get my crap together. So

348
00:17:39,799 --> 00:17:44,079
Randall Kleisner is filming the drive in scenes, right, and

349
00:17:44,359 --> 00:17:47,160
it's at this point that they've finally put her in

350
00:17:47,240 --> 00:17:50,039
the costume. They're not about to shoot the scene, obviously,

351
00:17:50,079 --> 00:17:52,680
but they want to see how it's gonna look. And

352
00:17:52,839 --> 00:17:55,400
he's in the middle of filming all of these drive

353
00:17:55,440 --> 00:17:57,400
in parts, and all of a sudden, there's this big

354
00:17:57,440 --> 00:18:01,319
commotion and he sees this woman this big hair coming

355
00:18:01,359 --> 00:18:03,000
out and he does it. He's like, who is that?

356
00:18:03,039 --> 00:18:06,839
What's going on? Why is this lady here causing all

357
00:18:06,880 --> 00:18:11,359
this trouble? Oh? Yeah, it was her. She looked so different.

358
00:18:11,559 --> 00:18:13,680
Speaker 2: Yeah, she said, you know what, as soon as I

359
00:18:13,680 --> 00:18:15,319
got out of the trailer and people started to pay

360
00:18:15,359 --> 00:18:17,359
special attention to me, People that I saw every day,

361
00:18:17,480 --> 00:18:19,880
people that I hung out with my friends. She's like, clearly,

362
00:18:19,880 --> 00:18:23,759
I've been doing something wrong my entire life, and it's awesome.

363
00:18:23,839 --> 00:18:25,960
She looks amazing, all right.

364
00:18:26,039 --> 00:18:27,240
Speaker 1: This song reached.

365
00:18:27,000 --> 00:18:29,680
Speaker 2: Number one on the Hot one hundred that summer. It

366
00:18:29,799 --> 00:18:30,839
was the second single.

367
00:18:31,079 --> 00:18:31,599
Speaker 1: Here's the thing.

368
00:18:31,720 --> 00:18:34,640
Speaker 2: It was written specifically for the movie. The stage play

369
00:18:34,680 --> 00:18:37,680
has the song called kiss It in This Spot. The

370
00:18:37,720 --> 00:18:40,640
Broadway play has a song called all Choked Up. But

371
00:18:40,720 --> 00:18:42,640
when they added You're the one that I Want into

372
00:18:42,799 --> 00:18:46,599
the movie. Basically every musical ever since then plays this song.

373
00:18:46,720 --> 00:18:50,359
Speaker 1: Obviously, I mean obviously, Yeah, it's no brand. And again

374
00:18:50,640 --> 00:18:53,000
Randall Kleisner didn't like the way that this fit in

375
00:18:53,000 --> 00:18:55,519
with the other songs. He was not happy with this song.

376
00:18:55,680 --> 00:18:59,039
Speaker 2: Okay, anything else to say about this Gangbuster song?

377
00:18:59,160 --> 00:19:01,920
Speaker 1: Best part of the movie. Yeah, it's revelatory. I did.

378
00:19:02,599 --> 00:19:05,319
I mentioned to Brock. Brock and I had lunch today,

379
00:19:05,400 --> 00:19:08,640
my eighteen year old, and he he loves the music

380
00:19:08,680 --> 00:19:10,960
from this, but he's like, it does kind of bother

381
00:19:11,079 --> 00:19:13,480
me that she has to go and put on slutty

382
00:19:13,519 --> 00:19:15,400
clothes in order to get the man. At the end

383
00:19:15,400 --> 00:19:18,799
of this. I'm like, really, He's like, well, no, not really,

384
00:19:18,960 --> 00:19:22,720
but I'm supposed to say that, but it does seem

385
00:19:22,799 --> 00:19:25,240
like wrong. You know, if you're a parent, you wouldn't want,

386
00:19:25,440 --> 00:19:27,640
you know, the kid to think, Oh, I gotta go

387
00:19:28,200 --> 00:19:30,839
dress slutty in order to get the man. And I'm like,

388
00:19:30,960 --> 00:19:33,759
I really feel like they're number one. This is just goofing,

389
00:19:33,880 --> 00:19:36,319
Like this movie is just supposed to be fun. It

390
00:19:36,400 --> 00:19:38,920
is is so fun. It's not so to be some

391
00:19:39,079 --> 00:19:42,920
big social commentary. This is about, you know, hanging out

392
00:19:42,960 --> 00:19:47,759
and ricing cars, getting late exactly. That's what everything boy

393
00:19:47,839 --> 00:19:49,960
wants to hear about. You know, we don't. This is

394
00:19:50,039 --> 00:19:52,880
not She's not pressured into sex or anything like that.

395
00:19:53,240 --> 00:19:56,759
She just dressed in some tight pants, put on some lipstick,

396
00:19:56,960 --> 00:19:58,319
faunted her hair. That's right.

397
00:19:58,359 --> 00:20:00,799
Speaker 2: And you and I both agree that he didn't run

398
00:20:00,839 --> 00:20:03,000
out to the car the back seat and she lose

399
00:20:03,039 --> 00:20:04,240
her virginity.

400
00:20:03,799 --> 00:20:06,279
Speaker 1: Right off the bat. She just wanted to dazzle him

401
00:20:06,279 --> 00:20:13,359
and she did it. Yeah, Sandy, Sandy, tell me about it. Okay,

402
00:20:13,440 --> 00:20:15,160
great song. I hate to be done with it so fast.

403
00:20:15,240 --> 00:20:16,759
We got to move on. Yeah, okay.

404
00:20:17,039 --> 00:20:19,599
Speaker 2: Next song on the album is a song called Sandy.

405
00:20:21,279 --> 00:20:33,160
Speaker 1: At the drive in branded food. What will they say Monday?

406
00:20:33,279 --> 00:20:36,200
Speaker 2: Yeah, it's trended at the drive in.

407
00:20:36,759 --> 00:20:38,680
Speaker 1: So this is the point where the audience members start

408
00:20:38,759 --> 00:20:41,039
chucking tomatoes at me. I don't really like this song.

409
00:20:41,160 --> 00:20:43,400
This is I mean, of all of the mega hits,

410
00:20:43,400 --> 00:20:44,960
on this one and the fact that it was released

411
00:20:44,960 --> 00:20:46,920
as a single is surprising to me. This is a

412
00:20:47,000 --> 00:20:50,160
skipper for me. I mean, wow, I just don't.

413
00:20:52,079 --> 00:20:55,759
Speaker 2: Okay, well, we've taken a step down from the big hitters.

414
00:20:55,720 --> 00:20:57,160
Speaker 1: But I still like it. It's still fun.

415
00:20:57,319 --> 00:21:00,200
Speaker 2: It's it's not a cranker, you know. But listen to

416
00:21:00,240 --> 00:21:02,039
the creation of this song. I love the story of

417
00:21:02,039 --> 00:21:02,519
this Okay.

418
00:21:02,640 --> 00:21:02,920
Speaker 1: Yeah.

419
00:21:03,000 --> 00:21:06,480
Speaker 2: So after John Travolta learned that they were having to

420
00:21:06,480 --> 00:21:08,640
come up with a solo for Olivia Newton John to

421
00:21:08,640 --> 00:21:11,880
fulfill her contract. He's like, well, I want a solo too, Guys,

422
00:21:12,079 --> 00:21:14,359
make me one, right, So he went to Alan Carr

423
00:21:14,400 --> 00:21:16,000
and said, I want a song on my own. Write

424
00:21:16,000 --> 00:21:18,920
me a song. So Alan Carr goes to this guy

425
00:21:19,000 --> 00:21:21,720
named Louis Saint Louis. I love this name, right, He's

426
00:21:21,720 --> 00:21:23,319
gonna come up here in just a minute, it's right,

427
00:21:23,359 --> 00:21:25,359
And they say, hey, we need a song, write us

428
00:21:25,400 --> 00:21:27,000
a song. So he's like, crap, I got to write

429
00:21:27,039 --> 00:21:29,599
a song like instantly because they're getting ready to do this.

430
00:21:29,680 --> 00:21:30,680
Speaker 1: So he got together with.

431
00:21:30,640 --> 00:21:33,519
Speaker 2: Screaming Scott Simon of Shannana talked about there here in

432
00:21:33,559 --> 00:21:35,440
a second. So he's sitting at a car and he's like,

433
00:21:35,519 --> 00:21:37,160
oh man, okay, I got to write a song. Okay,

434
00:21:37,160 --> 00:21:37,799
what are we doing here?

435
00:21:37,839 --> 00:21:38,160
Speaker 1: Okay?

436
00:21:38,200 --> 00:21:41,079
Speaker 2: And he comes up with stranded at the drive in Brandon,

437
00:21:41,160 --> 00:21:44,839
a fool. What will they say Monday at school? He's like, oh, yeah,

438
00:21:44,880 --> 00:21:45,680
that's good. That's good.

439
00:21:45,720 --> 00:21:46,119
Speaker 1: I got it.

440
00:21:46,160 --> 00:21:48,279
Speaker 2: So he races back to the hotel, writes the song

441
00:21:48,319 --> 00:21:49,079
in twenty minutes.

