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Speaker 1: Hudson River Radio dot Com Like can you want I come?

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Speaker 2: They come on the land me Now.

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Speaker 3: Hey, this is Jesse Carmichael from Room five.

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Speaker 4: Hi, this is Phil Margol of the Tokens.

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Speaker 5: Hello.

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Speaker 6: It's Nicole Atkins on the Rock and Roll History Show.

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Speaker 2: Hello, everybody, Welcome back to the Rock and Roll History

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Show on Hudson River Radio. I'm Chief Cupid Brian Horowitz,

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gonna try to control all the cat crambones we have

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here tonight. As is our tradition, Valentine's is coming up,

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so uh we all pick either pro or con Valentine's

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kind of tracks and see where our mood falls. So

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I'm looking forward to seeing what happens tonight as always.

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Before we hop in, allow me to introduce all the

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crambones who are joining us here tonight. First and foremost,

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from the Rich Observatory. He believes that only girls are

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born on Valentine's Day because there's no mail delivery on holidays.

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Neil Richter is back.

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Speaker 4: Oh I see what you did that?

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Speaker 7: Yeah?

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Speaker 2: I see.

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Speaker 4: How you doing?

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Speaker 2: Everybody, the host of Paranormally Yours. She believes skunk's love

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Valentine's Day because they're sentimental.

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Speaker 8: Wow.

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Speaker 1: Stinky ponds, sticky pons.

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Speaker 8: Wait wait, wait till everybody hears the song, I chows, Oh,

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I can't wait. Keep that in mind.

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Speaker 2: And from the silver screen she saw two chemists walk

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into a bar on Valentine's Day. One said to the other,

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I've got my eye on you, Mercedes Cat this year.

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Speaker 5: Okay, so it did take me a minute.

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Speaker 2: That's good, A good thinker every now and then. It's

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never got hurt anybody.

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Speaker 5: Hey, everybody, Happy Valentine's Day.

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Speaker 2: And our absolutely retired teacher, he says, if you always

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want a date on Valentine's Day, get a calendar.

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Speaker 9: Hey, everybody, Happy Valentine's Day to everybody out there in

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radio land.

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Speaker 2: And last but not least, the host of shaving Cream,

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she says, the one flower you should never give on

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Valentine's Day is califlower.

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Speaker 10: Barbara Ville this year, I would agree with that.

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Speaker 2: I would disagree. I'd be very happy to get a cauliflower.

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But I'm a little strange. What can I say?

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Speaker 1: I think you have to be to be on this show.

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Speaker 2: I think so. So Yeah, this this Valentine's Day tradition

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kind of geled a few years ago. It was we

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were kind of split fifty to fifty pro Valentine's anti Valentines.

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I'm neutral on Valentine's. I am against the price gouging,

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but I am for all the chalk that comes with it.

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So I'm kind of in the middle of myself and

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I'm looking forward to hearing what everybody has chosen for

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this year's selection. And Mercedes, you're going to leave us

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up this.

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Speaker 3: Year, I am, and I am really happy to be

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kicking off the show today because I don't know if

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my Valentine's Day song is pro or con.

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Speaker 5: And maybe you can help me decide.

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Speaker 3: The song title is Go to the Line, and it's

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by a band called the Nightcaps, and it's from nineteen

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eighty two album of the same name on Sire Records.

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And first I want to tell you a little bit

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about the band. I worked for Sire Records at the

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time that this song was released, and I was a

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huge fan. I went to every show that I could,

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and I knew the band members. I lost track of

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them over time, but I never forgot I reached out

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to a mutual friend and found Jan about two years ago,

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so I decided to bring him along to talk about

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the song and maybe he can tell you if it's

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pro or con Valentine's Day.

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Speaker 11: God, you know, hi Hi, you don say hi jam Hi.

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Speaker 7: Everybody ex musing reason all things for picking a song

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of mine. But it's funny because when you asked me,

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I thought, well, I don't really have any love songs

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because I love I loved subversive love songs like that

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were actually political songs sounded like love songs like Curtis

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Mayfield and stuff like that. So this, when you asked

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me about this, I went, that was that was like

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I was like eighteen or nineteen years old, first serious,

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real girlfriend, and we kept breaking up and going back together.

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So it's and I love you and why do you

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hate me? And why do I hate you? And let's

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get back together song? So it falls strictly in both camps.

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Speaker 5: Chorus. Are you in trouble?

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Speaker 12: John over?

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Speaker 2: There?

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Speaker 11: No?

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Speaker 7: No, No, that's that's my ride coming for me. Oh,

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I'm sorry. That's the New York City Symphony. They're coming

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down Second Avenue.

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Speaker 11: They're on tour.

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Speaker 7: Sorry, I lived near many major hospitals. Anyway you can

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edit that out.

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Speaker 2: Near or in.

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Speaker 7: Yeah, depends on when you ask.

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Speaker 3: Okay, so to me, I don't know, if I ever,

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I don't know. Did we have lyrics back then with

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their lyrics on that there.

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Speaker 11: Was there There was a lyrics sheet on the album.

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Speaker 7: I think Daven put it on that reissue CE that

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came out years ago, like ten years ago or something. Yeah,

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there were lyrics on the inner sleeve and it was

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pictures of us and the Uptown Horns who figure really

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largely in this Arno Hecked, Crispin, c Bob Funk, Paul

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litteral those guys.

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Speaker 11: We lost them to my favorite live band ever, the

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Jay Giles.

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Speaker 7: Band, So losing them was heartbreaking and yet validation. I

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got the best guys and they contributed everything to this,

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and that was Al Maddie who you know who you've

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seen recently, and Sammy Brown on drums, and Peter Jordan

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from the New York Dolls and Stumble Bunny and several

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other bands who was on base. I started this band

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because the Voidoids broke up when I had been in

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Richard Hell and the Voidoids in seventy nine, and my

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mother said, go back to school, get a job, or

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start another band.

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Speaker 5: That's a no brainer.

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Speaker 2: Yeah.

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Speaker 3: So yeah, so I was going to say I didn't

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really well, I didn't remember the lyrics. Maybe I knew

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him at the time, but you know, it's too busy

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like dancing and.

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Speaker 11: Well, it's you know, it's very funny.

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Speaker 7: It's that kind of like pet It's kind of a

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petulant song. Looking at it from forty plus years, it's

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kind of a petulant little boy breaking up but not

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breaking up with this first serious girl who I'm still

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friends with to this day, by the way, who I

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who asked me for a copy of the LP who

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because her boyfriend, who she's married to, has liked the band.

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Speaker 11: Life.

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Speaker 13: Yeah.

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Speaker 5: Really, but I think you know the chorus is I'd

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go to the line.

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Speaker 11: For you, but you'd throw it all away, you.

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Speaker 3: Know, right right?

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Speaker 4: Yeah.

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Speaker 3: I always thought of it as a romantic song, like

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I would do any thing for you. So that was

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my initial reason for picking the song. And then the

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more I talk to you and the more I listened

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to the song, I was like, okay.

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Speaker 7: Yeah it was it was you know, you're trying. I

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was trying to like sort of snap. I can say

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her name, she wouldn't mind. I was trying to snap

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and Carrie Hamilton and I and I wrote you know

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we were such a pretty pair, matching eyes and matching hair,

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you know, eighteen year old stuff. And you know, I

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wish that I could make the old days clearer. I

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wish I could make the old days nearer.

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Speaker 11: We're eighteen.

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Speaker 7: How many old days were they? I wish that I

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could tear you from your mirror. I might as well

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have been speaking about my own self. So it's really

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funny to look at it through those eyes ago. Yeah, yeah, yeah,

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but it really is a I love you? Why why

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don't you love me the same way I love you?

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Maybe I don't well view this say when you love

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me not?

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Speaker 5: Let's let's play the song.

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Speaker 14: Oh, it was such a prettiest thing.

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Speaker 12: Fat you're not imagine gors.

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Speaker 14: The town you goes up, I'll building alone And that's down.

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Speaker 1: Words that the.

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Speaker 14: Right got.

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Speaker 12: Got oh my.

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Speaker 14: On the wrists, just coming all.

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Speaker 15: The words coming on the road, don't.

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Speaker 14: Come back getting down in the sports got your can't

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you want post your back word.

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Speaker 12: To words black patches black.

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Speaker 15: As I was another five bucks five to.

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Speaker 12: The issues as to tell.

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Speaker 11: You Rocky the d.

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Speaker 14: Last spot you love You're going on the words you

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got it on the words You've got it on the way,

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I've got the last love back up on the WT

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colling on the WBS, step out on the word, gotta.

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Speaker 12: All that stuf, gotta.

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Speaker 13: Let you say, you gotta do.

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Speaker 11: The gotta.

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Speaker 16: Have what's come off?

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Speaker 11: Back to.

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Speaker 17: What's come off?

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Speaker 11: Back to the.

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Speaker 14: What's come off?

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Speaker 11: Back to the.

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Speaker 14: Speaks like one. I want to tell you about blas Way.

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Speaker 17: You said not good?

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Speaker 12: The other you are you sad?

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Speaker 11: Not good? I be saying you?

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Speaker 14: Is it not good that your frock your side, last funny?

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All all the words, doing all the words, You're all

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it all the worst.

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Speaker 11: I don't last.

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Speaker 8: I love.

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Speaker 14: Still thound, all the words, still do all the words,

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still do it? All the world speaking stupid.

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Speaker 11: It's been a while.

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Speaker 5: How did it sound to you?

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Speaker 11: You know? I love?

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Speaker 7: I just it just flashed to me that when I

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was writing that, I was fascinated with Elvis Costello's Trust album.

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I had been and he wrote this song on that

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album that had two distinct parts, and I thought, why

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not just throw something in at the end that has

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almost nothing to do with the song, but it's related,

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and I kind of I just flashed on that when

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I was listening to it. You don't I have to

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listen to this in years.

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Speaker 5: I love that debt.

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Speaker 3: It changes that the song changes. I think that's very cool. Yeah,

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and I think you sound amazing.

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Speaker 2: I mean writing parts for the horn section is not easy.

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Is that something you learn how to do? Is it

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you just figure?

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Speaker 7: Well, I've got to give credit to the uptown horns

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where it's too. They would I was musically illiterate, so

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I would just play them parts or hum them parts.

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They would take them and then play them in front

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of me and go like this and I you know,

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like the spinal tap joke to raga, you know. But

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really they crafted the We crafted the arrangements together. All

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the harmor harmonic structures were theirs. I just gave them

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the lines and sometimes they go, yeah, that's a bit trite.

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We do that all the time with other bands. Don't

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do that, which was great growing up, advice nice.

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Speaker 18: They played with so many people they were really oh

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we lost them, the Jay Giles and then they went

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on to the Rolling Stones and Robert Plant and playing

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on Living in America by James.

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Speaker 4: Brown, on and on and on.

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Speaker 7: They were no and they came together as a horn

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section in the bedroom I lived in in my parents' house.

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Speaker 11: On Sixteenth Street.

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Speaker 2: Oh, I'm sure the neighbors love that.

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Speaker 11: The horns were the most benign sound that came out

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of that room.

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Speaker 5: So you wrote the song, you wrote the horn?

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Speaker 11: Yeah, yeah, I wrote that song.

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Speaker 7: And yeah, al Maddy of course always contributed arrangement stuff

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whatever you guys, he does with music with me to

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this day.

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Speaker 11: But he that was mine and I brought it to

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the band and then they did the thing that they

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did which made them a band.

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Speaker 7: You know, you can bring a song and tell people

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how to play it, but unless people will understand you

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get get it in their hands, there could be any

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four guys.

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Speaker 5: And this this song, I don't know.

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Speaker 11: It charted right, No, no, it charted on on some

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on like Indie Networks CMJ kind of thing.

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Speaker 7: And it charted in certain places that we funnily enough,

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like in the States it was like Detroit and Philly

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and Cleveland and places that.

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Speaker 11: Always liked the bands that we sort of liked. And then.

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Speaker 7: In France and Italy and Germany for a while, but

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really we never.

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Speaker 11: Got the tour over there.

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Speaker 7: We got to tour with YouTube uh in England, Scotland

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and Wales during the war tour, and that was about

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it for us with Sire.

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Speaker 11: We made just the one record and we're handsomely paid

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to leave.

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Speaker 7: Oh yeah, we don't have no, we don't have a

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sad rock and roll We got screwed story. The two

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A and R guys who signed us, Ken Kushnik, Michael

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Rosenblack right, Mike left to go join his father at Geffen.

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Speaker 18: Well he went to the Frontier first, but yeah, right,

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and then he joined ed and he uh and then

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Ken went to become head of WE International.

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Speaker 7: So the two guys who signed us had left, and

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Seymour was occupied with Madonna, rightfully so, and so we

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got kind of you know, we are. We had good representation,

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we had a good relationship with them, and they gave

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us money rather than you know, our lawyer said, you'll

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make the album and they'll keep it in the shelf forever,

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or they'll give you money.

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Speaker 11: And we said, give us money.

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Speaker 5: And that was Seymour's doing.

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Speaker 7: David Altshule, you know, they were the Warner Brothers structure

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because Warner Brothers was not fond of us.

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Speaker 11: Sire was.

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Speaker 7: When we lost our champions at Sire, we lost Warner Brothers,

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so it wasn't a you know, it wasn't a hardship story.

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We walked away happy. I saw Seymour Stein about ten

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years ago at a party and I said, Seymour, I

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just wanted to thank you. And he didn't remember who

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I was.

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Speaker 5: I'm not surprised, and I said.

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Speaker 11: Jan from the Nightcaps. So I got seymore stories for decades.

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We won't go there. And he looks at me. He

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was sitting in a chair.

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Speaker 7: It was on Delancey Street, that club that had an

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upstairs outdoors thing, and he was sitting in a chair.

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He looked like Sydney Green Street. It was one of

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those wicker chairs. And I said, Seymour, I just wanted

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to thank you, and he goes. I said, I'm Jan

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from the Nightcabs, Barbuskuydell's nephew. And he goes and he

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looks at me and he said thank me for what

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because I could see it clicking for him.

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Speaker 11: Yeah yeah, And I said, I'm sorry, I'm horse tonight.

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Speaker 7: I said thank you for sending me to places I

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never would have gone, Meeting people I never would have gone.

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He met cities I never would have gone to things

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I never would have had had a big nice part

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of my resume. And he looked like relieved, but I

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didn't attack him.

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Speaker 17: It was like.

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Speaker 11: I walked away with a few bucks.

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Speaker 6: Yeah, yeah.

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Speaker 4: In the band.

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Speaker 3: Yeah, that's awesome.

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Speaker 4: Good.

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Speaker 5: At least we did right by you. That's good to know.

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Speaker 3: So Seymour's for anybody who doesn't know Seymour Simus, the

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president of Sire Records.

