1
00:00:01,040 --> 00:00:22,800
Speaker 1: This is a podcast from Minute Media. Hello everybody, and

2
00:00:22,839 --> 00:00:25,480
welcome to the Shirley You Can Be Serious Podcast. I

3
00:00:25,559 --> 00:00:28,679
am d Graves. I am here with my bow, ready

4
00:00:28,679 --> 00:00:31,519
to play on my electric guitar. We've got our special

5
00:00:31,559 --> 00:00:34,560
guest James Buckley today. He's dressed in a bright, shiny

6
00:00:34,640 --> 00:00:37,640
blue suit and we are both going to defend our

7
00:00:37,719 --> 00:00:40,759
friend Jason Colvin who was caught dancing nearly naked and

8
00:00:40,759 --> 00:00:43,079
a leotard on top of a couple of jaguars, just.

9
00:00:43,039 --> 00:00:46,159
Speaker 2: Doing a couple of back walkovers, getting ready for the

10
00:00:46,200 --> 00:00:47,679
episode on the hood of a Jaguar.

11
00:00:47,759 --> 00:00:50,600
Speaker 1: Well, guys, we are back today to go through White

12
00:00:50,640 --> 00:00:53,119
Snake track by track. If this is your first time

13
00:00:53,200 --> 00:00:55,200
joining us, I know you wanted to listen to White

14
00:00:55,240 --> 00:00:57,359
Snake the album Good News. We're going to give you

15
00:00:57,399 --> 00:01:00,799
every story behind every song on that album, and if

16
00:01:00,799 --> 00:01:02,920
you want to hear the history leading up to the

17
00:01:02,960 --> 00:01:06,760
release of this album, check out our previous episode on Whitesnake.

18
00:01:06,879 --> 00:01:10,280
Here I go again a history and today we are

19
00:01:10,359 --> 00:01:13,359
joined by our very special guest, mister James Buckley.

20
00:01:13,359 --> 00:01:16,159
Speaker 3: How you doing, James, wonderful gentlemen, how are you guys today.

21
00:01:15,879 --> 00:01:17,560
Speaker 1: Good man, We're glad to have you tell us a

22
00:01:17,560 --> 00:01:18,519
little bit about yourself.

23
00:01:18,920 --> 00:01:23,920
Speaker 3: Let's see terminally bald father husbands. During the week I

24
00:01:23,959 --> 00:01:26,000
hang out in courtrooms and wear a tie and watch

25
00:01:26,000 --> 00:01:27,879
a guy in a dress stand up and sit down. Yeah.

26
00:01:27,920 --> 00:01:30,400
On the weekends, I'm an amateur rock and roll star,

27
00:01:30,519 --> 00:01:32,400
which my wife still lets me do every now and then.

28
00:01:32,439 --> 00:01:34,640
I play in a band called Hidden Tracks, which is

29
00:01:34,680 --> 00:01:37,200
a nineties alternative rock cover band, and it's the best

30
00:01:37,239 --> 00:01:39,480
form of therapy. I've found a couple hours beating on

31
00:01:39,519 --> 00:01:41,719
the drums you feel much better about. It's about everything

32
00:01:41,719 --> 00:01:42,079
in life.

33
00:01:42,200 --> 00:01:44,000
Speaker 1: Fantastic man. Where can we see you guys play?

34
00:01:44,079 --> 00:01:46,239
Speaker 3: Well, we're not going to make it to Dallas anytime soon,

35
00:01:46,280 --> 00:01:49,239
but we'll work mostly around North Louisiana. In South Arkansas,

36
00:01:49,319 --> 00:01:51,959
I live in a place called Monroe, which actually has

37
00:01:51,959 --> 00:01:55,000
some relevance to today's topic. We have somewhat of a

38
00:01:55,079 --> 00:01:57,640
musical history. There's a guy named Lannie Wilson who's a

39
00:01:57,680 --> 00:02:00,840
studio drummer in Nashville with thousands of hoarding credits to

40
00:02:00,879 --> 00:02:03,319
his name. He's from here. Kevin Griffin from Better than

41
00:02:03,359 --> 00:02:06,200
Ezra was born and raised here. More importantly, for our

42
00:02:06,200 --> 00:02:09,120
purposes today, this is also the home of baseball player

43
00:02:09,199 --> 00:02:13,479
Chuck Finley. At some point we.

44
00:02:13,520 --> 00:02:14,680
Speaker 1: Have got to talk about him.

45
00:02:14,719 --> 00:02:15,159
Speaker 3: That's great.

46
00:02:15,199 --> 00:02:17,319
Speaker 1: Now, speaking of baseball, you were telling us just a

47
00:02:17,360 --> 00:02:21,199
minute ago that your introduction to us was our Major

48
00:02:21,280 --> 00:02:22,599
League episode. Is that right?

49
00:02:22,680 --> 00:02:25,479
Speaker 3: Yeah? My daughter and I were talking about something Joebu related,

50
00:02:25,479 --> 00:02:29,199
so I started digging around, stumbled across you guys, listen

51
00:02:29,280 --> 00:02:31,800
to the whole episode while driving around town, and was

52
00:02:31,800 --> 00:02:34,280
instantly hooked. I found the episode on the police. You know,

53
00:02:34,400 --> 00:02:37,080
Stuart Copelan's the reason I claim I played drums. So

54
00:02:37,159 --> 00:02:39,719
I was fascinated by that episode and I was hooked.

55
00:02:39,719 --> 00:02:42,280
From that point on, I started emailing you guys, harassing

56
00:02:42,280 --> 00:02:44,199
you endlessly, and now I'm kind of like one of

57
00:02:44,199 --> 00:02:50,360
those diseases white Snate members probably dealt with back in well.

58
00:02:50,479 --> 00:02:53,520
Speaker 1: Earlier today, earlier this week, Jason and I were talking

59
00:02:53,759 --> 00:02:56,199
and we were talking about you and Brad Moore. Now,

60
00:02:56,240 --> 00:02:59,319
you guys, we've got slated to join us to talk

61
00:02:59,360 --> 00:03:03,080
about some chains and STP because we're coming up on

62
00:03:03,159 --> 00:03:06,280
the thirtieth anniversary of a couple of their albums. But

63
00:03:06,439 --> 00:03:10,159
Jason's like, yeah, there are biggest longest Patreon members, And

64
00:03:10,199 --> 00:03:11,840
I said I'm sure they're gonna love it if you

65
00:03:11,879 --> 00:03:14,039
call them the biggest longest members we have.

66
00:03:15,879 --> 00:03:21,039
Speaker 3: Yeah, little Boogie Nights. Sensation brand is an excellent dude.

67
00:03:21,479 --> 00:03:23,400
Met him to his son as a friend with my daughter,

68
00:03:23,439 --> 00:03:25,240
and I'm proud to proud to know the guy.

69
00:03:25,159 --> 00:03:27,240
Speaker 1: The good good. We'll let you guys battle it out

70
00:03:27,240 --> 00:03:30,159
who's the biggest and the longest. But all right, I

71
00:03:30,240 --> 00:03:31,000
know you're a golfer.

72
00:03:31,319 --> 00:03:33,360
Speaker 4: Sure, when you hit the ball and it goes in

73
00:03:33,360 --> 00:03:34,680
the rough, it's hard to see.

74
00:03:34,800 --> 00:03:35,879
Speaker 1: It is so hard to find.

75
00:03:36,000 --> 00:03:37,520
Speaker 4: It's not cool when it's in the rough.

76
00:03:37,680 --> 00:03:39,120
Speaker 1: Nobody wants a bunch of rough around there.

77
00:03:39,159 --> 00:03:41,120
Speaker 4: You want it in the fair way and you want

78
00:03:41,159 --> 00:03:43,159
it cleaned up so you can see the ball at

79
00:03:43,159 --> 00:03:43,639
all times.

80
00:03:43,800 --> 00:03:46,199
Speaker 1: Right, the smoother it is, the easier it is to see.

81
00:03:46,360 --> 00:03:49,759
Speaker 4: That reminds me of our sponsor, Manscape dot com.

82
00:03:49,840 --> 00:03:53,159
Speaker 1: Oh yeah, manscape dot com. They have got incredibly good products.

83
00:03:53,159 --> 00:03:56,199
They've sent us some and we're both totally amazed by

84
00:03:56,199 --> 00:03:56,680
what they can do.

85
00:03:56,800 --> 00:03:58,840
Speaker 4: We've tried the weed whacker, we've tried the lawnmower. They've

86
00:03:58,840 --> 00:04:01,319
got some great stuff over there at manscape dot com.

87
00:04:01,360 --> 00:04:03,680
Speaker 1: You know, if you feel a little bit nervous about

88
00:04:03,719 --> 00:04:07,800
getting clippers underneath. Say you know the Adams Apple. Hey,

89
00:04:07,879 --> 00:04:10,680
that's okay. They've got products to clean up that nosehair,

90
00:04:10,719 --> 00:04:12,680
which I mean, I know you guys have talked to

91
00:04:12,719 --> 00:04:15,639
people with the nosehair that's just dangling out of the

92
00:04:15,680 --> 00:04:18,639
nose and it's an absolute distraction. Don't be one of

93
00:04:18,639 --> 00:04:20,920
those guys. They've got the weed whacker that'll help you

94
00:04:20,959 --> 00:04:23,000
out with that. And then once you feel secure about

95
00:04:23,000 --> 00:04:25,879
how awesome these products are, you can feel a little

96
00:04:25,879 --> 00:04:28,759
more comfortable about heading south of the border and taking

97
00:04:28,800 --> 00:04:32,480
care of the unsightly rough that is hiding your balls.

98
00:04:32,519 --> 00:04:35,519
Speaker 4: Take care of your roughfellas, it's just the right thing

99
00:04:35,560 --> 00:04:37,800
to do. Head over to manscape dot com, use the

100
00:04:37,800 --> 00:04:40,439
promo code Serious twenty and you'll save twenty percent on

101
00:04:40,439 --> 00:04:41,040
all the products.

102
00:04:41,160 --> 00:04:43,759
Speaker 1: Guys. Don't forget it's easier to see a giraffe on

103
00:04:43,759 --> 00:04:46,920
the plane than it is in the forest. Okay, that's good,

104
00:04:47,120 --> 00:04:50,360
that's really well. Hey, speaking of that, everybody, if you,

105
00:04:50,839 --> 00:04:53,720
dear listener, would like to be one of our Patreon subscribers,

106
00:04:53,720 --> 00:04:56,800
it's super easy. You just go over to patreon dot com,

107
00:04:56,800 --> 00:05:02,319
Backslash Surely Podcast. That's su our el y podcast and

108
00:05:02,399 --> 00:05:04,399
for as little as five bucks month. Number one, you

109
00:05:04,399 --> 00:05:06,800
can become an executive producer of one of our episodes.

110
00:05:06,839 --> 00:05:09,720
But number two you get to listen in to our

111
00:05:09,759 --> 00:05:13,319
super secret nobody knows it but our Patreons episodes. And

112
00:05:13,560 --> 00:05:16,399
we have just started doing that this past month in June,

113
00:05:16,399 --> 00:05:17,879
and we're going to have a new one in July.

114
00:05:18,040 --> 00:05:20,360
But we are covering the one hit wonders of the

115
00:05:20,399 --> 00:05:21,240
eighties and beyond.

116
00:05:21,360 --> 00:05:21,720
Speaker 3: That's right.

117
00:05:21,759 --> 00:05:24,199
Speaker 2: We did the Buggles video Kid the Radio Star in

118
00:05:24,279 --> 00:05:26,720
our first one. This month, we're doing Frankie Goes to Hollywood.

119
00:05:26,759 --> 00:05:29,360
We're doing Relax. Yeah, and we've got some exciting things

120
00:05:29,360 --> 00:05:30,639
that you can do the higher you go up in

121
00:05:30,680 --> 00:05:33,000
the scale. So check us out on patreon dot com.

122
00:05:33,079 --> 00:05:35,160
Sign up today. We got a new one as a

123
00:05:35,160 --> 00:05:36,040
matter of fact this week.

124
00:05:36,240 --> 00:05:39,800
Speaker 1: Yeah, we are executive producer for this particular episode. Is

125
00:05:39,839 --> 00:05:43,199
our newest Patreon. Remember his name is Chad Briggs. Chad,

126
00:05:43,240 --> 00:05:45,120
thank you for hitting us up. Thank you for the support.

127
00:05:45,199 --> 00:05:47,319
We can't tell you how much we appreciate it. Chad

128
00:05:47,360 --> 00:05:49,879
and I exchanged a few emails and we came up

129
00:05:49,879 --> 00:05:52,480
with the idea for Tron versus wargames I think that's

130
00:05:52,480 --> 00:05:54,439
going to be a fantastic one. Guy shows up and

131
00:05:54,519 --> 00:05:56,560
drops a great matchup right off the bat. Also, he

132
00:05:56,639 --> 00:05:59,160
mentioned this is this is my favorite part. He mentioned

133
00:05:59,199 --> 00:06:03,120
that the Sweetish military crush is really hard on dirty dancing.

134
00:06:03,360 --> 00:06:09,319
Speaker 5: I'm really curious Swedish military. Swedish military really really likes

135
00:06:09,360 --> 00:06:12,560
strty dancing. I don't know how a movie targeting young

136
00:06:12,600 --> 00:06:13,879
teenage girls.

137
00:06:13,519 --> 00:06:16,920
Speaker 1: Somehow ended up as a favorite of the Swedish military,

138
00:06:16,959 --> 00:06:17,879
but that's if.

139
00:06:17,800 --> 00:06:20,680
Speaker 2: You are in the Swedish military. Please hit us up

140
00:06:20,720 --> 00:06:21,839
on Facebook.

141
00:06:21,480 --> 00:06:23,199
Speaker 3: Or the Swedish Bikini Swim Team.

142
00:06:23,720 --> 00:06:26,720
Speaker 1: Anyway, either way, and guys, if you are not financially

143
00:06:26,759 --> 00:06:29,319
in the position to become one of our Patreon members,

144
00:06:29,360 --> 00:06:32,519
no problem. Just go over to whatever your favorite podcast

145
00:06:32,639 --> 00:06:36,000
app is and hit that five star review for us.

146
00:06:36,079 --> 00:06:38,480
And if you want to leave a review that happens

147
00:06:38,519 --> 00:06:41,000
to mention a topic that we've talked about, we'll put

148
00:06:41,040 --> 00:06:44,360
you in a contest to win an awesome custom engraved tumbler.

149
00:06:44,560 --> 00:06:47,560
James has one of those, I believe, and we have

150
00:06:47,639 --> 00:06:50,000
a new review that Jason, why don't you read that

151
00:06:50,040 --> 00:06:50,399
one for us?

152
00:06:50,439 --> 00:06:50,600
Speaker 3: Yeah?

153
00:06:50,639 --> 00:06:52,839
Speaker 2: Okay, so we got a five star review from our

154
00:06:52,879 --> 00:06:55,720
friend named m N Guy fifty five.

155
00:06:55,839 --> 00:06:58,160
Speaker 1: So MN Guy fifty five, Hit us up on Twitter,

156
00:06:58,319 --> 00:07:00,639
hit us up on Facebook, send us an email at

157
00:07:00,720 --> 00:07:03,360
Shirleypodcast at gmail dot com, and let us know who

158
00:07:03,360 --> 00:07:05,279
you are. That's right. If you're D's grandma, we definitely

159
00:07:05,279 --> 00:07:07,240
want to know that, all right. So here's what it says.

160
00:07:07,279 --> 00:07:11,199
Speaker 2: Five stars childhood nostalgia at its best. This is a

161
00:07:11,319 --> 00:07:13,439
must subscribe for anyone who grew up in the eighties.

162
00:07:13,480 --> 00:07:15,720
It's such a great miss of music and film that

163
00:07:15,759 --> 00:07:18,079
it seems to touch on every weekend of my nineteen

164
00:07:18,120 --> 00:07:19,959
eighties life, and those were the best times. All the

165
00:07:20,000 --> 00:07:22,079
episodes are home runs, even the ones that I'm not

166
00:07:22,160 --> 00:07:24,240
interested at the outset. It's been great to go back

167
00:07:24,240 --> 00:07:26,040
and watch a lot of the movies discussed with my

168
00:07:26,160 --> 00:07:28,079
late teenage boys, so that I get to share the

169
00:07:28,120 --> 00:07:29,920
best parts of my teenage years with them. I'm so

170
00:07:30,040 --> 00:07:31,839
glad that I found this podcast and I love sharing

171
00:07:31,879 --> 00:07:34,519
it with friends and then reminiscing with them each week.

172
00:07:34,759 --> 00:07:37,600
Speaker 1: Number one, thank you MN Guy fifty five for that

173
00:07:37,680 --> 00:07:40,560
awesome review. And that actually is that's how James hit

174
00:07:40,639 --> 00:07:42,319
us up. That's how he found us. We do PG

175
00:07:42,439 --> 00:07:46,439
thirteen episodes that people can listen to with their teenage children.

176
00:07:46,560 --> 00:07:49,240
Speaker 2: Hearing people being able to go back and listen and

177
00:07:49,439 --> 00:07:51,720
see stuff with their kids. I mean, that's that's awesome.

178
00:07:51,759 --> 00:07:52,560
That's what we want to do.

179
00:07:52,720 --> 00:07:55,439
Speaker 1: Absolutely awesome. And James just mentioned he came to us

180
00:07:55,519 --> 00:07:58,319
through the Major League episode a Major League we did

181
00:07:58,480 --> 00:08:02,240
as a comparison to Bold. Last week, we talked about

182
00:08:02,360 --> 00:08:06,439
the factors involved in the success of this White Snake album.

183
00:08:06,600 --> 00:08:09,360
And obviously David Coverdale is one of them, right, and

184
00:08:09,439 --> 00:08:12,040
obviously John Sykes is one of them. Yeah, but you've

185
00:08:12,079 --> 00:08:14,839
got some non musicians that are key factors in this one.

186
00:08:14,879 --> 00:08:17,279
And Jason, you hit me with a nugget of wisdom

187
00:08:17,319 --> 00:08:18,360
that I thought was on point.

188
00:08:18,439 --> 00:08:20,839
Speaker 2: Okay, So I called you last week and I said, listen,

189
00:08:20,920 --> 00:08:23,600
as we're breaking down the players involved in the White

190
00:08:23,600 --> 00:08:26,439
Snake rise to fame, I'm like, this is a retelling

191
00:08:26,480 --> 00:08:31,959
the bull Deram. You've got John Kalodner, who's clearly the coach, right, Okay,

192
00:08:32,080 --> 00:08:32,759
he's the coach.

193
00:08:33,039 --> 00:08:33,279
Speaker 1: Huh.

194
00:08:33,360 --> 00:08:35,879
Speaker 2: You've got John Sykes, who's clearly crashed Davis.

195
00:08:36,000 --> 00:08:36,519
Speaker 1: He's the guy.

196
00:08:36,720 --> 00:08:38,960
Speaker 2: He's in the trenches with him. He doesn't like him,

197
00:08:38,960 --> 00:08:40,600
but he's helping him. Make it to the big time.

198
00:08:40,720 --> 00:08:44,600
Speaker 1: David Coverdale is nuke leloosh. You're saying that God reached

199
00:08:44,679 --> 00:08:48,240
his hand down and touched David Coverdale's voice.

200
00:08:48,240 --> 00:08:53,320
Speaker 2: Absolulutely, and he's screwing around with his quadrophonic wolpunk and

201
00:08:53,360 --> 00:08:56,159
he needs some help to get to the big time.

202
00:08:56,519 --> 00:08:57,480
Speaker 1: And so who do they get?

203
00:08:57,519 --> 00:09:00,399
Speaker 2: They get Kallaidner to help coach him, They get Sykes

204
00:09:00,399 --> 00:09:03,240
to help guide him, and his Annie Savoy in this

205
00:09:03,279 --> 00:09:07,240
whole deal is clearly the lovely Tonni Katain.

206
00:09:08,200 --> 00:09:11,240
Speaker 1: Now there's an interesting comparison, Susan Sarandon in a tight

207
00:09:11,279 --> 00:09:13,799
skirt versus Tonny Katain and a tight skirt. I don't

208
00:09:13,799 --> 00:09:15,399
know which way I'm going to vote on that One's

209
00:09:15,639 --> 00:09:17,759
that's a tough call. What do you think, James Coverdale

210
00:09:17,799 --> 00:09:19,840
nuk lulush, Tony Katay, Andy Savoy?

211
00:09:19,919 --> 00:09:21,519
Speaker 3: Can you see it? I can see it? But are

212
00:09:21,559 --> 00:09:23,559
you saying Joe bu can't help with the carve ball?

