Speaker 1: This is a podcast from Minute Media. Hello everybody, and
welcome to the Shirley You Can Be Serious Podcast. I
am d Graves. I am here with my bow, ready
to play on my electric guitar. We've got our special
guest James Buckley today. He's dressed in a bright, shiny
blue suit and we are both going to defend our
friend Jason Colvin who was caught dancing nearly naked and
a leotard on top of a couple of jaguars, just.
Speaker 2: Doing a couple of back walkovers, getting ready for the
episode on the hood of a Jaguar.
Speaker 1: Well, guys, we are back today to go through White
Snake track by track. If this is your first time
joining us, I know you wanted to listen to White
Snake the album Good News. We're going to give you
every story behind every song on that album, and if
you want to hear the history leading up to the
release of this album, check out our previous episode on Whitesnake.
Here I go again a history and today we are
joined by our very special guest, mister James Buckley.
Speaker 3: How you doing, James, wonderful gentlemen, how are you guys today.
Speaker 1: Good man, We're glad to have you tell us a
little bit about yourself.
Speaker 3: Let's see terminally bald father husbands. During the week I
hang out in courtrooms and wear a tie and watch
a guy in a dress stand up and sit down. Yeah.
On the weekends, I'm an amateur rock and roll star,
which my wife still lets me do every now and then.
I play in a band called Hidden Tracks, which is
a nineties alternative rock cover band, and it's the best
form of therapy. I've found a couple hours beating on
the drums you feel much better about. It's about everything
in life.
Speaker 1: Fantastic man. Where can we see you guys play?
Speaker 3: Well, we're not going to make it to Dallas anytime soon,
but we'll work mostly around North Louisiana. In South Arkansas,
I live in a place called Monroe, which actually has
some relevance to today's topic. We have somewhat of a
musical history. There's a guy named Lannie Wilson who's a
studio drummer in Nashville with thousands of hoarding credits to
his name. He's from here. Kevin Griffin from Better than
Ezra was born and raised here. More importantly, for our
purposes today, this is also the home of baseball player
Chuck Finley. At some point we.
Speaker 1: Have got to talk about him.
Speaker 3: That's great.
Speaker 1: Now, speaking of baseball, you were telling us just a
minute ago that your introduction to us was our Major
League episode. Is that right?
Speaker 3: Yeah? My daughter and I were talking about something Joebu related,
so I started digging around, stumbled across you guys, listen
to the whole episode while driving around town, and was
instantly hooked. I found the episode on the police. You know,
Stuart Copelan's the reason I claim I played drums. So
I was fascinated by that episode and I was hooked.
From that point on, I started emailing you guys, harassing
you endlessly, and now I'm kind of like one of
those diseases white Snate members probably dealt with back in well.
Speaker 1: Earlier today, earlier this week, Jason and I were talking
and we were talking about you and Brad Moore. Now,
you guys, we've got slated to join us to talk
about some chains and STP because we're coming up on
the thirtieth anniversary of a couple of their albums. But
Jason's like, yeah, there are biggest longest Patreon members, And
I said I'm sure they're gonna love it if you
call them the biggest longest members we have.
Speaker 3: Yeah, little Boogie Nights. Sensation brand is an excellent dude.
Met him to his son as a friend with my daughter,
and I'm proud to proud to know the guy.
Speaker 1: The good good. We'll let you guys battle it out
who's the biggest and the longest. But all right, I
know you're a golfer.
Speaker 4: Sure, when you hit the ball and it goes in
the rough, it's hard to see.
Speaker 1: It is so hard to find.
Speaker 4: It's not cool when it's in the rough.
Speaker 1: Nobody wants a bunch of rough around there.
Speaker 4: You want it in the fair way and you want
it cleaned up so you can see the ball at
all times.
Speaker 1: Right, the smoother it is, the easier it is to see.
Speaker 4: That reminds me of our sponsor, Manscape dot com.
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They've sent us some and we're both totally amazed by
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Speaker 1: Guys. Don't forget it's easier to see a giraffe on
the plane than it is in the forest. Okay, that's good,
that's really well. Hey, speaking of that, everybody, if you,
dear listener, would like to be one of our Patreon subscribers,
it's super easy. You just go over to patreon dot com,
Backslash Surely Podcast. That's su our el y podcast and
for as little as five bucks month. Number one, you
can become an executive producer of one of our episodes.
But number two you get to listen in to our
super secret nobody knows it but our Patreons episodes. And
we have just started doing that this past month in June,
and we're going to have a new one in July.
But we are covering the one hit wonders of the
eighties and beyond.
Speaker 3: That's right.
Speaker 2: We did the Buggles video Kid the Radio Star in
our first one. This month, we're doing Frankie Goes to Hollywood.
We're doing Relax. Yeah, and we've got some exciting things
that you can do the higher you go up in
the scale. So check us out on patreon dot com.
Sign up today. We got a new one as a
matter of fact this week.
Speaker 1: Yeah, we are executive producer for this particular episode. Is
our newest Patreon. Remember his name is Chad Briggs. Chad,
thank you for hitting us up. Thank you for the support.
We can't tell you how much we appreciate it. Chad
and I exchanged a few emails and we came up
with the idea for Tron versus wargames I think that's
going to be a fantastic one. Guy shows up and
drops a great matchup right off the bat. Also, he
mentioned this is this is my favorite part. He mentioned
that the Sweetish military crush is really hard on dirty dancing.
Speaker 5: I'm really curious Swedish military. Swedish military really really likes
strty dancing. I don't know how a movie targeting young
teenage girls.
Speaker 1: Somehow ended up as a favorite of the Swedish military,
but that's if.
Speaker 2: You are in the Swedish military. Please hit us up
on Facebook.
Speaker 3: Or the Swedish Bikini Swim Team.
Speaker 1: Anyway, either way, and guys, if you are not financially
in the position to become one of our Patreon members,
no problem. Just go over to whatever your favorite podcast
app is and hit that five star review for us.
And if you want to leave a review that happens
to mention a topic that we've talked about, we'll put
you in a contest to win an awesome custom engraved tumbler.
James has one of those, I believe, and we have
a new review that Jason, why don't you read that
one for us?
Speaker 3: Yeah?
Speaker 2: Okay, so we got a five star review from our
friend named m N Guy fifty five.
Speaker 1: So MN Guy fifty five, Hit us up on Twitter,
hit us up on Facebook, send us an email at
Shirleypodcast at gmail dot com, and let us know who
you are. That's right. If you're D's grandma, we definitely
want to know that, all right. So here's what it says.
Speaker 2: Five stars childhood nostalgia at its best. This is a
must subscribe for anyone who grew up in the eighties.
It's such a great miss of music and film that
it seems to touch on every weekend of my nineteen
eighties life, and those were the best times. All the
episodes are home runs, even the ones that I'm not
interested at the outset. It's been great to go back
and watch a lot of the movies discussed with my
late teenage boys, so that I get to share the
best parts of my teenage years with them. I'm so
glad that I found this podcast and I love sharing
it with friends and then reminiscing with them each week.
Speaker 1: Number one, thank you MN Guy fifty five for that
awesome review. And that actually is that's how James hit
us up. That's how he found us. We do PG
thirteen episodes that people can listen to with their teenage children.
Speaker 2: Hearing people being able to go back and listen and
see stuff with their kids. I mean, that's that's awesome.
That's what we want to do.
Speaker 1: Absolutely awesome. And James just mentioned he came to us
through the Major League episode a Major League we did
as a comparison to Bold. Last week, we talked about
the factors involved in the success of this White Snake album.
And obviously David Coverdale is one of them, right, and
obviously John Sykes is one of them. Yeah, but you've
got some non musicians that are key factors in this one.
And Jason, you hit me with a nugget of wisdom
that I thought was on point.
Speaker 2: Okay, So I called you last week and I said, listen,
as we're breaking down the players involved in the White
Snake rise to fame, I'm like, this is a retelling
the bull Deram. You've got John Kalodner, who's clearly the coach, right, Okay,
he's the coach.
Speaker 1: Huh.
Speaker 2: You've got John Sykes, who's clearly crashed Davis.
Speaker 1: He's the guy.
Speaker 2: He's in the trenches with him. He doesn't like him,
but he's helping him. Make it to the big time.
Speaker 1: David Coverdale is nuke leloosh. You're saying that God reached
his hand down and touched David Coverdale's voice.
Speaker 2: Absolulutely, and he's screwing around with his quadrophonic wolpunk and
he needs some help to get to the big time.
Speaker 1: And so who do they get?
Speaker 2: They get Kallaidner to help coach him, They get Sykes
to help guide him, and his Annie Savoy in this
whole deal is clearly the lovely Tonni Katain.
Speaker 1: Now there's an interesting comparison, Susan Sarandon in a tight
skirt versus Tonny Katain and a tight skirt. I don't
know which way I'm going to vote on that One's
that's a tough call. What do you think, James Coverdale
nuk lulush, Tony Katay, Andy Savoy?
Speaker 3: Can you see it? I can see it? But are
you saying Joe bu can't help with the carve ball?
Speaker 1: Just as a quick recap of our last episode, Guys,
if this is your first time listening, the lead up
to this album is pretty incredible. They put together almost
an entirely new band to make this album. John Sykes
and David Coverdale get together, They write the album, they
record the music, except for Coverdale doesn't record the vocals,
and it goes on for two years without him recording
the vocals, at which time Sikes is getting upset. The producer,
Mike Stone is getting upset, and there's a little bit
of talk about maybe we need to find somebody else
to sing this album. Well, obviously that this is David
Coverdale off and so he's ready to get rid of everybody.