442
00:21:49,279 --> 00:21:49,640
Speaker 1: Okay.

443
00:21:49,759 --> 00:21:52,359
Speaker 2: The next day, first thing in the morning, seven thirty

444
00:21:52,359 --> 00:21:54,240
in the morning, shows up at Alan Carr's office, says,

445
00:21:54,240 --> 00:21:54,599
here it is.

446
00:21:54,599 --> 00:21:55,079
Speaker 1: What do you think?

447
00:21:55,119 --> 00:21:57,920
Speaker 2: Alan Carr looks at it, listens, likes it, approves it.

448
00:21:58,039 --> 00:22:00,279
Ten thirty am. He takes it to the like the

449
00:22:00,359 --> 00:22:03,039
music producer. He okays it. Then Robert Stigwood at one

450
00:22:03,079 --> 00:22:05,599
pm he okays it. Then John Travolta at four pm

451
00:22:05,720 --> 00:22:07,559
he approves it. Four days later he had a ten

452
00:22:07,599 --> 00:22:09,720
thousand dollars check. Like two days later he had a

453
00:22:09,720 --> 00:22:13,240
new navy blue Honda prelude. One week later they filmed

454
00:22:13,240 --> 00:22:15,519
the scene. It was fast I mean he's super quick,

455
00:22:15,680 --> 00:22:18,599
getting it written, recorded, filmed, all within about.

456
00:22:18,440 --> 00:22:27,279
Speaker 1: A week plus. He had a new car. By the way,

457
00:22:27,359 --> 00:22:27,920
this is the.

458
00:22:27,880 --> 00:22:31,279
Speaker 2: Spot in the film where alone at the drive in

459
00:22:31,480 --> 00:22:35,119
movie goes. Yeah, that's an instrumental that we'll talk about here.

460
00:22:35,000 --> 00:22:37,839
Speaker 1: In just a second. Ye. So Louis Saint Louis, Yeah,

461
00:22:38,000 --> 00:22:41,599
has had quite a bit of stuff done. He was considerable.

462
00:22:41,680 --> 00:22:43,640
He just passed away a couple of years ago. But

463
00:22:43,960 --> 00:22:47,200
he was the composer of the song hold Me Close

464
00:22:47,240 --> 00:22:49,759
to You, which was featured in All the Right Movies

465
00:22:50,319 --> 00:22:53,680
nineteen eighty three. Really, Tom Cruise, Lea Thompson, there you go,

466
00:22:54,000 --> 00:22:55,440
Craig T. Nelson, Lea Thompson.

467
00:22:58,279 --> 00:23:00,799
Speaker 2: All right, d take the needle the record, take the

468
00:23:00,839 --> 00:23:03,000
record off, carefully, flip it over because you don't want

469
00:23:03,000 --> 00:23:08,519
to scratch it. Side too of the record, and the

470
00:23:08,559 --> 00:23:11,039
first song is called Beauty's Go drop.

471
00:23:10,839 --> 00:23:18,880
Speaker 1: Out your Story satoo te a teenage ne'er do well.

472
00:23:19,960 --> 00:23:24,279
So this song meatres Frankie Avalon, Big Heart Throb of

473
00:23:24,599 --> 00:23:29,039
the nineteen fifties and sixties, Beach Blanket Bingo, a lot

474
00:23:29,039 --> 00:23:31,680
of stuff with a netfood at cello. Huh. It was

475
00:23:31,720 --> 00:23:36,039
originally they offered it to Elvis to come sing this part. Yes,

476
00:23:36,119 --> 00:23:40,680
that's right, and he turned it down. Now that becomes

477
00:23:40,920 --> 00:23:43,039
pinny it here in a little bit when we talk

478
00:23:43,119 --> 00:23:46,519
about Sandra d right, because Elvis did make an appearance

479
00:23:46,559 --> 00:23:49,279
in the song. But there's word of the story.

480
00:23:49,640 --> 00:23:51,400
Speaker 2: Okay, we'll get to that here in just a second.

481
00:23:51,519 --> 00:23:53,799
But like you said, this was offered to Elvis. It

482
00:23:53,880 --> 00:23:57,279
was also offered to Frankie Valley. Yep, we said no,

483
00:23:57,279 --> 00:23:59,400
I'd rather do the title song. When they filmed this,

484
00:23:59,440 --> 00:24:03,079
Frankie Avil was forty years old, but he still heart

485
00:24:03,079 --> 00:24:04,200
throbbed to these girls.

486
00:24:04,359 --> 00:24:07,240
Speaker 1: Yeah, young women, for girls who were born in who

487
00:24:07,240 --> 00:24:10,039
were born in like the late forties, which these girls were.

488
00:24:10,680 --> 00:24:12,839
He was their teen heart throw teen crush, right. Yeah.

489
00:24:12,880 --> 00:24:14,880
Speaker 2: So I thought this was funny as he's sort of

490
00:24:15,039 --> 00:24:17,240
acting out this part. He's on the white stairs and

491
00:24:17,240 --> 00:24:18,880
they're all doing their little dance routine.

492
00:24:18,920 --> 00:24:21,440
Speaker 1: They had pillows on the ground because he's scared of

493
00:24:21,480 --> 00:24:30,039
heights and just in case he's slipped and fell right

494
00:24:31,359 --> 00:24:33,799
by the way in Greece live. I thought this was cool.

495
00:24:33,880 --> 00:24:37,200
Speaker 2: Boys to Men sings this song to Carly ray Jepson.

496
00:24:37,519 --> 00:24:40,640
Speaker 1: Wow, pretty cool, right, Yeah, that's great.

497
00:24:40,880 --> 00:24:44,119
Speaker 2: This is I think where Frenchy is on display. All

498
00:24:44,160 --> 00:24:48,319
she does is act with her face and her eyes and.

499
00:24:46,079 --> 00:24:48,960
Speaker 1: Her she was so in love with Frankie Avalon, she

500
00:24:48,960 --> 00:24:50,759
did not have to act. She's so cute in this

501
00:24:51,039 --> 00:24:53,319
pink care with their pink care. Yeah, and you get

502
00:24:53,359 --> 00:24:56,319
the boys at the end dressed as angels, said that

503
00:24:56,720 --> 00:24:59,400
they were they didn't mind having fun, but that the

504
00:24:59,480 --> 00:25:02,400
chords they used to hold them up and ratchet them in.

505
00:25:02,440 --> 00:25:04,799
We're a little tight on a cry as you know,

506
00:25:04,880 --> 00:25:08,039
if you've ever been in those harnesses, it's a nut squeezer.

507
00:25:08,160 --> 00:25:10,960
Speaker 2: By the way, did you know that Deede Kahan refused

508
00:25:11,119 --> 00:25:14,240
to change her hair color for the final scene in Greece.

509
00:25:14,599 --> 00:25:18,000
Speaker 1: Yeah, it was supposed to be blue, like a cotton

510
00:25:18,079 --> 00:25:21,559
candy blue. It had gone from cotton candy pink to

511
00:25:21,559 --> 00:25:24,640
cotton candy blue. But she's like, guys, this is supposed

512
00:25:24,640 --> 00:25:26,440
to be fun. This is going to be a distraction

513
00:25:26,519 --> 00:25:28,720
if I'm out there with blue hair. Let's make me

514
00:25:28,960 --> 00:25:31,720
a blonde and that because blondes have fun.

515
00:25:31,720 --> 00:25:35,319
Speaker 2: Right, And actually dynamnof stands in for where she was

516
00:25:35,359 --> 00:25:37,759
supposed to buy the cotton candy because she didn't want

517
00:25:37,799 --> 00:25:39,640
to do that, okay, all right. Next song on the

518
00:25:39,640 --> 00:26:02,440
album is called look at Me. I'm Sandra d.

519
00:25:53,640 --> 00:26:04,200
Speaker 1: W I can Okay, So this is Rizzo's big song, well,

520
00:26:04,359 --> 00:26:07,039
one of the two, yeah for sure. Right mentioned in

521
00:26:07,119 --> 00:26:10,200
our first episode on Greece that there there was a

522
00:26:10,279 --> 00:26:14,599
death of not one, but two icons of the fifties

523
00:26:14,599 --> 00:26:18,240
and sixties in relationship to this song, right right, tell me,

524
00:26:18,599 --> 00:26:22,079
so tell me about it. There's there's there was an

525
00:26:22,160 --> 00:26:25,319
actor in the original stage production, original musical. There's an

526
00:26:25,319 --> 00:26:29,720
actor named Salmonio Calminio Junior. Okay, yeah, if you've seen

527
00:26:29,920 --> 00:26:34,000
Rebel without a Cause, of the three people, he's not

528
00:26:34,519 --> 00:26:38,000
James Dean and Natalie Wood like, he's the he's the

529
00:26:38,039 --> 00:26:40,440
troubled youth that's hanging out with them, right, and not

530
00:26:40,599 --> 00:26:44,759
Thurston Hell the third right, and I showed you his picture.

