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Speaker 1: Hey, everybody, welcome back to the Shirley You Can't Be

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Serious podcast. We are here for part two of our

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episodes on you two. If you didn't tune in last week,

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you missed the stories of Bono saving a Wham fan

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and and threats of assassination and magic mushrooms.

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Speaker 2: So yeah, there was a lot of cool stuff in

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last week's episode. If you haven't heard that, and you

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definitely want to go back and listen to it. But

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this is a comparison to Princess Sign of the Times album,

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so you definitely want to go back and hit that

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one up. So Princess Sign of the Times two weeks ago,

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Part one of Joshua Tree last week, Part two this week.

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All right, yeah, we ready to jump into the songs

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on the album.

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Speaker 1: I am so ready to jump into the songs on

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this album. So ready, let's do it.

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Speaker 2: Okay. First song right out of the gate is a

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song called Where the Streets Have No Name.

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Speaker 1: Okay, before we fully fully jump into this album. As

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this first song begins, I've got to tell you a story.

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Every time I hear this song, it takes me back

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to having just graduated from college. I was a theater major,

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I was going into law school, but that summer in

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between those two facets of my life, we put together

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a theater company and I got to direct our first show,

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and our first show was The Breakfast Club, and we

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convinced the Norman High School over here to let us

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perform it in their library. So it's really like you're

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inside of the movie as it was going on. And

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so I was resoundtracking the whole movie to kind of

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update it a little bit, but I also wanted to

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have the feel of the eighties, and I didn't know

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how to start it off. And the beginning scene is

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like all of the students, one by one coming into

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their classroom. One day, I was walking back to my

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car and I was listening on headphones and I heard

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this beginning that I had ever really heard before, Like

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I had always kind of picked it up when the

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guitar comes in, but I had never heard this kind

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of synthesizer organ thing that's going on. And I was like, Wow,

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this is almost like a religious experience. And I was like,

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that's it. That's what the beginning of Breakfast Club needs

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to be. It needs to be this religious experience. And

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so when he crescendo's on that first guitar part, I

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had the bell ring and the class start and it

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was I still think about it. I'm sorry, but it

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just every time it brings me back to that moment

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in time that I had. All right, So this first

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part is being played by Brian Eno. One of the

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producers on the album, the organy church like synthesizer is

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Brian Eno. And so then what we have come in

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after that is this fantastic guitar by the Edge and

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what he's doing here spectacular and it took me until

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doing this podcast preparation to figure out how he did

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what he was doing.

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Speaker 2: This is super interesting. You've got to explain it for

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our listeners. I was blown away.

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Speaker 1: Okay. So he has an echo effect on his guitar.

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The effects pedal causes the amplifier to replay what you

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have just played. It echoes it. It's kind of tricky

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to do this because when you have an echo effect,

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the timing of the echo is precise, but it's through

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the pedal and so not only does he have to

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match what he's playing to fit that echo, so does

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every other member of the band, you know, including the

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rhythm section. The bass player and the drummer, So it

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gets a little bit complicated. But what he does here,

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we can listen to it how it sounds without the

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echo effect, and now we can listen to how that

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sounds with the echo effect.

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Speaker 2: Yeah, that's incredible.

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Speaker 1: It's amazing, right, I mean, it's an entirely different sound.

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And he says, it's like playing a duet with yourself.

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So not only does he have to create this amazing sound,

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but he has to do it in such a way

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that whatever the end of the preceding measure is, it

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fits in with the beginning of the next measure. So

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it's really really a complicated thing. He put this together.

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He just used a little four track and a drum

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machine and the echo pedal and all this, and he

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put this thing together and he played it for the band,

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and Adam, the bass player say said, I didn't really

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think about how many hours that it took at a time.

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All I could think at the moment was this just

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sounds like a way to put the rest of us up.

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Speaker 2: This song is amazing. When the album begins, it's like

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the sun coming up with the horizon. I just love

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it so much. They want this album to be cinematic,

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and for me, this song really starts off with a

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cinematic feel.

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Speaker 1: It's got that build that the U two songs have

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in its purest essence, and it does some amazing things too.

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So this first part with the guitar is in three

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four times. It's one two three, one two three one

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two three one two three one two three, and then

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when it shifts into the part that's behind the lyrics,

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it moves into four four time, and so it's one

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two three four one two three four one two three four.

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It's super fast, super fast tempo. But it's amazing that

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he's changing from one tempo three four into four four.

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And then of course at the end of the song

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he goes back into the three four time and he

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does it so seamlessly that it's just unnoticeable but fantastic.

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Speaker 2: This song was originally titled White City.

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Speaker 1: Okay tell me more.

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Speaker 2: Well, that's all I know. I do know that on

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their way back from their humanitarian trips, and his wife

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Ali were on an airplane and Bono wrote the lyrics

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to this song on a barf bag.

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Speaker 1: He actually wrote it in a tent. He still had

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the airsick bags from air India with him and some

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napkins and some other scraps of paper. But he was

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sitting in a tent in Ajibar in northern Ethiopia when

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he wrote this one.

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Speaker 2: Nice apparently in Belfast, Northern Ireland. Yeah, you can tell

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what the person makes, what the religion is, what beliefs

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they have all based the name of the street in

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which they live.

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Speaker 1: Right the idea. You know, he's got these dueling concepts

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going on, the Northern Ireland concept Belfast and here he

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is in Africa where everyone is poverty stricken and none

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of the streets have any names, and he wants to

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break down these walls and he wants to discover something new.

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And he talks about this being in the desert, we

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meet God in parched times, in fire and flood, we

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discover who we are. It's this moment that he going

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through this humanitarian effort in Ethiopia that he realizes, hey,

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here are some of the things that even in our

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prosperous world, we're being caged by. And I think it's fantastic.

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Speaker 2: I saw an interview with the Edge and when he

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was writing this song, and he felt like they didn't

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quite have a great live song, something that would be

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amazing from the stage, and so he set out to

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make the ultimate YouTube live song.

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Speaker 1: They spent nearly half of their time just on this song.

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They would keep coming back and coming back to the song.

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They couldn't just get it the way that they wanted it.

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Brian Eno almost erased it. He was getting frustrated at

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the fact that they couldn't get it right, and he

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felt like the reason they couldn't get it right was

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because basically they were working with a flawed version, and

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so he thought it would be better to just scrap

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it and start again from the beginning. But that's a

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scary thing to do, you know, So you can't just

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say to the guys, hey, let's just throw away all

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this work that we've done and just start with nothing

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all over again. So he was going to stage an accident.

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Speaker 2: I accidentally hit the dele button fellas.

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Speaker 1: Ultimately, they did not erase it. He did not erase it.

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They just kept working and kept working and fixed it,

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and through all of that work they fell in love

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with it, which is why they decided to make it

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the first song on the album.

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Speaker 2: This is a fantastic song. It's one of the most

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iconic songs of the eighties. This song only reached number

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thirteen on the Hot one hundred in SI Crack the

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top ten Insane. This was the third single released August

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seventh of nineteen eighty seven, reached number thirteen the week

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did it peaked number one on the chart. I Think

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We're Alone now by Tiffany.

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Speaker 1: Somebody needs to have their face slapped. I don't know

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who it is, but somebody needs to have their face

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slapped over that.

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Speaker 2: This song deserved better than the top thirteen on the

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year apparently one. Okay, I want to talk about the

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music video for a second. This might be my favorite

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music video of all times. They shot a concert from

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the top of a liquor store in downtown Los Angeles. Yes,

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and they broadcasted out and invited people down. Hey, YouTube

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is playing a concert, and next thing they know, there's

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hordes of people coming down to listen to this concert.

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Speaker 1: The Beatles had done the same thing where they play

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a live set from the top of a building, and

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you know, the crowds are blocking the streets trying to

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watch these icons make their music.

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Speaker 2: Yeah, it's really cool.

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Speaker 1: It's really cool.

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Speaker 2: I saw a little bit about this and so in

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the music video there's actually a lot of drama involving

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the police. Right, So there's this one moment where the

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police chief comes in and it's like, that's it. We're

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shutting it down. This whole thing is shutting it down. Now.

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The funny thing is that their manager actually tells a

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story that, in actuality, the police kept giving them extensions.

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They kept saying, all right, that's it, Okay, one more song,

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that's fine, one more song, and they were like, no, really,

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you just go ahead and shut us down. It's more

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drama for the video. Q Magazine's readers voted the track

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the forty third greatest song in history, and this song

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is YouTube's most played track from the Joshua Tree in concert.

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Speaker 1: Okay, second track on the album, I still haven't found

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what I'm looking for. So I gotta say it's amazing

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to me that again, we have this rhythm that comes

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in with the guitar. The guitar is such a major

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facet of the rhythm. You know, you can talk about

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chord progression and melody and all of that, but what

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the Edge does rhythmically with his guitar is amazing and

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unlike anybody else that I can think of out there

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in the world.