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Speaker 11: Sorry, I was speaking as if I was speaking to you,

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not an audience.

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Speaker 5: I know, It's okay, let me translate.

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Speaker 11: Should have looked at the other six people on my street.

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Speaker 2: Sorry, We're all just listening intently and we're taking notes

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on how to make money by not making records.

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Speaker 7: It was I likened it to farm subsidies, you know,

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where they would pay farmers to plow their crops under.

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Speaker 12: There you go.

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Speaker 5: Yep, So you did make another record.

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Speaker 7: Yeah, we made another record on their our own auspices,

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actually in the Hudson Valley. We made it with a

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woodstock label in the early nineties. It was self funded

335
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and it was really done the way I do music now,

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which is because I have to and giving it away

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is sort of By the time that CV was coming

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out nearly nineties, did music business as we knew it,

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and as I grew up in it was not the same.

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Speaker 11: So selling has never been the deal.

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Speaker 7: At this point, I have people who've heard what I've done,

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who listen, and I make it for them, and I

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make it so that my kid goes this is where

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your grandfather's work really took shape.

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Speaker 5: So I guess we got to get on with the

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rest of the show.

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Speaker 7: I Mercedes, thank you for inviting me. Everybody else please

348
00:22:09,119 --> 00:22:10,160
thank you for having me.

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Speaker 2: Yeah, You're welcome to stay and make witty comments if

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you like.

351
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Speaker 4: If you if you have pain, keep them under the radar.

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Speaker 11: Unless invited, I'll keep them under the radar. I'm gonna

353
00:22:20,839 --> 00:22:23,039
hang out and listen though sounds good.

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Speaker 3: The last thing I wanted to say is the album

355
00:22:26,880 --> 00:22:30,599
Go to the Line by the night Caps. Every single

356
00:22:30,839 --> 00:22:34,880
song is spectacular. If you ever happen to see it somewhere,

357
00:22:35,440 --> 00:22:38,119
you should grab it because it is. Really every song

358
00:22:38,279 --> 00:22:39,880
is amazing. Why are you laughing?

359
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Speaker 5: It's so true.

360
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Speaker 11: I'm laughing because you can buy it.

361
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Speaker 7: A Look, none of this goes to me because that

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00:22:48,799 --> 00:22:52,119
album will never recoup what they gave us and paid

363
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us to go away.

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Speaker 5: So yeah, but you know, for your listening ears.

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Speaker 7: It's on Spotify, so if you want to help pay

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a penny for each listen to the recoupment balance, you

367
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can find it there.

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Speaker 2: So, Jane, are you playing out anywhere?

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Speaker 11: I have been?

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Speaker 7: I spent the last year playing a regular show here

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in New York City on Saint Mark's Place with an

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amalgamation of great New York City people that I've grown

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to know.

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Speaker 11: Oh Titian style. The names.

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Speaker 7: I hesitate to start naming people because you will be

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here too long, or I'll leave somebody out.

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Speaker 11: I'm a Julian.

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Speaker 7: My old brother from the Voidoids was one of the

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people who played, as well as the people from the

380
00:23:51,200 --> 00:23:54,319
Bush Tetras and Faith and what anyway, I don't want

381
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to leave anybody out.

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Speaker 11: But this year it's about working on the record.

383
00:24:01,200 --> 00:24:05,960
Speaker 7: I seem to make every decade I'm working with Night

384
00:24:06,079 --> 00:24:10,720
Bob look him up and Charlie Row and.

385
00:24:12,759 --> 00:24:15,319
Speaker 11: That's it. Focusing on the recording.

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Speaker 2: Before I forget. Is there a website or social media

387
00:24:17,720 --> 00:24:20,759
somewhere we can get anything out for me?

388
00:24:21,039 --> 00:24:21,079
Speaker 11: No?

389
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Speaker 7: Okay, no, I would highly recommend looking up Night Bob

390
00:24:27,440 --> 00:24:29,599
Chaikowski's website.

391
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Speaker 11: He and Rich Neeson do a thing called not road

392
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Diaries or something like that.

393
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Speaker 7: It's a beautiful show about from two guys who've grown

394
00:24:42,200 --> 00:24:47,960
up there, who longer than we've been alive on the road.

395
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Speaker 11: With fans, and one of them is producing my new record.

396
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Speaker 2: So nice. So do you are you working in studio

397
00:24:54,720 --> 00:24:56,519
or are you working from home mostly.

398
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Speaker 11: Or working right now?

399
00:24:59,200 --> 00:25:02,759
Speaker 7: We're working on There have been about because I only

400
00:25:02,839 --> 00:25:06,000
make a record, say every ten years or so, I've

401
00:25:06,039 --> 00:25:06,880
been working.

402
00:25:06,680 --> 00:25:08,599
Speaker 11: On excuse me.

403
00:25:09,200 --> 00:25:13,359
Speaker 7: I've been working on whittling down the list with the

404
00:25:13,480 --> 00:25:17,079
assistance of the two guys I'm working with at the

405
00:25:17,359 --> 00:25:19,039
production stage, and we're.

406
00:25:18,920 --> 00:25:26,279
Speaker 11: Whittling down the songs. My throat is dying questions, we're

407
00:25:26,279 --> 00:25:26,880
whittling them.

408
00:25:27,000 --> 00:25:29,240
Speaker 7: We're whittling them down to a list of about ten

409
00:25:29,400 --> 00:25:32,160
or so. We don't really believe that an album is

410
00:25:32,240 --> 00:25:34,720
what you want to do right now. We just want

411
00:25:34,839 --> 00:25:38,240
to and they all know the same thing. I'm giving

412
00:25:38,319 --> 00:25:42,799
this away. I'm keeping all the rights. Anybody wants to

413
00:25:42,880 --> 00:25:47,400
use it for anything like that, fine, but really everybody

414
00:25:47,480 --> 00:25:48,440
involved those it's.

415
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Speaker 11: Being given away.

416
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Speaker 2: That's cool.

417
00:25:51,880 --> 00:25:58,480
Speaker 3: You've been doing the the uh mike for tell shows.

418
00:25:59,440 --> 00:26:01,279
Speaker 11: Yeah, yeah, that's great.

419
00:26:01,680 --> 00:26:06,319
Speaker 3: You are amazing. You slay the audience. I mean, it

420
00:26:06,480 --> 00:26:09,119
is breathtaking to see you sing well.

421
00:26:09,519 --> 00:26:11,519
Speaker 11: Mike gives me great songs.

422
00:26:11,759 --> 00:26:11,960
Speaker 12: Yeah.

423
00:26:12,240 --> 00:26:18,680
Speaker 7: And then that band Murderers Row Yeah, Charlie Roth, Danny DeVito,

424
00:26:20,000 --> 00:26:22,759
got it, get again. I'm gonna lead people out like

425
00:26:23,079 --> 00:26:23,880
ten people.

426
00:26:25,799 --> 00:26:29,480
Speaker 5: Dave Foster, Yeah, amazing.

427
00:26:29,440 --> 00:26:30,720
Speaker 11: Amazingam Speinberg.

428
00:26:30,880 --> 00:26:33,279
Speaker 7: I can't even name all of them, right, yeah, yeah,

429
00:26:34,359 --> 00:26:36,920
but you can't sound bad with that band.

430
00:26:38,240 --> 00:26:40,599
Speaker 3: Yeah. And the song and the combination of the songs

431
00:26:40,640 --> 00:26:41,279
that he picks.

432
00:26:41,920 --> 00:26:42,920
Speaker 11: Yeah, he takes.

433
00:26:43,119 --> 00:26:47,400
Speaker 3: He takes a year and gives everybody a song that

434
00:26:47,599 --> 00:26:54,160
he thinks will fit them somehow. And Jim, what was

435
00:26:54,240 --> 00:26:56,720
the list? What was the last couple of songs that

436
00:26:56,799 --> 00:27:00,079
you did? They were Rainy Knight in Georgia.

437
00:26:59,839 --> 00:27:03,359
Speaker 11: Right, Oh, that was yeah, there is I do have

438
00:27:03,680 --> 00:27:06,839
My daughter finally sent me a video of that. I

439
00:27:07,039 --> 00:27:13,240
finally that was July. I've got it in January. But

440
00:27:14,119 --> 00:27:21,160
that's what kids are for, and we did it. Sixty five,

441
00:27:21,359 --> 00:27:23,240
sixty six, sixty.

442
00:27:22,960 --> 00:27:27,880
Speaker 7: Seven, sixty eight, sixty nine, seventy nineteen sixty nine.

443
00:27:27,920 --> 00:27:29,839
Speaker 11: I got to sing fire, which was fun.

444
00:27:30,039 --> 00:27:34,359
Speaker 3: That was mind blowing. Oh my gosh.

445
00:27:34,599 --> 00:27:38,720
Speaker 5: Anyway, okay, go on, folks and.

446
00:27:39,559 --> 00:27:41,519
Speaker 11: Down please we can do this later.

447
00:27:43,200 --> 00:27:47,480
Speaker 2: Ass again, as you're putting stuff out, come on back

448
00:27:47,519 --> 00:27:50,640
and share it because I love the whole process. I

449
00:27:50,759 --> 00:27:53,119
love the studio, the mixing, all the all the techie

450
00:27:53,240 --> 00:27:55,920
behind the scenes kind of stuff. So I'm in me too,

451
00:27:56,440 --> 00:27:57,920
So yeah, me too.

452
00:27:58,440 --> 00:28:01,359
Speaker 7: Keith Richards had left everything about that out of his book,

453
00:28:01,440 --> 00:28:02,400
kind of read it twice.

454
00:28:06,799 --> 00:28:11,079
Speaker 5: All right, Okay, Also that's my song. I don't know.

455
00:28:11,319 --> 00:28:14,200
You can vote later if you want on which.

456
00:28:14,000 --> 00:28:14,759
Speaker 3: Way it goes.

457
00:28:15,000 --> 00:28:18,480
Speaker 2: I'm going to say, given the age bracket, it's trying

458
00:28:18,599 --> 00:28:21,759
so hard because some I don't know where I heard it.

459
00:28:21,839 --> 00:28:24,279
But at that age when you think about you know,

460
00:28:24,359 --> 00:28:26,920
like like you have a one year high school relationship,

461
00:28:27,359 --> 00:28:29,680
that is a much larger percentage of your life than

462
00:28:30,160 --> 00:28:33,119
if you're fifty and you had a one year relationship,

463
00:28:33,519 --> 00:28:36,880
and that much easier to get over. So I'm going

464
00:28:36,960 --> 00:28:39,519
to say it's pro and you're trying, you're figuring it out,

465
00:28:39,599 --> 00:28:40,160
you're learning.

466
00:28:40,720 --> 00:28:41,160
Speaker 11: I agree.

467
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Speaker 2: That would be my vote.

468
00:28:43,079 --> 00:28:46,119
Speaker 3: Yeah, I agree, All right, cool, Okay.

469
00:28:46,319 --> 00:28:48,559
Speaker 2: We're going to take a quick break and give Jan's

470
00:28:48,640 --> 00:28:51,039
voice arrest and we're going to be back with Neil's pick.

471
00:28:51,079 --> 00:28:52,319
So stick around. We'll be right back.

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Speaker 8: This is Hudson River Radio dot Com. This concludes the

473
00:28:56,599 --> 00:28:57,920
first part of this cassette.

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Speaker 2: Please turn the cassette over and begin again on side too.

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Speaker 12: Hudson Riverradio dot Com.

476
00:29:10,799 --> 00:29:15,039
Speaker 2: And welcome back. I don't think Neil is known for

477
00:29:15,200 --> 00:29:18,160
being cupid, like so, I don't know which the rest.

478
00:29:18,599 --> 00:29:21,559
Speaker 4: Hi, Ay, he's gonna go. I beg to differ.

479
00:29:22,559 --> 00:29:26,359
Speaker 2: I will sit back and listen to everything you have

480
00:29:26,480 --> 00:29:26,799
to say.

481
00:29:27,359 --> 00:29:30,240
Speaker 4: Yeah, I don't know if this will be a pro

482
00:29:30,759 --> 00:29:34,680
or con either, so I'll I'll well, let's get into

483
00:29:34,759 --> 00:29:38,519
it and you'll you'll see what I mean, because you know,

484
00:29:39,200 --> 00:29:42,759
my reputation here on the Rock and Roll History Show

485
00:29:42,880 --> 00:29:48,480
is the connoisseur of the obscure. And I think perhaps

486
00:29:48,559 --> 00:29:52,039
so we got Mercedes and Jan here. I think they

487
00:29:52,160 --> 00:29:55,680
might know the band in the song I'm talking about.

488
00:29:55,759 --> 00:29:59,519
We'll find out because for my Valentine's Day song, I

489
00:29:59,559 --> 00:30:02,720
went into the early days of New York City punk

490
00:30:02,839 --> 00:30:07,039
rock for a band called The Fast and a song

491
00:30:07,240 --> 00:30:12,680
called It's Like Love Now. The Fast were an American

492
00:30:12,759 --> 00:30:15,519
glam punk band that formed in New York City in

493
00:30:15,559 --> 00:30:19,680
the mid nineteen seventies, and, while never reaching the commercial

494
00:30:19,720 --> 00:30:23,119
heights of their contemporaries like the Ramones, Blondie or the

495
00:30:23,319 --> 00:30:27,519
Talking Heads. They were an influential part of the CBGB

496
00:30:27,680 --> 00:30:31,000
Maxis Kansas City scene when the New York City punk

497
00:30:31,079 --> 00:30:36,200
scene was still in its infancy. The fast sound and

498
00:30:36,480 --> 00:30:42,880
style blended nineteen sixties modpop with the use of synthesizer keyboards,

499
00:30:43,039 --> 00:30:46,839
sort of what you might call bubblegum power pop before

500
00:30:46,920 --> 00:30:50,480
the synthesizer would become a staple of what would soon

501
00:30:50,559 --> 00:30:56,319
be called new wave. Formed by brothers Mickey Zone and

502
00:30:56,559 --> 00:30:59,680
Mandy Zone, and later by a third brother, Paul Zone,

503
00:31:01,119 --> 00:31:03,480
they were joined by pretty much a rotating cast of

504
00:31:03,599 --> 00:31:08,680
musicians like so many bands, and they released their first single,

505
00:31:08,799 --> 00:31:11,640
Boys Will Be Boys in nineteen seventy six, which also

506
00:31:11,799 --> 00:31:16,319
appeared on an LP called Max's Kansas City nineteen seventy six,

507
00:31:17,839 --> 00:31:21,319
which was produced by Peter Crowley, who just happened to

508
00:31:21,359 --> 00:31:24,559
be the man who booked the bands at Max's at

509
00:31:24,640 --> 00:31:28,640
the time. So a little marketing there, I think so,

510
00:31:29,160 --> 00:31:31,720
And it was sort of Max's answer to the Live

511
00:31:31,799 --> 00:31:36,359
at CBGB's album that had come out not too long

512
00:31:37,119 --> 00:31:41,079
before that. Now, their second single, the song We're About

513
00:31:41,160 --> 00:31:45,960
to Hear called It's Like Love, was released in nineteen

514
00:31:46,079 --> 00:31:49,839
seventy seven and produced by Richard Gotderer, who had been

515
00:31:49,839 --> 00:31:53,000
a producer and a member of a band called The

516
00:31:53,079 --> 00:31:56,920
Strangeloves in the nineteen sixties and their hit I Want

517
00:31:57,039 --> 00:32:00,920
Candy was covered by Bow Wow Wow. In the nineteen eighties,

518
00:32:02,079 --> 00:32:05,880
he'd also just produced Blondie's debut album, and he would

519
00:32:05,920 --> 00:32:07,839
go on to work with the Go Gos as well.