213
00:09:25,000 --> 00:09:27,440
Speaker 1: Just as a quick recap of our last episode, Guys,

214
00:09:27,480 --> 00:09:29,519
if this is your first time listening, the lead up

215
00:09:29,519 --> 00:09:32,360
to this album is pretty incredible. They put together almost

216
00:09:32,399 --> 00:09:36,159
an entirely new band to make this album. John Sykes

217
00:09:36,200 --> 00:09:38,799
and David Coverdale get together, They write the album, they

218
00:09:38,840 --> 00:09:42,600
record the music, except for Coverdale doesn't record the vocals,

219
00:09:42,840 --> 00:09:45,320
and it goes on for two years without him recording

220
00:09:45,320 --> 00:09:48,759
the vocals, at which time Sikes is getting upset. The producer,

221
00:09:48,879 --> 00:09:51,240
Mike Stone is getting upset, and there's a little bit

222
00:09:51,279 --> 00:09:53,240
of talk about maybe we need to find somebody else

223
00:09:53,279 --> 00:09:55,840
to sing this album. Well, obviously that this is David

224
00:09:55,840 --> 00:09:58,399
Coverdale off and so he's ready to get rid of everybody.

225
00:09:58,399 --> 00:09:59,919
And I'm not going to say that he was a cow,

226
00:10:00,320 --> 00:10:02,639
but like, I'm pretty sure that the bass player and

227
00:10:02,720 --> 00:10:05,399
the drummer got there notice that they weren't going to

228
00:10:05,399 --> 00:10:08,840
be in the band anymore when they stopped getting checks. Yeah, exactly.

229
00:10:08,879 --> 00:10:10,919
They of course are now trying to hunt down new

230
00:10:10,960 --> 00:10:13,519
members of the band. John Sykes is the last one there.

231
00:10:13,559 --> 00:10:16,120
He knows what's going on, but he's overseas like he's

232
00:10:16,240 --> 00:10:19,120
separate from them. But he's like, do I finish? Do

233
00:10:19,240 --> 00:10:19,840
I quit?

234
00:10:19,960 --> 00:10:20,159
Speaker 3: Now?

235
00:10:20,240 --> 00:10:22,559
Speaker 1: What do I do? He decides to push on through,

236
00:10:22,840 --> 00:10:26,360
but David Coverdale ultimately calls him and says, hey, sorry, dude,

237
00:10:26,399 --> 00:10:28,600
this isn't going to work out. Well, here's something that

238
00:10:28,639 --> 00:10:30,879
I just found out I didn't know found this out. Today.

239
00:10:30,960 --> 00:10:34,519
We mentioned John Klaudner putting together his new all star band,

240
00:10:34,559 --> 00:10:37,799
the band that we all know as Whitesnake because we

241
00:10:37,879 --> 00:10:40,039
watched all of videos back in the eighties when we

242
00:10:40,039 --> 00:10:42,720
were kids. That's the band that John Kladner puts together.

243
00:10:42,799 --> 00:10:44,679
And one of the guys that he calls up is

244
00:10:44,720 --> 00:10:47,639
a guy named Adrian Vanderberg. Here's what I did not know.

245
00:10:47,799 --> 00:10:51,320
Adrian Vanderberg did the guitar solo for Here I Go Again.

246
00:10:51,440 --> 00:10:54,279
On the album version. We talked about how none of

247
00:10:54,320 --> 00:10:56,799
those guys were actually playing on the album. That is

248
00:10:56,879 --> 00:11:00,279
not correct. Adrian Vanderberg actually did the solo. So he

249
00:11:00,320 --> 00:11:03,600
shows up to John Kallodner's office and John Kladner's like, okay,

250
00:11:03,679 --> 00:11:05,759
you got this band, but I also kind of am

251
00:11:05,799 --> 00:11:08,559
interested in having you play with White Snake. He's like, oh,

252
00:11:08,600 --> 00:11:10,799
White Snake would be really great. And so he's like, well,

253
00:11:10,799 --> 00:11:13,120
I'll tell you what. There's a solo that John Sykes

254
00:11:13,120 --> 00:11:17,039
did for Here I Go Again. Sounds like metal country western.

255
00:11:17,200 --> 00:11:19,759
We need a new guitar solo, and so he sends

256
00:11:19,960 --> 00:11:23,559
Adrian Vandenberg over to the studio to put together a

257
00:11:23,600 --> 00:11:26,399
new solo for this song, And so Adrian Vandenberg is

258
00:11:26,399 --> 00:11:30,639
in there and he's bought this cheap Japanese strat knockoff

259
00:11:30,799 --> 00:11:33,360
and he's noodling away in the studio trying to figure

260
00:11:33,360 --> 00:11:35,919
something out. All of a sudden, he's here's a commotion

261
00:11:36,159 --> 00:11:39,799
outside of his little studio recording area. Voices are starting

262
00:11:39,799 --> 00:11:42,679
to escalate, and you know, David Coverdale's got his studio

263
00:11:42,799 --> 00:11:45,519
voice on, so it's super loud. So he peeks out

264
00:11:45,559 --> 00:11:48,879
the door and sure enough, John Sykes has flown back

265
00:11:49,320 --> 00:11:53,799
and is confronting David Coverdale to his face about what

266
00:11:53,840 --> 00:11:57,559
the heck you do? And so Adrian VanderBurg slowly closes

267
00:11:57,600 --> 00:12:01,360
the door back again, goes back to his cheap Japanese

268
00:12:01,600 --> 00:12:06,639
knockoff stratocaster with that cheap guitar. While there is extreme

269
00:12:06,720 --> 00:12:09,799
fighting going on in the other room, he records one

270
00:12:09,840 --> 00:12:28,279
of the most memorable guitar solos in history.

271
00:12:31,799 --> 00:12:34,679
Speaker 2: Wow, that is a great story, man, by the way,

272
00:12:35,120 --> 00:12:36,279
I mean, that's a fantastic story.

273
00:12:36,279 --> 00:12:37,039
Speaker 1: I don't want to kill that.

274
00:12:37,120 --> 00:12:41,320
Speaker 2: Do you know why David Codell could not sing? Why

275
00:12:41,759 --> 00:12:43,879
his shockers were jammed and he couldn't breathe out of

276
00:12:43,919 --> 00:12:44,600
his right highlight?

277
00:12:50,960 --> 00:12:52,480
Speaker 1: Bring some fried chicken. There you go.

278
00:12:52,600 --> 00:12:55,000
Speaker 2: Before we get to track by track, I just want

279
00:12:55,000 --> 00:12:56,720
to do a quick overview of this album.

280
00:12:56,799 --> 00:12:57,919
Speaker 1: James, did you own this album?

281
00:12:57,960 --> 00:13:00,960
Speaker 3: Yeah? This was the summer between my senior years in

282
00:13:01,039 --> 00:13:03,279
high school. You could not cruise the streets of North

283
00:13:03,279 --> 00:13:05,720
Louisiana without having a copy of this somewhere on board.

284
00:13:06,399 --> 00:13:09,200
I actually saw White Snake with the video version of

285
00:13:09,240 --> 00:13:11,600
the band on tour that summer with Motley Crue and

286
00:13:11,639 --> 00:13:15,440
they were mind blowingly good. This was the Vivian Campbell,

287
00:13:16,000 --> 00:13:19,759
Adrian VanderBurg, Tommy Aldridge, Rudy sarzo version, and they were amazing.

288
00:13:20,320 --> 00:13:22,600
Speaker 1: You told me that they blew Molly cru up the stage.

289
00:13:22,879 --> 00:13:25,519
Speaker 3: That was my impression. I mean, they were saw such.

290
00:13:25,559 --> 00:13:28,120
These were all seasoned pros. Tommy Aldridge have been playing

291
00:13:28,120 --> 00:13:31,679
with people since Black O'carkansas in the seventies. Rudy Sarzegen

292
00:13:31,679 --> 00:13:34,159
was quiet right, and Ozzy Osbourne and the Randy Road

293
00:13:34,279 --> 00:13:36,639
years as had Tommy Aldridge as well. So these were

294
00:13:36,639 --> 00:13:38,679
all pros in top form at the time.

295
00:13:38,840 --> 00:13:42,039
Speaker 2: I told you that they played Oklahoma City in nineteen

296
00:13:42,080 --> 00:13:43,960
eighty seven and the next night.

297
00:13:43,960 --> 00:13:46,399
Speaker 1: They played Treeport. That's the show you saw right.

298
00:13:46,600 --> 00:13:50,000
Speaker 3: Why first nineteen eighty seven, I think, wow, they had

299
00:13:50,000 --> 00:13:52,600
the merchandise booth outside and they had a cool white

300
00:13:52,600 --> 00:13:55,080
snake shirt had the logo in front on the backhead

301
00:13:55,120 --> 00:13:57,120
all the tour days. I had to have one. So

302
00:13:57,159 --> 00:13:59,039
I just told him my size, handed them my twenty

303
00:13:59,039 --> 00:14:01,399
bucks and walked away ahead. Man didn't pay any attention.

304
00:14:01,600 --> 00:14:04,639
School starts. Yeah, about a month and a half later,

305
00:14:04,720 --> 00:14:07,039
and I grabbed my white snake T shirt for some reason.

306
00:14:07,080 --> 00:14:08,799
I hadn't worn it much during the summer, and I

307
00:14:08,879 --> 00:14:11,080
go to school enjoying my day, you know, running my

308
00:14:11,080 --> 00:14:15,000
hands to my luxurious hair. And my principal, who was

309
00:14:15,080 --> 00:14:17,399
also a deacon at my church, and he's a wonderful

310
00:14:17,399 --> 00:14:20,440
godly man in inspiration to us all. He did not

311
00:14:20,519 --> 00:14:23,279
approve of my T shirt because I hadn't realizing on

312
00:14:23,320 --> 00:14:26,159
the back above the tour dates it said white snake.

313
00:14:26,600 --> 00:14:29,679
Whip it out, wipe it off, and slide it in again.

314
00:14:31,120 --> 00:14:34,879
That was not appropriate. I'm not had a long sleeve

315
00:14:34,919 --> 00:14:36,600
shirt in my car. So here I am in late

316
00:14:36,639 --> 00:14:40,879
August wearing a long sleeved shirt over a black white snap. Yeah.

317
00:14:40,879 --> 00:14:43,159
So that'll teach me to read T shirt more closely.

318
00:14:43,200 --> 00:14:44,399
Before I buy them in the future.

319
00:14:44,679 --> 00:14:46,559
Speaker 1: Let me guess that made it back to your mom.

320
00:14:47,200 --> 00:14:51,679
Speaker 3: Yeah, and she'll probably hear it again be reminded of

321
00:14:51,720 --> 00:14:54,080
that and chew me out. But that's okay. I learned,

322
00:14:54,120 --> 00:14:54,840
I learned a less.

323
00:14:54,960 --> 00:14:57,600
Speaker 2: So this album went eight times platinum in the US,

324
00:14:57,879 --> 00:15:01,360
twenty million worldwide. I mean I've always called this album

325
00:15:01,440 --> 00:15:02,320
nineteen eighty seven.

326
00:15:02,360 --> 00:15:04,080
Speaker 1: Well that's what they called it in the UK. I mean,

327
00:15:04,080 --> 00:15:06,879
we got two different distributors for this album. In the

328
00:15:07,000 --> 00:15:09,759
US and Canada, you had Deafen Records, but it was

329
00:15:09,840 --> 00:15:13,279
EMI over in Europe, and so in Europe and in

330
00:15:13,279 --> 00:15:15,720
Australia they called this album nineteen eighty seven, and in

331
00:15:15,799 --> 00:15:17,679
Japan it's called surpus Albus.

332
00:15:17,799 --> 00:15:19,559
Speaker 3: Yeah, that sounds like something in here in the NC

333
00:15:19,759 --> 00:15:22,080
seventeen Harry Potter movie.

334
00:15:23,120 --> 00:15:26,240
Speaker 1: So not only did this album do amazing on the charts,

335
00:15:26,399 --> 00:15:29,039
but slide it in which hadn't been out. I mean

336
00:15:29,080 --> 00:15:31,279
it came out in what eighty four, yep, just three

337
00:15:31,360 --> 00:15:34,919
years later. It went from gold to double platinum in

338
00:15:35,000 --> 00:15:37,320
eighty seven. After the success of this album, I went

339
00:15:37,360 --> 00:15:39,240
back and bought it. Yeah, well, and it's got some

340
00:15:39,279 --> 00:15:39,879
great stuff.

341
00:15:40,080 --> 00:15:42,159
Speaker 2: I told you that my buddy on the bus, let

342
00:15:42,240 --> 00:15:44,600
me listen to his Slide It In. Yeah, so I

343
00:15:44,759 --> 00:15:47,480
took my lawnmowing money and bought nineteen eighty seven and

344
00:15:47,559 --> 00:15:48,480
slightly Nice.

345
00:15:48,600 --> 00:15:50,879
Speaker 3: I tried to buy Slide It In. I was fourteen

346
00:15:50,919 --> 00:15:53,080
at the time, but my mom did not approve of

347
00:15:53,120 --> 00:15:54,879
the title, so I tried to explain through it just

348
00:15:54,879 --> 00:15:57,039
you know, the mechanical act of putting the cassette in

349
00:15:57,039 --> 00:16:01,559
the player. Once again, that did not fly. So but

350
00:16:01,759 --> 00:16:03,720
I love that. I love that album. That was my

351
00:16:03,799 --> 00:16:07,559
first exposure to Whitesnake. I remember the video for Slow

352
00:16:07,600 --> 00:16:10,320
and Easy on Friday Night Videos. I'd already started oning

353
00:16:10,320 --> 00:16:12,480
to play drums because of Stuart Copeland. But the second

354
00:16:12,480 --> 00:16:14,960
I saw Cozy Powell's fist catch that drumstick in the

355
00:16:15,039 --> 00:16:18,039
video and started playing that big uh yeah, that was fucked.

356
00:16:18,200 --> 00:16:20,159
So but when this album came out in eighty seven,

357
00:16:20,399 --> 00:16:23,080
I was primed, but I didn't anticipate how much I

358
00:16:23,159 --> 00:16:24,759
was going to love it still do. As a matter

359
00:16:24,799 --> 00:16:25,639
of fact, for those.

360
00:16:25,519 --> 00:16:28,360
Speaker 1: Of you who don't have the benefit of seeing James

361
00:16:28,399 --> 00:16:31,639
right now, he's literally has his drumsticks in his hands.

362
00:16:32,440 --> 00:16:34,720
It's a little security blanket for you. While we've recorded

363
00:16:34,720 --> 00:16:36,399
the podcast, I'm guessing pretty much.

364
00:16:36,519 --> 00:16:40,679
Speaker 2: Yeah, this album never hit number one, but just listen

365
00:16:40,720 --> 00:16:43,799
to this history of the Billboard Hot two hundred. Okay,

366
00:16:43,879 --> 00:16:47,679
so it reached number two on June thirteenth, nineteen eighty seven,

367
00:16:47,879 --> 00:16:49,200
just after my fourteenth bart.

368
00:16:49,080 --> 00:16:49,720
Speaker 1: Can I interrupt?

369
00:16:49,840 --> 00:16:50,080
Speaker 3: Yes?

370
00:16:50,279 --> 00:16:53,000
Speaker 1: So at that point when it hit number two in June,

371
00:16:53,080 --> 00:16:55,279
here is here are the ones that were behind it.

372
00:16:55,320 --> 00:16:56,879
You too is in the number one spot with Josh

373
00:16:56,919 --> 00:16:59,799
for Tree, right, okay, But just as an idea of

374
00:16:59,840 --> 00:17:03,440
how how prevalent glam hair metal rock was at that moment,

375
00:17:03,960 --> 00:17:07,079
Number two is White Snake nineteen eighty seven. Number three

376
00:17:07,240 --> 00:17:10,359
is Girls Girls Girls by Motley Crue. Number four is

377
00:17:10,400 --> 00:17:13,799
Slippery When Wet by bon Jovi, number five is Look

378
00:17:13,839 --> 00:17:16,759
What the Cat Dragged In by Poison, and number six

379
00:17:16,960 --> 00:17:19,839
is Ozzy Osbourne and Randy Roads Tribute. I mean, it

380
00:17:20,200 --> 00:17:24,559
was the summer of hair metal and it was awesome.

381
00:17:25,440 --> 00:17:28,200
That sounds like a surely showcase list right there.

382
00:17:28,200 --> 00:17:30,200
Speaker 3: I'm trying to think in that period of time you

383
00:17:30,200 --> 00:17:32,599
could see those guys in concert, I mean in shreet board.

384
00:17:32,640 --> 00:17:35,839
I've seen White Snake, Motley Crue, Poison, David Lee, Ross

385
00:17:35,839 --> 00:17:38,079
S Durell man, you will never have a time like

386
00:17:38,119 --> 00:17:39,359
that again, I don't think.

387
00:17:39,240 --> 00:17:39,880
Speaker 1: So listen to this.

388
00:17:39,960 --> 00:17:42,720
Speaker 2: So they hit number two June thirteenth, nineteen eighty seven.

389
00:17:42,720 --> 00:17:44,359
They were blocked by the Joshua Tree.

390
00:17:44,400 --> 00:17:44,720
Speaker 3: You two.

391
00:17:44,920 --> 00:17:46,319
Speaker 1: If you remember, we've.

392
00:17:46,160 --> 00:17:48,119
Speaker 2: Done the track by track on night, go back and

393
00:17:48,160 --> 00:17:50,640
listen to that, and then just listen as we go

394
00:17:50,680 --> 00:17:52,960
through nineteen eighty seven. The next week there number two,

395
00:17:53,119 --> 00:17:56,119
then number four. That's the week that Whitney Houston hits

396
00:17:56,200 --> 00:18:01,079
number one with her second album. That blocks Girls, Girls, Girls,

397
00:18:01,119 --> 00:18:04,160
and White Snake for that matter. The Nikky six swears

398
00:18:04,279 --> 00:18:07,000
they outsold Whitney Houston's album, but they got the shaft

399
00:18:07,079 --> 00:18:09,359
by the record company cook the books. We'll talk about

400
00:18:09,359 --> 00:18:11,799
that next week. So this is their chart history. Two

401
00:18:12,039 --> 00:18:18,359
two four four five three four three three three two three.

402
00:18:17,920 --> 00:18:22,640
Speaker 1: Blocked by La Bamba two three four two four four three.

403
00:18:22,880 --> 00:18:25,200
Speaker 2: Week after week after week they're in the top five

404
00:18:25,240 --> 00:18:28,039
of top five, top five, top five. They don't fall

405
00:18:28,079 --> 00:18:31,759
to number six until January of nineteen eighty eight. That

406
00:18:31,920 --> 00:18:34,160
is a crap ton of albums that they're selling.

407
00:18:34,599 --> 00:18:34,920
Speaker 1: Wow.

408
00:18:35,079 --> 00:18:37,720
Speaker 2: Albums come and go, but this stayed in the top

409
00:18:37,720 --> 00:18:39,279
five for nearly a year.

410
00:18:39,359 --> 00:18:41,079
Speaker 1: Okay, are we ready to go track by track more

411
00:18:41,119 --> 00:18:44,279
than gentlemen. Okay. The first song out of the Gate

412
00:18:44,440 --> 00:18:47,000
is incredible. It's a song called Crying in the.

413
00:18:47,039 --> 00:18:57,000
Speaker 6: Ring, Long Lady's burning with a fevers Ladies lonly in

414
00:18:57,079 --> 00:19:03,519
the night, go crazy with the thoughts of retroduction.

415
00:19:12,440 --> 00:19:14,480
Speaker 1: Day's wailing on the drums on this one man.

416
00:19:14,759 --> 00:19:18,000
Speaker 3: Okay, this album, I consider this one of the best

417
00:19:18,000 --> 00:19:21,240
recorded rock drum performances of the eighties. And this track

418
00:19:21,400 --> 00:19:24,759
I think has probably Angsley Dunbar's best performance on the album.

419
00:19:24,880 --> 00:19:27,400
It's amazing from just from a drumming perspective, but on

420
00:19:27,440 --> 00:19:30,759
top of that you've got Sykes shredding away like nobody's business,

421
00:19:30,839 --> 00:19:33,960
David Boyce wailing in top form. Just an amazing song.

422
00:19:34,079 --> 00:19:37,079
Speaker 1: Now, this song was one of the songs that came

423
00:19:37,119 --> 00:19:39,559
from an old album, right this is this is one

424
00:19:39,559 --> 00:19:40,680
from back in their blues day.

425
00:19:40,720 --> 00:19:41,680
Speaker 2: This is Satsan Sinners.