531
00:26:44,839 --> 00:26:48,680
He is absolutely the spitting image of Daniel Russo, right,

532
00:26:48,720 --> 00:26:51,319
I mean he is Ralph Macchio one hundred cent. That's

533
00:26:51,359 --> 00:26:55,680
exactly like bringer illegitimate father. For sure. He had done

534
00:26:55,759 --> 00:26:58,440
quite a few shows and he was in the midst

535
00:26:58,480 --> 00:27:03,559
of rehearsing for a play called PS Your Cat Is Dead. Okay, okay,

536
00:27:03,599 --> 00:27:06,000
this is out in West Hollywood, yeah, he comes home

537
00:27:06,039 --> 00:27:09,440
from rehearsals. He's parks in the parking garage, walking to

538
00:27:09,799 --> 00:27:13,680
his house, and out of nowhere, this guy appears, stabs

539
00:27:13,720 --> 00:27:15,920
him straight in the heart and leaves him for dead.

540
00:27:16,039 --> 00:27:19,119
What yep. His neighbors come to help him. They're like, okay,

541
00:27:19,240 --> 00:27:21,319
let's get you up, and as soon as they lift

542
00:27:21,400 --> 00:27:24,440
him up, he drops stone cold dead. The guy who

543
00:27:24,519 --> 00:27:28,200
killed him was this a guy named Lionel Ray Williams,

544
00:27:28,200 --> 00:27:30,880
who was a pizza delivery guy would just go around

545
00:27:30,880 --> 00:27:33,839
and rob people. He got sentenced to fifty seven years

546
00:27:33,880 --> 00:27:37,000
for this murder and several robberies, but ended up getting

547
00:27:37,000 --> 00:27:40,160
paroled after just twelve years. Got parole in nineteen ninety.

548
00:27:40,200 --> 00:27:41,960
Don't know what happened to him since then. Just be

549
00:27:42,000 --> 00:27:45,240
careful when you ordered dominos. Okay. So this happens in

550
00:27:45,279 --> 00:27:50,200
seventy six. They're making preparations and filming in seventy seven,

551
00:27:50,240 --> 00:27:53,160
and they've got this whole lyric that's devoted to this actor.

552
00:27:53,240 --> 00:27:55,720
So they're like, we got to change that. This is awkward.

553
00:27:55,880 --> 00:27:58,559
So what they do instead is they've got that picture

554
00:27:58,599 --> 00:28:01,920
of Elvis. She's singing to Elvis, concerned about his pelvis.

555
00:28:01,960 --> 00:28:05,079
They're filming in the scene. As it turns out, the

556
00:28:05,200 --> 00:28:09,240
film the scene on the exact day that Elvis dies.

557
00:28:09,839 --> 00:28:14,119
What that is unbelievable. It's crazy, Elvis, Elvis, let me

558
00:28:14,160 --> 00:28:16,880
be keep your pelvis far from me. So this song

559
00:28:17,000 --> 00:28:20,920
also name checks Doris day Rock Hudson Annette, which we

560
00:28:20,960 --> 00:28:22,319
can assume is a net Finicella.

561
00:28:22,440 --> 00:28:25,160
Speaker 2: Obviously, Troy Donahue, which we talked about that in our

562
00:28:25,200 --> 00:28:26,279
Godfather episode.

563
00:28:26,359 --> 00:28:30,400
Speaker 1: Yeah, he's the He's the awkward Godfather too, the awkward

564
00:28:30,599 --> 00:28:34,440
new boyfriend of Talia Shagrin. I've got something for you. Yeah,

565
00:28:34,599 --> 00:28:36,480
tell me all right. For forty five.

566
00:28:36,400 --> 00:28:39,839
Speaker 2: Years now, I've always wondered what Hey fong ghoul, I'm

567
00:28:39,920 --> 00:28:40,440
Sandra D.

568
00:28:40,759 --> 00:28:46,960
Speaker 1: Hey bongol? Oh, yeah, I know what it means.

569
00:28:47,799 --> 00:28:51,920
Speaker 2: This is the americanized version of an Italian profanity.

570
00:28:54,319 --> 00:28:57,519
Speaker 1: Yes, few to the moon. See they told me it's

571
00:28:57,680 --> 00:29:02,480
go fornicate yourself in the posterior. Yeah, okay, which is

572
00:29:02,519 --> 00:29:06,640
the equivalent of a few or f off. Yeah, hey

573
00:29:07,200 --> 00:29:11,559
f off, I'm Sandra D. Yeah.

574
00:29:11,759 --> 00:29:16,920
Speaker 2: Next song, big song. This song is automatic systematic hydromatic.

575
00:29:17,960 --> 00:29:18,960
Speaker 1: This is grease lightning.

576
00:29:19,279 --> 00:29:26,880
Speaker 3: Why's breeze lightning to.

577
00:29:29,000 --> 00:29:31,200
Speaker 1: You? In check and cut up and Chrome. So before

578
00:29:31,200 --> 00:29:33,599
we get going on how awesome this song is, I

579
00:29:33,720 --> 00:29:36,119
just need to say, for one of our true fans,

580
00:29:36,240 --> 00:29:40,359
Deaf Dave song supposed to be sung by the Beach Boys. What. Yeah,

581
00:29:40,440 --> 00:29:42,480
the I don't know how the Beach Boys were going

582
00:29:42,519 --> 00:29:45,960
to come into the mechanic shop that they had at

583
00:29:45,960 --> 00:29:48,359
the school or whatever, but the original plan was that

584
00:29:48,400 --> 00:29:50,240
the Beach Boys were going to come in and sing

585
00:29:50,279 --> 00:29:52,279
this song. I think you've got Dave's full attention at

586
00:29:52,279 --> 00:29:54,880
this well. Can you just imagine this song being sang

587
00:29:54,920 --> 00:29:57,640
by that It's the harmonies would be different, but they

588
00:29:57,640 --> 00:30:00,680
would be better, but just not the same. Not rights.

589
00:30:01,079 --> 00:30:03,039
Speaker 2: See, here's the weird thing that I learned when I

590
00:30:03,119 --> 00:30:03,680
studying this.

591
00:30:03,680 --> 00:30:04,960
Speaker 1: This is Kanicki's big number.

592
00:30:05,119 --> 00:30:07,920
Speaker 2: Yeah, like Kanicki is supposed to be singing its grease

593
00:30:08,000 --> 00:30:09,160
line and which makes total sense.

594
00:30:09,480 --> 00:30:11,200
Speaker 1: His car, it's his car, right.

595
00:30:11,079 --> 00:30:13,000
Speaker 2: And John Trifold is like, no, I'm taking this one.

596
00:30:13,079 --> 00:30:16,240
Speaker 1: Yeah, He's like that song sounds like a hit, and uh,

597
00:30:16,400 --> 00:30:20,680
this is my movie. You guys all have jobs because

598
00:30:20,720 --> 00:30:23,039
I'm here. Yeah, so I'm gonna sing this one. Yeah.

599
00:30:23,079 --> 00:30:25,279
And he made some people mad, but what are you

600
00:30:25,279 --> 00:30:28,680
gonna do? Suck it to it, Yeah.

601
00:30:28,880 --> 00:30:31,960
Speaker 2: Robert Stigwood was like, John is the boss. Yeah, and

602
00:30:31,960 --> 00:30:33,720
of course John got the director hired, So who do

603
00:30:33,720 --> 00:30:35,759
you think is gonna side with him?

604
00:30:35,799 --> 00:30:36,279
Speaker 1: Exactly?

605
00:30:36,400 --> 00:30:40,039
Speaker 2: This song was inspired by the nineteen fifty nine Big

606
00:30:40,079 --> 00:30:42,319
Bopper song White Lightning.

607
00:30:45,640 --> 00:30:55,319
Speaker 1: Around moderns and definitely do sound similar. Sure, it's got it.

608
00:30:55,400 --> 00:30:57,319
It's definitely got a Jerry Lee Lewis vive to it

609
00:30:57,359 --> 00:30:59,160
as well. I have a little trouble with some of

610
00:30:59,160 --> 00:31:02,799
the lyrics on this one. Not the ones that were profane, yeah,

611
00:31:02,799 --> 00:31:04,720
but the beginning of the song it talks about it

612
00:31:04,759 --> 00:31:07,599
being automatic, and then it talks about having four on

613
00:31:07,640 --> 00:31:10,599
the floor. Which is it? Brother? You can't have both?

614
00:31:10,759 --> 00:31:12,319
Clearly don't know anything about cars.

615
00:31:12,599 --> 00:31:17,079
Speaker 2: Right during the filming of this, they grab some saran

616
00:31:17,279 --> 00:31:19,640
rap and dance around the car and kind of rub

617
00:31:19,680 --> 00:31:20,519
it on their crotch.

618
00:31:21,039 --> 00:31:22,680
Speaker 1: I don't know what that what's that supposed to mean?

619
00:31:22,720 --> 00:31:25,960
What is that about? Well, I guess they used to

620
00:31:25,960 --> 00:31:27,559
do that in the fifty some I don't know. It

621
00:31:27,640 --> 00:31:31,440
was a misconception that you could use saran rap as contraceptive.

622
00:31:33,279 --> 00:31:35,440
There you go, and how many people were born because

623
00:31:35,440 --> 00:31:38,160
of that misconception. I wondered. It's possible a lot. Yeah.