520
00:32:08,880 --> 00:32:11,319
And Oh, by the way, I did buy the single

521
00:32:11,440 --> 00:32:13,960
when it came out, and yes I still have it.

522
00:32:15,400 --> 00:32:19,960
So let's feel a love. It's like love by the fast.

523
00:32:39,440 --> 00:33:05,160
Speaker 12: Hurricane, blood drip for you while black, like an electric

524
00:33:05,640 --> 00:33:13,240
sex canning shifting like you dinner thing when.

525
00:33:13,200 --> 00:33:15,160
Speaker 17: I did love me?

526
00:33:15,920 --> 00:33:18,240
Speaker 15: Yes to take what to take?

527
00:33:19,079 --> 00:33:23,160
Speaker 14: Maby made to say?

528
00:33:23,920 --> 00:33:26,079
Speaker 12: I can say it's.

529
00:33:27,920 --> 00:33:59,839
Speaker 17: Not makes feed like skirts may be as.

530
00:34:03,440 --> 00:34:10,440
Speaker 12: Sound, excuse me?

531
00:34:10,800 --> 00:34:11,199
Speaker 19: Thank you.

532
00:34:13,000 --> 00:34:14,039
Speaker 12: Can see.

533
00:34:17,960 --> 00:34:19,079
Speaker 10: With my name.

534
00:34:21,039 --> 00:34:51,360
Speaker 17: And like loud and loud and loud and like love

535
00:34:52,639 --> 00:34:53,519
and like.

536
00:34:57,480 --> 00:35:01,880
Speaker 4: H yeah, so what thing pro? I think it's like

537
00:35:02,320 --> 00:35:06,239
pro It's almost like a comic book or cartoon love song.

538
00:35:07,639 --> 00:35:10,639
You know, he can't take it too seriously when he's

539
00:35:10,719 --> 00:35:14,440
wondering if it's her hairspray or mouthwash that turns him on,

540
00:35:14,800 --> 00:35:18,719
you know, and you can't get away with lyrics like

541
00:35:18,800 --> 00:35:22,480
that anymore. Back then, I think you could.

542
00:35:22,800 --> 00:35:23,599
Speaker 11: Yeah, and they did.

543
00:35:23,760 --> 00:35:28,519
Speaker 8: I'm gonna say pro it's so cute and lighthearted it is,

544
00:35:28,920 --> 00:35:33,280
and you know, kind of innocent love. It's just really sweet.

545
00:35:33,360 --> 00:35:34,119
I really like it.

546
00:35:34,519 --> 00:35:39,840
Speaker 2: Yeah, you haven't signed any documentation, it's a verbal agreement

547
00:35:39,920 --> 00:35:40,480
at this point.

548
00:35:40,880 --> 00:35:46,639
Speaker 4: So well, around nineteen seventy eight or nineteen seventy nine,

549
00:35:47,639 --> 00:35:50,639
while performing in Boston at a place called the Rat

550
00:35:50,719 --> 00:35:54,840
Scaler or the Rat as they call it. It was

551
00:35:54,920 --> 00:35:58,960
kind of Boston's equivalent to like CBGB's and incidentally the

552
00:35:59,039 --> 00:36:02,079
same place I saw them play at around that same time,

553
00:36:02,960 --> 00:36:05,000
So go figure, I went to Boston to see a

554
00:36:05,079 --> 00:36:09,760
New York band. But that's how our run anyway. At

555
00:36:09,760 --> 00:36:12,480
that time up there, they were spotted by rick O

556
00:36:12,679 --> 00:36:15,519
Kasek of The Cars, who invited them to open for

557
00:36:15,599 --> 00:36:19,320
The Cars at a big stadium show in Portland, Maine.

558
00:36:20,360 --> 00:36:24,119
Shortly after that, he also decided to produce a record

559
00:36:24,159 --> 00:36:27,039
for them at the famed Electric Lady Studios in New

560
00:36:27,119 --> 00:36:30,880
York City, some of which wound up on their first

561
00:36:31,039 --> 00:36:33,960
LP called The Fast for Sale that was released in

562
00:36:34,159 --> 00:36:39,559
nineteen eighty Now by nineteen eighty three, the band was

563
00:36:39,639 --> 00:36:43,199
reduced to a duo and became known as Man to Man,

564
00:36:43,599 --> 00:36:48,599
using keyboards, electronics and backing tapes, and they performed dance

565
00:36:48,719 --> 00:36:51,639
music in some of New York City's larger dance clubs,

566
00:36:51,960 --> 00:36:55,559
as well as venues throughout the UK, South America, and Mexico.

567
00:36:57,400 --> 00:37:00,480
And the last thing I saw was that Paul's head

568
00:37:00,519 --> 00:37:05,960
recorded a song that featured vocals by Debbie Harry of Blondie,

569
00:37:06,039 --> 00:37:09,079
and it was called I'll Try Anything Once, and that

570
00:37:09,280 --> 00:37:13,800
was back in two thousand and eight. But there it is.

571
00:37:15,400 --> 00:37:18,079
Speaker 11: I can add one thing to Paul zones bio.

572
00:37:19,039 --> 00:37:22,320
Speaker 7: Paul Zone has several published books of photography.

573
00:37:23,800 --> 00:37:25,079
Speaker 11: Excellent photographer.

574
00:37:26,519 --> 00:37:26,800
Speaker 4: Cool.

575
00:37:28,880 --> 00:37:31,000
Speaker 11: I know something, I knew all of them.

576
00:37:31,119 --> 00:37:34,880
Speaker 7: Oh please, you mentioned Peter Crowley, you mentioned Richard Gotta

577
00:37:34,960 --> 00:37:36,880
or I don't even want to go on about the

578
00:37:36,920 --> 00:37:39,000
connections with all of them that.

579
00:37:39,199 --> 00:37:42,239
Speaker 11: Are pertained to even the Nightcaps. But the guys in

580
00:37:42,320 --> 00:37:45,760
the fast Mickey Zone was one of the great guitar players.

581
00:37:45,880 --> 00:37:48,480
My only flaw, the only flaw in.

582
00:37:48,519 --> 00:37:53,559
Speaker 7: Those records is that he was he loved Pete Townsend

583
00:37:53,639 --> 00:37:56,400
and he was like he would hang upside down.

584
00:37:57,599 --> 00:38:00,239
Speaker 4: Sorry, oh it's funny. You should mention that beare because

585
00:38:01,599 --> 00:38:03,920
for the encore, the final song when I saw them,

586
00:38:04,239 --> 00:38:06,760
they did a version of I Can See for Miles,

587
00:38:07,039 --> 00:38:08,480
which knocked me out.

588
00:38:08,760 --> 00:38:13,199
Speaker 11: Yeah. And he would hang upside down from the top

589
00:38:13,280 --> 00:38:19,280
of Marshall Stack with the back of his legs. Yes,

590
00:38:19,679 --> 00:38:23,239
and I mean at Max's, not just like in big places.

591
00:38:23,639 --> 00:38:25,840
At Max's all the time. They were like a house

592
00:38:25,920 --> 00:38:26,760
band at Maxes.

593
00:38:26,880 --> 00:38:28,559
Speaker 8: Yeah, everybody needs a hobby.

594
00:38:29,159 --> 00:38:32,239
Speaker 4: I loved the fast. Thank you so much for playing

595
00:38:32,320 --> 00:38:36,239
them my pleasure. I knew you would. I knew you

596
00:38:36,280 --> 00:38:38,920
would know them that. That's great. I'm so glad you

597
00:38:39,000 --> 00:38:41,000
were here to add that. That's great.

598
00:38:42,960 --> 00:38:47,840
Speaker 2: All right, I'll set I don't want to step on anything, gotcha. Yeah,

599
00:38:48,000 --> 00:38:49,880
I'm going to vote for I'm going to vote pro.

600
00:38:52,119 --> 00:38:52,159
Speaker 15: S.

601
00:38:53,079 --> 00:38:54,199
Speaker 2: Yeah, yep.

602
00:38:54,639 --> 00:39:00,000
Speaker 4: So we've got two pros. Now, this we're what's we're slipped.

603
00:39:01,760 --> 00:39:03,679
Speaker 2: We're getting sentimental in our old age.

604
00:39:04,000 --> 00:39:04,199
Speaker 4: Yeah.

605
00:39:05,639 --> 00:39:05,840
Speaker 11: I know.

606
00:39:06,079 --> 00:39:09,960
Speaker 3: The first song I did for the Valentine my first

607
00:39:10,039 --> 00:39:14,280
Valentine show on Remember Radio.

608
00:39:17,000 --> 00:39:18,800
Speaker 5: I used to love her, but I had to kill her.

609
00:39:18,840 --> 00:39:24,440
Speaker 2: I remember, I remember. You've lightened up a little bit.

610
00:39:26,000 --> 00:39:27,880
Whatever you're taking you should share with us.

611
00:39:29,400 --> 00:39:31,639
Speaker 4: If I recall the first song I picked. I think

612
00:39:31,679 --> 00:39:35,719
it was Harry Nielsen and I said, you broke my heart,

613
00:39:35,800 --> 00:39:37,079
you tore it apart, so.

614
00:39:38,440 --> 00:39:40,639
Speaker 2: You yeah, there was there was some editing that had

615
00:39:40,679 --> 00:39:41,119
to be done.

616
00:39:41,239 --> 00:39:44,880
Speaker 4: Yeah, yeah, I remember that one too, So yeah, there

617
00:39:45,159 --> 00:39:46,199
has been a shift here.

618
00:39:46,480 --> 00:39:49,639
Speaker 2: Yeah, lightening up, a little early dementia whatever, you know,

619
00:39:49,760 --> 00:39:53,599
it's just we're getting soft and we are we are

620
00:39:54,519 --> 00:39:56,480
all right. Thank you, Neil. That was a good one.

621
00:39:57,079 --> 00:40:01,920
Speaker 9: John brough to you, Okay, I would think my selection

622
00:40:02,039 --> 00:40:05,639
tonight obviously is eleanor Rigby by the Beatles nineteen sixty six,

623
00:40:05,760 --> 00:40:07,760
and no, not the Alice Cooper version.

624
00:40:08,320 --> 00:40:08,400
Speaker 12: And.

625
00:40:11,079 --> 00:40:13,920
Speaker 9: Okay, yeah, I picked up on that one. I figured, no,

626
00:40:14,000 --> 00:40:16,079
I think I'm just gonna go with the original. But

627
00:40:18,360 --> 00:40:21,679
I would say this is not a pro Valentine's Day song,

628
00:40:21,880 --> 00:40:24,199
and I'd like to know what my fellow cranbones think

629
00:40:24,239 --> 00:40:28,719
of that. It's when you think about it, like the

630
00:40:28,840 --> 00:40:32,400
average person, not the music file, the average person drive

631
00:40:32,480 --> 00:40:35,280
it down the road and listen on the radio, doesn't

632
00:40:35,280 --> 00:40:37,199
even I think, pay attention to the lyrics. And I've

633
00:40:37,280 --> 00:40:40,280
talked a lot about that whole idea in a lot

634
00:40:40,400 --> 00:40:43,239
of my selections over the years.

635
00:40:43,280 --> 00:40:44,480
Speaker 20: Here at Hudson River Radio.

636
00:40:46,119 --> 00:40:49,360
Speaker 9: And so when you're kind of tapping along, you don't

637
00:40:49,440 --> 00:40:53,000
realize this is a very depressing song. It is a

638
00:40:53,199 --> 00:40:57,800
very it is you know, I'm I've seen some headshakings here, Mercedes.

639
00:40:57,960 --> 00:41:01,639
Speaker 20: And you know, for one, you know what is this

640
00:41:01,880 --> 00:41:03,280
song focused on.

641
00:41:03,440 --> 00:41:09,639
Speaker 9: It focuses on universal loneliness, unseen lives, dying alone, spiritual emptiness.

642
00:41:10,400 --> 00:41:13,800
So I gotta say, I'm gonna do Hudson River Radio

643
00:41:13,960 --> 00:41:16,519
a solid here, and I am going to bring this

644
00:41:16,880 --> 00:41:19,000
right down into the depression.

645
00:41:19,719 --> 00:41:23,159
Speaker 20: And with that, Brian, why don't we just play the song.

646
00:41:36,840 --> 00:41:37,119
Speaker 11: Ella?

647
00:41:38,599 --> 00:41:39,760
Speaker 12: Except the horizon.

648
00:41:39,920 --> 00:41:44,960
Speaker 2: You judge where a wedding is being It's in a dream.

649
00:41:45,639 --> 00:41:49,679
Speaker 7: Wait's at the window wearing the face that he keeps.

650
00:41:49,440 --> 00:41:53,639
Speaker 15: In a job by the dog. Who is it fall?

651
00:41:54,400 --> 00:42:01,840
Speaker 12: All the lonely dude, they all come from, all the

652
00:42:02,079 --> 00:42:03,360
lonely people.

653
00:42:04,400 --> 00:42:06,679
Speaker 14: Why do they all be loved?

654
00:42:08,320 --> 00:42:11,599
Speaker 2: Father McKenzie writing the words.

655
00:42:11,280 --> 00:42:15,559
Speaker 15: Of the sermon that no one will hear, no one

656
00:42:15,719 --> 00:42:16,400
comes near.

657
00:42:17,079 --> 00:42:20,599
Speaker 19: Look at him working dunning his socks in the night

658
00:42:20,760 --> 00:42:22,360
when there's nobody there.

659
00:42:24,000 --> 00:42:25,039
Speaker 14: What does he care?

660
00:42:25,840 --> 00:42:27,760
Speaker 12: All the lonely people?

661
00:42:28,800 --> 00:42:30,599
Speaker 11: Why do they all come?

662
00:42:32,800 --> 00:42:34,679
Speaker 4: All the lovely people?

663
00:42:35,800 --> 00:42:38,239
Speaker 19: But do they be love.