And I'm not going to say that he was a cow,
but like, I'm pretty sure that the bass player and
the drummer got there notice that they weren't going to
be in the band anymore when they stopped getting checks. Yeah, exactly.
They of course are now trying to hunt down new
members of the band. John Sykes is the last one there.
He knows what's going on, but he's overseas like he's
separate from them. But he's like, do I finish? Do
I quit?
Speaker 3: Now?
Speaker 1: What do I do? He decides to push on through,
but David Coverdale ultimately calls him and says, hey, sorry, dude,
this isn't going to work out. Well, here's something that
I just found out I didn't know found this out. Today.
We mentioned John Klaudner putting together his new all star band,
the band that we all know as Whitesnake because we
watched all of videos back in the eighties when we
were kids. That's the band that John Kladner puts together.
And one of the guys that he calls up is
a guy named Adrian Vanderberg. Here's what I did not know.
Adrian Vanderberg did the guitar solo for Here I Go Again.
On the album version. We talked about how none of
those guys were actually playing on the album. That is
not correct. Adrian Vanderberg actually did the solo. So he
shows up to John Kallodner's office and John Kladner's like, okay,
you got this band, but I also kind of am
interested in having you play with White Snake. He's like, oh,
White Snake would be really great. And so he's like, well,
I'll tell you what. There's a solo that John Sykes
did for Here I Go Again. Sounds like metal country western.
We need a new guitar solo, and so he sends
Adrian Vandenberg over to the studio to put together a
new solo for this song, And so Adrian Vandenberg is
in there and he's bought this cheap Japanese strat knockoff
and he's noodling away in the studio trying to figure
something out. All of a sudden, he's here's a commotion
outside of his little studio recording area. Voices are starting
to escalate, and you know, David Coverdale's got his studio
voice on, so it's super loud. So he peeks out
the door and sure enough, John Sykes has flown back
and is confronting David Coverdale to his face about what
the heck you do? And so Adrian VanderBurg slowly closes
the door back again, goes back to his cheap Japanese
knockoff stratocaster with that cheap guitar. While there is extreme
fighting going on in the other room, he records one
of the most memorable guitar solos in history.
Speaker 2: Wow, that is a great story, man, by the way,
I mean, that's a fantastic story.
Speaker 1: I don't want to kill that.
Speaker 2: Do you know why David Codell could not sing? Why
his shockers were jammed and he couldn't breathe out of
his right highlight?
Speaker 1: Bring some fried chicken. There you go.
Speaker 2: Before we get to track by track, I just want
to do a quick overview of this album.
Speaker 1: James, did you own this album?
Speaker 3: Yeah? This was the summer between my senior years in
high school. You could not cruise the streets of North
Louisiana without having a copy of this somewhere on board.
I actually saw White Snake with the video version of
the band on tour that summer with Motley Crue and
they were mind blowingly good. This was the Vivian Campbell,
Adrian VanderBurg, Tommy Aldridge, Rudy sarzo version, and they were amazing.
Speaker 1: You told me that they blew Molly cru up the stage.
Speaker 3: That was my impression. I mean, they were saw such.
These were all seasoned pros. Tommy Aldridge have been playing
with people since Black O'carkansas in the seventies. Rudy Sarzegen
was quiet right, and Ozzy Osbourne and the Randy Road
years as had Tommy Aldridge as well. So these were
all pros in top form at the time.
Speaker 2: I told you that they played Oklahoma City in nineteen
eighty seven and the next night.
Speaker 1: They played Treeport. That's the show you saw right.
Speaker 3: Why first nineteen eighty seven, I think, wow, they had
the merchandise booth outside and they had a cool white
snake shirt had the logo in front on the backhead
all the tour days. I had to have one. So
I just told him my size, handed them my twenty
bucks and walked away ahead. Man didn't pay any attention.
School starts. Yeah, about a month and a half later,
and I grabbed my white snake T shirt for some reason.
I hadn't worn it much during the summer, and I
go to school enjoying my day, you know, running my
hands to my luxurious hair. And my principal, who was
also a deacon at my church, and he's a wonderful
godly man in inspiration to us all. He did not
approve of my T shirt because I hadn't realizing on
the back above the tour dates it said white snake.
Whip it out, wipe it off, and slide it in again.
That was not appropriate. I'm not had a long sleeve
shirt in my car. So here I am in late
August wearing a long sleeved shirt over a black white snap. Yeah.
So that'll teach me to read T shirt more closely.
Before I buy them in the future.
Speaker 1: Let me guess that made it back to your mom.
Speaker 3: Yeah, and she'll probably hear it again be reminded of
that and chew me out. But that's okay. I learned,
I learned a less.
Speaker 2: So this album went eight times platinum in the US,
twenty million worldwide. I mean I've always called this album
nineteen eighty seven.
Speaker 1: Well that's what they called it in the UK. I mean,
we got two different distributors for this album. In the
US and Canada, you had Deafen Records, but it was
EMI over in Europe, and so in Europe and in
Australia they called this album nineteen eighty seven, and in
Japan it's called surpus Albus.
Speaker 3: Yeah, that sounds like something in here in the NC
seventeen Harry Potter movie.
Speaker 1: So not only did this album do amazing on the charts,
but slide it in which hadn't been out. I mean
it came out in what eighty four, yep, just three
years later. It went from gold to double platinum in
eighty seven. After the success of this album, I went
back and bought it. Yeah, well, and it's got some
great stuff.
Speaker 2: I told you that my buddy on the bus, let
me listen to his Slide It In. Yeah, so I
took my lawnmowing money and bought nineteen eighty seven and
slightly Nice.
Speaker 3: I tried to buy Slide It In. I was fourteen
at the time, but my mom did not approve of
the title, so I tried to explain through it just
you know, the mechanical act of putting the cassette in
the player. Once again, that did not fly. So but
I love that. I love that album. That was my
first exposure to Whitesnake. I remember the video for Slow
and Easy on Friday Night Videos. I'd already started oning
to play drums because of Stuart Copeland. But the second
I saw Cozy Powell's fist catch that drumstick in the
video and started playing that big uh yeah, that was fucked.
So but when this album came out in eighty seven,
I was primed, but I didn't anticipate how much I
was going to love it still do. As a matter
of fact, for those.
Speaker 1: Of you who don't have the benefit of seeing James
right now, he's literally has his drumsticks in his hands.
It's a little security blanket for you. While we've recorded
the podcast, I'm guessing pretty much.
Speaker 2: Yeah, this album never hit number one, but just listen
to this history of the Billboard Hot two hundred. Okay,
so it reached number two on June thirteenth, nineteen eighty seven,
just after my fourteenth bart.
Speaker 1: Can I interrupt?
Speaker 3: Yes?
Speaker 1: So at that point when it hit number two in June,
here is here are the ones that were behind it.
You too is in the number one spot with Josh
for Tree, right, okay, But just as an idea of
how how prevalent glam hair metal rock was at that moment,
Number two is White Snake nineteen eighty seven. Number three
is Girls Girls Girls by Motley Crue. Number four is
Slippery When Wet by bon Jovi, number five is Look
What the Cat Dragged In by Poison, and number six
is Ozzy Osbourne and Randy Roads Tribute. I mean, it
was the summer of hair metal and it was awesome.
That sounds like a surely showcase list right there.
Speaker 3: I'm trying to think in that period of time you
could see those guys in concert, I mean in shreet board.
I've seen White Snake, Motley Crue, Poison, David Lee, Ross
S Durell man, you will never have a time like
that again, I don't think.
Speaker 1: So listen to this.
Speaker 2: So they hit number two June thirteenth, nineteen eighty seven.
They were blocked by the Joshua Tree.
Speaker 3: You two.
Speaker 1: If you remember, we've.
Speaker 2: Done the track by track on night, go back and
listen to that, and then just listen as we go
through nineteen eighty seven. The next week there number two,
then number four. That's the week that Whitney Houston hits
number one with her second album. That blocks Girls, Girls, Girls,
and White Snake for that matter. The Nikky six swears
they outsold Whitney Houston's album, but they got the shaft
by the record company cook the books. We'll talk about
that next week. So this is their chart history. Two
two four four five three four three three three two three.
Speaker 1: Blocked by La Bamba two three four two four four three.
Speaker 2: Week after week after week they're in the top five
of top five, top five, top five. They don't fall
to number six until January of nineteen eighty eight. That
is a crap ton of albums that they're selling.
Speaker 1: Wow.
Speaker 2: Albums come and go, but this stayed in the top
five for nearly a year.
Speaker 1: Okay, are we ready to go track by track more
than gentlemen. Okay. The first song out of the Gate
is incredible. It's a song called Crying in the.
Speaker 6: Ring, Long Lady's burning with a fevers Ladies lonly in
the night, go crazy with the thoughts of retroduction.
Speaker 1: Day's wailing on the drums on this one man.
Speaker 3: Okay, this album, I consider this one of the best
recorded rock drum performances of the eighties. And this track
I think has probably Angsley Dunbar's best performance on the album.
It's amazing from just from a drumming perspective, but on
top of that you've got Sykes shredding away like nobody's business,
David Boyce wailing in top form. Just an amazing song.
Speaker 1: Now, this song was one of the songs that came
from an old album, right this is this is one
from back in their blues day.
Speaker 2: This is Satsan Sinners.
Speaker 3: Yeah.
Speaker 1: And when I when I listen to the song, I'm like,
I can tell the blues like this is that this
is that bluesy No, it's that call and answer that
you get with the blues. But they gear up the
music and they've got that guitar sound I didn't know
this until the day either. The guitar sound that John
Sykes has on this album he got from mister Bob Rock.