426
00:19:41,759 --> 00:19:42,039
Speaker 3: Yeah.

427
00:19:42,039 --> 00:19:44,440
Speaker 1: And when I when I listen to the song, I'm like,

428
00:19:44,480 --> 00:19:46,519
I can tell the blues like this is that this

429
00:19:46,599 --> 00:19:50,039
is that bluesy No, it's that call and answer that

430
00:19:50,079 --> 00:19:52,640
you get with the blues. But they gear up the

431
00:19:52,799 --> 00:19:55,839
music and they've got that guitar sound I didn't know

432
00:19:55,880 --> 00:19:58,640
this until the day either. The guitar sound that John

433
00:19:58,680 --> 00:20:02,119
Sykes has on this album he got from mister Bob Rock.

434
00:20:02,440 --> 00:20:06,759
Bob Rock came over and programmed his equipment in order

435
00:20:06,799 --> 00:20:10,599
to get him this totally killer sound. So you've got

436
00:20:10,599 --> 00:20:14,799
this blues e riff and this bluesy vocal, but then

437
00:20:14,960 --> 00:20:18,680
after that starts, you've got an almost black sabbath.

438
00:20:18,319 --> 00:20:31,640
Speaker 7: Like riff that goes along with it.

439
00:20:31,680 --> 00:20:35,559
Speaker 1: So you've got blues and heavy metal jammed together with

440
00:20:35,640 --> 00:20:39,000
a voice like Robert Plant and you're just like, holy cow,

441
00:20:39,200 --> 00:20:40,440
I got a good album to bad.

442
00:20:40,519 --> 00:20:42,960
Speaker 2: This is one of those that John Kladner's like, this

443
00:20:43,000 --> 00:20:46,039
is a great song. It's not produced well, it's not

444
00:20:46,200 --> 00:21:16,920
played well, let's do it right and put it on

445
00:21:16,920 --> 00:21:20,359
this album. And David Coverdelle resisted that at first, and

446
00:21:20,519 --> 00:21:22,319
finally when they talked him into Crying in the Rain,

447
00:21:22,400 --> 00:21:24,200
He's like, well, crap, if I'm gonna do Crying in

448
00:21:24,240 --> 00:21:26,440
the Rain, then let's do here I go again as well.

449
00:21:26,519 --> 00:21:31,000
Speaker 1: And was that inspired or what? My goodness? Yeah, greatest

450
00:21:31,000 --> 00:21:32,640
decision of the album for sure.

451
00:21:32,839 --> 00:21:35,000
Speaker 2: The funny thing to me is that John Sykes hated

452
00:21:35,000 --> 00:21:39,680
blues right yeah, and he made this blues song into

453
00:21:39,720 --> 00:21:40,359
a rocker.

454
00:21:40,480 --> 00:21:42,480
Speaker 3: You know. John started off playing with a new wave

455
00:21:42,519 --> 00:21:46,319
of a British heavy metal band called Tiger's a pent Tank. Yeah,

456
00:21:46,599 --> 00:21:48,960
more of a motorhead riffy vibe going, and then he

457
00:21:49,000 --> 00:21:51,279
went into Finn Lizzy. If you listen to Finn Lizzy's

458
00:21:51,279 --> 00:21:53,640
Thunder and Lightning album, it's the heaviest album in the

459
00:21:53,640 --> 00:21:56,160
band's career and that all goes back to Sykes. So

460
00:21:56,200 --> 00:21:57,519
he was primed for this man.

461
00:21:57,559 --> 00:21:59,480
Speaker 1: He really was, you know, who they wanted to have

462
00:21:59,519 --> 00:22:05,759
in Finland before they ended up hiring John Sykes. Wow,

463
00:22:05,960 --> 00:22:06,480
that's great.

464
00:22:06,599 --> 00:22:09,480
Speaker 3: D You mentioned the Black Sabbath funny connection, even though

465
00:22:09,519 --> 00:22:12,200
it's it's not really relevant. Ainsley Dunbar in the late

466
00:22:12,240 --> 00:22:16,799
sixties had a band called Ainsley's Dunbar's Retaliation. First Sabbath

467
00:22:16,839 --> 00:22:20,319
album they have. They cover a song by Retaliation called Warning,

468
00:22:20,480 --> 00:22:23,400
so Ainsley's roots man, he goes way back. The solo

469
00:22:23,519 --> 00:22:25,759
section of the song just amazes me every time I

470
00:22:25,839 --> 00:22:28,480
listen to it. Sykes starts off in overdrive and then

471
00:22:28,519 --> 00:22:30,680
takes it up a gear by the end. It's just amazing.

472
00:22:30,720 --> 00:22:32,279
We all let me geek out for a second.

473
00:22:32,480 --> 00:22:34,720
Speaker 1: Yeah, that's four men here man, that's our special.

474
00:22:35,599 --> 00:22:37,920
Speaker 3: Back in the eighties, a lot of the drummers you

475
00:22:38,000 --> 00:22:40,480
saw for the mainstream pop metal bands would have two

476
00:22:40,480 --> 00:22:43,039
bass drums up on stage, but they didn't really play them.

477
00:22:43,039 --> 00:22:45,920
They were there for show. Maybe big solos. But all

478
00:22:45,960 --> 00:22:48,680
throughout this album, which was a pretty mainstream rock album,

479
00:22:48,720 --> 00:22:51,599
Ainsley Dunbar is playing double bass in all kinds of places.

480
00:22:51,680 --> 00:22:53,960
And he's not a traditional double bass player. And for

481
00:22:54,039 --> 00:22:56,400
the non geeky double bassis when they're playing the bass

482
00:22:56,480 --> 00:22:59,799
drum with each foot that d and Ainsley is all

483
00:23:00,039 --> 00:23:02,480
for the place. He was not traditionally known as a

484
00:23:02,519 --> 00:23:04,799
double bass drum player, but he really uped his game

485
00:23:04,839 --> 00:23:05,480
for this album.

486
00:23:05,599 --> 00:23:10,319
Speaker 1: Awesome, Yeah, that's great. It is absolutely blistering speed and

487
00:23:10,680 --> 00:23:12,559
I got to give it up to David Coverdale. He

488
00:23:12,640 --> 00:23:15,039
almost tops it at the end with the wailing screen

489
00:23:15,079 --> 00:23:17,880
that he has the song finishes out it is. It

490
00:23:17,960 --> 00:23:20,680
is a great, great song. Hey, I've got a theory.

491
00:23:20,799 --> 00:23:24,400
Speaker 2: Okay, I've got a theory, and I have seen absolutely

492
00:23:24,440 --> 00:23:25,920
nothing that backs this theory up.

493
00:23:26,480 --> 00:23:28,039
Speaker 1: But here's my thought. Okay.

494
00:23:28,400 --> 00:23:31,720
Speaker 2: Crying in the Rain was first written and laid down

495
00:23:31,839 --> 00:23:34,680
in nineteen eighty two, and the album talks about no

496
00:23:34,720 --> 00:23:36,960
one can see the tears when you're crying in the rain?

497
00:23:37,119 --> 00:23:37,279
Speaker 3: Right?

498
00:23:37,559 --> 00:23:38,720
Speaker 1: Does that ring a bell to you?

499
00:23:38,880 --> 00:23:40,000
Speaker 2: Does that sound familiar?

500
00:23:40,200 --> 00:23:42,200
Speaker 1: It's got to be from Blade Runner. Blade Runner had

501
00:23:42,240 --> 00:23:45,200
come out that year. There is an epic speech at

502
00:23:45,240 --> 00:23:47,400
the end of the movie, the life passes by like

503
00:23:47,440 --> 00:23:50,039
tears in the Rain by mister Ricker Hower. Yep, and

504
00:23:50,319 --> 00:23:52,400
I have no doubt that that's where this thare came from.

505
00:23:53,160 --> 00:23:53,519
Good call.

506
00:23:53,640 --> 00:23:55,960
Speaker 3: As far as an opening track, this ranks among the

507
00:23:56,000 --> 00:23:58,079
best evera It's hard to beat this as far as

508
00:23:58,079 --> 00:23:59,599
setting the tone for the album.

509
00:23:59,400 --> 00:24:04,640
Speaker 2: Coverdal In it right off that black hat and moans part.

510
00:24:04,720 --> 00:24:06,839
Speaker 3: If you listen to the Saints and Center's version, it

511
00:24:06,920 --> 00:24:09,119
sounds almost lethargic compared to this one.

512
00:24:09,160 --> 00:24:09,680
Speaker 1: It's true.

513
00:24:09,880 --> 00:24:12,000
Speaker 2: Yeah, Claudner knew what he was doing when he re

514
00:24:12,039 --> 00:24:14,039
recorded this, reproduced.

515
00:24:13,519 --> 00:24:14,839
Speaker 1: It absolutely okay.

516
00:24:15,279 --> 00:24:17,480
Speaker 2: Moving on to the next song on the album, This

517
00:24:17,559 --> 00:24:30,440
song is called bad Boys.

518
00:24:39,680 --> 00:24:42,359
Speaker 1: I think John Sykes thought, Man, if anybody thinks this

519
00:24:42,440 --> 00:24:44,480
is going to be a blues album after that first song,

520
00:24:44,519 --> 00:24:46,000
I'm gonna put a trust on the second.

521
00:24:47,200 --> 00:24:49,759
Speaker 3: I mean, this definitely keeps the momentum going. It's got

522
00:24:49,759 --> 00:24:52,039
that one of those fist pumping rabble rousers that this

523
00:24:52,119 --> 00:24:53,319
dand seemed to excel in.

524
00:24:53,559 --> 00:24:56,440
Speaker 2: Oh dude, this is a balls to the wall rocker,

525
00:24:56,640 --> 00:24:58,039
blistering right out of the gate.

526
00:24:58,160 --> 00:25:11,599
Speaker 1: And I love the wolf howl. Beget it right. That's

527
00:25:11,680 --> 00:25:13,079
kind of the hook on this one.

528
00:25:13,119 --> 00:25:17,519
Speaker 2: That he tried it again on Kitten's Got Claws on

529
00:25:17,559 --> 00:25:18,759
the next album and it just.

530
00:25:18,799 --> 00:25:19,880
Speaker 1: Wasn't quite as cool.

531
00:25:19,960 --> 00:25:21,759
Speaker 2: That's not as good of a song either, but I

532
00:25:21,839 --> 00:25:23,839
love it. In fact, James, I was going to ask you,

533
00:25:23,880 --> 00:25:25,519
the thing that stands out to me the most on

534
00:25:25,599 --> 00:25:27,240
this one is the symbols.

535
00:25:27,359 --> 00:25:29,680
Speaker 3: Oh yeah, he's bashing away like a mad man. You know.

536
00:25:29,759 --> 00:25:33,240
Tommy Aldridge, who joined after David sacked the band. I

537
00:25:33,319 --> 00:25:35,960
ran an old modern drummer interview with him yesterday. I

538
00:25:36,000 --> 00:25:37,799
was trying to go back to those days. He said

539
00:25:37,799 --> 00:25:39,759
that when he joined the band and listened to it,

540
00:25:40,000 --> 00:25:42,279
Tommy is a well known heavy player. He beats the

541
00:25:42,319 --> 00:25:45,079
heck out of his symbols, drums destroys them all. He

542
00:25:45,160 --> 00:25:47,319
said that when you heard the drum parts that Ainsley

543
00:25:47,359 --> 00:25:50,079
had recorded, they sounded like what he himself would have recorded,

544
00:25:50,200 --> 00:25:52,519
he said. David Coverdale later came along and told him that.

545
00:25:52,559 --> 00:25:54,519
You know, when I told Ainsley to record the drum parts,

546
00:25:54,519 --> 00:25:56,039
I told him to have you in mind. So he

547
00:25:56,119 --> 00:25:59,039
was already in that Tommy Aldridge mindset, which involves lots

548
00:25:59,039 --> 00:26:01,799
of bashing on symbols and banging on drums, which I'm

549
00:26:01,839 --> 00:26:02,759
for any day of the week.

550
00:26:02,839 --> 00:26:05,920
Speaker 2: Tell me, Elidrid, you mentioned that he's got that mystical

551
00:26:06,000 --> 00:26:07,920
afro that gives him his power, right.

552
00:26:09,000 --> 00:26:11,319
Speaker 3: I can't explain it. I saw him in nineteen eighty

553
00:26:11,359 --> 00:26:14,440
seven and he was an absolute madman. Saw him again

554
00:26:14,519 --> 00:26:17,119
about six years ago at the hard Rock Down in Biloxi,

555
00:26:17,200 --> 00:26:19,160
still playing with White Snake, still playing a lot of

556
00:26:19,200 --> 00:26:21,519
the same songs. Afro had a little gray in it,

557
00:26:21,720 --> 00:26:24,240
but he was still playing like Animal and speed Man.

558
00:26:24,279 --> 00:26:26,000
It was amazing, Missed Steff.

559
00:26:26,000 --> 00:26:28,000
Speaker 2: I heard David Coverdale talk about this song, and he

560
00:26:28,079 --> 00:26:30,640
feels like this song incorporated a lot of elements of

561
00:26:30,720 --> 00:26:33,279
Fin Lizzy. I mean Coverdale, for as much as he

562
00:26:33,440 --> 00:26:36,640
sort of hated Sykes, gives him a lot of credit.

563
00:26:36,799 --> 00:26:38,319
You know, he gives him a lot of credit on

564
00:26:38,319 --> 00:26:38,799
this album.

565
00:26:38,880 --> 00:26:40,759
Speaker 3: I saw him live once. I didn't see him with

566
00:26:40,799 --> 00:26:43,720
White Snake, but in nineteen eighty nine, bon Jovi came

567
00:26:43,759 --> 00:26:46,519
through Monroe and opening was a band called Blue Murder,

568
00:26:46,759 --> 00:26:48,799
which is what Sykes went on to four and after

569
00:26:48,920 --> 00:26:51,039
he left White Snake was him and Tony Franklin and

570
00:26:51,079 --> 00:26:53,799
Carmine Apissy and I tell you, man, they were amazing.

571
00:26:54,279 --> 00:26:56,480
They peeled the paint off the walls of that blaze.

572
00:26:56,599 --> 00:26:58,880
Speaker 1: I'm really sure because that John Sykes hasn't had more

573
00:26:58,960 --> 00:27:01,480
music come out since time. I heard an Eddie Trunk

574
00:27:01,519 --> 00:27:05,160
interview with Adrian Vandenberg. Eddie Trunk said he'd heard an

575
00:27:05,200 --> 00:27:08,640
album that probably eight years ago that is phenomenal, but

576
00:27:08,680 --> 00:27:10,839
it's just never been released. They just won't release it.

577
00:27:10,880 --> 00:27:13,400
I don't know what the problem is, but Sykes is

578
00:27:13,440 --> 00:27:16,079
too skilled a musician not to have more music out

579
00:27:16,079 --> 00:27:16,559
there for us.

580
00:27:16,799 --> 00:27:18,960
Speaker 3: There was a band came out a few years ago

581
00:27:19,039 --> 00:27:23,039
called the Winery Dogs, and it had Billy Sheehan on bass,

582
00:27:23,240 --> 00:27:26,200
Mike Portnoy from Dream Theater on drums, and guy named

583
00:27:26,279 --> 00:27:28,799
Richie Cottson on vocals and guitar. I think it was

584
00:27:28,839 --> 00:27:31,039
on Eddie Trunk one night where Mike Portanoy said that

585
00:27:31,079 --> 00:27:33,920
this was originally conceived as a project for Sykes and

586
00:27:33,960 --> 00:27:35,799
but he just never showed up. So there you go.

587
00:27:36,000 --> 00:27:38,880
Speaker 2: Wow, So Bad Boys seems like a really great live song.

588
00:27:39,039 --> 00:27:41,119
Speaker 3: I've heard that some shows the open with a medley

589
00:27:41,160 --> 00:27:44,079
of this and Children of the Night. Yeah, you know

590
00:27:44,119 --> 00:27:46,160
their drummers feet are going to be really tired by

591
00:27:46,200 --> 00:27:49,319
the end of the really keeps the momentum going from

592
00:27:49,319 --> 00:27:51,160
that first track. There's no let up in the site.

593
00:27:51,240 --> 00:27:53,039
Speaker 2: Okay, let's get to one of the one of the

594
00:27:53,079 --> 00:27:56,400
heaviest hitters on the album. The song's called Still the Night.

595
00:28:04,960 --> 00:28:19,839
Speaker 8: Oh wait, sorry, I hit a.

596
00:28:19,880 --> 00:28:26,400
Speaker 1: Wall as if it around your doll telling me I.

597
00:28:26,480 --> 00:28:26,799
Speaker 8: Got a.

598
00:28:34,200 --> 00:28:38,000
Speaker 1: Okay, this song blows my freaking doors off, as Jason

599
00:28:38,039 --> 00:28:39,839
would say, it blows my skirt up, it blows my

600
00:28:39,880 --> 00:28:42,720
socks off, and blows the powder up my nose. Whatever

601
00:28:42,759 --> 00:28:46,640
you want to say. This song does that. And they're

602
00:28:46,680 --> 00:28:49,720
almost instantly were haters out there who are like, this

603
00:28:49,880 --> 00:28:53,920
is just a led Zeppelin knockoff. Listen, I love led Zeppelin,

604
00:28:53,960 --> 00:28:55,599
but this is not a led Zeppelin song. They did

605
00:28:55,640 --> 00:28:58,920
a lot of borrowing of ideas. But we freaking talked

606
00:28:58,920 --> 00:29:02,279
about bon Jovi, where Richie, Sambora and John sat on

607
00:29:02,319 --> 00:29:04,519
a box of tapes picking out their favorite songs, going

608
00:29:04,720 --> 00:29:07,480
how can we steal something from this, And so you

609
00:29:07,559 --> 00:29:09,240
called me and you're like, hey, I've heard there's a

610
00:29:09,279 --> 00:29:11,400
lot of led Zeppelin, like this is a led Zeppelin

611
00:29:11,440 --> 00:29:13,079
knock off. What do you think? Well, I hear it

612
00:29:13,279 --> 00:29:15,440
like the beginning of the song, the entro of the song,

613
00:29:15,799 --> 00:29:19,319
you've got the call and answer that is very much

614
00:29:19,519 --> 00:29:22,000
like Black Dog. I'm not even a Zeppelin expert, and

615
00:29:22,000 --> 00:29:23,720
I could say, okay, I can hear that, but they

616
00:29:23,720 --> 00:29:25,960
do it in eight bars instead of four. Okay, it's

617
00:29:26,119 --> 00:29:28,240
a little different makeup and it's a totally different riff.

618
00:29:28,359 --> 00:29:32,519
Then you've got this incredible break in the song. It's

619
00:29:32,559 --> 00:29:35,920
like just a couple of minutes in and it goes

620
00:29:36,000 --> 00:29:38,960
to just the tink' what's that sound, James? What's the

621
00:29:39,000 --> 00:29:40,039
tink tink tink that we hear.

622
00:29:39,920 --> 00:29:43,119
Speaker 3: In that play on a high hat and a ride

623
00:29:43,119 --> 00:29:45,000
symbol two?

624
00:29:45,119 --> 00:29:47,960
Speaker 1: And I bet that you can confirm that that's basically

625
00:29:48,000 --> 00:29:50,640
exactly what led Zeppelin does when it does it's break

626
00:29:50,640 --> 00:29:52,799
and whole lot of love. Oh yeah, it's a similar thing.

627
00:29:52,960 --> 00:29:55,559
They've borrowed these beautiful little bits. And then of course

628
00:29:55,559 --> 00:29:58,759
he's like ooh baby, which sounds like it came comes

629
00:29:58,839 --> 00:30:01,720
right out of Robert playing it's mouth on Babe, I'm

630
00:30:01,720 --> 00:30:04,400
Gonna leave you and then I Love In the video,

631
00:30:04,400 --> 00:30:05,880
I don't even think they did this in the song,

632
00:30:05,920 --> 00:30:08,480
but in the video, I don't. I think it was

633
00:30:08,519 --> 00:30:12,279
Adrian Vanderberg is playing the guitar with the violin bow,

634
00:30:12,400 --> 00:30:15,079
which I mean that is Jimmy Page. Jimmy Page is

635
00:30:15,079 --> 00:30:17,599
the guy who did that. It's the dazed and confused thing.

636
00:30:17,799 --> 00:30:19,519
But I don't think they actually did it for the

637
00:30:19,559 --> 00:30:21,119
recording of the song. They're just playing it on the

638
00:30:21,160 --> 00:30:24,119
synthesizer and it was just a synthesized violin, but they

639
00:30:24,119 --> 00:30:26,000
made it look like a bow on a guitar.