664
00:42:39,719 --> 00:42:43,360
Speaker 14: At all the lovely people.

665
00:42:46,639 --> 00:42:50,199
Speaker 12: Ah got all the love lead people.

666
00:42:53,440 --> 00:42:57,840
Speaker 21: Elen Brigby died in the church and was married alone

667
00:42:57,960 --> 00:42:58,960
with her name.

668
00:43:00,519 --> 00:43:05,679
Speaker 12: When he came McKenzie winding the dame from his hands

669
00:43:05,760 --> 00:43:07,400
as he watched from the grave.

670
00:43:23,119 --> 00:43:24,400
Speaker 2: Hey, that was Eleanor Rigby.

671
00:43:24,440 --> 00:43:28,639
Speaker 9: Obviously at the Beatles, Paul McCartney has the inspiration, said

672
00:43:28,639 --> 00:43:30,440
he was inspired by a lot of the lonely people

673
00:43:30,519 --> 00:43:34,480
he had known, creating fictional characters to explore their solitude.

674
00:43:34,880 --> 00:43:37,159
I think you can't get more lonely than that when

675
00:43:37,199 --> 00:43:40,280
you think about it. One interesting fact about the song.

676
00:43:40,760 --> 00:43:43,760
In Liverpool there is a grave for Eleanor Rigby, and

677
00:43:43,880 --> 00:43:46,760
nearby there is somebody by the name of Mackenzie, and

678
00:43:47,039 --> 00:43:51,719
Paul McCartney said he did not know that about those

679
00:43:51,840 --> 00:43:54,920
headstones in that cemetery in Liverpool at the time of

680
00:43:55,039 --> 00:43:59,000
the song's writing. He said, the idea to call his

681
00:43:59,159 --> 00:44:03,360
character Eleanor's possibly because of Eleanor Braun, the actress who

682
00:44:03,440 --> 00:44:06,440
starred with the Beatles in their nineteen sixty five film

683
00:44:06,599 --> 00:44:09,519
Help and Rigby, came from this from the name of

684
00:44:09,599 --> 00:44:13,679
a store in Bristol. In Bristol, Rigby and Evans limited,

685
00:44:14,280 --> 00:44:16,880
so interesting little backstory there. I don't know a lot

686
00:44:16,960 --> 00:44:18,679
of the details then some of the other people on

687
00:44:18,800 --> 00:44:22,079
this cast, but I know there's been a lot of other.

688
00:44:22,079 --> 00:44:26,599
Speaker 10: Versions of the song and it's but if you want

689
00:44:26,679 --> 00:44:27,960
a song that is not a.

690
00:44:28,000 --> 00:44:30,800
Speaker 20: Happy song, this is definitely it.

691
00:44:31,039 --> 00:44:33,239
Speaker 9: But when you listen to the beat, when you listen

692
00:44:33,280 --> 00:44:35,079
to the music, and I am not a music file,

693
00:44:35,760 --> 00:44:39,719
it doesn't sound depressing. It sounds happy, you know, and

694
00:44:39,840 --> 00:44:42,119
you're tapping along and you're listening. But then you listen

695
00:44:42,159 --> 00:44:44,599
to the lyrics and you study the meeting, I'm like,

696
00:44:45,119 --> 00:44:48,320
damn me with some very lonely people, and I'll.

697
00:44:48,239 --> 00:44:48,679
Speaker 4: Leave it at that.

698
00:44:49,199 --> 00:44:54,760
Speaker 2: Wow and couch. Something about the song the Beatles in general.

699
00:44:54,880 --> 00:44:58,079
There were people at EMI that complained about this rock

700
00:44:58,159 --> 00:45:01,960
and roll nonsense. Yeah, And the rock and roll nonsense

701
00:45:02,199 --> 00:45:06,000
is what funded the classical music side of EMI's business.

702
00:45:06,440 --> 00:45:09,840
And then they used strings on eleanor rigby the classical

703
00:45:09,920 --> 00:45:14,079
players that were being subsidized by the Beatles to pay

704
00:45:14,159 --> 00:45:14,360
for that.

705
00:45:16,039 --> 00:45:17,119
Speaker 20: We did a show, Brian, didn't.

706
00:45:17,840 --> 00:45:20,000
Speaker 9: We did a show Brian recently that that discussed the

707
00:45:20,039 --> 00:45:23,679
whole theme of classical impl Yeah, classical music in rock.

708
00:45:23,760 --> 00:45:24,840
Speaker 20: We talked about Beethoven.

709
00:45:26,119 --> 00:45:27,679
Speaker 9: When you think about this, I mean there's a lot

710
00:45:27,719 --> 00:45:30,000
of classical in here, you know, and you know the

711
00:45:30,119 --> 00:45:32,639
tempo had For me it sounded a lot like almost

712
00:45:32,679 --> 00:45:34,920
like a little bit of Mozart in a lot of ways,

713
00:45:35,039 --> 00:45:38,719
just the way that earlier like a baroque yea or whatever,

714
00:45:38,800 --> 00:45:43,639
you know, with the tempo with the violins exactly it uh,

715
00:45:43,960 --> 00:45:45,559
it just it really expresses that.

716
00:45:45,760 --> 00:45:47,880
Speaker 10: So I'm glad I was able to bring the show

717
00:45:48,039 --> 00:45:49,960
in Valentine's Day right down.

718
00:45:50,440 --> 00:45:57,280
Speaker 2: Yes, so that's too, Yes, one squarely no, Yeah, all right,

719
00:45:57,840 --> 00:45:59,880
Barber's up next. I have a gut feeling I know

720
00:46:00,000 --> 00:46:01,159
which direction she's gonna go.

721
00:46:03,480 --> 00:46:09,800
Speaker 5: Well, let's see, we're going down, all right.

722
00:46:09,920 --> 00:46:12,639
Speaker 1: Well, the song I picked, I'm pretty sure you're all

723
00:46:12,719 --> 00:46:15,480
gonna know the direction we're going. It's called I'm So

724
00:46:15,639 --> 00:46:16,119
Sick of You.

725
00:46:16,360 --> 00:46:18,199
Speaker 5: And it's We're We're well.

726
00:46:21,519 --> 00:46:26,119
Speaker 1: And the reason I chose it is because Valentine's Day

727
00:46:26,280 --> 00:46:30,719
may not necessarily be a happy holiday for everyone. As

728
00:46:30,800 --> 00:46:33,880
for me personally, my parents were married on Valentine's Day

729
00:46:33,880 --> 00:46:37,199
in nineteen sixty and after my father passed at just

730
00:46:37,679 --> 00:46:41,119
fifty six years old, my mom would always pay tribute

731
00:46:41,119 --> 00:46:44,719
to him on Valentine's Day by making sure that she

732
00:46:44,800 --> 00:46:47,639
would give my brother and I was candy and we

733
00:46:47,679 --> 00:46:51,119
would have her own little quiet celebration. She did this

734
00:46:51,239 --> 00:46:54,400
every year for the rest of her life. So Valentine's

735
00:46:54,440 --> 00:46:58,480
Day has since been pretty much bittersweet for me. And

736
00:46:59,559 --> 00:47:03,199
also how many of us have been in bad relationships?

737
00:47:08,800 --> 00:47:09,000
Speaker 4: Never?

738
00:47:09,360 --> 00:47:12,519
Speaker 1: No, no, So I think I think nearly all of

739
00:47:12,639 --> 00:47:20,000
us have at least once, and listenings at least and

740
00:47:20,400 --> 00:47:22,840
listening to the lyrics in the song I'm So sick

741
00:47:22,880 --> 00:47:26,400
of you? Uh you think that he's singing about one

742
00:47:26,760 --> 00:47:30,960
doozy of a bad relationship. So a little bit about

743
00:47:31,000 --> 00:47:34,480
weird Al because we've done an entire show about weird

744
00:47:34,519 --> 00:47:36,719
Al and played a number of his songs before. So

745
00:47:36,840 --> 00:47:40,840
I'm sure our listeners and especially my fellow Crimbones may

746
00:47:41,000 --> 00:47:44,480
remember some basic facts about weird Al. Let's see. Let's

747
00:47:44,480 --> 00:47:47,440
see what you remember now. He was born Alfred Matthew

748
00:47:47,519 --> 00:47:53,480
Yakovic nineteen fifty nine in what Stayed Everybody, California, Really California.

749
00:47:53,599 --> 00:47:57,760
Speaker 2: Yeah, never mind, he's going on. He's extending his tour

750
00:47:57,800 --> 00:48:00,239
from last year to where we saw him. Actually Harbor

751
00:48:00,280 --> 00:48:02,840
saw him too. You saw him and then we went

752
00:48:02,960 --> 00:48:07,079
up to Saratoga to see him, so highly recommended.

753
00:48:07,599 --> 00:48:09,440
Speaker 1: I highly recommend it. It was one of the best

754
00:48:09,480 --> 00:48:12,599
concerts I've ever seen, and it was it was a

755
00:48:12,679 --> 00:48:17,039
place where everybody in the audience was just as weird

756
00:48:17,079 --> 00:48:20,360
as I am. Nice and it felt like coming home.

757
00:48:20,519 --> 00:48:22,639
Speaker 2: I we got we got there, We got into the

758
00:48:22,679 --> 00:48:25,960
parking lot, and I changed into my ridiculous Hawaiian shirt

759
00:48:26,320 --> 00:48:29,119
that I keep just for that occasion, and my daughter

760
00:48:29,280 --> 00:48:33,559
was so embarrassed until she looked around and everybody else

761
00:48:33,960 --> 00:48:37,400
changing into their Hawaiian shirts, and then realized that I

762
00:48:37,519 --> 00:48:38,400
am in the crowd.

763
00:48:38,800 --> 00:48:45,360
Speaker 1: You have not succeeded until you've embarrassed your child. Perfect perfect, Okay,

764
00:48:45,519 --> 00:48:48,800
so weird. Al is known for his comedy music, his

765
00:48:48,920 --> 00:48:53,599
comedy songs which are parodies, and also he's done original

766
00:48:53,679 --> 00:48:57,599
works and also does anybody know what other kind of

767
00:48:57,719 --> 00:49:05,480
music is famous for polka songs. He's known for his trademark,

768
00:49:05,599 --> 00:49:10,840
which instrument accordian accordians all right, and who remembers how

769
00:49:10,880 --> 00:49:13,400
he came about acquiring said accordions.

770
00:49:13,480 --> 00:49:16,800
Speaker 2: Salesman knocked at the door selling accordions and guitars, and

771
00:49:16,880 --> 00:49:19,320
the parents chose an accordion because they.

772
00:49:19,280 --> 00:49:21,519
Speaker 1: Thought it was more rock and roll than the guitar

773
00:49:23,920 --> 00:49:28,400
blows me away every time. So does anybody remember.

774
00:49:28,159 --> 00:49:30,920
Speaker 2: How he got his start Doctor Demento?

775
00:49:31,719 --> 00:49:35,719
Speaker 1: Doctor Demento At the age of sixteen in nineteen seventy six,

776
00:49:35,840 --> 00:49:39,400
he I think Doctor Demento showed up at his high

777
00:49:39,400 --> 00:49:43,840
school and he managed to slip him the tape. Does

778
00:49:43,880 --> 00:49:45,800
anybody know the song that he said that he gave

779
00:49:45,840 --> 00:49:52,119
to doctor very That comes a little later, though, I'm close,

780
00:49:52,480 --> 00:49:54,440
all right, we'll get to that the very you just

781
00:49:54,519 --> 00:49:58,400
answered another question though. The song was Bilvidere Cruising, written

782
00:49:58,440 --> 00:50:03,599
about his family's car, am Belvedere. In nineteen seventy nine,

783
00:50:03,639 --> 00:50:06,840
while attending college and working at the university radio station,

784
00:50:07,239 --> 00:50:09,880
Al went to the restroom across the hall from said

785
00:50:10,000 --> 00:50:16,159
radio station because it had great acoustics, and recorded the

786
00:50:16,320 --> 00:50:23,119
parody titled My Ballogna. He sent the recording to Doctor

787
00:50:23,159 --> 00:50:26,679
Demento and it led to Capitol Records, giving Yankovic a

788
00:50:26,760 --> 00:50:31,440
six month recording contract. It was then that weird Al

789
00:50:31,559 --> 00:50:35,280
thought maybe he should ditch his major. Anybody know what

790
00:50:35,360 --> 00:50:36,480
his major was in college?

791
00:50:36,719 --> 00:50:37,320
Speaker 2: Architecture?

792
00:50:37,840 --> 00:50:38,639
Speaker 1: Architecture?

793
00:50:38,920 --> 00:50:45,000
Speaker 3: Very good Goldstein, you have a fan here, so I.

794
00:50:45,039 --> 00:50:47,480
Speaker 2: Am always ready for pop quizes, because after what I

795
00:50:47,559 --> 00:50:49,519
do to all of you, I know it's coming at.

796
00:50:49,480 --> 00:50:54,079
Speaker 1: Some points exactly exactly. So I figured instead of just

797
00:50:54,159 --> 00:50:56,320
writing down the same facts that we've all heard time

798
00:50:56,360 --> 00:51:00,559
and time again, I figured I just quizzed everybody. So

799
00:51:01,119 --> 00:51:04,199
it was at this time that word all thought, Hey, baby,

800
00:51:04,280 --> 00:51:08,159
I should ditch architecture as my major and pursue a

801
00:51:08,239 --> 00:51:12,599
career in music, which brings us to our Valentine's song

802
00:51:13,320 --> 00:51:16,639
I'm So Sick of You, released in nineteen ninety six

803
00:51:16,920 --> 00:51:19,039
on the album Bad Hair Day.

804
00:51:19,400 --> 00:51:24,039
Speaker 16: You tell Joel Gamble gimp on fine why you always

805
00:51:24,079 --> 00:51:25,280
rested my time?

806
00:51:26,159 --> 00:51:29,960
Speaker 12: Hey baby, trust me, you just discuss me. Your hands

807
00:51:30,000 --> 00:51:31,920
a mess and you'll make up crusted.

808
00:51:32,239 --> 00:51:36,000
Speaker 16: I don't know too many females. You make a habit

809
00:51:36,079 --> 00:51:39,760
of biting the toenails. Who every time you call you

810
00:51:39,920 --> 00:51:42,679
tell me of the walk on it just the side

811
00:51:42,760 --> 00:51:46,360
of the leagues on this gla shall we be heaving together?

812
00:51:47,119 --> 00:51:47,320
Speaker 12: Him?

813
00:51:47,360 --> 00:51:49,079
Speaker 2: Only one little they weren't you?

814
00:51:50,400 --> 00:51:53,800
Speaker 12: Baby? I don't say to you.

815
00:51:56,119 --> 00:52:01,039
Speaker 16: You make a mail grand room. Godd are you keeping

816
00:52:01,159 --> 00:52:01,599
your god?

