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Speaker 1: Four and three and two and one. Let's go, guys,

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it is the Surely you Can't Be Serious Podcast, Part

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two Beastie Boys Licensed Ill.

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Speaker 2: Today, we're gonna go by track by track through license

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to me.

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Speaker 1: Man. I thought I had something. I had nothing.

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Speaker 2: I was just like you are not rhyming and stealing

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right there.

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Speaker 1: Got Ali Baba and the forty Thieves just took those

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thoughts right out of my head.

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Speaker 2: Center stage on the mic, we've got our friend def

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Dave back, Dave, how are you doing tonight?

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Speaker 3: I'm on the cool check in. I'm hanging out with

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the Gangster, the Prankston and the King of the app.

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Speaker 1: That's awesome.

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Speaker 3: I got some Chef woy er d cooling on the pot.

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I can make a court a monkey and still stand still.

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I'm ready to talk about license to you.

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Speaker 1: Oh my gosh, yes, wrong and he's strong today. So

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we're going to talk track by track about Licensed Ill.

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Speaker 2: Just in case you're jumping in at this point, you

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may want to go back to last episode where we

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did kind of an overview of the Beastie Boys. We

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introduced Dave, we kind of talked about our relationship to

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the album, and then kind of how the Beastie Boys

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got here. Okay, so this was the first rap album

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of all time to hit number one on the Billboard charts.

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I mean it's it's groundbreaking. Yeah, I think it hit

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number one March seventh of e seven. You know what,

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it knocked out of the number one spot. Not in sterio.

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You're warm though, You're close, Dave. You know what it

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knocked out of the number one spot.

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Speaker 3: I think I do?

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Speaker 2: Okay, what you got?

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Speaker 3: It ended the seven week reign of Slippery When Wet.

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Speaker 2: That's exactly right. That's exactly right. And it was number

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one for seven weeks and then it got knocked out

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by an album that we have podcasted on. You know what,

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It knocked it out of the number one spot.

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Speaker 1: I got nothing, Dave.

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Speaker 4: Joshua Tree, the Joshua Tree, but you too.

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Speaker 3: Let me tell you something about that. First of all,

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Licensed Ill matched Slippery When Wet with seven weeks in

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the top spot. But here's the thing. Slippery when Wet

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had the benefit of two number one hits. Joshua Tree

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had three number one hits and Licensed to Ill had none.

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It had seven singles and only won the top twenty.

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And that was fight for your Right to Party and

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it peaked out at number seven. So I'll look at that,

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the same day that the album with number seven, the.

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Speaker 1: Same day that the album hit number one.

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Speaker 3: Yeah, so what that tells me is radio was slow

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to catch up with what was happening with kids all

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across the country. We knew about the Beastie Boys and

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we were buying up the album, but radio had not

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caught up with this. And we see this album go

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to number one and stay there despite lack of airplay

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because there were no big hits that charted off of

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this album.

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Speaker 2: Pretty remarkable. I totally you get it. But you know,

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despite the lack of radio play, Fight for Your Right

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was on about every fourth song on MTV, you know

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what I mean.

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Speaker 1: It was absurd how often they were playing the song.

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Speaker 2: But it was a great video.

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Speaker 3: Oh we loved it.

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Speaker 1: We loved it. Okay, so we'll get we'll get to that.

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Hear that video when that comes in. Before we jump

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full on into the album, let's talk a little bit

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about the cover of the album. Yeah, all right, okay,

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So it's it's iconic. You've got this American Airlines Bowen

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seven twenty seven. You see the tail on the front

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cover of the album, and then when you open it

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up you realize that the plane is crashing into the

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side of a mountain yep, and it kind of resembles

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like a joint being crushed out or something like that.

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The artwork was created by a guy named Steven Byram

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and another guy named World be Omes and World be Ohms,

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and it's been it's been kind of imitated, like Eminem

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had an album where he imitated it. But one of

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the things that you showed me that I did not

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know about is the number on the side that if

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you hold it up to the mirror or just read

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it backwards, the threes become ease and it says, yeah,

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it's it's.

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Speaker 2: Three mt a e And if you turn that around backwards,

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it's eat me. Even the album cover is making jokes.

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Speaker 1: So yeah, So Eminem kind of duplicated it on his

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album called.

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Speaker 2: We would kind of be remiss if we didn't talk

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about what the album was originally going to be called.

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Speaker 1: Okay, we can't say that.

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Speaker 2: I know we are family friendly. We'll dance around it

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a little bit. I do think it's part of the

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story how they sort of evolved from obnoxious teenage frat

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boy crazy men to respected artists that we have later

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on today. So the album was originally titled Don't Be

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a f Right.

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Speaker 1: And another name for a cigarette in England, right, and

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Capitol Records said, no, we're not doing that, right, Okay,

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So what does license to Ill mean?

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Speaker 3: The word ill was simply the opposite of chills. So

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it was just a part of the lingo. If you

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were whack, right, if you were not cool, if if

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you were doing something stupid, you were either ill or

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you were illing. And there was a keep in mind

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just after the Raising Hell album has come out and

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there was a track on there called you Be Illing.

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I think we're playing off the license to Kill phrase

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and just went with the lingo.

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Speaker 2: I've got a quick funny story on the title of

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the album. Okay. So they were on the Joan Rivers Show. Okay,

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this is a while back, think back thirty five years.

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Joan Rivers had her own talk show and she was

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introducing the Beastie Boys and she's like, and here they

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are to promote their album License to Kill, and you

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can hear these people off screen. They're like, it's it's ill,

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it's ill. Joan she's like, I'm sorry, let me do

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it again. So they're here to do the record License

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to Kill. They're like, Joan, no, it's ill. She's like what.

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So they finally get her to say license to Ill,

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and she's like, that's a stupid title. She said, you

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guys would have gone platinum in four weeks instead of

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seven weeks if you had a better title than Licensed

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to Ill. But I just thought it was really funny.

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Joan Rivers thought it was a really dumb title.

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Speaker 1: So out of touch.

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Speaker 2: Yeah, out this album.

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Speaker 3: I cannot overstate how massive this album was for me

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mavel graduating class. We were in tenth grade at the time.

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It came out in eighty six, Discovered in early eighty seven,

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this took over our school. We absolutely went nuts over

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this album and this group. It really defined that school

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year for all of us. Not only is it still

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the number one selling debut album and def jam history,

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it is the top selling debut album for Columbia Records,

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and it proved to be a perennial seller, stayed as

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a top seller in their catalog list, and even as

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of the two thousands, it was selling like five hundred

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thousand units a year. So it has continued to be

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a massive hit.

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Speaker 2: What high school did you go to?

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Speaker 3: I was at Hardway High School in Columbus.

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Speaker 2: Give a shout out to the Fighting Farmers or whatever

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they are.

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Speaker 3: Shout out to the Hardaway Hawks class of eighty nine. Yes,

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my crew, cool kid Chris clayboy E in Chiff Bad

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Goldie Rocks the boyd wonder.

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Speaker 1: So did you say that your mascot was the Hogs.

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Speaker 3: Hawks Hawks like the Atlanta Hawks.

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Speaker 2: Well?

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Speaker 1: See okay, So here's here's the connection that Dave and

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I discovered whenever he started emailing us about this, because

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I don't even remember what it was that spawned the

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original email where you said, Hey, if you guys ever

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do Beastie boys run DMC, I'm all in. But he

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pointed out that he was from Columbus, Georgia, which has

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a good story which we'll tell later on. I was

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actually born in Columbus, Georgia. I didn't grow up there,

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but I was born there. Then I moved to Arkansas

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where we were the Hogs, not the Hawks. But it's

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just kind of crazy that there's a coincidental connection between

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Dave and I and that it should happen to circle

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itself around Wow.

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Speaker 3: It was released in November of eighty six. By February two,

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it was certified gold and platinum on the same day.

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By April they had gone multi platinum at three million

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units sold, and by twenty fifteen it had been certified diamond,

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which means ten million units sold of just this first album.

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Speaker 2: I saw it in the Walmart five dollars bind the other.

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Speaker 1: That's the CD I have in my car, and once

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again I will promote by that CD. Spend the five bucks.

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The sound quality is much better on the CD than

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it is on Spotify or YouTube or album music or

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any of those things.

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Speaker 2: There's something better about having a CD or record tangibly

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in your hand, too, much more personal connection, I think. Okay, Dave,

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you mentioned November of eighty six, it's actually November fifteenth

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of eighty six. We just crossed the thirty fifth anniversary

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two days ago today. We're recording. On November the seventeenth,

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two days ago, this album turned thirty five years old.

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Speaker 1: Now I just want to say this. We posted something

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on Facebook about this, and they grew up after this album.

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They've so much as said this was just kind of

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a goof album and that they were being goofy and

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that's how the songs came about. And we'll get into

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all of that, but this and Dave is a testament

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to it. Right now. This album was a huge, momentous,

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life changing thing for a whole lot of folks out there.

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When we did that post on Facebook, it lit up.

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Everybody loved this album when it came out, and I

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think it's that same kind of thing that happened, you know,

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about five years later with the with the grunge movement.

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It spoke to those people who they were ready for

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something new, they were ready for a rebellion, and these

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guys were obviously rebelling against the establishment.

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Speaker 2: Okay, we ready to go. Ready, all right, we are

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diving in. Track by track. First, one out of the

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gate is a song called Rhyming and Stealing.

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Speaker 5: The Rest.

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Speaker 2: All right, they're coming hard right out.

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Speaker 3: Of the gage.

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Speaker 2: Let's be strong led Zeppelin rock samples. I think they're

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doing the smart thing by catching the rock crowd right

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out of the game.

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Speaker 1: Absolutely. This drum beat is one of the most unmistakable

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drum beats in drumming history. And they get a nice

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little record scratch right at the beginning that plays as

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a part of the rhythm. It's boom boom, blah blah boom,

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and its kicking butt right out of.

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Speaker 3: The game monster start to the album. You just immediately

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top down, turn it up. Now. I'm fifteen years old

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in nineteen eighty seven. I had never heard led Zeppelin,

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never heard When the leed be Breaks. This was new

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to me. I was offended later when I found out

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that led Zeppelin had stolen from the hot start to

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the album. The verses, everything they're written in a way

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to kind of frame the Beastie Boys as pirates. A

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love the song. It's a home run right out of

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the gate.

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Speaker 2: The idea for me, at least. The ryman and stealing,

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I mean they're stealing hooks and stealing beats and stealing

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bits of songs and then setting their own rhymes to it.

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I mean, just the samples on this song alone. You've

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got When the Levee Breaks by led Zeppelin, You've got

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Sweet Leaf by Black Sabbath, and then you also have

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I Fought the Law by the Clash.

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Speaker 1: Let's just think about this just for a second. So

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they're referring to Ali Baba and the forty Thieves that's unquestionable,

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right they repeat that one. They start off by talking

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about Mutiny on the Bounty and Captain Bligh. They're also

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talking about Pieces of eight and these are all like

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literary references, but they've obviously got this rap beat. They

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talking about being an ill bee boy and already talking

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about brass Monkey. So we party, we are intelligent, we rock,

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and we also hip hop. It's like, here's all of

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us all right out here in front, and we're a

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little smart too, Okay, yea.

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Speaker 3: I love the references. What strikes me, and this is

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gonna be true throughout the album, is that even though

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it's easy to kind of look at them as as

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almost a comedy approach or a parody of hip hop,

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they're bringing the goods. They are bringing the goods that

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every track is awesome, and they've got the quality, they

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got the skills, they got the production and the rhymes.

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It's just I'm a big fan. It's awesome.

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Speaker 2: I'm with you. I can tell the bridge where they

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say Ali Baba and the forty Thieves about twenty times.

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You can't hardly miss that reference. You know, the other

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stuff kind of flies under the radar, do you guys?

251
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Watch the thirty for thirty on ESPN. Yeah, I caught

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one the other day. I was a big nineteen eighty

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six New York Mets fan, and so I watched that

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thirty for thirty and they were using Ryman and Steel

255
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and as putting it to the highlight videos for that year.

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So that was pretty cool.

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Speaker 3: This is one of the few tracks on the album

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that was not released as a single, but it is

259
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one of my favorite.

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Speaker 2: This one should have been a single.

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Speaker 3: So when they went on the License to Ill tour,

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you know, they only had this one album, so they

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didn't have a large repertoire to bull from. They basically

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performed this entire album. There was only one track off,

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but they did not do They started with Ryman and Steeling.

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I remember it very clearly. Their opening act was Fishbone.

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They were a hardcore punk band, but when the VC

268
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Boys came on, those lights came on and flooded the crowd,

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and then the when the levee breaks, drum beat comes

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in they come stomping out on the stage. The place

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went absolutely nuts awesome.

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Speaker 2: So with the drum beat for Ryman and Steeling.

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Speaker 1: Ad Rock and Mike Dee went over to MCA's house

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and he had set up the.

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Speaker 2: Loot, had it strung all across his house where he

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had looped manually the drum.

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Speaker 1: Beat for when the levee breaks.

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Speaker 2: Today, we would do that on a computer. It would

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be no problem. This was a ton of effort, but

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it sounded fantastic today.

281
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Speaker 1: On garage band there's a button. There's a loop button,

282
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and it'll give you a whole list of loops that

283
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you can use. But back in nineteen eighty six, it

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was a new thing. It was something not many other

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folks for doing it. So even though these guys are goofy,

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even though they're hip hop, he is still bringing some

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smarts and some savvy to even the music that they're producing.

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Speaker 2: All right. That brings us to song number two on

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the album. This song is called the New Style.

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Speaker 6: And on the cool check in set a stage on

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the mic and with putting it on wax, it's the

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News Style four and three and two and one on

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the mic.

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Speaker 5: The Stuffer's one.

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Speaker 6: What they got more.

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Speaker 2: Just a great song right off the back. This was

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released as the third single, released November six of eighty six.

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Speaker 1: Yeah, so this one he actually they've sampled some other things.

299
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What have you got on? Samples on this one?

300
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Speaker 2: Just okay? So this song samples drop the Bomb by

301
00:16:06,279 --> 00:16:10,879
Trouble Funk, Yeah, Peter Piper by run DMC, Yes cool

302
00:16:10,960 --> 00:16:14,000
Is Back by Funk Inc. Two three Break by The

303
00:16:14,000 --> 00:16:16,679
b Boys, Click of the Switch by ACDC.

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Speaker 1: That's it.

305
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Speaker 3: The song is great. I love the song. I'm down

306
00:16:19,720 --> 00:16:21,600
with MCA, Mike D and U ain't I got more

307
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juice than Picasso's Got Paint. It is the third single

308
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from the album. So the part where it breaks down

309
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and he says, let me clear my throat, that was

310
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an inside joke. So last week I explained that Elo

311
00:16:39,639 --> 00:16:42,960
Coolja had been making home demos and sending them to

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record labels, and it was the one that was sent

313
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to Deaf Jam that Adam Horovitz found and gave it

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to Rick Rubin. Well, as it turns out, at the

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beginning of that tape, the demo before I Need to

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00:16:54,639 --> 00:16:58,559
Beat starts you hear ll say on tape let me

317
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clear my throat. Well, for whatever reason, the Beastie Boys

318
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thought that was hilarious. They got a big kick out

319
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of that. So that is the reference that's in a

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00:17:08,920 --> 00:17:10,960
new style when he says let me clear my throat.

321
00:17:11,039 --> 00:17:12,920
That was an inside joke for them because it came

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off of ELL's original demo that he had seen in This.

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Speaker 2: One hit the US Hot Black Singles reached number twenty two.

324
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Speaker 1: Okay, so I'm gonna throw this out there. It says

325
00:17:21,640 --> 00:17:24,960
part of the lyrics say because I'm October thirty first,

326
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that's my date of birth. I got the party and

327
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you know what I did the smurf. Now I'll say

328
00:17:30,960 --> 00:17:35,039
ad Rock was born on October thirty first. It is

329
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actually his birthday October thirty first, in addition obviously to

330
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being Halloween. But what's the smurf?

