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Speaker 1: Hey, man, is that the Surely you Can't Be Serious?

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Speaker 2: Podcast?

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Speaker 1: Yeah? Man, well turn it up.

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Speaker 3: Hello everybody, and welcome back to the Shirley You Can't

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Be Serious Podcast. We are here for our third installment

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on the Beverly Hills cop theme. We just finished covering

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Beverly Hills Cop one versus Beverly Hills Cop two and

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we can't not talk about the Beverly Hills Cop one soundtrack.

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Speaker 1: I know I love this soundtrack. I own this. This

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was a tape that I carried around with me for

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my Walkman, did you have this one? I?

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Speaker 2: You know what? I don't know if I had this one.

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Speaker 3: I know that I could listen to axel f any

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day I wanted to, just by turning on the radio

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and waiting for five minutes.

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Speaker 1: That's true. The hits on this are amazing. Now, there's

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kind of a line where the top half is great,

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the bottom half is not so good. But this is

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gonna be a fun one to talk about. It's such

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a moment in time. It's not an album I go

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back to and listen to a whole lot. Yeah, but

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the songs are great and they transport me back to

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nineteen eighty five.

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Speaker 3: They are absolutely a time capsule of the eighty five

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sound for sure.

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Speaker 1: This actually hit number one on the Billboard two hundred

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June twenty second, nineteen eighty five. Nice, so big movie,

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big album. Of course, this is the time where MTV

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becomes this monster and the movie studios realize that we

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can get a whole bunch more publicity if we put

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out a great song that has a great video. They

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play every ten minutes on MTV.

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Speaker 3: Yeah, they've got Footloose as a go buy form to

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go okay. Yeah, we need to do more with our

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soundtrack albums.

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Speaker 1: Well, and Flash Dance too, which was a Simpson Bruckheimer. Yeah,

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and that was kind of the early model that they

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followed for Beverly Hills Cup.

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Speaker 2: Yeah.

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Speaker 1: All right, So this won the Grammy for the Best

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Score Soundtrack in nineteen eighty six, which means that every

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artist who contributed a song to this album got a Grammy.

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Speaker 2: Nice.

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Speaker 1: Some are more deserving than others. He also rams, yes, yeah,

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that's right, let's dive into it.

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Speaker 2: Yeah, let's get to these songs are too good, not

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too okay.

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Speaker 1: So the first song on the album is a song

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called New Attitude by Patti Libell. All right, do let's

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talk about Patty LaBelle for a second.

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Speaker 3: Okay, So Patty LaBelle is the singer on this one

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written by Sharon Robinson, John Gillaton and Bunny Hall, all

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of whom have written songs for multiple other people.

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Speaker 1: I'm sorry, did you say Benny Hill?

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Speaker 2: Bunny Hall? Okay, Bunny Hall? Yes is close.

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Speaker 1: Hey, I make fun of that name. But she sang

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backup on Thriller and for Billy Idol. Mean she's a

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big time saying oh yeah, heck yeah.

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Speaker 3: These are all guys that like the Wrecking Crew. Like

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it's like, we need some good songs written, we need

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some hits written. Let's go to these folks. Sure, all

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of these folks. Right, So, so who do they enlist

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to sing the song? But Patti LaBelle, who hasn't had

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a hit in seven years? Right, I don't know how

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that decision is made. I don't either, But you know,

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I mean, do you know about Patti Labelle's like history?

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I know a little bit about her. So she had

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done she had come up with this group. This is

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like the worst name group I've ever heard.

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Speaker 2: It was. It was in the sixties and seventies.

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Speaker 3: It was her and a couple of other do wop singers,

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and they called themselves the Bluebells. Yeah, and they had

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a few hits over the years, but ultimately reformed themselves

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into like a funk soul disco group, right, called the

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Love Bells, as in Patty LaBelle right right. And then

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everybody knows the song of the label's called Lady Marmalade,

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but you may not know it by that name.

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Speaker 2: La. That's the first thing I learned in French.

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Speaker 1: Id.

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Speaker 3: Right, So they say, all right, let's get Patti LaBelle

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to sing us this.

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Speaker 2: New song on the album called New Attitude.

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Speaker 1: Well, so here's the thing. She has been called the

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Godmother of soul, the high Priestess of good vibrations, the

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Queen of rock and soul. She's got this great voice.

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But I think that they were looking for a place

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to put her because they had signed her at mc A.

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She's a solo artist now, but she hasn't had any hits,

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and so they're like, look, we're going to attach her

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to this particular movie. We're gonna write her some hits

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and we're going to bank on it.

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Speaker 2: Yeah.

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Speaker 1: So, like you said, they got those songwriters and they

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come up with a couple of songs, including New Attitude. Now.

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New Attitude is the second single, released December of nineteen

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eighty four. It reaches number seventeen on the Hot one

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hundred May eleventh, nineteen eighty five. But here's the interesting

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thing I wanted to tell you this. You mentioned Patti

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LaBelle and the Bluebells. They were the first African American

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group to play the Metropolitan Opera House. They were the

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first African American group to be on the cover of

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Rolling Stone magazine before they broke up in nineteen seventy seven. Now,

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this song, I don't know if you remember. Do you

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remember the Doctor Laura Show. Yeah, she's like a call

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in psychologist like the nineties. Yeah, this was like her

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theme song. I live and had a coworker in the

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nineties that I work with. She listened to Doctor Laura

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all the time.

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Speaker 2: Uh huh.

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Speaker 1: And every day I'm here in a New Attitude by

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Patti LaBelle. Aha. And the video for this song.

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Speaker 2: It's right out of these Easy tael playbook.

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Speaker 1: Right.

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Speaker 2: It's legs.

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Speaker 1: It is legs. It's totally legs. Yeah, she goes like

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shopping and gets a new wardrobe and comes out and

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she's looking.

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Speaker 3: Great, great, you gotta new that she's getting hassled by

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the clerk. And then she comes out looking all foxy

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and she's got a new attitude.

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Speaker 1: Oh my gosh. So the success of new Attitude and

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another song we're going to talk about here in.

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Speaker 2: Just a little bit called Stir It Up, Yeah, leads her.

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Speaker 1: To a new song in nineteen eighty six where she

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has a duet with Michael McDonald. Oh yes, Michael McDonald

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of the Doobie Brothers.

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Speaker 2: Uh huh.

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Speaker 1: And he didn't work with Total. We talked about my

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Total episodes. That song is called on our Own One,

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which was a number one hit.

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Speaker 3: I think that Bruckheimer knew about her because she had

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just started acting before this, like just before they enlisted

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her to sing this song. She had started acting, played

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a part in a soldier story.

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Speaker 1: That's right. Yeah, before we dismissed Patty LaBelle. She's in

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the Grammy Hall of Fame, She's on the hollyw Would

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Walk Fame, the Apollo Hall of Fame, the Songwriters Hall

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of Fame. In two thousand and five, she received the

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Legends Award, and Rolling Stone ranked her as one of

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the one hundred greatest singers of all time.

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Speaker 3: I think this song is great. I think the song

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has it has lasting power. I would put it in

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the top four or five songs on the album for sure.

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It's a great leadoff song.

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Speaker 1: It's a great pop song.

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Speaker 2: Yeah.

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Speaker 1: They don't play it in the movie at all. Okay,

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it's not in the movie one one second?

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Speaker 2: So why is it on the soundtrack?

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Speaker 1: I don't know, Okay, I don't know. It is in

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Miss Congeniality Part two though, all right, which is a

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favorite with my wife.

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Speaker 2: Yeah.

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Speaker 3: Yeah, we're a Miss Congeniality one and two fans family too.

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Speaker 1: Here's what I think. Do you want to hear what

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I think?

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Speaker 2: Yeah?

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Speaker 1: I think that their original intent was to use this

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for Jenny Summers. Okay, Like it's Jenny's song, Okay, gotcha.

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She's feeling good, she's looking good, she's got a great job,

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she's busted out of the neighborhood.

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Speaker 3: Right, She's not in downtown Detroit anymore. That's right, She's

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on bever Hills Drive.

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Speaker 1: This doesn't fit with Axel. This is Jenny song.

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Speaker 2: Yeah, all right, what's our next song?

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Speaker 1: Next song on the album is a song called Don't

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Get Stopped in Beverly Hills by Shalamar.

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Speaker 2: Okay, we've talked about Shallamar before.

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Speaker 1: Yeah, I mean, Shalamar had a big song on the

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Footloose soundtrack.

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Speaker 2: Oh that's right, Yeah, yeah, yeah, grab.

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Speaker 1: Your cold and be a good body. The friends. I

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want to take you in the nine. I feel the

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need to sweep you off.

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Speaker 2: But your feet, you and me, we sent me dancing.

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Speaker 1: That was a great song.

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Speaker 2: Yeah.

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Speaker 3: I remember when we did that episode. You you said

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that this was kind of a put together band, and

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so I had to go look at that.

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Speaker 2: You remember soul Train.

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Speaker 1: I do remember SoulTrain.

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Speaker 2: Yeah.

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Speaker 3: Remember the host of soul Train. He was Don Cornelius.

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Well he's one of the two guys that put this

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band together. Okay, Him and a booking agent named Dick

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Griffy picked out these folks really for their looks more

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than anything else.

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Speaker 2: Their looks and their ability to dance.

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Speaker 1: These guys can dance.

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Speaker 2: Yeah, and they were.

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Speaker 3: I mean, the idea was, we're going to be the

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trendsetters for the disco funk kind of sound and look.

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And so they'd dress them up in awesome clothes and

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have them sing this very hooky songs and somehow they're

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still in nineteen early nineteen eighty three doing music.

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Speaker 1: Shallamar. We talked about how they're dangerously close to Millie Vanilli, right.

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Speaker 3: Ye.

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Speaker 1: They were selected because they look good and they could dance,

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not necessarily because they could sing.

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Speaker 2: Right. I mean the group had Jody Wattley in it,

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who she.

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Speaker 1: Had some big hits in the late eighties. She had

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Don't You Want Me, she had some kind of lower

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she had looking for a new love.

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Speaker 3: They were lip syncing, but they were pretty much lip

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syncing to their own singing, right, Unlike Yes.

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Speaker 1: Hey, I'll tell you who is a big fan of

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Shalamar Okay, Michael Jackson.

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Speaker 2: Wow.

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Speaker 1: In fact, he admired their dancing ability so much that

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he brought him in to help him coordinate the bad video.

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Speaker 2: Right, Jeff Daniels, Right that, Jeff, Jeff Old Jeff.

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Speaker 3: That's a throwback to our very first episode, like four

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years ago.

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Speaker 1: Everybody dancing in the sheets was their biggest one. I

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gotta think that they got Don't Get Stopped in Beverly

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Hills off of Footloose success. This is another song that

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was not in the film.

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Speaker 2: What the heck?

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Speaker 1: I don't don't know, Okay, I'll tell you where. It

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did appear in the TV show Misfits of Science.

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Speaker 3: Okay, which by the way, starred the same guy who

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played Predator and the Helicopter.

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Speaker 1: That is right, good job, nice pull.

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Speaker 2: There you go.

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Speaker 3: So this brings us to song number three, do You

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Really Want My Love? By They Want My Love?

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Speaker 1: So Junior was British Okay.

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Speaker 3: He is one of the very first British R and

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B artists to be successful in the US. He had

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a big hit in nineteen eighty two called Mama used

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to say, do you remember this song?

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Speaker 2: No?

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Speaker 3: Yeah, So that was actually a top forty hit in

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the US, was number seven in the UK.

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Speaker 2: Really don't really remember it.

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Speaker 1: I don't know.

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Speaker 3: I feel like they were really trying to find Michael

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Jackson sound on this one.

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Speaker 1: I can see that the guy's got a high pitch voice,

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kind of a funky dance thing.

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Speaker 2: Uh huh.

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Speaker 1: You know he did have at least a U K

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hit with Kim Wilde. Kim wild Oh sure, keep me

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hanging on and kids in America.

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Speaker 2: Kids in America love that. We need to do that

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one for a Patreon episode. I'd love to oh heck yeah.

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Speaker 3: By the way, guys, if you haven't joined our Patreon family,

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please come and do so. You can do it for

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as little as five bucks a month. Go to patreon

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dot com backslash Surely podcast and you can get access

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to all of our special episodes where we cover one

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hit wonders Where the kids in America. We've got to

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do that this year. Anyway, back to Junior.

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Speaker 1: So, look, this song is not good. This is not

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a great song.

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Speaker 2: This is on the bottom half, this.

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Speaker 1: Is below the windows alignment, all right. So this actually

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plays when Mikey and Axll are playing pool in Detroit's

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in the background. They're at the bar, right, and he

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loses the money in the pool bent And that's all

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we really need to say about that.

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Speaker 3: So, so you've got you've got this Patti LaBelle song,

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and you've got this Shallamar song, and you don't put

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them in the movie, right, And then when you got

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a space that you can put a song in, you

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put this Herd in there, right?

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Speaker 2: All right? Well, whatever, moving on song number four.

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Speaker 1: Number four. This song is called Emergency by Rocky Robins.

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Speaker 4: Tweet tweet.