640
00:30:26,279 --> 00:30:28,799
Speaker 2: That part is so freaking awesome. In the middle of

641
00:30:28,799 --> 00:30:32,000
the song that done no no, no no no done

642
00:30:32,039 --> 00:30:32,920
no no no.

643
00:30:32,680 --> 00:30:36,599
Speaker 1: No very Cashmere Verry. It is a very But this song,

644
00:30:36,839 --> 00:30:39,039
you can say it's a knockoff, but I mean, don't

645
00:30:39,119 --> 00:30:42,000
listen to greatit Anflete if you will please, that's a knockoff.

646
00:30:42,559 --> 00:30:46,400
This is taking some ideas that Zeppelin had in some

647
00:30:46,480 --> 00:30:50,160
incredible songs and making a fantastic song out of it.

648
00:30:50,160 --> 00:30:52,200
Speaker 3: It's a riff for the ages. I mean, the riff

649
00:30:52,240 --> 00:30:55,000
itself almost sounds a little serpentine like a snake. I

650
00:30:55,079 --> 00:30:59,279
understand the Zeppelin comparisons, but Plant and Coverdale or contemporaries.

651
00:30:59,319 --> 00:31:01,880
They both came up probably the same blues rock background,

652
00:31:01,920 --> 00:31:04,400
so obviously they would draw from the same sources. I'm

653
00:31:04,480 --> 00:31:06,119
like you, d I just don't see this being a

654
00:31:06,160 --> 00:31:09,079
blatant ripoff. Yeah, some of the same influences and ideas.

655
00:31:09,079 --> 00:31:10,839
But I used to get angry when people would call

656
00:31:10,920 --> 00:31:13,480
him David cover Version, like the man had never contributed

657
00:31:13,519 --> 00:31:15,960
anything himself. No, the man had a history going back

658
00:31:15,960 --> 00:31:17,039
as far as that one's.

659
00:31:17,200 --> 00:31:18,839
Speaker 2: But it's the guy who did that, He's the one

660
00:31:18,880 --> 00:31:21,440
who's like David cover Version. I thought that was really uncool.

661
00:31:21,519 --> 00:31:25,119
Speaker 3: David Coverdale songs like Soldier of Fortune by Deep Purple,

662
00:31:25,119 --> 00:31:27,200
which Plant wishes he could sing that well.

663
00:31:27,240 --> 00:31:29,279
Speaker 1: But anyway, Plant may do that. But Plant is a

664
00:31:29,279 --> 00:31:32,400
bit of a prima donna himself. And as far as

665
00:31:32,559 --> 00:31:35,039
judgment goes, Jimmy Page thought he was good enough to

666
00:31:35,079 --> 00:31:37,680
do a combination and a tour with him, so I'm

667
00:31:37,680 --> 00:31:40,039
gonna say probably, Okay, he probably did all right. Yeah,

668
00:31:40,079 --> 00:31:42,319
I had the Coverdell Page album in ninety three.

669
00:31:42,400 --> 00:31:43,119
Speaker 9: I love that album.

670
00:31:43,200 --> 00:31:45,720
Speaker 1: Yeah, And when they when they asked David Coverdale about

671
00:31:45,759 --> 00:31:48,720
you know, isn't this just like another led Zeppelin song?

672
00:31:48,759 --> 00:31:50,079
And he goes, I don't know, but that's a pretty

673
00:31:50,119 --> 00:31:51,079
good category to be in.

674
00:31:51,160 --> 00:31:53,240
Speaker 3: I was in a band before my current band and

675
00:31:53,279 --> 00:31:55,880
we played the song. Yeah, time we played it, I

676
00:31:55,920 --> 00:31:58,480
got so excited for the big drum fills leading into

677
00:31:58,480 --> 00:32:01,519
the last chorus. Those are classics, men, I never get

678
00:32:01,559 --> 00:32:03,759
tired of listening to that or air drumming to that.

679
00:32:04,480 --> 00:32:08,039
Speaker 2: Coverdale said that this was inspired by jailhouse rock and

680
00:32:08,119 --> 00:32:10,279
a song called rice Pudding by Jeff Beck.

681
00:32:10,440 --> 00:32:13,240
Speaker 3: Another Eddie Trunk interview I heard, Coverdale said that he

682
00:32:13,279 --> 00:32:15,519
was going through a box of stuff at his opened

683
00:32:15,559 --> 00:32:18,079
his mother's attic. He found an old cassette with the

684
00:32:18,119 --> 00:32:20,160
basic riff idea from Still of the Night that he

685
00:32:20,200 --> 00:32:22,160
worked on with Richie blackmore of all people.

686
00:32:22,400 --> 00:32:22,960
Speaker 1: Uh huh.

687
00:32:23,119 --> 00:32:25,000
Speaker 3: He did say that he had kind of a jailhouse

688
00:32:25,119 --> 00:32:27,440
rock idea. So then I gave it to John, and

689
00:32:27,519 --> 00:32:29,440
John took it to another cosmic level.

690
00:32:29,480 --> 00:32:33,119
Speaker 1: I believe he said, that's fantastic. Okay, So just to

691
00:32:33,160 --> 00:32:34,799
be clear about what you just said, if I understand

692
00:32:34,799 --> 00:32:38,559
that right, Still the Night was based on a demo

693
00:32:38,640 --> 00:32:42,400
tape that David Coverdale did back in the seventies when

694
00:32:42,400 --> 00:32:47,519
he was with Whitesnake with the amazing, mind blowing talent

695
00:32:47,640 --> 00:32:48,319
of Richie Black.

696
00:33:01,079 --> 00:33:15,440
Speaker 3: And even earlier than you know, because Coverdale sang with

697
00:33:15,559 --> 00:33:17,480
Kurp for a while, so I think it's probably even

698
00:33:17,519 --> 00:33:18,079
earlier than that.

699
00:33:18,640 --> 00:33:21,279
Speaker 2: Wow, the history of this song is really interesting. They

700
00:33:21,319 --> 00:33:24,039
had a demo for this in nineteen eighty five. This

701
00:33:24,119 --> 00:33:26,279
is the song that they wrote in the South of France,

702
00:33:26,440 --> 00:33:29,200
right off the bat like they had this initially in

703
00:33:29,279 --> 00:33:31,680
spring of nineteen eighty five. We didn't get this until

704
00:33:31,720 --> 00:33:34,000
two years later because he couldn't sing this song right.

705
00:33:34,559 --> 00:33:37,160
And when he sat down when they finally got him,

706
00:33:37,240 --> 00:33:39,559
Keith Olsen says, sit down and let's just give it

707
00:33:39,599 --> 00:33:42,000
a try. He said, okay, I'll try it. Let's see

708
00:33:42,039 --> 00:33:44,799
how it goes. He did it twice. They patched those

709
00:33:44,839 --> 00:33:47,200
two together and that's what you get two times.

710
00:33:46,920 --> 00:33:50,079
Speaker 1: Through and you get the blistering vocals of still.

711
00:33:49,880 --> 00:33:50,279
Speaker 3: Over Them.

712
00:33:57,200 --> 00:33:58,559
Speaker 6: Time for the Nut.

713
00:34:00,880 --> 00:34:03,599
Speaker 3: I'll tell you guys, there was something that Coverdale's voice

714
00:34:03,640 --> 00:34:06,200
on this album. I've gone back and listened to earlier stuff.

715
00:34:07,039 --> 00:34:09,199
I don't know if the sinus infection whatever it did

716
00:34:09,199 --> 00:34:11,559
something to his voice. But had to respe your edged

717
00:34:11,599 --> 00:34:13,760
on this album that I really liked. It really seemed

718
00:34:13,760 --> 00:34:14,519
to fit in material.

719
00:34:14,599 --> 00:34:17,079
Speaker 1: Yeah. Well, he went through three different producers to finally

720
00:34:17,079 --> 00:34:18,280
get the right sound.

721
00:34:19,679 --> 00:34:21,480
Speaker 2: And change the locations to the bambaso.

722
00:34:21,519 --> 00:34:22,559
Speaker 1: Yeah, well it doesn't hurt.

723
00:34:22,679 --> 00:34:22,920
Speaker 3: Yeah.

724
00:34:22,960 --> 00:34:25,679
Speaker 2: I do think it's interesting when Coverdill talks about Psykes.

725
00:34:25,719 --> 00:34:28,320
He really does have some fond memories of making this

726
00:34:28,400 --> 00:34:30,679
album with him. I thought this quote was kind of

727
00:34:30,760 --> 00:34:32,679
neat and kind of sad at the same time. He said,

728
00:34:32,760 --> 00:34:35,400
John's playing and soloing on the nineteen eighty seven album's

729
00:34:35,480 --> 00:34:38,679
truly landmark stuff and so influential to a lot of people.

730
00:34:38,800 --> 00:34:41,360
I hope he's very proud of it, because I am.

731
00:34:41,440 --> 00:34:45,400
They made this incredible album together and they can't even

732
00:34:45,400 --> 00:34:47,760
be in the same room, can't talk, can't celebrate together.

733
00:34:47,760 --> 00:34:49,320
They can't even give each other a high five on

734
00:34:49,360 --> 00:34:51,840
this album. Okay, we got to talk about the video.

735
00:34:52,039 --> 00:34:54,320
This is the video that Marty Callner comes up with.

736
00:34:54,360 --> 00:34:56,679
This video, they film it. He looks at him, He says,

737
00:34:56,679 --> 00:34:58,559
these guys don't know each other. We need another day

738
00:34:58,559 --> 00:35:02,599
of shooting. I need thirty five to intercut some interesting stuff.

739
00:35:02,639 --> 00:35:05,559
Claudie Schiffer backs out. Tawny Katine walks in the door

740
00:35:05,679 --> 00:35:07,800
and he's like, oh my gosh, you are the answer

741
00:35:07,840 --> 00:35:10,519
to our prayers. You are the video vixen for this.

742
00:35:10,719 --> 00:35:13,280
She says, Okay, let's do this. He calls Geffen and

743
00:35:13,320 --> 00:35:15,559
they say, tell Coverdale to go screw himself. I'm not

744
00:35:15,559 --> 00:35:18,239
giving you another doe. And so Marti Cullner talked to

745
00:35:18,280 --> 00:35:20,400
his wife, and his wife said, if you believe in

746
00:35:20,440 --> 00:35:22,719
these guys, then let's loan them the money. And so

747
00:35:22,800 --> 00:35:26,360
he used his own personal money to finish the still

748
00:35:26,400 --> 00:35:29,800
of the Night video use Tony Katine, and this paused

749
00:35:29,840 --> 00:35:32,920
the album to sell a million copies in ten days.

750
00:35:33,199 --> 00:35:36,159
Speaker 1: Yeah, I can tell that it's different. Like he shot

751
00:35:36,199 --> 00:35:39,119
the Tawny Katin part in sixteen millimeter and if you

752
00:35:39,119 --> 00:35:40,960
look at it, you can tell that that part is

753
00:35:41,039 --> 00:35:44,679
not as crisp and clear as the on stage presence.

754
00:35:44,840 --> 00:35:50,679
I really really love the big circle with David Coverdale

755
00:35:50,719 --> 00:35:53,800
leaning back like yes Neo on the matrix with his

756
00:35:54,320 --> 00:35:57,679
Mike stand. It is an amazing touch. But day one

757
00:35:57,800 --> 00:35:59,840
they had a plan, they had it storyboarded out. This

758
00:36:00,119 --> 00:36:02,719
is what we're going to do. Day two, Marty Culner

759
00:36:02,760 --> 00:36:05,480
had this style that he called jazz where instead of

760
00:36:05,519 --> 00:36:07,639
having it all planned out, they just kind of riffed.

761
00:36:07,679 --> 00:36:10,719
They just made up stuff. All that Tawny Katane footage,

762
00:36:10,800 --> 00:36:11,599
that's what you get.

763
00:36:11,719 --> 00:36:13,559
Speaker 2: Yeah, I mean you can tell when you look at it.

764
00:36:13,599 --> 00:36:17,039
She's so beautiful that it just bypasses all logic. He's like,

765
00:36:17,079 --> 00:36:19,119
look at me with your sunglasses on and then rip

766
00:36:19,159 --> 00:36:21,559
them off real click, Who cares?

767
00:36:21,599 --> 00:36:25,039
Speaker 3: I'm in right, look at me at the end.

768
00:36:25,079 --> 00:36:28,480
Speaker 2: Sure, sit over there and I'm going to squirt some

769
00:36:28,559 --> 00:36:29,159
water on you.

770
00:36:29,239 --> 00:36:32,119
Speaker 1: So in our last episode, we talked about how this

771
00:36:32,480 --> 00:36:35,719
video led to their success because it ended up in

772
00:36:35,760 --> 00:36:39,800
the lap of Sam Kaiser, who was the MTV executive

773
00:36:39,800 --> 00:36:41,400
at that point, that made it the hip clip of

774
00:36:41,440 --> 00:36:44,679
the week. It was all because Marty Culner made this sacrifice,

775
00:36:44,719 --> 00:36:46,960
put his own money in to make this video. And

776
00:36:47,000 --> 00:36:49,480
as we know, he made two more videos for him

777
00:36:49,800 --> 00:36:51,719
on this album as well, and those were made on

778
00:36:51,760 --> 00:36:54,599
the cheap too. They were all cheaply done videos. It

779
00:36:54,760 --> 00:36:57,880
was all with Marty Culner's basically charity to help them.

780
00:36:57,920 --> 00:37:00,400
Now we talk about the success that this album had

781
00:37:00,519 --> 00:37:02,800
and as a result, you know, David Coverdale went from

782
00:37:02,800 --> 00:37:06,639
three million dollars in debt to mega wealthy, and he

783
00:37:06,760 --> 00:37:10,559
gave each of his band members a four hundred thousand

784
00:37:10,599 --> 00:37:13,840
dollars bonus. Now not the guys who recorded the album,

785
00:37:13,880 --> 00:37:16,039
but the new band members. They're the ones that cut

786
00:37:16,039 --> 00:37:19,360
the four hundred thousand dollars bonus. So right around Christmas time,

787
00:37:19,599 --> 00:37:23,440
they show up to Marty Cliner's house. Marty Culiner is

788
00:37:23,440 --> 00:37:25,320
talking to his wife, you know, because they've said, hey,

789
00:37:25,320 --> 00:37:27,639
we're going to come over, and he's like, this is it.

790
00:37:27,679 --> 00:37:29,079
This is where we're going to get our bonus for

791
00:37:29,119 --> 00:37:30,760
helping him out right, And she's like, oh, yeah, what

792
00:37:30,760 --> 00:37:31,880
do you think is going to be? And they both

793
00:37:31,880 --> 00:37:33,519
talk to each other and they kind of agreed it's

794
00:37:33,519 --> 00:37:35,320
going to be a million dollars. He's going to give

795
00:37:35,360 --> 00:37:36,960
us a check for a million dollars, And so they

796
00:37:37,000 --> 00:37:39,800
walk in. It's around Christmas time. He hands them a present.

797
00:37:39,800 --> 00:37:43,800
He says, please just don't open this. Don't open this

798
00:37:43,880 --> 00:37:45,519
until after we're gone, and they're like, oh my gosh,

799
00:37:45,519 --> 00:37:47,800
this is going to be so good. He's embarrassed and

800
00:37:47,840 --> 00:37:50,199
how good it is you think? So they hang out

801
00:37:50,199 --> 00:37:53,280
for a little while. Then David Coverdale and Tawny Katane

802
00:37:53,360 --> 00:37:56,159
leave and as they're walking out the door, still of

803
00:37:56,239 --> 00:37:59,159
the night video is on TV play and so it's

804
00:37:59,199 --> 00:38:02,239
just like it's right there on the airwaves, right there

805
00:38:02,280 --> 00:38:04,760
out on the front. They walk out the door, Marty

806
00:38:04,840 --> 00:38:07,039
and his wife open up the present and it is

807
00:38:07,079 --> 00:38:12,440
a framed, poorly shot picture of David Coverdale and Tawny Katane.

808
00:38:13,199 --> 00:38:15,559
I like, maybe Beck is behind the picture, and so

809
00:38:15,599 --> 00:38:17,360
they tear off the back of the picture. They are

810
00:38:17,360 --> 00:38:20,519
looking in the frame and literally nothing, no money, no

811
00:38:20,679 --> 00:38:23,880
nothing for the guy that made them. I mean, we

812
00:38:23,960 --> 00:38:27,079
made them without him. There is no white snake. And

813
00:38:27,159 --> 00:38:30,360
so the rest of the story is he got it

814
00:38:30,400 --> 00:38:32,679
all back when he shot videos for their next album.

815
00:38:33,079 --> 00:38:36,320
That's right, They were going to shoot their next video,

816
00:38:36,360 --> 00:38:39,159
which he was charging them a million dollars apiece for

817
00:38:39,400 --> 00:38:41,760
in order to get his money back. He and David

818
00:38:41,760 --> 00:38:43,840
were on less good terms at that point. And then

819
00:38:43,920 --> 00:38:46,559
David got upset because he said, I heard that you

820
00:38:46,639 --> 00:38:49,840
were shooting a kiss video yesterday. Wouln't you understand that

821
00:38:49,960 --> 00:38:52,039
we are the band of the eighties? Where are you

822
00:38:52,079 --> 00:38:54,679
shooting a kiss video? And Marty Callner said, oh, you're

823
00:38:54,719 --> 00:38:57,519
the band of the eighties. Well, it's nineteen eighty nine, David,

824
00:38:57,599 --> 00:38:58,800
what are you going to do next year?

825
00:39:00,320 --> 00:39:00,760
Speaker 3: Yikes?

826
00:39:00,800 --> 00:39:01,199
Speaker 1: All right.

827
00:39:01,280 --> 00:39:03,320
Speaker 2: By the way, in the still of the night video,

828
00:39:03,400 --> 00:39:06,079
you have the cool circle which it looks like he's

829
00:39:06,199 --> 00:39:08,760
a cat on the fence singing against the moon. It's like,

830
00:39:09,639 --> 00:39:12,480
it's like the best signal. You have the first appearance

831
00:39:12,480 --> 00:39:15,920
of the white jaguar in that video, and at the

832
00:39:16,119 --> 00:39:18,719
very end, like as the song is closing. I don't

833
00:39:18,760 --> 00:39:21,280
know why this always tickles me, but David Coverdell is

834
00:39:21,440 --> 00:39:24,559
arrested and like thrown into the back of the van,

835
00:39:25,079 --> 00:39:29,599
and when the doors shut it says sex police.

836
00:39:30,239 --> 00:39:33,320
Speaker 1: He's arrested by the sex police. And when I was

837
00:39:33,320 --> 00:39:35,679
a kid, I was like, uh, I hope I never

838
00:39:35,719 --> 00:39:39,239
get arrested by the sex police. I don't know. It's

839
00:39:39,239 --> 00:39:39,679
a good thing.

840
00:39:40,440 --> 00:39:42,760
Speaker 3: That would be an interesting version of a penal code.

841
00:39:44,119 --> 00:39:47,920
Speaker 2: VH one ranked this as the twenty seventh best hard

842
00:39:48,000 --> 00:39:49,880
rock song of all time.

843
00:39:50,920 --> 00:39:54,119
Speaker 1: It's fantastic, one of the best. I'm gonna put this

844
00:39:54,159 --> 00:39:55,920
in number two. That's my number two favorite song on

845
00:39:55,920 --> 00:39:56,400
a whole album.

846
00:39:56,440 --> 00:39:58,719
Speaker 3: Okay, yeah, They're with you, that's fair.

847
00:39:58,800 --> 00:40:01,559
Speaker 2: So speaking of greatest songs of all time, we're on

848
00:40:01,679 --> 00:40:04,159
the song number four. This song is called Here I

849
00:40:04,199 --> 00:40:27,440
Go Again, I Don't Know, and.

850
00:40:29,360 --> 00:40:32,159
Speaker 1: The songs.

851
00:40:36,400 --> 00:40:38,760
Speaker 3: I was in a couple of bands. In one band

852
00:40:38,760 --> 00:40:40,960
we did Loving a Stranger and Slow and Easy and

853
00:40:41,039 --> 00:40:45,599
my God, that was fun. Yeah, that was such a

854
00:40:45,599 --> 00:40:47,760
bless and another band we did Here I Go Again

855
00:40:47,800 --> 00:40:49,280
and Still the Nights. This would have been in the

856
00:40:49,280 --> 00:40:52,119
early twenty teens and people were still loving these songs.

857
00:40:52,239 --> 00:40:54,519
I always remembering back in high school. Man, all the

858
00:40:54,559 --> 00:40:56,360
girls at my school, I don't try to get the

859
00:40:56,400 --> 00:40:59,159
tony hair like after that summer. Yeah, I was obly

860
00:40:59,239 --> 00:41:00,519
okay with that. Okay.