331
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Speaker 3: It must be a dance. He does the smurf, the

332
00:17:44,440 --> 00:17:47,319
Popeye and the Jerry Lewis. He likes Bullwinkle, but he

333
00:17:47,480 --> 00:17:52,400
doesn't like Brutus love it.

334
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Speaker 2: I feel like we've got like the fourth Beastie Boy

335
00:17:54,799 --> 00:17:59,519
with us today. Moving on to track number three, the

336
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song is called She's Crapty Around.

337
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Speaker 1: So I just want to say. The lyric that always

338
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jumps out of me at this one is the cab

339
00:18:34,160 --> 00:18:40,640
driver recognized the girl from the back of her head.

340
00:18:38,039 --> 00:18:45,359
Speaker 2: So wildly, Oh my gosh. The one that jumps out

341
00:18:45,400 --> 00:18:47,640
to me is her name is Lucy, but they call

342
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her Loose. What do you think about this one, Dave?

343
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Speaker 3: I like it. It's catchy. I wouldn't put it in

344
00:18:55,400 --> 00:18:57,680
the top tier of the songs on the album, but

345
00:18:58,160 --> 00:19:00,839
I never skip it. That led Zeppelin sy ample drives

346
00:19:00,839 --> 00:19:03,240
it again. I was ignorant of led Zeppelin when I

347
00:19:03,279 --> 00:19:05,880
was experiencing this album. New it's kind of cliche for

348
00:19:06,000 --> 00:19:08,920
rap at the time, but I loved it. I absolutely

349
00:19:08,960 --> 00:19:10,680
loved what they did in this era, which is basically

350
00:19:10,720 --> 00:19:13,000
brag about themselves. A lot of these tracks on here

351
00:19:13,160 --> 00:19:15,319
come down the subject matter is just talking about how

352
00:19:15,319 --> 00:19:18,319
great they are. She's crafty as an exception. She's crafty

353
00:19:18,359 --> 00:19:20,440
actually tells a bit of a story. There's a couple

354
00:19:20,519 --> 00:19:22,559
on here that tells stories, and she's crafty as one

355
00:19:22,599 --> 00:19:24,119
of them. So it's a little bit of a of

356
00:19:24,160 --> 00:19:26,279
a change up as far as that goes. What they're

357
00:19:26,319 --> 00:19:42,200
doing is they're switching between lines, they're switching off parts,

358
00:19:42,640 --> 00:19:46,119
and it's something that run DMC had kind of made

359
00:19:46,240 --> 00:19:50,400
their trademark that was just with two MC's and VC

360
00:19:50,480 --> 00:19:52,599
boys are taking the next level with three. All I

361
00:19:52,640 --> 00:19:54,519
can say it's catchy, it's funny. I think it's a

362
00:19:54,519 --> 00:19:56,559
funny story. He wakes up Nick in the middle of

363
00:19:56,559 --> 00:19:58,079
the floor and he'd taken the bed and the chest

364
00:19:58,119 --> 00:19:58,599
of drawers.

365
00:19:58,680 --> 00:20:01,319
Speaker 1: This one is from led Zep The Ocean, which is

366
00:20:01,359 --> 00:20:05,279
on Houses of the Holy. It's unmistakable Zeppelin, Like I

367
00:20:05,319 --> 00:20:07,240
know you not all of us were familiar with it

368
00:20:07,279 --> 00:20:09,640
at the time, but there's no question what it is

369
00:20:09,640 --> 00:20:10,359
when you hear it.

370
00:20:10,599 --> 00:20:15,039
Speaker 3: Rap developed out of a club scene and a breakbeat

371
00:20:15,079 --> 00:20:18,000
culture which they were cutting between records and playing different

372
00:20:18,039 --> 00:20:21,759
records and cutting between them, and that developed, as rap did,

373
00:20:22,200 --> 00:20:26,119
into this sample based approach to the music. And we

374
00:20:26,319 --> 00:20:30,000
were getting sampling and other tracks already before now. But

375
00:20:30,119 --> 00:20:32,920
what Rick Rubin did was he just kind of brought

376
00:20:32,960 --> 00:20:35,559
it out to the four. Instead of making it a

377
00:20:35,599 --> 00:20:38,640
fill or a little extra gag in the song, he

378
00:20:39,039 --> 00:20:41,759
built the whole song around these samples. He's coming to

379
00:20:41,799 --> 00:20:44,319
the table with a love for hip hop and a

380
00:20:44,359 --> 00:20:47,480
love for rap, but fully educated on rock and roll,

381
00:20:47,880 --> 00:20:49,599
and he's able to take what he had already done

382
00:20:49,640 --> 00:20:51,559
for Rundy and c and take it to the next

383
00:20:51,640 --> 00:20:54,200
level with this album. So he's just I guess they

384
00:20:54,200 --> 00:20:57,119
got clearance on these Led Zeppelin songs and all the

385
00:20:57,160 --> 00:20:58,559
samples that are throughout the album.

386
00:20:58,640 --> 00:21:01,599
Speaker 2: I read an article with Jimmy Page. They're asking him

387
00:21:01,599 --> 00:21:04,160
about it, and he's like, well, we didn't really give permission,

388
00:21:04,519 --> 00:21:08,559
and he goes, I briefly thought about doing something legally

389
00:21:08,599 --> 00:21:10,920
about it. He's like, but in the end, I was

390
00:21:10,960 --> 00:21:12,599
flattered by it, so I just let it go.

391
00:21:12,880 --> 00:21:16,799
Speaker 3: The whole issue that legal issues surrounding sampling was forced

392
00:21:16,880 --> 00:21:18,799
by the Beast of Boys second album, which was not

393
00:21:18,839 --> 00:21:22,000
produced by Rubin. It was Paul's Boutique in nineteen eighty nine,

394
00:21:22,480 --> 00:21:26,440
and that is a masterpiece of production and technique, and

395
00:21:26,519 --> 00:21:29,359
it's just nothing but samples. But it's also an album

396
00:21:29,400 --> 00:21:32,480
that could It's no longer possible today because the rules

397
00:21:32,519 --> 00:21:34,279
and the laws have changed and it would be too

398
00:21:34,319 --> 00:21:37,119
expensive at this point to ever do again with this album.

399
00:21:37,160 --> 00:21:40,759
Man with Paul's Boutique really kind of shaped copyright law

400
00:21:41,240 --> 00:21:43,680
and shaped entertainment law when it comes to sampling.

401
00:21:43,759 --> 00:21:46,759
Speaker 1: I gotta say, I know that this isn't a big

402
00:21:46,799 --> 00:21:48,640
a hit for you, but it was at this point

403
00:21:48,799 --> 00:21:53,599
in the listening that I started dancing in my seat. Like,

404
00:21:53,680 --> 00:21:55,440
as I'm going through the album, I'm like, this is

405
00:21:55,480 --> 00:21:57,599
a good song. Next song, this is a good song.

406
00:21:57,640 --> 00:21:59,920
By song number three, I'm starting to dance in my

407
00:22:00,039 --> 00:22:01,599
see it is. I'm driving to work in the morning.

408
00:22:01,759 --> 00:22:03,759
Speaker 3: You can't help but just enjoy yourself. They just make

409
00:22:03,839 --> 00:22:06,880
it a fun vibe to the whole thing, all right.

410
00:22:06,720 --> 00:22:09,640
Speaker 2: Now, then we are now onto the next song called

411
00:22:09,720 --> 00:22:10,519
Pussy and Effect.

412
00:22:10,880 --> 00:22:13,240
Speaker 5: Yes, yes, you don't stop.

413
00:22:13,720 --> 00:22:20,920
Speaker 6: Keep it in the place, see forgotten, nothing in mind the.

414
00:22:23,759 --> 00:22:27,880
Speaker 2: Bottles of seconds between it and you don't stop.

415
00:22:29,759 --> 00:22:32,599
Speaker 1: Did they sampled that later on? That's in another song,

416
00:22:32,720 --> 00:22:33,079
isn't it?

417
00:22:33,160 --> 00:22:35,400
Speaker 2: That's that's I want to sex you up by Color

418
00:22:35,480 --> 00:22:41,319
Me Bad? Right? Are you serious? Let's check it.

419
00:22:41,279 --> 00:22:44,880
Speaker 1: Rot Oh my gosh. The and you don't stop he's saying,

420
00:22:45,039 --> 00:22:47,559
is in color Me Bad, I want to sex you up.

421
00:22:47,799 --> 00:22:56,599
I gotta hear this. No, it's not it's very well.

422
00:22:56,640 --> 00:22:57,680
Could do them. I don't know.

423
00:22:58,799 --> 00:23:01,880
Speaker 3: No that that sounds like slit Rick and Lotty Dotty.

424
00:23:02,039 --> 00:23:04,480
Slit Rick and Dougie Fresh teamed up to a song

425
00:23:04,519 --> 00:23:09,200
called Lotty Dotty to the TikTok you don't stop, Okay, okay,

426
00:23:09,440 --> 00:23:11,880
Lottie Dotty. We like to potty. We don't cross trouble,

427
00:23:11,880 --> 00:23:13,880
we don't bother nobody with just some guys, that's on

428
00:23:13,920 --> 00:23:15,240
the mic. And when we rock up on the mic,

429
00:23:15,279 --> 00:23:21,599
we rock the mic. Yeah, wow, keep going.

430
00:23:24,200 --> 00:23:27,200
Speaker 2: All right. So Posse in effect has three songs that

431
00:23:27,240 --> 00:23:30,119
it's sampled, Catch a Groove by Juice, Change the Beat

432
00:23:30,160 --> 00:23:35,160
by B Side, and pee Wee's Dance Yes by Jove. Yeah,

433
00:23:35,200 --> 00:23:39,200
I remember pee Wee's dance as in pee Wee Harmon.

434
00:23:39,519 --> 00:23:45,759
Speaker 3: Yes, he took the the from Joskie Love. You know.

435
00:23:45,799 --> 00:23:48,680
That was pee Wee Herman's little dance routine and Joe

436
00:23:48,720 --> 00:23:51,039
Ski was this guy's one hit wonder as far as

437
00:23:51,079 --> 00:23:53,759
I know. But he had a rap about pee Wee Herman.

438
00:23:55,240 --> 00:23:57,279
Speaker 2: That is awesome. We need to play a clip on

439
00:23:57,319 --> 00:24:07,400
that right here. Call it pee Wee Herman.

440
00:24:12,799 --> 00:24:14,079
Speaker 3: And that's from Tequila, I guess.

441
00:24:14,200 --> 00:24:15,039
Speaker 2: Oh fantastic.

442
00:24:15,079 --> 00:24:17,480
Speaker 1: Yeah, I was gonna say that that may be what

443
00:24:17,559 --> 00:24:20,799
pee Rehearman was whatever was in that song, but that

444
00:24:20,920 --> 00:24:24,160
was originally from Tequila, okay, which is what, of course

445
00:24:24,160 --> 00:24:25,920
she does the dance to on top of the bar.

446
00:24:26,079 --> 00:24:27,200
Right in the movie.

447
00:24:27,039 --> 00:24:30,880
Speaker 3: Yes, when Mike d says, I travel around the globe,

448
00:24:30,880 --> 00:24:33,799
I'm keeping girlies dizzy. My name's Mike Dan, now watch me,

449
00:24:34,039 --> 00:24:37,599
and then they sample Joskie Love when he says get busy, y'all,

450
00:24:37,839 --> 00:24:38,640
that's Joskie Love.

451
00:24:38,960 --> 00:24:42,359
Speaker 2: Okay, okay, cool, nice. This one's really short. It's like

452
00:24:42,400 --> 00:24:44,680
two and a half minutes where the song here.

453
00:24:44,559 --> 00:24:46,440
Speaker 3: Isn't this the one that says I got a girl

454
00:24:46,480 --> 00:24:48,359
in the castle and one in the pagoda? You know?

455
00:24:48,400 --> 00:24:50,559
I got rhyms like abe fda.

456
00:24:51,599 --> 00:24:55,079
Speaker 2: Any song that makes revererence to abea tom notch in

457
00:24:55,160 --> 00:24:56,119
my bugs right there.

458
00:24:56,279 --> 00:24:59,039
Speaker 3: There is redeeming value in this album because I was

459
00:24:59,200 --> 00:25:01,240
educational for me. I learned what a pagoda was.

460
00:25:03,880 --> 00:25:05,240
Speaker 2: Did you know who Ado was?

461
00:25:05,279 --> 00:25:07,519
Speaker 3: When you Yeah, my dad was a Barney Miller fans

462
00:25:07,680 --> 00:25:08,279
Arnie Miller.

463
00:25:08,359 --> 00:25:14,039
Speaker 1: That's rights. He was in the Godfather and didn't he

464
00:25:14,400 --> 00:25:16,440
didn't he play like Boris carl Off in a movie

465
00:25:16,480 --> 00:25:16,880
as well?

466
00:25:17,079 --> 00:25:19,839
Speaker 2: I don't know, but he definitely could. I do know this.

467
00:25:20,400 --> 00:25:23,440
There is a Beastie Boys tribute band. I looked him

468
00:25:23,480 --> 00:25:32,839
up on Facebook. They are called my Posse and effect.

469
00:25:33,480 --> 00:25:35,640
Give them a lesson, give them a look see to

470
00:25:35,720 --> 00:25:36,480
which you think that's.

471
00:25:36,400 --> 00:25:38,920
Speaker 3: What I like about rap? And when I say I

472
00:25:38,960 --> 00:25:41,039
like rap, I quit liking Wrap at the end of

473
00:25:41,079 --> 00:25:43,960
the eighties. But the part that appeals to me. The

474
00:25:44,000 --> 00:25:46,200
part that appeals to me is the cleverness of the

475
00:25:46,279 --> 00:25:49,519
lyrics and the cleverness of the wrongs. And a lot

476
00:25:49,519 --> 00:25:51,480
of times, you know, when you're talking about this album

477
00:25:51,519 --> 00:25:53,079
is you don't have much more to say other than

478
00:25:53,079 --> 00:25:55,680
I like the beat, and then you start quoting lyrics. Yes,

479
00:25:56,079 --> 00:25:58,160
you know, if it makes you smile, it makes you laugh,

480
00:25:58,240 --> 00:26:01,039
then then it's memorable. See in effect and the next

481
00:26:01,039 --> 00:26:03,599
one's slow Ride to Me are among my favorite. They

482
00:26:03,599 --> 00:26:06,319
were not released as singles, but to me they're almost

483
00:26:06,400 --> 00:26:09,759
the purest rap songs on the album. Wear a hat,

484
00:26:09,880 --> 00:26:12,920
not a visor, a drink, Budwiser, the turntables up on

485
00:26:13,039 --> 00:26:16,519
the drum riser, Yes on the groove, and the finals

486
00:26:16,519 --> 00:26:18,480
on the platter. You know that I'm Flymings, No need

487
00:26:18,480 --> 00:26:18,920
to flatter.

488
00:26:19,079 --> 00:26:22,000
Speaker 1: Yeah, the rhymes keep coming and they don't stop.

489
00:26:24,519 --> 00:26:26,799
Speaker 2: The drums at the very beginning of this the little

490
00:26:26,839 --> 00:26:29,759
sample right there that sounds like the drum machine that

491
00:26:29,759 --> 00:26:32,720
they probably paid for with their forty grand that they

492
00:26:32,759 --> 00:26:34,160
got from British Air Wing.

493
00:26:34,240 --> 00:26:36,759
Speaker 1: I think the forty grand with by their house, but

494
00:26:37,400 --> 00:26:40,240
I think that I think Rick Rubin had the drum

495
00:26:40,240 --> 00:26:42,880
machine that was that was really the selling point for

496
00:26:42,960 --> 00:26:43,960
bringing him into the band.

497
00:26:44,000 --> 00:26:47,240
Speaker 2: All right, Moving on to the next song. This one's

498
00:26:47,279 --> 00:27:09,200
called slow Ride. Yeh, super catchy. It's making a great

499
00:27:09,279 --> 00:27:12,680
use of that the Lowrider song right there. They sampled

500
00:27:12,720 --> 00:27:13,240
that hard.