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Speaker 2: Yeah. When he plays, I hear it and I go,

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that's you too.

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Speaker 1: It's unquestionable. Yeah.

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Speaker 2: Yeah. This was the second single released May twenty fifth,

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nineteen eighty seven. This one reached number one on the

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Hot one hundred August eighth of ninet eighty seven, and

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Bono has described it as the anthem of doubt right.

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Speaker 1: He talks about how his favorite songs are about either

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running toward God or running away from God.

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Speaker 2: Is interesting one for me because for me to hear

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a song like this that's a little bit deeper was

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a transition thing for me, and it helped me think

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about things larger than just the party scene. It's not

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the common theme of searching for love or sex or money,

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but the sadness of not finding what you're looking for.

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Speaker 1: So the other producer on this album is Daniel Lenoaugh

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and Brian Eno. Daniel Lenoaugh contributed massively to this album.

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They had also done The Unforgettable Fire before this, but

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Larry Mullen talks about how Daniel Lenoaugh really had an

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emphasis on percussion unlike Lily White had, and it really

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comes through in this song. Now this beat that Larry

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Mullin has. He had actually done with the song that

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was supposed to be called The Weather Girls, but Daniel

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Lenoi said, I don't really like the song, but that

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beat is awesome. You should keep that beat, And so

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basically he took the beat and then the Edge came

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in and added a guitar and the melody and the title.

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Edge came up with the title, and then Bono took

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that and added all of these gospel themes that I mean,

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who else is doing this? Nobody else is doing this

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at the time. And then once Bono had his lyrics,

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the Edge, Brian Eno and Daniel Noaugh all added backing

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vocals over his lyrics. This is great because this is

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the top of Bono's range and you can really feel

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the intensity that he has when he's singing in the song.

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It's fantastic for sure.

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Speaker 2: For sure, I heard Bono talking about the difficulty of

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taking a gospel tune and bringing it into the modern world.

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Speaker 1: Right, So do you remember the video for this one? Yeah?

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Speaker 2: I really like the video on this. They're down on

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Fremont Street in Las Vegas.

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Speaker 1: Yes, there's this one part where, like you know, they're

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just They're walking around in the street and people are

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just kind of walking around and Bono is singing to

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different people, and then he turns to the Edge. And

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this is back when the Edge wore the kind of

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big cowboy hat looking hat and just was quiet and

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as stoic as you could be. But back then I

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was just like, what's up with this guy? He just

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doesn't talk. So anyway, he's there. He's just there with

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his acoustic guitar playing along, and all of a sudden

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bonds like kind of pressing up close to him and

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singing and right singing right in his face, and you

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get this classic like my teenage kid couldn't do a

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better I roll of Oh my gosh, would you just

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stop already?

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Speaker 2: So I went to Las Vegas a couple of years ago. Okay, yeah,

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and so you've got you know, the modern area where

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all the kind of all the casinos are, the big

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casinos and stuff like that. Fremont Street is kind of

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down and kind of by itself. It's Old Vegas, and

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I didn't know that. I was there for the first time,

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and I'm walking around and all of a sudden it

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hits me like I walk into a movie right, and

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I walk in and I'm on Freemont Street and I'm like,

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holy crap, this is where they shot Dimes Are Forever.

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And I still haven't found what I'm looking for.

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Speaker 1: Yeah, I didn't tell this story during James Bond, but

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I'll tell it now. So, my grandmother was from Henderson, VA,

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which is just outside of Las Vegas, and she, you know,

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she passed away, and I went to her funeral, of course,

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and my brother was there. He, like us, had grown

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up watching James Bond, so he just drunk it in,

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you know, memorized every scene in the movie was Diamonds

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Are Forever. Well. Then, of course, you know, you fast

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forward multiple years later, and my grandma was awesome. You know.

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I went through Las Vegas like you did and met

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with her, and she gave me and my buddy one

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hundred bucks and said you can't spend this on anything necessary.

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And I was like, yeah, that's awesome, Grandma, that is fantastic, right,

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And so when she passes, we're at her funeral and

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my brother starts looking around at this funeral home that

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we're at and he's like, I know this place. How

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do I How do I know this place? And he's like,

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oh my gosh. And he goes over to the you know,

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the funeral director, and he's like, is this the place

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that they shot Diamonds or Forever? And the funeral Director's

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like yep, and he's like, oh my gosh. He was

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in a casket, like in that wall over there.

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Speaker 2: Yeah.

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Speaker 1: And I just felt like it was almost a nod

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from above of Hey, I want you guys, even though

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this is a sad moment, I still want you to

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have a little bit of fun on me.

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Speaker 2: Okay, that's cool, man, that's really cool. Okay, we done

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with this one.

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Speaker 1: I think we're done with I still haven't found what

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I'm looking for.

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Speaker 2: Huge song, number one hit in eighty seven. Okay. That

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brings us to the third song on the album. This

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song was the first single released on March twenty first,

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nineteen eighty seven.

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Speaker 1: This is With or Without You. Okay, So once again,

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this song is so so incredible.

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Speaker 2: This is one of those songs I've heard ten thousand

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times in thirty three years and I still want to

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weep every time I hear it.

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Speaker 1: See the Stones sets, see the song twist Em, sid

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Oh Wi for You. It's a song that Bono had

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been working on since eighty five, right, so he's two

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years coming on this one. And it's a four chord song.

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Like you know, I've talked before about how a lot

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of the greatest hits that we have of the eighties,

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especially like Don't Stop Believing in Africa and down Under,

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there are four chord songs are the same four chords

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in the same order, and that's the way this song

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is as well. And it's fantastic, of course, it's a

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big hit, but it was something that the band couldn't

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find the right feel for and after a while, everybody

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except Bono had given up on it. They're like this,

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we're just never going to get it right. And this

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song had meant quite a lot to Bono because it

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was kind of his take on being married and being

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on the road, which of course is had taken a

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lot of things through the journey back in there again.

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But they were ready to trash it, and Bono kept

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holding on, and there's a guy named Gavin Friday who's

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involved with them quite a bit, and he was sure

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that it could be a hit, and so they work

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together and they kind of rearranged it a little bit,

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and it still wasn't quite right. But then this magical

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thing happens. Enter Michael Brooke. And Michael Brooke is a

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producer and musician. He's done some cinematic stuff, but he

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is also an inventor. And he invented a guitar that

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was called the Infinite Guitar. And when he first created them,

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two of them went out. One was to Daniel Lenoa

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and the other was to the Edge. And so the

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Edge gets this guitar, opens up the case. It's his

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first day to have this guitar. He opens it up

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and he starts playing it. Now, the way this Infante

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the guitar works is kind of mind blowing. I mean,

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it's just it's brilliant. You got to understand that microphones

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and speakers are very similar in the way they work.

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In fact, they're almost identical. It's just one I don't

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want to go into that, all right, So biber Bund

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and speakers are very they're virtually the same thing, right,

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And so what he's what he does, you know, imagine

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a guitar electric guitar in your head. What he does,

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what Michael Brooke does is he takes that bottom pickup

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and instead of making it a microphone. He makes it

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a speaker, and so when you play the note on

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the guitar, it translates through the pickup into the speaker

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that's in the place of the pickup, thereby sending it

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back into the strings of the guitar and creating this

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infinite loop of sound. Hence the name the infinite guitar, right,

355
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And so that creates this ethereal magic that is again

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unlike any other songs out there.

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Speaker 2: Yeah, it's like a symphony almost. It's like a one

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note symphony.

359
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Speaker 1: Yeah, it's like a violin. The violin can just staying

360
00:19:00,400 --> 00:19:03,279
the note because the person just keeps moving the bow

361
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back and forth on the note. It's a very similar

362
00:19:05,680 --> 00:19:07,440
type of sound. Yeah, it's amazing.

363
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Speaker 2: I love how in this song you have that slow

364
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build and then the drums start to gather momentum and

365
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then and then you close off with that. I mean,

366
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that's that whoa from Bono. That's so powerful. This song.

367
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Every time I hear it is just magical. It speaks

368
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to my soul. They really did not want to release

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this as the first single. There was kind of this

370
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battle going on. Their manager, Paul McGinnis was like, it's

371
00:19:34,480 --> 00:19:38,000
too it's too strange sentence. They kept coming back to it.

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It just kind of became everybody's favorite.

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Speaker 1: Song, and they had the iconic video on MTV the

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black and white where he's got his hair now on

375
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a ponytail. I mean, the mullet that he had going

376
00:19:48,079 --> 00:19:50,400
on during live aid was one of the most intense

377
00:19:50,480 --> 00:19:53,920
mullets that I had seen. I mean, it rivaled David

378
00:19:54,119 --> 00:19:56,920
on The Lost Boys on the intensity of that mullet.