861
00:41:00,719 --> 00:41:03,880
Speaker 1: The first part of this song is like you're at

862
00:41:03,920 --> 00:41:08,840
church on the moon. I mean, it's like it's like

863
00:41:09,000 --> 00:41:13,639
an aura of beautiful warm light is surrounding your body

864
00:41:13,880 --> 00:41:17,760
and you have the reverence you might have before the

865
00:41:17,840 --> 00:41:18,480
religious lea.

866
00:41:18,599 --> 00:41:22,440
Speaker 2: The Lord Almighty, like the sunshiny. It's like the gospel.

867
00:41:22,519 --> 00:41:44,840
Speaker 9: Man, Yeah, I love it.

868
00:41:45,199 --> 00:41:48,719
Speaker 2: This song for me is totally equated to the Summer

869
00:41:48,760 --> 00:41:49,280
of eighty seven.

870
00:41:49,320 --> 00:41:51,039
Speaker 1: When you say summer of nineteen eighty seven, I say,

871
00:41:51,039 --> 00:41:55,320
here I Go. I hear that music, that beginning keyboard intro,

872
00:41:56,039 --> 00:42:00,800
I immediately imagine Tawny Katain doing a cart wheel on top

873
00:42:00,960 --> 00:42:02,960
of a black and white Jaguar.

874
00:42:03,119 --> 00:42:07,920
Speaker 3: Yes, as one should. Yeah, this is power ballad royalty.

875
00:42:07,920 --> 00:42:09,639
I mean, this is the song so nice they had

876
00:42:09,639 --> 00:42:11,840
to recorded Bryce right.

877
00:42:12,239 --> 00:42:14,880
Speaker 1: Yeah. So the original version of the song came out,

878
00:42:14,920 --> 00:42:17,280
like we said in eighty two on the Saints and

879
00:42:17,320 --> 00:42:20,360
Sinners album. With that one, you had John Lord playing

880
00:42:20,559 --> 00:42:23,519
the beginning organ and it sounded like you're in a

881
00:42:23,639 --> 00:42:26,599
church in smalltown, Oklahoma, as opposed to on the Moon.

882
00:42:26,840 --> 00:42:29,039
And this is again another one he did with Bernie

883
00:42:29,079 --> 00:42:31,000
Marston back then, like Crying in the Rain.

884
00:42:31,280 --> 00:43:10,559
Speaker 2: Let's listen to that nineteen eighty two version right here. Okay, okay,

885
00:43:10,719 --> 00:43:15,199
it's a great song, but it was played masterfully in

886
00:43:15,280 --> 00:43:18,239
nineteen eighty seven. They took a good song and said,

887
00:43:18,320 --> 00:43:20,559
you know what, let's polish this up and make it great.

888
00:43:20,679 --> 00:43:22,960
Speaker 1: John Klaudner hit the nail on the hest. This is

889
00:43:23,000 --> 00:43:25,639
a hit song. You just didn't play it right, didn't

890
00:43:25,639 --> 00:43:26,760
do it Wright record it right?

891
00:43:26,920 --> 00:43:30,039
Speaker 3: Yeah? Yeah, I mean they bumped up the bpms just

892
00:43:30,079 --> 00:43:32,119
a little bit, gave it just a bit more drive.

893
00:43:32,239 --> 00:43:35,199
That's the original. It feels a little plotting almost. It

894
00:43:35,280 --> 00:43:37,159
is a great song, but you look what they did

895
00:43:37,199 --> 00:43:39,360
to this in nineteen eighty seven compared to that one

896
00:43:39,400 --> 00:43:40,880
that there really is no comparison.

897
00:43:41,079 --> 00:43:44,079
Speaker 1: And then, of course we have a key lyric change

898
00:43:44,719 --> 00:43:48,559
instead of instead of the old lyric, we say like

899
00:43:48,599 --> 00:43:50,559
a drifter, I was born to wagga law was It

900
00:43:50,719 --> 00:43:54,079
was the original lyric like a what'd you call me?

901
00:43:57,840 --> 00:44:01,239
Speaker 3: And I believe that was Lord Coverdale's exit. Yeah.

902
00:44:01,320 --> 00:44:03,920
Speaker 1: He did not want any misinterpretation of what he was

903
00:44:03,960 --> 00:44:06,599
saying there, and so we changed as a drifter, which

904
00:44:06,639 --> 00:44:08,480
is a much better It's fine with me.

905
00:44:08,719 --> 00:44:09,039
Speaker 3: Yeah.

906
00:44:09,079 --> 00:44:12,400
Speaker 1: So then we have even a third version of the song.

907
00:44:35,159 --> 00:44:36,400
Speaker 3: No, I don't know.

908
00:44:40,480 --> 00:44:43,239
Speaker 1: The radio edit if you will, that's the version that

909
00:44:43,400 --> 00:44:44,840
actually topped the charts.

910
00:44:45,599 --> 00:44:46,320
Speaker 3: It wasn't the.

911
00:44:46,360 --> 00:44:48,719
Speaker 1: Video version, although we know that. I mean, if you

912
00:44:48,760 --> 00:44:51,880
grew up in nineteen eighty seven, you heard as much

913
00:44:51,920 --> 00:44:54,519
from that video version as you did from the radio version.

914
00:44:54,519 --> 00:44:56,199
Absolutely not more.

915
00:44:56,639 --> 00:44:59,280
Speaker 2: I call this one the Casey Kasum version because it

916
00:44:59,360 --> 00:45:01,559
was on the radio, it was played as a single,

917
00:45:01,800 --> 00:45:04,960
it reached number one, and it's not even the best

918
00:45:05,039 --> 00:45:05,840
version of the song.

919
00:45:06,000 --> 00:45:08,920
Speaker 3: Well, he assembled an interesting crew for this one. On drums,

920
00:45:08,920 --> 00:45:12,559
he had Denny Carr Macy you know from Heart, Yes, yeah, bantros,

921
00:45:12,760 --> 00:45:15,719
and he had David Coverdale singing obviously, and on guitar

922
00:45:15,920 --> 00:45:19,159
he had someone near and dear to Jason's heart. Yes,

923
00:45:21,159 --> 00:45:22,119
from Giants?

924
00:45:22,400 --> 00:45:25,679
Speaker 1: How does Dan Huff keep coming up? Okay, wait that happen?

925
00:45:25,920 --> 00:45:28,639
Speaker 2: Dan Huff was the lead man for Giant, who had

926
00:45:28,760 --> 00:45:32,800
one great song in nineteen ninety called I'll See You

927
00:45:32,800 --> 00:45:35,519
in My Dreams. I'm playing it right here for the

928
00:45:35,599 --> 00:45:36,840
third freaking time.

929
00:45:37,000 --> 00:45:39,079
Speaker 1: Don't here it is I'll.

930
00:45:38,880 --> 00:45:54,199
Speaker 2: See You in my Dreams. That song is awesome, It's incredible.

931
00:45:54,880 --> 00:45:58,199
Dan Huff making another appearance. He actually played the guitar

932
00:45:58,360 --> 00:45:59,480
on danger song.

933
00:46:00,039 --> 00:46:02,119
Speaker 3: That's how he was involved with a lot of He's

934
00:46:02,119 --> 00:46:04,400
done a lot of production and songwriting in the country

935
00:46:04,480 --> 00:46:06,599
music industry, and he's been involved a lot of Christian

936
00:46:06,679 --> 00:46:09,519
rock bands. Yeah, the man's all over the place.

937
00:46:09,719 --> 00:46:12,000
Speaker 1: He's got a great voice, man. Yeah. He actually produced

938
00:46:12,039 --> 00:46:14,719
an album for Taylor Swift. You know, I did not

939
00:46:14,760 --> 00:46:16,519
know that boom blew your mind on Dan Hunty.

940
00:46:16,519 --> 00:46:18,880
Speaker 2: When we do Taylor Swift, I'm going to play I'll

941
00:46:18,920 --> 00:46:21,719
See You in My Dreams again. This song hitting number

942
00:46:21,760 --> 00:46:37,199
one October tenth, nineteen eighty seven. And here's the thing

943
00:46:37,199 --> 00:46:39,440
that really is interesting to me. So when I'm a

944
00:46:39,719 --> 00:46:42,039
so I'm a freshman in nineteen eighty seven, I didn't

945
00:46:42,079 --> 00:46:44,960
know that this song was on Saintsan Centers five years before.

946
00:46:45,320 --> 00:46:46,880
Speaker 1: So in my Spanish book.

947
00:46:46,639 --> 00:46:48,599
Speaker 2: When we get to the music section, it shows the

948
00:46:48,599 --> 00:46:51,320
top ten list and there's Here I Go Again. I'm

949
00:46:51,360 --> 00:46:53,079
looking at it in the fall of eighty seven, I'm like,

950
00:46:53,159 --> 00:46:55,320
how did my Spanish book know that Here I Go

951
00:46:55,360 --> 00:46:57,000
Again was going to be a top ten hit?

952
00:46:58,039 --> 00:46:58,719
Speaker 1: As a freshman?

953
00:46:58,760 --> 00:47:01,360
Speaker 3: It blew me away.

954
00:47:03,519 --> 00:47:06,400
Speaker 1: So we mentioned in our last episode that Tony Katine

955
00:47:06,760 --> 00:47:09,800
did not drink. That was her little deal like. She

956
00:47:09,960 --> 00:47:11,880
was like, I don't drink, so I'm not going to

957
00:47:12,000 --> 00:47:14,000
join you for a drink. But then David Coverdale won

958
00:47:14,119 --> 00:47:16,599
her affection by asking her for a spot of tea.

959
00:47:16,679 --> 00:47:19,360
But Tommy Katane had some other demons that she was fighting.

960
00:47:19,519 --> 00:47:20,719
Speaker 2: She loved the cocainea.

961
00:47:21,960 --> 00:47:24,239
Speaker 1: What year was it she was married to Chuck Finley,

962
00:47:24,480 --> 00:47:27,199
think nineties, early two thousand something like that. We were

963
00:47:27,239 --> 00:47:29,440
talking about just to bring it back to major league.

964
00:47:29,440 --> 00:47:33,159
We're talking about the picture for the Cleveland Indians, that's right.

965
00:47:33,360 --> 00:47:36,360
But they made his theme song not wild Thing, but

966
00:47:36,440 --> 00:47:37,039
something else.

967
00:47:38,039 --> 00:47:40,280
Speaker 2: So Tony Katine and Chuck Finley were riding in a

968
00:47:40,320 --> 00:47:42,519
car together and they are having a fight. This is

969
00:47:42,519 --> 00:47:45,679
when he's an active baseball pitcher, and she decides that

970
00:47:45,719 --> 00:47:49,360
she didn't like his smart mouth. So she's wearing stilettos

971
00:47:49,440 --> 00:47:52,480
and decides to kick him so hard that it puts

972
00:47:52,559 --> 00:47:55,480
him on the disabled list. So when he finally comes

973
00:47:55,519 --> 00:47:59,360
back and takes the mound in Chicago, Chicago White Sox

974
00:47:59,400 --> 00:48:02,639
against the White the broadcast guy plays, here I go again.

975
00:48:04,679 --> 00:48:07,039
Speaker 1: He got fired by the way. He didn't make it

976
00:48:07,039 --> 00:48:09,440
to the next game. I would have given him a promotion, but.

977
00:48:10,880 --> 00:48:13,079
Speaker 3: I just realized that I only I'm separated by white

978
00:48:13,079 --> 00:48:16,199
snake from four degrees, I have an old sportswriter Buddy

979
00:48:16,239 --> 00:48:18,440
used to interview Chuck all the time, and Chuck was

980
00:48:18,480 --> 00:48:21,679
married to Tony so Hey fort degrees from David Coverdale.

981
00:48:21,760 --> 00:48:24,280
Speaker 1: There you go, you and and Tommy Lee if you

982
00:48:24,280 --> 00:48:25,079
want to get into.

983
00:48:24,880 --> 00:48:30,199
Speaker 2: That, Yeah, Nicky six talks about this how Tommy Lee

984
00:48:30,360 --> 00:48:32,800
used to bang Tony Katain.

985
00:48:32,639 --> 00:48:33,679
Speaker 1: You can't say bang on.

986
00:48:33,679 --> 00:48:36,800
Speaker 2: The red used to bang her brains out right. They

987
00:48:36,880 --> 00:48:39,079
used to shoot up together, which is hilarious. That she

988
00:48:39,079 --> 00:48:41,920
doesn't drink but loves cocaine. Well, it's like you talk

989
00:48:42,039 --> 00:48:44,400
Vanity and Nikki six. She yelled at him for drinking

990
00:48:44,400 --> 00:48:46,559
a Coca cola and then they'd be shooting heroin.

991
00:48:46,599 --> 00:48:46,679
Speaker 3: That.

992
00:48:47,320 --> 00:48:48,480
Speaker 1: Yeah, it's the logic.

993
00:48:49,679 --> 00:48:51,960
Speaker 2: But Molly Crue and White Snake toured together in nineteen

994
00:48:52,000 --> 00:48:54,800
eighty seven, and there's you know, the queen of rock

995
00:48:54,840 --> 00:48:57,719
and roll, Tony Katain was with this guy. Now with

996
00:48:57,760 --> 00:49:00,199
this guy, no problem, I guess. I do think it's

997
00:49:00,199 --> 00:49:03,880
interesting though, that Molly Crue did not like White Snake.

998
00:49:04,079 --> 00:49:05,280
They thought they were Wait.

999
00:49:05,559 --> 00:49:08,119
Speaker 1: It just occurred to me. White Snake was hired to

1000
00:49:08,159 --> 00:49:10,599
open for Motley Crue, but as it turns out, Tommy

1001
00:49:10,679 --> 00:49:12,239
Lee opened for David govert Dale.

1002
00:49:16,320 --> 00:49:18,719
Speaker 2: I listened to the Heroin Diaries by Niki six, right.

1003
00:49:18,840 --> 00:49:22,840
They thought White Snake was uptight and not cool and

1004
00:49:22,880 --> 00:49:25,199
not willing to party and not willing to burn down

1005
00:49:25,480 --> 00:49:28,239
the hotel, and anytime they invited him to go do anything,

1006
00:49:28,280 --> 00:49:30,440
they were Villian Campbell turned him down one time because

1007
00:49:30,440 --> 00:49:33,079
he had to practice, and Nicky six is like, practice,

1008
00:49:33,119 --> 00:49:33,840
what are you talking about?

1009
00:49:33,840 --> 00:49:34,239
Speaker 1: Practice?

1010
00:49:34,800 --> 00:49:37,760
Speaker 2: On the Girls, Girls Girls tour, Nicky six invited Robin

1011
00:49:37,840 --> 00:49:40,719
Crosby to come and check out the concert.

1012
00:49:40,840 --> 00:49:43,719
Speaker 1: Who and Robin Crosby opened for Tommy Lee.

1013
00:49:44,760 --> 00:49:48,760
Speaker 2: Robin Crosby used to bang Donna Gataine before Tommy Lee. Well,

1014
00:49:48,840 --> 00:49:51,079
Robin Crosby was great friends with Nicky six, and when

1015
00:49:51,079 --> 00:49:54,000
he came he Robin Crosby's like, man, white Snak is

1016
00:49:54,119 --> 00:49:58,719
killing him. They're awesome, And Nicky six is like, man,

1017
00:49:58,800 --> 00:50:01,039
screw you. They're not that and he's like, oh, crab,

1018
00:50:01,079 --> 00:50:04,800
they're killing it. And so that caused Nikki six to

1019
00:50:04,840 --> 00:50:07,920
sort of be like, ah, man, I don't like these guys.

1020
00:50:08,000 --> 00:50:09,800
Speaker 1: They were killing them on stage and you even.

1021
00:50:10,199 --> 00:50:11,559
Speaker 3: Back that up, Oh, they were amazing.

1022
00:50:11,679 --> 00:50:14,679
Speaker 2: Let's talk about the video. So the video opens with

1023
00:50:15,079 --> 00:50:20,000
Marty Coalner's black Jaguar, David Coverdale's white Jaguar that had

1024
00:50:20,079 --> 00:50:21,639
broken down a couple of years before.

1025
00:50:21,719 --> 00:50:23,280
Speaker 1: She's now up there in a white dress.

1026
00:50:23,840 --> 00:50:27,679
Speaker 2: They called in Paula Abdul to choreograph Tony Katine.

1027
00:50:27,880 --> 00:50:29,199
Speaker 1: Paula Abdul yes that.

1028
00:50:29,320 --> 00:50:32,760
Speaker 2: Paula Abdul shows up and says straight up cold hearted,

1029
00:50:33,639 --> 00:50:34,119
and she.

1030
00:50:34,119 --> 00:50:35,960
Speaker 1: Says, well, show me what you can do. Well, Tony

1031
00:50:36,000 --> 00:50:36,719
Katan grew up.

1032
00:50:36,639 --> 00:50:39,679
Speaker 2: A gymnasts, a dancer, and a dancer, and she says, well,

1033
00:50:40,039 --> 00:50:42,960
check this out cart will walk over splits.

1034
00:50:43,239 --> 00:50:45,559
Speaker 1: Paul Abdul's like, I'm out of here, guys. You don't

1035
00:50:45,599 --> 00:50:47,239
need me for this. She's got it.

1036
00:50:47,320 --> 00:50:50,599
Speaker 2: And that video with Tony Katin on the hood of

1037
00:50:50,679 --> 00:50:54,800
the Jaguars is maybe one of the most iconic video

1038
00:50:54,840 --> 00:50:56,159
images of the eighties.

1039
00:50:55,960 --> 00:50:59,360
Speaker 1: No argument. I can remember at thirteen years old, my

1040
00:50:59,480 --> 00:51:01,679
buddy sitting next to me and we're watching MTV and

1041
00:51:01,719 --> 00:51:04,039
he's like, you're ready, She's gonna look at me. You're ready,

1042
00:51:04,079 --> 00:51:05,519
She's gonna look at me, and she comes out of

1043
00:51:05,559 --> 00:51:07,559
that car window looks right at us.

1044
00:51:08,480 --> 00:51:20,679
Speaker 10: She's looking at me, kind of like how Susannah hass

1045
00:51:20,719 --> 00:51:22,559
always looked at me in the video for Alda, like

1046
00:51:22,599 --> 00:51:23,159
in Egyptian.

1047
00:51:23,280 --> 00:51:26,639
Speaker 2: That's another sh That's that's a good one too.

1048
00:51:26,119 --> 00:51:30,079
Speaker 3: Did it right? There's any increase in sales for Jaguars

1049
00:51:30,079 --> 00:51:31,199
after that video.

1050
00:51:31,079 --> 00:51:34,880
Speaker 1: Yes, sure, I think so. Yeah. And Blue power Suit's

1051
00:51:34,880 --> 00:51:37,079
probably would.

1052
00:51:36,960 --> 00:51:38,760
Speaker 3: Mind the Blue power suit myself.

1053
00:51:38,440 --> 00:51:43,320
Speaker 2: These days, all right now, listen, six months after the

1054
00:51:43,360 --> 00:51:46,840
release of the Here I Go Again video, MTV calls

1055
00:51:46,880 --> 00:51:50,079
Marty Callner out of the Blue and says, Marty, we

1056
00:51:50,159 --> 00:51:53,159
have analyzed this frame by frame and you can see

1057
00:51:53,239 --> 00:51:58,239
Tony Kataine's nipple and Marty Caulner's like, guys, it's been

1058
00:51:58,280 --> 00:52:02,519
six months. Nobody has seen a nipple already. He's like,

1059
00:52:02,639 --> 00:52:04,159
is it really worth the time, the money, and the

1060
00:52:04,159 --> 00:52:06,719
effort to cut it down? And they said yes.

1061
00:52:07,280 --> 00:52:07,800
Speaker 1: Yeah.

1062
00:52:07,840 --> 00:52:11,400
Speaker 2: So the question is, have you guys seen the original

1063
00:52:11,679 --> 00:52:13,400
version with the nipslip.

1064
00:52:13,480 --> 00:52:16,199
Speaker 1: I actually have a memory of this from the time

1065
00:52:16,400 --> 00:52:18,960
because the rumor, you know, it had been out for

1066
00:52:19,079 --> 00:52:21,760
maybe three months, four months, and the rumor started to

1067
00:52:21,760 --> 00:52:24,519
go around. Yeah, guys, I think you can actually see it,

1068
00:52:24,559 --> 00:52:27,679
and I'm like, no, no, And so I think that

1069
00:52:27,800 --> 00:52:30,280
the first time that I tried to watch it is

1070
00:52:30,320 --> 00:52:33,760
the edited version, because I was like, dude, I told

1071
00:52:33,800 --> 00:52:34,559
you no nipple.