624
00:31:38,200 --> 00:31:40,519
By the way, you mentioned the profanities in this song,

625
00:31:40,759 --> 00:31:44,000
there are several uh huh which When this song was

626
00:31:44,039 --> 00:31:46,000
released as a single, it only made it to number

627
00:31:46,000 --> 00:31:48,519
forty seven, probably because there were a lot of radio

628
00:31:48,519 --> 00:31:50,759
stations that would not play this song. You mean they

629
00:31:50,759 --> 00:31:52,799
didn't have a cleaner version for the single, yess not.

630
00:31:53,000 --> 00:31:55,599
Oh wow? Have you seen the sleeve to this single?

631
00:31:56,400 --> 00:31:58,680
You remember the beginning of the not the beginning of

632
00:31:58,720 --> 00:32:01,119
the movie where it's where it's Danny and Sandy on

633
00:32:01,160 --> 00:32:03,359
the beach, but like when we're coming to the high

634
00:32:03,359 --> 00:32:05,880
school for the first time and you see Danny for

635
00:32:05,920 --> 00:32:08,200
the first time talking to the girls and he turns around,

636
00:32:08,240 --> 00:32:10,960
he's got the cigarette in his mouth and that eating grin. Yep,

637
00:32:11,000 --> 00:32:13,240
that is the look that they have on the cover

638
00:32:13,359 --> 00:32:15,920
of the single. That's it. It's a great first shot.

639
00:32:16,119 --> 00:32:19,079
Speaker 2: Yeah, for sure, great song, great fun, great point in

640
00:32:19,119 --> 00:32:21,720
the movie. One of the things Jeff Conway talks about

641
00:32:21,960 --> 00:32:25,039
is during the filming of Grease Lightning in the movie,

642
00:32:25,119 --> 00:32:26,960
they were supposed to be like carrying him and they

643
00:32:27,000 --> 00:32:30,400
accidentally dropped him. He heard his back, Yeah, and supposedly that's

644
00:32:30,400 --> 00:32:33,920
when he got his first taste of painkillers that became

645
00:32:34,119 --> 00:32:38,160
a lifelong affliction and an addition to drugs that he

646
00:32:38,200 --> 00:32:39,440
really suffered a lot of years.

647
00:32:39,519 --> 00:32:40,759
Speaker 1: Yeah, eventually kill him.

648
00:32:40,839 --> 00:32:44,720
Speaker 2: Yeah, Okay, moving on. The chicks will scream for the next.

649
00:32:44,519 --> 00:32:50,279
Speaker 1: Song, will they? I don't think so. This song is

650
00:32:50,319 --> 00:33:11,880
called It's Raining on prom Night and the words of

651
00:33:11,960 --> 00:33:18,359
butt heead. Oh what the hell is this crap? Oh

652
00:33:18,400 --> 00:33:21,799
you're quoting butthead on the Grease Sounddragon. This is terrible.

653
00:33:23,119 --> 00:33:25,000
Speaker 2: Hey, Amanda Janet loves this song.

654
00:33:25,759 --> 00:33:29,160
Speaker 1: Okay, sorry, man, I would like this song better if

655
00:33:29,200 --> 00:33:34,440
Robert Smith sang it. Wow, this is terrible. I like,

656
00:33:34,559 --> 00:33:36,519
I heard this song, and I'm like, is this a joke?

657
00:33:36,519 --> 00:33:38,119
Be is she gonna like bust out in a great

658
00:33:38,160 --> 00:33:40,640
singing here in a second? No, she really just sings

659
00:33:40,680 --> 00:33:45,119
like this the whole time. It's awful. Yeah, it's genuinely bad.

660
00:33:45,359 --> 00:33:47,200
Speaker 2: I mean, the song is sappy, But you're saying you

661
00:33:47,200 --> 00:33:47,920
don't like her voice.

662
00:33:48,000 --> 00:33:50,000
Speaker 1: I don't like her voice. The song actually probably could

663
00:33:50,000 --> 00:33:52,319
have been good, Like if you'd had Olivia Newton John

664
00:33:52,400 --> 00:33:54,799
singing this song, I probably would have loved it. Well,

665
00:33:54,839 --> 00:33:59,720
there you go. Yeah, but this this Cindy bullens I'm

666
00:33:59,759 --> 00:34:00,440
out yep.

667
00:34:01,119 --> 00:34:04,279
Speaker 2: So this goes in the spot where Hopelessly Devoted was

668
00:34:04,319 --> 00:34:04,839
supposed to.

669
00:34:04,880 --> 00:34:07,079
Speaker 1: Be brilliant move there, yep.

670
00:34:07,599 --> 00:34:11,000
Speaker 2: And it's actually played when Sandy and Danny are kind

671
00:34:11,039 --> 00:34:12,760
of trying to patch things up at the jew Box.

672
00:34:13,559 --> 00:34:15,360
Speaker 1: He's like, Hey, Sandy, want to talk to you, and

673
00:34:15,360 --> 00:34:17,880
she's like, what about She's playing this song from the

674
00:34:17,960 --> 00:34:26,719
jew Box and the dinar don't make me laugh? Yeah? Yeah.

675
00:34:26,760 --> 00:34:28,840
This was written for the stage play. So I had

676
00:34:28,840 --> 00:34:30,719
to look her up. I'm like, is this legit? Is

677
00:34:30,760 --> 00:34:33,360
she actually a singer? Yes? She was actually a singer

678
00:34:33,760 --> 00:34:36,800
for quite some time. Sang backup for Elton John and

679
00:34:36,880 --> 00:34:40,679
for Rod Stewart yep. And then around twenty twelve she

680
00:34:41,320 --> 00:34:44,519
came out as transgender and has changed her name from

681
00:34:44,719 --> 00:34:49,639
Cindy Bulloons to Sidney Bulloins. There you go, all right?

682
00:34:49,719 --> 00:34:51,480
Moving on? Okay.

683
00:34:51,559 --> 00:34:54,760
Speaker 2: The next song is an instrumental called Alone at the

684
00:34:54,840 --> 00:34:55,280
Drive in.

685
00:34:55,320 --> 00:35:11,880
Speaker 4: Movie Snoozefest Hit.

686
00:35:12,039 --> 00:35:13,679
Speaker 1: The next song, what the heck?

687
00:35:14,039 --> 00:35:16,760
Speaker 2: Yeah, let's let's do a quick drive by on this one.

688
00:35:17,119 --> 00:35:19,119
This was written for the stage play. This is where

689
00:35:19,239 --> 00:35:22,639
Sandy the song fit in the movie. Sandy's much better

690
00:35:22,679 --> 00:35:24,280
song than this one, and you don't even like Sandy

691
00:35:24,360 --> 00:35:28,719
So right, So this was composed by James Gadstaff for

692
00:35:28,880 --> 00:35:31,159
the nineteen seventy two Broadway version.

693
00:35:31,440 --> 00:35:34,000
Speaker 1: Right, moving on, moving on.

694
00:35:34,039 --> 00:35:36,679
Speaker 2: Okay, we're about to get knee deep in Shannana. Okay,

695
00:35:36,719 --> 00:35:39,119
do you remember when Shaannana had its own TV show?

696
00:35:39,360 --> 00:35:41,280
Speaker 1: I used to watch the show a little bit. I

697
00:35:41,280 --> 00:35:43,760
didn't remember it until we came back to it and

698
00:35:44,599 --> 00:35:46,880
and you mentioned to me which I had always misheard,

699
00:35:46,880 --> 00:35:51,320
this lyric. But Bowser from Shannaa is referenced by fresh Prints,

700
00:35:51,599 --> 00:35:57,199
and parents just don't understand that's it. I'm please put

701
00:35:57,199 --> 00:36:01,760
back to Bell Bottle Brady. It's Bowser from Shaunana. And

702
00:36:01,880 --> 00:36:04,920
if you see Bowser, you totally recognize him. He's this tall,

703
00:36:05,440 --> 00:36:09,400
gangly guy who has a great goofy look to him,

704
00:36:10,079 --> 00:36:12,800
and they've all got the greasier look. But Shannaa was

705
00:36:12,800 --> 00:36:17,159
this band that was devoted to bringing back fifties songs

706
00:36:17,199 --> 00:36:19,639
or covering fifties that's It songs, which they did in

707
00:36:19,679 --> 00:36:23,199
their variety show as well. But we've got several in

708
00:36:23,280 --> 00:36:25,599
a row on the album that is that are by them.

709
00:36:25,679 --> 00:36:28,360
They are also the band that is singing the songs

710
00:36:28,639 --> 00:36:29,880
at the dance.

711
00:36:29,679 --> 00:36:31,800
Speaker 2: In the movie, and we also talked about how one

712
00:36:31,800 --> 00:36:34,559
of the guys from Shaannana helped Jim Ferr write the

713
00:36:34,679 --> 00:36:35,519
song Sandy.

714
00:36:36,079 --> 00:36:36,159
Speaker 1: Oh.

715
00:36:36,199 --> 00:36:39,239
Speaker 2: Okay, Yeah, so they're around, they're doing stuff. Yeah, okay.