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Speaker 3: Okay, I can I can see the I can see

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the studio executives at this moment, we need another song.

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Can we get Prince? Prince had a good album. No,

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we can't. Can't get Prince. We can get Rocky Robbins.

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I'm sorry, we can get who. I said Prince, and

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you said who Rocky Robbins. He sounds a lot like Prince.

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Speaker 1: He sounds like he's trying to be Prince.

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Speaker 3: He sounds like he was Prince karaoke on a sad

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club somewhere in northeastern olab.

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Speaker 1: That's right, the great value Prince in all actuality though

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he was from Minneapolis. Huh so, good chance they knew

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each other at least, you know, crossed over their past. Sure,

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Like I said, every artist got a Grammy for this album.

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Speaker 2: I get a Yeah.

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Speaker 3: Can we get the guy from Paisley Park? I know

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a guy from Polka Dot Park.

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Speaker 1: All right, now, listen before we totally beat up on

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Rocky Robins. I've got a great Rocky Robins story.

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Speaker 2: Oh wow, okay, I do.

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Speaker 3: I am impressed because I had to surge high and

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low to find out who Rocky Robins was at all. Okay,

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a great story, I'm excited to hear.

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Speaker 1: Well, a great tragedy. Oh no, okay, so he signed

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with A and M Records in nineteen seventy nine. So

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he's all fired up for his first record. Freaking Yes,

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I got signed by a record company. I'm gonna make

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my first record. So sits down with the producers, they

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knock this out. They produce his first album, and on

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the way to deliver the record to the record company,

301
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the masters got erased. What I dow, I don't know.

302
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I don't know the story of how. All I know

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is that when he got to the record company to

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turn it in, there is blank sound coming from the speakers.

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He had to go back and re record everything and

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start over.

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Speaker 2: Well did the re recording sew Well?

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Speaker 3: No, I did not, Okay, I literally I can imagine.

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I can imagine this Rocky Robins guy sitting in a

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bar that looks like the club that they're in in

311
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Weird Science, drinking whiskey, smoking a cigarette, and telling that

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same story for the hundred thousandth time to whoever will listen.

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Speaker 1: I was going to be as big as prints until

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my master's got a raised Prince stole my ideas.

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Speaker 2: This poor guy, Uh, they just got a race. How

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do they get a race? I don't know that they

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were in the.

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Speaker 1: Van play there was nothing there.

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Speaker 2: We had sound when we put him in a van,

320
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put him out of the van. No sound. Oh my gosh,

321
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how crazy.

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Speaker 1: Well, but at least he gets a song on the

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Beverly Hills Cop soundtrack, he gets a Grammy phrase, I'm

324
00:16:04,840 --> 00:16:07,919
Rammy winner right now. This song is not in the

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film either.

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Speaker 2: That was actually a good choice, good call on their

327
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part there.

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Speaker 1: All right, all right, let's finally get to one of

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the big dogs on this album. Okay, this song is

330
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called Neutron Dance by the Pointer sisters. I don't want

331
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to take it.

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Speaker 3: In, okay, So you don't have to tell me where

333
00:16:38,840 --> 00:16:42,080
in the movie this song play, no doubt. I mean,

334
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if you don't automatically think of this scene as you

335
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hear this song, then you haven't seen the movie, because

336
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it is the perfect music for this scene and it

337
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absolutely sets the stage for the rest of the movie.

338
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Speaker 1: So it's the opening scene when Axel is doing that

339
00:16:57,679 --> 00:17:01,519
cigarette deal and the guy takes off any smashing cars

340
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through the Detroit streets. It's so great, right, It's like

341
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the perfect song.

342
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Speaker 2: Perfect. You told me they didn't want this song.

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Speaker 1: They didn't like it, wasn't it.

344
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Speaker 3: Marty breast again, who was like, dude, this song is

345
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the song that has to be in this scene.

346
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Speaker 1: So here's the deal. Simpson and Bruckheimer were the guys

347
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that didn't like it.

348
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Speaker 2: Uh huh.

349
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Speaker 1: So they asked Richard Perry, who was another songwriter, to

350
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create a better song, and he told him, guys, this

351
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is a one in a million song and it works

352
00:17:45,799 --> 00:17:48,000
perfectly with that opening scene.

353
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Speaker 3: The guy they asked to write a song to take

354
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this song's place said, you guys are idiots.

355
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Speaker 2: Go with the song, yes, have that's right, that's freaking brilliant.

356
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Speaker 3: Okay, So the song is by the Pointer Sisters, right, yes, okay,

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so normal in this circumstance. I'd give you a little

358
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history of the Pointer Sisters, but let me just say that, okay.

359
00:18:05,519 --> 00:18:08,519
Nineteen eighty four Automatic Jump from My Love, He's so

360
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Shy in eighty Slow Hand in eighty one, I'm So

361
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Excited in eighty four, and then of course this one

362
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in eighty five. The band was if you'll pardon me

363
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on fire n see what I did there by the way,

364
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I will save my I will save my history of

365
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the Pointer Sisters for when we ever we do. Our

366
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Top five of nineteen seventy nine and we cover that

367
00:18:30,880 --> 00:18:34,480
song fire. I think the great story on this one

368
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comes from a throwback to what we were talking about

369
00:18:36,799 --> 00:18:39,160
in our cover in the movie of Beverly Hills Cop

370
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is that Ali Willis is involved in this one. And

371
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we have talked about her multiple times Patreon episode again,

372
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we did September by Earth Wind and Fire. She's this

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incredible songwriter, and in all of the times that we've

374
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talked about her, I've never actually seen her picture and

375
00:19:12,599 --> 00:19:14,480
you and I just watched a video on her and

376
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I was like, Number One, she's white.

377
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Speaker 2: What white girl?

378
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Speaker 3: She grew up in Detroit, which is we went to

379
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the Mumford High School. You know Axel Foley. Yeah, yeah,

380
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it wears the Mumford t shirt in Beverly Hills Cop.

381
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But she grew up outside of Motown and so that

382
00:19:31,319 --> 00:19:33,279
was the kind of music that she listened to.

383
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Speaker 2: Well.

384
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Speaker 3: In our Patreon episode, we did a great job of

385
00:19:35,839 --> 00:19:38,519
covering that song, but we didn't know until just now

386
00:19:38,640 --> 00:19:41,279
that when she got the call from Maurice White to

387
00:19:41,359 --> 00:19:44,440
come help them write this song September, she was looking

388
00:19:44,480 --> 00:19:47,000
at food stamps to figure out what she needed most

389
00:19:47,079 --> 00:19:47,960
for the next week.

390
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Speaker 1: She's like I need some bread. Here are some food stamps.

391
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Speaker 3: It was from food stamps to recording one of writing

392
00:19:54,000 --> 00:19:56,839
one of the greatest songs of the seventies.

393
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Speaker 1: I guarantee September will be on our Best of seventy

394
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nine at some point.

395
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Speaker 3: Yes, and then goes on and writes with Linda ronstat right,

396
00:20:06,079 --> 00:20:09,000
I mean just the amount of people. It just opens

397
00:20:09,039 --> 00:20:12,160
this door because it's such a huge success. And then

398
00:20:12,400 --> 00:20:13,960
the next thing that I think of when I look

399
00:20:14,000 --> 00:20:16,119
at her is not only is she white, but she

400
00:20:16,279 --> 00:20:18,720
looks like the lady you see at the seven eleven

401
00:20:18,799 --> 00:20:21,880
who's getting her eighth pack of cigarettes for the day

402
00:20:22,119 --> 00:20:25,319
and filling the coffee up with mostly sugar and has

403
00:20:25,359 --> 00:20:28,359
a dog with her that needs to be groomed and bathed.

404
00:20:28,759 --> 00:20:30,640
She looks not like a star at all.

405
00:20:30,799 --> 00:20:32,599
Speaker 1: No, not at all. And in fact, I just told

406
00:20:32,680 --> 00:20:34,880
you we watch where she lived. She looks like she

407
00:20:34,920 --> 00:20:37,839
lives in Peebe's playhouse. Let me just give you a

408
00:20:37,839 --> 00:20:40,319
list of just the highlights of her career. Okay, so

409
00:20:40,359 --> 00:20:43,039
we talked about September by earth Wind and Fire Boogie

410
00:20:43,079 --> 00:20:45,599
Wonderland by earth Wind and Fire, Right, You're the Best,

411
00:20:45,839 --> 00:20:49,000
the song from the Karate Kid nice, right, which we'll

412
00:20:49,000 --> 00:20:49,880
be covering here shortly.

413
00:20:50,000 --> 00:20:50,359
Speaker 2: Uh huh?

414
00:20:50,400 --> 00:20:52,200
Speaker 1: What have I done to deserve this? By the pet

415
00:20:52,200 --> 00:20:52,799
Shop Boys?

416
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Speaker 2: Right?

417
00:20:53,319 --> 00:20:56,039
Speaker 3: Not only does she write songs for artists like this

418
00:20:56,519 --> 00:20:58,359
to be just big hits off of an album, right,

419
00:20:58,359 --> 00:21:00,720
And not only did she write songs like New Tron Danced,

420
00:21:00,920 --> 00:21:02,799
where it's going to be in a movie. She gets

421
00:21:02,799 --> 00:21:05,880
a call in the early nineties to say, hey, we

422
00:21:05,920 --> 00:21:07,559
need you to help us write a song for this

423
00:21:07,680 --> 00:21:09,880
TV show and she's like, Okay, what's it about? And

424
00:21:09,920 --> 00:21:12,599
they tell her and then she's like, this sounds awful,

425
00:21:12,680 --> 00:21:14,039
and they're like, yeah, it's not going to be a hit,

426
00:21:14,079 --> 00:21:16,119
don't worry about it. Just write us something. We'll throw

427
00:21:16,160 --> 00:21:17,759
it in there so the show will be gone in

428
00:21:17,839 --> 00:21:21,039
no time. And she says, so I write the whitest

429
00:21:21,160 --> 00:21:22,119
song I've ever.

430
00:21:21,920 --> 00:21:25,160
Speaker 2: Written in my life. You know what the song was?

431
00:21:25,319 --> 00:21:34,119
Speaker 1: I do? Wow?

432
00:21:34,160 --> 00:21:37,319
Speaker 3: So go back and check out our top five TV

433
00:21:37,440 --> 00:21:40,319
themes from nineteen ninety four to nineteen ninety nine where

434
00:21:40,359 --> 00:21:41,240
we covered this song.

435
00:21:41,640 --> 00:21:42,640
Speaker 2: But what the heck?

436
00:21:42,720 --> 00:21:44,960
Speaker 3: She thought it was a throwaway song and it becomes

437
00:21:45,000 --> 00:21:47,279
one of the biggest TV themes of all time.

438
00:21:47,400 --> 00:21:49,079
Speaker 1: So let's talk about the song for just a second.

439
00:21:49,119 --> 00:21:49,519
Speaker 2: Okay.

440
00:21:49,640 --> 00:21:51,799
Speaker 1: So it was released in December of nineteen eighty four.

441
00:21:51,880 --> 00:21:53,720
It goes on to hit number six on the Hot

442
00:21:53,759 --> 00:21:56,000
one hundred. Here's the thing about this song. I love

443
00:21:56,079 --> 00:22:00,359
the story. So she gets together. She's very disappointed and

444
00:22:00,400 --> 00:22:02,920
frustrated with her life. Okay, so she had written a

445
00:22:02,960 --> 00:22:06,799
couple of gigantic hits and she's still not doing very well.

446
00:22:06,880 --> 00:22:10,720
And so she's meeting with this other songwriter named Danny Simbelo.

447
00:22:10,960 --> 00:22:13,160
This is the brother of Michael Simbelo, the guy who

448
00:22:13,200 --> 00:22:16,200
did Maniac from Flashdance. Oh nice, okay, yeah, yeah right,

449
00:22:16,200 --> 00:22:18,079
And he's got all this energy and he's excited to

450
00:22:18,119 --> 00:22:20,119
be there and he wants to help her write the song. Well,

451
00:22:20,279 --> 00:22:22,079
they're trying to write the song for the movie Streets

452
00:22:22,119 --> 00:22:24,359
of Fire. Well, Streets of Fire as we know it

453
00:22:24,400 --> 00:22:26,640
as this movie that came and went and really didn't

454
00:22:26,640 --> 00:22:28,480
do anything. It gave us a couple of songs like

455
00:22:28,799 --> 00:22:30,880
I Can Dream About You by Dan Hartman. They're writing

456
00:22:30,920 --> 00:22:33,519
the lyrics for this song. She's upset with her life.

457
00:22:33,720 --> 00:22:36,160
She's looking out the window while they're working on the song,

458
00:22:36,240 --> 00:22:42,079
and somebody is trying to steal her car, right and

459
00:22:42,160 --> 00:22:45,839
she owned this nineteen sixty two corvet. She looks out

460
00:22:45,839 --> 00:22:48,119
the window. She's like, somebody's trying to steal my brand

461
00:22:48,160 --> 00:22:51,359
new Chevrolet. And that's how you get that line.

462
00:22:51,559 --> 00:22:52,079
Speaker 2: Wow.