501
00:27:13,440 --> 00:27:17,079
Speaker 1: There's Lowrider, okay, and then there's slow Ride, which was

502
00:27:17,119 --> 00:27:18,359
a fog Hat song too.

503
00:27:18,640 --> 00:27:19,880
Speaker 2: Yes, but they've.

504
00:27:20,319 --> 00:27:22,160
Speaker 1: They've kind of borrowed, I mean, because it was the

505
00:27:22,200 --> 00:27:25,680
same era as the Lowrider song. But that the drum beat,

506
00:27:25,759 --> 00:27:27,839
you know where it's from. Tell me, I'm asking you.

507
00:27:28,279 --> 00:27:29,319
Speaker 2: I want you to.

508
00:27:29,920 --> 00:27:33,000
Speaker 1: I think it is called change the beat by the side,

509
00:27:33,039 --> 00:27:33,839
but I'm not sure.

510
00:27:33,960 --> 00:27:36,279
Speaker 2: I'll tell you one thing that I know about these guys.

511
00:27:36,400 --> 00:27:41,319
These dudes love White Cast. It is unmistakable. I think

512
00:27:41,359 --> 00:27:44,440
they mentioned it in about every other song, something about

513
00:27:44,440 --> 00:27:45,000
White Cast.

514
00:27:45,160 --> 00:27:47,839
Speaker 3: So what I'll mention here is that I think part

515
00:27:47,880 --> 00:27:50,519
of the appeal of this group, you know, the whole

516
00:27:50,519 --> 00:27:53,799
world's discovering this group with this album. And so not

517
00:27:53,880 --> 00:27:56,640
only do you have the three mcs, but each of

518
00:27:56,680 --> 00:28:01,200
their voices are very distinct, especially when you contrast King

519
00:28:01,240 --> 00:28:05,279
ad Rock's wine with MCA's gruffness. It just adds to

520
00:28:05,319 --> 00:28:07,759
the fun. But what it also does is it makes

521
00:28:07,799 --> 00:28:09,759
them unique. And I think this is the reason why

522
00:28:09,799 --> 00:28:13,160
the BC Boys, despite being white and despite being these

523
00:28:13,240 --> 00:28:17,160
like a party hardy frat boy types and with all

524
00:28:17,160 --> 00:28:19,000
these raunchy lyrics or whatever and all this rock and

525
00:28:19,079 --> 00:28:21,839
roll in it, the reason they were so accepted by

526
00:28:22,039 --> 00:28:25,160
rap fans and by the hip hop community, both professionals

527
00:28:25,200 --> 00:28:28,160
and the fans, is that they were true to themselves.

528
00:28:28,200 --> 00:28:30,799
They didn't try to sound like anybody else. You could

529
00:28:30,799 --> 00:28:32,519
tell that they were coming out this with a true

530
00:28:32,559 --> 00:28:35,200
love for hip hop, and they weren't making fun of anybody,

531
00:28:35,200 --> 00:28:36,960
and they weren't treating it like a joke. They weren't

532
00:28:37,000 --> 00:28:40,599
treating the form like a joke, even though there was

533
00:28:40,680 --> 00:28:43,559
humor in their content. But again, just those the contrast

534
00:28:43,599 --> 00:28:46,279
of those voices, I think it really carries both posse

535
00:28:46,359 --> 00:28:47,559
and effect and slow ride.

536
00:28:47,720 --> 00:28:48,799
Speaker 2: Yep, I'm totally with it.

537
00:28:48,880 --> 00:28:51,200
Speaker 3: You know, we started off with some rock heavy, some

538
00:28:51,279 --> 00:28:54,799
guitar bassed songs, but these last couple we get away

539
00:28:54,799 --> 00:28:57,039
from that. You know, there's some horns and there's a beat,

540
00:28:57,200 --> 00:29:00,759
but it's not really this driving guitar sound like we

541
00:29:00,960 --> 00:29:02,960
like we started the album off with. So they've kind

542
00:29:03,000 --> 00:29:04,799
of switched scars a little bit. Honest, and again we

543
00:29:04,799 --> 00:29:07,400
stay away from the guitars mostly in this next song.

544
00:29:07,480 --> 00:29:09,640
Speaker 2: Yeah, I think they switch gears again right here.

545
00:29:09,720 --> 00:29:12,839
Speaker 1: And I just got to say, for like songs, for

546
00:29:12,960 --> 00:29:15,559
song three, and for song four and for song five,

547
00:29:15,720 --> 00:29:17,640
I'm dancing through all of it. But then we get

548
00:29:17,680 --> 00:29:20,720
to song six and not only only am I dancing,

549
00:29:21,000 --> 00:29:21,839
but I'm smiling.

550
00:29:30,079 --> 00:29:37,079
Speaker 5: Come already want to stop in the morning and stop.

551
00:29:41,400 --> 00:29:43,559
Speaker 1: This is like a nursery rhyme song. You've got a

552
00:29:43,640 --> 00:29:48,000
nursery rhyme song, except it is ad rock talking about

553
00:29:48,079 --> 00:29:51,359
having the hots for girl that used to be interested

554
00:29:51,480 --> 00:29:54,960
in mc A and so MCA wasn't interested in her,

555
00:29:55,079 --> 00:29:58,559
and so he's like, yeah, go ahead, have at it. Girls.

556
00:29:58,960 --> 00:30:00,920
Speaker 2: I totally agree with you. It sounds like a little

557
00:30:01,039 --> 00:30:03,799
xylophone that you have in your church nursery. You know,

558
00:30:04,000 --> 00:30:10,240
it's catchy, it's different. It's so inappropriate. It was so

559
00:30:10,279 --> 00:30:13,680
inappropriate for a guy who's got two daughters. I'd be like,

560
00:30:13,839 --> 00:30:17,599
what what you shut up? Shut them out.

561
00:30:17,960 --> 00:30:19,680
Speaker 1: But back when I was you know, back when I

562
00:30:19,720 --> 00:30:20,759
was thirteen, it was awesome.

563
00:30:20,880 --> 00:30:23,559
Speaker 3: Yeah exactly. So yeah, when I was fifteen, you know,

564
00:30:23,640 --> 00:30:25,920
I thought this was hilarious. I listened to it now,

565
00:30:25,960 --> 00:30:29,279
and I'm like, yikes, you know, it's completely objectifying, you know,

566
00:30:29,279 --> 00:30:31,200
talking about and it's chill to hear them talk as

567
00:30:31,240 --> 00:30:34,000
if they're not real humans or something. But and then

568
00:30:34,200 --> 00:30:36,319
you have them doing your dishes and and you know,

569
00:30:36,359 --> 00:30:38,680
and doing your laundry and stuff like that, which you know,

570
00:30:38,839 --> 00:30:41,160
in tenth grade, you know, we think, we think this

571
00:30:41,200 --> 00:30:43,680
is hilarious, and we're and we're quoting this song in

572
00:30:43,720 --> 00:30:46,279
the hallways just to kind of get at the girls

573
00:30:46,279 --> 00:30:48,240
in school, just to give them a hard time. You know,

574
00:30:48,279 --> 00:30:50,119
it is a song that tells a story, and it's

575
00:30:50,119 --> 00:30:52,480
a song that instead of bragging about himself, it's a

576
00:30:52,480 --> 00:30:55,079
song of failure. He ends up not getting the girl.

577
00:30:55,200 --> 00:30:58,240
But it's one of those that they are embarrassed about.

578
00:30:58,839 --> 00:31:02,319
And when I did catch the license to Ill tour

579
00:31:02,519 --> 00:31:05,160
in February of eighty seven, they played all but one

580
00:31:05,240 --> 00:31:08,079
track off the album for their set. Yeah, this was

581
00:31:08,160 --> 00:31:09,960
the track that they did not play.

582
00:31:10,160 --> 00:31:13,160
Speaker 2: I show this as the only song they've never performed live.

583
00:31:13,440 --> 00:31:14,720
Speaker 3: I have no reason argue with that.

584
00:31:14,880 --> 00:31:18,039
Speaker 1: So, just on the topic of whether they're feeling bad

585
00:31:18,079 --> 00:31:20,799
about the subject matter of the song, did they still

586
00:31:20,839 --> 00:31:23,359
have a stripper dancing inside of a cage on the

587
00:31:23,400 --> 00:31:27,359
stage and mad.

588
00:31:28,160 --> 00:31:31,319
Speaker 3: Yes, they had girls in cages dancing and they're in

589
00:31:31,359 --> 00:31:35,000
their DJ setup looked like a giant six pack of Budweiser.

590
00:31:35,119 --> 00:31:37,920
Speaker 1: I heard them talk about this and they thought it

591
00:31:37,960 --> 00:31:41,400
was a joke. Russell Simmons introduced to guy and said, here,

592
00:31:41,599 --> 00:31:43,519
tell him what you want for your stage show and

593
00:31:43,519 --> 00:31:45,440
he'll get it for you. And they're like, all right,

594
00:31:45,559 --> 00:31:49,440
we want a giant six pack of Budweiser. We want

595
00:31:49,440 --> 00:31:51,960
a stripper in a cage, and we want a you

596
00:31:52,440 --> 00:31:57,960
mouth stick in a box. And he said, all right,

597
00:31:58,039 --> 00:31:59,799
no problem, and sure enough they showed up and the

598
00:31:59,799 --> 00:32:00,720
guy I had gotten it all.

599
00:32:01,440 --> 00:32:03,319
Speaker 3: I gotta tell you a personal story about this song.

600
00:32:03,400 --> 00:32:05,079
There was a girl I was dating at the time,

601
00:32:05,119 --> 00:32:06,839
and it was after school was out. We were all

602
00:32:06,880 --> 00:32:09,160
in the hallways and one of the guys came in

603
00:32:09,240 --> 00:32:12,240
to me and asked me where she was, and I

604
00:32:12,279 --> 00:32:15,200
didn't know, but I thought I was hilarious, and I

605
00:32:15,279 --> 00:32:18,119
just sat there and I just said, she's jocking Mike

606
00:32:18,279 --> 00:32:25,759
D to my which was bad because I turned around.

607
00:32:25,759 --> 00:32:29,640
She was actually right there. She heard it, and of

608
00:32:29,640 --> 00:32:32,039
course we all love this album, so we gets a

609
00:32:32,039 --> 00:32:34,519
big laugh. She gets you know, I didn't know she

610
00:32:34,559 --> 00:32:37,160
was there. She's kind of sneak. She was, Uh she

611
00:32:37,279 --> 00:32:42,680
was crafty, right, she was, she was, and uh that

612
00:32:42,880 --> 00:32:45,119
was That was pretty much the end of us. She

613
00:32:45,240 --> 00:32:50,200
did not appreciate the laugh at her expense, but you know,

614
00:32:50,759 --> 00:32:53,200
if you ask her, she'll probably tell you that that

615
00:32:53,240 --> 00:32:55,200
I'm cheaper than a hot dog with no mustard.

616
00:32:55,240 --> 00:32:57,279
Speaker 1: So that's great.

617
00:32:57,359 --> 00:33:00,680
Speaker 2: Hey, you know the fascinating thing about this so is

618
00:33:00,759 --> 00:33:03,039
the way they wrote it and what they were trying

619
00:33:03,079 --> 00:33:06,039
to model it after. So these guys were sitting around

620
00:33:06,039 --> 00:33:08,079
with Rick Rubin one day they're on the bus and

621
00:33:08,079 --> 00:33:10,319
he's like, I've got a great idea. Why don't you

622
00:33:10,359 --> 00:33:13,279
model a song after Shout by the Isisley Brothers.

623
00:33:13,359 --> 00:33:14,839
Speaker 5: You know you make me wone out?

624
00:33:19,599 --> 00:33:20,880
Speaker 1: Oh yeah, I can totally hear that.

625
00:33:20,960 --> 00:33:24,440
Speaker 2: Oh yeah, for sure, this song is modeled after Shout.

626
00:33:24,640 --> 00:33:26,640
Speaker 5: I like the way that they walk.

627
00:33:28,240 --> 00:33:35,839
Speaker 1: And it's my mind. You got it, that one, That

628
00:33:35,880 --> 00:33:37,519
one went on the blowing mind.

629
00:33:38,079 --> 00:33:41,839
Speaker 2: Yes, yes, okay, well hang on just one more thing,

630
00:33:42,440 --> 00:33:45,119
because Dave, you said this to me this week. I

631
00:33:45,200 --> 00:33:48,359
thought this was really cool. The Goldie Blocks toy Company

632
00:33:48,920 --> 00:33:52,440
in twenty thirteen did a commercial where they took this

633
00:33:52,559 --> 00:33:56,000
song and they changed the lyrics to be like girl

634
00:33:56,119 --> 00:33:58,920
positive about girls who didn't want to be princesses and

635
00:33:59,000 --> 00:34:01,079
dress in pink and instead they want to be engineers

636
00:34:01,079 --> 00:34:15,800
and be smart and they have all these super cool toys.

637
00:34:16,239 --> 00:34:20,480
Speaker 3: It was specifically specifically to promote girls to go into

638
00:34:20,599 --> 00:34:25,119
STEM academics. And the entire commercial was a giant like

639
00:34:25,159 --> 00:34:27,599
the rude Goldberg device and was It was directed by

640
00:34:27,599 --> 00:34:30,079
the same guy who directed okay Go video that does

641
00:34:30,119 --> 00:34:30,719
the same thing.

642
00:34:31,039 --> 00:34:35,079
Speaker 2: I love the okay Go videos. They're amazing. They suit them,

643
00:34:35,239 --> 00:34:36,079
but they suit them.

644
00:34:36,679 --> 00:34:41,159
Speaker 3: Here's the problem with that. Adam Yawk MCA died of

645
00:34:41,199 --> 00:34:44,920
cancer in twenty twelve, and he had made it his

646
00:34:45,239 --> 00:34:48,679
express wish and his last will that BC Boys music

647
00:34:48,840 --> 00:34:53,000
never be used in commercials, right, And so ad Rock

648
00:34:53,079 --> 00:34:56,239
and Mike d were in a position of having to

649
00:34:56,280 --> 00:34:59,360
ask Goldieblocks like what are you doing? Like you didn't

650
00:34:59,400 --> 00:35:02,000
ask us about this. They didn't need permission because they

651
00:35:02,000 --> 00:35:04,199
had changed it up. It was it was protected as

652
00:35:04,239 --> 00:35:09,039
a parody. Goldieblocks immediately sued the Beastie Boys somehow for

653
00:35:09,039 --> 00:35:11,480
some reason. But the Beastie Boys are looking like they're

654
00:35:11,559 --> 00:35:16,039
against promoting STEM for girls, But what they're really trying

655
00:35:16,079 --> 00:35:20,079
to do was was to look out for MCA's final

656
00:35:20,119 --> 00:35:22,760
wish and so it was a bad pr hit for

657
00:35:22,840 --> 00:35:24,960
both sides, and it was just kind of an awkward

658
00:35:24,960 --> 00:35:27,800
thing where this was a positive use of their music,

659
00:35:28,280 --> 00:35:31,400
but it still went against what Adam y'all said he wanted.

660
00:35:31,480 --> 00:35:34,119
So they came to an agreement. They settled. I think

661
00:35:34,119 --> 00:35:37,280
it was like a million bucks or something. Goldieblocks agreed

662
00:35:37,320 --> 00:35:40,280
to quit using the song. They kept the commercial but

663
00:35:40,400 --> 00:35:44,719
just use different music, and they paid one million dollars,

664
00:35:44,760 --> 00:35:47,400
but it did not go to the surviving Beastie Boys.

665
00:35:47,719 --> 00:35:50,239
It went to a charity of their choice that promotes

666
00:35:50,360 --> 00:35:52,719
stem education for girls. So it was kind of a

667
00:35:52,719 --> 00:35:55,039
win win all the way around. But they were able

668
00:35:55,079 --> 00:35:57,880
to get their music removed from the commercial, so everybody

669
00:35:57,960 --> 00:35:58,360
was happy.

670
00:35:58,440 --> 00:36:03,079
Speaker 1: Okay, are we ready the song that changed everything?