1072
00:52:35,840 --> 00:52:37,840
Speaker 3: I have paused every second of this video.

1073
00:52:39,400 --> 00:52:43,320
Speaker 2: I got my VHS tape, I recorded it, I've adjusted

1074
00:52:43,360 --> 00:52:43,880
the tracking.

1075
00:52:43,960 --> 00:52:44,920
Speaker 1: I can't see anything.

1076
00:52:46,280 --> 00:52:46,760
Speaker 3: Ladies.

1077
00:52:49,880 --> 00:52:51,000
Speaker 1: Have you guys heard.

1078
00:52:50,800 --> 00:52:53,320
Speaker 2: The Bowling for Soup song called nineteen eighty five?

1079
00:52:53,960 --> 00:52:57,199
Speaker 1: Yes, and we heard it. I sent the video to you.

1080
00:52:58,119 --> 00:52:58,880
Speaker 3: I know what.

1081
00:53:05,239 --> 00:53:07,480
Speaker 11: Was on the hood up?

1082
00:53:11,360 --> 00:53:14,800
Speaker 1: Yeah. So this popped up a little Patrick Swayze esque

1083
00:53:14,920 --> 00:53:17,239
debate for about two seconds, and then we put it

1084
00:53:17,280 --> 00:53:20,719
to rest pret quickly because we had a text exchange

1085
00:53:20,719 --> 00:53:24,280
where I had read on some songfacts dot com that

1086
00:53:24,360 --> 00:53:28,599
Connie Katain was in the Bowling for Soup video nineteen

1087
00:53:28,719 --> 00:53:31,599
eighty five, which is I mean the whole video. It

1088
00:53:31,679 --> 00:53:34,000
came out in the early two thousand, two thousand and

1089
00:53:34,159 --> 00:53:36,920
one or two or something like that, right, and the

1090
00:53:36,960 --> 00:53:40,480
whole video is all a throwback to eighties royalty rock.

1091
00:53:40,639 --> 00:53:40,800
Speaker 3: Right.

1092
00:53:40,960 --> 00:53:44,280
Speaker 1: You got Robert Palmer, You've got Moley Crue, you've got

1093
00:53:44,320 --> 00:53:46,920
run DMC, you got all those guys. Right, And there's

1094
00:53:46,960 --> 00:53:50,880
a lady across the street who, with my low resolution

1095
00:53:51,119 --> 00:53:53,840
video on my phone, looks very much like the Tawny Katain.

1096
00:53:53,960 --> 00:53:56,360
So I was like, yes, Connie Kataine. And then there

1097
00:53:56,400 --> 00:53:58,480
was talk about the wife and the housewife, and I said,

1098
00:53:58,480 --> 00:54:01,840
you guys, realize this is Tawny Katine. And Jason says, no,

1099
00:54:02,280 --> 00:54:06,440
this is somebody named Joey House. Joey House, And I

1100
00:54:06,480 --> 00:54:09,159
said what And I went and looked at IMDb and

1101
00:54:09,199 --> 00:54:12,679
sure enough, that's the list. So a little bit of research,

1102
00:54:13,159 --> 00:54:16,320
I have to agree with Jason. That is not Kawnie

1103
00:54:16,360 --> 00:54:20,039
Kataine on the radio. But man, she is a lookalike.

1104
00:54:20,079 --> 00:54:20,840
She looks close.

1105
00:54:21,159 --> 00:54:24,199
Speaker 2: In fact, one of her IMDb credits she was in

1106
00:54:24,239 --> 00:54:29,039
a movie quote unquote movie one of those late nights

1107
00:54:29,079 --> 00:54:32,079
that we used to watch on Cinemax called of a

1108
00:54:32,159 --> 00:54:32,840
Sex Addict.

1109
00:54:32,960 --> 00:54:38,960
Speaker 1: Yeah. What was her character's name. Her character's name is Tawny. Yeah.

1110
00:54:39,000 --> 00:54:41,559
I think a lot of people probably saw the similarity there.

1111
00:54:41,679 --> 00:54:46,400
But the nineteen eighty five video ends with Miss Joey

1112
00:54:46,440 --> 00:54:52,480
House dancing rather scantily clad on the hood of a car. Yes,

1113
00:54:52,719 --> 00:54:53,800
it's iconic. Yeah.

1114
00:54:53,880 --> 00:54:56,360
Speaker 3: When the Fall of eighty seven he hit every school

1115
00:54:56,480 --> 00:54:59,400
dance this this song got played. Yeah, everyone not.

1116
00:54:59,519 --> 00:55:01,440
Speaker 2: Tended, absolutely one hundred percent.

1117
00:55:01,639 --> 00:55:04,800
Speaker 1: So we mentioned that this song was an early song.

1118
00:55:05,159 --> 00:55:09,639
This one sounds like a self driven I'm gonna go

1119
00:55:10,159 --> 00:55:14,119
pull myself up by my own bootstraps song, and it

1120
00:55:14,159 --> 00:55:16,599
turns out that's not what it's about at all. David

1121
00:55:16,599 --> 00:55:19,599
Coverdale wrote this back in the seventies, came up with

1122
00:55:19,639 --> 00:55:22,760
the lyrics when he was going through marital troubles with

1123
00:55:22,880 --> 00:55:25,719
his wife at the time, Julia Borkowski. I like it

1124
00:55:25,760 --> 00:55:28,639
better as the I'm Gonna pull myself up by my

1125
00:55:28,639 --> 00:55:31,639
own bootstraps into Frank the Tank. Let's rock and roll.

1126
00:55:32,039 --> 00:55:36,679
Speaker 2: Thank Frank the Tank. This song was featured in twenty

1127
00:55:36,760 --> 00:55:40,199
sixteen on a Walmart back to school commercial.

1128
00:55:40,440 --> 00:55:42,519
Speaker 1: I'd say, let's not talk about.

1129
00:55:42,239 --> 00:55:46,079
Speaker 11: That all right, moving on, Yeah, but I was thinking

1130
00:55:46,119 --> 00:55:48,320
in this case, maybe we should hit the jake button,

1131
00:55:48,760 --> 00:55:52,000
take the cassette tape, turn it around and slide it

1132
00:55:52,039 --> 00:55:52,440
in again.

1133
00:55:55,000 --> 00:55:58,119
Speaker 1: Yes, yes, I love it. I love it. So this

1134
00:55:58,320 --> 00:56:03,000
is the first song inside to give me all your loves.

1135
00:56:18,159 --> 00:56:20,159
Speaker 6: Away.

1136
00:56:20,800 --> 00:56:22,920
Speaker 1: Okay, this song makes me feel like a dog without

1137
00:56:22,920 --> 00:56:26,000
a bone.

1138
00:56:25,159 --> 00:56:27,920
Speaker 3: Very reminiscent of earlier White Snake stuff, the kind of

1139
00:56:27,960 --> 00:56:31,320
shuffle boogie woogie number, but with a more modern production

1140
00:56:31,440 --> 00:56:32,079
and better play.

1141
00:56:32,280 --> 00:56:34,199
Speaker 1: You can answer me on this one. It sounds like

1142
00:56:34,320 --> 00:56:37,199
he's hitting those drums really, really hard.

1143
00:56:37,360 --> 00:56:39,440
Speaker 3: Yeah. A lot of that was the eighties production. You know,

1144
00:56:39,480 --> 00:56:42,400
they had so much reverb in all the snare drums.

1145
00:56:42,480 --> 00:56:44,079
They sounded like they were monstrous.

1146
00:56:47,039 --> 00:56:52,480
Speaker 1: Nice a.

1147
00:56:55,760 --> 00:56:55,920
Speaker 8: Night.

1148
00:56:57,159 --> 00:56:59,559
Speaker 3: Yeah, the production of this whole album is amazing. You

1149
00:56:59,559 --> 00:57:02,960
listen to with the good quality headphones, the guitars or massive.

1150
00:57:03,039 --> 00:57:06,719
David Coverdale's voice is astounding and the drums just sounds huge. Yeah,

1151
00:57:06,760 --> 00:57:08,159
and it's really evident on this song.

1152
00:57:08,360 --> 00:57:10,719
Speaker 2: This was released February of nineteen eighty eight, So we're

1153
00:57:10,719 --> 00:57:12,320
moving all the way through eighty seven.

1154
00:57:12,400 --> 00:57:13,400
Speaker 1: We're now into eighty eight.

1155
00:57:13,480 --> 00:57:15,559
Speaker 2: This reached number forty eight on the Hot one hundred

1156
00:57:15,599 --> 00:57:17,920
and number twenty two on the Rock charts.

1157
00:57:18,079 --> 00:57:20,719
Speaker 1: This one, to me is more finger snapping than Headbank.

1158
00:57:21,079 --> 00:57:22,719
Great lead off to the second side.

1159
00:57:22,599 --> 00:57:25,880
Speaker 3: The original album version, John Sykes played an amazing guitar

1160
00:57:25,960 --> 00:57:29,760
solo right one reason on the single, Vivian Campbell recorded

1161
00:57:29,760 --> 00:57:32,360
a different solo for the single for this song, which

1162
00:57:32,400 --> 00:57:34,360
I mean, I think that's the only thing Vivian ever

1163
00:57:34,400 --> 00:57:37,400
actually recorded with White Snagan's tenure with the band, That's

1164
00:57:37,480 --> 00:57:38,199
exactly right.

1165
00:57:38,320 --> 00:57:41,920
Speaker 1: Yeah, So Vivian Campbell left the band after this tour,

1166
00:57:42,159 --> 00:57:46,679
and his alleged reason was because he had musical differences,

1167
00:57:47,119 --> 00:57:49,039
and there was a little bit of talk about how

1168
00:57:49,159 --> 00:57:51,920
Adrian Vandenberg wanted it to be just a one guitar band.

1169
00:57:52,239 --> 00:57:55,599
But I think the real reason is that Tawny Kataine

1170
00:57:55,679 --> 00:58:00,000
hated Vivian Campbell's wife and had her band from the record.

1171
00:58:01,159 --> 00:58:03,199
As Jason puts it, you don't mess with Queen Beech.

1172
00:58:03,320 --> 00:58:05,639
Don't mess with the Queen. You got to know your place.

1173
00:58:05,880 --> 00:58:07,840
Speaker 3: You don't remember the video for this one, I do.

1174
00:58:08,039 --> 00:58:10,079
Speaker 1: It was like a live concert one right.

1175
00:58:10,039 --> 00:58:12,480
Speaker 3: No, Tony and I just I still laugh thinking about

1176
00:58:12,519 --> 00:58:15,480
because every time it flashes to Rudy Sarzov, he's licking

1177
00:58:15,480 --> 00:58:19,360
in his face, so it's obviously the pre COVID era,

1178
00:58:19,480 --> 00:58:22,039
but I mean every time he's licking that baslick.

1179
00:58:22,280 --> 00:58:25,000
Speaker 1: I remember in one of the videos they cut to

1180
00:58:25,239 --> 00:58:29,039
David Coverdale licking Tony Katine's leg. They like the slip

1181
00:58:29,079 --> 00:58:31,280
of the tongue. You know, right, you did mention it though,

1182
00:58:31,280 --> 00:58:32,519
no Tony Katain in this video.

1183
00:58:32,760 --> 00:58:35,000
Speaker 3: It was fairly just a straight formance for video. You

1184
00:58:35,000 --> 00:58:37,960
had Adrian Vandenberg standing back there being call and Dutch

1185
00:58:40,880 --> 00:58:43,320
and Tommy back there shaking his effront. So yeah, it

1186
00:58:43,360 --> 00:58:45,119
was it was a different approach as far as our

1187
00:58:45,199 --> 00:58:45,840
videos went.

1188
00:58:46,159 --> 00:58:47,800
Speaker 1: It did not perform as well as the ones that

1189
00:58:47,880 --> 00:58:50,719
had Tony Katain, and that's very true. Did not and

1190
00:58:50,760 --> 00:58:54,079
it's a great song, so she's definitely a key ingredient.

1191
00:58:54,360 --> 00:58:56,400
And we were talking about how much influence she had.

1192
00:58:56,719 --> 00:58:58,320
She made the call on who was going to be

1193
00:58:58,360 --> 00:59:02,400
managers for the band, like Dave Defen wanted Doc McGee

1194
00:59:02,440 --> 00:59:04,840
to be the band, and she said, no, I want

1195
00:59:04,960 --> 00:59:08,480
Howard Kaufman. And David Geffen stands up at his desk

1196
00:59:08,519 --> 00:59:10,840
and puts both his hands on his desk and says, no,

1197
00:59:10,960 --> 00:59:13,000
it's going to be Doc McGee. And she stands up

1198
00:59:13,039 --> 00:59:15,119
on the other side, puts her hands on the desk

1199
00:59:15,159 --> 00:59:17,679
and says, no, it's going to be Howard Kaufman. And

1200
00:59:17,760 --> 00:59:20,599
she won that freaking battle. How do you beat David

1201
00:59:20,639 --> 00:59:23,480
Geffen in a call on who's managing the biggest band

1202
00:59:23,480 --> 00:59:25,000
that you have on the label? And this is a

1203
00:59:25,039 --> 00:59:27,320
woman who did a walkover on the hood of a car.

1204
00:59:28,519 --> 00:59:29,280
It's impressive.

1205
00:59:29,440 --> 00:59:31,559
Speaker 3: Yeah. Pavian Campbell, if you look at he had kind

1206
00:59:31,559 --> 00:59:34,559
of a similar background to John Sykes. He came from

1207
00:59:34,559 --> 00:59:37,000
a band called Sweet Savage. We're kind of one of

1208
00:59:37,039 --> 00:59:39,360
those New Way of British heavy metal bands. I think

1209
00:59:39,440 --> 00:59:42,280
Metallica covered one of their songs at one point. Then

1210
00:59:42,280 --> 00:59:43,760
he went to do O, so you know, he had

1211
00:59:43,800 --> 00:59:46,440
the heavy Sabbath type riffs. Then there was the brief

1212
00:59:46,480 --> 00:59:49,079
stay in White Snake, and after that I think he

1213
00:59:49,119 --> 00:59:50,039
did okay for himself.

1214
00:59:50,079 --> 00:59:52,920
Speaker 2: Don't y'all think he landed on his feet in def Leppard?

1215
00:59:52,960 --> 00:59:54,920
My gosh, Yeah, how many years has it been.

1216
00:59:55,119 --> 00:59:56,920
Speaker 3: I think he joined Leopard in ninety two.

1217
00:59:57,280 --> 01:00:01,440
Speaker 1: Yeah, wow, So you replaced Steve clad Oh yeah, that's incredible.

1218
01:00:01,559 --> 01:00:03,960
It's interesting, you know, like we said, they didn't write

1219
01:00:04,079 --> 01:00:06,880
the solos to these songs. They had to make them

1220
01:00:06,880 --> 01:00:09,559
their own. And I mean, obviously we're talking about two

1221
01:00:09,599 --> 01:00:12,599
of the most proficient guitar players of the day at

1222
01:00:12,599 --> 01:00:16,000
that time. But Adrian Vandenberg said it was actually pretty agreeable.

1223
01:00:16,039 --> 01:00:17,360
They just said, you want to do the solo on

1224
01:00:17,400 --> 01:00:18,960
this one, you want me to do it, and they're

1225
01:00:19,000 --> 01:00:20,719
just like, I'll do it, Okay, I'll do the other one.

1226
01:00:20,760 --> 01:00:22,679
There you go. And it was that easy. That's cool.

1227
01:00:22,800 --> 01:00:25,880
I mean, it's great whenever guys who have that much

1228
01:00:25,920 --> 01:00:28,760
skill and ability can be humble and just say you

1229
01:00:28,800 --> 01:00:31,280
take this one. I'll think next one, yeah, okay. Next

1230
01:00:31,280 --> 01:00:35,920
song on the album is another major, beautiful rock ballad

1231
01:00:36,039 --> 01:01:01,760
called is This Love? So we mentioned in our Top

1232
01:01:01,840 --> 01:01:06,400
Gun soundtrack episode that Kenny Loggins sang danger Zone in

1233
01:01:06,480 --> 01:01:10,679
the tone of Tina Turner because in nineteen eighty five

1234
01:01:11,079 --> 01:01:15,400
TEENA Turner was on absolute fire huge. She was huge,

1235
01:01:15,400 --> 01:01:19,159
and she was everywhere, and somebody came to David Coverdale

1236
01:01:19,199 --> 01:01:22,400
and said, hey, would you write a song for Tina Turner? Oh,

1237
01:01:22,440 --> 01:01:25,000
I would love to do that. So he and John

1238
01:01:25,079 --> 01:01:27,880
Sykes are together writing this album in the south of

1239
01:01:27,960 --> 01:01:31,159
France and he starts kind of humming and singing the

1240
01:01:31,199 --> 01:01:33,199
song and John Sykes comes over and he's like, what

1241
01:01:33,280 --> 01:01:34,800
is this, What are you doing. He's like, well, I'm

1242
01:01:34,840 --> 01:01:37,079
trying to write this song for Tina Turner and Sikes

1243
01:01:37,199 --> 01:01:40,079
is like, cool, I'll help, and sits down and they

1244
01:01:40,119 --> 01:01:43,360
work together and it's this beautiful moment where they're just

1245
01:01:43,440 --> 01:01:47,199
playing off of each other and they create this incredibly

1246
01:01:47,280 --> 01:01:50,320
beautiful song and they take it to David Geffen and

1247
01:01:50,360 --> 01:01:52,400
he says, what is this and they're like, this is

1248
01:01:52,400 --> 01:01:54,760
the song we wrote for Tina Turner. It's Tina Turner song.

1249
01:01:54,960 --> 01:02:12,000
He goes, no, this is a white snake song. Yeah, yeah,

1250
01:02:12,000 --> 01:02:13,480
and that's how it ends up on the album.

1251
01:02:13,519 --> 01:02:17,760
Speaker 2: That's fantastic, a song written for Tina Trder and this

1252
01:02:17,920 --> 01:02:19,360
is one of the biggest hits on the album.

1253
01:02:19,360 --> 01:02:21,719
Speaker 1: This reached number two in December.

1254
01:02:21,280 --> 01:02:24,639
Speaker 2: Of eighty seven, blocked only by George Michael's Faith at

1255
01:02:24,719 --> 01:02:26,000
number one.

1256
01:02:26,800 --> 01:02:29,599
Speaker 1: Just a throwback. I didn't realize how many eighty seven

1257
01:02:29,639 --> 01:02:32,719
albums that we've covered, but we covered Faith, but George

1258
01:02:32,719 --> 01:02:35,199
Michael it was Against an Excess, which also came out

1259
01:02:35,199 --> 01:02:38,559
in eighty seven we mentioned that you too, Joshua Tree.

1260
01:02:38,639 --> 01:02:41,159
We covered that one it was number one, and held

1261
01:02:41,280 --> 01:02:44,280
out White Snake Whenever this album came out, it debuted

1262
01:02:44,320 --> 01:02:47,360
at number eight and Joshua Tree was at the number

1263
01:02:47,360 --> 01:02:49,559
four position. At the number eight position was signed to

1264
01:02:49,599 --> 01:02:52,440
The Times by Prince, which we covered as well. Eighty

1265
01:02:52,519 --> 01:02:55,960
seven was a miraculous year for music.

1266
01:02:56,239 --> 01:02:59,280
Speaker 3: There is something about David Coverdale's voice that really lends

1267
01:02:59,360 --> 01:03:01,800
itself to these balls. If it was some other band

1268
01:03:01,840 --> 01:03:04,079
trying to save this, I mean, these lyrics would probably

1269
01:03:04,079 --> 01:03:06,880
be incredibly cheesy if say it was Warrant or somebody

1270
01:03:06,960 --> 01:03:07,519
trying to sing it.

1271
01:03:07,599 --> 01:03:09,599
Speaker 2: This is on the Makeout List of eighty seven and

1272
01:03:09,760 --> 01:03:11,199
eighty eight agreed.

1273
01:03:27,519 --> 01:03:29,280
Speaker 1: There's a lot of slow dancing of this song. Oh

1274
01:03:29,320 --> 01:03:30,000
my gosh.