463
00:22:52,359 --> 00:22:56,359
Speaker 1: Now, the song itself is about a fear of nuclear

464
00:22:56,400 --> 00:22:59,440
holocaust and sort of partying in the wake of that

465
00:23:00,079 --> 00:23:02,920
nine very similar to Princess nineteen ninety nine. Like on

466
00:23:02,960 --> 00:23:05,599
the news they had talked about this new neutron bomb

467
00:23:05,640 --> 00:23:08,400
that was more powerful than a regular atomic or a

468
00:23:08,480 --> 00:23:12,839
nuclear bomb. Yeah, and so that's what the neutron Dance was.

469
00:23:13,519 --> 00:23:14,599
Speaker 2: It's like I'll melt with you.

470
00:23:15,079 --> 00:23:16,000
Speaker 1: It's like, I'll melt with you.

471
00:23:16,039 --> 00:23:20,480
Speaker 3: That's oh gosh, that's so good. That's so fantastic. Yeah,

472
00:23:20,599 --> 00:23:23,119
you said that. Her house looks like Pee Wee's playhouse.

473
00:23:23,200 --> 00:23:27,160
She collects all of this weird memorabilia stuff. She literally

474
00:23:27,200 --> 00:23:30,519
holds up a box and she's like, this is Sammy

475
00:23:30,599 --> 00:23:36,160
Davis Junior's last box of marijuana.

476
00:23:36,279 --> 00:23:38,440
Speaker 1: So let's talk about the video for just a second.

477
00:23:38,519 --> 00:23:38,839
Speaker 2: Okay.

478
00:23:38,960 --> 00:23:41,400
Speaker 1: So you've got the Pointer sisters and they're at a

479
00:23:41,400 --> 00:23:44,279
movie theater and like in the screen behind the movie

480
00:23:44,599 --> 00:23:47,240
is Beverly Hills cop So it's this big advertisement for

481
00:23:47,240 --> 00:23:49,319
the Beverly Hills Cop movie, which is fun because we

482
00:23:49,359 --> 00:23:51,160
love the movie. We love the song. But you know

483
00:23:51,200 --> 00:23:54,400
who shows up in the video, No Bronson Pincho Oh.

484
00:23:54,440 --> 00:23:54,880
Speaker 2: I love it.

485
00:23:55,039 --> 00:23:57,839
Speaker 1: Yeah, perfectly placed song in the movie.

486
00:23:57,960 --> 00:24:01,440
Speaker 3: Absolutely absolutely great great stories.

487
00:24:01,599 --> 00:24:02,720
Speaker 2: I love it. I love it.

488
00:24:03,160 --> 00:24:05,319
Speaker 1: Okay, hit stop on your tape player, kick it out,

489
00:24:05,319 --> 00:24:07,799
flip it over side too, and we start off with

490
00:24:08,680 --> 00:24:26,279
a banger. This song is called the Heat Is On

491
00:24:27,960 --> 00:24:28,599
My Glenn Fry.

492
00:24:28,880 --> 00:24:31,039
Speaker 3: Here's what I loved about this, right, I'm listening to

493
00:24:31,079 --> 00:24:33,599
this song today and I'm thinking to myself, I wonder

494
00:24:33,640 --> 00:24:35,240
if when I heard this song for the first time,

495
00:24:35,319 --> 00:24:37,440
I went, Okay, that's that guy from the Eagles. And

496
00:24:37,480 --> 00:24:39,519
then I started, you know, really thinking back. I'm like,

497
00:24:39,559 --> 00:24:42,039
I don't think I knew who the Eagles were in

498
00:24:42,160 --> 00:24:44,519
nineteen eighty four, right, I don't think I did. I

499
00:24:44,519 --> 00:24:46,119
think I started listening to the Eagles when I was

500
00:24:46,160 --> 00:24:48,400
like thirteen, and it was like starting to listen to

501
00:24:48,400 --> 00:24:51,160
classic rock stations, right, And so I really started to

502
00:24:51,160 --> 00:24:53,519
think about it, and I think I remember actually thinking

503
00:24:53,559 --> 00:24:55,720
to myself the Eagles.

504
00:24:55,440 --> 00:24:57,440
Speaker 2: Oh, hey, I know that guy. He's the guy that's

505
00:24:57,440 --> 00:24:59,440
saying on the Beverly Hills cop soundtracking.

506
00:24:59,559 --> 00:24:59,720
Speaker 3: Yeah.

507
00:24:59,799 --> 00:25:02,920
Speaker 2: Yeah, Oh that's the Boys of Summer. Guy. Wow, he's

508
00:25:02,920 --> 00:25:05,680
got an afro all right, that's right.

509
00:25:05,759 --> 00:25:09,799
Speaker 3: So I knew Don Henley and Glenn Fry from these

510
00:25:09,839 --> 00:25:12,160
songs from the eighties site, right, and I mean we're

511
00:25:12,160 --> 00:25:15,160
about to cover the Miami Vice soundtrack, which again we're

512
00:25:15,160 --> 00:25:20,160
gonna have a couple songs from two Yeah, but this one, well, first,

513
00:25:20,279 --> 00:25:24,319
he born in Detroit, like yet another Ali Jerry. Glenn

514
00:25:24,359 --> 00:25:26,559
Glenn all from Detroit. Right, they didn't go to high

515
00:25:26,599 --> 00:25:30,480
school together, but Glenn goes to community college, has a band,

516
00:25:30,519 --> 00:25:32,319
you know, just kind of a general thing. But then

517
00:25:32,359 --> 00:25:36,799
he has a happy introduction to somebody that leads him

518
00:25:36,839 --> 00:25:39,400
to open some doors. And there's a weird coincidence with that.

519
00:25:39,519 --> 00:25:43,519
Speaker 1: Okay, So in nineteen sixty seven, he's bouncing around Detroit

520
00:25:43,599 --> 00:25:46,640
playing for different bands, trying to make it, and he

521
00:25:46,720 --> 00:25:57,039
runs into this guy named Bob Seeger, Bob freaking Seeker,

522
00:25:57,119 --> 00:26:01,000
Bob freaking Seeger, Yeah, who helps him get a record

523
00:26:01,000 --> 00:26:04,680
deal and helps him write his first single. Coincidentally, when

524
00:26:04,680 --> 00:26:07,319
we talk about Shakedown.

525
00:26:06,519 --> 00:26:09,160
Speaker 3: Are we gonna well Shakedowns on Beverly Hills Cop too?

526
00:26:09,240 --> 00:26:10,759
Speaker 2: Is that? Are we going to cover maybe.

527
00:26:10,599 --> 00:26:12,759
Speaker 1: We should just cover that at the end of this album. Okay,

528
00:26:12,799 --> 00:26:15,480
another bonus song, we'll throw in Shakedown. Bonus song of

529
00:26:15,519 --> 00:26:17,599
Shakedown at the end of this episode. We're bringing it,

530
00:26:17,640 --> 00:26:18,799
so let's we'll come back to that.

531
00:26:18,960 --> 00:26:19,279
Speaker 2: Okay.

532
00:26:19,400 --> 00:26:22,079
Speaker 1: So Glenn Frye and Bob Seger have been friends since

533
00:26:22,160 --> 00:26:24,680
the sixties. So Bob Seger helps him put out his

534
00:26:24,720 --> 00:26:27,200
first single. You know, he has, you know, a little

535
00:26:27,200 --> 00:26:29,599
bit of success whatever. So he decides he's gonna move

536
00:26:29,599 --> 00:26:32,200
to California. So in nineteen sixty nine, he moves to

537
00:26:32,240 --> 00:26:34,880
California and he meets this guy named Jad Souther. If

538
00:26:34,880 --> 00:26:37,200
you're an Eagles fan, you know this guy is. He

539
00:26:37,200 --> 00:26:38,720
helped him write a ton.

540
00:26:38,599 --> 00:26:39,279
Speaker 2: Of their hits. Yep.

541
00:26:39,319 --> 00:26:42,880
Speaker 1: Well, JD. Souther was dating Linda Ronstadt at the time.

542
00:26:43,079 --> 00:26:43,599
Speaker 2: Uh huh.

543
00:26:44,000 --> 00:26:47,119
Speaker 1: Linda Ronstadt needed a backing band to help her with

544
00:26:47,200 --> 00:26:50,960
her album, so she puts together this backing band, Glenn Frye,

545
00:26:51,039 --> 00:26:54,240
Randy Meisner, Bernie Leaden, and Don Henley. Of course, these

546
00:26:54,279 --> 00:26:57,640
guys then add Don Felder later and they become the Eagles. Yeah,

547
00:26:57,799 --> 00:26:58,960
the freaking Eagles.

548
00:26:59,000 --> 00:27:00,519
Speaker 2: See freaking Eagle.

549
00:27:00,160 --> 00:27:02,960
Speaker 1: Take it easy, peaceful easy, feeling already gone Lion Eyes,

550
00:27:03,039 --> 00:27:05,799
New Kid in Town, Hotel, California. The list goes on

551
00:27:05,839 --> 00:27:06,079
and on.

552
00:27:06,400 --> 00:27:09,200
Speaker 3: I mean they're in a category with Beatles, Beach Boys,

553
00:27:09,519 --> 00:27:10,640
Pink Floyd.

554
00:27:10,720 --> 00:27:11,960
Speaker 2: They are icons.

555
00:27:12,119 --> 00:27:14,960
Speaker 1: They are icons. They last from the early seventies, I

556
00:27:15,000 --> 00:27:17,839
think seventy one until nineteen eighty they break up.

557
00:27:18,000 --> 00:27:18,200
Speaker 2: Yep.

558
00:27:18,319 --> 00:27:20,240
Speaker 1: The big line, you know, when are you guys going

559
00:27:20,279 --> 00:27:22,160
to get back together? Glenn Fry and Don Henley they

560
00:27:22,200 --> 00:27:23,720
always say when hell Freeze is over?

561
00:27:23,880 --> 00:27:24,119
Speaker 2: Yep.

562
00:27:24,359 --> 00:27:26,599
Speaker 1: Of course, in ninety four they released an album called

563
00:27:26,680 --> 00:27:28,400
Hell Freezes Over when they got back together.

564
00:27:28,480 --> 00:27:30,160
Speaker 2: I saw him perform live in ninety four.

565
00:27:30,319 --> 00:27:31,680
Speaker 1: I saw him perform live in ninety four.

566
00:27:31,720 --> 00:27:31,839
Speaker 4: Two.

567
00:27:31,839 --> 00:27:32,319
Speaker 1: What did you see?

568
00:27:32,440 --> 00:27:33,960
Speaker 2: I saw him in Little Rock, Arkansas.

569
00:27:34,000 --> 00:27:34,680
Speaker 1: I saw him in Dallas.

570
00:27:34,720 --> 00:27:34,960
Speaker 2: Okay.

571
00:27:35,000 --> 00:27:38,240
Speaker 3: They were, by the way, flawless, Like there are those

572
00:27:38,279 --> 00:27:41,160
bands that are made in the studio that's not these guys.

573
00:27:41,279 --> 00:27:47,160
These guys' music was perfect. It sounded just like the album,

574
00:27:47,200 --> 00:27:50,599
despite the fact that they were not playing any backing tracks.

575
00:27:50,759 --> 00:27:53,359
Speaker 2: This was all them brilliant. Yeah.

576
00:27:53,480 --> 00:27:56,640
Speaker 1: So the song is written by Harold Faltemyer and Keith Forcy.

577
00:27:56,960 --> 00:27:59,559
Speaker 3: Right, So we talked about Keith Forcy of course in

578
00:27:59,599 --> 00:28:03,200
relationship Ship to Georgio Moroder. Both he and Harold Faldemeyer

579
00:28:03,319 --> 00:28:07,440
worked heavily with Georgiomroder Keith Force. He's also the guy

580
00:28:07,480 --> 00:28:09,519
who wrote Don't You Forget About Me?

581
00:28:09,759 --> 00:28:10,000
Speaker 2: Right?

582
00:28:10,200 --> 00:28:12,319
Speaker 1: And of course Harold Faltemyer has ax lef which we'll

583
00:28:12,319 --> 00:28:13,240
talk about it here in a minute.

584
00:28:13,319 --> 00:28:13,680
Speaker 2: Yeah.

585
00:28:13,759 --> 00:28:16,640
Speaker 1: So Glen Fry signs with MCA Records. They're having this

586
00:28:16,680 --> 00:28:19,079
big screening for Beverly Hills Cop and his manager calls

587
00:28:19,160 --> 00:28:20,599
him and say, hey, listen, you got to get to

588
00:28:20,640 --> 00:28:22,920
the screening. This Eddie Murphy movie is coming out. It's

589
00:28:22,960 --> 00:28:25,119
gonna be huge. You got to get a song on it.

590
00:28:25,200 --> 00:28:27,599
So Glenn Fry's like, ah, okay. So he shows up

591
00:28:27,680 --> 00:28:29,599
and he's sitting there and he says, I look over

592
00:28:29,640 --> 00:28:32,759
one shoulder and there's Quincy Jones. I look over the

593
00:28:32,759 --> 00:28:34,880
other shoulder and there's Stevie Wonder. I look down in

594
00:28:34,920 --> 00:28:37,680
front of me and there's the Pointer sisters. He's like,

595
00:28:37,759 --> 00:28:40,119
there's no way I'm getting a song on this album.