817
00:52:02,599 --> 00:52:07,320
Speaker 12: You belcher everywhere thousand of the earth, you are raising

818
00:52:07,440 --> 00:52:08,760
a shake a bad dad.

819
00:52:08,960 --> 00:52:12,719
Speaker 16: You don't have announce the plast You're just the one thing.

820
00:52:12,960 --> 00:52:16,159
Speaker 12: Pean of the neck. How much walk can I take?

821
00:52:16,239 --> 00:52:19,559
Speaker 16: Naw, give me a break now, dude, even snow away

822
00:52:19,679 --> 00:52:20,599
you're wide away.

823
00:52:20,760 --> 00:52:24,360
Speaker 12: Now you tell like a friends where the bird become? Well,

824
00:52:24,440 --> 00:52:29,599
maybe you should get up on. Maybe I have a

825
00:52:29,920 --> 00:52:36,519
second you maybe syne so sing of you?

826
00:52:38,559 --> 00:52:41,199
Speaker 16: And when you're something, oh my name, it's like I'm

827
00:52:41,239 --> 00:52:42,320
listening to what's meet me?

828
00:52:42,599 --> 00:52:43,320
Speaker 12: Chuck sound?

829
00:52:43,719 --> 00:52:47,119
Speaker 16: And when you're looking at me in that special way,

830
00:52:47,159 --> 00:52:49,280
it's how A mean? And keep my dunchdown.

831
00:52:50,840 --> 00:52:53,880
Speaker 12: And when you ask me what I'm thinking, honey, usually

832
00:52:54,000 --> 00:52:54,800
I'm thinking.

833
00:52:54,599 --> 00:52:56,000
Speaker 21: How I really like Anya?

834
00:52:56,119 --> 00:52:58,719
Speaker 12: And completely I've been dunking for I wouldn't have to

835
00:52:58,840 --> 00:53:01,559
listen to you. Welcome those two quid questions.

836
00:53:01,239 --> 00:53:03,199
Speaker 14: Over and over.

837
00:53:04,159 --> 00:53:10,320
Speaker 16: Guys, We'll let discuss the noise you make when you laugh,

838
00:53:10,440 --> 00:53:11,079
kift being.

839
00:53:11,079 --> 00:53:14,239
Speaker 12: Robbing my grains? That just my chas dance.

840
00:53:14,079 --> 00:53:15,239
Speaker 5: Dance until you came up.

841
00:53:15,320 --> 00:53:17,519
Speaker 12: I'm not devidated anyone that's low on.

842
00:53:17,599 --> 00:53:20,119
Speaker 20: The food chance and my just dance.

843
00:53:20,199 --> 00:53:23,480
Speaker 12: And you got a hum in anybody? Oh there, you

844
00:53:23,679 --> 00:53:26,840
got the hair of a bus of promoter. Get your

845
00:53:26,920 --> 00:53:30,239
teas or yellow your buzz made of yellow. You wake

846
00:53:30,400 --> 00:53:32,519
up in a bottle doing on your bill.

847
00:53:33,039 --> 00:53:35,239
Speaker 16: I hain't no way you crack your knuckles.

848
00:53:35,679 --> 00:53:39,079
Speaker 17: I hate your whin you cercle. Friends to the well,

849
00:53:39,159 --> 00:53:42,320
say ay, so second you.

850
00:53:43,880 --> 00:53:44,199
Speaker 12: Really?

851
00:53:44,320 --> 00:53:47,920
Speaker 14: Now you're recodating, I'm.

852
00:53:47,559 --> 00:53:48,440
Speaker 17: So second you.

853
00:53:50,000 --> 00:53:51,440
Speaker 12: Not you irritated?

854
00:53:51,559 --> 00:53:54,480
Speaker 14: My ay, I'm so second you?

855
00:53:55,159 --> 00:54:00,719
Speaker 12: Well, I want to get there, gonna sayne I'm so you.

856
00:54:25,519 --> 00:54:28,719
Speaker 1: Okay, So I'm sound sick of you is a parody

857
00:54:28,800 --> 00:54:32,920
of the style of Elvis Costello, particularly the song's radio

858
00:54:33,079 --> 00:54:36,559
radio no Action and pump it Up. This was confirmed

859
00:54:36,599 --> 00:54:40,199
by Yankovic in a nineteen ninety nine interview and did

860
00:54:40,280 --> 00:54:43,960
anyone catch the mind rhyme contained in the song? Anyone

861
00:54:44,039 --> 00:54:45,679
know what a mind rhyme is? I know, I talked

862
00:54:45,719 --> 00:54:48,000
about it before. It's when you hear a line in

863
00:54:48,079 --> 00:54:50,719
a song or poem and expect the next line to

864
00:54:50,800 --> 00:54:58,280
contain but it doesn't, And it's This is usually used

865
00:54:58,320 --> 00:55:01,000
to fool the listener and to expect things to hear color,

866
00:55:01,159 --> 00:55:04,239
colorful language, and then going in a different direction. I

867
00:55:04,360 --> 00:55:06,519
did a whole episode of shaving cream on mine rhymes

868
00:55:06,719 --> 00:55:09,480
if you want to hear more? And yes, SE's absolutely right.

869
00:55:09,800 --> 00:55:14,440
Speaker 3: Miss Susie had Steamboat miss Less, Miss Lucy.

870
00:55:14,800 --> 00:55:15,480
Speaker 8: I mentioned it.

871
00:55:15,679 --> 00:55:16,039
Speaker 12: I didn't.

872
00:55:16,480 --> 00:55:21,719
Speaker 11: I didn't play it, but I mentioned, yeah, I used

873
00:55:21,760 --> 00:55:25,920
to do that, right, Patty song. Yeah, yep, the Handsler.

874
00:55:26,280 --> 00:55:28,360
Speaker 1: So the mind rhyme, like you said, is found in

875
00:55:28,440 --> 00:55:31,199
the lines. You don't have an ounce of class. You're

876
00:55:31,400 --> 00:55:35,280
just one big pain in the neck. And I'd like

877
00:55:35,440 --> 00:55:38,519
to close by saying that, as of twenty twenty five,

878
00:55:38,599 --> 00:55:42,119
Yankovic has sold more than twelve million albums, recorded over

879
00:55:42,159 --> 00:55:45,440
one hundred and fifty parties and original songs, and performed

880
00:55:45,480 --> 00:55:49,440
over two thousand live shows. And he's still going. And

881
00:55:49,599 --> 00:55:52,400
when we were given this topic, this is the song

882
00:55:52,639 --> 00:55:54,599
that immediately came to mind.

883
00:55:54,800 --> 00:55:58,960
Speaker 2: Nice Nice. He sold out Madison Square Garden and he

884
00:55:59,239 --> 00:56:03,480
was just blown away himself, you know which, none of

885
00:56:03,559 --> 00:56:06,159
us are surprised. And there are a group of us

886
00:56:06,199 --> 00:56:07,960
that I'm sure Barber's in that would love to see

887
00:56:08,000 --> 00:56:11,679
him do the super Bowl halftime show. Oh god, there

888
00:56:11,760 --> 00:56:13,800
have been petitions to get Weird Alt to do that,

889
00:56:13,920 --> 00:56:14,840
and he said he would do.

890
00:56:14,880 --> 00:56:19,280
Speaker 20: It, really yes, but oh my god, that would be wonderful.

891
00:56:19,000 --> 00:56:19,280
Speaker 2: Right it.

892
00:56:20,280 --> 00:56:24,679
Speaker 11: Yeah, So maybe I got to thank you for playing this.

893
00:56:25,000 --> 00:56:27,440
I would never have sought this out and this song.

894
00:56:30,360 --> 00:56:33,000
I love this song. I'm like going to go find

895
00:56:33,079 --> 00:56:36,320
it and download it right now. I mean, by a

896
00:56:36,440 --> 00:56:37,639
copy of it right now.

897
00:56:40,960 --> 00:56:42,519
Speaker 4: I was trying to make a list of how many

898
00:56:42,599 --> 00:56:46,000
times I would have sung that to someone else and

899
00:56:46,239 --> 00:56:49,320
how many times it would have been sung to me.

900
00:56:51,159 --> 00:56:56,320
But I think the latter has has a higher really.

901
00:56:56,159 --> 00:56:58,000
Speaker 1: Because when I listened to that song, I try to

902
00:56:58,000 --> 00:57:00,199
pick out all the things he's complaining about that I'm

903
00:57:00,239 --> 00:57:01,320
actually guilty of doing.

904
00:57:03,280 --> 00:57:06,280
Speaker 4: Well. I draw the line at that at biting your tone.

905
00:57:06,440 --> 00:57:06,880
Speaker 12: No, I don't.

906
00:57:07,320 --> 00:57:08,199
Speaker 4: I don't. I don't.

907
00:57:08,679 --> 00:57:11,880
Speaker 1: I don't need to shave any back hair, and I

908
00:57:12,000 --> 00:57:15,960
don't bite my toenails. That's all I'm saying.

909
00:57:16,119 --> 00:57:18,440
Speaker 5: I'd love to be able to bite my toenails.

910
00:57:19,719 --> 00:57:22,000
Speaker 11: As the kids say, I'm going to go with six

911
00:57:22,159 --> 00:57:22,920
seven on that.

912
00:57:25,320 --> 00:57:27,639
Speaker 1: I paid too much money for my invisil lines to

913
00:57:27,719 --> 00:57:28,679
bite my toenails.

914
00:57:28,719 --> 00:57:33,039
Speaker 4: Sorry, I don't think I can. I'm not that, you know.

915
00:57:34,039 --> 00:57:34,800
Speaker 11: Okay, that's.

916
00:57:38,199 --> 00:57:39,360
Speaker 1: I'm not that limber either.

917
00:57:40,159 --> 00:57:44,480
Speaker 5: Well, that's what I was getting at. It would be

918
00:57:44,920 --> 00:57:45,960
it would be quite a feat.

919
00:57:46,679 --> 00:57:48,880
Speaker 2: I'm seeing some barber march. I paid too much for

920
00:57:49,000 --> 00:57:53,000
my visile line to bite my toenails. Tell me that

921
00:57:53,159 --> 00:57:54,320
doesn't belong on a T shirt.

922
00:57:58,760 --> 00:58:00,920
Speaker 11: Oh boy, thanks last my day?

923
00:58:03,719 --> 00:58:07,239
Speaker 2: All right, thank you, Barbara excellent. Yeah, I know he extended.

924
00:58:07,280 --> 00:58:10,440
It's technically the same tour as last year, so I

925
00:58:10,559 --> 00:58:12,360
know the dates are posted. I don't know if I'm

926
00:58:12,360 --> 00:58:13,800
gonna be able to make it again this year, but

927
00:58:14,119 --> 00:58:16,199
if you haven't seen him live, it's totally worth it.

928
00:58:16,599 --> 00:58:19,599
This time, he's got an expanded band. It's the same

929
00:58:19,719 --> 00:58:21,920
core band that he's played with since day one, but

930
00:58:22,039 --> 00:58:25,360
he's added more musicians. He's doing the costume changes, all

931
00:58:25,440 --> 00:58:27,119
the hits, so some of the deep cuts like this,

932
00:58:27,559 --> 00:58:30,239
totally worth it. And we're not even being sponsored to

933
00:58:30,320 --> 00:58:33,960
say that. So and I have a Hawaiian shirt if

934
00:58:34,000 --> 00:58:37,920
you need to borrow it. So with everybody else, all right,

935
00:58:37,920 --> 00:58:39,800
we're gonna take a second, real quick break, and we've

936
00:58:39,800 --> 00:58:43,119
got two more to go, So stick around Hudson Riverradio

937
00:58:43,360 --> 00:58:43,880
dot com.

938
00:58:44,360 --> 00:58:53,840
Speaker 11: Your dad likes us, Hudson River Radio dot com.

939
00:58:54,519 --> 00:58:57,280
Speaker 2: All right, two more Valentine selections to go. We're up

940
00:58:57,360 --> 00:59:04,639
to Gail, and I'm gonna guess Anti before we even start.

941
00:59:05,840 --> 00:59:11,079
Speaker 8: What makes you say that we've met several years?

942
00:59:11,519 --> 00:59:13,320
Speaker 1: Well, color me surprised.

943
00:59:13,599 --> 00:59:16,440
Speaker 2: Yeah, I'm just going to cast my vote before we

944
00:59:16,559 --> 00:59:17,119
even start.

945
00:59:17,400 --> 00:59:25,480
Speaker 8: But well, I think this is neutral or something. I

946
00:59:25,559 --> 00:59:30,400
think it's meant to be pro. But I think it's neutral.

947
00:59:30,559 --> 00:59:32,719
Speaker 5: This will will be will be the judge of that.

948
00:59:33,039 --> 00:59:36,719
Speaker 8: Hey, this this song did not chart. It's not on

949
00:59:37,000 --> 00:59:42,519
a record label. I was looking for various and sundry

950
00:59:42,679 --> 00:59:48,800
different sort of topics within this topic and I couldn't

951
00:59:48,840 --> 00:59:53,159
find anything that fit what I was looking for. And

952
00:59:53,320 --> 00:59:57,599
when I saw the first line of this song in

953
00:59:57,760 --> 01:00:02,800
my Google search, I I had to use ish because

954
01:00:02,880 --> 01:00:05,360
the name of the song and the first line is

955
01:00:06,119 --> 01:00:09,239
if our love was some swamp gas, it would make

956
01:00:09,320 --> 01:00:10,679
a sweet sound.

957
01:00:12,880 --> 01:00:13,440
Speaker 2: That's deep.

958
01:00:14,079 --> 01:00:20,320
Speaker 8: The singer songwriter is Brian Odin, and he started writing

959
01:00:20,400 --> 01:00:23,079
songs when he was a kid growing up in Oklahoma

960
01:00:23,920 --> 01:00:27,840
and spending his summers in the Colorado Mountains. Some songs

961
01:00:27,880 --> 01:00:31,320
were funny and others were straight from the heart. He said,

962
01:00:31,400 --> 01:00:33,719
none of them were very good, but that process of

963
01:00:33,800 --> 01:00:37,679
being in a created creative move and writing a funny song,

964
01:00:38,119 --> 01:00:40,320
and also of walking in the woods and having a

965
01:00:40,400 --> 01:00:43,840
real heart song come to me that has never really

966
01:00:43,960 --> 01:00:44,480
gone away.

967
01:00:45,400 --> 01:00:45,559
Speaker 7: Now.

968
01:00:45,880 --> 01:00:50,320
Speaker 8: He has been all kinds of different things.

969
01:00:50,159 --> 01:00:50,960
Speaker 4: For a day job.