671
00:36:03,760 --> 00:36:35,480
Speaker 5: Yeah, fer school man, you don't want now, but you

672
00:36:35,599 --> 00:36:43,559
still said no you missed no classes, A no home

673
00:36:44,000 --> 00:36:55,519
n you can bring this class song. Cher, you gotta fight.

674
00:36:56,559 --> 00:37:02,480
Speaker 2: I You're right, this is the one. This is the

675
00:37:02,519 --> 00:37:03,000
tenth pole.

676
00:37:03,119 --> 00:37:07,079
Speaker 1: Okay, so I said, now you know, at song number three,

677
00:37:07,159 --> 00:37:09,599
I start dancing as I'm driving in my chair. I've

678
00:37:09,639 --> 00:37:12,519
done dancing up until I get the song six. At

679
00:37:12,519 --> 00:37:16,639
song six, I'm smiling and dancing, and then when song

680
00:37:16,760 --> 00:37:19,960
number seven starts, I start banging my head.

681
00:37:20,159 --> 00:37:22,599
Speaker 2: We're getting kind of an awesome stretch right here.

682
00:37:23,400 --> 00:37:24,320
Speaker 3: Oh yeah, for sure.

683
00:37:24,559 --> 00:37:27,559
Speaker 2: This was released as the fourth single in December of

684
00:37:27,639 --> 00:37:31,239
nineteen eighty six, and as we said before, this was

685
00:37:31,320 --> 00:37:36,960
on about every fourth song on MTV. This video was fantastic.

686
00:37:37,039 --> 00:37:40,159
The song was super catchy. It got to number seven

687
00:37:40,199 --> 00:37:41,159
on the Hot one hundred.

688
00:37:41,400 --> 00:37:45,000
Speaker 1: It was one of the last songs to find its

689
00:37:45,000 --> 00:37:47,519
way onto the album because, and I don't know how

690
00:37:47,519 --> 00:37:50,800
many times we've said this, Rick Rubin comes to him

691
00:37:50,800 --> 00:37:55,440
and says, we need just one more song, and we're

692
00:37:55,519 --> 00:37:58,039
running on a deadline, so you gotta get it in

693
00:37:58,239 --> 00:38:01,400
and in like two hours. Yeah, And so this is

694
00:38:01,440 --> 00:38:03,920
what they come up with. There's a they talk about

695
00:38:03,960 --> 00:38:06,840
a song from Brooklyn, like the band Brooklyn, not the

696
00:38:06,880 --> 00:38:10,000
town Brooklyn, that this song is based on this idea

697
00:38:10,000 --> 00:38:11,519
of you got to fight for your right to party.

698
00:38:11,519 --> 00:38:13,840
But they've definitely got their own lyrics to it, and

699
00:38:14,199 --> 00:38:17,320
it's a goof song again, but they're making fun of

700
00:38:17,639 --> 00:38:21,880
frat guys and party bros. And then when they make

701
00:38:21,920 --> 00:38:25,800
the video, they play the part of frat guy and

702
00:38:26,000 --> 00:38:28,599
party bro, and then when they go do their stage

703
00:38:28,599 --> 00:38:32,440
shows they become those guys, and pretty soon it's their

704
00:38:32,679 --> 00:38:35,440
entire image. This is what I thought they were for sure.

705
00:38:36,039 --> 00:38:38,960
I thought this was a genuine like, this is who

706
00:38:39,000 --> 00:38:40,519
these guys are. Yeah.

707
00:38:40,639 --> 00:38:43,239
Speaker 3: Yeah, it's a hit of adrenaline when this song hits,

708
00:38:43,320 --> 00:38:47,199
right because plusing effects, slow riding girls. We haven't had

709
00:38:47,239 --> 00:38:50,519
that driving guitar yet. And it's catchy and you're dancing along,

710
00:38:50,760 --> 00:38:53,440
but then it just opens with that power chord boom

711
00:38:54,239 --> 00:39:04,119
a fight, right, giggott, I mean all of a sudden,

712
00:39:04,239 --> 00:39:05,880
you wait, back up, it's a punch in the face

713
00:39:05,960 --> 00:39:08,480
right in the middle of this album, and it rocks.

714
00:39:09,079 --> 00:39:11,599
And yes, it took over MTV. You saw it in

715
00:39:11,960 --> 00:39:14,599
almost every segment, and it was one you could jump

716
00:39:14,599 --> 00:39:16,400
around to bang your head. It was easy to sing

717
00:39:16,400 --> 00:39:20,039
along with. It was the tenth pole of this album.

718
00:39:20,119 --> 00:39:23,360
It was the highest charting hit they had off this album.

719
00:39:23,519 --> 00:39:26,400
This Yeah, this defined their image and this defined their sound,

720
00:39:26,960 --> 00:39:28,920
and it was everywhere.

721
00:39:29,000 --> 00:39:31,559
Speaker 2: This is where I enter the scene. So even though

722
00:39:31,599 --> 00:39:34,239
it's the fourth single off License to Ill, I had

723
00:39:34,280 --> 00:39:37,719
not heard anything prior to this. I mean maybe because

724
00:39:37,760 --> 00:39:40,159
I was just whatever it was on MTV. That was

725
00:39:40,199 --> 00:39:44,000
my intake. The video, for me is as much a

726
00:39:44,119 --> 00:39:47,960
part of my nostalgia for this song as the song itself.

727
00:39:48,280 --> 00:39:52,599
The song is fantastic and hilarious and headbanging and all

728
00:39:52,679 --> 00:39:56,639
that stuff, but the video, to me, is equally as

729
00:39:56,840 --> 00:40:02,360
impactful and fun and funny. Do you like parties? Yeah,

730
00:40:02,480 --> 00:40:06,000
we can invite all our friends and have soda and

731
00:40:06,079 --> 00:40:07,840
pot yeah.

732
00:40:07,960 --> 00:40:11,639
Speaker 1: Yeah. So the video was directed by Rick Manelo and

733
00:40:11,840 --> 00:40:16,320
Adam Dubin, right, yes. So these guys were roommates at

734
00:40:16,440 --> 00:40:21,920
NYU where Rick Rubin was like the floor administrator guy.

735
00:40:21,960 --> 00:40:24,800
What are they called Ara, the ra? Yeah, he was

736
00:40:24,840 --> 00:40:27,719
the RA and he when they decide they're going to

737
00:40:27,800 --> 00:40:30,400
do a video, he goes to I believe it was

738
00:40:30,519 --> 00:40:34,239
Rick Manelo and says, hey, you're into all of these

739
00:40:34,280 --> 00:40:36,400
old movies. I want you to make this video for me.

740
00:40:36,440 --> 00:40:39,000
And Rick is like, no way. If this video is

741
00:40:39,000 --> 00:40:41,000
a flop, I'm gonna be the one that gets blamed.

742
00:40:41,079 --> 00:40:43,440
And so then they go to Adam Dubin, his roommate,

743
00:40:43,480 --> 00:40:46,079
who is a film studies guy, and they said, hey,

744
00:40:46,119 --> 00:40:49,559
will you co direct and that way nobody can blame

745
00:40:49,559 --> 00:40:52,880
it on either of you. And so these two guys

746
00:40:53,000 --> 00:40:58,519
co directed this video literally in the dorm rooms at NYU.

747
00:40:58,679 --> 00:41:01,199
The guys, one of them, their mom is the one

748
00:41:01,199 --> 00:41:02,480
who gets the pie in the face.

749
00:41:02,559 --> 00:41:03,280
Speaker 2: Yeah.

750
00:41:03,360 --> 00:41:07,519
Speaker 1: Yes, And they've got they've got Flea, they've got Mutt Lange,

751
00:41:07,639 --> 00:41:11,039
they've got Tabithasare and they've got Lall Cool Jay, all

752
00:41:11,119 --> 00:41:14,239
of these folks who were not somebody yet but who

753
00:41:14,280 --> 00:41:17,159
are in this video walking through the door and party long.

754
00:41:17,239 --> 00:41:19,320
And they've got they've got Rick Rubin coming.

755
00:41:19,159 --> 00:41:22,960
Speaker 2: In wearing a Slayer T shirt, right, which.

756
00:41:22,760 --> 00:41:25,280
Speaker 1: Of course is ironic because we've got a song coming

757
00:41:25,360 --> 00:41:28,280
up that's got a Slayer lead in it. Yep. And

758
00:41:28,639 --> 00:41:31,159
Slayer was actually a band that he was also producing

759
00:41:31,199 --> 00:41:32,199
the records fourth time.

760
00:41:32,280 --> 00:41:34,000
Speaker 3: Yeah, so you had members of the Young and the

761
00:41:34,119 --> 00:41:36,360
Useless we're also in this video.

762
00:41:36,719 --> 00:41:37,159
Speaker 2: Yeah.

763
00:41:37,199 --> 00:41:39,519
Speaker 3: And I know that you're teasing carry King there, but

764
00:41:39,519 --> 00:41:41,519
we got to say this. He played on this song too.

765
00:41:41,760 --> 00:41:43,360
The solo in this song is Kerry King.

766
00:41:43,599 --> 00:41:45,760
Speaker 2: Really Okay, I did not know that. Okay, nice.

767
00:41:45,760 --> 00:41:46,000
Speaker 1: Good.

768
00:41:46,199 --> 00:41:48,840
Speaker 2: Let's talk about Tabitha stre In for a second. This

769
00:41:48,920 --> 00:41:52,000
is before she was an MTV personality. She was just

770
00:41:52,039 --> 00:41:55,280
a NYU student who happened to be friends with Rick Rubin.

771
00:41:55,400 --> 00:41:57,239
I think she's actually blonde in the video.

772
00:41:57,440 --> 00:41:59,519
Speaker 1: She said she was doing everything she could not to

773
00:41:59,559 --> 00:42:01,679
get a pie in the face because they didn't have

774
00:42:01,719 --> 00:42:04,000
any money to make this video, so they went and

775
00:42:04,039 --> 00:42:06,199
got the whip cream for the pies out of like

776
00:42:06,239 --> 00:42:09,880
an old restaurant trash can. So it was like rancid

777
00:42:10,239 --> 00:42:13,159
whipped cream, and she said it smelled like throw up.

778
00:42:16,199 --> 00:42:18,840
Speaker 2: I saw the storyboards for this, and the funny part

779
00:42:18,880 --> 00:42:23,079
about the storyboards were they were just barely even sketches.

780
00:42:23,159 --> 00:42:27,840
I mean, you're talking like childlike faces, but they were

781
00:42:27,880 --> 00:42:30,480
storyboarded exactly like you see the video.

782
00:42:30,760 --> 00:42:32,639
Speaker 1: That's nice. Well, he was a film student. He's any

783
00:42:32,679 --> 00:42:34,320
why will you film student? Of course he's in.

784
00:42:34,400 --> 00:42:37,920
Speaker 2: Storyboards, storyboards the video, the guy getting spit on in

785
00:42:38,000 --> 00:42:42,280
the face and you know, spiking the punch, burning stuff,

786
00:42:42,440 --> 00:42:44,840
you know, kissing the girl and all that stuff. This

787
00:42:45,039 --> 00:42:51,239
was a teenage boy's dream, burn stuff, kiss girls, party

788
00:42:51,280 --> 00:42:53,079
while your parents are out of town. I mean I

789
00:42:53,119 --> 00:42:55,039
was fourteen when this came out. That's all I wanted

790
00:42:55,039 --> 00:42:55,239
to do.

791
00:43:02,880 --> 00:43:04,519
Speaker 3: I gotta tell you this, this is the time for

792
00:43:04,559 --> 00:43:07,239
this story. So this song was of course the biggest

793
00:43:07,320 --> 00:43:09,400
hit they had on the album, and it was climbing

794
00:43:09,400 --> 00:43:12,559
its way up the charts, and it would soon peak

795
00:43:12,639 --> 00:43:15,559
at number seven on the Billboard Hot one hundred at

796
00:43:15,599 --> 00:43:18,719
number seven. It would peak there on March seventh. Just

797
00:43:18,880 --> 00:43:24,039
one week before that, they played a show February twenty eighth,

798
00:43:24,400 --> 00:43:28,000
nineteen eighty seven, in Columbus, Georgia, and I was there

799
00:43:28,079 --> 00:43:32,480
with pretty much my entire tenth grade class on the

800
00:43:32,480 --> 00:43:37,199
floor close to the stage, packed in, absolutely living the dream,

801
00:43:37,960 --> 00:43:40,440
soaking in this entire performance. It was a time of

802
00:43:40,480 --> 00:43:44,760
our lives. It's a touchstone experience for our whole high

803
00:43:44,800 --> 00:43:47,320
school years that we still talk about today. Fight for

804
00:43:47,360 --> 00:43:50,119
Your Right was their big hit, It was their big finale.

805
00:43:50,400 --> 00:43:53,199
They finished the show with fight for Your Right to party.

806
00:43:53,480 --> 00:43:56,159
Before the night was over, they were on the news

807
00:43:56,599 --> 00:44:00,159
before the week was over. City council had met to

808
00:44:00,199 --> 00:44:04,320
discuss the Beastie Boys. So what you had was a

809
00:44:04,320 --> 00:44:08,280
case of a bunch of families thinking that it would

810
00:44:08,280 --> 00:44:12,159
be safe to take their kids to see some white rappers.

811
00:44:12,440 --> 00:44:16,360
But what they got were some obnoxious punk rockers from

812
00:44:16,519 --> 00:44:19,679
New York City who wanted to offend everybody in the house.

813
00:44:19,880 --> 00:44:25,320
You could say they had another member on stage unveiled

814
00:44:25,360 --> 00:44:28,480
himself at the end of the show. This is where

815
00:44:28,519 --> 00:44:31,400
they had the stage prop that's so notorious for this tour.

816
00:44:31,840 --> 00:44:34,039
It was I can tell you it's true. I saw

817
00:44:34,079 --> 00:44:38,760
it myself, a twenty foot replica of an erection. It

818
00:44:38,800 --> 00:44:41,039
came outside the box in the back of the stage.

819
00:44:41,719 --> 00:44:45,280
It inflated up and it towered over the crowd and

820
00:44:45,400 --> 00:44:50,559
waved back and forth. It was in embarrassing detail, and

821
00:44:50,880 --> 00:44:53,559
we were all standing there in shock. We cannot believe

822
00:44:53,920 --> 00:44:56,440
what we saw. And I just remember the Beastie Boys

823
00:44:56,480 --> 00:44:58,880
on stage looking up at it and busting out, cracking up,

824
00:44:58,920 --> 00:45:02,000
laughing like they'd never seen before. This did not go

825
00:45:02,079 --> 00:45:04,599
over well. There were a lot of people clutching pearls

826
00:45:04,599 --> 00:45:06,440
in the audience that night who said that there's no

827
00:45:06,519 --> 00:45:09,280
way this should be allowed. So there were miners in

828
00:45:09,360 --> 00:45:12,159
the audience that they had this prop waving over everybody

829
00:45:12,239 --> 00:45:14,960
at the end of the show. They had scantily clad

830
00:45:15,000 --> 00:45:18,039
women in cages throughout the whole thing. They had girls

831
00:45:18,039 --> 00:45:20,519
and the audience that were lifting their shirts because the

832
00:45:20,519 --> 00:45:23,360
beast of Boys were telling them to. It was highly offensive.

833
00:45:23,440 --> 00:45:25,840
It did not fly in Columbus, Georgia. But as it

834
00:45:25,920 --> 00:45:28,519
turns out, they could not find where they had broken

835
00:45:28,599 --> 00:45:32,840
any laws. They had not done anything illegal, and the

836
00:45:33,000 --> 00:45:35,559
leadership and the public said, well, that's not right. So

837
00:45:35,800 --> 00:45:39,920
the very next city council meeting they passed a new ordinance,

838
00:45:40,079 --> 00:45:44,360
the Lutinist Ordinance, that said basically that they nobody could

839
00:45:44,400 --> 00:45:46,559
do this again. And so the Beast Boys got away

840
00:45:46,599 --> 00:45:50,639
scott free, but now in their wake this Lutinist Ordinance

841
00:45:51,039 --> 00:45:53,599
now existed on the books in Columbus. I was also

842
00:45:53,760 --> 00:45:57,480
there in June of nineteen eighty seven when ll COOLJ

843
00:45:57,679 --> 00:46:00,559
was headlining and during the song I Need Love, he

844
00:46:00,679 --> 00:46:03,480
got really friendly with a couch that they had brought

845
00:46:03,480 --> 00:46:07,280
out on stage and he was arrested under this law.