596
00:28:40,279 --> 00:28:43,000
It's not happening. So later on Glen Fry gets a

597
00:28:43,000 --> 00:28:45,359
call and it says we're gonna send you a song.

598
00:28:45,480 --> 00:28:47,240
We think it's going to be a hit. We think

599
00:28:47,279 --> 00:28:49,119
it's going to get on the Beverly Hills Cops soundtrack.

600
00:28:49,160 --> 00:28:52,119
We want you to sing it. So Glenn Fry's like,

601
00:28:52,279 --> 00:28:52,680
all right.

602
00:28:53,000 --> 00:28:54,960
Speaker 2: Just randomly, they happen to send him a song.

603
00:28:55,000 --> 00:28:56,599
Speaker 1: They said, we want you to sing a song.

604
00:28:56,880 --> 00:29:00,119
Speaker 3: Jerry Bruckheimer said, I think my little brother played basketball

605
00:29:00,000 --> 00:29:00,799
against that kid.

606
00:29:00,880 --> 00:29:01,680
Speaker 2: Let's send him a.

607
00:29:01,640 --> 00:29:04,960
Speaker 1: Song, that's right, And so they send him this song.

608
00:29:05,079 --> 00:29:06,599
He says, yeah, okay, sounds good.

609
00:29:06,599 --> 00:29:07,079
Speaker 4: I'll do it.

610
00:29:07,119 --> 00:29:09,440
Speaker 1: They paid him fifteen grand to do it. He called

611
00:29:09,480 --> 00:29:10,599
it a little Christmas money.

612
00:29:10,720 --> 00:29:11,240
Speaker 2: Uh huh.

613
00:29:11,319 --> 00:29:13,440
Speaker 1: He comes in, he does the vocals on one day,

614
00:29:13,519 --> 00:29:16,480
he does the guitar solo on another day, and it

615
00:29:16,519 --> 00:29:19,759
goes on to become listen to this the highest charting

616
00:29:20,319 --> 00:29:22,359
solo Eagles song of all time.

617
00:29:22,559 --> 00:29:23,960
Speaker 2: Wow wow.

618
00:29:24,240 --> 00:29:27,480
Speaker 1: It reaches number two on the Hot one hundred.

619
00:29:27,519 --> 00:29:30,240
Speaker 3: And we're talking about a guy who had Smugglers blues

620
00:29:30,480 --> 00:29:31,920
and you belong to the City.

621
00:29:32,400 --> 00:29:33,240
Speaker 2: Oh wow.

622
00:29:33,640 --> 00:29:35,960
Speaker 1: In fairness, you Belong to the City hits number two

623
00:29:36,000 --> 00:29:36,359
as well.

624
00:29:36,480 --> 00:29:36,920
Speaker 2: Uh huh.

625
00:29:37,039 --> 00:29:38,759
Speaker 1: Boys of Summer only gets to number five.

626
00:29:39,000 --> 00:29:39,519
Speaker 4: Wow.

627
00:29:39,799 --> 00:29:42,680
Speaker 1: Blocked by Can't Fight This Feeling by Reo Speedwagon.

628
00:29:42,799 --> 00:29:43,960
Speaker 2: Well that's another great song.

629
00:29:44,039 --> 00:29:45,559
Speaker 1: It's a classic. I can't argue with.

630
00:29:45,680 --> 00:29:49,319
Speaker 3: Yeah, Wow, fantas and this song again, you hear the

631
00:29:49,359 --> 00:29:51,480
song and you immediately play in the footage in your head.

632
00:29:51,519 --> 00:29:54,400
Speaker 1: Right, this is the opening credits. Yeah, it's fantastic. It

633
00:29:54,400 --> 00:29:56,200
gives us our foothold in Detroit.

634
00:29:56,400 --> 00:29:57,519
Speaker 2: Yeah, all right, let's.

635
00:29:57,359 --> 00:29:58,200
Speaker 1: Move on to the next song.

636
00:29:58,359 --> 00:29:59,680
Speaker 2: Next song on the album.

637
00:29:59,480 --> 00:30:08,519
Speaker 1: Gratitude by Danny Elfman.

638
00:30:17,440 --> 00:30:19,759
Speaker 2: That's right, everybody, he said, Danny Elfman.

639
00:30:20,400 --> 00:30:24,039
Speaker 1: This is a pre Batman, pre pee wee we like

640
00:30:24,079 --> 00:30:27,559
the pre Tim Burton stuff, which is pre Danny Elfman

641
00:30:27,640 --> 00:30:31,039
doing soundtracks at all. This is pre Dead Man's Party,

642
00:30:31,079 --> 00:30:34,160
which was I mean, obviously the song has a very

643
00:30:34,240 --> 00:30:37,640
Oingo Boingo sound to it, and I guess I did

644
00:30:37,680 --> 00:30:39,599
actually technically misspeak.

645
00:30:39,720 --> 00:30:40,960
Speaker 2: This was not his first.

646
00:30:40,960 --> 00:30:43,319
Speaker 3: Now, we talked about Danny Elfman before, remember when we

647
00:30:43,359 --> 00:30:47,680
did Batman versus Dark Knight, right right, and mentioned his

648
00:30:47,799 --> 00:30:50,440
work with Oingo Boingo and how weird they were. I

649
00:30:50,480 --> 00:30:52,240
don't know if you remember, but I talked about the

650
00:30:52,240 --> 00:30:53,480
movie The Forbidden Zone.

651
00:30:53,680 --> 00:30:59,039
Speaker 2: Remember that. Oh yeah, that's very weird, weird movie like softcore.

652
00:30:59,400 --> 00:30:59,720
It was.

653
00:31:00,200 --> 00:31:01,839
Speaker 3: There was a lot of nudity, but I mean it

654
00:31:01,920 --> 00:31:04,480
was just bizarre. I mean, Danny Elfin played Satan in

655
00:31:04,519 --> 00:31:08,880
addition to scoring the very weird movie. Yeah, okay, so anyway,

656
00:31:08,960 --> 00:31:11,480
not technically his first score, but this is I mean

657
00:31:11,599 --> 00:31:14,720
we're talking about he is on the precipice of becoming

658
00:31:14,799 --> 00:31:17,079
the Danny Elfman. He's not there yet, Like this is

659
00:31:17,200 --> 00:31:20,799
eighty four. Eighty five is when Oingo Boingo's biggest album

660
00:31:20,839 --> 00:31:23,759
comes out. It's also when he scores Peewe's Big Adventure

661
00:31:23,799 --> 00:31:26,240
for the first time. He goes on to score one

662
00:31:26,359 --> 00:31:29,880
hundred or more different movies that are all iconic and

663
00:31:29,920 --> 00:31:31,279
of course the Simpsons.

664
00:31:31,359 --> 00:31:34,839
Speaker 1: Now listen, Danny Elfman is a prolific composer. This song's

665
00:31:34,880 --> 00:31:36,599
not any good though, Yeah, where is it the movie?

666
00:31:36,759 --> 00:31:37,480
It's not in the movie?

667
00:31:37,559 --> 00:31:40,680
Speaker 2: Ok okay, So what is this? Like four songs that

668
00:31:40,720 --> 00:31:43,599
we've had so far, they're not in the movie.

669
00:31:43,640 --> 00:31:45,240
Speaker 1: And then you have a prominent song we're going to

670
00:31:45,279 --> 00:31:46,880
talk about here in a minute that was not on

671
00:31:46,920 --> 00:31:50,599
the soundtrack but in the movie. So okay, interesting selection process.

672
00:31:50,640 --> 00:31:51,400
Speaker 2: Yeah, that is weird.

673
00:31:51,720 --> 00:31:54,039
Speaker 1: Okay, all right, So let's get on to another song

674
00:31:54,079 --> 00:31:54,799
that really.

675
00:31:54,640 --> 00:31:57,279
Speaker 3: Yet another Grammy winner. That's right, that's right, this is

676
00:31:57,319 --> 00:31:59,720
my first Grammy for this song. That was on the soundtrack.

677
00:31:59,759 --> 00:32:01,799
But now in the movie.

678
00:32:02,319 --> 00:32:04,960
Speaker 1: All right, let's talk about another song by Patty Lebbell.

679
00:32:05,039 --> 00:32:17,799
This song is called Stir It Up.

680
00:32:21,039 --> 00:32:22,319
Speaker 2: This is another fantastic song.

681
00:32:22,440 --> 00:32:23,359
Speaker 1: This is a great pop song.

682
00:32:23,519 --> 00:32:25,640
Speaker 3: This is top half. This is still I still hear

683
00:32:25,680 --> 00:32:27,079
this on the radio from time to time.

684
00:32:27,119 --> 00:32:27,880
Speaker 2: This is a good one.

685
00:32:27,960 --> 00:32:29,920
Speaker 1: This is what they play when Axles rolling into Beverly

686
00:32:30,039 --> 00:32:30,799
Hills for the first time.

687
00:32:30,880 --> 00:32:33,039
Speaker 3: Yeah, he's where he's laughing at the guys and the

688
00:32:33,079 --> 00:32:33,799
Michael Jackson.

689
00:32:33,960 --> 00:32:36,640
Speaker 2: Yeah up it that he actually wore when he did

690
00:32:36,680 --> 00:32:37,480
his stand up part.

691
00:32:37,519 --> 00:32:38,359
Speaker 1: That's right, that's right.

692
00:32:38,759 --> 00:32:42,920
Speaker 3: But yeah, this one is also Ali Willis we talked

693
00:32:42,920 --> 00:32:46,480
about and Danny Simbello again, right. Produced by Keith Force

694
00:32:46,680 --> 00:32:49,440
and Harold Faltemeyer, sung by Patty LaBelle. They had a

695
00:32:49,440 --> 00:32:51,160
little magic combination with this.

696
00:32:51,160 --> 00:33:08,559
Speaker 1: This is a great pop song. It's played twice in

697
00:33:08,559 --> 00:33:11,240
the movie. That's actually played during the Beverly Hills scene

698
00:33:11,319 --> 00:33:12,960
and then the closing credits as well.

699
00:33:13,000 --> 00:33:14,920
Speaker 3: So she technically should have gotten three Grammys.

700
00:33:15,359 --> 00:33:18,359
Speaker 1: That's right, that's right. I do have a funny little

701
00:33:18,440 --> 00:33:20,119
fact for you on this. So it only hits number

702
00:33:20,119 --> 00:33:21,720
forty one on the Hot one hundred, So it's a

703
00:33:21,920 --> 00:33:24,240
it's a moderate hit. It's not a big time hit,

704
00:33:24,319 --> 00:33:26,480
not quite top forty, but it's a catchy pop song

705
00:33:26,519 --> 00:33:28,960
and it's good for this album. This song goes on

706
00:33:29,039 --> 00:33:33,960
to become the theme song for the TV sitcom Stir Crazy,

707
00:33:34,240 --> 00:33:37,519
based on the movie with Gene Wilder and Richard Pryor.

708
00:33:37,680 --> 00:33:39,359
Speaker 2: I did not know that that was a thing.

709
00:33:39,519 --> 00:33:42,279
Speaker 1: I did not either, Okay, I have no memory of

710
00:33:42,319 --> 00:33:43,000
that show at all.

711
00:33:43,440 --> 00:33:46,960
Speaker 3: Alrighty short lived, yes, short short to live.

712
00:33:47,079 --> 00:33:49,920
Speaker 1: And then, of course this song is a new version

713
00:33:49,960 --> 00:33:52,559
of the song appears in Chicken Little good song.

714
00:33:52,839 --> 00:33:56,279
Speaker 3: Yeah, great song, I like to it's better than those references.

715
00:33:56,319 --> 00:33:58,559
But yes, it is a good song on its own

716
00:33:58,640 --> 00:33:58,960
for sure.

717
00:33:59,039 --> 00:33:59,240
Speaker 2: Yeah.

718
00:33:59,240 --> 00:34:00,920
Speaker 1: All right, let's move on to the next song. This

719
00:34:01,039 --> 00:34:18,800
song is called rock and Roll Me Again by The System.

720
00:34:18,840 --> 00:34:21,840
Speaker 3: Okay, so this is a song by a group called

721
00:34:22,039 --> 00:34:22,920
The System.

722
00:34:23,000 --> 00:34:24,639
Speaker 2: The group was formed.

723
00:34:24,280 --> 00:34:29,920
Speaker 3: By vocalist, guitarist Mick Murphy and keyboardist David Frank. Now,

724
00:34:30,039 --> 00:34:33,159
David Frank has been called by Yamaha Music as the

725
00:34:33,320 --> 00:34:36,079
founding father of electronic R and B.

726
00:34:36,719 --> 00:34:40,280
Speaker 2: Really, yes, and he's very white anyway, Okay.