379
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By the time we get to the video for With

380
00:19:59,279 --> 00:20:01,759
or Without You, he's got it all slicked back, looking

381
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very cool.

382
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Speaker 2: I think all four members of the band, their talent

383
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is really on display. Okay, next song, song number four.

384
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Speaker 3: This song is called Bullet the Blue Sky.

385
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Speaker 1: Okay, so this is a song that's kicking some button

386
00:20:33,519 --> 00:20:36,240
right out of the gate. Right. We were done with

387
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our kind of pretty ethereal operatic stuff and now we're

388
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out there to kick some booty YEP.

389
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Speaker 2: This is a rocker.

390
00:20:43,680 --> 00:20:46,799
Speaker 1: Oh yeah, oh yeah, I love it. I can't tell

391
00:20:46,839 --> 00:20:48,920
you how much I love this song. This is I

392
00:20:48,960 --> 00:20:51,480
can't figure out why they didn't release this one as

393
00:20:51,480 --> 00:20:53,359
a single. It should have been. It's one of the

394
00:20:53,400 --> 00:20:56,960
best songs on the album. Blows my mind, and about

395
00:20:56,960 --> 00:20:59,559
some i mean some rough subject matter too. I mean

396
00:20:59,559 --> 00:21:03,000
they're talking about El Salvador and the war that's going

397
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on down there that they had when they that they

398
00:21:04,960 --> 00:21:08,160
observed when they visited down there, and it's it's rough stuff.

399
00:21:08,240 --> 00:21:12,599
But what's interesting is we've talked about how Larry and

400
00:21:12,720 --> 00:21:15,960
Adam drums in the bass are typically the foundation, but

401
00:21:16,160 --> 00:21:19,440
they're the standouts on this one. The drums and the

402
00:21:19,480 --> 00:21:23,400
bass are your focus on this one. And the Edge

403
00:21:23,440 --> 00:21:25,359
talked about how the song came about. You know, he

404
00:21:25,400 --> 00:21:28,599
had been playing with this rhythm that he had and

405
00:21:28,640 --> 00:21:31,240
so he comes in and he starts playing it. And

406
00:21:31,279 --> 00:21:33,799
as he's playing along, you know, Larry comes in, sits

407
00:21:33,799 --> 00:21:36,400
down at the drums and he starts drumming, and Adam

408
00:21:36,440 --> 00:21:39,200
comes in and he starts playing the bass, and the

409
00:21:39,319 --> 00:21:42,640
Edge is like, Larry's playing halftime. He's like, this is wrong,

410
00:21:42,920 --> 00:21:45,960
this is the completely wrong rhythm. What are you doing

411
00:21:46,000 --> 00:21:48,759
over here? Then Adam on the bass is doing the

412
00:21:48,920 --> 00:21:52,480
same kind of fast, heavy, like, well, what's going on?

413
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And they play for about five minutes or whatever, and

414
00:21:56,119 --> 00:21:58,400
they get done and they walk into the sound room

415
00:21:58,440 --> 00:22:01,440
and all the guys are like, yeah, yes, that was it.

416
00:22:01,599 --> 00:22:04,799
You finally got it. Still's not he's still not getting

417
00:22:04,799 --> 00:22:07,200
He's like, yeah, yeah, no, but I mean they you know,

418
00:22:07,240 --> 00:22:09,640
they messed it up. They didn't do the right rhythm

419
00:22:09,640 --> 00:22:12,359
and it finally he was like, oh wow, No, this

420
00:22:12,480 --> 00:22:15,079
makes the song this and that it is. It is

421
00:22:15,119 --> 00:22:18,160
the hook, that drum beat as it comes off that

422
00:22:18,720 --> 00:22:22,839
unusual time sequence that he's playing. Uh, too good, too good.

423
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Speaker 2: Yeah, it's amazing. This is one of the I mean,

424
00:22:26,400 --> 00:22:30,440
I would call it the El Salvador trilogy on this album. Right,

425
00:22:30,480 --> 00:22:33,519
so you've got this song, You've got One Tree Hill,

426
00:22:33,599 --> 00:22:36,039
and you've got Mothers of the Disappeared that sort of

427
00:22:36,079 --> 00:22:39,640
talk about this serious subject matter. While Bono was on

428
00:22:39,720 --> 00:22:44,279
these humanitarian missions, he witnesses US forces burning out villages

429
00:22:44,759 --> 00:22:48,920
to get to these paramilitary members. Bonno was just appalled

430
00:22:48,960 --> 00:22:51,960
that the US would do this and hurt these people

431
00:22:51,960 --> 00:22:55,599
that are impoverished and have nothing. Anyway, the thing that

432
00:22:55,720 --> 00:22:58,440
was most shocking to him was he knew that they

433
00:22:58,480 --> 00:23:02,160
were Christians back in the United States that sort of

434
00:23:02,200 --> 00:23:05,559
sanctioned this behavior, and he was calling upon the scriptures

435
00:23:05,640 --> 00:23:09,079
to help these Christians realize what was going on. Number one,

436
00:23:09,119 --> 00:23:11,319
and how we need to see better answers for this.

437
00:23:11,480 --> 00:23:14,839
Speaker 1: Yeah. I mean he's taken biblical imagery like Jesus being

438
00:23:14,920 --> 00:23:17,559
nailed to a cross and Jacob wrestling with an angel

439
00:23:17,640 --> 00:23:20,599
to drive home the point that hey, Christians, wake up

440
00:23:20,720 --> 00:23:22,440
and look what it is that you're supporting here.

441
00:23:22,480 --> 00:23:25,039
Speaker 2: Also, I don't know this for sure, but I got

442
00:23:25,039 --> 00:23:28,160
to believe from the lyrics of this song it mentions

443
00:23:28,279 --> 00:23:30,440
rattle and hum. It's got to be where they came

444
00:23:30,519 --> 00:23:31,920
up with the title for their next.

445
00:23:31,680 --> 00:23:34,640
Speaker 1: Album, Yeah, for sure. And he's got in the middle

446
00:23:34,640 --> 00:23:38,279
of the song, he's got this almost spoken part that

447
00:23:38,400 --> 00:23:43,039
is really unsettling, and you know, talking about throwing the

448
00:23:43,039 --> 00:23:49,359
bills down two right, And in his mind this was

449
00:23:49,440 --> 00:23:51,839
Ronald Reagan was the guy who was doing this. Say

450
00:23:51,839 --> 00:23:55,480
what you will about his intentions. It's still I mean,

451
00:23:55,799 --> 00:23:58,519
the effect is it kicks some major butt, that's for sure.

452
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Speaker 2: Great song four for four so far in the album.

453
00:24:01,359 --> 00:24:03,720
Let's move on to song number five. This one's called

454
00:24:04,000 --> 00:24:08,880
Running to stand Still. The beginning of this song is

455
00:24:09,000 --> 00:24:11,720
very interesting to me. It doesn't seem like it fits

456
00:24:11,759 --> 00:24:13,640
with the rest of the song. Is this kind of

457
00:24:13,799 --> 00:24:17,480
bluesy guitar and then you slide into this ballad, it

458
00:24:17,519 --> 00:24:18,720
just doesn't seem to fit.

459
00:24:18,799 --> 00:24:29,000
Speaker 1: It's interesting, Yeah, I mean you talked about, you know,

460
00:24:29,000 --> 00:24:31,160
how they were trying to be cinematic about how the

461
00:24:31,279 --> 00:24:35,160
album went, and you you know, you go through these

462
00:24:35,480 --> 00:24:41,119
ethereal operatic songs. Then it's almost violent in nature bullet

463
00:24:41,160 --> 00:24:44,519
the Blue Sky song, and then all of a sudden,

464
00:24:44,559 --> 00:24:47,480
it's almost as though you're waking up the next morning

465
00:24:47,920 --> 00:24:50,880
from having the crap beaten out of you, and that's

466
00:24:51,039 --> 00:24:54,079
you get that blues feel, and then they start singing

467
00:24:54,119 --> 00:24:57,960
this ballad about drug addiction. So Heroin was a big deal.

468
00:24:58,039 --> 00:25:00,799
If you've seen the movie train spotting issue.

469
00:25:00,559 --> 00:25:02,400
Speaker 2: Right, it's a big deal.

470
00:25:02,480 --> 00:25:07,160
Speaker 1: Yeah, well in Ireland specifically, and so this is kind

471
00:25:07,200 --> 00:25:09,599
of a you know, a couple talking about the one

472
00:25:09,599 --> 00:25:13,039
way out being, you know, go somewhere and score some

473
00:25:13,119 --> 00:25:16,240
drugs in order to bring it back and make ourselves rich,

474
00:25:17,039 --> 00:25:19,200
not just to take them, but just to sell them.