846
00:46:07,440 --> 00:46:10,159
Speaker 2: After the show, Todd from Queen's was rubbing on a couch.

847
00:46:10,760 --> 00:46:15,440
Speaker 1: Yeah, yeah, has done that.

848
00:46:17,599 --> 00:46:20,159
Speaker 3: So this is this is something that Ello Coole J

849
00:46:20,360 --> 00:46:22,840
went on Oursenial Hall at the time to talk about.

850
00:46:22,960 --> 00:46:25,159
He still talks about it on his talk show appearances today.

851
00:46:25,239 --> 00:46:27,559
So I've seen on the internet a clip where in

852
00:46:27,679 --> 00:46:31,079
recent years he was on Jimmy Kimmel talking about in

853
00:46:31,079 --> 00:46:34,079
this same incident. So it's not something Ll has ever forgotten.

854
00:46:34,119 --> 00:46:36,639
He was arrested. A year later, Bobby Brown was arrested,

855
00:46:37,000 --> 00:46:40,159
and then a year after that, Gene Simmons was arrested

856
00:46:40,639 --> 00:46:44,320
because he apparently mooned at the audience. And after that

857
00:46:44,840 --> 00:46:47,920
they quit enforcing the law. So so Ello Cool Jay

858
00:46:48,239 --> 00:46:51,440
and Bobby Brown and Gene Simmons have the Beastie Boys

859
00:46:51,440 --> 00:46:54,519
to thank for their their arrest record in Columbus, Georgia.

860
00:46:54,679 --> 00:46:58,199
Speaker 2: Gene Simmons bear butt made them cow down and just

861
00:46:58,239 --> 00:47:00,480
say this is not worth it anymore. Have you guys

862
00:47:00,519 --> 00:47:02,320
seen Fight for Your Right revisited?

863
00:47:02,519 --> 00:47:04,880
Speaker 1: You sent me the clip. I've caught a little bit

864
00:47:04,960 --> 00:47:07,199
of it, but just I know who's in it and

865
00:47:07,239 --> 00:47:09,360
what kind of the actions are, and I got to

866
00:47:09,400 --> 00:47:11,159
watch the whole thing. I'm excited to see it.

867
00:47:11,360 --> 00:47:14,760
Speaker 2: Dave, have you seen this? No, it's a thirty minute

868
00:47:14,880 --> 00:47:19,960
video where they Adam Yack directed this right, but he

869
00:47:20,039 --> 00:47:24,440
asked Seth Rogan, Elijah Wood and Danny McBride to come

870
00:47:24,559 --> 00:47:29,360
up with what happened after the Fight for Your Right party.

871
00:47:29,519 --> 00:47:31,679
So they leave the party. You see them leave the

872
00:47:31,800 --> 00:47:34,119
room where they have the pie fight, and they come

873
00:47:34,159 --> 00:47:36,679
downstairs and they run into people who are asking them.

874
00:47:36,719 --> 00:47:40,000
It's Susan Sarandon. Yeah, who's asking them? What are you

875
00:47:40,039 --> 00:47:43,599
guys up to? You guys are troublemakers. It's Seth Rogan,

876
00:47:43,679 --> 00:47:46,880
Elijah Wood and Danny McBride, all wearing the same attire

877
00:47:46,960 --> 00:47:48,719
that the beast Boys wore in the Fight for Your

878
00:47:48,760 --> 00:47:53,320
Right video. They run into Will Ferrell, John c Riley,

879
00:47:53,519 --> 00:47:57,000
Jack Black who addressed in the same attire. So it's

880
00:47:57,000 --> 00:48:00,000
like you have Beastie Boys against Beastie Boys, Beastie Boys

881
00:48:00,199 --> 00:48:03,920
the future, from the future in a Dolorean. Right, yeah,

882
00:48:03,960 --> 00:48:06,079
there is a Delori, all right, and so they have

883
00:48:06,159 --> 00:48:08,599
this weird dance off and then the cops show up

884
00:48:08,679 --> 00:48:12,400
and it's the real Beastie Boys as the cops. The

885
00:48:12,519 --> 00:48:16,000
video is great, it's really funny. I sent it to you.

886
00:48:16,000 --> 00:48:19,800
You did watch. I'm sorry, but it's definitely worth a look. Okay,

887
00:48:20,119 --> 00:48:21,159
are we done with Fife?

888
00:48:21,239 --> 00:48:23,639
Speaker 3: You're right, don't fuck You're right, and we're done with

889
00:48:23,760 --> 00:48:25,079
side one. Flip it over.

890
00:48:25,159 --> 00:48:27,920
Speaker 1: Time to hit stop on your tape layer, kick.

891
00:48:27,760 --> 00:48:31,159
Speaker 2: It out, Flip it over side two.

892
00:48:31,440 --> 00:48:34,280
Speaker 1: Okay, Jason, let's take a quick break while we do

893
00:48:34,480 --> 00:48:37,480
a Shirley showcase. We have a special one for today.

894
00:48:37,559 --> 00:48:40,360
Speaker 2: Yeah, this is our friend Christopher Webber. He's been interacting

895
00:48:40,400 --> 00:48:42,440
with us for a long time on social media.

896
00:48:42,559 --> 00:48:45,679
Speaker 1: Yeah, he decided to weigh in on our Police Synchronicity

897
00:48:45,760 --> 00:48:48,599
versus Journey Frontiers album. Let's see what he has to say.

898
00:48:48,639 --> 00:48:51,519
Speaker 7: Hey, Jason INDI, this is Chris Webber down in New Orleans,

899
00:48:51,639 --> 00:48:55,119
and I appreciate the opportunity to give my final judgment

900
00:48:55,199 --> 00:48:59,039
on a previous matchup. The episode that I chose pitted

901
00:48:59,159 --> 00:49:03,840
the Police is saying Chronicity album versus Journey's Frontier albums.

902
00:49:04,280 --> 00:49:06,519
I have to admit when I first heard the matchup,

903
00:49:06,679 --> 00:49:09,039
I thought it was going to be a landslide, But

904
00:49:09,119 --> 00:49:11,960
after listening to the episode, I think both of y'all

905
00:49:12,000 --> 00:49:15,639
brought some really good points that made me think about

906
00:49:15,679 --> 00:49:19,000
both of these two albums. Prior to these two albums

907
00:49:19,039 --> 00:49:22,599
being released, I was a somewhat casual Police fan.

908
00:49:22,840 --> 00:49:24,239
Speaker 8: I had heard every.

909
00:49:24,000 --> 00:49:27,119
Speaker 7: Little Thing she Does is Magic on the radio, and

910
00:49:27,159 --> 00:49:30,679
I was probably somewhat familiar with Rock Sand due to

911
00:49:31,000 --> 00:49:34,239
forty eight Hours. But for the most part, I was

912
00:49:34,320 --> 00:49:38,239
listening to Journey Escape in the years before this, so

913
00:49:38,280 --> 00:49:41,119
I was very familiar with Journey. I had that album

914
00:49:41,119 --> 00:49:44,800
and I listened to it front to back. When Synchronicity

915
00:49:44,880 --> 00:49:49,079
came out with the advent of MTV, suddenly I was

916
00:49:49,320 --> 00:49:51,679
hearing the songs on the radio. I was seeing the

917
00:49:51,760 --> 00:49:54,920
videos on MTV. I was starting to drive, so I

918
00:49:55,000 --> 00:49:58,800
was buying cassettes to listen into my car journey Frontiers,

919
00:49:59,239 --> 00:50:01,960
I was familiar, you're with the singles that were played

920
00:50:02,000 --> 00:50:04,960
on MTV. We'll get to the video in a minute,

921
00:50:05,280 --> 00:50:08,719
but really I did not own this album. However, picking

922
00:50:08,719 --> 00:50:11,960
the album up and looking at the first five songs

923
00:50:12,039 --> 00:50:15,280
on the first side, it's pretty hard to argue that

924
00:50:15,760 --> 00:50:19,760
it did have a lot of radio hits. However, looking

925
00:50:19,840 --> 00:50:23,639
at side two of Frontiers, I feel like the album

926
00:50:23,800 --> 00:50:28,480
just drops off, whereas Synchronicity. I played that cassette tape

927
00:50:28,519 --> 00:50:31,679
over and over and over in my car. Yes, mother

928
00:50:31,840 --> 00:50:34,039
is on it, and that we will say is an

929
00:50:34,079 --> 00:50:38,840
acquired taste. But if you say side two of Synchronicity

930
00:50:39,280 --> 00:50:42,760
is the matchup between side one of Frontiers, I think

931
00:50:42,880 --> 00:50:47,719
side one of Synchronicity with Synchronicity one and Synchronicity two

932
00:50:48,079 --> 00:50:52,599
are stronger than anything that's on side two of Frontiers,

933
00:50:52,840 --> 00:50:55,840
I agree the matchup would have been even closer had

934
00:50:55,960 --> 00:51:00,199
Journey decided not to take off two songs and gave

935
00:51:00,320 --> 00:51:03,920
them for soundtracks. Both songs that were taken off were

936
00:51:04,000 --> 00:51:07,800
later featured on their greatest hits. So ask the Lonely,

937
00:51:07,960 --> 00:51:10,840
which was in the Twist of Fate movie. Perhaps a

938
00:51:10,960 --> 00:51:15,440
throwaway soundtrack there still could have bolstered side too of Frontiers,

939
00:51:15,760 --> 00:51:19,639
but certainly only the Young, which was the leadoff track

940
00:51:19,719 --> 00:51:23,639
on Vision Quest, which is just a fantastic soundtrack, one

941
00:51:23,639 --> 00:51:27,679
of my two underrated soundtracks of the eighties. Certainly it

942
00:51:27,760 --> 00:51:30,920
had only the Young, It had two songs by Madonna,

943
00:51:31,039 --> 00:51:34,119
it had Don Henley, it had a breakout song with

944
00:51:34,239 --> 00:51:39,320
Lunative Fringe with Bred Ryder, and it featured much maligned

945
00:51:39,559 --> 00:51:44,639
singer by Jason John Waite doing his cover of Change.

946
00:51:45,199 --> 00:51:49,480
Change is a Spider song written by Holly Knight, who

947
00:51:49,519 --> 00:51:52,679
also wrote Better Be Good to Me, which was covered

948
00:51:52,920 --> 00:51:57,360
Tina Turner, who also did a cover of John Waite's

949
00:51:57,719 --> 00:52:01,920
Missing You. I believe Jason took issue with John Waite

950
00:52:02,000 --> 00:52:06,760
and his criticism of Open Arms, which was a song

951
00:52:07,000 --> 00:52:10,360
that was in though not featured in a movie whose

952
00:52:10,400 --> 00:52:14,079
soundtrack I also think is a hidden eighties gem, that

953
00:52:14,239 --> 00:52:19,039
being the last American version This soundtrack features Tommy twotone,

954
00:52:19,280 --> 00:52:24,400
the Police, Oingo Boingo, the Cars, the gleaming Spires, and

955
00:52:24,760 --> 00:52:27,760
you two. If you haven't heard this album, go check

956
00:52:27,800 --> 00:52:30,599
it out. It's pretty good. Now this gets us to

957
00:52:30,719 --> 00:52:35,159
the video for Separate Ways worlds apart. Yes, some of

958
00:52:35,199 --> 00:52:39,920
those early MTV videos were pretty bad, and this one,

959
00:52:40,000 --> 00:52:42,840
I will admit, is comical, but I do have a

960
00:52:42,880 --> 00:52:45,639
particular affinity for it, as it was filmed in New

961
00:52:45,760 --> 00:52:48,920
Orleans and in fact, it's just a little bit down

962
00:52:48,920 --> 00:52:52,239
from where I'm currently working. I suppose my best defense

963
00:52:52,360 --> 00:52:55,840
for it is the eighties were the decade where we're

964
00:52:55,880 --> 00:53:00,119
all playing air guitars and air drums and perhaps even

965
00:53:00,159 --> 00:53:04,800
air synthesizers or keyboards. So when that song first starts off,

966
00:53:05,199 --> 00:53:10,199
who amongst us is not playing the opening keyboard solo.

967
00:53:10,719 --> 00:53:13,400
In addition to that, I think this song features a

968
00:53:13,400 --> 00:53:16,880
couple of wonderful drum fills that rank up there with

969
00:53:17,559 --> 00:53:21,519
In the Air Tonight and Tom Sawyer. So laugh at

970
00:53:21,559 --> 00:53:23,519
it if you must, but I do have a soft

971
00:53:23,559 --> 00:53:26,800
spot for that video, which brings me to my final judgment.

972
00:53:27,440 --> 00:53:31,079
I have to go with my initial reactions the Police.

973
00:53:31,440 --> 00:53:34,159
I'm just more familiar with that album. All of those

974
00:53:34,199 --> 00:53:37,840
songs I know from beginning to end, and I just

975
00:53:37,960 --> 00:53:40,440
think from the beginning of the album to the end

976
00:53:40,480 --> 00:53:46,320
of the album, it's a much stronger album than Journeys Frontiers. Guys,

977
00:53:46,559 --> 00:53:49,559
keep up the great work. I've enjoyed the show since

978
00:53:49,599 --> 00:53:52,400
the beginning and look forward to more episodes.

979
00:53:54,800 --> 00:53:57,199
Speaker 2: Okay, another vote for synchronicity right there.

980
00:53:57,639 --> 00:54:00,320
Speaker 1: Yeah, and this was the great part about this episode

981
00:54:00,480 --> 00:54:02,599
was that you were confident that you were going to

982
00:54:02,639 --> 00:54:06,360
be picking Frontiers on this one, and then after we

983
00:54:06,440 --> 00:54:09,559
dived into him, you swapped sides and you gave him

984
00:54:09,559 --> 00:54:10,320
to the right side.

985
00:54:10,599 --> 00:54:11,280
Speaker 3: Yeah, I did.

986
00:54:11,320 --> 00:54:14,599
Speaker 2: I switched sides after diving in. I surprised even myself.

987
00:54:14,719 --> 00:54:20,679
Speaker 1: Yeah, for John Waite, listen, I know that Chris is

988
00:54:20,719 --> 00:54:23,199
coming to his defense here, but John Waite made the

989
00:54:23,239 --> 00:54:24,760
biggest Wiener love.

990
00:54:24,679 --> 00:54:28,840
Speaker 2: Song, and for him to dog Jonathan Caine is just

991
00:54:28,880 --> 00:54:31,079
so funny to me. But the cool thing, Chris Weber

992
00:54:31,119 --> 00:54:34,199
sent us pictures of the wharf down in New Orleans

993
00:54:34,239 --> 00:54:37,039
where they actually filmed the Separate Ways video, So that

994
00:54:37,159 --> 00:54:38,719
was really cool. Chris, thank you so much.

995
00:54:38,840 --> 00:54:42,519
Speaker 1: The instruments. Yeah, thanks Chris, we really appreciated. We had

996
00:54:42,760 --> 00:54:44,719
a great time listening to two year showcase.

997
00:54:44,760 --> 00:54:48,199
Speaker 2: Matt Man, thanks for interacting with us and appreciate you listening.

998
00:54:48,920 --> 00:54:52,639
All right, let's get back to side too of Licensed Ill.

999
00:54:53,000 --> 00:54:54,360
Speaker 6: No Sleep two.

1000
00:55:13,440 --> 00:55:15,440
Speaker 2: Whoo, Let's go.

1001
00:55:15,599 --> 00:55:19,239
Speaker 1: Man, bring the hard rocks coming man. That is awesome.

1002
00:55:19,400 --> 00:55:21,480
So the music on this one, the guitar riff?

1003
00:55:21,559 --> 00:55:21,679
Speaker 2: Is it?