Bob Rock came over and programmed his equipment in order
to get him this totally killer sound. So you've got
this blues e riff and this bluesy vocal, but then
after that starts, you've got an almost black sabbath.
Speaker 7: Like riff that goes along with it.
Speaker 1: So you've got blues and heavy metal jammed together with
a voice like Robert Plant and you're just like, holy cow,
I got a good album to bad.
Speaker 2: This is one of those that John Kladner's like, this
is a great song. It's not produced well, it's not
played well, let's do it right and put it on
this album. And David Coverdelle resisted that at first, and
finally when they talked him into Crying in the Rain,
He's like, well, crap, if I'm gonna do Crying in
the Rain, then let's do here I go again as well.
Speaker 1: And was that inspired or what? My goodness? Yeah, greatest
decision of the album for sure.
Speaker 2: The funny thing to me is that John Sykes hated
blues right yeah, and he made this blues song into
a rocker.
Speaker 3: You know. John started off playing with a new wave
of a British heavy metal band called Tiger's a pent Tank. Yeah,
more of a motorhead riffy vibe going, and then he
went into Finn Lizzy. If you listen to Finn Lizzy's
Thunder and Lightning album, it's the heaviest album in the
band's career and that all goes back to Sykes. So
he was primed for this man.
Speaker 1: He really was, you know, who they wanted to have
in Finland before they ended up hiring John Sykes. Wow,
that's great.
Speaker 3: D You mentioned the Black Sabbath funny connection, even though
it's it's not really relevant. Ainsley Dunbar in the late
sixties had a band called Ainsley's Dunbar's Retaliation. First Sabbath
album they have. They cover a song by Retaliation called Warning,
so Ainsley's roots man, he goes way back. The solo
section of the song just amazes me every time I
listen to it. Sykes starts off in overdrive and then
takes it up a gear by the end. It's just amazing.
We all let me geek out for a second.
Speaker 1: Yeah, that's four men here man, that's our special.
Speaker 3: Back in the eighties, a lot of the drummers you
saw for the mainstream pop metal bands would have two
bass drums up on stage, but they didn't really play them.
They were there for show. Maybe big solos. But all
throughout this album, which was a pretty mainstream rock album,
Ainsley Dunbar is playing double bass in all kinds of places.
And he's not a traditional double bass player. And for
the non geeky double bassis when they're playing the bass
drum with each foot that d and Ainsley is all
for the place. He was not traditionally known as a
double bass drum player, but he really uped his game
for this album.
Speaker 1: Awesome, Yeah, that's great. It is absolutely blistering speed and
I got to give it up to David Coverdale. He
almost tops it at the end with the wailing screen
that he has the song finishes out it is. It
is a great, great song. Hey, I've got a theory.
Speaker 2: Okay, I've got a theory, and I have seen absolutely
nothing that backs this theory up.
Speaker 1: But here's my thought. Okay.
Speaker 2: Crying in the Rain was first written and laid down
in nineteen eighty two, and the album talks about no
one can see the tears when you're crying in the rain?
Speaker 3: Right?
Speaker 1: Does that ring a bell to you?
Speaker 2: Does that sound familiar?
Speaker 1: It's got to be from Blade Runner. Blade Runner had
come out that year. There is an epic speech at
the end of the movie, the life passes by like
tears in the Rain by mister Ricker Hower. Yep, and
I have no doubt that that's where this thare came from.
Good call.
Speaker 3: As far as an opening track, this ranks among the
best evera It's hard to beat this as far as
setting the tone for the album.
Speaker 2: Coverdal In it right off that black hat and moans part.
Speaker 3: If you listen to the Saints and Center's version, it
sounds almost lethargic compared to this one.
Speaker 1: It's true.
Speaker 2: Yeah, Claudner knew what he was doing when he re
recorded this, reproduced.
Speaker 1: It absolutely okay.
Speaker 2: Moving on to the next song on the album, This
song is called bad Boys.
Speaker 1: I think John Sykes thought, Man, if anybody thinks this
is going to be a blues album after that first song,
I'm gonna put a trust on the second.
Speaker 3: I mean, this definitely keeps the momentum going. It's got
that one of those fist pumping rabble rousers that this
dand seemed to excel in.
Speaker 2: Oh dude, this is a balls to the wall rocker,
blistering right out of the gate.
Speaker 1: And I love the wolf howl. Beget it right. That's
kind of the hook on this one.
Speaker 2: That he tried it again on Kitten's Got Claws on
the next album and it just.
Speaker 1: Wasn't quite as cool.
Speaker 2: That's not as good of a song either, but I
love it. In fact, James, I was going to ask you,
the thing that stands out to me the most on
this one is the symbols.
Speaker 3: Oh yeah, he's bashing away like a mad man. You know.
Tommy Aldridge, who joined after David sacked the band. I
ran an old modern drummer interview with him yesterday. I
was trying to go back to those days. He said
that when he joined the band and listened to it,
Tommy is a well known heavy player. He beats the
heck out of his symbols, drums destroys them all. He
said that when you heard the drum parts that Ainsley
had recorded, they sounded like what he himself would have recorded,
he said. David Coverdale later came along and told him that.
You know, when I told Ainsley to record the drum parts,
I told him to have you in mind. So he
was already in that Tommy Aldridge mindset, which involves lots
of bashing on symbols and banging on drums, which I'm
for any day of the week.
Speaker 2: Tell me, Elidrid, you mentioned that he's got that mystical
afro that gives him his power, right.
Speaker 3: I can't explain it. I saw him in nineteen eighty
seven and he was an absolute madman. Saw him again
about six years ago at the hard Rock Down in Biloxi,
still playing with White Snake, still playing a lot of
the same songs. Afro had a little gray in it,
but he was still playing like Animal and speed Man.
It was amazing, Missed Steff.
Speaker 2: I heard David Coverdale talk about this song, and he
feels like this song incorporated a lot of elements of
Fin Lizzy. I mean Coverdale, for as much as he
sort of hated Sykes, gives him a lot of credit.
You know, he gives him a lot of credit on
this album.
Speaker 3: I saw him live once. I didn't see him with
White Snake, but in nineteen eighty nine, bon Jovi came
through Monroe and opening was a band called Blue Murder,
which is what Sykes went on to four and after
he left White Snake was him and Tony Franklin and
Carmine Apissy and I tell you, man, they were amazing.
They peeled the paint off the walls of that blaze.
Speaker 1: I'm really sure because that John Sykes hasn't had more
music come out since time. I heard an Eddie Trunk
interview with Adrian Vandenberg. Eddie Trunk said he'd heard an
album that probably eight years ago that is phenomenal, but
it's just never been released. They just won't release it.
I don't know what the problem is, but Sykes is
too skilled a musician not to have more music out
there for us.
Speaker 3: There was a band came out a few years ago
called the Winery Dogs, and it had Billy Sheehan on bass,
Mike Portnoy from Dream Theater on drums, and guy named
Richie Cottson on vocals and guitar. I think it was
on Eddie Trunk one night where Mike Portanoy said that
this was originally conceived as a project for Sykes and
but he just never showed up. So there you go.
Speaker 2: Wow, So Bad Boys seems like a really great live song.
Speaker 3: I've heard that some shows the open with a medley
of this and Children of the Night. Yeah, you know
their drummers feet are going to be really tired by
the end of the really keeps the momentum going from
that first track. There's no let up in the site.
Speaker 2: Okay, let's get to one of the one of the
heaviest hitters on the album. The song's called Still the Night.
Speaker 8: Oh wait, sorry, I hit a.
Speaker 1: Wall as if it around your doll telling me I.
Speaker 8: Got a.
Speaker 1: Okay, this song blows my freaking doors off, as Jason
would say, it blows my skirt up, it blows my
socks off, and blows the powder up my nose. Whatever
you want to say. This song does that. And they're
almost instantly were haters out there who are like, this
is just a led Zeppelin knockoff. Listen, I love led Zeppelin,
but this is not a led Zeppelin song. They did
a lot of borrowing of ideas. But we freaking talked
about bon Jovi, where Richie, Sambora and John sat on
a box of tapes picking out their favorite songs, going
how can we steal something from this, And so you
called me and you're like, hey, I've heard there's a
lot of led Zeppelin, like this is a led Zeppelin
knock off. What do you think? Well, I hear it
like the beginning of the song, the entro of the song,
you've got the call and answer that is very much
like Black Dog. I'm not even a Zeppelin expert, and
I could say, okay, I can hear that, but they
do it in eight bars instead of four. Okay, it's
a little different makeup and it's a totally different riff.
Then you've got this incredible break in the song. It's
like just a couple of minutes in and it goes
to just the tink' what's that sound, James? What's the
tink tink tink that we hear.
Speaker 3: In that play on a high hat and a ride
symbol two?
Speaker 1: And I bet that you can confirm that that's basically
exactly what led Zeppelin does when it does it's break
and whole lot of love. Oh yeah, it's a similar thing.
They've borrowed these beautiful little bits. And then of course
he's like ooh baby, which sounds like it came comes
right out of Robert playing it's mouth on Babe, I'm
Gonna leave you and then I Love In the video,
I don't even think they did this in the song,
but in the video, I don't. I think it was
Adrian Vanderberg is playing the guitar with the violin bow,
which I mean that is Jimmy Page. Jimmy Page is
the guy who did that. It's the dazed and confused thing.
But I don't think they actually did it for the
recording of the song. They're just playing it on the
synthesizer and it was just a synthesized violin, but they
made it look like a bow on a guitar.