716
00:36:39,280 --> 00:36:53,159
Speaker 1: So this song is called blue Moon you saw them? Okay.

717
00:36:53,199 --> 00:36:55,440
So this song is an old song. It was written

718
00:36:55,480 --> 00:36:59,079
by Richard Rogers and Lorenz Heart for the movie Hollywood

719
00:36:59,119 --> 00:37:03,400
Party nineteen thirty four. Well, say what you will about that.

720
00:37:03,559 --> 00:37:06,199
There is no way I remember it from anything except

721
00:37:06,280 --> 00:37:09,039
American Werewolf from London and the Marcels.

722
00:37:08,639 --> 00:37:11,320
Speaker 2: Were singing three different versions of the same song in

723
00:37:11,400 --> 00:37:14,679
American World in London. Yeah, you have Bobby Vinton, Sam

724
00:37:14,760 --> 00:37:15,920
Cook and the Marcels.

725
00:37:16,039 --> 00:37:16,239
Speaker 1: Yeah.

726
00:37:16,840 --> 00:37:19,239
Speaker 2: By the way, this song has been covered by Billie Holliday,

727
00:37:19,280 --> 00:37:23,320
Elvis Presley, Dean Martin, the Supremes, New Editions, daf Dave

728
00:37:23,960 --> 00:37:26,320
and Cindy Lauper. This is the last dance at the

729
00:37:26,400 --> 00:37:28,119
dance in the movie when they all moon the camera.

730
00:37:28,199 --> 00:37:28,519
Speaker 1: Okay.

731
00:37:28,599 --> 00:37:31,800
Speaker 2: The next Shannana song is called rock and Roll is

732
00:37:31,800 --> 00:37:38,440
Here to Stay.

733
00:37:42,079 --> 00:37:44,719
Speaker 1: So this song actually also came out in nineteen fifty eight,

734
00:37:44,760 --> 00:37:47,679
when the movie's supposed to be taking place. It was

735
00:37:48,360 --> 00:37:51,719
by Danny and the Juniors, written by David White. It

736
00:37:51,760 --> 00:37:56,800
is exactly like their first hit, which was at the Hot.

737
00:37:57,000 --> 00:37:59,320
It sounds like the same song. Like every time this

738
00:37:59,400 --> 00:38:03,599
song starts, I'm like at the I the Hot. Oh wait,

739
00:38:03,639 --> 00:38:06,760
wrong song. Yeah, it is literally the same exact music

740
00:38:06,840 --> 00:38:10,880
that they have just changed the lyrics to and tragically,

741
00:38:10,920 --> 00:38:13,719
we've learned in the twenty first century, they're wrong. Rock

742
00:38:13,760 --> 00:38:18,480
and roll is not here to stay. Yeah, it has died. Well,

743
00:38:18,719 --> 00:38:25,559
the heart of rock and roll is rarely beat. That's good. Hey.

744
00:38:25,599 --> 00:38:27,320
Speaker 2: By the way, we talked about this when we did

745
00:38:27,320 --> 00:38:29,920
our Kujo Christine Dead Zone episode. We talked about Danny

746
00:38:29,960 --> 00:38:33,119
and Juniors. This was featured in the movie Christine. Tragically,

747
00:38:33,159 --> 00:38:35,440
the lead singer of Danny and the Juniors killed himself.

748
00:38:35,480 --> 00:38:38,559
We talked about how death surrounded the movie Christine, and

749
00:38:38,559 --> 00:38:40,400
that's one of the stories. We told them go back

750
00:38:40,400 --> 00:38:41,360
and check that episode out.

751
00:38:41,440 --> 00:38:44,079
Speaker 1: So the next song on the album is called Those

752
00:38:44,360 --> 00:38:54,519
Magic Changes. So this song Don't Talk, Don't Talk to You.

753
00:38:54,559 --> 00:38:55,199
I'm trying to count.

754
00:39:00,280 --> 00:39:02,039
Speaker 2: This is the point of the movie where Duty and

755
00:39:02,079 --> 00:39:06,480
Frenchy are dancing and he's stomping around trying to try

756
00:39:06,519 --> 00:39:07,320
to dance keep step.

757
00:39:08,000 --> 00:39:10,880
Speaker 1: So this song is not an old song. This is

758
00:39:10,880 --> 00:39:12,239
a this is a Shannana song.

759
00:39:12,280 --> 00:39:14,199
Speaker 2: I don't know if you remember last episode I talked

760
00:39:14,239 --> 00:39:16,599
about how Jim Jacobs, when he first got a guitar,

761
00:39:16,719 --> 00:39:18,920
tucked his parents into give him a guitar. He learned

762
00:39:18,960 --> 00:39:21,239
like three chords and the first song he ever wrote

763
00:39:21,320 --> 00:39:22,480
was those Magic Changes.

764
00:39:22,800 --> 00:39:25,199
Speaker 1: It's fantastic. There you go, fantastic all right.

765
00:39:25,639 --> 00:39:28,880
Speaker 2: Next song is called hound Dog by Shannanah.

766
00:39:30,880 --> 00:39:39,840
Speaker 1: You and No Mod. So now you might expect me

767
00:39:39,880 --> 00:39:42,400
to say this is an Elvis song, right, but it

768
00:39:42,440 --> 00:39:46,039
turns out this was actually originally recorded by Big Mama Thornton,

769
00:39:46,079 --> 00:39:49,360
you back in nineteen fifty two. It wasn't until later

770
00:39:49,400 --> 00:39:53,400
on that Elvis made it the hound Dog. Elvis took

771
00:39:53,440 --> 00:39:55,599
it and made his own, and little Forrest Gump showed

772
00:39:55,639 --> 00:40:00,599
him how to dance like what you're doing your hips there.

773
00:40:03,719 --> 00:40:07,119
Speaker 2: Yes, so this song was written a long time ago

774
00:40:07,400 --> 00:40:10,119
performed by Big Mama Thornton, but we know it is Elvis.

775
00:40:10,159 --> 00:40:11,679
Speaker 1: By the way, you know who did the voice of

776
00:40:11,679 --> 00:40:18,000
Elvis for Worst Count? No, Kurt Russell? Are you serious? Yeah? Perfect? Yeah? Perfect?

777
00:40:18,119 --> 00:40:19,480
I love it. Okay.

778
00:40:19,599 --> 00:40:22,199
Speaker 2: So hound Dog has been a song that has been

779
00:40:22,280 --> 00:40:26,199
fought over and battled with the royalties and the controversies

780
00:40:26,199 --> 00:40:27,679
and the rights to this song.

781
00:40:27,920 --> 00:40:29,400
Speaker 1: And it's one of those where I think it's going

782
00:40:29,440 --> 00:40:31,639
to be in constant litigation, which is pretty bad for

783
00:40:31,840 --> 00:40:36,920
one of the best selling singles of all time. Wow. Yeah,

784
00:40:37,000 --> 00:40:39,400
that's a lot of money at stake. Yep. All right, now,

785
00:40:39,440 --> 00:40:41,360
we could dive deep on hound Dog, but we got

786
00:40:41,360 --> 00:40:43,320
to keep rolling. There's a lot of songs here. The

787
00:40:43,360 --> 00:40:46,599
next one is so important to the movie though, we

788
00:40:46,719 --> 00:40:55,159
can't overlook it. This is born to hand Jive.

789
00:41:01,880 --> 00:41:04,360
Speaker 2: Once again, I dare you not to move your hips

790
00:41:04,400 --> 00:41:05,400
and your feet to this song.

791
00:41:05,519 --> 00:41:08,360
Speaker 1: So this is a little bit different than the original

792
00:41:08,480 --> 00:41:11,559
hand jive that I know. Okay, cat name we Willie,

793
00:41:11,679 --> 00:41:13,639
that's the way that one starts. And this one's called

794
00:41:13,719 --> 00:41:15,880
born to hand Jive, which is still I mean, it's

795
00:41:15,960 --> 00:41:19,480
the same music. So there have been a bunch of

796
00:41:19,599 --> 00:41:23,000
variations of the hand jive song, but all of them

797
00:41:23,039 --> 00:41:27,039
have the Bo Diddley beat. This one is a Shawn

798
00:41:27,119 --> 00:41:30,679
Ona original, but it's key to the movie, right. Yeah.

799
00:41:30,719 --> 00:41:32,440
Speaker 2: This is the fifth song at the dance. This is

800
00:41:32,480 --> 00:41:34,719
when things really start to take off. This is when

801
00:41:34,800 --> 00:41:36,039
Cha Cha and Danny.

802
00:41:35,920 --> 00:41:39,280
Speaker 1: Are tuning in Tokyo. Yeah, that's right.

803
00:41:40,480 --> 00:41:43,840
Speaker 2: Patti Simcox gets their dress listed over ahead in this song.

804
00:41:44,119 --> 00:41:47,199
So a lot of stuff happening right here. Crater Face

805
00:41:47,599 --> 00:41:50,079
gets tapped out and he flips off Vince Fontaine.

806
00:41:50,159 --> 00:41:51,960
Speaker 1: I wonder if that was before or after he put

807
00:41:51,960 --> 00:41:56,400
the aspirin in Marty's drink. Yeah, in a coke. I

808
00:41:56,559 --> 00:41:59,159
just picked up on that this time through. Yeah all right.