475
00:25:19,359 --> 00:25:22,119
And so that's the that's the white Gold Pearls that

476
00:25:22,200 --> 00:25:24,839
she brings back. But it's again, it's not just a

477
00:25:24,880 --> 00:25:28,920
song about drugs. It's another political commentary by Bono about

478
00:25:28,960 --> 00:25:31,599
what had happened in some of the poorer neighborhoods. These

479
00:25:31,599 --> 00:25:35,640
were housing setups that were meant to bring people out

480
00:25:35,680 --> 00:25:38,279
of poverty and to clean up the neighborhoods, and it

481
00:25:38,440 --> 00:25:42,480
just ended up making it worse. Ballyman Flats in Ireland,

482
00:25:42,480 --> 00:25:45,640
that's what the place that he's singing about in his song.

483
00:25:45,799 --> 00:25:48,599
Speaker 2: Yeah, this is a beautiful song. Once again, it's a

484
00:25:48,680 --> 00:25:53,039
slow burn. It builds. You've got bono on harmonica. The

485
00:25:53,079 --> 00:25:56,200
producer Daniel LANMWOII is playing the rhythm guitar on this song.

486
00:25:56,359 --> 00:25:57,799
But it's just a beautiful build.

487
00:25:58,039 --> 00:26:00,440
Speaker 1: Yeah. The Edge is the one playing the pian on

488
00:26:00,480 --> 00:26:00,799
this one.

489
00:26:01,000 --> 00:26:04,000
Speaker 2: Nice so far Five in a row, No skippers.

490
00:26:03,759 --> 00:26:04,960
Speaker 1: No, no, not at all.

491
00:26:05,119 --> 00:26:07,799
Speaker 2: After running to stand still. The next song on the

492
00:26:07,799 --> 00:26:10,119
album is called Red Hill Mining Town.

493
00:26:14,079 --> 00:26:23,119
Speaker 1: So this again we have another unique sound. This song

494
00:26:23,200 --> 00:26:25,079
doesn't sound like any of the other songs on the

495
00:26:25,160 --> 00:26:28,640
album so far, and to me, this could be a

496
00:26:28,680 --> 00:26:31,960
song in like a John Hughes movie, right, especially when

497
00:26:32,000 --> 00:26:36,599
he comes in on the chorus. Just that amazing passion

498
00:26:36,640 --> 00:26:39,759
that he has in his voice. I mean, I can see,

499
00:26:39,839 --> 00:26:41,599
you know, one of the rat pack raising the fist

500
00:26:41,599 --> 00:26:45,920
above their head in the song. But of course he's

501
00:26:45,960 --> 00:26:48,160
singing about something that's not at all what you would

502
00:26:48,200 --> 00:26:50,119
have in a John Hughes movie. This is about like

503
00:26:50,160 --> 00:26:54,119
a minor strike in the mid eighties. Margaret Thatcher had

504
00:26:54,400 --> 00:26:59,440
closed down some unprofitable coal mines in the UK and

505
00:26:59,480 --> 00:27:02,039
that left a whole lot of people without jobs, and

506
00:27:02,119 --> 00:27:04,920
so this song is about the struggle that they have

507
00:27:05,039 --> 00:27:07,960
of trying to provide for their families after not having

508
00:27:08,000 --> 00:27:08,839
a job anymore.

509
00:27:08,960 --> 00:27:11,880
Speaker 2: Right, The subject matter on this type of stuff way

510
00:27:11,920 --> 00:27:14,839
over my head at age fourteen. This sounds like it's

511
00:27:14,880 --> 00:27:17,119
more of like a Bruce Springsteen type of song, you know,

512
00:27:17,200 --> 00:27:19,519
the working man and trying to make a living and

513
00:27:19,519 --> 00:27:21,799
that type of thing. I've heard it said that it

514
00:27:21,880 --> 00:27:25,079
was either planned to be the second single or the

515
00:27:25,160 --> 00:27:28,839
third single, but the band couldn't really agree, and urban

516
00:27:28,960 --> 00:27:31,599
legend is that they didn't want to have to play

517
00:27:31,640 --> 00:27:33,880
this song in constant too much because of the high

518
00:27:33,880 --> 00:27:36,960
notes for Bono to hit. This is the only song

519
00:27:37,000 --> 00:27:40,440
from the Joshua Tree prior to their reunion concert to

520
00:27:40,559 --> 00:27:43,960
have never been played live. Wow, which is crazy because

521
00:27:43,960 --> 00:27:47,359
this seems like such a single long wave your hands

522
00:27:47,359 --> 00:27:48,519
in the air type of song.

523
00:27:48,680 --> 00:27:50,160
Speaker 1: Yeah, break out the lighters.

524
00:27:50,440 --> 00:27:53,759
Speaker 2: So that brings us to the end of side one of.

525
00:27:53,799 --> 00:27:56,319
Speaker 1: The Joshua Tree push stop on you tay player, kick.

526
00:27:56,200 --> 00:27:58,680
Speaker 2: It out, flip it over, put it back in press,

527
00:27:58,720 --> 00:28:09,880
play next song in God's Country.

528
00:28:08,680 --> 00:28:13,000
Speaker 1: Once again, something completely different. We're not getting anything repetitive

529
00:28:13,000 --> 00:28:13,759
on this album.

530
00:28:13,880 --> 00:28:16,119
Speaker 2: Yeah, this was the fourth single. This was released in

531
00:28:16,160 --> 00:28:19,200
North America only, which seems kindstry. I never really understand

532
00:28:19,200 --> 00:28:20,839
that if you're going to release a song, why don't

533
00:28:20,839 --> 00:28:21,559
you just release it?

534
00:28:21,640 --> 00:28:24,960
Speaker 1: Well, the I mean the thing about this is this

535
00:28:25,079 --> 00:28:27,960
is a very American song. I mean this one really

536
00:28:28,000 --> 00:28:30,200
he's talking about the when he's talking about the deserts

537
00:28:30,200 --> 00:28:33,319
in this song, he's talking about the American deserts. And

538
00:28:34,240 --> 00:28:38,319
you know, God's Country is about America. And he ultimately

539
00:28:39,000 --> 00:28:42,039
dedicated this song to the Statue of Liberty. He said

540
00:28:42,359 --> 00:28:45,400
he wanted to write about America and you know, the dream,

541
00:28:45,519 --> 00:28:49,359
the American dream, and he said, I wonder where are

542
00:28:49,400 --> 00:28:52,119
the people that will rise to the challenge, you know,

543
00:28:52,599 --> 00:28:55,039
where are the new dreamers? And so it was this

544
00:28:55,240 --> 00:28:58,880
kind of idea of the desert, not as a barren wasteland,

545
00:28:58,880 --> 00:29:02,160
but as an empty can this on which to build

546
00:29:02,200 --> 00:29:02,759
something new.

547
00:29:02,920 --> 00:29:06,000
Speaker 2: Okay, I've got a friend and I've mentioned her before,

548
00:29:06,039 --> 00:29:09,359
but she's a pop culture encyclopedia and she is a

549
00:29:09,559 --> 00:29:12,440
huge You Two fan. She got on our Facebook page

550
00:29:12,440 --> 00:29:15,720
the other day and mentioned that some husbands buy roses

551
00:29:15,720 --> 00:29:19,519
for their wives. Her husband buys her YouTube tickets, right,

552
00:29:19,599 --> 00:29:23,519
yeah was Her name is Jeanie Alexander, and so I

553
00:29:23,599 --> 00:29:25,559
hit her up right before we record this, and I'm like,

554
00:29:26,119 --> 00:29:28,519
you know, hey, tell me about what your takes are

555
00:29:28,559 --> 00:29:31,440
in justure Tree. And of course she's got a long

556
00:29:31,519 --> 00:29:34,119
litany of things that she loves about this album. But

557
00:29:34,720 --> 00:29:37,799
she was talking to me about Bono's vision of America

558
00:29:37,920 --> 00:29:42,160
as two Americas. Right, you have the American dream, you

559
00:29:42,240 --> 00:29:45,839
have the prosperity, you've got the freedom, and then you've

560
00:29:45,880 --> 00:29:49,599
got the addictions and the crime and the poverty and

561
00:29:49,640 --> 00:29:52,440
the problems of America's the two Americas. That's what I

562
00:29:52,480 --> 00:29:54,319
think about when I when I listen to this song,

563
00:29:54,640 --> 00:29:55,559
The two Americas.

564
00:29:55,680 --> 00:29:56,519
Speaker 1: It's fantastic.

565
00:29:56,519 --> 00:29:58,480
Speaker 2: Thanks Jeannie for all your help on this episode.

566
00:29:58,519 --> 00:30:02,720
Speaker 1: Appreciate you. Yeah, thank you for your support. Thank you

567
00:30:02,759 --> 00:30:03,720
for educating us.