1004
00:55:21,760 --> 00:55:25,320
Speaker 1: The sample? It sounds so much like something? Is it?

1005
00:55:25,360 --> 00:55:27,800
Is it? I love rock and roll. I've a got

1006
00:55:27,800 --> 00:55:30,480
a strong I love rock and roll.

1007
00:55:29,719 --> 00:55:32,960
Speaker 2: Should we get the we get a sampling of Jones

1008
00:55:33,000 --> 00:55:34,800
Jett here in a minute, But I don't think it's

1009
00:55:34,800 --> 00:55:35,320
on this one.

1010
00:55:35,440 --> 00:55:37,760
Speaker 1: All right, Well, it's just dang good guitar.

1011
00:55:37,840 --> 00:55:41,360
Speaker 3: Then, well, the title is a reference to No Sleep

1012
00:55:41,440 --> 00:55:45,119
Till Hammersmith by Motorheads, but I'm not familiar with that song.

1013
00:55:45,280 --> 00:55:47,440
Speaker 2: And you were telling us that Kerrie King from Slayer

1014
00:55:47,480 --> 00:55:50,199
actually plays the guitar on this one as well as right,

1015
00:55:50,320 --> 00:55:50,840
You're right.

1016
00:55:50,800 --> 00:55:52,920
Speaker 3: Yes, he plays on both. Well, I'll just give you

1017
00:55:52,960 --> 00:55:56,199
my reaction to the song. Go ahead, I mean, boom,

1018
00:55:56,559 --> 00:55:58,360
you come right off a fight for your right, boom

1019
00:55:58,400 --> 00:56:01,679
you hit this, you got the boom, boom, wow the beat.

1020
00:56:01,800 --> 00:56:13,920
You cannot listen to this song and stay still so

1021
00:56:14,559 --> 00:56:17,079
nineteen eighty six was a busy year for Rick Rubin.

1022
00:56:17,159 --> 00:56:20,400
He not only produced Raising Hell and Licensed to Ill,

1023
00:56:20,559 --> 00:56:23,199
but he also produced the album for Slayer. He was

1024
00:56:23,239 --> 00:56:25,679
working with Slayer at the same time, and so he

1025
00:56:26,119 --> 00:56:29,480
brought carry King over to play the guitar solo on

1026
00:56:29,599 --> 00:56:32,119
this song. But he's more known for some reason for

1027
00:56:32,199 --> 00:56:35,679
this song for the solo that he brings in. And

1028
00:56:35,679 --> 00:56:37,559
I didn't know this until I was researching for the podcast,

1029
00:56:37,599 --> 00:56:39,559
but he's also playing the solo. I don't think he

1030
00:56:39,559 --> 00:56:41,199
plays throughout the whole song, but he does play the

1031
00:56:41,239 --> 00:56:44,400
solo and Fight for You right. Bring in that hard rock,

1032
00:56:44,559 --> 00:56:48,360
that true rock guitar bang your head element to both

1033
00:56:48,400 --> 00:56:50,039
of these songs back to back on this album.

1034
00:56:50,079 --> 00:56:52,039
Speaker 2: You know, the interesting thing I found about it is

1035
00:56:52,079 --> 00:56:54,719
that carry King didn't really like this song. He didn't

1036
00:56:54,719 --> 00:56:59,119
really like the Beastie Boys, and the Beastie Boys didn't

1037
00:56:59,119 --> 00:57:01,480
really like him. They didn't really get eachitty.

1038
00:57:01,480 --> 00:57:03,199
Speaker 1: It's just kind of like a Lemon to a Lime

1039
00:57:03,320 --> 00:57:09,320
or a Lime to a limit. I gotta say, the

1040
00:57:09,400 --> 00:57:11,119
guitar solo on this one.

1041
00:57:11,239 --> 00:57:14,440
Speaker 2: Is not good bad, it's terrible.

1042
00:57:14,639 --> 00:57:17,440
Speaker 1: It might be good in a different song, but it's

1043
00:57:17,559 --> 00:57:20,360
like it's I mean, you can't take the guitar solo

1044
00:57:20,920 --> 00:57:24,719
from you know, beat it and throw it into the

1045
00:57:24,840 --> 00:57:28,360
chords from Walk This Way or something. It just doesn't work.

1046
00:57:28,519 --> 00:57:31,440
Speaker 2: He intentionally played out of tune. Yeah, it just sounds

1047
00:57:31,519 --> 00:57:33,360
it sounds wrong, but that's what they were going for.

1048
00:57:33,639 --> 00:57:36,199
Speaker 1: I mean, I literally when I first heard this, I thought, Okay,

1049
00:57:36,239 --> 00:57:39,480
these are just the beastie boys just trying to fingertap

1050
00:57:39,559 --> 00:57:41,599
on whatever they can do on the fresh board, just

1051
00:57:41,639 --> 00:57:44,360
to sound as weird and crazy as they possibly can't.

1052
00:57:44,480 --> 00:57:46,800
Speaker 2: This is a parody of hair metal once again. We

1053
00:57:46,840 --> 00:57:51,079
have a fantastic music video. It starts out it's really funny.

1054
00:57:51,119 --> 00:57:53,840
They knock on the door, The producer answers the door.

1055
00:57:53,880 --> 00:57:56,599
They're like, hey, guys, where's the band And they're like,

1056
00:57:57,119 --> 00:57:58,920
where're the band? He's like, where are your instruments? And

1057
00:57:58,920 --> 00:58:02,320
they pull out a record. He grabs the record and he

1058
00:58:02,440 --> 00:58:05,280
smashes it over their head and he's like, get out

1059
00:58:05,280 --> 00:58:07,599
of here, you guys, you're not the band. And as

1060
00:58:07,639 --> 00:58:09,519
soon as he shuts the door, they knock on it again.

1061
00:58:09,559 --> 00:58:12,159
They opens it up and they're they're got the big

1062
00:58:12,199 --> 00:58:15,280
wigs on and they're like, dude, we're like the bend Man,

1063
00:58:16,480 --> 00:58:18,320
I've been waiting for you boys, Let's go. And so

1064
00:58:18,400 --> 00:58:21,320
they're parodying Cara Metal once again.

1065
00:58:21,239 --> 00:58:23,519
Speaker 1: And it ends with the hot girl going away with

1066
00:58:23,559 --> 00:58:24,039
the gorilla.

1067
00:58:24,159 --> 00:58:27,159
Speaker 2: Right, Yes, I think the gorilla was Rick Rubin, Right.

1068
00:58:30,280 --> 00:58:35,280
The lead dancer in this video. Her name is Ruth Collins.

1069
00:58:35,679 --> 00:58:37,000
Is that ring a bell with you? Guys?

1070
00:58:37,280 --> 00:58:38,519
Speaker 1: I'm going to say no on this.

1071
00:58:38,920 --> 00:58:40,599
Speaker 2: Have you ever watched Cinemax After Dark?

1072
00:58:40,800 --> 00:58:42,079
Speaker 1: No?

1073
00:58:42,800 --> 00:58:47,320
Speaker 2: Yes, you have? You know you have? Yes, you have? Okay,

1074
00:58:48,000 --> 00:58:54,239
she's been in Cemetery, High Which Academy and Galactic Jiggalow.

1075
00:58:57,239 --> 00:59:01,599
She has known more for her then for anything else.

1076
00:59:01,840 --> 00:59:04,519
So if you're telling me she.

1077
00:59:04,519 --> 00:59:08,280
Speaker 1: Did not show her acting chops in the Jigglo from

1078
00:59:08,320 --> 00:59:09,440
Space or whatever.

1079
00:59:09,159 --> 00:59:11,000
Speaker 2: He showed more than her acting jobs.

1080
00:59:12,679 --> 00:59:14,599
Speaker 3: You know I might recognize her if you showed me

1081
00:59:14,639 --> 00:59:15,280
the back of her.

1082
00:59:16,960 --> 00:59:18,760
Speaker 1: Google, sirch Google.

1083
00:59:21,639 --> 00:59:23,599
Speaker 2: All right, well this is a legit song though, I mean.

1084
00:59:23,679 --> 00:59:27,000
Jay Z performed this song on his All Points West

1085
00:59:27,079 --> 00:59:29,000
festival in two thousand and nine.

1086
00:59:29,199 --> 00:59:31,920
Speaker 3: Oh yeah, I love the sequencing of this album because

1087
00:59:31,920 --> 00:59:34,360
you start out with some hard hitting rock, you kind

1088
00:59:34,360 --> 00:59:35,679
of slow it down a little bit and get away

1089
00:59:35,679 --> 00:59:38,079
from the guitar, and then right when it sucks you in,

1090
00:59:38,400 --> 00:59:40,239
boom it hits you with fight for Your Right and

1091
00:59:40,719 --> 00:59:43,280
no sting till Brooklyn back to back, and then they

1092
00:59:43,360 --> 00:59:45,360
change gears again going into the next song.

1093
00:59:45,440 --> 00:59:45,639
Speaker 8: Yeah.

1094
00:59:45,760 --> 00:59:49,719
Speaker 2: This was the sixth single released March first of nineteen

1095
00:59:49,719 --> 00:59:52,960
eighty seven. Yep, cool, love this one, love this song.

1096
00:59:53,079 --> 00:59:56,360
Love these two songs rocking out all right. The next song,

1097
00:59:56,880 --> 01:00:01,039
song number two on side to Paul Revere, this a

1098
01:00:01,079 --> 01:00:04,400
little story I got to tell about three brothers.

1099
01:00:04,519 --> 01:00:07,920
Speaker 5: You know so well. It's Southern, way back in history

1100
01:00:08,119 --> 01:00:08,400
with that.

1101
01:00:12,239 --> 01:00:13,239
Speaker 2: Names Paul review.

1102
01:00:15,280 --> 01:00:17,239
Speaker 1: So the next song that we've got coming up has

1103
01:00:17,280 --> 01:00:21,119
an example of a backwards drum beat, which I'm not

1104
01:00:21,159 --> 01:00:24,559
sure that I have heard anybody before. These guys did

1105
01:00:24,559 --> 01:00:28,639
it do this style of drum beat in their song

1106
01:00:28,760 --> 01:00:31,880
as the underlying drum beat for the entire song.

1107
01:00:33,280 --> 01:00:36,239
Speaker 5: I ran into a guy his famous m said.

1108
01:00:36,400 --> 01:00:40,480
Speaker 1: He said, Hi, I love it, I love it. And

1109
01:00:40,519 --> 01:00:43,039
so this one, this is the story on this one.

1110
01:00:43,559 --> 01:00:47,719
How it was inspired is great. So it starts with

1111
01:00:47,960 --> 01:00:52,199
them they're waiting outside a recording studio for Run DMC

1112
01:00:52,400 --> 01:00:56,960
when all of the sudden they see Joe Ron Simmons

1113
01:00:57,280 --> 01:01:01,760
running run is running towards the he runs down the street,

1114
01:01:01,920 --> 01:01:05,440
he's screaming incoherently. He gets to the Beastie Boys and

1115
01:01:05,480 --> 01:01:08,880
he says, here's a little story I got to tell.

1116
01:01:09,440 --> 01:01:13,800
And after that he's they're confused, and he says, that's

1117
01:01:13,840 --> 01:01:16,239
the song, And from that point on worked up the

1118
01:01:16,280 --> 01:01:18,320
rest of the lyrics.

1119
01:01:18,400 --> 01:01:21,920
Speaker 3: And it mythologizes the origin of the Beastie Boys and

1120
01:01:22,119 --> 01:01:25,280
how they met, and it sets it in kind of

1121
01:01:25,280 --> 01:01:28,320
an Old West setting, at least the best imagery I get.

1122
01:01:28,400 --> 01:01:31,559
And it's the AH eight drum machine pattern that they

1123
01:01:31,599 --> 01:01:34,400
recorded and then strung up backwards on a tape machine

1124
01:01:34,440 --> 01:01:36,519
and played it backwards. It was the MCA's idea and

1125
01:01:36,840 --> 01:01:39,119
a unique sound. You know right away what song you're

1126
01:01:39,119 --> 01:01:40,719
listening to as soon as this thing starts.

1127
01:01:40,880 --> 01:01:45,559
Speaker 1: And again they're throwing in those kind of educated references.

1128
01:01:45,920 --> 01:01:48,400
Paul Revere's the name of the horse from Guys and Dolls.

1129
01:01:48,519 --> 01:01:52,760
Speaker 2: This was the second single, released August thirteenth to eighty six.

1130
01:01:53,320 --> 01:01:55,559
This is still three months before the release of the album.

1131
01:01:55,679 --> 01:01:55,880
Speaker 3: Yep.

1132
01:01:55,920 --> 01:01:57,920
Speaker 2: I got a quick funny story about this one. Okay,

1133
01:01:58,119 --> 01:02:00,960
So I was talking to my buddy Duddy. Yeah, shout

1134
01:02:00,960 --> 01:02:03,239
out to my buddy Doug Gray. Doug, He's like, hey, man,

1135
01:02:03,239 --> 01:02:05,119
what are you guys working on this week? I said,

1136
01:02:05,119 --> 01:02:08,480
we're doing Licensed Ill by the Beastie Boys. And as

1137
01:02:08,679 --> 01:02:11,599
soon as I got those words out of my mouth,

1138
01:02:11,760 --> 01:02:14,159
he came back with, here's a little story I'd like

1139
01:02:14,280 --> 01:02:17,480
to tell and just rolled out the words man. And

1140
01:02:17,519 --> 01:02:19,840
Doug is not exactly the guy that I would think,

1141
01:02:20,119 --> 01:02:22,159
oh my god, all the words to Paul Revere.

1142
01:02:22,280 --> 01:02:26,840
Speaker 1: No to see that. Doug is straight laced, typer intelligence,

1143
01:02:27,360 --> 01:02:29,760
you know, just a very cool cat kind of guy.

1144
01:02:29,760 --> 01:02:32,760
And he says some funny, dry stuff from time to time.

1145
01:02:32,960 --> 01:02:34,760
I love being around him. But to see him roll

1146
01:02:34,800 --> 01:02:37,079
out some Beastie Boys on Paul Revere, I would have

1147
01:02:37,199 --> 01:02:39,320
just I would have just been dumbstruck.

1148
01:02:39,440 --> 01:02:42,639
Speaker 2: It was unleashing of the lyrics right there. They were

1149
01:02:42,760 --> 01:02:43,519
all coming.

1150
01:02:45,000 --> 01:02:46,800
Speaker 3: I know this whole song. I could sit here and

1151
01:02:46,840 --> 01:02:51,159
do it from start to finish. Honestly, it's one of

1152
01:02:51,239 --> 01:02:51,760
my favorite.

1153
01:02:51,760 --> 01:02:52,440
Speaker 2: It's a great one.

1154
01:02:52,480 --> 01:02:52,639
Speaker 1: Man.

1155
01:02:52,800 --> 01:02:54,639
Speaker 3: So let me tell you this. So that License to

1156
01:02:54,679 --> 01:02:58,079
Ill tour continues in nineteen eighty seven, and it continues

1157
01:02:58,119 --> 01:03:01,000
to create controversy wherever they go. They are in England

1158
01:03:01,159 --> 01:03:05,079
in May and They've already got politicians there wanting to

1159
01:03:05,159 --> 01:03:07,920
ban them from the country because they think they're so offensive,

1160
01:03:08,320 --> 01:03:11,760
which is exactly the publicity they want. While they were

1161
01:03:11,760 --> 01:03:14,159
in England on their tour, they played a show in

1162
01:03:14,239 --> 01:03:17,440
Liverpool and while there they got out on stage and

1163
01:03:17,559 --> 01:03:21,320
immediately the crowd turns hostile and starts throwing beer bottles

1164
01:03:21,320 --> 01:03:23,599
at them and stuff like that. So for their own

1165
01:03:23,639 --> 01:03:25,840
safety they have to abandon just like ten minutes into

1166
01:03:25,840 --> 01:03:28,039
the show, they run off the stage. They have to

1167
01:03:28,079 --> 01:03:29,880
come up with a way to continue the show, but

1168
01:03:29,920 --> 01:03:32,840
they've got to fend off all these bottles that are

1169
01:03:32,880 --> 01:03:35,599
being thrown at them, so they decide to do it

1170
01:03:35,639 --> 01:03:36,719
with a wiffleball bat.