809
00:41:59,280 --> 00:42:12,679
Next on song is called Tears on My Pillow. Once

810
00:42:12,679 --> 00:42:15,639
again we got another piece of gold from nineteen fifty eight.

811
00:42:16,079 --> 00:42:19,800
The original song was written, was written by Sylvester Bradford

812
00:42:20,119 --> 00:42:23,719
and Al Lewis and recorded by Little Anthony and the

813
00:42:23,760 --> 00:42:27,280
Imperials and got a great, great iconic song.

814
00:42:27,360 --> 00:42:29,880
Speaker 2: The one thing I remember about the movie in regards

815
00:42:29,880 --> 00:42:33,039
to this song, this is where Blanche actually dances the

816
00:42:33,079 --> 00:42:38,119
assistant to the Secretary and world class xylophone player.

817
00:42:41,159 --> 00:42:43,239
Speaker 1: By the way, covers of this song, not only do

818
00:42:43,280 --> 00:42:45,679
you have Sean or Not covering this song, but in

819
00:42:45,800 --> 00:42:50,199
nineteen ninety he had a cover by little Miss Kylie

820
00:42:50,280 --> 00:42:54,000
No Majors got to number one on the UK Singles chart.

821
00:42:54,119 --> 00:42:57,840
Speaker 2: Really Michael Hutches's ex girlfriend Kylie Minogue and world class

822
00:42:57,880 --> 00:42:58,599
babe herself.

823
00:42:58,920 --> 00:43:08,039
Speaker 1: There you go. Okay, next song is called mooning. Just

824
00:43:11,400 --> 00:43:13,239
what do you got for me on this? Not much?

825
00:43:13,480 --> 00:43:15,800
Speaker 2: So this is from the musical, it's not in the movie.

826
00:43:15,880 --> 00:43:19,239
This is when Roger, who actually as I understand it

827
00:43:19,320 --> 00:43:22,480
is the Petsy character, and Jan actually sing this is

828
00:43:22,519 --> 00:43:25,800
their big number. And this song was written by Louis

829
00:43:25,800 --> 00:43:28,400
Saint Louis and Cindy Bollen's not much on this one.

830
00:43:28,480 --> 00:43:30,639
Speaker 1: I don't really like this one. This is a skipper

831
00:43:30,679 --> 00:43:33,679
for me. Yeah, another one that they are well informed

832
00:43:33,719 --> 00:43:35,760
to have left it out of the movie, no doubt,

833
00:43:35,840 --> 00:43:38,400
and just replace it with the three guys actually mooning

834
00:43:38,480 --> 00:43:43,519
the camera. That's it, Okay, take the needle off the record.

835
00:43:43,559 --> 00:43:46,199
It's time to flip the record over to the last side.

836
00:43:46,360 --> 00:44:00,199
Side four. We start off with Freddie my Love. This

837
00:44:00,239 --> 00:44:04,000
one is at least better. She sounds more like the

838
00:44:05,199 --> 00:44:07,800
I can't remember the group that did a Leader of

839
00:44:07,800 --> 00:44:10,480
the Pack. She sounds more like her okay in this one,

840
00:44:10,559 --> 00:44:13,199
but it's still not a song I'm going to come

841
00:44:13,239 --> 00:44:13,960
back to. Okay.

842
00:44:14,000 --> 00:44:16,239
Speaker 2: So this was written for the nineteen seventy one musical.

843
00:44:16,679 --> 00:44:18,679
This is Marty's big number in the musical.

844
00:44:18,800 --> 00:44:20,280
Speaker 1: If you remember.

845
00:44:19,760 --> 00:44:23,000
Speaker 2: Marty is like dating all these marines and she's like

846
00:44:23,039 --> 00:44:25,880
a pin pal and sports perfume on her notes and

847
00:44:25,880 --> 00:44:26,400
stuff like that.

848
00:44:26,559 --> 00:44:29,400
Speaker 1: Yeah, and so this is written to her.

849
00:44:29,320 --> 00:44:33,199
Speaker 2: Pinpal Marine Preddy ah Ready my love Rereddy my Love

850
00:44:33,480 --> 00:44:36,000
Marty or she know like Cherry.

851
00:44:36,199 --> 00:44:39,480
Speaker 1: So this song was largely came from the nineteen fifty

852
00:44:39,559 --> 00:44:42,079
six hit called Eddie My Love, which was by The

853
00:44:42,119 --> 00:44:45,280
Teen Queens and Scott Miller. The guy who wrote it

854
00:44:45,400 --> 00:44:48,199
said it was closely based to Eddie My Love but

855
00:44:48,360 --> 00:44:52,239
also slightly period dying I Met Him on a Sunday

856
00:44:52,280 --> 00:44:56,199
by the Charells and be My Baby by Ronnie Spector.

857
00:44:56,320 --> 00:44:58,760
Speaker 2: Go back to our Dirty Dancing episode to hear the

858
00:44:58,760 --> 00:44:59,559
full story.

859
00:44:59,320 --> 00:45:03,159
Speaker 1: On be My Baby and what a story all right.

860
00:45:03,239 --> 00:45:05,079
Speaker 2: Next song on the album is a song called rock

861
00:45:05,119 --> 00:45:06,079
and Roll Party Queen.

862
00:45:21,800 --> 00:45:23,440
Speaker 1: They cut this one from the movie and that was

863
00:45:23,480 --> 00:45:27,159
the right call. That's all I have to say about that.

864
00:45:27,800 --> 00:45:28,960
This is from the musical.

865
00:45:29,199 --> 00:45:32,000
Speaker 2: This was the song that Roger, who's the Putsy character,

866
00:45:32,480 --> 00:45:33,760
and Doody sing.

867
00:45:34,599 --> 00:45:35,559
Speaker 1: I mean in the movie.

868
00:45:35,679 --> 00:45:38,440
Speaker 2: Putsy and Doody are funny side characters.

869
00:45:38,440 --> 00:45:40,639
Speaker 1: We don't need a number from them. No, moving on,

870
00:45:40,800 --> 00:45:43,119
moving on, Okay, This one's a biggie. Yeah, it is

871
00:45:43,159 --> 00:45:45,320
a biggie. This song is called there are Worse Things

872
00:45:45,360 --> 00:45:48,079
I could do. There are worse things I could do

873
00:45:50,119 --> 00:45:52,760
then go with a boy all.

874
00:45:52,559 --> 00:45:57,679
Speaker 4: Too, even though the neighborhood.

875
00:45:57,119 --> 00:46:02,679
Speaker 1: Thinks I'm trashy and Okay.

876
00:46:02,719 --> 00:46:04,920
Speaker 2: So this is a song by Stockard Channing. Yep, she

877
00:46:05,360 --> 00:46:08,880
willed this into the movie. Yeah, this, They were gonna

878
00:46:08,920 --> 00:46:11,960
cut this right, and she's like, no, this has to

879
00:46:12,000 --> 00:46:12,639
be in the movie.

880
00:46:12,679 --> 00:46:15,719
Speaker 1: And this is honestly a good addition. This is I

881
00:46:16,000 --> 00:46:18,440
think she made the right call. She's not a singer,

882
00:46:18,559 --> 00:46:22,800
doesn't have a singer's voice, but she delivers this song

883
00:46:23,039 --> 00:46:26,400
in an epic way, and it lets you know the

884
00:46:26,440 --> 00:46:29,719
heart of Rizzo and that she's suffering, like she puts

885
00:46:29,719 --> 00:46:31,880
on a she puts on a front that she's suffering.

886
00:46:31,960 --> 00:46:34,960
So perfect call on her part. The song had to

887
00:46:34,960 --> 00:46:37,840
be in the movie. It's super important for her character, absolutely,

888
00:46:37,920 --> 00:46:40,239
and with a good singer, it's an incredibly good song.

889
00:46:40,639 --> 00:46:43,440
I mentioned to you that, like, my kids are familiar

890
00:46:43,440 --> 00:46:48,280
with a lot of these from Glee, and the Santana

891
00:46:48,360 --> 00:46:50,440
character sings this song in Glee and she knocks it

892
00:46:50,440 --> 00:46:52,440
out of the park. It's a good song. It's a

893
00:46:52,440 --> 00:46:54,920
good song, it's an important song, and it's very relevant

894
00:46:54,920 --> 00:46:55,400
to the story.

895
00:46:55,519 --> 00:46:57,639
Speaker 2: Yeah, okay, So the next song on the album is

896
00:46:57,679 --> 00:47:02,000
called look at Me. I'm Sandra D the reprize.

897
00:47:05,400 --> 00:47:05,840
Speaker 3: Good me.

898
00:47:08,519 --> 00:47:08,960
Speaker 2: To be.

899
00:47:10,760 --> 00:47:16,559
Speaker 1: Something and they see oh.

900
00:47:18,840 --> 00:47:19,679
Speaker 4: So scared.

901
00:47:20,079 --> 00:47:23,760
Speaker 2: And I'm sure this is actually sung by Olivia Newton John.