Speaker 2: That part is so freaking awesome. In the middle of
the song that done no no, no no no done
no no no.
Speaker 1: No very Cashmere Verry. It is a very But this song,
you can say it's a knockoff, but I mean, don't
listen to greatit Anflete if you will please, that's a knockoff.
This is taking some ideas that Zeppelin had in some
incredible songs and making a fantastic song out of it.
Speaker 3: It's a riff for the ages. I mean, the riff
itself almost sounds a little serpentine like a snake. I
understand the Zeppelin comparisons, but Plant and Coverdale or contemporaries.
They both came up probably the same blues rock background,
so obviously they would draw from the same sources. I'm
like you, d I just don't see this being a
blatant ripoff. Yeah, some of the same influences and ideas.
But I used to get angry when people would call
him David cover Version, like the man had never contributed
anything himself. No, the man had a history going back
as far as that one's.
Speaker 2: But it's the guy who did that, He's the one
who's like David cover Version. I thought that was really uncool.
Speaker 3: David Coverdale songs like Soldier of Fortune by Deep Purple,
which Plant wishes he could sing that well.
Speaker 1: But anyway, Plant may do that. But Plant is a
bit of a prima donna himself. And as far as
judgment goes, Jimmy Page thought he was good enough to
do a combination and a tour with him, so I'm
gonna say probably, Okay, he probably did all right. Yeah,
I had the Coverdell Page album in ninety three.
Speaker 9: I love that album.
Speaker 1: Yeah, And when they when they asked David Coverdale about
you know, isn't this just like another led Zeppelin song?
And he goes, I don't know, but that's a pretty
good category to be in.
Speaker 3: I was in a band before my current band and
we played the song. Yeah, time we played it, I
got so excited for the big drum fills leading into
the last chorus. Those are classics, men, I never get
tired of listening to that or air drumming to that.
Speaker 2: Coverdale said that this was inspired by jailhouse rock and
a song called rice Pudding by Jeff Beck.
Speaker 3: Another Eddie Trunk interview I heard, Coverdale said that he
was going through a box of stuff at his opened
his mother's attic. He found an old cassette with the
basic riff idea from Still of the Night that he
worked on with Richie blackmore of all people.
Speaker 1: Uh huh.
Speaker 3: He did say that he had kind of a jailhouse
rock idea. So then I gave it to John, and
John took it to another cosmic level.
Speaker 1: I believe he said, that's fantastic. Okay, So just to
be clear about what you just said, if I understand
that right, Still the Night was based on a demo
tape that David Coverdale did back in the seventies when
he was with Whitesnake with the amazing, mind blowing talent
of Richie Black.
Speaker 3: And even earlier than you know, because Coverdale sang with
Kurp for a while, so I think it's probably even
earlier than that.
Speaker 2: Wow, the history of this song is really interesting. They
had a demo for this in nineteen eighty five. This
is the song that they wrote in the South of France,
right off the bat like they had this initially in
spring of nineteen eighty five. We didn't get this until
two years later because he couldn't sing this song right.
And when he sat down when they finally got him,
Keith Olsen says, sit down and let's just give it
a try. He said, okay, I'll try it. Let's see
how it goes. He did it twice. They patched those
two together and that's what you get two times.
Speaker 1: Through and you get the blistering vocals of still.
Speaker 3: Over Them.
Speaker 6: Time for the Nut.
Speaker 3: I'll tell you guys, there was something that Coverdale's voice
on this album. I've gone back and listened to earlier stuff.
I don't know if the sinus infection whatever it did
something to his voice. But had to respe your edged
on this album that I really liked. It really seemed
to fit in material.
Speaker 1: Yeah. Well, he went through three different producers to finally
get the right sound.
Speaker 2: And change the locations to the bambaso.
Speaker 1: Yeah, well it doesn't hurt.
Speaker 3: Yeah.
Speaker 2: I do think it's interesting when Coverdill talks about Psykes.
He really does have some fond memories of making this
album with him. I thought this quote was kind of
neat and kind of sad at the same time. He said,
John's playing and soloing on the nineteen eighty seven album's
truly landmark stuff and so influential to a lot of people.
I hope he's very proud of it, because I am.
They made this incredible album together and they can't even
be in the same room, can't talk, can't celebrate together.
They can't even give each other a high five on
this album. Okay, we got to talk about the video.
This is the video that Marty Callner comes up with.
This video, they film it. He looks at him, He says,
these guys don't know each other. We need another day
of shooting. I need thirty five to intercut some interesting stuff.
Claudie Schiffer backs out. Tawny Katine walks in the door
and he's like, oh my gosh, you are the answer
to our prayers. You are the video vixen for this.
She says, Okay, let's do this. He calls Geffen and
they say, tell Coverdale to go screw himself. I'm not
giving you another doe. And so Marti Cullner talked to
his wife, and his wife said, if you believe in
these guys, then let's loan them the money. And so
he used his own personal money to finish the still
of the Night video use Tony Katine, and this paused
the album to sell a million copies in ten days.
Speaker 1: Yeah, I can tell that it's different. Like he shot
the Tawny Katin part in sixteen millimeter and if you
look at it, you can tell that that part is
not as crisp and clear as the on stage presence.
I really really love the big circle with David Coverdale
leaning back like yes Neo on the matrix with his
Mike stand. It is an amazing touch. But day one
they had a plan, they had it storyboarded out. This
is what we're going to do. Day two, Marty Culner
had this style that he called jazz where instead of
having it all planned out, they just kind of riffed.
They just made up stuff. All that Tawny Katane footage,
that's what you get.
Speaker 2: Yeah, I mean you can tell when you look at it.
She's so beautiful that it just bypasses all logic. He's like,
look at me with your sunglasses on and then rip
them off real click, Who cares?
Speaker 3: I'm in right, look at me at the end.
Speaker 2: Sure, sit over there and I'm going to squirt some
water on you.
Speaker 1: So in our last episode, we talked about how this
video led to their success because it ended up in
the lap of Sam Kaiser, who was the MTV executive
at that point, that made it the hip clip of
the week. It was all because Marty Culner made this sacrifice,
put his own money in to make this video. And
as we know, he made two more videos for him
on this album as well, and those were made on
the cheap too. They were all cheaply done videos. It
was all with Marty Culner's basically charity to help them.
Now we talk about the success that this album had
and as a result, you know, David Coverdale went from
three million dollars in debt to mega wealthy, and he
gave each of his band members a four hundred thousand
dollars bonus. Now not the guys who recorded the album,
but the new band members. They're the ones that cut
the four hundred thousand dollars bonus. So right around Christmas time,
they show up to Marty Cliner's house. Marty Culiner is
talking to his wife, you know, because they've said, hey,
we're going to come over, and he's like, this is it.
This is where we're going to get our bonus for
helping him out right, And she's like, oh, yeah, what
do you think is going to be? And they both
talk to each other and they kind of agreed it's
going to be a million dollars. He's going to give
us a check for a million dollars, And so they
walk in. It's around Christmas time. He hands them a present.
He says, please just don't open this. Don't open this
until after we're gone, and they're like, oh my gosh,
this is going to be so good. He's embarrassed and
how good it is you think? So they hang out
for a little while. Then David Coverdale and Tawny Katane
leave and as they're walking out the door, still of
the night video is on TV play and so it's
just like it's right there on the airwaves, right there
out on the front. They walk out the door, Marty
and his wife open up the present and it is
a framed, poorly shot picture of David Coverdale and Tawny Katane.
I like, maybe Beck is behind the picture, and so
they tear off the back of the picture. They are
looking in the frame and literally nothing, no money, no
nothing for the guy that made them. I mean, we
made them without him. There is no white snake. And
so the rest of the story is he got it
all back when he shot videos for their next album.
That's right, They were going to shoot their next video,
which he was charging them a million dollars apiece for
in order to get his money back. He and David
were on less good terms at that point. And then
David got upset because he said, I heard that you
were shooting a kiss video yesterday. Wouln't you understand that
we are the band of the eighties? Where are you
shooting a kiss video? And Marty Callner said, oh, you're
the band of the eighties. Well, it's nineteen eighty nine, David,
what are you going to do next year?
Speaker 3: Yikes?
Speaker 1: All right.
Speaker 2: By the way, in the still of the night video,
you have the cool circle which it looks like he's
a cat on the fence singing against the moon. It's like,
it's like the best signal. You have the first appearance
of the white jaguar in that video, and at the
very end, like as the song is closing. I don't
know why this always tickles me, but David Coverdell is
arrested and like thrown into the back of the van,
and when the doors shut it says sex police.
Speaker 1: He's arrested by the sex police. And when I was
a kid, I was like, uh, I hope I never
get arrested by the sex police. I don't know. It's
a good thing.
Speaker 3: That would be an interesting version of a penal code.
Speaker 2: VH one ranked this as the twenty seventh best hard
rock song of all time.
Speaker 1: It's fantastic, one of the best. I'm gonna put this
in number two. That's my number two favorite song on
a whole album.
Speaker 3: Okay, yeah, They're with you, that's fair.
Speaker 2: So speaking of greatest songs of all time, we're on
the song number four. This song is called Here I
Go Again, I Don't Know, and.
Speaker 1: The songs.
Speaker 3: I was in a couple of bands. In one band
we did Loving a Stranger and Slow and Easy and
my God, that was fun. Yeah, that was such a
bless and another band we did Here I Go Again
and Still the Nights. This would have been in the
early twenty teens and people were still loving these songs.