568
00:30:03,839 --> 00:30:07,400
Speaker 2: Okay, we done within God's Country. Yes, shout out to

569
00:30:07,440 --> 00:30:10,119
the Statue of Liberty, and we're on to the next song.

570
00:30:10,680 --> 00:30:16,359
Speaker 1: Trip through Your wires. Oh, listen to that beat and

571
00:30:16,519 --> 00:30:19,440
that harmonica. Baby, I'm playing some.

572
00:30:19,440 --> 00:30:24,480
Speaker 2: Blues rhythm and blues baby. Nobody gets out of here

573
00:30:24,519 --> 00:30:25,480
without playing the blues.

574
00:30:29,079 --> 00:30:34,160
Speaker 1: Did you just quote did you just quote Adventures and

575
00:30:34,240 --> 00:30:35,359
babysitting on her? Yes?

576
00:30:35,440 --> 00:30:37,119
Speaker 2: I did, Thank you, good job.

577
00:30:41,039 --> 00:30:46,319
Speaker 1: Oh my gosh. All right, so this one, this is

578
00:30:46,319 --> 00:30:48,920
a great This is a very very blues song. And

579
00:30:49,400 --> 00:30:52,559
Bonno really thought that this needed to be paired with

580
00:30:53,160 --> 00:30:55,839
Sweetest Thing, but he got outvoted and so it didn't

581
00:30:55,839 --> 00:30:57,880
make it on. It was just on the B side,

582
00:30:57,920 --> 00:31:00,799
I think, is where that ended up. But there, Bono

583
00:31:00,880 --> 00:31:06,319
feels like Wires and Sweetest Thing are hairs. They need

584
00:31:06,319 --> 00:31:08,839
to be get together, both about love, but one's about

585
00:31:08,920 --> 00:31:11,799
being enticed and the other one's about being apologetic. And

586
00:31:12,279 --> 00:31:15,599
Wires is obviously bluesy it. Where's Sweetest Thing is more

587
00:31:15,759 --> 00:31:16,079
r and.

588
00:31:16,000 --> 00:31:19,319
Speaker 2: B Yes, yes, I heard that story as well. I

589
00:31:19,359 --> 00:31:21,279
need to tell a quick story about the Sweetest Thing.

590
00:31:21,400 --> 00:31:22,440
Speaker 1: Okay, yeah.

591
00:31:22,519 --> 00:31:26,599
Speaker 2: Apparently the story is that Bono forgot his wife's birthday

592
00:31:27,200 --> 00:31:31,359
and as a way of apologizing. As a way of

593
00:31:31,400 --> 00:31:34,279
apologizing to her, he wrote this song called the Sweetest

594
00:31:34,279 --> 00:31:37,519
Thing and gave it to her. As a gift, right right,

595
00:31:38,000 --> 00:31:41,400
and she said to him, Okay, you're giving me this

596
00:31:41,440 --> 00:31:43,960
song as a gift. That's very sweet. I want the publishing.

597
00:31:49,480 --> 00:31:51,759
Speaker 1: That's awesome. That is awesome.

598
00:31:52,160 --> 00:31:54,480
Speaker 2: This song is awesome, man. I love this is in

599
00:31:54,759 --> 00:31:56,839
the top three or four for me in the album.

600
00:31:56,920 --> 00:31:57,720
Speaker 1: It just is a.

601
00:31:57,960 --> 00:32:01,359
Speaker 2: Feel good The core is just awesome.

602
00:32:01,599 --> 00:32:02,119
Speaker 3: I love it.

603
00:32:02,279 --> 00:32:03,799
Speaker 2: This is one of my favorite songs on the album.

604
00:32:03,839 --> 00:32:05,160
Speaker 1: Love it too, I'll dig it.

605
00:32:06,039 --> 00:32:09,680
Speaker 2: Okay, love this song. Moving on to a song called

606
00:32:09,720 --> 00:32:10,759
One Tree Hill.

607
00:32:11,279 --> 00:32:15,279
Speaker 1: All right, So this song starts off and it has

608
00:32:15,559 --> 00:32:20,920
a very definite feel to it. It's almost native in

609
00:32:20,960 --> 00:32:25,039
the way that the instrumentation comes in, and I think

610
00:32:25,079 --> 00:32:28,839
that has to be a throwback to New Zealand and

611
00:32:28,880 --> 00:32:32,079
the Maori folks in New Zealand, because this is about

612
00:32:32,079 --> 00:32:34,799
a guy who is very special to you two who

613
00:32:34,960 --> 00:32:37,279
was from New Zealand, a Maori from New Zealand.

614
00:32:37,440 --> 00:32:39,720
Speaker 2: So One Tree Hill was written for a guy named

615
00:32:39,720 --> 00:32:42,680
Greg Carroll, whom the band met when they landed in Auckland,

616
00:32:42,839 --> 00:32:45,400
New Zealand, while on tour for The Unforgettable Fire in

617
00:32:45,440 --> 00:32:48,640
nineteen eighty five. Bonald gets there, he's got major jet

618
00:32:48,720 --> 00:32:50,720
LaGG he can't sleep, and so he decides, Hey, I'm

619
00:32:50,720 --> 00:32:54,359
gonna go hit the town and he meets some native guys,

620
00:32:54,440 --> 00:32:56,759
some local guys. One of them is this guy named

621
00:32:56,759 --> 00:33:00,319
Greg Carroll and takes him around. They became friends, and

622
00:33:00,559 --> 00:33:02,960
he ends up taking him to this place called One

623
00:33:03,000 --> 00:33:08,680
Tree Hill, which is significant spiritual volcanic sight. Right, I

624
00:33:08,720 --> 00:33:10,720
don't really know because I've never really been there, but

625
00:33:11,279 --> 00:33:14,000
so it's called One Tree Hill. He becomes a roadie.

626
00:33:14,079 --> 00:33:16,920
Bono appreciates his sense of humor in his work ethics,

627
00:33:16,920 --> 00:33:21,160
so he's hired to be his personal assistant. During the

628
00:33:21,240 --> 00:33:23,799
Live Aid concert, you can actually see him handing him

629
00:33:23,839 --> 00:33:28,240
a guitar on stage. It's pretty cool. But he was

630
00:33:28,640 --> 00:33:33,240
driving Bono's motorcycle returning it to Dublin when he was

631
00:33:33,319 --> 00:33:37,279
killed in a motorcycle accident on July third, nineteen eighty six. Yeah,

632
00:33:37,319 --> 00:33:38,480
he was twenty six.

633
00:33:38,559 --> 00:33:43,880
Speaker 1: When that happened. Yeah, this was a really devastating moment

634
00:33:43,960 --> 00:33:46,480
for the band, for the whole band, They really loved

635
00:33:46,519 --> 00:33:50,279
this guy. Larry Mullen said, his death really rocked us.

636
00:33:50,960 --> 00:33:54,000
It was the first time anyone in our working circle

637
00:33:54,039 --> 00:33:57,720
had been killed. Bono had actually flown to Texas to

638
00:33:57,720 --> 00:34:02,000
sing with Willie Nelson By An hour after he arrived,

639
00:34:02,319 --> 00:34:06,759
he heard the news of Carol's death and immediately flew

640
00:34:06,839 --> 00:34:10,559
back to Ireland. This was obviously a big important guy

641
00:34:10,639 --> 00:34:13,440
to them, and it packs this song with a whole

642
00:34:13,519 --> 00:34:16,039
lot of meaning that I didn't understand before. And I'm

643
00:34:16,039 --> 00:34:17,079
glad I know the story now.

644
00:34:17,119 --> 00:34:21,039
Speaker 2: Apparently at the funeral, Bono's saying, let it be knocking

645
00:34:21,119 --> 00:34:23,840
on Heaven's door. But he wanted to do more to

646
00:34:23,960 --> 00:34:26,199
honor Greg and so he wrote the song One Tree

647
00:34:26,280 --> 00:34:29,960
Hill And when he recorded it, he recorded the vocals

648
00:34:29,960 --> 00:34:33,119
in one take. He felt too emotionally wiped out to

649
00:34:33,400 --> 00:34:34,400
any more than once.

650
00:34:34,719 --> 00:34:37,079
Speaker 1: Yeah, it was. It was months before he was ever

651
00:34:37,119 --> 00:34:38,239
able to perform it live.

652
00:34:38,360 --> 00:34:40,719
Speaker 2: It don't play this song live very often, but every

653
00:34:40,719 --> 00:34:42,960
time they go to New Zealand, they always play One

654
00:34:42,960 --> 00:34:43,719
Tree Hill.

655
00:34:43,760 --> 00:34:44,000
Speaker 1: Right.

656
00:34:44,320 --> 00:34:47,559
Speaker 2: Yeah, here's another interesting tidbit on this song, Okay, and

657
00:34:47,599 --> 00:34:50,679
I'm gonna try and describe this for our younger listeners.