902
00:47:24,400 --> 00:47:28,119
Speaker 1: I like a better one in Olivia Newton John's so

903
00:47:28,360 --> 00:47:32,400
sweet and sad and she's self reflective and goodbye to

904
00:47:32,519 --> 00:47:36,800
Sandra D. Good piano in the back and leading you

905
00:47:37,360 --> 00:47:40,079
like a dog into what's coming next.

906
00:47:40,559 --> 00:47:42,880
Speaker 2: This is where we get the hint of what's coming,

907
00:47:42,920 --> 00:47:45,400
but we're not sure exactly what's gonna come. By the way,

908
00:47:45,599 --> 00:47:48,920
I've got a little nugget for you on Sandy the character. Okay,

909
00:47:49,159 --> 00:47:52,000
so we mentioned in the stage play her name is

910
00:47:52,039 --> 00:47:56,079
Sandy Dubowskibowski. In the movie, her name's Sandy Olsen.

911
00:47:56,360 --> 00:47:56,519
Speaker 1: Right.

912
00:47:56,639 --> 00:47:58,679
Speaker 2: They needed to change your character from you know, a

913
00:47:58,719 --> 00:48:03,079
Polish Catholic Chicago girl to an Australia girl, so they

914
00:48:03,079 --> 00:48:06,360
switched it to Olsen. Why they selected the name Olsen

915
00:48:07,079 --> 00:48:10,760
because when they were originally looking at the character for Sandy,

916
00:48:10,840 --> 00:48:13,880
they considered actress and margaret.

917
00:48:14,280 --> 00:48:18,400
Speaker 1: Okay, that's her given last name. Wow, okay, that's all right,

918
00:48:18,679 --> 00:48:23,119
good tippit'st Olsen. There you go nice, Okay, all right.

919
00:48:24,039 --> 00:48:27,119
Next song, Biggie, been waiting the whole album to get here.

920
00:48:28,519 --> 00:48:30,880
This song is called We Go Together.

921
00:48:47,719 --> 00:48:49,760
Speaker 2: Wap bam boom.

922
00:48:49,920 --> 00:48:51,480
Speaker 1: So this is what was playing when I picked up

923
00:48:51,519 --> 00:48:54,119
Brock for lunch today, and he's like, what are they?

924
00:48:53,719 --> 00:48:56,880
What are they? Stringer and rang and danga banga banger?

925
00:48:57,239 --> 00:48:59,360
What is that? He loves the song, but he's like,

926
00:48:59,360 --> 00:49:01,159
I don't know what the heck they're saying. Right there,

927
00:49:02,400 --> 00:49:05,559
chang chang chaney changed abop. I love this song. Oh

928
00:49:05,559 --> 00:49:07,880
it's great, This is fun, This is a great This

929
00:49:08,039 --> 00:49:11,119
the whole movie is just this fun experience. And this

930
00:49:11,199 --> 00:49:14,280
is the perfect fun song to put as the caper

931
00:49:14,360 --> 00:49:14,800
on the movie.

932
00:49:14,840 --> 00:49:17,159
Speaker 2: Absolutely, so we go right from You're the One that

933
00:49:17,239 --> 00:49:21,000
I Want, which is blowing our socks off two we

934
00:49:21,039 --> 00:49:23,679
Go Together. This song is like a signature in the

935
00:49:23,719 --> 00:49:26,480
yearbook saying have a great summer, let's be friends forever,

936
00:49:26,880 --> 00:49:29,679
too good to be forgotten, true love always. You know,

937
00:49:29,760 --> 00:49:33,039
all that stupid yearbook crap, But it's it captures the

938
00:49:33,079 --> 00:49:35,679
tone of the last day of school and the fun

939
00:49:35,880 --> 00:49:37,960
like when you're checking your books.

940
00:49:37,599 --> 00:49:43,039
Speaker 1: Out the door, I signed your crack exactly. That's a crap.

941
00:49:44,519 --> 00:49:47,119
Speaker 2: It's like the closing track for the album. And this

942
00:49:47,159 --> 00:49:48,360
is where they get in the car and they fly

943
00:49:48,440 --> 00:49:49,719
to heaven and she dies.

944
00:49:53,039 --> 00:49:56,039
Speaker 1: I also told that to Rocky's like that's stupid. He's like,

945
00:49:56,079 --> 00:49:58,159
why would she drives? Like, well, remember in the song.

946
00:49:58,239 --> 00:50:00,559
He's like, he saved her from drowning and that's the hint.

947
00:50:00,679 --> 00:50:03,639
And he's like, still stupid, and I was like, yeah,

948
00:50:03,679 --> 00:50:06,039
it is. It's still stupid. They get in the car,

949
00:50:06,119 --> 00:50:09,400
they fly to the clouds. Yes, it's a fairy tale. Okay,

950
00:50:09,519 --> 00:50:11,960
it is a fairy tale, all right. This is such

951
00:50:12,000 --> 00:50:15,239
a fun moment too. In the movie, every character kind

952
00:50:15,239 --> 00:50:16,960
of they've got their arms around each other.

953
00:50:17,079 --> 00:50:19,880
Speaker 2: They're dancing, they're hugging. It's everybody's friends, and you know

954
00:50:19,960 --> 00:50:22,679
we'll be friends always, and even know they won't. Right,

955
00:50:23,119 --> 00:50:25,280
we know that Rizzo's gonna be pregnant in six weeks,

956
00:50:25,320 --> 00:50:26,320
and that's how it's gonna be.

957
00:50:26,559 --> 00:50:28,679
Speaker 1: All my high school friends. You will be happy to

958
00:50:28,800 --> 00:50:37,840
know that I did stay cool. It's right this, I mean,

959
00:50:37,920 --> 00:50:39,599
this should be the end of the album. It really

960
00:50:39,599 --> 00:50:41,320
should It really should be the end of the album,

961
00:50:41,440 --> 00:50:44,000
but they had to They needed length for the album

962
00:50:44,199 --> 00:50:46,440
and so they had to tack another couple of songs on.

963
00:50:46,719 --> 00:50:49,280
So let's let's hit those and then move on to

964
00:50:49,320 --> 00:50:50,000
final judgment.

965
00:50:50,079 --> 00:50:53,119
Speaker 2: Robert Stigwood is not gonna do one album when he

966
00:50:53,199 --> 00:50:54,400
could sell for two, you know.

967
00:50:55,360 --> 00:50:58,320
Speaker 1: So next song on the album is an old song

968
00:50:58,480 --> 00:51:01,920
from the fifties. Again. This is called Love Is a

969
00:51:02,039 --> 00:51:03,400
Many Splendored Thing.

970
00:51:16,480 --> 00:51:18,559
Speaker 2: Okay, so we get this at the beginning when they're

971
00:51:18,599 --> 00:51:21,599
at the beach and everything's loves and hugs and kisses.

972
00:51:21,920 --> 00:51:24,519
It reminds me of that scene an airplane where.

973
00:51:24,480 --> 00:51:28,320
Speaker 1: It totally does you know, ted ted when will you

974
00:51:28,400 --> 00:51:32,920
be back? I can't tell you that it is classified. Yeah.

975
00:51:33,079 --> 00:51:35,559
Speaker 2: This won an Academy Award for the Best Original Song

976
00:51:35,639 --> 00:51:38,760
in nineteen fifty six for the movie Love Is a

977
00:51:38,920 --> 00:51:40,400
Mini Splendored Thing.

978
00:51:40,559 --> 00:51:45,960
Speaker 1: YEP, written by Sammy Faine and lyrics by Paul Francis Webster.

979
00:51:46,840 --> 00:51:51,199
Best performing version was a version by The four Aces

980
00:51:51,519 --> 00:51:54,239
goutted up the number two on the UK singles chart. Wow.

981
00:51:54,760 --> 00:51:58,079
Speaker 2: It's been covered by Ben Crosby, Frank Sinatra, Shirley Bassi,

982
00:51:58,559 --> 00:52:03,679
the Old Finger, Nat King, Cole and Barry Manilow.

983
00:52:04,000 --> 00:52:04,679
Speaker 1: It's a good song.

984
00:52:04,880 --> 00:52:08,800
Speaker 2: It's cheesy, it's corny. It adds that sort of corny tone.

985
00:52:08,639 --> 00:52:11,519
Speaker 1: In the beginning we feel to the movie Yep, for sure, and.

986
00:52:11,599 --> 00:52:14,039
Speaker 2: Then you get punched in the face with the title

987
00:52:14,119 --> 00:52:17,320
track Grease, which also happens to be the very last

988
00:52:17,360 --> 00:52:18,119
song on the album.