I always remembering back in high school. Man, all the
girls at my school, I don't try to get the
tony hair like after that summer. Yeah, I was obly
okay with that. Okay.
Speaker 1: The first part of this song is like you're at
church on the moon. I mean, it's like it's like
an aura of beautiful warm light is surrounding your body
and you have the reverence you might have before the
religious lea.
Speaker 2: The Lord Almighty, like the sunshiny. It's like the gospel.
Speaker 9: Man, Yeah, I love it.
Speaker 2: This song for me is totally equated to the Summer
of eighty seven.
Speaker 1: When you say summer of nineteen eighty seven, I say,
here I Go. I hear that music, that beginning keyboard intro,
I immediately imagine Tawny Katain doing a cart wheel on top
of a black and white Jaguar.
Speaker 3: Yes, as one should. Yeah, this is power ballad royalty.
I mean, this is the song so nice they had
to recorded Bryce right.
Speaker 1: Yeah. So the original version of the song came out,
like we said in eighty two on the Saints and
Sinners album. With that one, you had John Lord playing
the beginning organ and it sounded like you're in a
church in smalltown, Oklahoma, as opposed to on the Moon.
And this is again another one he did with Bernie
Marston back then, like Crying in the Rain.
Speaker 2: Let's listen to that nineteen eighty two version right here. Okay, okay,
it's a great song, but it was played masterfully in
nineteen eighty seven. They took a good song and said,
you know what, let's polish this up and make it great.
Speaker 1: John Klaudner hit the nail on the hest. This is
a hit song. You just didn't play it right, didn't
do it Wright record it right?
Speaker 3: Yeah? Yeah, I mean they bumped up the bpms just
a little bit, gave it just a bit more drive.
That's the original. It feels a little plotting almost. It
is a great song, but you look what they did
to this in nineteen eighty seven compared to that one
that there really is no comparison.
Speaker 1: And then, of course we have a key lyric change
instead of instead of the old lyric, we say like
a drifter, I was born to wagga law was It
was the original lyric like a what'd you call me?
Speaker 3: And I believe that was Lord Coverdale's exit. Yeah.
Speaker 1: He did not want any misinterpretation of what he was
saying there, and so we changed as a drifter, which
is a much better It's fine with me.
Speaker 3: Yeah.
Speaker 1: So then we have even a third version of the song.
Speaker 3: No, I don't know.
Speaker 1: The radio edit if you will, that's the version that
actually topped the charts.
Speaker 3: It wasn't the.
Speaker 1: Video version, although we know that. I mean, if you
grew up in nineteen eighty seven, you heard as much
from that video version as you did from the radio version.
Absolutely not more.
Speaker 2: I call this one the Casey Kasum version because it
was on the radio, it was played as a single,
it reached number one, and it's not even the best
version of the song.
Speaker 3: Well, he assembled an interesting crew for this one. On drums,
he had Denny Carr Macy you know from Heart, Yes, yeah, bantros,
and he had David Coverdale singing obviously, and on guitar
he had someone near and dear to Jason's heart. Yes,
from Giants?
Speaker 1: How does Dan Huff keep coming up? Okay, wait that happen?
Speaker 2: Dan Huff was the lead man for Giant, who had
one great song in nineteen ninety called I'll See You
in My Dreams. I'm playing it right here for the
third freaking time.
Speaker 1: Don't here it is I'll.
Speaker 2: See You in my Dreams. That song is awesome, It's incredible.
Dan Huff making another appearance. He actually played the guitar
on danger song.
Speaker 3: That's how he was involved with a lot of He's
done a lot of production and songwriting in the country
music industry, and he's been involved a lot of Christian
rock bands. Yeah, the man's all over the place.
Speaker 1: He's got a great voice, man. Yeah. He actually produced
an album for Taylor Swift. You know, I did not
know that boom blew your mind on Dan Hunty.
Speaker 2: When we do Taylor Swift, I'm going to play I'll
See You in My Dreams again. This song hitting number
one October tenth, nineteen eighty seven. And here's the thing
that really is interesting to me. So when I'm a
so I'm a freshman in nineteen eighty seven, I didn't
know that this song was on Saintsan Centers five years before.
Speaker 1: So in my Spanish book.
Speaker 2: When we get to the music section, it shows the
top ten list and there's Here I Go Again. I'm
looking at it in the fall of eighty seven, I'm like,
how did my Spanish book know that Here I Go
Again was going to be a top ten hit?
Speaker 1: As a freshman?
Speaker 3: It blew me away.
Speaker 1: So we mentioned in our last episode that Tony Katine
did not drink. That was her little deal like. She
was like, I don't drink, so I'm not going to
join you for a drink. But then David Coverdale won
her affection by asking her for a spot of tea.
But Tommy Katane had some other demons that she was fighting.
Speaker 2: She loved the cocainea.
Speaker 1: What year was it she was married to Chuck Finley,
think nineties, early two thousand something like that. We were
talking about just to bring it back to major league.
We're talking about the picture for the Cleveland Indians, that's right.
But they made his theme song not wild Thing, but
something else.
Speaker 2: So Tony Katine and Chuck Finley were riding in a
car together and they are having a fight. This is
when he's an active baseball pitcher, and she decides that
she didn't like his smart mouth. So she's wearing stilettos
and decides to kick him so hard that it puts
him on the disabled list. So when he finally comes
back and takes the mound in Chicago, Chicago White Sox
against the White the broadcast guy plays, here I go again.
Speaker 1: He got fired by the way. He didn't make it
to the next game. I would have given him a promotion, but.
Speaker 3: I just realized that I only I'm separated by white
snake from four degrees, I have an old sportswriter Buddy
used to interview Chuck all the time, and Chuck was
married to Tony so Hey fort degrees from David Coverdale.
Speaker 1: There you go, you and and Tommy Lee if you
want to get into.
Speaker 2: That, Yeah, Nicky six talks about this how Tommy Lee
used to bang Tony Katain.
Speaker 1: You can't say bang on.
Speaker 2: The red used to bang her brains out right. They
used to shoot up together, which is hilarious. That she
doesn't drink but loves cocaine. Well, it's like you talk
Vanity and Nikki six. She yelled at him for drinking
a Coca cola and then they'd be shooting heroin.
Speaker 3: That.
Speaker 1: Yeah, it's the logic.
Speaker 2: But Molly Crue and White Snake toured together in nineteen
eighty seven, and there's you know, the queen of rock
and roll, Tony Katain was with this guy. Now with
this guy, no problem, I guess. I do think it's
interesting though, that Molly Crue did not like White Snake.
They thought they were Wait.
Speaker 1: It just occurred to me. White Snake was hired to
open for Motley Crue, but as it turns out, Tommy
Lee opened for David govert Dale.
Speaker 2: I listened to the Heroin Diaries by Niki six, right.
They thought White Snake was uptight and not cool and
not willing to party and not willing to burn down
the hotel, and anytime they invited him to go do anything,
they were Villian Campbell turned him down one time because
he had to practice, and Nicky six is like, practice,
what are you talking about?
Speaker 1: Practice?
Speaker 2: On the Girls, Girls Girls tour, Nicky six invited Robin
Crosby to come and check out the concert.
Speaker 1: Who and Robin Crosby opened for Tommy Lee.
Speaker 2: Robin Crosby used to bang Donna Gataine before Tommy Lee. Well,
Robin Crosby was great friends with Nicky six, and when
he came he Robin Crosby's like, man, white Snak is
killing him. They're awesome, And Nicky six is like, man,
screw you. They're not that and he's like, oh, crab,
they're killing it. And so that caused Nikki six to
sort of be like, ah, man, I don't like these guys.
Speaker 1: They were killing them on stage and you even.
Speaker 3: Back that up, Oh, they were amazing.
Speaker 2: Let's talk about the video. So the video opens with
Marty Coalner's black Jaguar, David Coverdale's white Jaguar that had
broken down a couple of years before.
Speaker 1: She's now up there in a white dress.
Speaker 2: They called in Paula Abdul to choreograph Tony Katine.
Speaker 1: Paula Abdul yes that.
Speaker 2: Paula Abdul shows up and says straight up cold hearted,
and she.
Speaker 1: Says, well, show me what you can do. Well, Tony
Katan grew up.
Speaker 2: A gymnasts, a dancer, and a dancer, and she says, well,
check this out cart will walk over splits.
Speaker 1: Paul Abdul's like, I'm out of here, guys. You don't
need me for this. She's got it.
Speaker 2: And that video with Tony Katin on the hood of
the Jaguars is maybe one of the most iconic video
images of the eighties.
Speaker 1: No argument. I can remember at thirteen years old, my
buddy sitting next to me and we're watching MTV and
he's like, you're ready, She's gonna look at me. You're ready,
She's gonna look at me, and she comes out of
that car window looks right at us.
Speaker 10: She's looking at me, kind of like how Susannah hass
always looked at me in the video for Alda, like
in Egyptian.
Speaker 2: That's another sh That's that's a good one too.
Speaker 3: Did it right? There's any increase in sales for Jaguars
after that video.
Speaker 1: Yes, sure, I think so. Yeah. And Blue power Suit's
probably would.
Speaker 3: Mind the Blue power suit myself.
Speaker 2: These days, all right now, listen, six months after the
release of the Here I Go Again video, MTV calls
Marty Callner out of the Blue and says, Marty, we
have analyzed this frame by frame and you can see
Tony Kataine's nipple and Marty Caulner's like, guys, it's been
six months. Nobody has seen a nipple already. He's like,
is it really worth the time, the money, and the
effort to cut it down? And they said yes.
Speaker 1: Yeah.