658
00:34:51,760 --> 00:34:54,159
Way back in the eighties, he had this thing called

659
00:34:54,239 --> 00:35:02,599
long distance long distance elephone calls. Yeah, and transatlantic long

660
00:35:02,639 --> 00:35:06,800
distance calls were super expensive. So while they were recording

661
00:35:06,800 --> 00:35:11,440
this song, there were these three Toronto bassed musicians who

662
00:35:11,480 --> 00:35:14,599
were recording the string section portion of this song. The

663
00:35:14,760 --> 00:35:19,159
Edge and Daniel Lanois are across the Atlantic Ocean directing

664
00:35:19,199 --> 00:35:21,400
them and they're on the phone for six hours.

665
00:35:21,679 --> 00:35:22,119
Speaker 1: Wow.

666
00:35:22,360 --> 00:35:26,119
Speaker 2: I love this song. It's it's mournful, but it's upbeat.

667
00:35:26,280 --> 00:35:29,000
It makes me smile. It's like sad smiling.

668
00:35:29,559 --> 00:35:33,320
Speaker 1: Yeah, it's kind of the notion of the wake. You know.

669
00:35:33,400 --> 00:35:36,559
It's a celebration of someone who's passed. It's a celebration

670
00:35:36,639 --> 00:35:37,239
of their life.

671
00:35:37,880 --> 00:35:41,280
Speaker 2: Right, great song. I love it. One Tree Hill is

672
00:35:41,360 --> 00:35:44,880
the fifth single released from this album, but it was

673
00:35:45,000 --> 00:35:48,519
only released in Australia and New Zealand. Interesting next song

674
00:35:48,519 --> 00:35:50,039
on the album is a song called Exit.

675
00:35:55,079 --> 00:35:59,079
Speaker 1: He used to stay away to drive the dreams. All right,

676
00:35:59,119 --> 00:36:05,239
So here we go with another feel good song. Just kidding,

677
00:36:05,519 --> 00:36:09,400
just kidding. This song it has it has kind of

678
00:36:09,440 --> 00:36:13,280
a dark beginning and middle and end.

679
00:36:13,639 --> 00:36:16,119
Speaker 2: This is a dark star song all the way through

680
00:36:16,360 --> 00:36:19,159
it is. This song was originally supposed to be titled

681
00:36:19,280 --> 00:36:20,280
Executioner's Song.

682
00:36:20,440 --> 00:36:23,920
Speaker 1: So this song came about after Bono had been reading

683
00:36:24,000 --> 00:36:29,599
some American novels about murders. Basically, so he had read

684
00:36:29,639 --> 00:36:34,199
Norman Mahler's The Executioner's song and Truman Capote's in Cold Blood,

685
00:36:34,760 --> 00:36:37,679
And this was his attempt is what these are his words.

686
00:36:37,800 --> 00:36:40,159
This was my attempt at writing a story in the

687
00:36:40,199 --> 00:36:42,800
mind of a killer. It's all very well to address

688
00:36:42,800 --> 00:36:46,119
America and the violence that is in an aggressive foreign policy,

689
00:36:46,480 --> 00:36:49,079
but to really understand that, you have to get under

690
00:36:49,119 --> 00:36:52,239
the skin of your own darkness, the violence that we

691
00:36:52,400 --> 00:36:53,760
all contain within us.

692
00:36:54,000 --> 00:36:58,400
Speaker 2: Okay, this is where it gets interesting. Okay, so Bono

693
00:36:58,519 --> 00:37:02,400
wrote this song said after reading some stuff about murder.

694
00:37:02,519 --> 00:37:04,800
One of the guys was Gary Gilmore, who was this

695
00:37:04,840 --> 00:37:09,000
guy who executed some people, and then he wanted the

696
00:37:09,000 --> 00:37:12,599
court to hurry up with his own death sentence, like

697
00:37:12,719 --> 00:37:15,559
he wanted them to execute him as soon as possible.

698
00:37:16,280 --> 00:37:20,239
Very dark, very interesting story. But where it really gets

699
00:37:20,280 --> 00:37:23,639
weird is when this guy, Robert John Bardo comes along.

700
00:37:23,840 --> 00:37:26,159
If you were around in the eighties, you'll remember this

701
00:37:26,199 --> 00:37:29,159
is the guy who stalked and murdered the actress Rebecca

702
00:37:29,280 --> 00:37:34,400
Schaeffer on July nineteenth, nineteen eighty nine. Oh gosh, do

703
00:37:34,480 --> 00:37:37,360
you remember that. Yeah, she was in that TV show

704
00:37:37,440 --> 00:37:41,679
called My Sister Sam. Yeah, him Dabber, the girl from

705
00:37:41,800 --> 00:37:47,280
More Committy. He so he stalked her, shot her, killed her,

706
00:37:47,559 --> 00:37:51,239
and then during his trial, his attorneys said that this

707
00:37:51,360 --> 00:37:54,440
song influenced him to commit these deeds, and so they

708
00:37:54,440 --> 00:37:58,119
played it during the court sessions and when they played it,

709
00:37:58,239 --> 00:38:01,239
he's bobbing his head and along in court.

710
00:38:01,400 --> 00:38:02,920
Speaker 1: Oh my, really weird.

711
00:38:03,159 --> 00:38:07,599
Speaker 2: This was recorded the last day of the Joshua Tree sessions.

712
00:38:07,840 --> 00:38:10,440
Speaker 1: Yeah, this came. This came out of the band doing

713
00:38:10,480 --> 00:38:13,719
some jam sessions. They only played at one time, and

714
00:38:13,760 --> 00:38:16,079
then Brian Eno came in and cut it down into

715
00:38:16,119 --> 00:38:18,800
the final product. But it was a one take kind

716
00:38:18,800 --> 00:38:19,840
of deal for them. Yep.

717
00:38:20,119 --> 00:38:23,719
Speaker 2: Pretty amazing. This song was played on all one hundred

718
00:38:23,760 --> 00:38:26,679
and nine in the Joshua Tree Tour shows, but has

719
00:38:26,719 --> 00:38:30,400
been played only once until they did the Reunion tour

720
00:38:30,679 --> 00:38:33,159
for the thirtieth Joshua Tree Reunion Tour.

721
00:38:33,480 --> 00:38:38,840
Speaker 1: Huh. It has an intensity that is unmistakable and the

722
00:38:39,559 --> 00:38:41,880
you don't want to say you love this song, but

723
00:38:42,280 --> 00:38:44,840
you feel the impact that they were trying to convey

724
00:38:44,920 --> 00:38:45,599
without question.

725
00:38:45,880 --> 00:38:47,679
Speaker 2: Yeah, this is a dark song. I'm kind of out

726
00:38:47,719 --> 00:38:50,679
on this one. It's got an interesting history, but this

727
00:38:50,800 --> 00:38:53,800
is the first one where I'm like Skipper.

728
00:38:54,119 --> 00:38:57,000
Speaker 1: Now, I still I wouldn't skip this song. It's just

729
00:38:57,719 --> 00:38:59,199
it's got to be the right moment. I mean, I'm

730
00:38:59,199 --> 00:39:00,840
not going to listen to this with the kids in

731
00:39:00,880 --> 00:39:04,159
the park. But you know, if I'm driving in the

732
00:39:04,159 --> 00:39:06,159
morning to go work out, maybe this is the song

733
00:39:06,239 --> 00:39:09,679
I get to kind of intensify my testosterone levels or something.

734
00:39:09,719 --> 00:39:10,119
I don't know.

735
00:39:10,360 --> 00:39:13,239
Speaker 2: Yeah, it's gonna take a playing of playing in the

736
00:39:13,280 --> 00:39:16,760
sunshine and starfish and coffee and wake me up before

737
00:39:16,880 --> 00:39:18,719
you go go to pull me out of the funk.

738
00:39:21,480 --> 00:39:27,039
Speaker 1: Yeah. Yeah, Well, and Bono talks about how I'll take

739
00:39:27,079 --> 00:39:29,840
a walk occasionally and have a drink with the devil,

740
00:39:29,920 --> 00:39:31,239
but I'm not moving in with him.

741
00:39:32,039 --> 00:39:32,599
Speaker 2: That's good.

742
00:39:32,639 --> 00:39:33,079
Speaker 1: I like that.

743
00:39:33,480 --> 00:39:35,719
Speaker 2: Yeah, have you ever danced with the devil in the pillow?

744
00:39:37,559 --> 00:39:38,400
Speaker 1: What did you say?

745
00:39:39,679 --> 00:39:41,599
Speaker 2: I always asked, out of all my brain. I just

746
00:39:41,639 --> 00:39:42,679
like the sound of it.

747
00:39:44,039 --> 00:39:46,880
Speaker 1: So Oddly, exit is not the last song. It seems

748
00:39:46,920 --> 00:39:48,119
like it would be, but it's not.