970
01:00:51,840 --> 01:00:56,159
Speaker 8: Over the years he's been he was spent four years

971
01:00:56,199 --> 01:01:00,719
as a childcare counselor and supervisor at a treatment center

972
01:01:00,840 --> 01:01:04,840
for children. He taught English as a second language at

973
01:01:04,880 --> 01:01:08,800
the college level. He was at one point a self

974
01:01:08,880 --> 01:01:14,119
employed internet entrepreneur. He also earned a master's degree in

975
01:01:14,360 --> 01:01:19,039
educational psychology with an emphasis on teaching English as a

976
01:01:19,119 --> 01:01:25,559
second language. His focus on recording and sharing his mostly

977
01:01:25,760 --> 01:01:30,159
children's songs is a recent development. He says, Once in

978
01:01:30,199 --> 01:01:33,679
a while, I would sing songs at family or social gatherings,

979
01:01:34,079 --> 01:01:36,119
and I had a few concerts here and there, but

980
01:01:36,239 --> 01:01:40,320
that was about it. I've always loved writing and sharing songs,

981
01:01:40,400 --> 01:01:43,639
but it never seemed like a realistic way to pay

982
01:01:43,719 --> 01:01:47,440
the bills, so it was always in the background. He

983
01:01:47,559 --> 01:01:50,920
started putting his songs on YouTube in January two thousand

984
01:01:50,920 --> 01:01:55,840
and nine. His YouTube channel now has over sixty million

985
01:01:56,480 --> 01:02:02,079
video views. Wow, he said, I hope to keep writing

986
01:02:02,280 --> 01:02:06,239
and recording more songs. I really enjoy creating and sharing

987
01:02:06,360 --> 01:02:09,159
both kinds of songs, the fun ones and the ones

988
01:02:09,239 --> 01:02:11,920
that come from a deeper place. And it's been a

989
01:02:12,039 --> 01:02:14,639
nice surprise to me that based on the comments on

990
01:02:14,840 --> 01:02:18,440
YouTube and on my site, he has his own website.

991
01:02:19,039 --> 01:02:21,800
Some of the songs I think of as just light

992
01:02:21,960 --> 01:02:26,599
fun are sometimes really They sometimes really change someone's mood

993
01:02:27,360 --> 01:02:30,760
or even get them through a really difficult time. That

994
01:02:30,960 --> 01:02:33,840
kind of thing has been a really nice surprise and

995
01:02:34,000 --> 01:02:38,119
definitely makes song drops. That's another one of the sites,

996
01:02:38,199 --> 01:02:43,840
besides YouTube, more rewarding for me. So in terms of

997
01:02:43,960 --> 01:02:47,159
future plans, hopefully I'll be fortunate enough to keep on

998
01:02:47,320 --> 01:02:52,320
creating and recording and sharing songs. Now, you might want

999
01:02:52,360 --> 01:02:55,360
to listen to these lyrics as carefully as you can.

1000
01:02:57,800 --> 01:03:01,320
I'll mention the first verse. This came out in twenty

1001
01:03:01,440 --> 01:03:04,960
twenty three. If our love was some swampcass, it would

1002
01:03:05,039 --> 01:03:08,400
make a sweet sound. If our love was a skunk bush,

1003
01:03:08,599 --> 01:03:11,400
it would stay on the ground. If our love was

1004
01:03:11,440 --> 01:03:14,800
a camel, it wouldn't much fish. If our love was

1005
01:03:14,880 --> 01:03:19,920
an outhouse, it would smell like a barbecue pit. Speaking

1006
01:03:20,119 --> 01:03:20,639
speaking of.

1007
01:03:20,719 --> 01:03:23,079
Speaker 1: Mind, oh, I thought you were gonna give us a

1008
01:03:23,199 --> 01:03:23,840
wine rise.

1009
01:03:25,400 --> 01:03:28,719
Speaker 8: I wrote this sweet love song special for you since

1010
01:03:28,800 --> 01:03:32,000
I forgot your birthday. It's the least I can do.

1011
01:03:32,960 --> 01:03:36,239
And the other verses are very much like this, so

1012
01:03:36,880 --> 01:03:39,440
let's give it a listen. I just think it's cute

1013
01:03:39,519 --> 01:03:40,039
and funny.

1014
01:03:40,320 --> 01:03:43,639
Speaker 6: I was some swampcass, it would make those sweet sound.

1015
01:03:43,920 --> 01:03:46,039
Speaker 2: Hipper was a skunk, but give it.

1016
01:03:46,079 --> 01:03:47,079
Speaker 12: A on the ground.

1017
01:03:47,440 --> 01:03:53,360
Speaker 6: Hipper Love was a camel, much hipper s would smell

1018
01:03:53,519 --> 01:03:58,920
like a barbie. I wrote this sweet love song special

1019
01:03:59,320 --> 01:04:01,880
you since I forg got your birthdays.

1020
01:04:01,960 --> 01:04:03,320
Speaker 7: But bease tick to the dude.

1021
01:04:06,440 --> 01:04:09,519
Speaker 6: I love you as far as a jerkey can die.

1022
01:04:10,000 --> 01:04:11,079
Speaker 17: I love you as.

1023
01:04:11,039 --> 01:04:13,079
Speaker 6: Long as a lizard stays dry.

1024
01:04:13,440 --> 01:04:16,519
Speaker 14: I love you as strong as a turtle can swim.

1025
01:04:17,039 --> 01:04:20,000
Speaker 6: I love you as deep as the doo doo live man.

1026
01:04:23,000 --> 01:04:26,079
If I Love was a cockroach could jump really high.

1027
01:04:26,480 --> 01:04:28,920
If I Love was a mushroom, it would be a

1028
01:04:29,119 --> 01:04:31,840
fun guy. If I Love was bread food and it

1029
01:04:31,920 --> 01:04:35,280
would hardly have bolt. If for love wasn't a house,

1030
01:04:35,320 --> 01:04:39,039
it would be made of gold. I wrote this sweet

1031
01:04:39,159 --> 01:04:42,320
love song special for you next time.

1032
01:04:42,400 --> 01:04:44,559
Speaker 12: I love this your brand new herty.

1033
01:04:46,079 --> 01:04:49,159
Speaker 6: I love you as far as a jerkey can die.

1034
01:04:49,639 --> 01:04:52,719
I love you as long as a lizard stays dry.

1035
01:04:53,079 --> 01:04:56,119
I love you as strong as a turtle can swim.

1036
01:04:56,639 --> 01:04:59,519
I love you as deep as the doo Doo live man.

1037
01:05:02,519 --> 01:05:05,599
If A Love was a chicken, they would have forty weeds.

1038
01:05:05,960 --> 01:05:08,679
If a load was a cow pie, it would make noses.

1039
01:05:08,800 --> 01:05:11,519
See if our love was a trash, Nope, it would

1040
01:05:11,559 --> 01:05:14,559
have no dead knife. If a load was an out house,

1041
01:05:14,639 --> 01:05:18,320
it would have no horse flies. I wrote this sweet

1042
01:05:18,400 --> 01:05:19,199
love song.

1043
01:05:19,159 --> 01:05:22,079
Speaker 12: Special for you. I think I must spelled your name

1044
01:05:22,199 --> 01:05:23,880
on my dooming tattoos.

1045
01:05:26,679 --> 01:05:29,880
Speaker 6: Good A long you as far as a turkey can find,

1046
01:05:30,360 --> 01:05:33,360
A long you, as long as a bizards. These drive

1047
01:05:33,760 --> 01:05:36,679
among you less strong as a turtle and swim.

1048
01:05:37,159 --> 01:05:39,280
Speaker 15: I love you as deep as a doot.

1049
01:05:39,559 --> 01:05:45,039
Speaker 6: I mean, if a love was a camel, they would

1050
01:05:45,079 --> 01:05:48,079
have much pits. If a log wasn't out house, it

1051
01:05:48,199 --> 01:05:48,960
was spelled.

1052
01:05:48,679 --> 01:05:49,760
Speaker 14: Like a barber.

1053
01:05:49,960 --> 01:05:50,480
Speaker 11: You bit.

1054
01:05:52,079 --> 01:05:56,039
Speaker 6: I wrote this sweet love song special for you. Don't

1055
01:05:56,119 --> 01:05:59,840
think me, just make me more corn bread and stud.

1056
01:06:07,760 --> 01:06:14,079
Speaker 20: That was that was great, off off.

1057
01:06:14,239 --> 01:06:17,679
Speaker 8: I saw those lyrics and I just had to pick

1058
01:06:17,760 --> 01:06:18,119
this one.

1059
01:06:18,239 --> 01:06:21,599
Speaker 2: I think there needs to be more songs about skunk butts.

1060
01:06:22,440 --> 01:06:25,840
Speaker 4: Yeah, now you see I think this I think was

1061
01:06:25,960 --> 01:06:28,480
This was definitely a positive song.

1062
01:06:30,280 --> 01:06:32,800
Speaker 2: It's a curveball. I think it's completely positive.

1063
01:06:32,880 --> 01:06:41,679
Speaker 4: Yeah, I mean, he went, guy, he went, he went,

1064
01:06:41,880 --> 01:06:45,719
you know, in college and higher education to write this stuff? Right?

1065
01:06:45,920 --> 01:06:46,039
Speaker 11: Was that?

1066
01:06:47,039 --> 01:06:52,199
Speaker 4: Thank you? Just checking, just checking so I think.

1067
01:06:53,559 --> 01:06:54,079
Speaker 5: His voice.

1068
01:06:55,360 --> 01:06:57,760
Speaker 8: No, I don't think so. I don't know whose voice

1069
01:06:57,800 --> 01:07:01,639
that is. But it was very funny.

1070
01:07:01,880 --> 01:07:02,400
Speaker 5: It was great.

1071
01:07:02,719 --> 01:07:04,440
Speaker 11: Yeah, it sounds like it was sped up.

1072
01:07:04,840 --> 01:07:09,119
Speaker 2: Yeah, little wizard. So that was cute.

1073
01:07:09,599 --> 01:07:12,079
Speaker 8: I'm gonna be running around singing that at work, which

1074
01:07:12,440 --> 01:07:18,000
please please make my colleagues wonder about me even more

1075
01:07:18,079 --> 01:07:18,920
than they already.

1076
01:07:20,880 --> 01:07:23,960
Speaker 11: And I even certed it into my year, So thank you.

1077
01:07:26,000 --> 01:07:28,599
Speaker 2: You're going to add it to the setlist next time around.

1078
01:07:30,760 --> 01:07:33,960
Speaker 8: Yes, I love it.

1079
01:07:34,199 --> 01:07:36,639
Speaker 2: Yeah, write down, I love it?

1080
01:07:36,880 --> 01:07:37,199
Speaker 4: Got it.

1081
01:07:38,719 --> 01:07:40,519
Speaker 2: Excellent? All right? Thanks Gil.

1082
01:07:40,920 --> 01:07:45,880
Speaker 8: So that that's the kind of counteract eleanor h Yeah,

1083
01:07:46,159 --> 01:07:47,360
a palette cleanser.

1084
01:07:47,519 --> 01:07:50,559
Speaker 2: I mean, overall, we only have one negative so far,

1085
01:07:51,320 --> 01:07:52,679
we're all going soft.

1086
01:07:53,079 --> 01:07:57,199
Speaker 7: I always I'm gonna say, I always thought Eleanor Maybe

1087
01:07:57,280 --> 01:08:00,480
it's just my optimistic streak, but I always thought the

1088
01:08:00,559 --> 01:08:03,960
people in eleanor Rigby were pining for lost love.

1089
01:08:04,880 --> 01:08:07,199
Speaker 11: You know, that they had actually had great love.

1090
01:08:08,400 --> 01:08:11,280
Speaker 7: And I kind of always took it as a you know,

1091
01:08:12,079 --> 01:08:15,119
that loneliness rather than the loneliness.

1092
01:08:14,679 --> 01:08:18,760
Speaker 11: Of complete isolation. But that just might be my you know,

1093
01:08:19,119 --> 01:08:19,760
my prism.

1094
01:08:20,560 --> 01:08:23,119
Speaker 9: No, I think I like that whole whole theme because

1095
01:08:23,119 --> 01:08:25,279
they're kind of pining for the past in a lot

1096
01:08:25,319 --> 01:08:25,640
of ways.

1097
01:08:26,560 --> 01:08:29,720
Speaker 4: I agree, Yeah, you can't know that. You can't know

1098
01:08:29,880 --> 01:08:34,279
loneliness if you haven't experienced you know, love love.

1099
01:08:34,439 --> 01:08:38,119
Speaker 7: Yeah, so yeah, I guess I always assumed a backstory

1100
01:08:38,279 --> 01:08:39,359
for each of these people.

1101
01:08:40,920 --> 01:08:41,079
Speaker 11: You know.

1102
01:08:41,560 --> 01:08:41,840
Speaker 7: That's it.

1103
01:08:42,560 --> 01:08:45,079
Speaker 11: But I loved hearing it. It's always good to hear

1104
01:08:45,159 --> 01:08:48,680
that song. And that version where they striped Jath back

1105
01:08:48,720 --> 01:08:50,479
to the strings is really nice to hear.

1106
01:08:53,039 --> 01:08:55,560
Speaker 2: Very cool. All Right, we got one more to go.

1107
01:08:56,560 --> 01:08:56,720
Speaker 11: Wait?

1108
01:08:56,920 --> 01:08:59,159
Speaker 2: Is it going to balance out the voting? Is it

1109
01:08:59,199 --> 01:08:59,560
going to go?

1110
01:09:00,000 --> 01:09:00,840
Speaker 5: I don't think it can.

1111
01:09:01,319 --> 01:09:04,039
Speaker 2: I don't know that's true. I don't think it can.

1112
01:09:06,039 --> 01:09:08,439
I honestly think mine could go either way. And I

1113
01:09:08,479 --> 01:09:11,319
think it's kind of age based and it depends on

1114
01:09:11,520 --> 01:09:14,359
the story that not a whole lot of people go.