Speaker 2: So the question is, have you guys seen the original
version with the nipslip.
Speaker 1: I actually have a memory of this from the time
because the rumor, you know, it had been out for
maybe three months, four months, and the rumor started to
go around. Yeah, guys, I think you can actually see it,
and I'm like, no, no, And so I think that
the first time that I tried to watch it is
the edited version, because I was like, dude, I told
you no nipple.
Speaker 3: I have paused every second of this video.
Speaker 2: I got my VHS tape, I recorded it, I've adjusted
the tracking.
Speaker 1: I can't see anything.
Speaker 3: Ladies.
Speaker 1: Have you guys heard.
Speaker 2: The Bowling for Soup song called nineteen eighty five?
Speaker 1: Yes, and we heard it. I sent the video to you.
Speaker 3: I know what.
Speaker 11: Was on the hood up?
Speaker 1: Yeah. So this popped up a little Patrick Swayze esque
debate for about two seconds, and then we put it
to rest pret quickly because we had a text exchange
where I had read on some songfacts dot com that
Connie Katain was in the Bowling for Soup video nineteen
eighty five, which is I mean the whole video. It
came out in the early two thousand, two thousand and
one or two or something like that, right, and the
whole video is all a throwback to eighties royalty rock.
Speaker 3: Right.
Speaker 1: You got Robert Palmer, You've got Moley Crue, you've got
run DMC, you got all those guys. Right, And there's
a lady across the street who, with my low resolution
video on my phone, looks very much like the Tawny Katain.
So I was like, yes, Connie Kataine. And then there
was talk about the wife and the housewife, and I said,
you guys, realize this is Tawny Katine. And Jason says, no,
this is somebody named Joey House. Joey House, And I
said what And I went and looked at IMDb and
sure enough, that's the list. So a little bit of research,
I have to agree with Jason. That is not Kawnie
Kataine on the radio. But man, she is a lookalike.
She looks close.
Speaker 2: In fact, one of her IMDb credits she was in
a movie quote unquote movie one of those late nights
that we used to watch on Cinemax called of a
Sex Addict.
Speaker 1: Yeah. What was her character's name. Her character's name is Tawny. Yeah.
I think a lot of people probably saw the similarity there.
But the nineteen eighty five video ends with Miss Joey
House dancing rather scantily clad on the hood of a car. Yes,
it's iconic. Yeah.
Speaker 3: When the Fall of eighty seven he hit every school
dance this this song got played. Yeah, everyone not.
Speaker 2: Tended, absolutely one hundred percent.
Speaker 1: So we mentioned that this song was an early song.
This one sounds like a self driven I'm gonna go
pull myself up by my own bootstraps song, and it
turns out that's not what it's about at all. David
Coverdale wrote this back in the seventies, came up with
the lyrics when he was going through marital troubles with
his wife at the time, Julia Borkowski. I like it
better as the I'm Gonna pull myself up by my
own bootstraps into Frank the Tank. Let's rock and roll.
Speaker 2: Thank Frank the Tank. This song was featured in twenty
sixteen on a Walmart back to school commercial.
Speaker 1: I'd say, let's not talk about.
Speaker 11: That all right, moving on, Yeah, but I was thinking
in this case, maybe we should hit the jake button,
take the cassette tape, turn it around and slide it
in again.
Speaker 1: Yes, yes, I love it. I love it. So this
is the first song inside to give me all your loves.
Speaker 6: Away.
Speaker 1: Okay, this song makes me feel like a dog without
a bone.
Speaker 3: Very reminiscent of earlier White Snake stuff, the kind of
shuffle boogie woogie number, but with a more modern production
and better play.
Speaker 1: You can answer me on this one. It sounds like
he's hitting those drums really, really hard.
Speaker 3: Yeah. A lot of that was the eighties production. You know,
they had so much reverb in all the snare drums.
They sounded like they were monstrous.
Speaker 1: Nice a.
Speaker 8: Night.
Speaker 3: Yeah, the production of this whole album is amazing. You
listen to with the good quality headphones, the guitars or massive.
David Coverdale's voice is astounding and the drums just sounds huge. Yeah,
and it's really evident on this song.
Speaker 2: This was released February of nineteen eighty eight, So we're
moving all the way through eighty seven.
Speaker 1: We're now into eighty eight.
Speaker 2: This reached number forty eight on the Hot one hundred
and number twenty two on the Rock charts.
Speaker 1: This one, to me is more finger snapping than Headbank.
Great lead off to the second side.
Speaker 3: The original album version, John Sykes played an amazing guitar
solo right one reason on the single, Vivian Campbell recorded
a different solo for the single for this song, which
I mean, I think that's the only thing Vivian ever
actually recorded with White Snagan's tenure with the band, That's
exactly right.
Speaker 1: Yeah, So Vivian Campbell left the band after this tour,
and his alleged reason was because he had musical differences,
and there was a little bit of talk about how
Adrian Vandenberg wanted it to be just a one guitar band.
But I think the real reason is that Tawny Kataine
hated Vivian Campbell's wife and had her band from the record.
As Jason puts it, you don't mess with Queen Beech.
Don't mess with the Queen. You got to know your place.
Speaker 3: You don't remember the video for this one, I do.
Speaker 1: It was like a live concert one right.
Speaker 3: No, Tony and I just I still laugh thinking about
because every time it flashes to Rudy Sarzov, he's licking
in his face, so it's obviously the pre COVID era,
but I mean every time he's licking that baslick.
Speaker 1: I remember in one of the videos they cut to
David Coverdale licking Tony Katine's leg. They like the slip
of the tongue. You know, right, you did mention it though,
no Tony Katain in this video.
Speaker 3: It was fairly just a straight formance for video. You
had Adrian Vandenberg standing back there being call and Dutch
and Tommy back there shaking his effront. So yeah, it
was it was a different approach as far as our
videos went.
Speaker 1: It did not perform as well as the ones that
had Tony Katain, and that's very true. Did not and
it's a great song, so she's definitely a key ingredient.
And we were talking about how much influence she had.
She made the call on who was going to be
managers for the band, like Dave Defen wanted Doc McGee
to be the band, and she said, no, I want
Howard Kaufman. And David Geffen stands up at his desk
and puts both his hands on his desk and says, no,
it's going to be Doc McGee. And she stands up
on the other side, puts her hands on the desk
and says, no, it's going to be Howard Kaufman. And
she won that freaking battle. How do you beat David
Geffen in a call on who's managing the biggest band
that you have on the label? And this is a
woman who did a walkover on the hood of a car.
It's impressive.
Speaker 3: Yeah. Pavian Campbell, if you look at he had kind
of a similar background to John Sykes. He came from
a band called Sweet Savage. We're kind of one of
those New Way of British heavy metal bands. I think
Metallica covered one of their songs at one point. Then
he went to do O, so you know, he had
the heavy Sabbath type riffs. Then there was the brief
stay in White Snake, and after that I think he
did okay for himself.
Speaker 2: Don't y'all think he landed on his feet in def Leppard?
My gosh, Yeah, how many years has it been.
Speaker 3: I think he joined Leopard in ninety two.
Speaker 1: Yeah, wow, So you replaced Steve clad Oh yeah, that's incredible.
It's interesting, you know, like we said, they didn't write
the solos to these songs. They had to make them
their own. And I mean, obviously we're talking about two
of the most proficient guitar players of the day at
that time. But Adrian Vandenberg said it was actually pretty agreeable.
They just said, you want to do the solo on
this one, you want me to do it, and they're
just like, I'll do it, Okay, I'll do the other one.
There you go. And it was that easy. That's cool.
I mean, it's great whenever guys who have that much
skill and ability can be humble and just say you
take this one. I'll think next one, yeah, okay. Next
song on the album is another major, beautiful rock ballad
called is This Love? So we mentioned in our Top
Gun soundtrack episode that Kenny Loggins sang danger Zone in
the tone of Tina Turner because in nineteen eighty five
TEENA Turner was on absolute fire huge. She was huge,
and she was everywhere, and somebody came to David Coverdale
and said, hey, would you write a song for Tina Turner? Oh,
I would love to do that. So he and John
Sykes are together writing this album in the south of
France and he starts kind of humming and singing the
song and John Sykes comes over and he's like, what
is this, What are you doing. He's like, well, I'm
trying to write this song for Tina Turner and Sikes
is like, cool, I'll help, and sits down and they
work together and it's this beautiful moment where they're just
playing off of each other and they create this incredibly
beautiful song and they take it to David Geffen and
he says, what is this and they're like, this is
the song we wrote for Tina Turner. It's Tina Turner song.
He goes, no, this is a white snake song. Yeah, yeah,
and that's how it ends up on the album.
Speaker 2: That's fantastic, a song written for Tina Trder and this
is one of the biggest hits on the album.
Speaker 1: This reached number two in December.
Speaker 2: Of eighty seven, blocked only by George Michael's Faith at
number one.
Speaker 1: Just a throwback. I didn't realize how many eighty seven
albums that we've covered, but we covered Faith, but George
Michael it was Against an Excess, which also came out
in eighty seven we mentioned that you too, Joshua Tree.
We covered that one it was number one, and held
out White Snake Whenever this album came out, it debuted
at number eight and Joshua Tree was at the number
four position. At the number eight position was signed to
The Times by Prince, which we covered as well. Eighty
seven was a miraculous year for music.
Speaker 3: There is something about David Coverdale's voice that really lends
itself to these balls. If it was some other band
trying to save this, I mean, these lyrics would probably
be incredibly cheesy if say it was Warrant or somebody
trying to sing it.