727
00:34:40,559 --> 00:34:44,880
Speaker 3: He decided to get into the keyboard side of things

728
00:34:44,920 --> 00:34:47,000
and the electronic side of things, because when he was

729
00:34:47,000 --> 00:34:51,239
studying music at Berkeley, somebody brought in a copy of

730
00:34:51,320 --> 00:34:55,559
Wendy Carlos's album Switched on Bach. Oh yeah, we talked

731
00:34:55,559 --> 00:34:58,480
about in the Tron episode exactly. Wendy Carlos had done the

732
00:34:58,519 --> 00:35:01,760
score for Tron before that, she had done this piece

733
00:35:01,880 --> 00:35:04,039
that I mean it blew the doors off of what

734
00:35:04,079 --> 00:35:06,079
you could do with electronic music back in the day

735
00:35:06,119 --> 00:35:10,559
where she was performing basically like eight bit Bach symphonies, right.

736
00:35:11,039 --> 00:35:13,440
And so at that point he had been experimenting with

737
00:35:13,480 --> 00:35:15,960
getting his electric guitar sounds out of his fares foot

738
00:35:16,079 --> 00:35:20,280
organ and decided, Hey, I'm going to focus on electronic music,

739
00:35:20,320 --> 00:35:23,199
which Yamaha seem to think he's a pretty big influencer here.

740
00:35:23,360 --> 00:35:25,079
Speaker 1: Okay, I've got a couple of nuggets for you on

741
00:35:25,119 --> 00:35:25,960
the system, Okay.

742
00:35:26,079 --> 00:35:26,440
Speaker 2: Yeah.

743
00:35:26,480 --> 00:35:29,559
Speaker 1: So they worked on a song called It's Passion in

744
00:35:29,679 --> 00:35:32,480
early eighty three. So the person that they wanted to

745
00:35:32,559 --> 00:35:38,119
sing this song is a pre Lucky Star, pre borderline

746
00:35:38,679 --> 00:35:42,800
Madonna Donna, right heh yeah, had creative differences with her,

747
00:35:42,880 --> 00:35:44,960
so she dropped out and so act David Frank ended

748
00:35:45,039 --> 00:35:46,679
up singing the song and it became a moderate hit,

749
00:35:46,760 --> 00:35:48,840
kind of in and around New York City. These guys

750
00:35:48,920 --> 00:35:53,159
worked on the song Sustudio by Phil Collins. Nice I

751
00:35:53,199 --> 00:35:58,280
Feel for You by Shaka Khan Chaka. But here's the thing.

752
00:35:58,519 --> 00:36:03,000
They had a one wonder in nineteen eighty seven, a

753
00:36:03,039 --> 00:36:04,599
big one hit wonder. Do you know what it is?

754
00:36:04,880 --> 00:36:08,159
Speaker 3: We're talking about the system here, Yes, no, I've got nothing.

755
00:36:08,159 --> 00:36:09,559
Speaker 1: I gotta play this song for you. See if you

756
00:36:09,599 --> 00:36:10,079
recognize it.

757
00:36:10,119 --> 00:36:24,719
Speaker 2: Okay, so this is don't disturb this group?

758
00:36:24,840 --> 00:36:27,440
Speaker 1: Yes, okay, you remember this one?

759
00:36:27,719 --> 00:36:31,239
Speaker 2: No? I remember Nighttime Lover. I don't remember. Don't disturb

760
00:36:31,320 --> 00:36:31,679
this group.

761
00:36:31,719 --> 00:36:34,480
Speaker 1: Don't disturb this groove hit number four on the Hot

762
00:36:34,480 --> 00:36:36,159
one hundred and nineteen eighty seven.

763
00:36:36,320 --> 00:36:37,559
Speaker 2: Wow, okay, just.

764
00:36:37,599 --> 00:36:40,239
Speaker 1: Listen to this group of songs that blocked it. Okay,

765
00:36:40,280 --> 00:36:42,760
So I like this song. It's it's an eighty seven song.

766
00:36:42,880 --> 00:36:45,079
I want to Dance with Somebody by Winning Houston. Number three,

767
00:36:45,239 --> 00:36:48,440
Shakedown by Bob Seger at number two, that's ironic, and

768
00:36:48,519 --> 00:36:50,119
number one is Alone by Heart.

769
00:36:50,159 --> 00:36:52,519
Speaker 3: Well, yes, those are going to be three songs that

770
00:36:52,519 --> 00:36:53,559
are very difficult to beat.

771
00:36:53,679 --> 00:36:56,880
Speaker 1: That's right, that's right. Okay, one more thing for you, Yeah,

772
00:36:57,039 --> 00:37:00,360
David Frank, the guy who plays keyboards on the System, Yeah,

773
00:37:00,519 --> 00:37:03,639
wrote the song Janina Bottle that Christina Aguilera.

774
00:37:03,320 --> 00:37:04,440
Speaker 2: Sings, Oh nice.

775
00:37:04,960 --> 00:37:07,199
Speaker 1: Yeah, these guys aren't nobody's.

776
00:37:06,880 --> 00:37:10,679
Speaker 3: No no I told you man, grandfather of electronic R

777
00:37:10,679 --> 00:37:11,639
and B or something like that.

778
00:37:11,639 --> 00:37:15,159
Speaker 1: They also wrote the title track too Coming to America.

779
00:37:15,480 --> 00:37:17,760
Speaker 2: Yeah, that's actually good. That's a good one.

780
00:37:17,840 --> 00:37:19,280
Speaker 1: Yeah, all right, we're done with that one.

781
00:37:19,360 --> 00:37:22,480
Speaker 2: Yeah, because the song's not good. Yeah, we can be done.

782
00:37:22,519 --> 00:37:25,239
Speaker 3: We've talked up this band that nobody's heard of except

783
00:37:25,239 --> 00:37:27,719
for a brief period of time in nineteen eighty seven,

784
00:37:27,920 --> 00:37:30,239
and now we can move on because we're getting to

785
00:37:30,320 --> 00:37:30,960
the good stuff.

786
00:37:31,119 --> 00:37:33,480
Speaker 1: Yes, we finally get to the big one here. Yes,

787
00:37:34,280 --> 00:37:37,880
all right, d We've come to the last song on

788
00:37:37,920 --> 00:37:41,320
the album and maybe the most famous song off this soundtrack.

789
00:37:41,440 --> 00:37:43,800
Speaker 3: This is what I came to this podcast to listen about.

790
00:37:44,079 --> 00:37:46,880
This is my favorite song by far on the album.

791
00:37:46,679 --> 00:37:48,599
I mean, we save the best for last.

792
00:37:48,840 --> 00:37:54,599
Speaker 1: So let's talk about the Banana theme otherwise known as

793
00:37:54,920 --> 00:37:55,519
axel F.

794
00:38:12,440 --> 00:38:15,880
Speaker 3: So we talked about Harold Faltemeyer whenever we covered Top Gun,

795
00:38:15,920 --> 00:38:19,239
of course, right because he did the Top Gun theme.

796
00:38:19,360 --> 00:38:22,360
Speaker 2: Absolutely, you remember that story. You remember that. Like he

797
00:38:22,440 --> 00:38:23,320
was sitting at doors.

798
00:38:23,280 --> 00:38:26,679
Speaker 1: At dinner with Ruckheimer and Simpson and they're asking him

799
00:38:26,679 --> 00:38:28,519
about the top gun theme and he was like, yeah,

800
00:38:28,559 --> 00:38:29,880
I think I've got it, and they're like, great, let's

801
00:38:29,880 --> 00:38:33,000
hear it. And he's like, well, and I said I had.

802
00:38:33,159 --> 00:38:35,000
What I meant was I had a couple of ideas

803
00:38:35,159 --> 00:38:36,920
right right, And he ran home real quick, like he

804
00:38:37,000 --> 00:38:39,440
left before dessert, threw it together real quick, and what

805
00:38:39,480 --> 00:38:41,039
we got was like the Maverick theme.

806
00:38:41,079 --> 00:38:42,400
Speaker 2: You know, he drove.

807
00:38:42,159 --> 00:38:44,639
Speaker 3: Faster than they did, and then the five minutes before

808
00:38:44,719 --> 00:38:47,440
they got there, he already had it down. So I've

809
00:38:47,480 --> 00:38:49,239
got a reason for that. But I'm going to tell you,

810
00:38:49,280 --> 00:38:52,800
like the full Harold Faltemeyer story. Okay, yeah, so number one,

811
00:38:52,920 --> 00:38:56,639
he's from Germany, but Harold is not really a German

812
00:38:56,800 --> 00:38:59,840
kind of name. Turns out that his parents made really

813
00:38:59,840 --> 00:39:03,000
good friends with an American gi when the Americans came

814
00:39:03,039 --> 00:39:06,320
in after World War Two. They made this American the

815
00:39:06,400 --> 00:39:09,920
godfather of their son. And this American's name was Harold.

816
00:39:10,039 --> 00:39:13,199
And so that's why this German Valtemeyer has this very

817
00:39:13,239 --> 00:39:14,719
American herald name.

818
00:39:14,920 --> 00:39:18,039
Speaker 1: This sounds very suspicious to me, like this gi got

819
00:39:18,079 --> 00:39:18,960
mom pregnant and.

820
00:39:18,960 --> 00:39:22,000
Speaker 2: No, no godfather, he's the god. I mean, it's it's

821
00:39:22,119 --> 00:39:22,519
like that.

822
00:39:22,760 --> 00:39:25,199
Speaker 3: I mean, Germany was in pretty bad shape after the war.

823
00:39:25,400 --> 00:39:27,159
Speaker 1: It was my war American friend.

824
00:39:27,239 --> 00:39:29,480
Speaker 3: Yeah, no that he said that, Harold, he met him

825
00:39:29,480 --> 00:39:33,960
several times. Genuinely nice guy, very Southern American, you know,

826
00:39:34,199 --> 00:39:36,480
Sarian style. Yeah, said he would dress up like an

827
00:39:36,519 --> 00:39:40,280
Indian even though he was not a Native American. But anyway, anyway,

828
00:39:40,679 --> 00:39:45,480
so his family was a group of not only musicians,

829
00:39:45,599 --> 00:39:48,480
like his dad was piano player, mother was a singer,

830
00:39:48,519 --> 00:39:51,079
grandmother was a singer. Violence such like that. They were

831
00:39:51,119 --> 00:39:55,639
also like college professors, like very smart and very musically educated.

832
00:39:55,760 --> 00:39:59,599
And then Harold Faltemeyer throws them a loop by dropping

833
00:39:59,639 --> 00:40:02,960
out of school before he's done, and they're like, Okay, well,

834
00:40:02,960 --> 00:40:05,719
I guess you're going to be a garbage man. But

835
00:40:05,880 --> 00:40:10,119
then his dad realizes, like, just to give you an idea,

836
00:40:10,519 --> 00:40:13,079
he not only was not a good enough musician to

837
00:40:13,119 --> 00:40:15,800
get into the music schools that they had then, right, yeah,

838
00:40:15,880 --> 00:40:17,599
but he's dropped out of school, so he can't he

839
00:40:17,639 --> 00:40:19,800
can't get into those music schools, right, I mean, the

840
00:40:19,840 --> 00:40:23,719
competition was steep, but what his father does is like

841
00:40:24,039 --> 00:40:26,599
he goes to the principle of this school and he's like,

842
00:40:26,920 --> 00:40:29,159
he has to be able to study at this school,

843
00:40:29,400 --> 00:40:32,039
like he's quit school. He doesn't have the education he needs,

844
00:40:32,039 --> 00:40:34,559
and his musical talents aren't good enough. He's like, I

845
00:40:34,599 --> 00:40:36,599
don't care. I need to bring him in and show

846
00:40:36,599 --> 00:40:38,559
you what he can do. And so he brings him

847
00:40:38,559 --> 00:40:43,400
in and Harold Faltemeyer has what's kind of like perfect pitch.

848
00:40:43,599 --> 00:40:45,880
Speaker 1: And wait a minute, because I read that he had

849
00:40:45,920 --> 00:40:47,880
something called absolute pitch.

850
00:40:47,960 --> 00:40:50,719
Speaker 3: Yeah, so basically they're the same thing. But what he

851
00:40:50,760 --> 00:40:54,000
can do is if you play a note, any note,

852
00:40:54,079 --> 00:40:57,360
he can go that's C sharp, that's F sharp, that's

853
00:40:57,800 --> 00:41:01,079
B flat, right, And he can also with chords, you know,

854
00:41:01,199 --> 00:41:03,800
like that's an A seven augmented, he can he can

855
00:41:03,880 --> 00:41:06,599
hear it, and he can tell you exactly what it is. Now,

856
00:41:06,679 --> 00:41:09,840
his technical skills were good, just not music level good.