1115
01:09:14,600 --> 01:09:17,039
So take a walk with me, if you would. My

1116
01:09:17,199 --> 01:09:20,119
song is called Into the Night by Benny Mardonez. You

1117
01:09:20,239 --> 01:09:22,960
may or may not have heard it. We'll do a

1118
01:09:23,039 --> 01:09:26,239
real quick bio on Benny. He was born Ruben armand

1119
01:09:26,359 --> 01:09:30,439
Mardonas in nineteen forty six in Cleveland. His father abandoned

1120
01:09:30,479 --> 01:09:32,800
the family when Benny was an infant and returned to

1121
01:09:32,880 --> 01:09:36,720
his native Chile. Benny grew up in Maryland, graduating high

1122
01:09:36,760 --> 01:09:39,279
school in nineteen sixty four and a listing in the

1123
01:09:39,439 --> 01:09:43,279
US Navy. He served in Vietnam. After being discharged, he

1124
01:09:43,399 --> 01:09:46,199
moved to New York City to pursue a singer songwriter

1125
01:09:46,359 --> 01:09:49,680
career and wound up writing songs for people like Brenda Lee,

1126
01:09:50,159 --> 01:09:52,840
best known for Rocking around the Christmas Tree, and for

1127
01:09:53,000 --> 01:09:56,079
Chubby Checker, who you may have heard of. He would

1128
01:09:56,199 --> 01:09:59,760
record demos of the songs that he wrote. Common practice

1129
01:10:00,119 --> 01:10:02,039
record the demos to pass on to the artists so

1130
01:10:02,119 --> 01:10:04,159
they could hear what the songs sound like, and some

1131
01:10:04,279 --> 01:10:07,199
of the demos came to the attention of Tommy Mottola

1132
01:10:07,720 --> 01:10:11,720
at Sony, which owns Columbia Records, and Tommy Mottolis told

1133
01:10:11,760 --> 01:10:15,039
Benny he should be recording his own songs. So Benny

1134
01:10:15,640 --> 01:10:18,279
Benny Mardone is put together a band called the Hurricanes.

1135
01:10:18,439 --> 01:10:22,199
He got signed to Polydor Records, which is a British

1136
01:10:22,199 --> 01:10:27,800
subdivision of hemith umg. In nineteen eighty Benny co wrote

1137
01:10:27,840 --> 01:10:31,079
the song Into the Night with Robert Tepper, who has

1138
01:10:31,119 --> 01:10:34,479
his own story we could talk about Another Time, and

1139
01:10:34,640 --> 01:10:37,439
the song was released on his second album titled Never Run,

1140
01:10:37,560 --> 01:10:40,479
Never Hide. The song hit number eleven on the Billboard

1141
01:10:40,520 --> 01:10:43,600
Hot one hundred back when radio was king, and it

1142
01:10:43,720 --> 01:10:47,199
launched Benny into the big time. But unfortunately, substance abuse,

1143
01:10:47,279 --> 01:10:50,680
mostly cocaine, brought him right back down to the point

1144
01:10:50,680 --> 01:10:54,279
where Polydor wound up dropping him. He was a complete

1145
01:10:54,399 --> 01:10:57,920
mess until nineteen eighty five when his son Michael was born,

1146
01:10:58,000 --> 01:11:01,079
and that prompted him to straighten up. A friend helped

1147
01:11:01,159 --> 01:11:04,199
him move to Syracuse, New York and start over, and

1148
01:11:04,399 --> 01:11:07,159
Benny became a local celebrity and made a good living

1149
01:11:07,279 --> 01:11:10,760
performing in the Syracuse area in Central in Central New

1150
01:11:10,840 --> 01:11:14,800
York for many years now. Four years later, nineteen eighty nine,

1151
01:11:15,359 --> 01:11:19,720
a Phoenix radio station k ZZP had a show common

1152
01:11:19,760 --> 01:11:23,359
show common format called where Are They Now? And they

1153
01:11:23,439 --> 01:11:26,119
played this song because it was nine years old already.

1154
01:11:26,680 --> 01:11:30,319
That prompted Scott Shannon, a major figure in pop radio,

1155
01:11:30,520 --> 01:11:32,640
to add it to his playlist while he was working

1156
01:11:32,680 --> 01:11:35,760
out in Los Angeles. For those who may not recognize

1157
01:11:35,800 --> 01:11:38,439
the name Scott Shannon, he invented the morning Zoo format.

1158
01:11:38,920 --> 01:11:40,640
He's the one who made Z one hundred in New

1159
01:11:40,680 --> 01:11:44,279
York City the top radio station. There's a pretty cool

1160
01:11:44,319 --> 01:11:47,439
documentary called From Worse to First about Z one hundred,

1161
01:11:47,479 --> 01:11:49,479
and it focuses on the work that Scott Shannon did,

1162
01:11:50,640 --> 01:11:54,159
so Scott to him, Yeah, yeah, Z one hundred. He

1163
01:11:54,199 --> 01:11:56,520
went over to WPLJ and then he went over to

1164
01:11:56,800 --> 01:11:58,600
CBS FM, and then he retired.

1165
01:11:58,960 --> 01:12:01,880
Speaker 11: Now, yeah, it's a big station on one of the

1166
01:12:01,960 --> 01:12:03,239
satellite Yeah, he's.

1167
01:12:03,079 --> 01:12:05,239
Speaker 2: Always done that. He's always one of the side gigs.

1168
01:12:05,239 --> 01:12:07,520
He's always done all these kind of stuff like syndicated

1169
01:12:07,560 --> 01:12:11,399
old these shows for regular broadcast radio stations and now

1170
01:12:11,880 --> 01:12:14,960
streaming and online. So he's not completely retired, but he

1171
01:12:15,159 --> 01:12:20,000
stepped away from broadcast radio. So he put it Into

1172
01:12:20,039 --> 01:12:23,760
the Night into his playlist and everybody followed Scott Shannon,

1173
01:12:24,199 --> 01:12:26,039
so they started putting it in their playlist and it

1174
01:12:26,079 --> 01:12:30,239
took off again. Benny was signed to Curb Records. He

1175
01:12:30,439 --> 01:12:32,960
re recorded the song as Into the Night eighty nine

1176
01:12:33,159 --> 01:12:36,199
and it hit number twenty again on the charts. It's

1177
01:12:36,279 --> 01:12:39,520
only it's only one of ten songs that charted twice

1178
01:12:39,640 --> 01:12:42,239
like that, so that's pretty cool.

1179
01:12:42,600 --> 01:12:43,199
Speaker 5: Good for him.

1180
01:12:43,520 --> 01:12:43,720
Speaker 11: Yeah.

1181
01:12:44,520 --> 01:12:48,319
Speaker 2: Benny Mardonez continued to tour and perform until about twenty seventeen.

1182
01:12:48,479 --> 01:12:51,840
He was battling Parkinson's disease, and he wound up getting

1183
01:12:51,920 --> 01:12:55,319
injured from repeated slips and falls, which unfortunately accompanied that

1184
01:12:55,920 --> 01:12:58,720
he had multiple surgeries and it just kind of snowballed

1185
01:12:58,760 --> 01:13:01,920
into bigger problems and he wound up passing away in

1186
01:13:02,319 --> 01:13:06,920
twenty twenty. If you want a tear jerker moment, you

1187
01:13:06,960 --> 01:13:10,359
can go on YouTube because somebody posted the last time

1188
01:13:10,479 --> 01:13:14,800
he sang this song at the Turningstone Casino in Central

1189
01:13:14,840 --> 01:13:17,680
New York and you can see his hands were shaking

1190
01:13:17,920 --> 01:13:20,520
and he's in tears as he's introducing the song. This

1191
01:13:20,640 --> 01:13:22,279
is the last time I'm going to sing this in public.

1192
01:13:22,560 --> 01:13:26,359
Please sing it with me, and everybody sang it with him,

1193
01:13:26,720 --> 01:13:29,039
so even if you have a heart of stone, it's

1194
01:13:29,119 --> 01:13:32,279
kind of a tear jerker. So over his career, Benny

1195
01:13:32,279 --> 01:13:35,520
put out twelve studio albums and five live albums, and

1196
01:13:35,720 --> 01:13:39,560
that's pretty good on top of other one off recording projects.

1197
01:13:40,760 --> 01:13:43,720
And now, as far as the song goes, it's the

1198
01:13:43,920 --> 01:13:47,520
first line that may sway your opinion one way or another,

1199
01:13:48,479 --> 01:13:51,439
but I will say that the first line is also misunderstood,

1200
01:13:51,520 --> 01:13:53,760
so bear with me as we tell the story. The

1201
01:13:53,880 --> 01:13:57,399
song starts with the line she's just sixteen years old.

1202
01:13:57,800 --> 01:14:03,319
Leave her alone. They said, Oh wait, I can understand.

1203
01:14:03,439 --> 01:14:07,000
Uh oh yeah, but here comes the story for me.

1204
01:14:07,239 --> 01:14:09,760
I was fifteen when the song was released a second time,

1205
01:14:10,600 --> 01:14:14,119
and when you're fifteen, hitting sixteen is huge, especially in

1206
01:14:14,239 --> 01:14:16,880
New York, because at sixteen you get your driver's license,

1207
01:14:16,960 --> 01:14:20,119
you get some autonomy, you know, like high school graduations,

1208
01:14:20,239 --> 01:14:22,359
kind of like the light at the end of the tunnel.

1209
01:14:22,600 --> 01:14:25,359
So it didn't bother me. I kind of got it,

1210
01:14:26,720 --> 01:14:28,680
but I wasn't thinking about how old the singer was

1211
01:14:28,720 --> 01:14:32,279
at the time. And it's a song where you can

1212
01:14:32,439 --> 01:14:35,159
understand the lyrics, you can understand what he's saying, and

1213
01:14:35,600 --> 01:14:37,199
the lyrics spoke to me.

1214
01:14:37,520 --> 01:14:37,960
Speaker 4: I like it.

1215
01:14:38,479 --> 01:14:40,159
Speaker 2: The style is a bit of a throwback to the

1216
01:14:40,279 --> 01:14:42,760
nineteen fifties duop, which I was into in high school

1217
01:14:42,760 --> 01:14:46,119
because I'm a complete nerd. The backup singer style, the

1218
01:14:46,199 --> 01:14:50,079
chord progression, and I think you'll hear definitely that fifties

1219
01:14:50,359 --> 01:14:52,640
style when we listen to the track. And remember the

1220
01:14:52,720 --> 01:14:55,239
fifties wasn't that long before the song first came out

1221
01:14:55,479 --> 01:15:00,439
in nineteen eighty, so it wasn't that long ago. The

1222
01:15:00,600 --> 01:15:03,000
co writer, Robert Tepper is actually a backup singer on

1223
01:15:03,079 --> 01:15:06,800
the song as well. So with that opening line and

1224
01:15:07,119 --> 01:15:10,359
with the lyrics being easily misunderstood out of context, people

1225
01:15:10,479 --> 01:15:13,000
got a little upset about what they assumed to be

1226
01:15:13,119 --> 01:15:15,560
the subject matter of the song, which is an old

1227
01:15:15,680 --> 01:15:18,760
dude lusting after a sixteen year old, and in fact,

1228
01:15:18,840 --> 01:15:21,199
many radio stations would not play the song because of

1229
01:15:21,239 --> 01:15:25,479
that until Polydor Records issued a statement explaining the origin

1230
01:15:25,560 --> 01:15:28,119
of the song. They sent out over three thousand letters

1231
01:15:28,439 --> 01:15:31,760
the different radio stations explaining what the actual story of

1232
01:15:31,840 --> 01:15:33,960
the song is, and then they started playing the song.

1233
01:15:34,640 --> 01:15:37,000
On top of that, many programmed directors at R and

1234
01:15:37,119 --> 01:15:40,199
B stations when they heard the song, they thought Benny

1235
01:15:40,319 --> 01:15:43,239
was black, so they put it into rotation, and when

1236
01:15:43,239 --> 01:15:45,840
they found out he was not, He's a white guy,

1237
01:15:45,960 --> 01:15:48,600
they pulled the record, so it kind of tanked on

1238
01:15:48,680 --> 01:15:51,640
the R and B side. So here's a recap of

1239
01:15:51,680 --> 01:15:54,479
the story behind the song. I mentioned it. He co

1240
01:15:54,640 --> 01:15:57,960
wrote it with Robert Tepper. They were at Benny's apartment

1241
01:15:58,079 --> 01:16:00,279
in Spanish Harlem in New York City while they were

1242
01:16:00,319 --> 01:16:03,399
working on writing songs for the next album. Their neighbors

1243
01:16:03,439 --> 01:16:06,680
included a family of five. The father of the family

1244
01:16:06,800 --> 01:16:09,560
made it big as a Broadway set designer, and then

1245
01:16:09,600 --> 01:16:11,800
apparently ran off with one of the dancers in one

1246
01:16:11,840 --> 01:16:15,199
of the shows, just completely abandoning the family, leaving the

1247
01:16:15,319 --> 01:16:18,760
mom and three teenagers, two girls and a boy. They

1248
01:16:18,840 --> 01:16:20,880
had nothing. The father was the sole income for the

1249
01:16:20,960 --> 01:16:25,039
family and he was gone. Benny was already established at

1250
01:16:25,079 --> 01:16:26,640
this point. He was making a good living and he

1251
01:16:26,720 --> 01:16:28,840
wanted to help out this family, so he would pay

1252
01:16:28,880 --> 01:16:32,119
the kids to do jobs like go grocery shopping for him,

1253
01:16:32,479 --> 01:16:35,720
walking the dog. And the girl who walked his dog

1254
01:16:36,159 --> 01:16:40,359
was and still is named Heidi. She was sixteen. One

1255
01:16:40,439 --> 01:16:42,600
morning before school, she came over to walk the dog,

1256
01:16:42,960 --> 01:16:45,479
and as she was leaving, Tepper made an off the

1257
01:16:45,560 --> 01:16:50,399
cuff comment about her appearance, and Benny said, pal, she

1258
01:16:50,560 --> 01:16:54,279
is sixteen years old, leave her alone, and then bing

1259
01:16:54,600 --> 01:16:57,880
the light bulb goes off because songwriters have light bulb

1260
01:16:57,960 --> 01:17:00,439
moments like that. I can never have a light moment

1261
01:17:00,560 --> 01:17:02,880
like that, even with all my woody comments, I never

1262
01:17:02,960 --> 01:17:05,960
come up with anything like that. So he started building

1263
01:17:06,000 --> 01:17:08,239
a story off that line, She's just sixteen years old,

1264
01:17:08,319 --> 01:17:11,840
Leave her alone. The chorus goes, if I could fly,

1265
01:17:12,399 --> 01:17:14,560
I'd lift you up and take you into the night

1266
01:17:14,640 --> 01:17:17,439
and show you a love like you've never seen. You

1267
01:17:17,520 --> 01:17:20,039
can misinterpret that as I'm an old guy taking this

1268
01:17:20,159 --> 01:17:22,840
young girl, but that's not what he meant by it.