749
00:39:49,039 --> 00:39:51,119
Speaker 2: It should be. Yeah, maybe it is.

750
00:39:51,239 --> 00:39:54,519
Speaker 1: And this is the encore. The encore is Mothers of

751
00:39:54,559 --> 00:39:55,280
the Disappeared.

752
00:39:56,719 --> 00:40:00,199
Speaker 2: Okay, once more, this is not a feel good so.

753
00:40:01,800 --> 00:40:04,800
Speaker 1: So you have this really fascinating beginning here. This is

754
00:40:04,880 --> 00:40:09,840
obviously a pick on the edge of the wound strings

755
00:40:09,880 --> 00:40:14,559
on a guitar, and it has an almost industrial sound

756
00:40:14,679 --> 00:40:19,119
to it, you know, like machinery or somebody scratching at

757
00:40:19,159 --> 00:40:22,920
something metal, and it creates a scene that to me

758
00:40:23,119 --> 00:40:26,199
is very dark and mysterious. And then when the bass

759
00:40:26,239 --> 00:40:30,679
comes rolling in here and it's got a twang to

760
00:40:30,760 --> 00:40:33,559
the bass. It's got that kind of vibration going on

761
00:40:34,039 --> 00:40:37,480
in the bass, and it's almost what we would later

762
00:40:37,519 --> 00:40:41,079
describe as industrial and its sound. But then the lyrics

763
00:40:41,119 --> 00:40:45,000
come in and it's a God's tragedy. You know that

764
00:40:45,039 --> 00:40:49,039
we've got these oppressive governments in these South American countries

765
00:40:49,360 --> 00:40:52,159
who when the government is oppressive, you will have college

766
00:40:52,199 --> 00:40:56,159
students who protest what the government is doing. And what

767
00:40:56,199 --> 00:40:59,719
the government would then do with those students is disappear them,

768
00:41:00,039 --> 00:41:03,239
would cause them to no longer be there. They would

769
00:41:03,239 --> 00:41:06,679
be kidnapped in the night and never seen again, very

770
00:41:06,800 --> 00:41:11,639
in an unmarked grave somewhere. And it's the mothers of

771
00:41:11,679 --> 00:41:15,320
the disappeared is actually another type of protest group that

772
00:41:15,440 --> 00:41:19,440
began in the seventies and eighties of these mothers, I

773
00:41:19,440 --> 00:41:22,239
mean exactly what it is, mothers of these students who

774
00:41:22,239 --> 00:41:27,119
have disappeared. It's an emotional subject and an emotional song

775
00:41:27,400 --> 00:41:32,079
and so intense. And again, I love it for what

776
00:41:32,159 --> 00:41:36,280
it does. It captures something, and I love the sound

777
00:41:36,360 --> 00:41:39,760
of it. It is cinematic in its ability to paint

778
00:41:39,840 --> 00:41:43,760
a picture with the music and the sounds that come

779
00:41:43,800 --> 00:41:44,719
from these instruments.

780
00:41:44,960 --> 00:41:50,800
Speaker 2: Yeah, it's haunting and beautiful and sad. You know, did

781
00:41:50,800 --> 00:41:52,079
you know? I don't know if you know this or not,

782
00:41:52,159 --> 00:41:55,639
but the song's guitar melody comes from an original piece

783
00:41:55,760 --> 00:42:00,000
that Bono composed to help teach children about basic heiji

784
00:42:00,159 --> 00:42:03,559
while he was in Ethiopia nineteen eighty five. Huh. Now,

785
00:42:03,800 --> 00:42:05,599
he had a little ditty, you know, teaching them to

786
00:42:05,599 --> 00:42:08,239
brush their teeth or whatever, and he transformed it into

787
00:42:08,280 --> 00:42:08,679
this song.

788
00:42:08,880 --> 00:42:10,559
Speaker 1: Wow, that's awesome.

789
00:42:10,800 --> 00:42:13,719
Speaker 2: This again is part of that trilogy involving One Tree

790
00:42:13,800 --> 00:42:17,960
Hill and Bullet Blue Sky. Okay, I don't know if

791
00:42:17,960 --> 00:42:21,320
you know this or not, but on February fifth, nineteen

792
00:42:21,400 --> 00:42:25,000
ninety eight and February eleventh, nineteen ninety eight, you two

793
00:42:25,119 --> 00:42:28,559
performed this song live in Argentina, and then again a

794
00:42:28,559 --> 00:42:32,400
week later in Chile. He brought the mothers on stage

795
00:42:33,400 --> 00:42:38,239
and called upon the government to tell these women where

796
00:42:38,280 --> 00:42:39,920
the bones of their children.

797
00:42:39,639 --> 00:42:43,719
Speaker 1: Are Can you imagine. I mean, that's some brass tax

798
00:42:43,840 --> 00:42:48,039
right there. Bro. Seriously, I mean you were throwing out

799
00:42:48,039 --> 00:42:51,639
these accusations and making these demands of a government who

800
00:42:52,280 --> 00:42:56,280
obviously has no hesitation about taking the lives of its

801
00:42:56,280 --> 00:43:00,320
own citizens, let alone the lives of some Irish band

802
00:43:00,360 --> 00:43:02,719
who's coming out here mocking.

803
00:43:02,400 --> 00:43:04,039
Speaker 2: Us my got punk rock star.

804
00:43:04,239 --> 00:43:06,440
Speaker 1: Yeah, brassball, baby, brassball.

805
00:43:06,960 --> 00:43:10,119
Speaker 2: That's what I love most about Bonall. Mean, he is

806
00:43:10,159 --> 00:43:13,639
not afraid to use his platform to do the good

807
00:43:13,639 --> 00:43:15,639
things that he feels like he's been called pot to do.

808
00:43:16,079 --> 00:43:19,199
Speaker 1: Yeah. Good finish to the album. I know you had

809
00:43:19,239 --> 00:43:21,320
one skipper in there, but there were no skippers for me.

810
00:43:21,760 --> 00:43:23,559
Fantastic from beginning to the end.

811
00:43:23,800 --> 00:43:27,559
Speaker 2: It is a fantastic album. So the Joshua Tree did

812
00:43:27,599 --> 00:43:30,039
win the Grammy four the Album of the Year in

813
00:43:30,119 --> 00:43:33,719
nineteen eighty seven, beating out Princess Sya the Times album.

814
00:43:33,760 --> 00:43:37,320
This album topped the chart in over twenty countries and

815
00:43:37,400 --> 00:43:40,199
it became the fastest selling album in British history. It

816
00:43:40,280 --> 00:43:42,760
went platinum in forty eight hours.

817
00:43:42,920 --> 00:43:44,920
Speaker 1: Forty eight hours. There's a lot of records.

818
00:43:45,079 --> 00:43:49,199
Speaker 2: It's incredible. This was a huge album. Nineteen eighty seven.

819
00:43:51,400 --> 00:43:52,559
We ready for final judgment.

820
00:43:52,840 --> 00:43:55,760
Speaker 1: Yeah, let's move on to final judgment. Okay. So I

821
00:43:55,840 --> 00:43:58,599
called you up a few days ago and I said,

822
00:43:58,719 --> 00:44:01,079
do you know where you stand on that between these

823
00:44:01,079 --> 00:44:05,360
two Mammoth albums of March of nineteen eighty seven? And

824
00:44:05,519 --> 00:44:08,719
you said yes, And that is all that you told me.

825
00:44:09,280 --> 00:44:13,360
And so I'm waiting with baited breath to find out

826
00:44:13,679 --> 00:44:16,360
whether we are about to go to war or where

827
00:44:16,360 --> 00:44:19,719
their two Hearts beat is one. I could not find

828
00:44:19,760 --> 00:44:21,480
what I was looking for when I call it you.

829
00:44:22,559 --> 00:44:25,679
Speaker 2: Okay, So I didn't really have a relationship with either

830
00:44:25,719 --> 00:44:28,159
one of these albums. I knew the hits very well

831
00:44:28,519 --> 00:44:31,480
and loved the hits very well. So when we Dove Deep,

832
00:44:31,639 --> 00:44:33,599
it was the first time that I had heard some

833
00:44:33,679 --> 00:44:37,280
of these songs. So when I listened to Sign of

834
00:44:37,280 --> 00:44:42,480
the Times, I have fun. I enjoy what I'm listening to.

835
00:44:43,119 --> 00:44:46,840
I'm dancing, I'm singing. There are some highs and lows

836
00:44:46,880 --> 00:44:48,960
on Sign of the Times. I don't think it's as

837
00:44:49,039 --> 00:44:52,320
good as Joshua Tree all the way through. However, if

838
00:44:52,360 --> 00:44:54,920
I'm going on a road trip, the first CD I'm

839
00:44:54,960 --> 00:44:57,360
grabbing of these two is Sign of the Times.