857
00:41:10,159 --> 00:41:12,480
And so they're so impressed by his ability to do

858
00:41:12,559 --> 00:41:15,159
this that they say, Okay, we will let you into

859
00:41:15,599 --> 00:41:18,280
the music school to study, but you have to you

860
00:41:18,360 --> 00:41:20,079
have to sign something that says you're never going to

861
00:41:20,119 --> 00:41:21,679
try to teach, and you're not going to go try

862
00:41:21,719 --> 00:41:23,760
to be in a symphony, because that's not what we're

863
00:41:23,800 --> 00:41:26,159
qualifying you to do. We're just letting you study. It

864
00:41:26,280 --> 00:41:28,840
is really just to educate him and that's it. And

865
00:41:28,880 --> 00:41:30,719
so he's like, all right, great, see you guys in

866
00:41:30,719 --> 00:41:33,320
the fall. And his dad's like, well, you're not just

867
00:41:33,320 --> 00:41:35,599
going to hang around and do nothing, and so he's like,

868
00:41:35,719 --> 00:41:38,880
we have some friends who own a recording studio. You're

869
00:41:38,920 --> 00:41:41,320
gonna go be their gopher. And so, just like on

870
00:41:41,440 --> 00:41:44,960
Jovie years later, he was the guy who would, hey, kid,

871
00:41:44,960 --> 00:41:47,159
go get me a Jen Martini and he would go

872
00:41:47,199 --> 00:41:49,159
and get that for the for the music guys, and

873
00:41:49,199 --> 00:41:51,239
he said, so they it was a nine to five

874
00:41:51,400 --> 00:41:54,039
kind of recording studio, and they would he would be

875
00:41:54,039 --> 00:41:56,280
the one that was sweeping up whenever the lights, you know,

876
00:41:56,320 --> 00:41:58,960
are about to be turned off. So when everyone left,

877
00:41:59,000 --> 00:42:01,800
he would go in and he would explore all of

878
00:42:01,840 --> 00:42:05,760
the equipment, all of the recording studio stuff, and really became,

879
00:42:06,199 --> 00:42:09,440
you know, educated himself with his music equipment for months

880
00:42:09,440 --> 00:42:12,599
before he ever goes to music school and finishes his

881
00:42:12,880 --> 00:42:16,360
music schools part of things, and is an actual employee

882
00:42:16,360 --> 00:42:18,960
at this place now and he's working for a producer

883
00:42:19,039 --> 00:42:21,599
right these are the big time producers. And he says,

884
00:42:21,639 --> 00:42:25,199
the problem that my producer had was alcohol. And he says,

885
00:42:25,239 --> 00:42:27,400
so one morning, nine o'clock in the morning, we have

886
00:42:27,440 --> 00:42:31,280
an entire symphony orchestra in the studio ready to record,

887
00:42:31,440 --> 00:42:34,039
and my producer has gotten so drunk that he doesn't

888
00:42:34,079 --> 00:42:37,199
know where he is and he's not there. And so

889
00:42:37,519 --> 00:42:40,000
I'm just like, well, I'm sorry, there's nothing we can do.

890
00:42:40,159 --> 00:42:43,559
And the guy who's running the show says, you know

891
00:42:43,559 --> 00:42:45,320
how to do this, you go do it, right. He's like,

892
00:42:45,360 --> 00:42:47,079
I'm not allowed to do that. He goes, I don't

893
00:42:47,119 --> 00:42:49,239
care what you're allowed to do, Go do it.

894
00:42:49,320 --> 00:42:52,239
Speaker 2: We have paid all of these musicians. We're not losing

895
00:42:52,239 --> 00:42:53,320
this money. Go do it.

896
00:42:53,360 --> 00:42:55,559
Speaker 3: And so I can just imagine him. He's like going

897
00:42:55,599 --> 00:42:57,480
and setting this stuff up, and he's got other guys

898
00:42:57,480 --> 00:42:59,199
who worked there that who's like, dude, that's not where

899
00:42:59,199 --> 00:43:02,119
that microphone got go, dude, that's not where those levels

900
00:43:02,159 --> 00:43:03,440
go on the record or whatever.

901
00:43:03,519 --> 00:43:04,119
Speaker 2: And so when the.

902
00:43:04,039 --> 00:43:07,079
Speaker 3: Producer finally sobers up and gets back, he's like, it's

903
00:43:07,119 --> 00:43:10,320
my fault. I will take full responsibility for however much

904
00:43:10,360 --> 00:43:12,920
he screwed this thing up, right, right, of course, it

905
00:43:12,960 --> 00:43:15,119
turns out to be one of the best recordings that

906
00:43:15,119 --> 00:43:18,840
they've ever had. Wow, And so he gets an immediate promotion.

907
00:43:19,119 --> 00:43:21,440
And now he is the wiz kid on the block

908
00:43:21,800 --> 00:43:24,199
who's able to do stuff that none of the other

909
00:43:24,239 --> 00:43:27,280
producers could do. And so who should happen to be

910
00:43:27,360 --> 00:43:29,800
recording in a little place called music Land Studios a

911
00:43:29,800 --> 00:43:30,920
couple of miles down the road.

912
00:43:30,960 --> 00:43:33,519
Speaker 1: I'm gonna guess, Georgio Moroder, you nailed it.

913
00:43:33,599 --> 00:43:37,400
Speaker 3: Yeah, And so, of course, Georgio Moroder, if you haven't

914
00:43:37,559 --> 00:43:39,320
heard our story on that, go check out the top

915
00:43:39,400 --> 00:43:42,599
Gun episode. But he's heard about this wiz kid. He's like,

916
00:43:42,599 --> 00:43:45,000
why aren't you working for me? Come do some stuff

917
00:43:45,039 --> 00:43:48,920
with me. Fantastic and so, of course, then the relationship

918
00:43:49,000 --> 00:43:52,320
is born. And then Georgia Moroder goes over to the US.

919
00:43:52,440 --> 00:43:57,440
He gets hit up to do these various soundtracks. He says, Harold,

920
00:43:57,760 --> 00:44:00,559
come over here, help me with these soundtracks. And so

921
00:44:00,679 --> 00:44:03,760
Harold goes over. In nineteen seventy nine, he starts working

922
00:44:03,800 --> 00:44:06,920
with Donna's summer. He arranges this little song you might

923
00:44:06,920 --> 00:44:08,440
have heard of called hod Stuff.

924
00:44:08,559 --> 00:44:18,920
Speaker 1: Yeah. Okay, no, wait a minute, because this is where

925
00:44:18,960 --> 00:44:22,039
a world's collide when you talk about Donna Summer YEP,

926
00:44:22,119 --> 00:44:25,559
and Georgia Moroder. Yeah, and Harold Faltmeyer. Keith Forcey's got

927
00:44:25,559 --> 00:44:27,719
to be in there somewhere. Yeah, I'm sure that he's

928
00:44:27,800 --> 00:44:29,239
I'm sure that he's a part of the deal. I

929
00:44:29,239 --> 00:44:30,880
mean we talked about him as well on a couple

930
00:44:30,920 --> 00:44:33,679
of different multiple different episodes now and then. Yeah, just

931
00:44:33,719 --> 00:44:35,840
a little bit ago. But I don't know what that.

932
00:44:36,199 --> 00:44:39,039
I didn't hear Harold talk about Keith, so I can't

933
00:44:39,039 --> 00:44:40,039
give you any more info on that.

934
00:44:40,159 --> 00:44:43,239
Speaker 3: But anyway, so he comes over in seventy nine, he

935
00:44:43,599 --> 00:44:46,639
starts helping out with these soundtracks and these other recordings,

936
00:44:46,679 --> 00:44:49,880
like with Donna Summer and stuff. Then nineteen eighty he

937
00:44:49,920 --> 00:44:53,679
starts working with this group called Blondie with this movie

938
00:44:53,719 --> 00:44:55,000
called American Jigglow.

939
00:44:55,079 --> 00:44:57,360
Speaker 1: You are kidding, this has to be call me.

940
00:44:57,599 --> 00:44:58,079
Speaker 2: You got it.

941
00:45:01,559 --> 00:45:05,119
Speaker 3: Here's the bigger deal. It's not really Blondie that's playing

942
00:45:05,159 --> 00:45:07,760
all that stuff. Like they came into the studio number one,

943
00:45:07,920 --> 00:45:10,039
Debbie Harry wanted to decided she wanted to do the

944
00:45:10,119 --> 00:45:12,800
music on this movie because she was attracted to Richard Gear.

945
00:45:12,880 --> 00:45:16,360
That was her motivation. But anyway, the band comes in

946
00:45:16,400 --> 00:45:19,800
and they're lack of days there are disco rock band

947
00:45:19,880 --> 00:45:22,920
right right, and so they'll yes, hang out, smokes the pot,

948
00:45:23,079 --> 00:45:24,599
maybe get around to play in a few bars, and

949
00:45:24,599 --> 00:45:25,559
then smoke some more pody.

950
00:45:25,559 --> 00:45:25,719
Speaker 2: You know.

951
00:45:25,719 --> 00:45:29,440
Speaker 3: It's just yeah, georgiemoor Oder is not into hanging out

952
00:45:29,480 --> 00:45:31,119
and spending a bunch of time in the studio. And

953
00:45:31,199 --> 00:45:33,440
so after a few days of this, he's just like, Okay,

954
00:45:33,440 --> 00:45:35,239
we've got enough, let's go. And they're like, well, we

955
00:45:35,280 --> 00:45:37,119
haven't finished, and he's like, yeah, we've got it enough.

956
00:45:37,320 --> 00:45:39,119
We'll take care of the rest. And so they leave

957
00:45:39,760 --> 00:45:42,639
and Harold Fltmeyer is really the one that plays almost

958
00:45:42,719 --> 00:45:46,239
everything call Me, which pissed the band off initially. I

959
00:45:46,280 --> 00:45:48,360
mean he's got the keyboard solo in the middle and

960
00:45:48,360 --> 00:45:50,639
the keyboards is like, that's not me. And then call

961
00:45:50,719 --> 00:45:53,679
Me ends up being the biggest hit for Blondie ever. Right,

962
00:45:53,719 --> 00:45:55,639
It's one of the biggest hits of nineteen eighty.

963
00:45:55,599 --> 00:45:57,239
Speaker 2: Yeah, it's huge. It's huge.

964
00:45:57,280 --> 00:45:59,039
Speaker 3: So I can't imagine being in a band where your

965
00:45:59,079 --> 00:46:00,639
biggest hit was played by somebody else.

966
00:46:01,679 --> 00:46:02,480
Speaker 2: But anyway, a.

967
00:46:02,480 --> 00:46:06,000
Speaker 3: Little while after that, he calls Georgio. He says, hey,

968
00:46:06,199 --> 00:46:08,000
I love working with you, but I just need some

969
00:46:08,079 --> 00:46:09,159
stuff to do on my own.

970
00:46:09,239 --> 00:46:09,920
Speaker 2: It's that cool.

971
00:46:09,920 --> 00:46:12,599
Speaker 3: And he says Georgio was totally good with it, helped

972
00:46:12,639 --> 00:46:14,880
him out. And then he gets a call from a

973
00:46:14,880 --> 00:46:19,000
guy named Jerry Bruckheimer, who is nobody at that point, right,

974
00:46:19,039 --> 00:46:21,800
He's just he's just an executive at Paramount. He's trying

975
00:46:21,800 --> 00:46:22,880
to put some movies together.

976
00:46:22,960 --> 00:46:25,480
Speaker 1: Right, it's just a cowboy with cocaine and guns in

977
00:46:25,519 --> 00:46:28,440
the back of it. That's Don Simpson's Oh yeah, okay, yeah, no,

978
00:46:28,480 --> 00:46:28,920
I'm sorry.

979
00:46:28,960 --> 00:46:31,960
Speaker 3: Yeah, Jerry's the level aheaded that's it.

980
00:46:32,119 --> 00:46:32,920
Speaker 1: That's true. That's true.

981
00:46:32,960 --> 00:46:36,360
Speaker 3: But Jerry is got this movie called Thief of Hearts.

982
00:46:36,639 --> 00:46:37,719
Speaker 2: You heard of this? Yeah? I have?

983
00:46:37,920 --> 00:46:39,800
Speaker 3: Okay, good because I had never heard of it. But

984
00:46:39,880 --> 00:46:43,960
he's he calls up Harold Faltemeyer and Harold's like calling

985
00:46:44,039 --> 00:46:47,719
Georgio and Jerry's like, well, Georgia is not really interested

986
00:46:47,719 --> 00:46:50,880
to do it. He's like, Okay, that was a dumb

987
00:46:50,960 --> 00:46:52,760
question for me to ask in the first place. All right,

988
00:46:52,760 --> 00:46:55,519
that's fine, and he goes, well, you need a song,

989
00:46:55,559 --> 00:46:57,280
and he's like, no, I was kind of hoping you.

990
00:46:57,199 --> 00:46:57,960
Speaker 2: Would score it.

991
00:46:58,119 --> 00:47:02,159
Speaker 3: He's like, oh wow, dang, all right, I guess I'll

992
00:47:02,199 --> 00:47:04,440
do that, And so he writes the score to this

993
00:47:04,519 --> 00:47:07,920
movie that he says has a wonderful storyline, but basically the.

994
00:47:07,880 --> 00:47:10,920
Speaker 2: Movie does crap. Nobody has heard of this thing, right.

995
00:47:11,239 --> 00:47:13,840
Speaker 3: And then even though the movie doesn't do as well,

996
00:47:13,920 --> 00:47:16,800
Jerry Bruckhammer likes it enough that when he hits eighty

997
00:47:16,840 --> 00:47:19,639
two and eighty three, he's like, Hey, I got this

998
00:47:19,719 --> 00:47:21,599
other movie. I'd like you to come try to write

999
00:47:21,639 --> 00:47:23,639
a score for it. He goes, oh, yeah, what's it called?