Speaker 2: This is on the Makeout List of eighty seven and
eighty eight agreed.
Speaker 1: There's a lot of slow dancing of this song. Oh
my gosh.
Speaker 3: I ran an interview with Coverdale. He said that you know,
they were in the south of France, and I guess
there was some tension with him and Sykes already. It
said that he kept daylight hours and Sykes kept what
he called owl hours. But this is one of those
rare occasions where they passed where David was coming to
studio and John was leaving, and like d Sid he asked,
what are you working on? There is that's a new song,
and that Sykes jumped into it feet first.
Speaker 1: It's awesome.
Speaker 2: This song reached number thirty eight on the Adult Contemporary chart.
Speaker 1: Twenty fifteen. Classic Rock Magazine ranked it as the number
seven song on the Power Ballad List's Greatest.
Speaker 2: Pocus clearly belongs to the top power ballads.
Speaker 1: So we mentioned earlier. First video that Marty Coulner did
for him was Still the Night, and then they got
together to record both this video and the Here I
Go Again video at the same time. And you obviously,
I mean it's it's like a part two to Here
I Go Again. There's no question, and I think that
was probably a huge factor in its success. Not that
it's not an amazing song anyway, but anymore Tawny Katane
and Jaguars I can get in nineteen eighty seven sign
me Up.
Speaker 2: She looks amazing in this video.
Speaker 1: I would describe this song and that video together as heartbreaking.
It wrenches you to your soul to watch her and
listen to cover day of sing this song.
Speaker 3: Kind of an unsung hero on this album is Don Airy,
who provided the keyboards. Love the songs Okay yeah, on
this song. It really helps keep that steady, atmospheric background
for David to sing over in the guitar. I think
he may not have got enough attention to bridgework on
this album.
Speaker 2: I think it's interesting that around the same time you
had another song by Mister Mister called is This Love
and a song by Survivor called is This Love?
Speaker 1: Yep. Survivor even said is this love that I'm feeling?
Speaker 3: Right?
Speaker 1: It is? Okay, love it? I mean, what can we say?
Clear winner couples move out to the middle of the
dance floor. All right, we're ready to move on, move
it on. The next song on the album is Children
of the Night. Okay, David Coverdale's voice aside from the
moment the guitar is pumping and solid, but very plain.
Star of the beginning of this song to me is
the drums. Absolutely, it's like a rapid fire triplet in
your face. That the beat is not quite what you
would expect, and the difference that it makes the song.
Speaker 3: Oh, that was more than Ainsley Dunbar double bass playing.
We were talking about that. It's kind of just a propulsive,
locomotive feel to the song, like it's a train coming
right at you. Whitesnake make the ballads, the rockers and
the head bangers. This is a definite head banger. Man.
I cannot listen to this one without risking a neck injury.
Speaker 1: Okay, I'm gonna blasphe me a little bit here. I
really like the intro. I really like the chorus. The
pre chorus is so kind of catchy tuney that I'm
thinking of the New York Seltzer commercials. It's I feel
like we kind of dripped into a jingle right there
at the pre chorus. But it's overall a very good song.
Speaker 2: This song was written to begin concert non so David
Coverdelle talks about how certain songs have certain places in
the concert. This one was designed with you know, drop
the curtain, turn off the lights, are you ready to rock?
Speaker 1: Children of the Night.
Speaker 2: That's the whole purpose of this song was start of
the concert. The interesting thing to me is this, I
think is probably the weakest track on the album. I
still love it, I still know all the words and
still absolutely love it. But Kalodner is the guy who
said this song is going on the album, and David
Coverdell was like, I like the song looking for Love
better and collother's like Nope, Children of the Night. So
then we'll talk about looking for love here in this minute.
Speaker 1: Yeah, so important for our folks who are listening overseas.
The American version of this album had tracks that were
missing from it that you guys got. You guys got
a couple extra tracks on the release overseas that we
didn't have until twenty eighteen, I think, yeah, the thirtieth anniversary. Yeah,
twenty seventeen anniversary versions the first time we got to
get those songs on the album. It's not the best song,
but it's fun. I wouldn't have picked it over the
other one. No, wouldn't it be.
Speaker 3: It's just a fun, brainless, hard rocking song. The guys
who played could not have messed this up if they tried.
But yeah, I guess on the overall rankings this would
be a little lower. Yeah. Still a kick ass song, though.
Speaker 1: Yeah it is.
Speaker 3: This whole album really gave me a new appreciation for
Amesley Done for I had barely heard of him at
the time. I thought the drummer was Tommy Algeorge until
I bothered to read the liner notes.
Speaker 2: Yeah, he's killing it on this album.
Speaker 3: Oh, Yeah, it's amazing.
Speaker 2: You know you mentioned something to me yesterday. I think
you said White Snake and Coverdale are like Ozzy Osbourne.
There's a lot of different players, but he always plays
with the best.
Speaker 3: Yeah. And it always doesn't matter who the musicians are.
That artist always seems to have a certain sound. He
always assembles a group of players who stay true to
that sound. They may add their own embellishments, but Ozzie
did that, Dio did that. David Coverdale definitely has done that.
Speaker 1: Okay, are we done with Children to Night?
Speaker 3: I think so, yes, sir?
Speaker 1: All right. Moving on to the next song on the album,
called Straight for the Heart. Mark me down as a
huge fan of this one. I'm skipping this song. Get
out of here.
Speaker 8: This song.
Speaker 1: No, this song is like what you would expect to
hear on Growing Pains when they were trying to do
a heavy keyboards on this one as great as down
areas on every other thing, they don't belong in the song.
I mean, the guitars are still shredding because you still
got John Psykes, but the melody, the keyboards, it's just
it's not good. Definite.
Speaker 2: Oh you're out, dude, You're out because a lot of fun.
I love the chorus. It never really slows down. It
just continues that fun, pumping summer of a seven song.
Speaker 1: James Sweet for You.
Speaker 3: Oh, I like this when it's not one of the
first ones I'm gonna go to, but I'm not gonna
skip it. It's it's just up tempo fun Coverdale was
kind of singing in the more higher end of his range,
and I like that. I kind of liked the guitar
and keyboard interplay on the song It's not when. If
I was making my Essential White Snake list, it probably
wouldn't make the top ten. But I liked the song.
Speaker 1: He made fun of me earlier.
Speaker 2: He's like, you love all these cheesy power ballad stuff,
and I'm.
Speaker 1: Like, yes, I do, Yes do Guilty right, Guilty of love?
Speaker 3: If you will.
Speaker 1: Who.
Speaker 2: This song was originally called Love Drives You Crazy. It
has never been played live.
Speaker 1: Before a c see you guys agree crime, they agree
with me? Stinker. No, It's a little bit soccer and rock,
but it's fun.
Speaker 3: Even the cheesier ones this band could still make sound great.
So yeah, I like the song.
Speaker 1: All Right, We're ready for the last song. The last
song on the last song on the American version of
the album, that's right Here We Go. This is Don't
Turn Away. So this is a song that's playing when
Daniel son is watching Ali Live Her Life after breaking
up again. This one I actually like better. I like
this one better than the last song. But this is
this is the very eighties heartbreak montage music Let's freaking Go. Yes,
I love this one as well. Yeah, I mean, I've
got no problem with that. I love eighties montage movie breakup,
all of that.
Speaker 2: Give it to me, Okay, I am spiking the football.
This is the most underappreciated song on the album.
Speaker 1: I love it.
Speaker 2: I absolutely am a huge fan of this one.
Speaker 1: Dan's where are you on this one?
Speaker 3: So I like it too. It's kind of deceptive. You
start off think it's going to be another White Snake ballad,
but then by the time that chorus gets here, the
whole stone song that starts building. By the end, it's
just a headbanging rocker.
Speaker 1: The way it closes is awesome. Does have a great
build for sure.
Speaker 2: Originally cold, I Don't Walk Away. This is another one
of those where David Coverdell's messing around in an old
box in his mom's attic and comes across a couple
of old tapes and he came across this one, played
it for Sikes and he said, Sykes is the one
who breathed life into this one.
Speaker 3: Sich shreds on this one. He really does, particularly towards
the end.
Speaker 2: As you mentioned, David Coverdale said that in the era
of social media, this is the one song that he
keeps sort of hearing about from fans where they said,
you know what, that's a song that I really like.
And it's kind of surprised him over the years that
it keeps coming up.
Speaker 3: I wonder if they're performing live.
Speaker 1: Ummmm, never played live?
Speaker 2: Is what I have in my notes that this is
a perfect mid concert break song.
Speaker 3: Well, you'd ride into the drum solo. I think they
do the drum solo on Crime in the Rain. I
think that's where they had the drum solo.
Speaker 2: Usually this is on the unofficial makeout list of Make
eighty seven Love It.
Speaker 1: So that's the end of the album right there. So
there are a couple of bonus tracks that we're going
to tell you. We got to talk about the bonus tracks,
so we mentioned that John Kladner said, no, we're not
putting that song on the album. There was another song
that they're not putting on the album. But John Claudner
worked for Geffen and he had no power across the
pond with EMI, and they said, we're putting these extra
two songs on the album. I think there was some
question about how good they sounded on the vinyl version
of the album. Is the reason why they didn't put
them on, or maybe just John Kladner just decided they
weren't strong enough songs. As we mentioned, John Kalladner made
virtually every creative decision to be made about this album.
And before we jump into these bonus tracks, I just
wanted to touch this is a really memorable album cover.