1269
01:17:22,920 --> 01:17:25,920
It's about lifting the family out of poverty, showing you

1270
01:17:26,000 --> 01:17:28,359
a love like you've never seen. Is your father abandoned

1271
01:17:28,399 --> 01:17:29,680
you and you don't know what it's like to have

1272
01:17:29,760 --> 01:17:33,199
a good father. So that was his approach to the

1273
01:17:33,319 --> 01:17:37,560
story behind the song. Benny did a lot of interviews

1274
01:17:37,920 --> 01:17:40,560
specifically about the song, and a lot of those interviews

1275
01:17:40,600 --> 01:17:43,680
he brought Heidi with him to sit there and explain,

1276
01:17:44,479 --> 01:17:47,359
to actually justify what he was talking about. He was

1277
01:17:47,479 --> 01:17:51,359
very happy to explain the backstory to the song. As

1278
01:17:51,479 --> 01:17:53,359
luck would have it, Heidi would go on to marry

1279
01:17:53,399 --> 01:17:55,840
into a wealthy family in Puerto Rico and her whole

1280
01:17:55,840 --> 01:17:58,800
family wound up moving there, so they all had a

1281
01:17:58,840 --> 01:18:02,479
success story as well. Her brothers got jobs with the

1282
01:18:02,560 --> 01:18:05,199
wealthy family and all that kind of stuff, so turned

1283
01:18:05,239 --> 01:18:08,920
out happy for them. It's Benny's vocals that really stand

1284
01:18:08,960 --> 01:18:10,960
out on this track. He did the whole song in

1285
01:18:11,039 --> 01:18:14,359
three takes. There are a number of standout vocal fills

1286
01:18:14,399 --> 01:18:16,920
in the song, especially a bridge in the middle, and

1287
01:18:17,479 --> 01:18:20,640
as you recall, I mentioned that he recorded demos for

1288
01:18:20,720 --> 01:18:23,199
songs that he wrote so other people could hear what

1289
01:18:23,239 --> 01:18:26,279
it would kind of sound like. Those vocals were supposed

1290
01:18:26,279 --> 01:18:29,479
to be a guide for a saxophone solo, which was

1291
01:18:29,520 --> 01:18:33,159
common practice. I'm gonna sing this, then the sax player

1292
01:18:33,199 --> 01:18:35,199
had to pick it up, like Jen was saying that

1293
01:18:35,319 --> 01:18:38,199
he did with his song sing it Warren's pick it

1294
01:18:38,239 --> 01:18:40,399
out and play it well. After they were done, the

1295
01:18:40,479 --> 01:18:43,880
producer was quoted saying, we won't be using a saxophone

1296
01:18:43,920 --> 01:18:47,960
on this record the way Benny sang it was.

1297
01:18:50,479 --> 01:18:53,039
Speaker 11: Been horrified momentarily.

1298
01:18:53,159 --> 01:18:55,640
Speaker 2: I can imagine, but I think when you hear the track,

1299
01:18:55,680 --> 01:18:58,920
you can understand why the decision was made. So let's

1300
01:18:59,000 --> 01:19:00,760
check out. This is the original one, not the re

1301
01:19:00,880 --> 01:19:04,000
recording from eighty nine. This is the original nineteen eighty recording.

1302
01:19:04,039 --> 01:19:05,760
Into the Night Bye Benny Mardonez.

1303
01:19:20,960 --> 01:19:28,279
Speaker 13: She's just sixteen years old. Leave you no, they said,

1304
01:19:32,800 --> 01:19:35,039
sad readed that.

1305
01:19:37,000 --> 01:19:37,960
Speaker 4: You don't know what.

1306
01:19:39,439 --> 01:19:46,920
Speaker 19: It is ya, but I want you to know, lad good,

1307
01:19:48,520 --> 01:19:55,000
I thank you, thank you to the night. It jell

1308
01:19:55,079 --> 01:20:17,800
you love, thank you name say and say. It's like

1309
01:20:18,479 --> 01:20:19,720
having a dream.

1310
01:20:21,359 --> 01:20:33,600
Speaker 21: Nobody it has a home. It's heaving it all, watching

1311
01:20:33,880 --> 01:20:39,199
it fall, and I.

1312
01:20:41,199 --> 01:20:45,960
Speaker 12: Would wait to be time for you.

1313
01:20:47,760 --> 01:20:48,199
Speaker 11: Do it?

1314
01:20:48,479 --> 01:20:50,600
Speaker 14: Looka It's true.

1315
01:20:55,239 --> 01:20:58,079
Speaker 12: I can't imagin my love.

1316
01:20:59,399 --> 01:21:01,800
Speaker 15: Stuffing, just the baby.

1317
01:21:04,840 --> 01:21:05,880
Speaker 11: That I want you.

1318
01:21:10,880 --> 01:21:11,560
Speaker 12: I'm think you.

1319
01:21:13,079 --> 01:21:15,479
Speaker 14: I'll take you into your life.

1320
01:21:16,720 --> 01:21:26,399
Speaker 15: I'll show you, I'm dig you, I take you into

1321
01:21:26,720 --> 01:21:27,239
the night.

1322
01:21:28,560 --> 01:21:33,600
Speaker 12: In shall you name scene?

1323
01:21:36,000 --> 01:22:07,279
Speaker 14: I'm seeing I go by not Biggie thinking n.

1324
01:22:09,720 --> 01:22:10,520
Speaker 12: Y should be.

1325
01:22:13,359 --> 01:22:17,279
Speaker 14: My ha big.

1326
01:22:20,640 --> 01:22:21,960
Speaker 12: And digging.

1327
01:23:11,720 --> 01:23:14,439
Speaker 2: Chance got his lighter out, an actual old school lighter,

1328
01:23:15,359 --> 01:23:18,079
you know they made those still, So what'd you think?

1329
01:23:20,640 --> 01:23:22,159
Speaker 20: Yeah, I would not.

1330
01:23:22,359 --> 01:23:26,279
Speaker 9: Say that would be a pro Valentine's song given the

1331
01:23:27,199 --> 01:23:31,680
the theme. I would have to I don't know, you know, folks,

1332
01:23:31,800 --> 01:23:33,239
what do you all think?

1333
01:23:35,760 --> 01:23:38,479
Speaker 4: I would question whether it was a Valentine's you know

1334
01:23:39,039 --> 01:23:41,680
song at all, being that it's kind of you know,

1335
01:23:43,039 --> 01:23:45,479
the whole sixteen year old thing. You know, But why

1336
01:23:45,560 --> 01:23:48,680
didn't they just change that lyric? It would have It

1337
01:23:48,720 --> 01:23:52,880
would have changed the whole perspective of the song. And

1338
01:23:53,840 --> 01:23:57,800
because otherwise, I mean, the production is magnificent, you know,

1339
01:23:58,000 --> 01:24:01,960
the scene is all it has everything going forward except

1340
01:24:03,239 --> 01:24:05,600
that you know which, And in my mind.

1341
01:24:05,479 --> 01:24:08,319
Speaker 3: He was paying tribute to like a real person and

1342
01:24:11,279 --> 01:24:12,079
a real story.

1343
01:24:14,920 --> 01:24:19,800
Speaker 7: I sat Valentine wasn't all necessarily about romance.

1344
01:24:20,880 --> 01:24:22,199
Speaker 11: It was about love.

1345
01:24:24,560 --> 01:24:28,079
Speaker 5: Can heads off, wasn't it pretty much?

1346
01:24:29,039 --> 01:24:32,520
Speaker 11: You know, you gotta overlook the whole.

1347
01:24:34,840 --> 01:24:36,680
Speaker 2: You pick the part you like and go with that.

1348
01:24:40,000 --> 01:24:43,720
Speaker 11: So you don't think style, right, Yeah, exactly.

1349
01:24:44,359 --> 01:24:45,359
Speaker 5: You don't think it's pro.

1350
01:24:46,199 --> 01:24:47,199
Speaker 3: Who doesn't think it's pro?

1351
01:24:48,159 --> 01:24:48,720
Speaker 1: John doesn't?

1352
01:24:49,600 --> 01:24:53,079
Speaker 2: No, Well, I think when people guests stuck on that

1353
01:24:53,399 --> 01:24:56,800
that sixteen year old line, even with the explanation. Now,

1354
01:24:56,920 --> 01:24:59,800
of course some people just will not accept the explanation

1355
01:24:59,880 --> 01:25:02,520
of the backstory and just think it's a pervy song.

1356
01:25:03,720 --> 01:25:07,600
Speaker 4: Well no, even even with the explanation, and you know,

1357
01:25:07,720 --> 01:25:10,399
and even you know, sending out the letters and going

1358
01:25:10,760 --> 01:25:15,159
not everybody is going to hear that, you know, not everybody.

1359
01:25:15,359 --> 01:25:15,520
Speaker 14: You know.

1360
01:25:15,840 --> 01:25:18,520
Speaker 4: Now it's a different world now, you know, you put

1361
01:25:18,560 --> 01:25:21,880
something out on the internet, Yeah it's gonna that didn't

1362
01:25:21,920 --> 01:25:26,039
happen back then. That wasn't available. So you know, it

1363
01:25:26,159 --> 01:25:28,600
was like maybe you were listening when he did the

1364
01:25:28,720 --> 01:25:31,960
interview on the on the radio station or whatever. Maybe

1365
01:25:32,039 --> 01:25:37,760
you weren't. Chances are you probably weren't. If there's you know,

1366
01:25:37,920 --> 01:25:41,239
you got a million listeners, what they're not all listening

1367
01:25:41,279 --> 01:25:44,560
at once, right in my case, none of them listened.

1368
01:25:44,680 --> 01:25:50,800
Speaker 7: So but I was seventeen when I heard that song,

1369
01:25:50,880 --> 01:25:54,159
and I guess I didn't think about sixteen it's such

1370
01:25:54,159 --> 01:25:57,279
a big deal, or fourteen is such a big deal.

1371
01:25:57,439 --> 01:25:59,800
But I think of the song as kind of an

1372
01:26:00,000 --> 01:26:03,439
expression of, you know, love, not romantic love.

1373
01:26:03,720 --> 01:26:06,520
Speaker 11: But I kind of I'm on the fence with that.

1374
01:26:07,920 --> 01:26:08,119
Speaker 4: Yeah.

1375
01:26:08,560 --> 01:26:10,439
Speaker 2: Like I said, I was fifteen when it came out,

1376
01:26:10,520 --> 01:26:13,640
so I was right at that age and didn't think

1377
01:26:13,720 --> 01:26:16,640
about the singer's age or any of that. I just

1378
01:26:16,680 --> 01:26:20,279
thought the lyrics were cool. Again, right, huh you think

1379
01:26:20,319 --> 01:26:23,239
it's pro I would say, you know what, after knowing

1380
01:26:23,279 --> 01:26:25,560
the story that it's about lifting a family out of poverty,

1381
01:26:25,680 --> 01:26:27,560
it has actually nothing to do with it at all,

1382
01:26:28,680 --> 01:26:30,520
which is the monkey wrench that I like to throw

1383
01:26:30,560 --> 01:26:31,279
into everything.

1384
01:26:33,000 --> 01:26:33,920
Speaker 4: What was the year again?

1385
01:26:34,800 --> 01:26:37,119
Speaker 2: It first came out in nineteen eighty, and we listened

1386
01:26:37,159 --> 01:26:39,640
to the nineteen eighty recording. He re recorded it in

1387
01:26:39,720 --> 01:26:40,640
eighty nine, which.

1388
01:26:40,600 --> 01:26:41,199
Speaker 4: Was which is good.

1389
01:26:41,279 --> 01:26:44,239
Speaker 2: But it's a little different the same lyrics, same lyrics,

1390
01:26:44,399 --> 01:26:44,960
different band.

1391
01:26:45,399 --> 01:26:49,479
Speaker 4: Yeah, I was a little older than fifteen in nineteen eighty.

1392
01:26:49,600 --> 01:26:50,479
That's all.

1393
01:26:54,159 --> 01:26:57,319
Speaker 2: Right, So there you go. I think we're split on that,

1394
01:26:57,520 --> 01:27:00,880
but overall, yeah, the crampbolts have got soft.

1395
01:27:02,439 --> 01:27:06,079
Speaker 4: We're all overall pro. We'll get them next to you.

1396
01:27:06,399 --> 01:27:08,680
Speaker 2: Yeah, we got it to make us cranky.

1397
01:27:09,640 --> 01:27:12,800
Speaker 7: I want to thank you guys, Thank you guys for

1398
01:27:13,039 --> 01:27:16,680
having me, because I hope I haven't overstepped in my.

1399
01:27:20,560 --> 01:27:23,800
Speaker 11: Experience. I'd like to leave you with one thing that

1400
01:27:23,880 --> 01:27:27,000
I always think of when discussing these songs, and it's

1401
01:27:27,319 --> 01:27:31,680
from Frank Zappa, and it's there's two songs. There's two

1402
01:27:31,840 --> 01:27:35,159
times that all the songs on the radio are true

1403
01:27:36,159 --> 01:27:38,640
when you're falling in love or breaking up.

1404
01:27:41,479 --> 01:27:41,720
Speaker 4: True.

1405
01:27:42,600 --> 01:27:49,359
Speaker 2: Yeah, Maxwell Silver, this has.

1406
01:27:49,319 --> 01:27:54,119
Speaker 11: Been a blast. I really enjoyed just hearing this stuff.

1407
01:27:54,199 --> 01:27:54,399
Speaker 2: Great.

1408
01:27:54,439 --> 01:27:57,520
Speaker 11: This is great. Fellow music nerds.

1409
01:27:57,760 --> 01:27:58,720
Speaker 4: Thank you totally.

1410
01:27:58,880 --> 01:28:01,039
Speaker 2: Thanks for joining us, join us.

1411
01:28:03,000 --> 01:28:05,039
Speaker 8: You got it, mot We're an interesting group.

1412
01:28:06,159 --> 01:28:11,520
Speaker 11: We can yes, you monsters meet the most interesting.

1413
01:28:12,960 --> 01:28:20,159
Speaker 2: Yeah, my gosh. All right, excellent choices, Crambones. We'll have

1414
01:28:20,239 --> 01:28:23,039
to pick a topic that shows our true cranky side

1415
01:28:23,119 --> 01:28:25,760
in the near future, just so we balance it all out.

1416
01:28:26,359 --> 01:28:28,199
Great job, and thank you all for joining us for

1417
01:28:28,199 --> 01:28:30,199
the Rock and Roll Instury Show on Hudson River Radio.

1418
01:28:30,560 --> 01:28:33,159
Don't forget subscribe in your favorite podcast app, and check

1419
01:28:33,159 --> 01:28:34,840
out all the other shows we do at Hudson River

1420
01:28:34,960 --> 01:28:38,640
Radio because there is something for everybody. We'll be back

1421
01:28:38,720 --> 01:28:41,079
soon with another brand new episode, so we hope you'll

1422
01:28:41,159 --> 01:28:45,039
join us then. Until that time, peace out, everybody. Don't

1423
01:28:45,079 --> 01:28:47,199
forget to go get the half price Valentine's Chocolate.

1424
01:28:47,279 --> 01:28:53,319
Speaker 11: Next week Rock Cop Bottomed Cram.

1425
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Speaker 6: Okay, Bye bye.

1426
01:28:58,560 --> 01:29:03,119
Speaker 10: Hudson River Radio DOC a subsidiary of Glacier Entertainment LLC.

1427
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Potentially successful, the multi hundred dollar corporation