1000
00:47:23,719 --> 00:47:27,239
He says, a movie called Beverly Hills Cop Yes, And

1001
00:47:27,320 --> 00:47:30,400
so Harold Faldemyer' is like, all right, sounds good, let's

1002
00:47:30,400 --> 00:47:32,079
do it, and so he writes a song for him.

1003
00:47:32,320 --> 00:47:35,480
He plays it for Jerry and Don and whoever the

1004
00:47:35,559 --> 00:47:38,920
musical director is, and Marty Brest and they're like, nah,

1005
00:47:39,239 --> 00:47:41,639
like okay, writes a different song, brings it to him

1006
00:47:41,639 --> 00:47:43,679
and they're like, yeah, that's still not eat.

1007
00:47:44,199 --> 00:47:46,559
Speaker 2: I don't I don't know, okay. And so at this.

1008
00:47:46,480 --> 00:47:48,760
Speaker 3: Point he's like, if I write a third song that

1009
00:47:48,800 --> 00:47:50,920
they don't like, I'm fired. Like I'm gonna get fired

1010
00:47:50,920 --> 00:47:52,960
from this movie, right, and he says, So he puts

1011
00:47:53,000 --> 00:47:56,840
together this little, simple little melody and does a little.

1012
00:47:56,840 --> 00:47:57,679
Speaker 2: I mean it's fun.

1013
00:47:57,519 --> 00:47:59,880
Speaker 3: Because there's a video at them out there of him

1014
00:48:00,039 --> 00:48:02,800
as he's programming his mood keyboard that he gets that

1015
00:48:02,880 --> 00:48:06,000
perfect sound on right, the perfect tone for the first

1016
00:48:06,079 --> 00:48:08,840
left sound, and he plays the tape for them after

1017
00:48:08,880 --> 00:48:13,159
he's fully recorded it, and Jerry Bruckheimer is like, oh no,

1018
00:48:13,360 --> 00:48:15,760
and like the musical editor is like, I don't like it.

1019
00:48:15,800 --> 00:48:17,360
I don't think it's gonna be any good, and Don

1020
00:48:17,400 --> 00:48:19,480
Simpson's like, I don't know, what do you think, Marty

1021
00:48:19,559 --> 00:48:22,840
and Marty He says, Marty's would smoke the cigarette marrty breast. Okay,

1022
00:48:22,960 --> 00:48:25,000
would smoke these cigarettes with a little tip on the

1023
00:48:25,039 --> 00:48:25,639
end of them, you know.

1024
00:48:25,880 --> 00:48:26,519
Speaker 2: Yeah, he says.

1025
00:48:26,519 --> 00:48:28,119
Speaker 3: He takes a drag of his cigarettes and he's like,

1026
00:48:28,320 --> 00:48:30,079
play it for me one more time, and so he

1027
00:48:30,079 --> 00:48:32,119
plays it for him one more time. The song gets

1028
00:48:32,119 --> 00:48:34,679
over and Marty Brest goes, I think that may be

1029
00:48:34,920 --> 00:48:38,360
the perfect music cue for this movie.

1030
00:48:38,440 --> 00:48:39,000
Speaker 2: I love it.

1031
00:48:39,119 --> 00:48:43,360
Speaker 1: Let's use it.

1032
00:48:49,840 --> 00:48:52,480
Speaker 3: And Jerry Bruckheimer's like, Okay, sounds good, Let's do it.

1033
00:48:52,519 --> 00:48:54,639
And Don Simpson's like, yeah, sounds good to me, let's

1034
00:48:54,639 --> 00:48:56,679
do it, and the music editors like, I still don't

1035
00:48:56,719 --> 00:49:00,840
like it. But whatever you guys think. Wow, And so

1036
00:49:01,199 --> 00:49:03,159
that is literally how I was born. And this is

1037
00:49:03,199 --> 00:49:05,360
the important thing is he said that at that time

1038
00:49:05,440 --> 00:49:07,840
with comedies, all of the music was like a symphony,

1039
00:49:08,000 --> 00:49:14,320
like the old Looney Tunes stuff like you.

1040
00:49:12,079 --> 00:49:12,880
Speaker 2: Know is that?

1041
00:49:13,079 --> 00:49:17,039
Speaker 3: So to do a techno sounding musical theme for a

1042
00:49:17,079 --> 00:49:20,320
comedy movie starring the number one comedy actor in the

1043
00:49:20,360 --> 00:49:24,039
world at that moment was unheard of, and fortunately it

1044
00:49:24,039 --> 00:49:25,679
was a risk it was well taken.

1045
00:49:25,880 --> 00:49:26,280
Speaker 2: Wow.

1046
00:49:26,519 --> 00:49:27,800
Speaker 1: Great story, great story.

1047
00:49:27,840 --> 00:49:28,199
Speaker 2: There you go.

1048
00:49:28,599 --> 00:49:31,159
Speaker 1: So for me, this song is like the theme song

1049
00:49:31,239 --> 00:49:33,519
for the summer of nineteen eighty five, like, oh gosh,

1050
00:49:33,599 --> 00:49:37,079
y my running around. You know, this is just the

1051
00:49:37,079 --> 00:49:39,280
theme playing in the background while I'm playing whiffleball with

1052
00:49:39,280 --> 00:49:39,679
my buddies.

1053
00:49:39,800 --> 00:49:42,280
Speaker 3: I got the breakdancing cardboard back out for this song.

1054
00:49:43,719 --> 00:49:46,360
Speaker 1: So this song actually made it to number three on

1055
00:49:46,440 --> 00:49:46,920
the charts.

1056
00:49:47,079 --> 00:49:48,239
Speaker 2: You know who kept it on I do.

1057
00:49:48,320 --> 00:49:49,920
Speaker 1: So here you go. You want to hear, I'm going

1058
00:49:49,960 --> 00:49:52,320
to give you the top four from June first, nineteen

1059
00:49:52,320 --> 00:49:55,239
eighty five. Okay, so the fourth one is Don't You

1060
00:49:55,280 --> 00:49:59,039
Forget About Me, which has Giorgio Moroder and Keith Force's

1061
00:49:59,039 --> 00:50:01,800
fingerprints all over. Yes, which we talked about on our

1062
00:50:01,840 --> 00:50:05,920
Patreon episode Simple Minds from Breakfast Club. Right, axl F

1063
00:50:06,000 --> 00:50:09,119
is number three, yes, which I always kind of hated

1064
00:50:09,119 --> 00:50:11,559
that name, axel F. That sounded like the kid who

1065
00:50:11,599 --> 00:50:14,119
sat in the back of you know, third grade class.

1066
00:50:14,159 --> 00:50:17,719
You know, like I'm Jason C. You know you're James G.

1067
00:50:17,960 --> 00:50:18,800
Speaker 2: You know so fully.

1068
00:50:18,960 --> 00:50:20,599
Speaker 1: I know it's acxl fully, but I mean call it

1069
00:50:20,599 --> 00:50:22,000
axle folly. Don't call it axel F.

1070
00:50:22,119 --> 00:50:24,199
Speaker 2: No, axl F sounds cool. It's okay. Yeah.

1071
00:50:24,199 --> 00:50:26,719
Speaker 1: I like number two that week is Everybody Wants to

1072
00:50:26,760 --> 00:50:28,559
Rule the World by Tears for Fearce.

1073
00:50:28,400 --> 00:50:30,440
Speaker 3: That is I mean, my children still love that song.

1074
00:50:30,599 --> 00:50:32,800
Speaker 1: Oh it's it's a one of the great songs of

1075
00:50:32,840 --> 00:50:35,400
the nineteen eighties, which we will be going track by

1076
00:50:35,440 --> 00:50:37,760
track through songs from the Big Chair here in just

1077
00:50:37,800 --> 00:50:38,840
a few weeks.

1078
00:50:38,679 --> 00:50:41,480
Speaker 3: And ironically, we're going to be comparing songs from the

1079
00:50:41,480 --> 00:50:45,480
Big Chair to another album which contains another song which

1080
00:50:45,480 --> 00:50:46,880
I think you're just about to tell me about I

1081
00:50:46,880 --> 00:50:47,719
am I Yeah.

1082
00:50:47,760 --> 00:50:50,119
Speaker 1: So the number one song this week in nineteen eighty

1083
00:50:50,159 --> 00:50:52,760
five is Everything She Wants by Wham off of Make

1084
00:50:52,800 --> 00:50:55,800
It Big, which we're going to compare to songs from

1085
00:50:55,800 --> 00:50:56,239
the big chair.

1086
00:50:56,400 --> 00:50:56,679
Speaker 2: Yep.

1087
00:50:57,079 --> 00:50:58,719
Speaker 3: I think when I heard Harold talk about it, he

1088
00:50:58,760 --> 00:51:01,760
said it was careless whispers. I'm sure that your information

1089
00:51:01,840 --> 00:51:03,400
is more accurate. He was going by memory.

1090
00:51:03,400 --> 00:51:03,960
Speaker 2: What does he know?

1091
00:51:05,719 --> 00:51:07,920
Speaker 3: He was like, he was like every week they would

1092
00:51:07,960 --> 00:51:11,800
sell like twenty thousand more copies than right, And the

1093
00:51:11,880 --> 00:51:15,360
joke was, I mean, now, selling twenty thousand copies is

1094
00:51:15,400 --> 00:51:16,960
amazing because people.

1095
00:51:16,719 --> 00:51:18,559
Speaker 2: Don't buy the music anymore. Right, that's right.

1096
00:51:18,679 --> 00:51:20,239
Speaker 1: Yeah, great story, great story.

1097
00:51:20,320 --> 00:51:21,320
Speaker 2: Yeah, incredible song.

1098
00:51:21,519 --> 00:51:23,719
Speaker 1: One of the biggest songs in nineteen eighty five. Yeah, okay,

1099
00:51:23,760 --> 00:51:26,880
do let's talk about a bonus song. Bonus song. This

1100
00:51:26,960 --> 00:51:29,480
song's not on the soundtrack, but was in the movie.

1101
00:51:29,840 --> 00:51:32,360
Prominent in the movie. Yeah, the bonus song we're going

1102
00:51:32,440 --> 00:51:34,679
to talk about is Nasty Girl by Vanity six.

1103
00:51:40,960 --> 00:51:44,400
Speaker 3: Well, we talked about this in our Beverly Hills cop episodes.

1104
00:51:44,519 --> 00:51:47,199
This is the first scene of the movie that they shot.

1105
00:51:47,480 --> 00:51:50,840
It is the strip club scene, right, and so you've

1106
00:51:50,840 --> 00:51:53,639
got this, I mean, Judge yan Hold talks about, you

1107
00:51:53,639 --> 00:51:55,400
know this kind of awkward. This is the first time

1108
00:51:55,400 --> 00:51:57,559
we're shooting this movie with all these people, and here's

1109
00:51:57,599 --> 00:52:03,119
this woman dancing naked above it for hours and he says,

1110
00:52:03,280 --> 00:52:06,360
but she told us that if I were dancing in

1111
00:52:06,400 --> 00:52:07,760
a club, which I would be.

1112
00:52:07,760 --> 00:52:09,320
Speaker 2: This is the song I would be dancing too.

1113
00:52:09,480 --> 00:52:11,679
Speaker 1: So the stripper came up with us. That's fantastic.

1114
00:52:11,800 --> 00:52:23,199
Speaker 3: Yeah, well this song came out in September of eighty two,

1115
00:52:23,559 --> 00:52:27,599
well before the movie came out right and recorded by

1116
00:52:27,679 --> 00:52:29,719
Vanity six, written by the.

1117
00:52:29,639 --> 00:52:32,599
Speaker 2: Purple One Prince. Yes, how about that?

1118
00:52:33,039 --> 00:52:37,280
Speaker 3: And it's great because ironically what happens not only does

1119
00:52:37,320 --> 00:52:39,440
it become a very big song for Vanity is their

1120
00:52:39,599 --> 00:52:42,719
only big song really for Fantasy six. But the reason

1121
00:52:42,840 --> 00:52:45,400
he wrote it for her was because they were an

1122
00:52:45,400 --> 00:52:48,039
item at the time, right they were. Now this was

1123
00:52:48,079 --> 00:52:51,400
eighty two. Purple Rain comes out in eighty four. She

1124
00:52:51,639 --> 00:52:54,760
was supposed to be the love interest in Purple Rain,

1125
00:52:54,920 --> 00:52:56,679
without a doubt it was supposed to be her. And

1126
00:52:56,760 --> 00:52:59,639
so whenever they have their falling out, what does he do?

1127
00:52:59,719 --> 00:53:01,760
He just fix a girl that looks a lot like her.

1128
00:53:02,079 --> 00:53:03,800
Speaker 1: I need a pretty girl that looks a lot like

1129
00:53:03,920 --> 00:53:06,800
my ex girlfriend, Apollonia. There you go.