1275
01:03:30,400 --> 01:03:32,719
Speaker 3: I ran an interview with Coverdale. He said that you know,

1276
01:03:32,760 --> 01:03:34,440
they were in the south of France, and I guess

1277
01:03:34,480 --> 01:03:37,000
there was some tension with him and Sykes already. It

1278
01:03:37,119 --> 01:03:40,079
said that he kept daylight hours and Sykes kept what

1279
01:03:40,119 --> 01:03:44,079
he called owl hours. But this is one of those

1280
01:03:44,159 --> 01:03:46,639
rare occasions where they passed where David was coming to

1281
01:03:46,920 --> 01:03:50,000
studio and John was leaving, and like d Sid he asked,

1282
01:03:50,000 --> 01:03:51,719
what are you working on? There is that's a new song,

1283
01:03:51,760 --> 01:03:53,840
and that Sykes jumped into it feet first.

1284
01:03:54,039 --> 01:03:54,639
Speaker 1: It's awesome.

1285
01:03:55,159 --> 01:03:58,280
Speaker 2: This song reached number thirty eight on the Adult Contemporary chart.

1286
01:03:58,440 --> 01:04:02,400
Speaker 1: Twenty fifteen. Classic Rock Magazine ranked it as the number

1287
01:04:02,519 --> 01:04:05,840
seven song on the Power Ballad List's Greatest.

1288
01:04:05,559 --> 01:04:09,000
Speaker 2: Pocus clearly belongs to the top power ballads.

1289
01:04:09,039 --> 01:04:12,039
Speaker 1: So we mentioned earlier. First video that Marty Coulner did

1290
01:04:12,039 --> 01:04:15,159
for him was Still the Night, and then they got

1291
01:04:15,159 --> 01:04:19,119
together to record both this video and the Here I

1292
01:04:19,159 --> 01:04:21,840
Go Again video at the same time. And you obviously,

1293
01:04:21,840 --> 01:04:24,599
I mean it's it's like a part two to Here

1294
01:04:24,639 --> 01:04:27,239
I Go Again. There's no question, and I think that

1295
01:04:27,400 --> 01:04:30,039
was probably a huge factor in its success. Not that

1296
01:04:30,079 --> 01:04:33,800
it's not an amazing song anyway, but anymore Tawny Katane

1297
01:04:33,840 --> 01:04:36,639
and Jaguars I can get in nineteen eighty seven sign

1298
01:04:36,679 --> 01:04:36,920
me Up.

1299
01:04:37,079 --> 01:04:39,559
Speaker 2: She looks amazing in this video.

1300
01:04:39,719 --> 01:04:43,239
Speaker 1: I would describe this song and that video together as heartbreaking.

1301
01:04:43,360 --> 01:04:46,519
It wrenches you to your soul to watch her and

1302
01:04:46,599 --> 01:04:48,360
listen to cover day of sing this song.

1303
01:04:48,599 --> 01:04:51,320
Speaker 3: Kind of an unsung hero on this album is Don Airy,

1304
01:04:51,360 --> 01:04:54,679
who provided the keyboards. Love the songs Okay yeah, on

1305
01:04:54,760 --> 01:04:58,119
this song. It really helps keep that steady, atmospheric background

1306
01:04:58,239 --> 01:05:00,360
for David to sing over in the guitar. I think

1307
01:05:00,679 --> 01:05:02,639
he may not have got enough attention to bridgework on

1308
01:05:02,679 --> 01:05:03,119
this album.

1309
01:05:03,199 --> 01:05:05,519
Speaker 2: I think it's interesting that around the same time you

1310
01:05:05,599 --> 01:05:08,440
had another song by Mister Mister called is This Love

1311
01:05:08,559 --> 01:05:10,880
and a song by Survivor called is This Love?

1312
01:05:11,119 --> 01:05:13,840
Speaker 1: Yep. Survivor even said is this love that I'm feeling?

1313
01:05:14,000 --> 01:05:14,159
Speaker 3: Right?

1314
01:05:14,280 --> 01:05:19,440
Speaker 1: It is? Okay, love it? I mean, what can we say?

1315
01:05:19,519 --> 01:05:21,440
Clear winner couples move out to the middle of the

1316
01:05:21,519 --> 01:05:25,159
dance floor. All right, we're ready to move on, move

1317
01:05:25,159 --> 01:05:27,840
it on. The next song on the album is Children

1318
01:05:27,840 --> 01:05:46,440
of the Night. Okay, David Coverdale's voice aside from the

1319
01:05:46,480 --> 01:05:49,960
moment the guitar is pumping and solid, but very plain.

1320
01:05:50,199 --> 01:05:52,400
Star of the beginning of this song to me is

1321
01:05:52,440 --> 01:05:56,480
the drums. Absolutely, it's like a rapid fire triplet in

1322
01:05:56,559 --> 01:05:59,960
your face. That the beat is not quite what you

1323
01:06:00,039 --> 01:06:04,719
would expect, and the difference that it makes the song.

1324
01:06:04,559 --> 01:06:07,519
Speaker 3: Oh, that was more than Ainsley Dunbar double bass playing.

1325
01:06:07,559 --> 01:06:10,280
We were talking about that. It's kind of just a propulsive,

1326
01:06:10,360 --> 01:06:12,800
locomotive feel to the song, like it's a train coming

1327
01:06:12,880 --> 01:06:15,719
right at you. Whitesnake make the ballads, the rockers and

1328
01:06:15,719 --> 01:06:18,000
the head bangers. This is a definite head banger. Man.

1329
01:06:18,079 --> 01:06:20,840
I cannot listen to this one without risking a neck injury.

1330
01:06:21,800 --> 01:06:24,360
Speaker 1: Okay, I'm gonna blasphe me a little bit here. I

1331
01:06:24,840 --> 01:06:28,119
really like the intro. I really like the chorus. The

1332
01:06:28,119 --> 01:06:33,159
pre chorus is so kind of catchy tuney that I'm

1333
01:06:33,199 --> 01:06:39,039
thinking of the New York Seltzer commercials. It's I feel

1334
01:06:39,039 --> 01:06:41,320
like we kind of dripped into a jingle right there

1335
01:06:41,360 --> 01:06:44,079
at the pre chorus. But it's overall a very good song.

1336
01:06:44,159 --> 01:07:02,079
Speaker 2: This song was written to begin concert non so David

1337
01:07:02,079 --> 01:07:05,119
Coverdelle talks about how certain songs have certain places in

1338
01:07:05,159 --> 01:07:08,280
the concert. This one was designed with you know, drop

1339
01:07:08,360 --> 01:07:10,960
the curtain, turn off the lights, are you ready to rock?

1340
01:07:11,079 --> 01:07:11,800
Speaker 1: Children of the Night.

1341
01:07:12,280 --> 01:07:14,400
Speaker 2: That's the whole purpose of this song was start of

1342
01:07:14,480 --> 01:07:17,360
the concert. The interesting thing to me is this, I

1343
01:07:17,400 --> 01:07:19,960
think is probably the weakest track on the album. I

1344
01:07:20,000 --> 01:07:21,599
still love it, I still know all the words and

1345
01:07:21,679 --> 01:07:24,400
still absolutely love it. But Kalodner is the guy who

1346
01:07:24,519 --> 01:07:27,800
said this song is going on the album, and David

1347
01:07:27,840 --> 01:07:30,719
Coverdell was like, I like the song looking for Love

1348
01:07:30,880 --> 01:07:34,000
better and collother's like Nope, Children of the Night. So

1349
01:07:34,239 --> 01:07:36,199
then we'll talk about looking for love here in this minute.

1350
01:07:36,320 --> 01:07:40,119
Speaker 1: Yeah, so important for our folks who are listening overseas.

1351
01:07:40,639 --> 01:07:43,719
The American version of this album had tracks that were

1352
01:07:43,719 --> 01:07:45,840
missing from it that you guys got. You guys got

1353
01:07:45,880 --> 01:07:48,280
a couple extra tracks on the release overseas that we

1354
01:07:48,360 --> 01:07:52,119
didn't have until twenty eighteen, I think, yeah, the thirtieth anniversary. Yeah,

1355
01:07:52,159 --> 01:07:55,000
twenty seventeen anniversary versions the first time we got to

1356
01:07:55,039 --> 01:07:57,039
get those songs on the album. It's not the best song,

1357
01:07:57,079 --> 01:07:58,960
but it's fun. I wouldn't have picked it over the

1358
01:07:59,000 --> 01:08:00,440
other one. No, wouldn't it be.

1359
01:08:00,760 --> 01:08:03,519
Speaker 3: It's just a fun, brainless, hard rocking song. The guys

1360
01:08:03,519 --> 01:08:05,719
who played could not have messed this up if they tried.

1361
01:08:05,760 --> 01:08:07,840
But yeah, I guess on the overall rankings this would

1362
01:08:07,840 --> 01:08:11,039
be a little lower. Yeah. Still a kick ass song, though.

1363
01:08:10,920 --> 01:08:11,480
Speaker 1: Yeah it is.

1364
01:08:11,800 --> 01:08:14,119
Speaker 3: This whole album really gave me a new appreciation for

1365
01:08:14,199 --> 01:08:16,439
Amesley Done for I had barely heard of him at

1366
01:08:16,479 --> 01:08:18,800
the time. I thought the drummer was Tommy Algeorge until

1367
01:08:18,800 --> 01:08:20,359
I bothered to read the liner notes.

1368
01:08:20,560 --> 01:08:22,079
Speaker 2: Yeah, he's killing it on this album.

1369
01:08:22,159 --> 01:08:23,199
Speaker 3: Oh, Yeah, it's amazing.

1370
01:08:23,520 --> 01:08:25,920
Speaker 2: You know you mentioned something to me yesterday. I think

1371
01:08:26,079 --> 01:08:29,279
you said White Snake and Coverdale are like Ozzy Osbourne.

1372
01:08:29,479 --> 01:08:31,960
There's a lot of different players, but he always plays

1373
01:08:32,000 --> 01:08:32,479
with the best.

1374
01:08:32,680 --> 01:08:35,439
Speaker 3: Yeah. And it always doesn't matter who the musicians are.

1375
01:08:35,439 --> 01:08:37,520
That artist always seems to have a certain sound. He

1376
01:08:37,520 --> 01:08:40,039
always assembles a group of players who stay true to

1377
01:08:40,079 --> 01:08:42,840
that sound. They may add their own embellishments, but Ozzie

1378
01:08:42,920 --> 01:08:45,920
did that, Dio did that. David Coverdale definitely has done that.

1379
01:08:46,239 --> 01:08:48,079
Speaker 1: Okay, are we done with Children to Night?

1380
01:08:48,199 --> 01:08:49,279
Speaker 3: I think so, yes, sir?

1381
01:08:49,520 --> 01:08:51,880
Speaker 1: All right. Moving on to the next song on the album,

1382
01:08:51,920 --> 01:09:09,199
called Straight for the Heart. Mark me down as a

1383
01:09:09,319 --> 01:09:13,119
huge fan of this one. I'm skipping this song. Get

1384
01:09:13,199 --> 01:09:13,680
out of here.

1385
01:09:13,920 --> 01:09:14,399
Speaker 8: This song.

1386
01:09:15,479 --> 01:09:18,159
Speaker 1: No, this song is like what you would expect to

1387
01:09:18,159 --> 01:09:20,159
hear on Growing Pains when they were trying to do

1388
01:09:20,199 --> 01:09:25,159
a heavy keyboards on this one as great as down

1389
01:09:25,239 --> 01:09:28,239
areas on every other thing, they don't belong in the song.

1390
01:09:28,840 --> 01:09:30,920
I mean, the guitars are still shredding because you still

1391
01:09:30,960 --> 01:09:34,840
got John Psykes, but the melody, the keyboards, it's just

1392
01:09:35,079 --> 01:09:41,760
it's not good. Definite.

1393
01:09:42,560 --> 01:09:45,640
Speaker 2: Oh you're out, dude, You're out because a lot of fun.

1394
01:09:45,760 --> 01:09:48,239
I love the chorus. It never really slows down. It

1395
01:09:48,359 --> 01:09:52,119
just continues that fun, pumping summer of a seven song.

1396
01:09:58,560 --> 01:10:00,159
Speaker 1: James Sweet for You.

1397
01:10:00,199 --> 01:10:01,680
Speaker 3: Oh, I like this when it's not one of the

1398
01:10:01,680 --> 01:10:03,319
first ones I'm gonna go to, but I'm not gonna

1399
01:10:03,359 --> 01:10:06,439
skip it. It's it's just up tempo fun Coverdale was

1400
01:10:06,520 --> 01:10:08,640
kind of singing in the more higher end of his range,

1401
01:10:08,800 --> 01:10:10,840
and I like that. I kind of liked the guitar

1402
01:10:10,880 --> 01:10:13,720
and keyboard interplay on the song It's not when. If

1403
01:10:13,760 --> 01:10:16,239
I was making my Essential White Snake list, it probably

1404
01:10:16,279 --> 01:10:18,399
wouldn't make the top ten. But I liked the song.

1405
01:10:18,520 --> 01:10:19,520
Speaker 1: He made fun of me earlier.

1406
01:10:19,600 --> 01:10:22,119
Speaker 2: He's like, you love all these cheesy power ballad stuff,

1407
01:10:22,119 --> 01:10:22,600
and I'm.

1408
01:10:22,399 --> 01:10:28,439
Speaker 1: Like, yes, I do, Yes do Guilty right, Guilty of love?

1409
01:10:28,880 --> 01:10:29,560
Speaker 3: If you will.

1410
01:10:32,680 --> 01:10:32,800
Speaker 1: Who.

1411
01:10:33,680 --> 01:10:36,640
Speaker 2: This song was originally called Love Drives You Crazy. It

1412
01:10:36,640 --> 01:10:38,239
has never been played live.

1413
01:10:38,079 --> 01:10:42,760
Speaker 1: Before a c see you guys agree crime, they agree

1414
01:10:42,800 --> 01:10:47,239
with me? Stinker. No, It's a little bit soccer and rock,

1415
01:10:47,279 --> 01:10:47,800
but it's fun.

1416
01:10:47,880 --> 01:10:50,760
Speaker 3: Even the cheesier ones this band could still make sound great.

1417
01:10:50,880 --> 01:10:52,279
So yeah, I like the song.

1418
01:10:52,319 --> 01:10:54,199
Speaker 1: All Right, We're ready for the last song. The last

1419
01:10:54,239 --> 01:10:56,199
song on the last song on the American version of

1420
01:10:56,199 --> 01:10:58,680
the album, that's right Here We Go. This is Don't

1421
01:10:58,680 --> 01:11:09,399
Turn Away. So this is a song that's playing when

1422
01:11:09,479 --> 01:11:12,640
Daniel son is watching Ali Live Her Life after breaking

1423
01:11:12,720 --> 01:11:16,640
up again. This one I actually like better. I like

1424
01:11:16,720 --> 01:11:18,560
this one better than the last song. But this is

1425
01:11:18,680 --> 01:11:24,159
this is the very eighties heartbreak montage music Let's freaking Go. Yes,

1426
01:11:24,359 --> 01:11:26,680
I love this one as well. Yeah, I mean, I've

1427
01:11:26,720 --> 01:11:30,119
got no problem with that. I love eighties montage movie breakup,

1428
01:11:30,359 --> 01:11:30,760
all of that.

1429
01:11:31,119 --> 01:11:34,479
Speaker 2: Give it to me, Okay, I am spiking the football.

1430
01:11:34,920 --> 01:11:37,600
This is the most underappreciated song on the album.

1431
01:11:37,760 --> 01:11:38,359
Speaker 1: I love it.

1432
01:11:38,479 --> 01:11:53,880
Speaker 2: I absolutely am a huge fan of this one.

1433
01:11:57,800 --> 01:11:59,000
Speaker 1: Dan's where are you on this one?

1434
01:11:59,000 --> 01:12:01,359
Speaker 3: So I like it too. It's kind of deceptive. You

1435
01:12:01,399 --> 01:12:03,760
start off think it's going to be another White Snake ballad,

1436
01:12:03,880 --> 01:12:05,680
but then by the time that chorus gets here, the

1437
01:12:05,680 --> 01:12:09,000
whole stone song that starts building. By the end, it's

1438
01:12:09,039 --> 01:12:10,239
just a headbanging rocker.

1439
01:12:10,319 --> 01:12:13,239
Speaker 1: The way it closes is awesome. Does have a great

1440
01:12:13,239 --> 01:12:13,920
build for sure.

1441
01:12:14,039 --> 01:12:16,960
Speaker 2: Originally cold, I Don't Walk Away. This is another one

1442
01:12:16,960 --> 01:12:19,560
of those where David Coverdell's messing around in an old

1443
01:12:19,600 --> 01:12:22,279
box in his mom's attic and comes across a couple

1444
01:12:22,319 --> 01:12:25,199
of old tapes and he came across this one, played

1445
01:12:25,239 --> 01:12:26,920
it for Sikes and he said, Sykes is the one

1446
01:12:26,960 --> 01:12:28,239
who breathed life into this one.

1447
01:12:28,399 --> 01:12:31,279
Speaker 3: Sich shreds on this one. He really does, particularly towards

1448
01:12:31,359 --> 01:12:31,640
the end.

1449
01:12:31,680 --> 01:12:34,319
Speaker 2: As you mentioned, David Coverdale said that in the era

1450
01:12:34,439 --> 01:12:37,000
of social media, this is the one song that he

1451
01:12:37,079 --> 01:12:39,640
keeps sort of hearing about from fans where they said,

1452
01:12:39,680 --> 01:12:41,640
you know what, that's a song that I really like.

1453
01:12:41,840 --> 01:12:44,000
And it's kind of surprised him over the years that

1454
01:12:44,199 --> 01:12:45,039
it keeps coming up.

1455
01:12:45,079 --> 01:12:46,399
Speaker 3: I wonder if they're performing live.

1456
01:12:46,760 --> 01:12:48,439
Speaker 1: Ummmm, never played live?

1457
01:12:48,600 --> 01:12:51,680
Speaker 2: Is what I have in my notes that this is

1458
01:12:51,720 --> 01:12:53,800
a perfect mid concert break song.

1459
01:12:53,880 --> 01:12:57,640
Speaker 3: Well, you'd ride into the drum solo. I think they

1460
01:12:57,680 --> 01:12:59,720
do the drum solo on Crime in the Rain. I

1461
01:12:59,760 --> 01:13:01,119
think that's where they had the drum solo.

1462
01:13:01,279 --> 01:13:21,600
Speaker 2: Usually this is on the unofficial makeout list of Make

1463
01:13:21,720 --> 01:13:23,199
eighty seven Love It.

1464
01:13:24,119 --> 01:13:25,920
Speaker 1: So that's the end of the album right there. So

1465
01:13:26,119 --> 01:13:27,680
there are a couple of bonus tracks that we're going

1466
01:13:27,720 --> 01:13:30,079
to tell you. We got to talk about the bonus tracks,

1467
01:13:30,079 --> 01:13:33,039
so we mentioned that John Kladner said, no, we're not

1468
01:13:33,079 --> 01:13:35,319
putting that song on the album. There was another song

1469
01:13:35,319 --> 01:13:37,600
that they're not putting on the album. But John Claudner

1470
01:13:37,680 --> 01:13:40,359
worked for Geffen and he had no power across the

1471
01:13:40,399 --> 01:13:43,720
pond with EMI, and they said, we're putting these extra

1472
01:13:43,720 --> 01:13:45,319
two songs on the album. I think there was some

1473
01:13:45,439 --> 01:13:48,279
question about how good they sounded on the vinyl version

1474
01:13:48,319 --> 01:13:50,720
of the album. Is the reason why they didn't put

1475
01:13:50,760 --> 01:13:53,399
them on, or maybe just John Kladner just decided they

1476
01:13:53,399 --> 01:13:56,880
weren't strong enough songs. As we mentioned, John Kalladner made

1477
01:13:57,079 --> 01:14:01,239
virtually every creative decision to be made about this album.

1478
01:14:01,560 --> 01:14:03,479
And before we jump into these bonus tracks, I just

1479
01:14:03,520 --> 01:14:06,520
wanted to touch this is a really memorable album cover.

1480
01:14:06,720 --> 01:14:09,159
Yeah it is. And John Klaudner is the guy who

1481
01:14:09,279 --> 01:14:11,680
hired the artist to do the album cover, but it

1482
01:14:11,760 --> 01:14:14,640
was David Coverdale who said, Hey, I would like to

1483
01:14:14,640 --> 01:14:17,359
do kind of a Celtic amulet that has these water

1484
01:14:17,479 --> 01:14:20,640
and fire type of themes to it. And it is

1485
01:14:20,680 --> 01:14:23,840
a very very cool and I don't know it just

1486
01:14:24,079 --> 01:14:28,600
the album cover really to me captures the visual for

1487
01:14:28,640 --> 01:14:31,520
what the sound of the band is, powerful, regal, but

1488
01:14:31,720 --> 01:14:32,920
breaking down some walls.

1489
01:14:33,039 --> 01:14:36,399
Speaker 2: This is the best white snake cover apart from slide

1490
01:14:36,399 --> 01:14:40,560
it in Oh Yeah, where.