1171
01:03:41,360 --> 01:03:43,719
Speaker 2: And they just happen to have a wiffleball bat on

1172
01:03:43,800 --> 01:03:46,360
tour with them backstage. I like these guys.

1173
01:03:46,480 --> 01:03:49,599
Speaker 3: While the music's playing, they are taking swings at the

1174
01:03:49,639 --> 01:03:52,400
bottles being thrown at them, trying to protect themselves and

1175
01:03:52,480 --> 01:03:55,400
knocking it back into The crowd love it. So this

1176
01:03:55,440 --> 01:03:58,079
did create a problem though. There was one girl that

1177
01:03:58,199 --> 01:04:01,199
took an injury around her eye, and she claimed that

1178
01:04:01,239 --> 01:04:03,840
Adam Horowitz had been the one to hit her, but anyway,

1179
01:04:03,920 --> 01:04:05,880
he ended up arrested after the show and spent the

1180
01:04:05,920 --> 01:04:06,559
night in jail.

1181
01:04:06,639 --> 01:04:08,639
Speaker 2: Hey, he might have spent the night in jail, but

1182
01:04:08,639 --> 01:04:12,760
at least he can hit Yeah. Love this one.

1183
01:04:13,280 --> 01:04:15,199
Speaker 3: I'm tempted just to wrap the whole thing, but it's

1184
01:04:15,400 --> 01:04:17,679
very catchy and it's it's like a one two three

1185
01:04:17,719 --> 01:04:19,480
punch in the middle of this album coming after five.

1186
01:04:19,559 --> 01:04:22,960
Y're right, there's until Brooklyn right into Paul Revere. I mean,

1187
01:04:23,000 --> 01:04:26,719
my goodness, the album does not stop. So Paul Revere

1188
01:04:26,960 --> 01:04:31,599
samples from It's Yours, the very first song that Rick

1189
01:04:31,679 --> 01:04:34,320
Rubin produced. He did it for Keila Rock. Yeah, you'll

1190
01:04:34,320 --> 01:04:37,000
hear that familiar sound from Paul Revere. You hear the

1191
01:04:37,119 --> 01:04:39,119
very beginning of It's Yours if you listen to.

1192
01:04:39,039 --> 01:04:41,760
Speaker 2: That awesome all right, we've done with Paul Revere.

1193
01:04:42,000 --> 01:04:44,119
Speaker 3: Well never but go ahead, hah.

1194
01:04:44,280 --> 01:04:47,119
Speaker 2: Now we're moving on to the first single release to

1195
01:04:47,199 --> 01:04:50,159
the album. This song is called hold It Now, hit

1196
01:04:50,199 --> 01:05:07,519
It Yeah. Yeah, it's time to get you.

1197
01:05:10,519 --> 01:05:14,920
Speaker 1: So talking samples. This one contains a bunch We've got

1198
01:05:15,400 --> 01:05:18,280
birtha Butt Boogie by the Jimmy castor bunch, We've got

1199
01:05:18,400 --> 01:05:21,000
Dropped the Bomb, and Let's Get Small by Treble Funk.

1200
01:05:21,039 --> 01:05:23,599
We Got Funky Stuff by Cooling, the Gang, We Got

1201
01:05:23,679 --> 01:05:26,920
Taken You to the Marty grab by Bob James, Christmas

1202
01:05:26,920 --> 01:05:30,440
Wrapping by Curtis Blow and Lotted Dob by Dougie Fresh

1203
01:05:30,480 --> 01:05:35,039
and mcrickeyde. The Lion Pump It Up Homeboy gets sampled

1204
01:05:35,079 --> 01:05:38,639
later on by Eric b and Rakeeem on their song

1205
01:05:38,760 --> 01:05:41,239
As the Rhyme Goes On, and by Iced Tea on

1206
01:05:41,320 --> 01:05:43,880
his song You Don't Quit. And then the Lion beer

1207
01:05:44,000 --> 01:05:48,280
drinking breath stinking, sniffing Glue was sampled by Doctor Dre

1208
01:05:48,800 --> 01:05:51,639
No the one You're expecting this time, not the fat

1209
01:05:51,679 --> 01:05:54,280
One on Easy Ease Boys in the Hood. Yes.

1210
01:05:54,519 --> 01:05:57,159
Speaker 3: So this was one of the very first songs recorded

1211
01:05:57,159 --> 01:05:59,440
for the album. It came out as a single I

1212
01:05:59,440 --> 01:06:03,239
Think you Can April Yes early Yes. So this was

1213
01:06:03,280 --> 01:06:06,239
ahead of most of the sessions for the album, and

1214
01:06:06,280 --> 01:06:09,559
it was one that Run in particular Run DMC, but

1215
01:06:09,599 --> 01:06:13,280
particularly Run absolutely loved and Russell loved it. This song

1216
01:06:13,400 --> 01:06:16,679
got them excited and really I think encouraged them to

1217
01:06:16,719 --> 01:06:19,039
push the BC Boys. It probably got them on the

1218
01:06:19,079 --> 01:06:21,880
Raising Hell tour and all of that. Now because of

1219
01:06:21,920 --> 01:06:24,599
all those samples, as you're reading that off, I'm thinking

1220
01:06:24,639 --> 01:06:27,119
to myself. This is probably one of the more heavily

1221
01:06:27,199 --> 01:06:30,039
produced cuts, and it probably took a lot of the

1222
01:06:30,079 --> 01:06:32,719
most work from Rick Ruben to be able to piece

1223
01:06:32,760 --> 01:06:34,639
all this together. And so I'm kind of putting this

1224
01:06:34,679 --> 01:06:37,039
timeline in my head and I'm going to guess that

1225
01:06:37,199 --> 01:06:40,800
this song is the result of Ruben coming off the

1226
01:06:40,800 --> 01:06:44,000
Madonna tour early, because by coming off the road he

1227
01:06:44,079 --> 01:06:46,639
was able to first songs to come out ahead of

1228
01:06:46,679 --> 01:06:49,880
the regular sessions and for it to be so heavily produced.

1229
01:06:50,320 --> 01:06:53,039
I'm thinking he was spending a lot of time really

1230
01:06:53,119 --> 01:06:56,039
nailing this down and getting the sound right. And I

1231
01:06:56,079 --> 01:06:57,719
love it. I love the energy of it. I love

1232
01:06:57,760 --> 01:07:00,639
the scratching on the whistle sound, and the lyrics are hilarious.

1233
01:07:00,960 --> 01:07:04,960
Speaker 2: Yeah, it's it's fun. It's really fun, all right, love

1234
01:07:05,000 --> 01:07:07,039
it a lot of fun, high energy. I'm with you

1235
01:07:07,119 --> 01:07:09,880
on everything. Are we done talking about? Hold it now?

1236
01:07:09,960 --> 01:07:10,239
Hit it?

1237
01:07:10,679 --> 01:07:10,880
Speaker 3: Sure?

1238
01:07:11,000 --> 01:07:14,280
Speaker 2: Let's go all right, I'm dying to talk about the

1239
01:07:14,320 --> 01:07:16,960
next song. The next song on the album is called

1240
01:07:17,400 --> 01:07:47,119
Brass Monkey.

1241
01:07:35,320 --> 01:07:41,840
Speaker 5: Monkey Smokey Monkey Monkey.

1242
01:07:42,760 --> 01:07:46,480
Speaker 2: This song was released as the fifth single January fifth,

1243
01:07:46,599 --> 01:07:50,199
nineteen eighty seven. It is so catchy. I love this one.

1244
01:07:50,519 --> 01:07:53,800
Speaker 1: Here the ingredients for a normal brass monkey. You're gonna

1245
01:07:53,840 --> 01:07:57,320
have one part dark rum, one part vodka, and one

1246
01:07:57,360 --> 01:08:03,960
part orange juice, which sounds delightful. But what was happening

1247
01:08:04,000 --> 01:08:06,400
back in the seventies, eighties and nineties is there was

1248
01:08:06,440 --> 01:08:09,880
a company called the Hubling Company that produced pre mixed

1249
01:08:09,920 --> 01:08:14,239
beer and other mixed drinks, and they had basically the

1250
01:08:14,280 --> 01:08:17,319
brass monkey in a can, and that was the drink

1251
01:08:17,319 --> 01:08:19,840
of choice for the Beastie boys, and that is where

1252
01:08:19,880 --> 01:08:20,720
the song came from.

1253
01:08:20,840 --> 01:08:24,039
Speaker 2: That sounds like a poor man's mimosa.

1254
01:08:24,199 --> 01:08:28,439
Speaker 3: There was also a homemade recipe for brass monkey that

1255
01:08:28,520 --> 01:08:31,199
was basically malt liquor and orange juice, and I cannot

1256
01:08:31,239 --> 01:08:32,920
imagine how awful that must be.

1257
01:08:34,880 --> 01:08:38,279
Speaker 2: Okay, So the term brass monkey comes from the phrase

1258
01:08:38,840 --> 01:08:42,239
it's cold enough to freeze the balls off a brass monkey.

1259
01:08:43,079 --> 01:08:45,319
Are you guys familiar with this term? This is a

1260
01:08:45,399 --> 01:08:49,479
nautical term. Back when ships had to carry cannon balls,

1261
01:08:50,000 --> 01:08:52,520
they had a stack of them in pyramids, right, okay,

1262
01:08:52,720 --> 01:08:55,279
But to keep them from rolling around on the deck,

1263
01:08:55,319 --> 01:08:59,119
he had a piece of iron that had concave like

1264
01:08:59,159 --> 01:09:02,560
spots for all the the foundation balls to sit in,

1265
01:09:02,640 --> 01:09:04,359
and that was called a brass monkey, and if it

1266
01:09:04,399 --> 01:09:07,119
got really called, those things would shrink and the balls

1267
01:09:07,159 --> 01:09:12,119
wouldn't fit right. And that is where the term brass monkey,

1268
01:09:12,279 --> 01:09:14,039
of which the drink was based on.

1269
01:09:14,359 --> 01:09:17,800
Speaker 1: Okay, you're learning something. I am learning something. Okay, So

1270
01:09:17,800 --> 01:09:19,560
so for real, if we're gonna get if we're gonna

1271
01:09:19,600 --> 01:09:22,399
do this, let's go even a little bit further. I mean,

1272
01:09:22,399 --> 01:09:24,560
if def Dave can go back to eighteen ninety, I

1273
01:09:24,560 --> 01:09:28,039
can go back to World War two. World War two.

1274
01:09:28,399 --> 01:09:31,159
A guy named Steve Donger.

1275
01:09:31,720 --> 01:09:37,119
Speaker 2: Steve Donger, Steve the Donger need food?

1276
01:09:37,199 --> 01:09:38,840
Speaker 1: What do you mention about? I gotta sleep under? A

1277
01:09:38,840 --> 01:09:44,960
guy named after a Dutch store. He was an advertising executive.

1278
01:09:45,039 --> 01:09:49,039
He named the drink after a World War two spy

1279
01:09:49,439 --> 01:09:53,840
named H. E. Rasky. Alan Kaufman, who crafted the series

1280
01:09:53,880 --> 01:09:57,439
of stories about this spy, created the ad campaign using

1281
01:09:57,479 --> 01:10:01,079
an old photo of his father as Rasky image. So

1282
01:10:01,119 --> 01:10:04,560
he was named after a purported World War two spy,

1283
01:10:04,800 --> 01:10:06,119
although probably fictional.

1284
01:10:06,720 --> 01:10:09,479
Speaker 2: Double ow brass monkey.

1285
01:10:10,039 --> 01:10:12,720
Speaker 3: Very good. Yeah, so we're coming off. Hold it now,

1286
01:10:12,800 --> 01:10:15,079
hit it and then that whatever that is we're hearing it.

1287
01:10:15,159 --> 01:10:19,600
The first sound of this song, that honking kind of scratching.

1288
01:10:19,680 --> 01:10:22,680
I don't know. Is that a sampled horn they're scratching in.

1289
01:10:22,760 --> 01:10:25,079
I don't know. But as soon as you hear it, boom,

1290
01:10:25,079 --> 01:10:29,479
you're dancing again. It's immediately just completely rejuvenates you. Even

1291
01:10:29,520 --> 01:10:31,640
though you're just coming off of a of a high

1292
01:10:31,760 --> 01:10:34,279
energy song, you're right back into it. But I was

1293
01:10:34,279 --> 01:10:37,800
at the concert in nineteen eighty seven. I everybody was

1294
01:10:37,800 --> 01:10:40,840
bringing in Brass Monkey. Everybody was sneaking in Brass Monkey.

1295
01:10:40,840 --> 01:10:43,840
You see it everywhere, and it was like the crowd

1296
01:10:43,960 --> 01:10:45,399
they love to fight for you right at the end

1297
01:10:45,439 --> 01:10:47,800
of the show. But that crowd was there ready to

1298
01:10:48,640 --> 01:10:51,199
get down with Brass Monkey. And when this song started,

1299
01:10:51,279 --> 01:10:55,079
when those opening notes sounded, there was a surge towards

1300
01:10:55,119 --> 01:10:57,399
the stage. It scared me. We got caught up in

1301
01:10:57,439 --> 01:10:59,800
it and everybody went nuts like that. The crowd went

1302
01:10:59,840 --> 01:11:02,119
to a whole other level right as this song started,

1303
01:11:02,159 --> 01:11:04,279
and we all got pressed forward, kind of unwillingly. I

1304
01:11:04,279 --> 01:11:06,479
think I was lifted off my feet just by the

1305
01:11:06,520 --> 01:11:08,760
press of bodies. There were at least two girls I

1306
01:11:08,760 --> 01:11:12,159
can remember that I was friends with that fainted. They

1307
01:11:12,239 --> 01:11:15,119
fainted and would have fallen out except they couldn't fall

1308
01:11:15,159 --> 01:11:17,600
There was no room to fall, and they had and

1309
01:11:17,640 --> 01:11:20,399
we kind of, like fireman carry kind of passed them

1310
01:11:20,399 --> 01:11:22,680
along and got them outside of the crowds they get

1311
01:11:22,680 --> 01:11:23,359
some fresh air.

1312
01:11:23,439 --> 01:11:25,239
Speaker 2: Okay, I got I got a song I gotta play

1313
01:11:25,279 --> 01:11:28,079
for you. Okay. This song is called Bring It Here

1314
01:11:28,119 --> 01:11:29,680
by Wild Sugar. Are you familiar with this?

1315
01:11:30,640 --> 01:11:30,840
Speaker 1: No?

1316
01:11:31,319 --> 01:11:48,479
Speaker 8: Check it out?

1317
01:11:52,640 --> 01:11:55,239
Speaker 3: Wow, they took it right from it, didn't they.

1318
01:11:55,439 --> 01:11:57,159
Speaker 2: They stole that right from them?

1319
01:11:57,319 --> 01:12:00,319
Speaker 1: Yeah, yeah, unmistakably them for sure.

1320
01:12:00,800 --> 01:12:03,760
Speaker 3: Good find Thank you. What year is that from?

1321
01:12:03,960 --> 01:12:04,960
Speaker 1: Nineteen eighty?

1322
01:12:05,840 --> 01:12:06,520
Speaker 2: Nineteen eighty?

1323
01:12:06,600 --> 01:12:07,079
Speaker 1: There you go.

1324
01:12:07,479 --> 01:12:09,760
Speaker 2: Okay, I've got a great personal story I want to

1325
01:12:09,760 --> 01:12:10,760
share about brass Monkey.

1326
01:12:10,800 --> 01:12:12,159
Speaker 1: Okay, Okay, I'm.

1327
01:12:12,000 --> 01:12:13,960
Speaker 2: Gonna poke a little fun at our friends in Texas

1328
01:12:13,960 --> 01:12:18,520
for just a second. Okay, all right, So the University

1329
01:12:18,520 --> 01:12:21,840
of Texas has a special teams coach who left his

1330
01:12:21,920 --> 01:12:26,960
family to be with a stripper. Okay, stay with me now,

1331
01:12:27,000 --> 01:12:30,840
all right, I'm just gonna poke fun at them for

1332
01:12:30,920 --> 01:12:34,199
just a second. Okay. Now, the stripper's name, get this

1333
01:12:34,960 --> 01:12:36,399
is poll Assassin.