1130
00:53:06,960 --> 00:53:07,199
Speaker 2: Yeah.

1131
00:53:07,199 --> 00:53:09,639
Speaker 3: And then, of course we talked about Vanity, the lead

1132
00:53:09,679 --> 00:53:12,840
singer for Vanity six extensively in our Doctor Feel Good

1133
00:53:13,119 --> 00:53:17,000
episode because after she and Prince break up. She starts

1134
00:53:17,079 --> 00:53:20,719
dating Nicky six of Molly cru Molly cru Yes and

1135
00:53:21,000 --> 00:53:24,400
The Heroin Diaries by Nikki Six. There's this moment where

1136
00:53:24,400 --> 00:53:28,239
he sees like several dozen roses sent by Prince to her,

1137
00:53:28,400 --> 00:53:30,360
and he's all mad and he's gonna kick that little

1138
00:53:30,440 --> 00:53:33,639
dwarf's ass, and then he's like, oh no, it was her.

1139
00:53:33,760 --> 00:53:37,199
She sent them to herself just to make me jealous.

1140
00:53:37,320 --> 00:53:39,039
Speaker 2: Vanity was a special human being.

1141
00:53:39,159 --> 00:53:43,599
Speaker 1: Okay, So I kind of enjoy the rest of her story. Okay,

1142
00:53:43,840 --> 00:53:47,679
So she and Nicky six are engaged, but he says

1143
00:53:47,719 --> 00:53:49,920
he never really loved her because all they are just

1144
00:53:50,039 --> 00:53:54,199
drug buddies and she's addicted to Heroin all this stuff.

1145
00:53:54,400 --> 00:53:57,719
One day, she's on a movie set with Flash Gordon

1146
00:53:57,800 --> 00:53:59,000
himself Sam J.

1147
00:53:59,280 --> 00:54:03,280
Speaker 2: Jones. Wow, okay, and Sam said, flashback to our Flash

1148
00:54:03,320 --> 00:54:04,400
Gordon episode.

1149
00:54:04,119 --> 00:54:06,280
Speaker 1: That's right, which is a great episode. I love that episode.

1150
00:54:06,360 --> 00:54:06,679
Speaker 4: Yeah.

1151
00:54:06,960 --> 00:54:10,280
Speaker 1: He says to her, Hey, you know, I just observing.

1152
00:54:10,480 --> 00:54:13,159
Would you like to go read the Bible with me

1153
00:54:13,239 --> 00:54:16,360
at lunchtime? And she says, you know, nothing else in

1154
00:54:16,400 --> 00:54:17,679
my life seems to be working.

1155
00:54:17,960 --> 00:54:19,320
Speaker 2: So she does, why not?

1156
00:54:19,760 --> 00:54:24,880
Speaker 1: And she becomes like this on fire evangelist. Yeah, she

1157
00:54:24,960 --> 00:54:28,000
drops the name Vanity, she goes back to Denise Matthews

1158
00:54:28,280 --> 00:54:30,679
and from that point on her life is totally changed.

1159
00:54:30,679 --> 00:54:33,400
She drops out of Hollywood and all she does is preach.

1160
00:54:33,800 --> 00:54:34,159
Speaker 2: Yeah.

1161
00:54:34,320 --> 00:54:37,599
Speaker 1: Now, she did end up dying of kidney failure because

1162
00:54:37,840 --> 00:54:40,920
of so many years of drug abuse. So sadly we

1163
00:54:40,960 --> 00:54:43,440
lost her several years ago. But girl totally changed her

1164
00:54:43,440 --> 00:54:45,760
life around and is not the nasty girl anymore.

1165
00:54:46,039 --> 00:54:48,920
Speaker 3: Right, but this song is the perfect song for that scene.

1166
00:54:48,960 --> 00:54:50,199
Speaker 1: But it is the perfect song.

1167
00:54:50,320 --> 00:54:51,679
Speaker 2: Is the perfect song for that scene.

1168
00:54:51,880 --> 00:54:55,920
Speaker 3: And then I love I love the build up and

1169
00:54:55,960 --> 00:54:58,559
then the let down at the end. The last lyrics

1170
00:54:58,559 --> 00:55:00,760
of the song this is a woman governing the The

1171
00:55:00,840 --> 00:55:03,400
last lyrics of the song are, oh is that it

1172
00:55:04,360 --> 00:55:07,559
is that it?

1173
00:55:07,719 --> 00:55:11,159
Speaker 2: Wake me when you're done? I guess you'll be the

1174
00:55:11,199 --> 00:55:12,480
only one having fun.

1175
00:55:14,679 --> 00:55:16,840
Speaker 3: Wake me up when you're done. I guess you'll be

1176
00:55:16,880 --> 00:55:21,119
the only one having fun. Oh my gosh.

1177
00:55:21,400 --> 00:55:25,000
Speaker 1: Okay. Another bonus song, Let's do It Shakedown for Beverly

1178
00:55:25,039 --> 00:55:37,960
Hills Cop Part two. Another Detroit man brings it home. Yeah,

1179
00:55:38,000 --> 00:55:41,599
mister Bob Seeger, who's buddies with Glenn Frye. Yeah, and

1180
00:55:41,599 --> 00:55:44,039
they actually wanted Glenn Fry to sing this song. Yeah,

1181
00:55:44,119 --> 00:55:45,760
And when you listen to it, I'm like, yeah, I

1182
00:55:45,800 --> 00:55:47,480
mean it kind of does sound like Glenn Fry.

1183
00:55:47,760 --> 00:55:51,119
Speaker 3: Well, I could definitely hear him singing it. But you

1184
00:55:51,119 --> 00:55:52,239
know who couldn't hear him singing it?

1185
00:55:52,280 --> 00:55:52,760
Speaker 1: Glenn Fry.

1186
00:55:52,800 --> 00:55:54,679
Speaker 2: He couldn't. He was like, I don't like these lyrics.

1187
00:55:54,800 --> 00:55:55,760
Speaker 1: He thought it was goofy.

1188
00:55:55,920 --> 00:55:58,559
Speaker 2: Yeah, and he also is like, I got lyric itis.

1189
00:55:58,559 --> 00:56:00,800
I can't. Sorry, guys, I cut call Bob.

1190
00:56:01,800 --> 00:56:04,400
Speaker 1: I don't get that right. So, like, I know, Glenn Fry,

1191
00:56:04,440 --> 00:56:07,719
Glen Fry a little difficult to deal with sometimes. But

1192
00:56:07,880 --> 00:56:10,719
here's the thing. Harold Faldemeyer and Keith Forcey write the

1193
00:56:10,719 --> 00:56:13,719
song The heat is on, Glenn, You're not sing this yeah,

1194
00:56:13,960 --> 00:56:16,400
number two hit. Hey, Glenn, we got another movie, you

1195
00:56:16,440 --> 00:56:18,199
got another song. It's really good. You want to do it?

1196
00:56:18,639 --> 00:56:24,320
Speaker 2: No, honey, just about the time of thing.

1197
00:56:24,599 --> 00:56:35,280
Speaker 1: It doesn't make any sense to me, yea. This song

1198
00:56:35,360 --> 00:56:38,079
goes on to hit number one August first, nineteen eighty seven.

1199
00:56:38,079 --> 00:56:40,559
It's bob seekers only number one hit, and it was

1200
00:56:40,719 --> 00:56:43,519
maybe maybe the biggest song of nineteen eighty seven.

1201
00:56:43,840 --> 00:56:46,320
Speaker 2: It was really really big. I know that it was

1202
00:56:46,480 --> 00:56:49,400
on MTV Non Stop.

1203
00:56:49,719 --> 00:56:53,719
Speaker 1: Of all the songs on Beverly Hills Cop one and two,

1204
00:56:53,800 --> 00:56:54,679
this is the best song.

1205
00:56:55,239 --> 00:56:58,599
Speaker 3: Uh disagree, okay, but it is a great song.

1206
00:56:58,679 --> 00:56:59,840
Speaker 2: Okay, yeah yeah.

1207
00:57:00,079 --> 00:57:03,320
Speaker 1: This was nominated for an Academy Award for Best Original

1208
00:57:03,360 --> 00:57:07,360
Song and a Golden Globe for Best Original Song. Didn't win,

1209
00:57:07,840 --> 00:57:16,960
lost both times. Do the same song which we covered

1210
00:57:17,000 --> 00:57:18,760
and is another fantastic.

1211
00:57:18,320 --> 00:57:21,199
Speaker 3: It is fantastic. We go check out our Dirty Dancing

1212
00:57:21,239 --> 00:57:23,159
Soundtrack album.

1213
00:57:22,719 --> 00:57:25,159
Speaker 1: Episode YEP, track by track, all Right, I'm gonna blow

1214
00:57:25,199 --> 00:57:25,880
your skirt off with this.

1215
00:57:25,960 --> 00:57:27,960
Speaker 3: You're ready for Yeah, I gotta just tell everybody what

1216
00:57:28,079 --> 00:57:30,840
just happened, like we're we're here, I'm word. We decided

1217
00:57:30,840 --> 00:57:32,920
to throw this one on because it's such a great

1218
00:57:32,960 --> 00:57:35,480
song and nothing else on the soundtrack is worth covering

1219
00:57:35,519 --> 00:57:39,280
that we haven't already covered before, right, And I'm looking

1220
00:57:39,920 --> 00:57:41,679
reading up on it, and Jay's like, don't look at

1221
00:57:41,679 --> 00:57:46,079
the personnel. Don't, yeah, don't, I want to blow your

1222
00:57:46,079 --> 00:57:50,400
panties off. Okay, I will look, all right, So here

1223
00:57:50,440 --> 00:57:50,679
it is.

1224
00:57:50,719 --> 00:57:52,000
Speaker 2: I'm waiting show tell me what.

1225
00:57:52,000 --> 00:57:54,360
Speaker 1: You got, all right, Shakedown. Here's the personnel on the

1226
00:57:54,400 --> 00:57:57,559
song shakedown. Okay, yes, So you got Harold Faldemyer playing

1227
00:57:57,599 --> 00:58:02,880
the sinclavier. Whatever that is? Sure, synthesizer, keys, drum machine,

1228
00:58:02,880 --> 00:58:04,840
whatever's Harold feltmar Is playing that?

1229
00:58:05,000 --> 00:58:05,199
Speaker 2: Yeah?

1230
00:58:05,280 --> 00:58:09,320
Speaker 1: Okay? The drums percussion, that's Keith Forcey okay, same guy

1231
00:58:09,360 --> 00:58:11,519
who wrote Don't You Forget About Me and a million

1232
00:58:11,559 --> 00:58:12,360
other songs? Right?

1233
00:58:12,840 --> 00:58:13,199
Speaker 2: Of course.

1234
00:58:13,280 --> 00:58:17,440
Speaker 1: The vocals are by Bob Seeger, who's had a billion hits.

1235
00:58:17,880 --> 00:58:20,719
Speaker 3: But very few of them. Number one, that's right. This

1236
00:58:20,840 --> 00:58:23,679
is one of his only number ones. It may be

1237
00:58:23,800 --> 00:58:24,719
the only number one.

1238
00:58:24,719 --> 00:58:26,320
Speaker 1: It is his only number one. Oh my god, you're

1239
00:58:26,320 --> 00:58:28,840
talking about night moves in old time rock and roll

1240
00:58:29,000 --> 00:58:31,360
and like a rock all these great songs. Wow, Okay,

1241
00:58:31,440 --> 00:58:35,039
guitars on this song, guess is Steve Luca.

1242
00:58:35,400 --> 00:58:38,679
Speaker 2: No, uh my god, it's Dan Huff.

1243
00:58:38,840 --> 00:58:41,280
Speaker 1: Oh my gosh, it's Dan Huff on guitar.

1244
00:58:41,760 --> 00:58:43,360
Speaker 3: For those of you who are new to the show,

1245
00:58:44,159 --> 00:58:47,679
Jason takes every opportunity to point out when Dan Huff

1246
00:58:47,960 --> 00:58:52,440
is involved in any song because he is a huge

1247
00:58:52,480 --> 00:58:55,920
fan of the song See You in My Dreams by Giant,

1248
00:58:56,119 --> 00:58:58,320
helmed by mister Dan Huff.

1249
00:59:07,159 --> 00:59:09,440
Speaker 2: Mister Dan Huff, I can't believe you snuck it in

1250
00:59:09,519 --> 00:59:14,440
on me again. You rat all right, everybody?

1251
00:59:14,480 --> 00:59:18,280
Speaker 3: Well, that does it for the Beverly Hills Cop soundtrack

1252
00:59:18,400 --> 00:59:21,480
and a couple of bonus songs. Next week, come back,

1253
00:59:21,599 --> 00:59:25,079
we're going to talk about another huge soundtrack from this era,

1254
00:59:25,199 --> 00:59:28,559
nineteen eighty five's Miami Vice soundtrack.

1255
00:59:28,920 --> 00:59:33,159
Speaker 1: Yes, Fire of the Testosa. There will be no socks

1256
00:59:33,159 --> 00:59:34,599
allowed when we record that episode.

1257
00:59:34,599 --> 00:59:35,320
Speaker 2: I got my loafers