Yeah it is. And John Klaudner is the guy who
hired the artist to do the album cover, but it
was David Coverdale who said, Hey, I would like to
do kind of a Celtic amulet that has these water
and fire type of themes to it. And it is
a very very cool and I don't know it just
the album cover really to me captures the visual for
what the sound of the band is, powerful, regal, but
breaking down some walls.
Speaker 2: This is the best white snake cover apart from slide
it in Oh Yeah, where.
Speaker 1: He had the cleavage of the model there, it's like
snake necklace.
Speaker 2: Yes, so let's play the first bonus track. This one's
called Looking for Love.
Speaker 6: I'm asking myself, why is it all my.
Speaker 8: So far?
Speaker 3: Looking a little.
Speaker 6: In my revection strange and insteading.
Speaker 4: Looking for the.
Speaker 1: Start off very airy in this one, very glitterally to me.
This song is way better than Straight for the Heart,
like way better. This is one of the stronger tracks
of all of the tracks on the album, and I
gotta to use a Jason analogy. This is the scene
in Miami Vice where this is driving along because he
accidentally shot Crockett looking wistfully into the distance as he
drives his Ferrari. I love this song. This song could
have been a hit with a video.
Speaker 2: Absolutely put Tony Katain walking around, you know, brushing her
hair or sunglasses.
Speaker 1: This is a hit song. Tarney Katine sitting in a
lazy boy watching TV. And I'm still going to watch
this video. You squirt some water on her. This is
a hit. I love this one. This is the song
that used to audition drummers.
Speaker 3: I can see that because it's you gotta be able
to cover all your basses on this one. It's a
real dynamic song and you start off slow and you
come in with that massive sounding snare drum hit, and
then from then on it just steadily builds. So, yeah,
you gotta be able to cover all your bases on
this one. I think it's a great song. I don't
see why it wasn't included on the original track listing, and.
Speaker 1: Either it should have been.
Speaker 2: And I'm not going to argue this is a better
song than the Straight for our David Coverdale says this
is one of his favorite White snakess.
Speaker 1: Yeah, I love this song.
Speaker 2: It's that sort of is this love, sort of the
haunting vocals.
Speaker 1: He's much more singing in his chest voice on this one.
He's not hitting those high notes like he normally does.
This is much more of that old blue sound that
he had. But it is heartfelt, it is genuine, and
I think it's fantastic. Want to live here say, John
Claudner is wrong and this is the true unsung, underappreciated
song on this album.
Speaker 2: And John Claudner's gonna say eight times platinum anything.
Speaker 9: More on this one.
Speaker 3: It's a great song. I agree with every thing you
guys have said. It would not have been out of
place on the original album.
Speaker 2: It has all the elements of a White Snake song.
It should have been on the album, all right. So
let's wrap it up with the last song. This song
is called You're Gonna Break My Heart Again.
Speaker 1: Okay, if it's me making this album, I'm getting rid
of Straight for the Heart. I'm putting those two as
the last songs on the album. This is such a
strong closer. It reminds you of who the band is.
It's kicking butt. It's got that solid, pumping bass as
it comes in. I think this is a great hinding
to this album. I probably would have preferred the European
version when I was buying out.
Speaker 2: I think that's fair. I think that's fair. I think
Klaidner was wrong.
Speaker 1: I can't argue the results. Say but didn't you just
say Atimes Platinum.
Speaker 2: I think these are two stronger songs than Children of
the Night and Straight for the Heart.
Speaker 3: I can't really argue. And I think it's a great song.
It's got all those essential White Snake elements we talked about,
a great melody, great playing. I mean, it would not
have been out of place amongst the rest of the songs.
Speaker 2: They were just really on their game in eighty seven.
I mean Sikes and Coverdale and Katain, they were it
in eighty seven.
Speaker 1: You know. Okay, guys, this is the end of the album,
This is the end of the history. And some stuff
happened after this.
Speaker 3: I mentioned the.
Speaker 1: Marty Collner episode, but there's a little bit more to
the end of this story.
Speaker 2: Yeah, Sadly, all things must come to an end. David
Coverdale and the Queen of rock and Roll Tiny Contained
sadly got divorced just a few years after this album
came out. So I've got a story for you on
why they actually got divorced.
Speaker 1: Oh I don't know this, Go go ahead tell me so.
In her defense, Toney Katain said that she was a
bit of a spender. Okay.
Speaker 2: She said that David got all bent out of shade
because she was spending seventy thousand dollars a month, holy crap,
shopping and shoes and you know, queen of rock and
roll stuff.
Speaker 1: David Coverdale said, seventy thousand a month.
Speaker 2: I wish it was thirty five thousand.
Speaker 8: Dollars a day.
Speaker 1: He goes and I've got the receipts to prove it. Yes.
Speaker 2: Well, okay, that honey drenched million dollars only takes you
so far.
Speaker 1: I guess well, there's two kinds of sex that you
pay for. One is illegal and the other one's more expensive. Okay, guys,
we're going to go into our Shirly showcase. We have
a special guest, Adam Mishski, who is going to give
his opinion on these two monumental albums. Let's hear what
he has to say.
Speaker 12: Hi, everyone, I'm so glad that Jason and d gave
me the opportunity to give a quick comparison of these
two massive albums from nineteen eighty seven. I love the
harder stuff back in the eighties. I still do today,
and I got both of these albums the day that
they came out. I think that one of these albums
is age better than the other, and I definitely have
a favorite between the two Girls. Girls Girls starts off
with wild Side and the title track, which is one
of the best one to two punches of any metal
album of the eighties. These two songs are the two
best on the album by a mile. I think that
Dancing and Glass is probably the third best song on Girls, Girls, Girls,
but it's such a far cry from the first two
songs after Dance and Glass.
Speaker 3: Maybe you can talk about.
Speaker 12: Your All I Need, but that's only because MTV refused
to play the video. I didn't even know there was
a video for it until a couple of years ago.
It's an okay song at best, but it's not going
on any playlist that I have. Everything after the title
track just feels like filler. They didn't play much of
it on tour nineteen eighty seven, and that was even
though they played over one hundred dates that year, So
in my opinion, this is Motley Cruz's weakest album of
their first five releases. Then you have White Snake's self
titled eighty seven album, which was a monster and sold
over nine million copies. It opens with the re done
version of Crying in the Rain, and I assume that
longtime White Snake fans were wondering where their bluesy influence went.
That bluesy swagger they used to have is definitely gone
by the time that Bad Boys starts, and then Still
the Night defines what White Snake is for a majority
of the fans. That song alone shot them a superstardom.
I'm sure that Coverdale is still cashing massive checks off
of the success. I wasn't a huge White Snake fan
prior of the album. I'd seen some of the videos
on MTV, but this album was definitely my go to
in nineteen eighty seven and eighty eight. It had four
massive singles and videos, and White Snake really took advantage
of MTV at its peak. Overall on this album, I'm
not skipping a song until song number eight, which is
Straight for the Heart. That's a song that probably should
have been replaced by looking for Love on the US release.
Coverdell has said that looking for Love is the best
song that he wrote with Psychs, and I have no
doubt had it been included on the US version and
released as a single with a video, the album would
have sold at least another million copies. I think it's
pretty obvious where I fall in the comparison. So, even
with two of the songs being re recordings of earlier songs,
White Snakes self titled eighty seven album is phenomenally.
Speaker 3: Better than Girls, Girls, Girls.
Speaker 12: The hits are bigger, there's more of them, and there's
maybe only one skip around the entire album. This album
is a top ten album for me overall. Thanks everyone
for listening and take care.
Speaker 1: Adam, were you sitting in when we were recording? Hey,
great minds think alike. That's what I gotta say. My goodness.
Speaker 2: We haven't given our final judgment on Girls, Grost Girls
compared to White Snake yet, but man, he hit basically
the same thing as we talked about.
Speaker 1: You can't deny that the White Snake album introduces us
to an entirely different band than the White Snake before.
And I mean I got to point out that he's
on the exact same page of what the skipper song
is on this album.
Speaker 2: Hey, not only did he pick the skipper the same
one that you picked, yeah, but he also was a
lover of looking for Love.
Speaker 1: Yeah. I mean, I can't say you're right enough. I
don't know if I'm going to agree with you on
which album is best. You guys will have to tune
in next week to find out what we think about Girls,
Girls Girls and whether it tops this one out or whether,
like Adam said, White Snake is the clear winner. Adam,
thank you very much.
Speaker 3: We sure appreciate it.
Speaker 1: Okay, guys, that's the end of our coverage of this album,
tracked by track. We hope you enjoyed it. We hope
we introduced you to a couple of new songs here
at the end. If you're an American listener like us,
go back and check this album out again. Be sure
and leave a review and a five star rating on
our podcast app if you would. And James can't tell
you thank you enough for coming in here and doing
this with us, and thank you so much for your
support of our podcast for the last however many months
years it's been.
Speaker 3: I had an absolute blast, guys. I mean, this is
an album that's near and dear to my heart, so
getting discussed with you guys, it was a blast at
an absolutely great time. But we can do it again sometimes.
Speaker 1: Hey, why don't you come back next week and talk
Girls Girls Girls.
Speaker 3: With us, Sex, drugs and rock and roll.
Speaker 1: I'm there, all right, sweet, So guys, be sure and
join us next week. We are going to be comparing
this album to the Girls, Girls Girls album by Motley Crue.
The bands, I mean, they've played together on tour started
off with White Snake opening for Motley Crue and kind
of ended up with White Snake saying We're going to
go headline our own show, see you guys later. Fantastic,
can't wait to dive into that one.
Speaker 2: The dregs of Heroin next week, and somehow they managed
to pump out a pretty great alum, pretty incredible