1491
01:14:40,359 --> 01:14:42,800
Speaker 1: He had the cleavage of the model there, it's like

1492
01:14:43,319 --> 01:14:44,359
snake necklace.

1493
01:14:44,640 --> 01:14:47,000
Speaker 2: Yes, so let's play the first bonus track. This one's

1494
01:14:47,039 --> 01:14:51,640
called Looking for Love.

1495
01:14:55,159 --> 01:14:58,720
Speaker 6: I'm asking myself, why is it all my.

1496
01:15:01,880 --> 01:15:02,319
Speaker 8: So far?

1497
01:15:06,560 --> 01:15:08,520
Speaker 3: Looking a little.

1498
01:15:10,279 --> 01:15:15,640
Speaker 6: In my revection strange and insteading.

1499
01:15:16,720 --> 01:15:17,840
Speaker 4: Looking for the.

1500
01:15:21,720 --> 01:15:26,319
Speaker 1: Start off very airy in this one, very glitterally to me.

1501
01:15:26,880 --> 01:15:29,840
This song is way better than Straight for the Heart,

1502
01:15:30,119 --> 01:15:33,279
like way better. This is one of the stronger tracks

1503
01:15:33,319 --> 01:15:35,840
of all of the tracks on the album, and I

1504
01:15:35,880 --> 01:15:39,800
gotta to use a Jason analogy. This is the scene

1505
01:15:39,800 --> 01:15:42,680
in Miami Vice where this is driving along because he

1506
01:15:42,680 --> 01:15:46,199
accidentally shot Crockett looking wistfully into the distance as he

1507
01:15:46,279 --> 01:16:08,960
drives his Ferrari. I love this song. This song could

1508
01:16:08,960 --> 01:16:10,159
have been a hit with a video.

1509
01:16:10,520 --> 01:16:14,399
Speaker 2: Absolutely put Tony Katain walking around, you know, brushing her

1510
01:16:14,399 --> 01:16:15,560
hair or sunglasses.

1511
01:16:16,159 --> 01:16:18,439
Speaker 1: This is a hit song. Tarney Katine sitting in a

1512
01:16:18,760 --> 01:16:21,119
lazy boy watching TV. And I'm still going to watch

1513
01:16:21,119 --> 01:16:22,920
this video. You squirt some water on her. This is

1514
01:16:22,960 --> 01:16:25,479
a hit. I love this one. This is the song

1515
01:16:25,479 --> 01:16:26,840
that used to audition drummers.

1516
01:16:27,039 --> 01:16:28,920
Speaker 3: I can see that because it's you gotta be able

1517
01:16:28,920 --> 01:16:30,640
to cover all your basses on this one. It's a

1518
01:16:30,640 --> 01:16:33,600
real dynamic song and you start off slow and you

1519
01:16:33,680 --> 01:16:36,840
come in with that massive sounding snare drum hit, and

1520
01:16:36,840 --> 01:16:39,640
then from then on it just steadily builds. So, yeah,

1521
01:16:39,640 --> 01:16:41,239
you gotta be able to cover all your bases on

1522
01:16:41,279 --> 01:16:42,880
this one. I think it's a great song. I don't

1523
01:16:42,880 --> 01:16:45,439
see why it wasn't included on the original track listing, and.

1524
01:16:45,479 --> 01:16:46,960
Speaker 1: Either it should have been.

1525
01:16:47,039 --> 01:16:49,199
Speaker 2: And I'm not going to argue this is a better

1526
01:16:49,239 --> 01:16:51,640
song than the Straight for our David Coverdale says this

1527
01:16:51,680 --> 01:16:53,479
is one of his favorite White snakess.

1528
01:16:53,600 --> 01:16:54,880
Speaker 1: Yeah, I love this song.

1529
01:16:57,000 --> 01:16:58,840
Speaker 2: It's that sort of is this love, sort of the

1530
01:16:58,920 --> 01:16:59,920
haunting vocals.

1531
01:17:00,279 --> 01:17:02,960
Speaker 1: He's much more singing in his chest voice on this one.

1532
01:17:03,000 --> 01:17:05,359
He's not hitting those high notes like he normally does.

1533
01:17:05,399 --> 01:17:08,439
This is much more of that old blue sound that

1534
01:17:08,479 --> 01:17:12,319
he had. But it is heartfelt, it is genuine, and

1535
01:17:12,600 --> 01:17:15,199
I think it's fantastic. Want to live here say, John

1536
01:17:15,239 --> 01:17:19,119
Claudner is wrong and this is the true unsung, underappreciated

1537
01:17:19,119 --> 01:17:19,840
song on this album.

1538
01:17:19,880 --> 01:17:24,640
Speaker 2: And John Claudner's gonna say eight times platinum anything.

1539
01:17:24,279 --> 01:17:24,880
Speaker 9: More on this one.

1540
01:17:25,159 --> 01:17:26,880
Speaker 3: It's a great song. I agree with every thing you

1541
01:17:26,880 --> 01:17:28,359
guys have said. It would not have been out of

1542
01:17:28,359 --> 01:17:29,880
place on the original album.

1543
01:17:29,960 --> 01:17:31,720
Speaker 2: It has all the elements of a White Snake song.

1544
01:17:31,760 --> 01:17:34,079
It should have been on the album, all right. So

1545
01:17:34,199 --> 01:17:36,159
let's wrap it up with the last song. This song

1546
01:17:36,239 --> 01:17:37,920
is called You're Gonna Break My Heart Again.

1547
01:17:51,439 --> 01:17:54,479
Speaker 1: Okay, if it's me making this album, I'm getting rid

1548
01:17:54,520 --> 01:17:57,439
of Straight for the Heart. I'm putting those two as

1549
01:17:57,479 --> 01:18:00,399
the last songs on the album. This is such a

1550
01:18:00,439 --> 01:18:03,359
strong closer. It reminds you of who the band is.

1551
01:18:03,760 --> 01:18:07,039
It's kicking butt. It's got that solid, pumping bass as

1552
01:18:07,119 --> 01:18:10,119
it comes in. I think this is a great hinding

1553
01:18:10,239 --> 01:18:14,039
to this album. I probably would have preferred the European

1554
01:18:14,159 --> 01:18:15,920
version when I was buying out.

1555
01:18:16,039 --> 01:18:18,319
Speaker 2: I think that's fair. I think that's fair. I think

1556
01:18:18,359 --> 01:18:19,279
Klaidner was wrong.

1557
01:18:20,039 --> 01:18:23,680
Speaker 1: I can't argue the results. Say but didn't you just

1558
01:18:23,760 --> 01:18:26,159
say Atimes Platinum.

1559
01:18:26,600 --> 01:18:29,880
Speaker 2: I think these are two stronger songs than Children of

1560
01:18:29,880 --> 01:18:31,119
the Night and Straight for the Heart.

1561
01:18:31,279 --> 01:18:33,640
Speaker 3: I can't really argue. And I think it's a great song.

1562
01:18:33,680 --> 01:18:36,600
It's got all those essential White Snake elements we talked about,

1563
01:18:36,760 --> 01:18:39,760
a great melody, great playing. I mean, it would not

1564
01:18:39,800 --> 01:18:41,800
have been out of place amongst the rest of the songs.

1565
01:18:41,920 --> 01:18:44,279
Speaker 2: They were just really on their game in eighty seven.

1566
01:18:44,359 --> 01:18:47,479
I mean Sikes and Coverdale and Katain, they were it

1567
01:18:47,520 --> 01:18:48,199
in eighty seven.

1568
01:18:48,279 --> 01:18:51,399
Speaker 1: You know. Okay, guys, this is the end of the album,

1569
01:18:51,479 --> 01:18:54,239
This is the end of the history. And some stuff

1570
01:18:54,319 --> 01:18:55,319
happened after this.

1571
01:18:55,520 --> 01:18:56,079
Speaker 3: I mentioned the.

1572
01:18:56,039 --> 01:18:59,560
Speaker 1: Marty Collner episode, but there's a little bit more to

1573
01:18:59,600 --> 01:19:00,520
the end of this story.

1574
01:19:00,600 --> 01:19:03,600
Speaker 2: Yeah, Sadly, all things must come to an end. David

1575
01:19:03,680 --> 01:19:06,760
Coverdale and the Queen of rock and Roll Tiny Contained

1576
01:19:07,000 --> 01:19:09,680
sadly got divorced just a few years after this album

1577
01:19:09,720 --> 01:19:11,279
came out. So I've got a story for you on

1578
01:19:11,359 --> 01:19:12,720
why they actually got divorced.

1579
01:19:12,840 --> 01:19:15,159
Speaker 1: Oh I don't know this, Go go ahead tell me so.

1580
01:19:15,520 --> 01:19:18,600
In her defense, Toney Katain said that she was a

1581
01:19:18,600 --> 01:19:20,239
bit of a spender. Okay.

1582
01:19:20,399 --> 01:19:22,800
Speaker 2: She said that David got all bent out of shade

1583
01:19:22,880 --> 01:19:26,439
because she was spending seventy thousand dollars a month, holy crap,

1584
01:19:26,760 --> 01:19:28,920
shopping and shoes and you know, queen of rock and

1585
01:19:28,960 --> 01:19:29,439
roll stuff.

1586
01:19:30,359 --> 01:19:32,560
Speaker 1: David Coverdale said, seventy thousand a month.

1587
01:19:33,000 --> 01:19:36,560
Speaker 2: I wish it was thirty five thousand.

1588
01:19:36,239 --> 01:19:36,920
Speaker 8: Dollars a day.

1589
01:19:39,239 --> 01:19:42,760
Speaker 1: He goes and I've got the receipts to prove it. Yes.

1590
01:19:43,039 --> 01:19:47,199
Speaker 2: Well, okay, that honey drenched million dollars only takes you

1591
01:19:47,319 --> 01:19:47,680
so far.

1592
01:19:47,720 --> 01:19:50,600
Speaker 1: I guess well, there's two kinds of sex that you

1593
01:19:50,640 --> 01:20:01,479
pay for. One is illegal and the other one's more expensive. Okay, guys,

1594
01:20:01,520 --> 01:20:03,880
we're going to go into our Shirly showcase. We have

1595
01:20:04,119 --> 01:20:06,800
a special guest, Adam Mishski, who is going to give

1596
01:20:06,840 --> 01:20:10,039
his opinion on these two monumental albums. Let's hear what

1597
01:20:10,119 --> 01:20:10,880
he has to say.

1598
01:20:11,840 --> 01:20:14,199
Speaker 12: Hi, everyone, I'm so glad that Jason and d gave

1599
01:20:14,239 --> 01:20:16,439
me the opportunity to give a quick comparison of these

1600
01:20:16,439 --> 01:20:19,000
two massive albums from nineteen eighty seven. I love the

1601
01:20:19,039 --> 01:20:21,239
harder stuff back in the eighties. I still do today,

1602
01:20:21,399 --> 01:20:23,119
and I got both of these albums the day that

1603
01:20:23,159 --> 01:20:24,960
they came out. I think that one of these albums

1604
01:20:25,039 --> 01:20:27,640
is age better than the other, and I definitely have

1605
01:20:27,720 --> 01:20:30,319
a favorite between the two Girls. Girls Girls starts off

1606
01:20:30,319 --> 01:20:32,560
with wild Side and the title track, which is one

1607
01:20:32,600 --> 01:20:34,720
of the best one to two punches of any metal

1608
01:20:34,760 --> 01:20:37,720
album of the eighties. These two songs are the two

1609
01:20:37,800 --> 01:20:40,000
best on the album by a mile. I think that

1610
01:20:40,119 --> 01:20:43,640
Dancing and Glass is probably the third best song on Girls, Girls, Girls,

1611
01:20:43,760 --> 01:20:45,800
but it's such a far cry from the first two

1612
01:20:45,920 --> 01:20:47,800
songs after Dance and Glass.

1613
01:20:47,840 --> 01:20:49,359
Speaker 3: Maybe you can talk about.

1614
01:20:49,079 --> 01:20:52,039
Speaker 12: Your All I Need, but that's only because MTV refused

1615
01:20:52,079 --> 01:20:53,680
to play the video. I didn't even know there was

1616
01:20:53,680 --> 01:20:55,479
a video for it until a couple of years ago.

1617
01:20:55,560 --> 01:20:57,680
It's an okay song at best, but it's not going

1618
01:20:57,720 --> 01:21:00,479
on any playlist that I have. Everything after the title

1619
01:21:00,520 --> 01:21:02,920
track just feels like filler. They didn't play much of

1620
01:21:02,920 --> 01:21:05,079
it on tour nineteen eighty seven, and that was even

1621
01:21:05,119 --> 01:21:07,279
though they played over one hundred dates that year, So

1622
01:21:07,359 --> 01:21:10,479
in my opinion, this is Motley Cruz's weakest album of

1623
01:21:10,520 --> 01:21:13,279
their first five releases. Then you have White Snake's self

1624
01:21:13,319 --> 01:21:17,279
titled eighty seven album, which was a monster and sold

1625
01:21:17,279 --> 01:21:20,199
over nine million copies. It opens with the re done

1626
01:21:20,279 --> 01:21:22,319
version of Crying in the Rain, and I assume that

1627
01:21:22,439 --> 01:21:26,199
longtime White Snake fans were wondering where their bluesy influence went.

1628
01:21:26,279 --> 01:21:28,840
That bluesy swagger they used to have is definitely gone

1629
01:21:28,880 --> 01:21:31,560
by the time that Bad Boys starts, and then Still

1630
01:21:31,640 --> 01:21:34,319
the Night defines what White Snake is for a majority

1631
01:21:34,319 --> 01:21:37,319
of the fans. That song alone shot them a superstardom.

1632
01:21:37,560 --> 01:21:40,600
I'm sure that Coverdale is still cashing massive checks off

1633
01:21:40,640 --> 01:21:42,880
of the success. I wasn't a huge White Snake fan

1634
01:21:42,920 --> 01:21:44,560
prior of the album. I'd seen some of the videos

1635
01:21:44,560 --> 01:21:47,279
on MTV, but this album was definitely my go to

1636
01:21:47,319 --> 01:21:49,640
in nineteen eighty seven and eighty eight. It had four

1637
01:21:49,720 --> 01:21:53,439
massive singles and videos, and White Snake really took advantage

1638
01:21:53,479 --> 01:21:57,199
of MTV at its peak. Overall on this album, I'm

1639
01:21:57,199 --> 01:22:00,239
not skipping a song until song number eight, which is

1640
01:22:00,239 --> 01:22:02,600
Straight for the Heart. That's a song that probably should

1641
01:22:02,600 --> 01:22:05,119
have been replaced by looking for Love on the US release.

1642
01:22:05,720 --> 01:22:07,920
Coverdell has said that looking for Love is the best

1643
01:22:07,920 --> 01:22:10,079
song that he wrote with Psychs, and I have no

1644
01:22:10,119 --> 01:22:12,800
doubt had it been included on the US version and

1645
01:22:12,960 --> 01:22:14,960
released as a single with a video, the album would

1646
01:22:15,000 --> 01:22:17,600
have sold at least another million copies. I think it's

1647
01:22:17,600 --> 01:22:20,279
pretty obvious where I fall in the comparison. So, even

1648
01:22:20,319 --> 01:22:23,479
with two of the songs being re recordings of earlier songs,

1649
01:22:23,640 --> 01:22:27,520
White Snakes self titled eighty seven album is phenomenally.

1650
01:22:26,880 --> 01:22:28,399
Speaker 3: Better than Girls, Girls, Girls.

1651
01:22:28,560 --> 01:22:30,760
Speaker 12: The hits are bigger, there's more of them, and there's

1652
01:22:30,760 --> 01:22:33,439
maybe only one skip around the entire album. This album

1653
01:22:33,560 --> 01:22:36,199
is a top ten album for me overall. Thanks everyone

1654
01:22:36,239 --> 01:22:37,520
for listening and take care.

1655
01:22:37,760 --> 01:22:41,079
Speaker 1: Adam, were you sitting in when we were recording? Hey,

1656
01:22:41,119 --> 01:22:43,840
great minds think alike. That's what I gotta say. My goodness.

1657
01:22:43,840 --> 01:22:46,039
Speaker 2: We haven't given our final judgment on Girls, Grost Girls

1658
01:22:46,079 --> 01:22:49,000
compared to White Snake yet, but man, he hit basically

1659
01:22:49,079 --> 01:22:50,079
the same thing as we talked about.

1660
01:22:50,159 --> 01:22:53,319
Speaker 1: You can't deny that the White Snake album introduces us

1661
01:22:53,319 --> 01:22:56,119
to an entirely different band than the White Snake before.

1662
01:22:56,359 --> 01:22:58,279
And I mean I got to point out that he's

1663
01:22:58,279 --> 01:23:00,319
on the exact same page of what the skipper song

1664
01:23:00,439 --> 01:23:01,039
is on this album.

1665
01:23:01,119 --> 01:23:04,520
Speaker 2: Hey, not only did he pick the skipper the same

1666
01:23:04,560 --> 01:23:06,880
one that you picked, yeah, but he also was a

1667
01:23:06,920 --> 01:23:07,920
lover of looking for Love.

1668
01:23:08,079 --> 01:23:11,319
Speaker 1: Yeah. I mean, I can't say you're right enough. I

1669
01:23:11,359 --> 01:23:13,000
don't know if I'm going to agree with you on

1670
01:23:13,039 --> 01:23:15,239
which album is best. You guys will have to tune

1671
01:23:15,239 --> 01:23:17,479
in next week to find out what we think about Girls,

1672
01:23:17,520 --> 01:23:19,920
Girls Girls and whether it tops this one out or whether,

1673
01:23:20,039 --> 01:23:22,840
like Adam said, White Snake is the clear winner. Adam,

1674
01:23:22,880 --> 01:23:23,560
thank you very much.

1675
01:23:23,600 --> 01:23:24,399
Speaker 3: We sure appreciate it.

1676
01:23:24,479 --> 01:23:27,760
Speaker 1: Okay, guys, that's the end of our coverage of this album,

1677
01:23:27,800 --> 01:23:29,800
tracked by track. We hope you enjoyed it. We hope

1678
01:23:30,119 --> 01:23:32,920
we introduced you to a couple of new songs here

1679
01:23:32,960 --> 01:23:35,520
at the end. If you're an American listener like us,

1680
01:23:35,920 --> 01:23:38,800
go back and check this album out again. Be sure

1681
01:23:38,920 --> 01:23:42,000
and leave a review and a five star rating on

1682
01:23:42,079 --> 01:23:45,880
our podcast app if you would. And James can't tell

1683
01:23:45,880 --> 01:23:47,880
you thank you enough for coming in here and doing

1684
01:23:47,880 --> 01:23:49,760
this with us, and thank you so much for your

1685
01:23:49,760 --> 01:23:53,239
support of our podcast for the last however many months

1686
01:23:53,319 --> 01:23:53,880
years it's been.

1687
01:23:54,000 --> 01:23:56,720
Speaker 3: I had an absolute blast, guys. I mean, this is

1688
01:23:56,760 --> 01:23:58,520
an album that's near and dear to my heart, so

1689
01:23:58,560 --> 01:24:00,840
getting discussed with you guys, it was a blast at

1690
01:24:00,840 --> 01:24:03,560
an absolutely great time. But we can do it again sometimes.

1691
01:24:03,960 --> 01:24:05,560
Speaker 1: Hey, why don't you come back next week and talk

1692
01:24:05,640 --> 01:24:06,640
Girls Girls Girls.

1693
01:24:06,399 --> 01:24:08,680
Speaker 3: With us, Sex, drugs and rock and roll.

1694
01:24:08,800 --> 01:24:12,439
Speaker 1: I'm there, all right, sweet, So guys, be sure and

1695
01:24:12,560 --> 01:24:15,199
join us next week. We are going to be comparing

1696
01:24:15,239 --> 01:24:18,720
this album to the Girls, Girls Girls album by Motley Crue.

1697
01:24:18,920 --> 01:24:22,720
The bands, I mean, they've played together on tour started

1698
01:24:22,760 --> 01:24:25,560
off with White Snake opening for Motley Crue and kind

1699
01:24:25,560 --> 01:24:27,199
of ended up with White Snake saying We're going to

1700
01:24:27,239 --> 01:24:30,279
go headline our own show, see you guys later. Fantastic,

1701
01:24:30,319 --> 01:24:31,720
can't wait to dive into that one.

1702
01:24:32,159 --> 01:24:36,840
Speaker 2: The dregs of Heroin next week, and somehow they managed

1703
01:24:36,880 --> 01:24:39,600
to pump out a pretty great alum, pretty incredible