1334
01:12:40,840 --> 01:12:41,199
Speaker 5: Okay.

1335
01:12:41,640 --> 01:12:43,880
Speaker 1: I can just imagine poll As Sasson talking to your

1336
01:12:43,880 --> 01:12:47,159
friends like I got myself a college coach and they're like,

1337
01:12:47,239 --> 01:12:50,479
oh yeahhoo. And she's like, well, he's a Special Teams coach.

1338
01:12:52,840 --> 01:12:59,039
Speaker 2: So miss Pole Assassin has a stress animal that's a monkey.

1339
01:12:59,640 --> 01:13:01,319
I'm not I'm making this up. You guys can look

1340
01:13:01,319 --> 01:13:04,239
at this. I'm not making this up. So on Halloween,

1341
01:13:04,439 --> 01:13:07,520
missus Sassin and our good friend mister Special Teams Coach

1342
01:13:08,239 --> 01:13:10,680
have children come over for trick or treaty. So the

1343
01:13:10,800 --> 01:13:18,119
monkey bites a child. Okay. So that weekend, Iowa State

1344
01:13:18,279 --> 01:13:23,640
plays Texas in Ames. Okay, and what song do they play?

1345
01:13:23,800 --> 01:13:39,880
Fifty billion times? John Reed that one's for you, buddy.

1346
01:13:39,880 --> 01:13:45,399
All right, it is college football. Okay, so it's done well.

1347
01:13:45,439 --> 01:13:47,720
Speaker 3: Just quick note on Brass Monkey. It was the only

1348
01:13:47,840 --> 01:13:50,880
other single release from this album that cracked the top

1349
01:13:51,000 --> 01:13:53,720
fifty of Billboard one hundred. Okay, It peaked at number

1350
01:13:53,760 --> 01:13:54,239
forty eight.

1351
01:13:54,680 --> 01:13:58,880
Speaker 2: Forty eight okay, cool, Moving on, moving on, Okay, moving

1352
01:13:58,920 --> 01:14:01,880
on to the second last song on this album. This

1353
01:14:02,000 --> 01:14:06,079
song is called Slow and Low Let It Let.

1354
01:14:06,720 --> 01:14:07,479
Speaker 3: Go so.

1355
01:14:12,439 --> 01:14:19,399
Speaker 5: Good.

1356
01:14:23,720 --> 01:14:25,479
Speaker 1: This is the one that they sampled from Flip to

1357
01:14:25,479 --> 01:14:26,840
Switch for ac DC. Right.

1358
01:14:27,000 --> 01:14:31,399
Speaker 3: Right, So, this song was written by Run DMC and

1359
01:14:31,479 --> 01:14:34,199
it was intended for the King of Rock album, which

1360
01:14:34,239 --> 01:14:36,720
came out in eighty five. Run DMC recorded a demo

1361
01:14:36,800 --> 01:14:39,199
of it, but they decided not to include it on

1362
01:14:39,199 --> 01:14:41,800
their album, so they never did a finished track, but

1363
01:14:42,239 --> 01:14:44,920
you can hear their demo. You can hear the run

1364
01:14:45,000 --> 01:14:48,359
DMC version of Slow and Low on the expanded edition

1365
01:14:48,600 --> 01:14:50,159
of the King of Rock album that they put out

1366
01:14:50,199 --> 01:14:54,079
a couple of years ago. It's available on Spotify. You

1367
01:14:54,119 --> 01:14:54,600
can find it.

1368
01:14:54,720 --> 01:14:55,560
Speaker 2: Let's play it right here.

1369
01:14:56,239 --> 01:14:58,439
Speaker 5: Let it south Go.

1370
01:15:00,159 --> 01:15:01,920
Speaker 8: That is the boat.

1371
01:15:07,279 --> 01:15:07,960
Speaker 2: Wow, there you go.

1372
01:15:08,319 --> 01:15:10,239
Speaker 1: Different but still awesome.

1373
01:15:10,359 --> 01:15:13,119
Speaker 3: Yeah, yep. And I think that they gave it to

1374
01:15:13,119 --> 01:15:15,319
the Bacie Boys, who of course had to rewrite just

1375
01:15:15,359 --> 01:15:17,880
a couple of lines. They the bat Boys, put their

1376
01:15:17,880 --> 01:15:20,000
own name in it, and then they added the rhyme

1377
01:15:20,119 --> 01:15:22,880
about uh white Castle fries only come in one.

1378
01:15:22,720 --> 01:15:33,479
Speaker 9: Side side what get you ain't seen nothing anything.

1379
01:15:33,560 --> 01:15:38,199
Speaker 3: Everything else came from run DMC's version of the song,

1380
01:15:38,279 --> 01:15:40,560
so I think it was the right move. I think

1381
01:15:40,600 --> 01:15:42,880
it's better with the BC boys. It's better with three

1382
01:15:43,000 --> 01:15:45,960
voices doing it, I think, and the finished production from Ruben.

1383
01:15:46,000 --> 01:15:48,439
I mean, this is a song where the bass drops hard,

1384
01:15:49,960 --> 01:15:51,399
we will get gone.

1385
01:15:51,199 --> 01:15:51,520
Speaker 9: With the.

1386
01:15:55,840 --> 01:15:58,199
Speaker 5: Fresh out the botch the crowd so lot.

1387
01:16:00,960 --> 01:16:03,960
Speaker 1: It's great dynamics to what you've had because I mean,

1388
01:16:04,039 --> 01:16:07,520
you've got amazing song after amazing song after amazing song

1389
01:16:07,560 --> 01:16:10,199
that are all rocking in your face. And yes, this

1390
01:16:10,239 --> 01:16:12,439
one's still rocked, but you're right, it's that kind of

1391
01:16:12,880 --> 01:16:16,680
more subdued rock. And at this point you absolutely bought

1392
01:16:16,760 --> 01:16:20,079
in and you can take this little break from the

1393
01:16:20,199 --> 01:16:22,720
hard and go in with this more funky style.

1394
01:16:23,199 --> 01:16:25,520
Speaker 3: Yeah. I think one of the strengths of this album

1395
01:16:25,680 --> 01:16:28,039
is the sequencing to come off of Hold It Now,

1396
01:16:28,119 --> 01:16:32,279
Hit It and brass Monkey to this is a good move.

1397
01:16:32,399 --> 01:16:35,640
This was the oldest song on this album. They recorded

1398
01:16:35,640 --> 01:16:37,640
this in eighty five, so this predates Hold It Now,

1399
01:16:37,720 --> 01:16:39,560
Hit It. It was it was the first one they

1400
01:16:39,560 --> 01:16:42,640
ever did. There's something about this being released as a single.

1401
01:16:42,960 --> 01:16:45,840
I'm not sure what was different about this release. It's

1402
01:16:45,840 --> 01:16:48,960
not always listed as a single in their discography, but

1403
01:16:49,159 --> 01:16:52,439
it did get some kind of exposure in eighty five

1404
01:16:52,560 --> 01:16:54,960
prior to the album coming out. But that's all I

1405
01:16:54,960 --> 01:16:56,199
got on it before.

1406
01:16:55,880 --> 01:16:58,079
Speaker 1: We jumped to the very last song. There is a

1407
01:16:58,119 --> 01:17:00,560
song that was supposed to be on the album where

1408
01:17:00,560 --> 01:17:03,000
they had done some sort of version of I'm Down

1409
01:17:03,159 --> 01:17:06,760
by the Beatles, right, But this is interesting. It couldn't

1410
01:17:06,760 --> 01:17:09,920
make it onto the album because Michael Jackson, who had

1411
01:17:09,960 --> 01:17:13,800
bought the rights to all of the Beatles' music, said no.

1412
01:17:13,960 --> 01:17:16,800
Speaker 2: And pissed off Paul McCartney majorly. They used to be

1413
01:17:16,840 --> 01:17:19,680
friends until Michael Jackson brought up all the back Yeah

1414
01:17:19,800 --> 01:17:20,640
publishing for all.

1415
01:17:20,520 --> 01:17:22,840
Speaker 1: The Beatles songs and then told the Beastie Boys.

1416
01:17:22,560 --> 01:17:25,039
Speaker 2: No, okay. So that moves us to the last song

1417
01:17:25,399 --> 01:17:27,720
on the album. What's the time?

1418
01:17:27,800 --> 01:17:28,800
Speaker 1: It's time to get ill?

1419
01:17:29,159 --> 01:17:29,920
Speaker 2: What's the time?

1420
01:17:30,079 --> 01:17:30,760
Speaker 1: Time to get ill?

1421
01:17:30,800 --> 01:17:32,199
Speaker 3: Time to get ill lost?

1422
01:17:32,239 --> 01:17:35,880
Speaker 6: The ties to get hell wast the tie, time to

1423
01:17:35,920 --> 01:17:43,279
get hell lost? The time don a get hell?

1424
01:17:51,479 --> 01:17:53,399
Speaker 2: All right? I wanted to close it out with a bang,

1425
01:17:53,479 --> 01:17:54,520
but this one.

1426
01:17:54,239 --> 01:17:56,479
Speaker 3: For me, the star of this track is the production.

1427
01:17:56,640 --> 01:17:59,399
I love all the samples, the sampling and the scratching

1428
01:17:59,479 --> 01:18:02,640
they just this track. Of course, the interchange in the

1429
01:18:02,720 --> 01:18:05,640
voices and the contrast and the voices carries this also,

1430
01:18:05,840 --> 01:18:07,920
just like it has through the whole album. You're getting

1431
01:18:08,000 --> 01:18:11,439
Green Acres and Mister Ed and creams Water Revival all

1432
01:18:11,479 --> 01:18:15,760
at the same time.

1433
01:18:18,680 --> 01:18:26,479
Speaker 2: I Am Mister Edster.

1434
01:18:30,640 --> 01:18:36,680
Speaker 1: Fantastic album with two songs that have horses in them. Yeah,

1435
01:18:36,720 --> 01:18:39,119
the dynamics that they use on this one and the

1436
01:18:39,119 --> 01:18:42,560
crazy sampling for sure, But they have more dynamics and

1437
01:18:42,600 --> 01:18:45,199
more variation in this last song than they've had on

1438
01:18:45,279 --> 01:18:47,520
any other song on the album, and it totally knocks

1439
01:18:47,520 --> 01:18:48,119
it out of the park.

1440
01:18:48,399 --> 01:18:51,000
Speaker 2: Listen to the songs that they sample on this song. Okay,

1441
01:18:51,159 --> 01:18:53,239
I'm Gonna Love You just a Little More Baby by

1442
01:18:53,359 --> 01:18:56,439
Verry White, I Love Rock and Roll by Jone Jet,

1443
01:18:56,560 --> 01:19:00,520
That that scream That owl that's jone Jet Down on

1444
01:19:00,520 --> 01:19:04,760
the Corner by CCR green Acres, the Green Acres television

1445
01:19:04,800 --> 01:19:05,319
theme song.

1446
01:19:05,479 --> 01:19:07,159
Speaker 1: They must have been watching NI good Night when they

1447
01:19:07,239 --> 01:19:07,600
came over.

1448
01:19:08,520 --> 01:19:10,880
Speaker 2: And then they also did the Mister Ed TV theme

1449
01:19:11,039 --> 01:19:13,640
gucc you Time by Schoolly d, The Party Scene by

1450
01:19:13,720 --> 01:19:18,840
Russell Brothers, Rocket in the Pocket by Sharon Yes, Custard

1451
01:19:18,880 --> 01:19:22,279
Pie by led Zeppelin, and Nothing from Nothing by Billy Preston.

1452
01:19:22,399 --> 01:19:24,479
Speaker 1: That's a lot of samples. There's a lot of samples,

1453
01:19:24,520 --> 01:19:26,479
and I'm really glad that they finished off the album

1454
01:19:26,520 --> 01:19:29,600
with another led Zeppelin song because you got to you

1455
01:19:29,600 --> 01:19:31,319
gotta dance to the Lady that bray you man.

1456
01:19:31,760 --> 01:19:39,119
Speaker 2: Yeah. By the way, I've visited mister Ed's gravesite in Telequa, Oklahoma. Wow,

1457
01:19:39,359 --> 01:19:42,479
there is a Gravestone, says mister ed, you got anything

1458
01:19:42,520 --> 01:19:43,680
for us on this one, David.

1459
01:19:43,520 --> 01:19:45,560
Speaker 3: I don't have anything particular for the song, but it's

1460
01:19:45,600 --> 01:19:47,680
just a lot of fun. This album's over before you

1461
01:19:47,760 --> 01:19:51,680
know it. There's literally not a song to skip, and

1462
01:19:51,720 --> 01:19:55,079
it's just good. It's just good. It's fun, it's exciting.

1463
01:19:55,159 --> 01:19:58,319
Every track hits and and you just have a good

1464
01:19:58,359 --> 01:20:00,119
time where you got to smile on your face the whole.

1465
01:20:00,399 --> 01:20:02,680
Speaker 1: I agree, that's well said, you know, just a good,

1466
01:20:02,880 --> 01:20:07,800
great album front to back. And so next week we're

1467
01:20:07,800 --> 01:20:11,479
gonna be coming back with the other side of the

1468
01:20:11,560 --> 01:20:14,640
coin on this one, right, I mean, the two groups

1469
01:20:14,760 --> 01:20:19,720
that basically brought this music and this genre to it's

1470
01:20:19,920 --> 01:20:22,640
peak in the mid eighties. We're going to come back

1471
01:20:22,720 --> 01:20:27,720
with run DMC. Raisin hell excited. I'm excited, And we're

1472
01:20:27,720 --> 01:20:30,560
gonna come back with Deaf Dave again. David Wright is

1473
01:20:30,600 --> 01:20:33,000
going to be with us again to talk the history

1474
01:20:33,079 --> 01:20:37,359
of run DMC and probably Wrapped for that matter. And

1475
01:20:37,399 --> 01:20:40,319
then we're going to jump in track back back and

1476
01:20:40,520 --> 01:20:42,319
give and we're going to race him that and.

1477
01:20:42,279 --> 01:20:44,279
Speaker 2: Then we're all gonna give our final judgment.

1478
01:20:44,359 --> 01:20:46,760
Speaker 1: Right, Well, I'm gonna I'm gonna do the Wave and

1479
01:20:46,880 --> 01:20:50,479
maybe the Dolphin and probably backspin or two, and then

1480
01:20:50,520 --> 01:20:52,600
I will give my friend Dave.

1481
01:20:52,760 --> 01:20:55,600
Speaker 2: Thank you very much. We will see you next week

1482
01:20:55,760 --> 01:20:56,760
for part two.

1483
01:20:56,920 --> 01:20:59,600
Speaker 1: Dear listener, if you are have been with us this long,

1484
01:20:59,720 --> 01:21:03,159
please the follow button, Please hit the subscribe button. Check

1485
01:21:03,239 --> 01:21:07,560
us out on Twitter and Facebook at Shirley Podcast. Check

1486
01:21:07,640 --> 01:21:09,880
us out on Patreon. If you want to be a

1487
01:21:11,520 --> 01:21:15,319
member who is a subscribed contributor to our podcast, you

1488
01:21:15,359 --> 01:21:18,359
will become an executive producer and you can do that

1489
01:21:18,600 --> 01:21:21,159
for as little as five bucks a month. But by

1490
01:21:21,199 --> 01:21:24,000
all means, engage us. Tell us what your favorite track

1491
01:21:24,119 --> 01:21:27,880
is on this album on Raisin Hell, and let us

1492
01:21:27,920 --> 01:21:31,960
know what you think of these two amazing bands and albums.

1493
01:21:32,720 --> 01:21:33,640
Speaker 2: We'll see you next week.

1494
01:21:34,079 --> 01:21:36,520
Speaker 3: See you next week, alsome. Thank you guys, Thanks Dave,