989
00:52:18,239 --> 00:52:31,599
Speaker 1: It's a Grease reprize, and I gotta say, if you're

990
00:52:31,639 --> 00:52:34,000
not going to end on we go Together, this is

991
00:52:34,159 --> 00:52:37,760
not a bad substitute. It's a great song. Clear the

992
00:52:37,800 --> 00:52:42,480
album out as you begin. I love it. Yeah, great song. Well, okay,

993
00:52:42,760 --> 00:52:47,079
so we started this discussion. It's interesting when we originally

994
00:52:47,119 --> 00:52:50,800
talked about doing Grease, we talked about comparing it to

995
00:52:51,039 --> 00:52:53,400
the Rocky Horror Picture Show, right, and it was going

996
00:52:53,480 --> 00:52:55,840
to be movie to movie, album to album, and we

997
00:52:55,960 --> 00:52:59,320
basically said, it's so lopsided that it's not really even

998
00:52:59,360 --> 00:53:01,639
a fair compared, right. Neither one of us really like

999
00:53:01,760 --> 00:53:04,239
Rocky Horror Picture Show. So what we didn't mention in

1000
00:53:04,280 --> 00:53:08,559
our first episode, Barry Bostwick was the Danny character in

1001
00:53:08,639 --> 00:53:11,800
the stage version of Greece after having done so well

1002
00:53:12,039 --> 00:53:15,039
as the key guy in the Rocky Horror Picture Show.

1003
00:53:15,079 --> 00:53:17,280
So there's perfect tie in there, but again, it's just

1004
00:53:17,400 --> 00:53:20,320
too lopsided. I mean, Rocky Horror Picture Show is a

1005
00:53:20,440 --> 00:53:22,360
unique animal, and we're going to find something in compared

1006
00:53:22,360 --> 00:53:24,679
it to. But this was not the right movie, right, absolutely.

1007
00:53:24,840 --> 00:53:27,199
But what we did decide to do was go, Okay,

1008
00:53:27,599 --> 00:53:32,960
let's compare the movie to the soundtrack because they're both huge. Yeah. Absolutely,

1009
00:53:33,119 --> 00:53:35,360
So here we are final judgment. You got to pick

1010
00:53:35,559 --> 00:53:38,159
one or the other. What do you say, mister Calvin?

1011
00:53:38,400 --> 00:53:41,880
Speaker 2: Okay, So, I have a really strong relationship with this movie.

1012
00:53:41,960 --> 00:53:44,159
I saw it in nineteen seventy eight with my mom

1013
00:53:44,360 --> 00:53:47,079
when I was kindergartener. I saw it again when it

1014
00:53:47,199 --> 00:53:49,280
came out in nineteen ninety eight to theaters.

1015
00:53:49,360 --> 00:53:51,360
Speaker 1: We danced in the aisles. I mean, I'm not kidding

1016
00:53:51,400 --> 00:53:54,440
the people I was with, we're going bonkers for this movie.

1017
00:53:55,079 --> 00:53:57,199
And I own the soundtrack. I love it.

1018
00:53:57,320 --> 00:53:59,159
Speaker 2: I love the songs on this It's kind of an

1019
00:53:59,239 --> 00:54:01,320
unfair fight because in the movie you do get the

1020
00:54:01,400 --> 00:54:02,000
songs as well.

1021
00:54:02,239 --> 00:54:03,559
Speaker 1: So for me, it's an easy call.

1022
00:54:03,800 --> 00:54:06,880
Speaker 2: I would take the movie every day of the week

1023
00:54:06,960 --> 00:54:09,559
because you get John Travolta's incredible performance, you.

1024
00:54:09,639 --> 00:54:11,800
Speaker 1: Get Olivia Newton, John be An, America's Sweetheart.

1025
00:54:11,920 --> 00:54:13,920
Speaker 2: Plus you get all of the songs and all the

1026
00:54:14,039 --> 00:54:17,679
fun and the humor and just the fun of the movie.

1027
00:54:18,119 --> 00:54:20,559
And the soundtrack's got a lot of skippers. It's much

1028
00:54:20,679 --> 00:54:22,880
like the Saturday Night Fever album we talked about. There's

1029
00:54:22,880 --> 00:54:24,639
a lot of great songs, there's a lot of skippers,

1030
00:54:24,760 --> 00:54:26,360
but in the movie you get both. So I'm taking

1031
00:54:26,360 --> 00:54:27,239
the movie every day of the week.

1032
00:54:27,599 --> 00:54:30,719
Speaker 1: So this one truly is I mean, without the movie,

1033
00:54:31,079 --> 00:54:34,239
the soundtrack isn't as good. Sure, and without the soundtrack,

1034
00:54:34,320 --> 00:54:35,960
the movie isn't as good. So it is a very

1035
00:54:36,000 --> 00:54:38,079
difficult comparison. But I think you kind of hit the

1036
00:54:38,159 --> 00:54:40,480
nail in the head with the soundtrack. You've got a

1037
00:54:40,559 --> 00:54:44,199
lot of extra thrown in. That's a problematic number one.

1038
00:54:44,719 --> 00:54:47,719
Number two is, as I mentioned, this is all about fun.

1039
00:54:47,960 --> 00:54:51,440
This music and this movie are all about fun. If

1040
00:54:51,519 --> 00:54:53,880
you're having fun with the album, it's because you're thinking

1041
00:54:53,880 --> 00:54:56,360
about the movie. If you're having fun out at a

1042
00:54:56,440 --> 00:54:58,800
party or at a wedding because of the songs on

1043
00:54:58,840 --> 00:55:01,800
this album, it's because you recreating the dance moves in

1044
00:55:01,840 --> 00:55:05,840
the moments from this movie. Without the movie, the soundtrack

1045
00:55:06,079 --> 00:55:08,480
just isn't really a thing. And so I have to

1046
00:55:08,679 --> 00:55:10,480
agree with you. It has to be a movie. I

1047
00:55:10,559 --> 00:55:14,119
want to see the action. I want to watch what happens.

1048
00:55:14,199 --> 00:55:16,079
And I want you to take out all of that

1049
00:55:16,320 --> 00:55:19,760
Cindy Mullins and Louis Saint Louis garbage that's in there

1050
00:55:19,840 --> 00:55:23,880
and just give me the good, full stake of the

1051
00:55:24,000 --> 00:55:26,199
movie and soundtrack. Yeah, I'm totally with you.

1052
00:55:26,400 --> 00:55:26,760
Speaker 4: All right.

1053
00:55:26,960 --> 00:55:29,159
Speaker 1: Well, there you go, folks. If you got to pick

1054
00:55:29,320 --> 00:55:31,760
who you gonna pick, You're gonna pick the movie. What

1055
00:55:32,000 --> 00:55:37,000
my mother? Yeah, So we want to hear from you.

1056
00:55:37,199 --> 00:55:38,920
Do you love the movie? Do you love the soundtrack?

1057
00:55:39,039 --> 00:55:40,440
Speaker 2: Which song is your favorite?

1058
00:55:40,480 --> 00:55:41,719
Speaker 1: Which character is your favorite?

1059
00:55:41,800 --> 00:55:44,280
Speaker 2: Email us, hit us up on Facebook, hitus up on Twitter.

1060
00:55:44,320 --> 00:55:47,519
We want to hear from you. D Next week, we've

1061
00:55:47,559 --> 00:55:50,440
got something really special coming up. We've talked about it,

1062
00:55:50,519 --> 00:55:53,280
we've teased it up. We're finally gonna do it. Top

1063
00:55:53,400 --> 00:55:56,400
five eighties movie vehicles.

1064
00:55:56,719 --> 00:55:59,360
Speaker 1: It is really really hard and I still don't know

1065
00:55:59,440 --> 00:56:01,800
what my top five arm. But we have decided that

1066
00:56:01,880 --> 00:56:04,400
there are so many awesome vehicles out there. We're going

1067
00:56:04,480 --> 00:56:07,639
to first do movies, then we're going to cover TV

1068
00:56:07,800 --> 00:56:10,199
TV because you get a whole other slew of cars

1069
00:56:10,239 --> 00:56:12,519
that are socially there. And then we have given James

1070
00:56:12,599 --> 00:56:16,119
Bond its own unique category because there are a million

1071
00:56:16,199 --> 00:56:18,400
James Bond movies and every single one of them has

1072
00:56:18,400 --> 00:56:21,360
an amazing car. Absolutely, so it's it's perfect. We're gonna

1073
00:56:21,360 --> 00:56:23,760
have We're gonna have a slew of great episodes from

1074
00:56:23,800 --> 00:56:26,679
this idea of top five vehicles. Come back next week.

1075
00:56:26,679 --> 00:56:29,280
It's gonna be a lot of fun dad coming. I

1076
00:56:29,360 --> 00:56:31,400
forgot to mention that Margaret Travolta is in the movie

1077
00:56:32,000 --> 00:56:36,440
Margaret Travolta, John Travolta's sister who was acting before he

1078
00:56:36,639 --> 00:56:39,320
was acting, she was like she was She was the

1079
00:56:39,440 --> 00:56:44,320
Fawns's interesting connection. She was the Fawns's and Chatchi's like

1080
00:56:44,519 --> 00:56:47,719
aunt or whatever. And then she ended up playing like

1081
00:56:48,000 --> 00:56:51,280
Scott Bayo's mom and Charles in Charge and some other

1082
00:56:51,480 --> 00:56:53,920
TV show that was really yep. But she's one of

1083
00:56:53,960 --> 00:56:57,159
the waitresses that's that's watching him on TV. She looks

1084
00:56:57,199 --> 00:56:59,960
like John Travolta in address. She kind of does yeah, yeah,

1085
00:57:00,719 --> 00:57:02,920
why ah