840
00:44:57,559 --> 00:44:58,079
Speaker 1: Wow.

841
00:44:58,280 --> 00:44:59,960
Speaker 2: It just fits my personality more.

842
00:45:00,079 --> 00:45:07,519
Speaker 1: Okay, you're up all right. Well, when we started comparing

843
00:45:07,559 --> 00:45:12,440
these albums, I started listening to Sign of the Times first,

844
00:45:12,760 --> 00:45:16,239
because number one, we were covering it first, and number two,

845
00:45:16,840 --> 00:45:20,679
I had heard Joshua Tree one thousand and one times.

846
00:45:20,760 --> 00:45:23,519
This was one of those albums that I just listened

847
00:45:23,559 --> 00:45:25,960
to beginning to end over and over again. And so

848
00:45:26,360 --> 00:45:28,360
Sign of Times was something that I had to become

849
00:45:28,440 --> 00:45:30,960
familiar with. You had talked about being kind of a

850
00:45:31,400 --> 00:45:35,239
YouTube greatest hits guy Prince for me was Purple Rain

851
00:45:35,519 --> 00:45:38,920
and then whatever hits came out after and before Purple Rain.

852
00:45:39,039 --> 00:45:42,039
And so when I started listening to Sign of the Times,

853
00:45:42,079 --> 00:45:45,159
we had discussed quite a bit about how we wanted

854
00:45:45,199 --> 00:45:48,679
to compare something to Purple Rain because it's so iconic, right,

855
00:45:48,880 --> 00:45:51,000
but what do you compare that to? And then I

856
00:45:51,039 --> 00:45:52,880
wanted to do Joshua Tree. What do we do to

857
00:45:52,920 --> 00:45:55,519
compare that to? We came up with Sign of the Times.

858
00:45:55,679 --> 00:45:58,559
I said, okay, sure. I started listening to it. After

859
00:45:58,599 --> 00:46:01,559
about the first five songs, it was just like the Police.

860
00:46:01,599 --> 00:46:04,000
After the first five songs, I called Yep, and I said,

861
00:46:04,159 --> 00:46:06,239
how much work have you done? Because I don't think

862
00:46:06,280 --> 00:46:09,880
that this can even compare to Joshua Tree. Right this,

863
00:46:09,920 --> 00:46:14,000
I remember that, really, these songs are not good. First

864
00:46:14,039 --> 00:46:17,400
songs good, the rest of everything that I've heard so far,

865
00:46:17,639 --> 00:46:19,320
and it's a long album. I wasn't all the way

866
00:46:19,320 --> 00:46:22,679
through it, but it was not good. And You're like, dude,

867
00:46:23,079 --> 00:46:27,719
this is considered his best album. And I said, nuh uh,

868
00:46:27,760 --> 00:46:31,679
and you said, yes, critics consider this his best album.

869
00:46:31,679 --> 00:46:34,039
I'm like, okay, then there must be something wrong with

870
00:46:34,039 --> 00:46:36,039
my day to day. And so I listened to the

871
00:46:36,079 --> 00:46:39,360
whole album and I didn't love it, and so I

872
00:46:39,440 --> 00:46:41,239
said I need to listen to it again. I listened

873
00:46:41,280 --> 00:46:44,079
to it again and I liked it a little bit better.

874
00:46:44,239 --> 00:46:47,119
And then I listened to it again and I still

875
00:46:47,159 --> 00:46:50,159
didn't love it. It was okay, And on the fourth listen,

876
00:46:50,280 --> 00:46:53,960
I just said, this album is not my album. I'm

877
00:46:53,960 --> 00:46:57,880
glad that everybody loves it, It's just not for me.

878
00:46:58,599 --> 00:47:01,920
And when we started going into Joshua Tree, I had

879
00:47:02,079 --> 00:47:06,079
the fantastic pleasure of just letting this play on repeat

880
00:47:06,159 --> 00:47:09,159
in my car. If I wasn't listening to some sort

881
00:47:09,199 --> 00:47:12,719
of podcast on Joshua Tree, I was listening to Joshua

882
00:47:12,719 --> 00:47:15,599
Tree the album and loving every second of it and

883
00:47:16,280 --> 00:47:18,639
loving it more and more the more I heard. It

884
00:47:18,679 --> 00:47:21,280
was great to come back to this thing. So sorry,

885
00:47:21,320 --> 00:47:25,880
Sign of the Times. Sorry Prince fans. I don't despise him.

886
00:47:25,960 --> 00:47:28,760
I think he's a brilliant musician. I think he probably

887
00:47:29,079 --> 00:47:31,960
could have played all of the songs on Joshua Tree,

888
00:47:32,000 --> 00:47:34,760
and they probably couldn't have played his songs, but he

889
00:47:34,800 --> 00:47:37,480
didn't play them. They played them. They came up with them.

890
00:47:37,800 --> 00:47:41,880
I can play Nirvana's first album probably too, but I didn't.

891
00:47:42,320 --> 00:47:45,400
It was them that did it, and so I have

892
00:47:45,480 --> 00:47:49,440
to go Joshua Tree one hundred and ten percent. Sign

893
00:47:49,480 --> 00:47:52,079
of the Times, despite my best effort, couldn't find its

894
00:47:52,079 --> 00:47:52,760
way into my heart.

895
00:47:52,920 --> 00:47:55,880
Speaker 2: Okay, well that's great and it's not for everybody, but

896
00:47:55,920 --> 00:47:59,440
that's fine. Where are you, guys, We love to hear

897
00:47:59,480 --> 00:48:01,960
from you. Hit us up on Facebook, hiss up on Twitter,

898
00:48:02,039 --> 00:48:03,000
email us.

899
00:48:02,960 --> 00:48:06,360
Speaker 1: Don't forget to go to patreon dot com, slash Shirley

900
00:48:06,480 --> 00:48:10,320
Podcast and become an executive producer of the show. We

901
00:48:10,360 --> 00:48:12,440
will say your name at the beginning of the show.

902
00:48:12,519 --> 00:48:15,480
This show brought to you by executive producer whatever your

903
00:48:15,559 --> 00:48:18,800
name is, Buckley. Go and yes, James Buckley, Thank you

904
00:48:18,880 --> 00:48:23,519
James Buckley for jumping out there on the very first day. Fantastic,

905
00:48:23,840 --> 00:48:26,920
But we have got We aren't asking for money for nothing.

906
00:48:27,360 --> 00:48:31,000
We're not asking for the chicks for free. We we

907
00:48:31,039 --> 00:48:33,320
will send you stuff you join us. You know, the

908
00:48:33,400 --> 00:48:36,920
first stage is your executive producer. Second stage is you

909
00:48:36,960 --> 00:48:41,000
get like a thirty dollars set of nice earbud headphones

910
00:48:41,440 --> 00:48:46,000
that are waterproof and bluetooth and they're amazing. Next stage

911
00:48:46,039 --> 00:48:51,800
you get a custom engraved stainless steel coffee mug. It's fantastic.

912
00:48:52,119 --> 00:48:54,039
And then if you want to go if you want

913
00:48:54,039 --> 00:48:56,519
to go full hog, if you want to go Prince

914
00:48:56,559 --> 00:48:59,880
akeem level, you get to pick an episode on what

915
00:49:00,079 --> 00:49:03,079
we talk about, whatever movie or song or album or

916
00:49:03,119 --> 00:49:05,960
comparison you want to hear. We will do it for you.

917
00:49:06,360 --> 00:49:10,519
So jump on patreon dot com, look us up Shirley

918
00:49:10,639 --> 00:49:15,480
Podcast and become a member of our happy little family.

919
00:49:15,519 --> 00:49:17,719
Speaker 2: Love it, love it. If you like what you hear,

920
00:49:17,800 --> 00:49:20,599
we could sure use a five star review on Apple Podcasts.

921
00:49:20,760 --> 00:49:23,800
Take a few moments, go there, click five stars and

922
00:49:23,960 --> 00:49:27,639
tell everybody how great we are. We appreciate it, all right.

923
00:49:27,719 --> 00:49:30,039
Speaker 1: It's been super fun to hit these albums can't wait

924
00:49:30,159 --> 00:49:31,360
for next week.

925
00:49:31,639 --> 00:49:34,280
Speaker 2: Let's talk about next week real quick. Next week we

926
00:49:34,360 --> 00:49:38,679
dive into two of the greatest Christmas movies ever made,

927
00:49:38,920 --> 00:49:44,440
Leath the Weapon and die Hard Mofos. We're getting into it.

928
00:49:45,360 --> 00:49:46,440
Speaker 1: I'm getting too old for this.

929
00:49:49,320 --> 00:49:50,199
Speaker 2: We'll see you next time

930
00:49:50,360 --> 00:49:51,199
Speaker 1: All right, good night,